In the Picture - Mary Poppins Returns and Spider-Man: Into the Spider-Verse

movie reviews

Mary Poppins Returns is an enjoyable revisit to a familiar world; Spider-Man: Into the Spider-Verse almost unexpectedly manages to be fun, exciting, amusing, and affecting

Mary Poppins Returns

Starring: Emily Blunt, Lin-Manuel Miranda, Ben Whishaw, Emily Mortimer, Julie Walters, Dick Van Dyke, Angela Lansbury, Colin Firth, and Meryl Streep
Directed by: Rob Marshall

It may have taken her more than 50 years but everyone’s favourite magical nanny is finally back in cinemas with Mary Poppins Returns, a pleasant revisit to the fantastical world that was originally conceived by writer P. L. Travers (who, incidentally, thoroughly disapproved of such cinematic adaptations).

Created in the image of its beloved predecessor, the sequel stays true to the style and spirit of the 1964 classic and offers another enchanting, family-friendly adventure, exuding joy for kids and nostalgia for grownups.

Set in 1930s depression-era London, the film picks up 25 years after the events of the original. The Banks kids – Jane (Emily Mortimer) and Michael (Ben Whishaw) – are now adults and no longer believe in the magic Mary Poppins brought to their lives when they were young.

Michael, who has three children – Annabel (Pixie Davies), John (Nathanael Saleh), and Georgie (Joel Dawson) – is struggling with financial problems while coping with his wife’s death. Unable to pay back a lone he took from the Fidelity Fiduciary Bank – which is being run by new president William Wilkins Jr. (Colin Firth) – Michael risks losing his home unless he can produce a missing certificate that proves his father left him and Jane shares in the bank that can cover the loan.

When things start to look grim for the family, Mary Poppins returns to, once again, take care of the Banks children, even the ones who have now grown up, and bring some magic and wonder into their lives.

Bright, colourful, and full of whimsy, Mary Poppins Returns is powered by a cast that is downright charming. Blunt is practically perfect in every way as the protagonist; while she doesn’t surpass Julie Andrew’s iconic performance, she is certainly a worthy successor to the role. Lin-Manuel Miranda, who plays a cheery street lamplighter, impresses whenever he’s onscreen, bringing mirth to the movie with his singing and dancing. Wishaw’s emotional performance adds poignancy to the drama. Meryl Streep plays a short but memorable part. And seeing Dick Van Dyke make an appearance in the film is an absolute treat.

But even the strong performances cannot hide the fact that the storyline is predictable. The film follows a rather unimaginative path; it is perhaps a little too dependent on the template of Mary Poppins and often feels like it is trying to recreate the classic. The musical numbers aren’t quite as catchy or instantly memorable as they were in the first instalment, and some of the musical material slows down the proceedings.

That said, however, the movie is certainly still very entertaining. In the fairly sturdy hands of director Rob Marshall, Mary Poppins Returns is an enjoyable revisit to a familiar world. The film is visually spectacular. Plus there is enough humour in the script to keep you amused and enough tenderness in the story to keep you emotionally invested. It may not be as supercalifragilisticexpialidocious as the original, but this nostalgic, joyful sequel is just as likely to leave you with a smile on your face.

Rating: 3 out of 5

*****

Spider-Man: Into the Spider-Verse

With the voices of: Shameik Moore, Jake Johnson, Hailee Steinfeld, Mahershala Ali, Brian Tyree Henry, Lily Tomlin, Luna Lauren Velez, John Mulaney, Nicolas Cage, and Liev Schreiber
Directed by: Bob Persichetti, Peter Ramsey, and Rodney Rothman

Spider-Man sure seems mighty busy lately. Over the last few years, the popular superhero has been helping the Avengers in their quest to defeat supervillains while starring in his own arc in the Marvel Cinematic Universe. And now one of his alternative versions is helming his own Sony animated adventure, with a little help from various versions of himself from parallel universes.

Presenting the first non-white screen portrayal of the famous web-swinger, Spider-Man: Into the Spider-Verse revolves around the character of Miles Morales (voiced by Shameik Moore), a teenager who acquires spider-like powers and soon finds out that there are many other people with similar abilities in other dimensions.

When the nefarious Kingpin (Liev Schreiber) activates a particle accelerator to access parallel universes, five different Spider-Men and -Women (and -Ham, because why not) end up in Miles’ world.

The youngster must step up and learn to control his powers while helping the Spider-Gang turn off the collider, save the multiverse, and return to their own dimensions.

It would be easy to be a bit weary of this revisit to the world of Spider-Man, seeing how this is yet another reincarnation of a character that has seen numerous reboots and reimaginations already. Surprisingly though, what we get here not only feels fresh but is an utter delight.

Developed with the help of Phil Lord and Christopher Miller and directed by Bob Persichetti, Peter Ramsey, and Rodney Rothman, this animated adventure (almost unexpectedly) manages to be fun, exciting, amusing, and affecting.

Free from the weight of having to adhere to a larger cinematic universe, Into the Spider-Verse takes the opportunity to explore its protagonist with warmth and wit, creating what is perhaps the most interesting cinematic take on the character while both celebrating and gently poking fun at its many incarnations.

Its basic storyline isn’t particularly exceptional, but the film still finds new thematic territory to explore, even as it adheres to the overall good-versus-evil template, and adds emotional depth to the proceedings with its family-related elements. The movie also entertains by using an inventive visual style, joyfully capturing comic book aesthetics. Plus the snappy retorts and fast-paced action make sure that the film remains enjoyable throughout.

The animation is terrific, as is the well-picked soundtrack. And the voice acting is impressive across the board. Some of the less-utilized alternative versions of Spider-Man could have been given a more integral part in the story, but other than this minor gripe, Spider-Man: Into the Spider-Verse is a diverse, funny, poignant adventure that makes for a rewarding cinematic experience.

While the MCU is still focused on Peter Parker, Into the Spider-Verse is likely to make you glad that Sony decided to tell the story of Miles Morales and leave you looking forward to the sequel(s).

Rating: 4 out of 5

- By Sameen Amer

Instep, The News on Sunday - 30th December, 2018 *

Carol of the bells

album reviews

Every holiday season brings with it a slew of festive releases, with artists putting their own spin on popular standards and carols, and, on the rare occasion, creating their own Yuletide tunes. Here’s a look at some of this year’s musical offerings that have especially been made for Christmastime.

Artist: John Legend
Album: A Legendary Christmas

John Legend impresses by creating a well-rounded Christmas album that features eight classics as well as six original tracks. Produced by the artist with help from Raphael Saadiq, A Legendary Christmas effectively uses horns, strings, and pianos to create lush backdrops for Legend’s smooth vocals. The classics are mostly well-picked; instead of going for overplayed tunes, the singer has chosen to cover songs like The Jackson 5’s ‘Give Love on Christmas Day’ and Marvin Gaye’s ‘Purple Snowflakes’. And the crooner has also invested effort in creating impressive originals – like ‘Bring Me Love’, ‘Waiting for Christmas’, and ‘By Christmas Eve’ – for which he deserves props. The old and new material fits well together and creates a cohesive record that fans of soulful R&B are likely to enjoy.

Highlights: ‘Bring Me Love’, ‘Waiting for Christmas’, ‘Please Come Home for Christmas’
Rating: 4 out of 5

*****

Artist: Pentatonix
Album: Christmas Is Here!

Pentatonix return with their third holiday season-themed album, Christmas Is Here!, another collection featuring the group’s a cappella arrangements of Christmas, faith, and winter themed songs. Beautiful harmonies and impressive vocals adorn this interesting selection of 12 tracks. You’ve got bright and joyous versions of Yuletide staples like ‘Rockin' Around the Christmas Tree’, ‘It's Beginning to Look a Lot Like Christmas’, and ‘Here Comes Santa Claus’. And then there are emotional versions of songs from movie soundtracks, including ‘Where Are You, Christmas?’ (from How the Grinch Stole Christmas) and ‘When You Believe’ (from The Prince of Egypt), as well as the non-lyrical ‘Waltz of the Flowers’ (from The Nutcracker) and a suitably eerie rendition of ‘Making Christmas’ (from The Nightmare Before Christmas). Kelly Clarkson (‘Grown-Up Christmas List’) and Maren Morris (‘When You Believe’) stop by for guest appearances, but the album ultimately impresses because of Pentatonix’s vocal talents, although a delightful, offbeat version of ‘Jingle Bells’ also shows how lovely the group sounds when they are accompanied by an orchestra. Not all the songs are equally essential, but the overall record is enjoyable, especially for fans of the group that want to add a dash of a cappella cheer to their holiday celebrations.

Highlights: ‘Grown-Up Christmas List’, ‘Where Are You, Christmas?’, ‘Jingle Bells’
Rating: 3.5 out of 5

*****

Artist: Ingrid Michaelson
Album: Songs for the Season

Ingrid Michaelson beautifully captures the poignance of Christmas classics in Songs of the Season, taking a more traditional, nostalgic approach for the holiday record. With 12 mostly mid-tempo tracks (11 of which are covers), the album is more suitable for soundtracking a relaxing evening than a festive get-together. Michaelson’s lovely voice drapes these melodies in warmth and tenderness. And on occasion, her smooth covers show these well-known songs in a different light. Her take on Mariah Carey’s ‘All I Want for Christmas Is You’ may not be as bright and cheery as the original, but it adds another layer of sentiments and depth to the Christmas favourite. It’s also nice to hear some of the singer’s famous friends – Christina Perri, Will Chase, Grace Vanderwaal, Allie Moss, Bess Rogers, Leslie Odom Jr. – join her for some of these tunes. Songs for the Season may not be the most energetic, upbeat Christmas album you’ll ever hear but it’s a joy to listen to nonetheless; this comforting set is very likely to win listeners over with its warmth.

Highlights: ‘I'll Be Home for Christmas’, ‘Happy, Happy Christmas’, ‘Rockin' Around the Christmas Tree’, ‘All I Want for Christmas Is You’
Rating: 4 out of 5

*****

Artist: Jessie J
Album: This Christmas Day

Backed by beautiful orchestrals and impressive production, Jessie J oversings her way through an unexciting selection of the most obvious Christmas songs – ‘Santa Claus Is Comin' to Town’, ‘Jingle Bell Rock’, ‘Rudolph the Red-Nosed Reindeer’, ‘Silent Night’, and other usual suspects – on her new album, This Christmas Day, without bringing anything particularly special to the set. Big names like David Foster, Babyface, and Darkchild have been recruited to helm some of this material. But these jazz and R&B flavoured covers sound like someone with an indistinctive voice and style trying too hard to impress listeners. Her Christmas stylings work better in smaller doses since there isn’t enough variation in renditions here and monotony quickly sets in. Attempts at shaking things up include guest appearances, like Boyz II Men who appear on ‘Winter Wonderland’ but sound misplaced on the track which seems to be suffering an identity crisis. The only original, ‘This Christmas Day’, is pretty but not particularly memorable. If you like your Christmas music sans subtlety, then this is the album for you.

Highlights: ‘Santa Claus Is Comin' to Town’, ‘This Christmas Day’, ‘Silent Night’
Rating: 3 out of 5

*****

Artist: Eric Clapton
Album: Happy Xmas

Eric Clapton adds a touch of blues rock to Christmas with Happy Xmas, offering a nice mix of popular songs along with some more interesting choices plus one new track (‘For Love on Christmas Day’). It basically sounds like what you’d think Eric Clapton singing Christmas songs would sound like – retro, earnest, a little gloomy. What feels downright bizarre though is the jarring, electro ‘Jingle Bells (In Memory of Avicii)’ that inexplicably sits in the middle of this set; creating something in Avicii’s remembrance is a touching sentiment, but the track is so sophomoric that it makes no sense for this song to be on a professional musician’s album.

Highlights: ‘For Love on Christmas Day’, ‘Everyday Will Be Like a Holiday’, ‘Christmas in My Hometown’
Rating: 3 out of 5

*****

Artist: Goldfinger
EP: The Goldfinger Christmas EP

Goldfinger + Travis Barker + Christmas? Yes please! The rock band join forces with the terrific Blink 182 drummer for a vivacious four-song set of punk renditions of Christmas classics. The thoroughly enjoyable EP features a joyous punk version of ‘Rudolph the Red-Nosed Reindeer’; an energetic take on ‘Santa Claus Is Comin' to Town’; an awesomely bizarre cover of ‘12 Days of Christmas’; and a laid-back ska version of ‘White Christmas’. It’s all too brief (perhaps wisely?) – the whole thing wraps up in around 9 minutes – and sadly includes no new material, but this collection of offbeat covers is bound to add a blast of fun to your holidays.

Highlights: ‘Rudolph the Red-Nosed Reindeer’, ‘12 Days of Christmas’
Rating: 4 out of 5

- By Sameen Amer

Instep Today, The News International - 26th December, 2018 *

British pop music's hotshots drop new records

album reviews

Rita Ora’s Phoenix marks her return with a new set six years after her debut; Zayn Malik continues his post-One Direction journey with his new release, Icarus Falls

Artist: Rita Ora

Album: Phoenix

“I don't want to hear sad songs anymore, I only want to hear love songs,” Rita Ora sings on ‘Your Song’, the lead single off her new album Phoenix. And it appears that the singer has made exactly the album she would want to listen to, as there is no shortage of love songs on the Yugoslavia-born British artist’s sophomore release.

Phoenix marks her return with a new set six years after her debut, although it hardly feels like it has been that long given that the entertainer hasn’t really been absent from radio or screen in the interim. The singer released a slew of singles and featured on a handful of collaborations in the last few years. In fact, six of the 12 tracks on Phoenix came out before the album; a couple of them – ‘Your Song’, ‘Anywhere’, ‘Lonely Together’ – even came out more than a year ago. That may be why Phoenix doesn’t feel very fresh and seems more like a compilation of singles rather than an artistic statement.

Phoenix doesn’t serve as a vehicle for musical exploration. Instead, each track on the disc was clearly made with commercial aspirations, designed to seamlessly fit into the mainstream. Which it does. But while these well-made R&B-tinged electropop tunes are catchy and chart-ready, they don’t often venture into exciting, inventive directions. The generic musings about love also keep the material from feeling lyrically distinctive.

Some of the song selection is also a bit curious. Ora relegates herself to a featured appearance on her own album by including Avicii’s ‘Lonely Together’, and she has also chosen to include the much-criticised ‘Girls’ (which features Cardi B, Bebe Rexha, and Charli XCX), despite having apologized for the offense caused by how she expressed herself on that track. (Both these collaborations could have easily been moved to the deluxe edition and replaced by newer songs from the extended version, like the standout ‘Falling to Pieces’ which deserved to be a part of the main set.)

Phoenix certainly is pleasant, enjoyable dance pop, but it would have been more rewarding if the artist had been willing to take more risks, create more interesting musical textures, and come up with fresher material for the record.

Highlights: ‘Anywhere’, ‘First Time High’

Rating: 3 out of 5

*****

Artist: Zayn

Album: Icarus Falls

Zayn Malik continues his post-One Direction journey with his new release, Icarus Falls, sailing smoothly with another set of sublime mid-tempo R&B balladry.

Comprising of a whopping 27 tracks and nearly an hour and a half in length, the English singer’s second solo LP focuses mainly on sentimental songs well suited to his voice. Zayn, who co-wrote each of these tracks with the help of a number of contributors, unsurprisingly, sings about love and relationships in the safety of his sonic comfort zone. It’s the sound of a singer who has found his niche; it’s not a particularly unique niche, as it is shared by everyone from The Weeknd to Nick Jonas, but it’s fairly enjoyable nonetheless.

Effectively a double album divided by an interlude, the record offers moody tunes with a backdrop of often sparse R&B beats. But while Icarus Falls is remarkably coherent, it doesn’t present enough variety to justify its length. Variation in tempo and bolder musical choices would have helped make the material more exciting. Other than ‘There You Are’ – perhaps the strongest chorus on the set – nothing really stands out in the first half; the second half is sonically and thematically more interesting and also includes both of the record’s featured appearances (Nicki Minaj on ‘No Candle No Light’ and Timbaland on ‘Too Much’).

It’s easy to see why none of the album’s singles have found any traction. But while the material may not be very immediate, with 27 tracks on offer, there is a lot to explore here; you have to give the individual songs repeat listens to get acquainted with them. If you enjoy mid-tempo R&B-flavoured pop, then Icarus Falls is the album for you. Fans will certainly enjoy this selection and appreciate the singer’s progression. For everyone else, there are several good pop songs here; you just have to look for them.

Highlights: ‘There You Are’, ‘No Candle No Light’

Rating: 3 out of 5

- Sameen Amer

Instep, The News on Sunday - 23rd December, 2018 *

The 1975 return with an ambitious new record

album review

Artist: The 1975

Album: A Brief Inquiry into Online Relationships

English pop rock outfit The 1975 have come a long way since the release of their 2013 self-titled debut, overhauling their image and converting detractors with 2016’s eclectic I Like It When You Sleep, for You Are So Beautiful yet So Unaware of It. The band continue to impress with their ambitious third studio release, A Brief Inquiry into Online Relationships, the first full-length instalment in the “Music for Cars” era (to be followed next year by Notes on a Conditional Form).

Written almost entirely by the band themselves and co-produced by frontman Matty Healy and drummer George Daniel, the album finds The 1975 commenting on the issues of our social media-driven times in a record that simultaneously sounds modern and nostalgic. The group have spliced genres while employing guitars, drums, trumpets, flutes, pianos, and synths to variously create joyous, hopeful, melancholy, and affecting tunes.

What might divide listeners, though, is the contentious use of excessive autotune for artistic purposes. It’s an aesthetic that won’t work for everyone. You will either love the vocal effects on A Brief Inquiry into Online Relationships or it’ll make you rue the day The 1975 discovered autotune.

Either way, you’ll find it hard to deny the fact that the standout tracks are terrific. The irresistibly catchy ‘TooTimeTooTimeTooTime’, the Kanye-esque ‘I Like America & America Likes Me’, the synth-pop ditty ‘It's Not Living (If It's Not with You)’, and the poignant album closer ‘I Always Wanna Die (Sometimes)’ showcase the group’s talent at creating enjoyable pop melodies while keeping their sound unique.

Despite the occasional stylistic incline that makes them seem a bit self-indulgent, A Brief Inquiry into Online Relationships is another interesting addition to The 1975’s discography and leaves you eager to see what they have to offer in the next instalment.

Highlights: ‘TooTimeTooTimeTooTime’, ‘I Like America & America Likes Me’, ‘It's Not Living (If It's Not with You)’, ‘I Always Wanna Die (Sometimes)’

Rating: 3.5 out of 5

- Sameen Amer

Instep Today, The News International - 22nd December 2018 *

Not slicker than your average

album reviews

Caution is a step up from Mariah Carey’s recent releases; Michael Buble revisits well-known classics in Love; Origins is just another set of electronic-flavoured arena pop that simply isn’t as slick

Artist: Mariah Carey

Album: Caution

On her fifteenth album, Caution, Mariah Carey hasn’t gone for reinvention, nor has she tried to expand her sound palette or appeal to a wider audience. Instead she has made music her fans enjoy listening to and that she clearly enjoys making. It’s not a very exciting direction, but it does allow the singer to create some solid pop tunes within her comfort zone.

The album mostly offers sultry, mid-tempo R&B, thematically revolving around the topic of relationships, from being enamoured with a lover (‘With You’, ‘One Mo' Gen’) to getting rid of someone who has done her wrong (‘GTFO’, ‘A No No’). And while the songs aren’t as immediate or timeless as some of her biggest hits from the ‘90s, they do seem inspired by the output from her heyday, and some even contain nostalgic references to the era.

The singer has worked with a host of writers and producers on these ten tracks, creating songs with the help of names as varied as Skrillex and Timbaland. But while these collaborators supply suitable beats or add their subtle touches to the tunes, they don’t often leave a very distinctive imprint on the tracks they helm. Instead, Carey – who has co-written and co-produced every song on the set – seems very much in control of the overall sound, seemingly comfortable in her established niche with no need to chase modern trends.

Mariah’s delivery is often soft and understated, and is just as effective whether she’s being dismissive on the sassy ‘A No No’ or enticing on the sultry ‘One Mo' Gen’.

Caution may not be entirely unique or inventive or offer much versatility, but the album is smooth and cohesive, and certainly a step up from the American singer’s recent releases.

Highlights: ‘A No No’, ‘One Mo' Gen’

Rating: 3.5 out of 5

*****

Artist: Michael Bublé

Album: Love

How many albums of covers can an artist possibly release? Well, if the artist is Michael Bublé, then, as far as his fans are concerned, the answer clearly is “never enough”. Because he has released yet another album of (mostly) covers and it has immediately landed at the top of the charts. Because of course.

The crooner’s tenth studio release, Love (stylized as the red heart emoji ❤, because why not) features 11 tracks, nine of which are covers. The Canadian singer has, once again, revisited well-known standards and classics, offering his renditions of other artists’ hits with his smooth vocals backed by lush strings and grand orchestrations.

His take on the classics is sonically inoffensive and benefits from David Foster’s immaculate production. But while some of Bublé’s versions – like the playful ‘Such a Night’ – are fun to listen to, it’s hard to deny the fact that we have already heard better renditions of these oft-covered songs before. Bublé may be a skilled vocalist but he can’t match the tender beauty of Kris Kristofferson’s ‘Help Me Make It Through the Night’, Édith Piaf’s ‘La Vie en rose’, or Nat King Cole’s ‘Unforgettable’.

It’s the two originals on this set that really shine. With its wry lyrics and sparse arrangement, the Charlie Puth co-penned ‘Love You Anymore’ immediately stands out when you listen to Love, as does the touching piano ballad ‘Forever Now’ – the only song on which Bublé gets a writing credit – an ode of unconditional love and support to a child, which is even more poignant given what the singer has been through in the last few years. You can tell that the latter comes from the heart, and the album needed more of that emotional resonance.

To the record’s detriment, the artist doesn’t take any risks on Love. The new material ends up being the most memorable part of this disc, and given how the singer has proven over the years that he can come up with compelling original songs – ‘Home’, ‘Everything’ ‘Haven't Met You Yet’, ‘It's a Beautiful Day’ – it’s a shame that he doesn’t create his own music more often. But the renditions he has offered here are, as always, pleasant, and if you are in the mood for some easy listening, especially if you are a fan of his covers, then you are bound to enjoy Love.

Highlights: ‘Love You Anymore’, ‘Forever Now’, ‘Such a Night’

Rating: 3 out of 5

*****

Artist: Imagine Dragons

Album: Origins

While it has never been easy to reconcile Imagine Dragons’ mindboggling commercial success with the critical revulsion they have received, you could still make sense of the divide by acknowledging that despite their formulaic blandness, the band has, from time to time, managed to create the occasional catchy pop earworms. But whatever limited charm they so far possessed has completely run out on Origins, another set of electronic-flavoured arena pop that simply isn’t as slick as their initial work was.

Listening to the record from start to finish is a bit of a chore. Origins seems like it is coming from a band that is desperate to maintain their ubiquity but not very certain of their own identity. It’s as repetitive and derivative as ever, but also scattershot and disjointed. You’ve got the typically bombastic ‘Natural’, the industrial ‘Machine’, the folksy ‘West Coast’, and the synth-driven ‘Cool Out’, and next to no traction along the way. Frontman Dan Reynolds’s voice is completely ill-suited for ‘Zero’, which sounds like raspy vocals have wandered onto a teen pop tune.

The group has made their fourth album with a number of songwriters and producers, most prominently Mattman & Robin and Alex Da Kid. But seeing the speed with which they are creating this material (Origins comes one a half years after its tepid predecessor Evolve (2017)), Imagine Dragons seem to be in a hurry to release more music and unconcerned about its quality (or lack thereof). Sadly what they have come up with this time around is tediously repetitive and utterly forgettable.

Highlights: ‘Only’

Rating: 2 out of 5

- By Sameen Amer

 Instep, The News on Sunday - 16th December, 2018 *

Of reunions, disappointments, and goodbyes

album reviews

Interstate Gospel is intimate and affecting, confident and honest; Mumford & Sons seem to have lost themselves on Delta; Boyzone’s Thank You & Goodnight is a pleasant final record and makes for a satisfying farewell

Artist: Pistol Annies

Album: Interstate Gospel

After a temporary hiatus attributed to their busy solo careers, Miranda Lambert, Ashley Monroe, and Angaleena Presley have regrouped and created another Pistol Annies record. Interstate Gospel finds the Nashville lasses coming up with more sassy music in keeping with the spirit of classic country, using their wry wit to reflect on their woes and deliver some fine country tunes.

The trio’s strength lies not just in their individual prowess but in how well they work together and complement each other. And the supergroup’s third album certainly puts the talents of its three skilled vocalists and songwriters to good use, impressing with its lovely melodies, beautiful harmonies, sharp lyrics, twangy guitars, and confident attitude.

The ladies process their breakups, losses, and disappointments in these 14 songs, turning their battle scars into bittersweet anthems of persistence and defiance. From reclaiming a maiden name following a divorce in the feisty first single ‘Got My Name Changed Back’ to addressing someone behind bars in the haunting ‘Commissary’, the singers seem on a mission to exorcise toxic relationships.

Imbued with flavours of honky tonk and bluegrass, Interstate Gospel is intimate and affecting, confident and honest. The Annies paint portraits of complex, often flawed women, putting an interesting spin to their tales. And while their work may not be musically adventurous, its traditional-leaning country is, in fact, a welcome reprieve from its more pop-minded mainstream counterpart.

Highlights: ‘Stop, Drop and Roll One’, ‘Best Years of My Life’, ‘Interstate Gospel’, ‘This Too Shall Pass’

Rating: 4 out of 5

*****

Artist: Mumford & Sons

Album: Delta

Mumford & Sons seemingly set out to create stirring ballads but have instead ended up drowning in a sea of monotony on Delta. Produced by Paul Epworth, the British band’s fourth album sees them trading their earthy banjo-driven sound for synthetic beats and vocal effects. But their search for a wider audience ends up leaving them stranded in dull mediocrity.

There is still the standard brand of earnest emotions on offer, with songs dealing with death (‘Beloved’), divorce (‘If I Say’), and darkness (‘Picture You’), although at times the sentiments are so vague that it’s hard to tell the song’s actual intent.

The only track that captures the group’s old folk pop style is lead single ‘Guiding Light’. Elsewhere, Marcus Mumford and co. try to seek gentle inspiration from R&B, hip hop, and electronic sources but what they create often ends up seeming formulaic and forgettable. The album’s most eclectic song, ‘Darkness Visible’, is a curious beast; it is Delta’s most interesting track while simultaneously being completely out of place on this set.

The closest they come to successfully incorporating different elements into their sound is on album closer and title track ‘Delta’. And the gentle ‘Forever’ works until vocoders distractingly take over the tune towards the end.

Instead of building on their strengths, Mumford & Sons seem to have lost themselves on Delta. The modern production doesn’t elevate their material and simply makes them seem very middle of the road. And while you can give them points for trying to experiment with their sound, what disappoints is that the experiment hasn’t yielded very exciting results.

Highlights: ‘Guiding Light’, ‘Delta’

Rating: 2.5 out of 5

*****

Artist: Boyzone

Album: Thank You & Goodnight

Between the Spice Girls regrouping and Westlife reuniting, British pop music seems eager to take us back to the ‘90s. But while their cohorts are making comebacks, popular ‘90s boy band Boyzone have chosen instead to say thank you and goodnight.

Ronan Keating, Michael Graham, Keith Duffy, and Shane Lynch have come together one last time to create a final album (for now?) before calling it a day (again). And to their credit, the group haven’t tried to just capitalize on the powers of nostalgia here but have instead embraced the current soundscape.

The Irish pop group explore a more modern sound on these 12 songs. And tracks like the synth-driven ‘Talk About Love’ and the Calum Scott co-penned ‘The Joke Is on Me’ would be right at home on mainstream radio playlists. Some of the album’s most enjoyable tunes come courtesy of some of Britain’s favourite songwriters – the sunny ‘Because’, co-written by Ed Sheeran, and the Gary Barlow penned ballad ‘Love’ (a cover of Take That’s ‘If It's Not Love’) will please the group’s long-time fans.

Frontman Keating gets the lion’s share of vocals on the set, with Graham getting the occasional lead, and the guys also poignantly show that they haven’t forgotten their fallen comrade. In what is the most touching moment of the record, the group rework a Stephen Gately B-side, ‘I Can Dream’, retaining some of his vocals; it is only fitting that the late singer’s is the final voice we hear on the album.

Aside from an odd collaboration with Alesha Dixon (‘Tongue Tied’) which leaves one wishing the group had chosen to work with someone more relevant instead, Thank You & Goodnight is a pleasant final record and makes for a satisfying farewell.

Highlights: ‘Because’, ‘Love’, ‘Dream’

Rating: 3.5 out of 5

- By Sameen Amer

Instep, The News on Sunday - 2nd December, 2018 *

Songs of hope and peace

interview

Pakistani actor and singer Junaid Khan speaks to Instep about his upcoming collaboration with Indian rock band Spunk to create an anthem of unity

Musicians around the globe have often tried to bring people together by inspiring them to choose love over hate and give peace a chance. Joining the list of artists who want to unite listeners in harmony is Pakistani singer Junaid Khan, who has collaborated with Indian rock band Spunk to create an anthem of unity.

The song

Titled ‘Talash’, the cross-border collaboration aims to send a positive message to the people of the subcontinent. “The song is about living for the moment, forgetting about the past, and moving on,” the singer tells Instep. “It’s a very happy rock track, full of energy and life. There are also elements where we emphasise the fact that we should focus on unity and togetherness.” The “search” referenced in the title, Junaid explains, works on both a personal level – the search for yourself, your own identity, your place in this world – and the national level – the search for a common ground, a unifying purpose.

The impact of the song doesn’t just rely on its lyrics though; Junaid says its meaning is amplified by the collaborative aspect of the tune. “It’s about artists from different countries working together for one particular cause, and that’s music and entertainment, showing the world that we are one.”

So how did the idea of collaborating come about? “Actually, the collaboration was offered to me by Spunk,” says the singer. “They contacted me through social media and put forward the idea that we should collaborate. They showed their love for my music and sent me a couple of their songs. When I heard them, I was really impressed by their organic rock sound. I felt that our music interests are the same, so I decided that we should go ahead with this project.”

Creating the song was a truly collaborative effort. Spunk sent Junaid a demo of a song they were working on, a musical arrangement without vocals. He then wrote the first verse and the chorus. “When they heard the lyrics and vocal melody fit on the sample they sent, they loved it. They wrote the rest of the lyrics, and that’s how we made the song together.”

Junaid hopes that ‘Talash’ will send a message of love to the people of both India and Pakistan, despite the deep-rooted and complex issues between the two countries. “As artists, we keep trying to somehow remove barriers. The artist community of both the countries are very much – and have always been – in harmony. We love each other. Pakistanis love their work. Indians love our work. When we go there we get so much love and respect, and when they come here we give them so much love. The people from both the countries, we love each other. It’s just the political and geo-political issues that create the conflict which political bodies from both countries cash in on. That’s the only issue,” he elaborates. “We artists are beyond that political conflict. We are totally in support of love between both countries and that is why we try to stay in harmony and keep collaborating so that we send a very positive message to the world.”

“Politics and entertainment shouldn’t mix at all,” Junaid continues. “It is very unfortunate that all other things and trades continue between the countries, but the first thing that is affected is entertainment. This is a business that is very visible, so to hurt someone, you cut the ties of entertainment. It’s very unfair when political bodies do this. The means to resolve political issues are different. Cutting ties does not really make sense. We should always be open to collaboration to bring peace between various countries.”

And how does he feel about musicians being political? “If you ask me, I am absolutely not in favour of giving out political views,” he opines. “As artists, we should always have a neutral stance towards everything that is happening. I think an artist should be independent of any association with any political party. Their vision should be towards the art, the craft, and unity and peace. This is entirely my view though. If there are artists who have a political affiliation and politically express themselves then that’s entirely their point of view. I personally don’t agree with it. I think the artist should be free of such biases. Entertainment works towards unity and has no sides.”

The video

A music video has also been shot for ‘Talash’. Spunk introduced Junaid to Bangladeshi production house Glitch and suggested recruiting Glitch for the clip. “Their work was good, they appreciated my work, we shared the same sentiment, and they were enthusiastic about this whole project, so we decided we should work with them” says Junaid.

The video was shot in Nepal for multiple reasons. “There are political hurdles of Pakistanis travelling to India and vice versa. Recently the political clash has increased. The visas have been an issue, especially for artists, so we didn’t want to take that risk. We also chose Nepal because we wanted to capture the scenic beauty of the country.”

The group wanted the band’s performance to be shot within that beauty, but unfortunately nature had other plans: incessant downpour. “When I went there for the shoot, it started raining. We delayed the shoot for two days, hoping that it would stops raining and then we could go on. But it kept raining, so we had to shift the shoot indoors into a warehouse. Thankfully we did get to shoot a brief conceptual part outdoors in the limited time we had and feature the scenic beauty of Nepal in that part of the video.”

‘Talash’ was originally meant to be unveiled earlier this month but has since been delayed. “Initially we planned on the 6th of November, because Spunk wanted to release it around the festive event Diwali. I agreed to this, but some things – like the song production, audio mixing and mastering – took longer than anticipated. So we have shifted the deadline for a week or two. We’ll be releasing it within this month for sure.”

- Sameen Amer

Instep Today, The News International - 29th November, 2018 *

Expanding the sonic canvas - new releases by Little Mix, Olly Murs, and Muse

album reviews

On their latest record, Little Mix feature a set that sees the singers searching for hits by trying on different styles to see what fits; Olly Murs’ You Know I Know is split in two parts; Muse’s latest concept album, Simulation Theory, sees them expand their sonic canvas

Artist: Little Mix

Album: LM5 

While many of their reality TV cohorts may have fallen by the wayside since their time vying for a recording contract on a televised singing competition, Jade Thirlwall, Perrie Edwards, Leigh-Anne Pinnock, and Jesy Nelson are still going strong. Since being brought together as Little Mix on the eighth season of UK’s The X Factor in 2011 (and eventually emerging as the series victors), the British girl group have become one of the most popular products of the talent show circuit and amassed considerable success over the years. The ladies have now released their fifth album, LM5, a set that sees the singers searching for hits by trying on different styles to see what fits; lucky for them much of it does.

Lyrically, the album largely focuses on female empowerment, clearly aiming to inspire their young fans to love themselves and support the women around them. Little Mix relay messages of body positivity (‘Strip’), confidence (‘Joan of Arc’), and friendship and support (‘Told You So’) on this record, although standard musings about relationship strife (‘Monster in Me’) and unconditional love (‘More Than Words’) have also been peppered into the mix.

Sonically, this 14 song set is more confident than their previous releases. This is R&B-tinged pop that seems coloured in part by the mainstream trends across the pond. Indeed American artists and producers provide a helping hand in shaping some of these tunes – Nicki Minaj contributes a rap verse to reggae influenced ‘Woman Like Me’; Sharaya J appears on the self-acceptance anthem ‘Strip’; and Timbaland lends his production wizardry to ‘More Than Words’.

The most interesting moments of the album come curtesy of infectious beats and unique musical touches, like the strutting stilettos of ‘Strip’ and the cutlery-on-crockery beat of highlight ‘Wasabi’. But Little Mix also impress even when they’re delivering a regular power ballad like ‘Monster in Me’, which explains the outfit’s enduring appeal.

Not everything works quite as well though. At times the group seems like they’re searching for an identity and haven’t quite been able to find a sound that’s uniquely their own. And there are a few lyrically questionable moments here as well; singing “when he’s with me, b*tches hate me” on ‘Motivate’ undercuts their message of female solidarity, and given how their lives and stories turned out, “Cleopatra, Joan of Arc, [and] Queen of Hearts” (‘Joan of Arc’) probably aren’t the icons women should want to feel like.

Highlights: ‘Wasabi’, ‘Strip’, ‘Monster in Me’

Rating: 3.5 out of 5

*****

Artist: Olly Murs

Album: You Know I Know

Another X Factor alumnus still soldiering on is Olly Murs, the British singer who has used his smooth voice and lovable persona to find a place in the entertainment industry. Nearly a decade into his career, the pop singer has released a new double album to both continue his musical journey and celebrate his many successes so far.

You Know I Know is split into two parts; the first consists of 14 new songs, while the second serves as a greatest hits compilation, putting together his most popular tracks including his collaborations with Demi Lovato, Flo Rida, Rizzle Kicks, and Travie McCoy.

There may be a few skippable moments on it, but overall the second disc is an enjoyable collection of career highlights.

It’s the first disc, however, that yields more mixed results. Thematically the new material mostly revolves around love and relationships and doesn’t go in any different or exciting directions. Musically, the album mostly offers upbeat ditties, accompanied by the occasional ballad. But while there are pleasant tunes here, there isn’t much creativity. The disappointingly derivative lead single ‘Moves’ sounds heavily inspired by Calvin Harris’s ‘Feels’, and ‘Mark On My Heart’ feels like it belongs on a Jess Glynne album.

Put together, You Know I Know doesn’t widen the singer’s appeal, but there are enough catchy new pop tunes here to please his fans, and the hits compilation is a joyous reminder of just how infectious his songs like ‘Dance with Me Tonight’ and ‘Up’ are (as well as a distracting reminder of just how much ‘Troublemaker’ sounds like Maroon 5).

Highlights: (Disc 1) ‘Love Me Again’, ‘Something New’, ‘Take Your Love Away’

Rating: 3 out of 5

*****

Artist: Muse

Album: Simulation Theory

Synthpop meets stadium rock in Muse’s latest concept album, Simulation Theory, the band’s eighth studio release, which sees them expand their sonic canvas without abandoning their established style  – it still sounds entirely like Muse, but Muse who are very enamoured with synthesizers and hip hop.

The English rock band have co-produced these 11 songs primarily with Rich Costey, and singer Matt Bellamy continues to be the group’s main songwriter.

With a throwback science fiction inspired narrative built around the simulation hypothesis (the theory that all reality is actually an artificial simulation), the record finds Bellamy and co. trapped in a “dark fantasy world”, trying to escape this false universe, a setup so dystopian it should come with its own comic book. And to drive home the 1980s pop culture reference point, the album cover art has been designed by Stranger Things visual artist Kyle Lambert.

Synths and hip hop beats adorn the tunes, and while the band clearly still believes in the power of the guitar solo, Muse have fully embraced the bombastic pop song here, creating the Timbaland-assisted hip hop ditty ‘Propaganda’ and the glorious, yearnful highlight ‘Something Human’. But things go awry at times, when the band ends up so lost in the mainstream that they fail to capture the magic that originally made them so popular; ‘Get Up and Fight’, for instance, is more fitting for a Katy Perry album, and even the aforementioned ‘Propaganda’ is just as likely to intrigue long-time fans as it is to disappoint them.

Highlights: ‘Pressure’, ‘Something Human’, ‘Propaganda’

Rating: 3.5 out of 5

- By Sameen Amer

Instep, The News on Sunday - 25th November, 2018 *

More of the same

album reviews

Jess Glynne returns with more of the same; Carrie Underwood shows no inclination to step out of her comfort zone; Wax makes a solid addition to KT Tunstall’s already impressive discography

Artist: Jess Glynne
Album: Always In Between

Jess Glynne started her music career by conquering the pop charts with her vibrant and soulful but altogether generic debut album I Cry When I Laugh (2015). She returns with more of the same in her sophomore attempt Always In Between, another collection of radio friendly tunes engineered to seamlessly find a home on mainstream charts.

The English songstress doesn’t stray from the sound that previously brought her massive success and opts to stick to her speciality, creating more catchy, enjoyable ditties akin to the hits that helped cement her place as one of Britain’s favourite artists. But in sticking to the same old formula, the singer misses the chance to come up with something interesting or exciting.

The primary issue with this 12 song set is that there simply isn’t much variety or variation here. You’ve mostly got upbeat anthems (like the synth-pop proclamation of support ‘I’ll Be There’ and the uplifting offering of gratitude for unconditional love ‘All I Am’) as well as the occasional ballad (the guitar-driven ‘Thursday’ and the album closer ‘Nevermind’). Other than a couple of highlights – primarily the second single ‘All I Am’ and the sassy ‘Rollin’’ – these tracks aren’t as contagious as you’d hope.

The lyrics – all co-written by Glynne with the help of different songwriters – are cliché ridden, sometimes painfully so. And the album is largely devoid of personality. This is serviceable, inoffensive pop music. But it’s also forgettably beige and disappointingly bland. A voice as distinctive as Glynne’s shouldn’t be wasted on songs this indistinctive.

Highlights: ‘All I Am’, ‘Rollin’’
Rating: 2.5 out of 5

*****

Artist: Carrie Underwood
Album: Cry Pretty

Since winning American Idol in 2005, Carrie Underwood has established herself as America’s biggest female country pop singer, and she has no intention of abandoning her throne with her sixth album, Cry Pretty, yet another set of power ballads designed to please her fans.

The singer shows no inclination to step out of her comfort zone or try anything new on these 13 tracks, all but one of which she has co-produced with musician David Garcia. Underwood has mastered the formula for commercial success in her genre and reproduces it here, seemingly effortlessly, to yield predictable results. There are occasional, benign tinges of R&B on tracks like ‘Drinking Alone’ and ‘End Up with You’, but nothing groundbreaking or even mildly exciting ever arrives.

The singer has proved time and again that she can convincingly deliver powerful emotional ballads, and weepy songs like ‘Low’ and ‘Spinning Bottles’ really do work well here. But there is nothing innovative about anything she does on this record. Her style remains largely monochromatic and there isn’t much variation in her voice and delivery from song to song.

As for the promised political commentary on the supposedly anti-gun ‘The Bullet’ and ‘Love Wins’, the sentiments here are too tepid to be effective. The singer never dares to express any controversial opinion, instead offering generic tales of sorrow and calls for harmony.

Much of Cry Pretty sounds impersonal, and all of it sounds unexceptional. This is middle of the road country pop, immaculately produced and competently sung. If you’ve liked her previous albums, then you’ll like this one as well. But if you’re not a fan, then there’s nothing here that will change your mind.

Highlights: ‘Low’, ‘Spinning Bottles’, ‘Love Wins’
Rating: 3 out of 5

*****

Artist: KT Tunstall
Album: Wax

On the second album in her “soul, body, and mind” trilogy, KT Tunstall has created an invigorating set of guitar driven music that blends pop’s appeal with rock’s attitude.

The Scottish singer focuses on the body, exploring self-image and the complexities of physicality in this 11-track collection that was co-produced by former Franz Ferdinand guitarist Nick McCarthy and Sebastian Kellig, and features guitaring by Charlotte Hatherley

Wax uses each song as a vessel for expression. From the stomping opener ‘Little Red Thread’ to the gentle closer ‘Tiny Love’, Tunstall creates a confident, complex record, playing with different tempos and textures, often to engaging effect. While the album loses some momentum towards the middle with more typical tunes like ‘Dark Side of Me’ and ‘Poison in Your Cup’, it never ceases to be enjoyable. At its best, Wax is an irresistible showcase of Tunstall’s soulful voice and songwriting skills. Energetic rocker ‘The Healer’ and emancipation anthem ‘The River’ rank among her most infectious songs to date.

Subtle sonic touches add variation to each tune on Wax and make this a solid addition to KT Tunstall’s already impressive discography.

Highlights: ‘The River’, ‘The Healer (Redux)’, ‘The Mountain’
Rating: 3.5 out of 5

- Sameen Amer

Instep, The News on Sunday - 29th November, 2018 *

Isn't It Romantic - a rom-com spoof

trailer review

Imagine being stuck in a universe made up entirely of romantic comedy stereotypes. And to make things even worse, imagine if that universe was rated PG-13! That’s the living hell Rebel Wilson’s character Natalie finds herself in as she wades through rom-com clichés in Isn’t It Romantic, a meta romantic comedy that’s on a mission to lampoon its own genre.

It’s a premise somewhat akin to last year’s Amy Schumer-starring damp squib I Feel Pretty – a woman suffers a head injury, gets knocked out, and wakes up to an alternate version of reality. But unlike the 2018 comedy, the change she wakes up to here isn’t focused on the protagonist’s self-image but on everything around her. She suddenly has a nicer apartment, expensive clothes and shoes, and a hot hunk (Liam Hemsworth) swooning over her.

It’s not a particularly ingenious plot but it does have the potential to yield comical results. Ultimately how well it turns out will depend largely on the script. The movie needs a sharp screenplay to satirise the rom-com tropes; without a good script, the film could end up generating exasperated eye-rolls from the audience.

The cast isn’t altogether dazzling, but the leads seem well-suited for their roles and are fairly amusing in the trailer. Wilson may not be the “first-ever plus-sized girl to be the star of a romantic comedy”, but the Australian actress still seems charming in the main part. And fellow-Aussie Liam Hemsworth also seems suitably cast as the love interest in her fictional life.

Adam Devine and Priyanka Chopra appear in supporting roles. The latter gets about two and a half seconds in the trailer, and one can only hope this isn’t one of those instances where an actress is cast just to attract an audience or make the film seem diverse and not because she has an integral part in the plot.

Isn’t It Romantic tries to put an interesting spin on rom-coms, a genre generally targeted towards women, but it seems unlikely the film will excite viewers who don’t enjoy romantic comedies. Rom-com fans looking for a laugh at the expense of genre clichés will probably want to check this one out.

Directed by Todd Strauss-Schulson (who did a fairly good job with the slasher comedy The Final Girls in 2015), the film will fittingly be released on Valentine’s Day (February 14) next year.

- Sameen Amer

The Express Tribune Blogs - 8th November, 2018 *

Bohemian Rhapsody - a wasted opportunity

movie review

Bohemian Rhapsody 

Starring: Rami Malek, Lucy Boynton, Gwilym Lee, Ben Hardy, Joe Mazzello, Aidan Gillen, Allen Leech, Tom Hollander, and Mike Myers

Directed by: Bryan Singer
Tagline: Fearless lives forever.

As the Queen biopic Bohemian Rhapsody commences, a young Freddie Mercury (portrayed by Rami Malek) approaches the members of Smile – a local band he admires and whom he has just seen performing at a club – and shows interest in joining the group. Too bad, he’s told; he’s five minutes too late. Their lead singer just quit so the band is effectively over unless they can find a new vocalist. Well, they’re in luck! Mercury belts a few lines from one of their songs and proves that he’d make a terrific new frontman, his overbite notwithstanding.

Oh and just before he speaks to the band, he meets a bystander who turns out to be Mary Austin (Lucy Boynton), his future girlfriend and lifelong friend.

All these major life-changing encounters within a matter of minutes … it’s a series of coincidences so amazing that it’s hard to believe it’s all true. That’s because it isn’t.

In fact, hardly anything you see in Bohemian Rhapsody is an accurate reflection of how things really happened. There are discrepancies in timeline, distortion of events, and outright fabrications.

It’s all a bit of a disgrace.

Capturing a complicated life and person on film may certainly require creative liberties but that is hardly an excuse for misrepresenting reality. Criticizing Bohemian Rhapsody’s inaccuracies is not about being a pernickety nit-picker. The discrepancies are so glaring that they’re distracting and altogether misleading.

Why director Bryan Singer (and subsequently Dexter Fletcher who took over the project after Singer’s firing) wasn’t concerned with painting a truthful portrait of real-life people and events, even though said details were widely known, remains a mystery. And just why would anyone choose to make a biographical drama but distort its biographical elements? It’s hard to tell.

Perhaps an even bigger issue with Bohemian Rhapsody is how it turns textured reality into a formulaic rock biopic and doesn’t do justice to anyone involved in the project. The film doesn’t do justice to Queen’s genius or to Mercury’s legacy. And it certainly doesn’t do justice to its cast.

While no one is likely to suggest that Malek looks like Mercury’s doppelganger, it’s his skill as an actor that makes Malek’s performance so impressive. To be fair, the filmmakers really have made excellent choices while casting the movie. The other actors who portray the members of Queen – Gwilym Lee plays guitarist Brian May; Ben Hardy appears as drummer Roger Taylor, and Joseph Mazzello as bassist John Deacon – are all very well cast in their roles, as is the aforementioned Boynton.

You can’t fault the acting in this project. And you certainly can’t fault the power of the music that soundtracks the movie. Queen’s hits remain as enjoyable today as they were decades ago. That said, from an acting point of view, it’s a tad disappointing that we don’t hear Malek performing the songs himself; apparently the tracks are “an amalgamation of a few voices” including Malek’s, but it is predominantly Freddie’s distinctive voice we hear throughout the movie.

Ultimately, Bohemian Rhapsody is a wasted opportunity. From how Mercury joined Smile and turned them into Queen to how he was diagnosed with AIDS (which was, by most accounts, after Live Aid, and not before), things didn’t happen how the film depicts. And its infidelity to the truth is just one of its multiple problems. The filmmakers had the incredible story and music of a legendary band and were lucky enough to gather such impressive acting talent, so it’s a let-down that they couldn’t make the best use of these remarkable assets.

Rating: 2.5 out of 5

- Sameen Amer

The Express Tribune Blogs - 5th November 2018 *

Music reviews - a look at new rock releases

album reviews

Trench by Twenty One Pilots finds the band trying to evade their demons; Blue October’s ninth album isn’t as consistent or powerful as their long-time fans would have hoped; Cloud Nothings sound confident on Last Building Burning

Artist: Twenty One Pilots
Album: Trench

Twenty One Pilots’ conquest of the charts with 2015’s Blurryface may have surprised some, but in hindsight it’s easy to see why the rap rock duo found so much success with their fourth album. The genre-crossing set offered a creative take on pop with hip hop, rock, reggae, and electronic elements all put together, crafting a catchy sound that made their work easily enjoyable despite the material’s difficult underlying themes. But those who were hoping the band would return with a follow-up that simply stuck to the same parameters as their breakthrough will have to adjust their expectations when they listen to Trench.

While they retain their genre-blending tendencies, the American group moves into a somewhat less pop-friendly direction on their fifth record. The song structures generally rely on drum beats and synths, and there are still commercially accessible songs here – like the highlights ‘My Blood’, ‘The Hype’, and ‘Legend’ – but there is also more intensity, more weight.

Lyrically, there is a lot to unpack in these 14 tunes. A concept album built around a cryptic narrative that will require an army of fans to decode – what’s that about a pet cheetah named Jason Statham? – Trench finds the band trying to evade their demons. It’s all borderline impenetrable unless you pay close attention, a characteristic the record ends up turning into its strength – the more you listen, the more rewarding the experience becomes.

Written and produced by singer-rapper Tyler Joseph with Paul Meany of the alt rock group Mutemath, Trench may not be as immediately gratifying as Blurryface, but the more time you spend with it, the more captivating it becomes.

Highlights: ‘My Blood’, ‘The Hype’, ‘Bandito’, ‘Legend’
Rating: 3.5 out of 5

*****

Artist: Blue October
Album: I Hope You're Happy

There is something a bit discordant about Blue October’s latest album, I Hope You’re Happy. The band clearly don’t want to be bound by a genre, and to be fair they have made good use of their vast musical palette in the past; their ability to seamlessly go from snarling about their troubles to crooning a touching duet with Imogen Heap was one of the reasons why their breakthrough album Foiled (2006) was such an interesting alternative rock piece. But their new set isn’t quite as satisfying as the release that put them on the map more than a decade ago.

I Hope You’re Happy is a less raucous, more pop-oriented affair, and thematically it’s less dark and generally more positive. Sure he still has moments of frustration or self-doubt (‘Daylight’, ‘I Wanna Come Back Home’), but singer and producer Justin Furstenfeld’s songwriting doesn’t feel as bleak or raw here. He goes as far as offering nothing but good wishes to his ex on the upbeat title track ‘I Hope You’re Happy’ (which almost feels like a thematic companion to the more mellow ‘Congratulations’ off Foiled).

The sentiments aren’t as wrenching as they were in their earlier work, and the variety of styles doesn’t work quite as well. When you sound like Imagine Dragons (‘Daylight’) one minute and Phil Collins (‘I Wanna Come Back Home’) the next, the ultimate result isn’t as riveting as it is confusing.

Blue October’s ninth album has quite a few enjoyable moments, but overall it isn’t as consistent or powerful as their long-time fans would have hoped.

Highlights: ‘I Hope You're Happy’, ‘Colors Collide’, ‘Let Forever Mean Forever’
Rating: 3 out of 5

*****

Artist: Cloud Nothings
Album: Last Building Burning

Since making their unassuming debut with an infectious self-titled offering in 2011, Dylan Baldi and his band Cloud Nothings have shed their lo-fi indie leanings and opted for a heavier sound. But while they may have taken a step away from the punk inspired power pop of their early days and moved towards more hardcore noise rock, they haven’t entirely lost the catchiness that first brought them to listeners’ attention. Their fifth album, Last Building Burning, makes good use of the band’s marriage of the raucous and the tuneful; it may be more amplified than their last outing, but the result still remains accessible.

Created with the help of producer Randall Dunn (who often works with metal and experimental outfits), the record captures the energy of the American group’s live performances. But beneath Last Building Burning’s raspy vocals, abrasive guitars, and relentless drums, there is still an undercurrent of a pop melody, particularly on tracks like the instantly enjoyable ‘Leave Him Now’ and ‘In Shame’.

At the same time, though, Cloud Nothings haven’t shied away from treading into louder, rawer directions. The intense opener ‘On An Edge’ sees the band venturing into more hardcore grounds. And while most of the album’s 8 songs hover between the 3 and 4 minute mark, the group seem to have channelled all their leftover experimental desires into one nearly 11 minute long track, ‘Dissolution’, much of it made up of extended instrumental solos akin to a jam session.

Cloud Nothings sound confident on Last Building Burning, which is mostly a fun, often interesting listen even if this short collection may not always be as distinctive as the band would have hoped.

Highlights: ‘Leave Him Now’, ‘In Shame’, ‘Dissolution’
Rating: 3.5 out of 5

- By Sameen Amer

Instep, The News on Sunday - 4th November, 2018 *

If Neil Armstrong was your childhood hero, then First Man is probably not the movie for you

movie review

First Man

Starring: Ryan Gosling, Jason Clarke, Claire Foy, Kyle Chandler, Corey Stoll, Ciarán Hinds, and Christopher Abbott
Directed by: Damien Chazelle

Of the many, many elements that NASA needed to get right to ensure the success of Apollo 11, perhaps one of the most crucial was the selection of the mission’s crew, particularly its commander. As it turned out, the American space agency couldn’t have possibly made a better choice than Neil Armstrong.

Armstrong was a remarkable man, ideal for the space program in every aspect, from his qualifications and experience to his temperament. His courage and composure before and during the lunar landing as well as his modesty thereafter have made him one of the most enduring icons of all time and the subject of a number of documentaries that have chronicled his life and/or the Apollo flights. Now Hollywood has – rather unsurprisingly – turned a part of his story into a big screen drama.

Directed by Damien Chazelle, First Man is technically a very competently made movie. With its focus on the Space Race of the ‘60s, the film offers a window into the efforts that made Armstrong the first man to walk on the Moon in 1969. Visually, the film impresses from start to finish. From the remarkable opening sequence of Armstrong’s struggling X-15 test flight to the Eagle’s eventual landing on the Moon and everything in between, it’s all very well shot. You’re constantly reminded that this is clearly the work of a skilled filmmaker, which doesn’t come as a surprise, given how well-received Chazelle’s previous projects – Whiplash (2014) and La La Land (2016) – have been.

The film is also well cast. You’ve got Ryan Gosling playing the famous astronaut and Claire Foy playing his first wife Janet, the duo together portraying a couple who has to repeatedly deal with death, first losing their young daughter to brain tumour and then seeing their astronaut friends perish in training accidents. You’ve got some serious talent in the supporting roles as well. Corey Stoll, Jason Clarke, Kyle Chandler, Ciarán Hinds, Christopher Abbott, Patrick Fugit, and Lucas Haas are among the actors who portray Armstrong’s fellow astronauts and NASA cohorts; invariably all of them are well-suited for their parts.

A compelling real-life story, an acclaimed director, impressive visuals, a good cast … First Man has so much going for it, which does not explain why the film is so underwhelming. You have extremely well-shot sequences that are somehow strangely bereft of drama. The film desperately wants to be emotional and goes as far as distorting reality and making up scenes just to tug at your heartstrings but still ends up oddly cold.

It’s all meant to be touching and poetic, but instead it feels slow and overlong. (Its running time is nearly two and a half hours and it feels even longer.)

First Man’s treatment of its enigmatic protagonist is also peculiar. The impression you’re likely to get of Armstrong if you listen to/watch his interviews or old footage is that of a cool and calm man, whip-smart and quietly competent. Here, however, he seems borderline autistic. The movie doesn’t quite capture his charm.

Content wise, First Man doesn’t explore anything new or revelatory. The movie is based on James R. Hansen’s 2005 book First Man: The Life of Neil A. Armstrong, but it’s not an all-encompassing biopic; the focus is only on one decade. And space exploration buffs will tell you that there is no shortage of documentaries about Armstrong and Apollo that cover more ground and are far more engaging.

If you watch First Man for the dexterity with which the movie has been shot then you will certainly be impressed. Plus those who like unhurried character studies will enjoy the movie. (And Hollywood clearly loves biopics so it will be no shock if this film gets quite a few mentions this award season.) Perhaps the film is more compelling if you don’t know much about its subject and the Space Race. But those who grew up with Neil Armstrong as their childhood hero might not be as captivated by Chazelle’s telling of the lunar odyssey through the eyes of the first man on the moon.

Rating: 3 out of 5

- Sameen Amer

The Express Tribune Blog - 24th October, 2018 *