Shrek Forever After

I've made no secret of my disdain for the new Shrek movie, Shrek Forever After. After the horrendous butchering of the once promising franchise in Shrek 3, I couldn't imagine the new one being any good at all. Considering that Shrek 3 crammed as many pop culture references in as possible to mask the lack of any discernible plot, and the sheer number of primary and secondary characters, the only possible way to "improve" on that would be to make it 3D. Right?

Right. So I really didn't want to see it. Or even acknowledge it. My opinions on gratuitous 3D-ification of films just so they can charge an extra £3 to get in are, shall we say, not great. As far as I can see it's a gimmick that not only detracts from and therefore robs the audience of the film itself, it also robs them of their cash. When the sole purpose of 3D in a film is to make people say "wow, look at the 3D!", the film has failed. The audience don't care about the screenplay, the script, the characters ... they just want the spectacle. It's gogglebox culture, writ large.

When 23inertia and I took our horde of children to the cinema to see Shrek 4, it was entirely for their benefit. I couldn't imagine myself enjoying it, and fully intended to pretty much doze through it. Much as I did when I suffered the Hannah Montana movie. Yes, I saw it. Mock all you like, I don't care any more. We didn't see the 3D version. That was sold out completely, and to be honest, we didn't fancy paying £15 extra for the privilege. Combine that with trying to get a 3 year old to keep 3D glasses on, and 2D seems infinitely preferable. The kids didn't care in the slightest that they weren't getting the "full 3D" experience. In we trekked to the almost empty cinema and took our seats.

And, oh, how wrong I was! This film is a true return to form. With a similar style and feel to the original film that made the franchise, it's a world apart from the crass commercialisation of the sequels. In fact, with a cunning bit of alternative reality wrangling combined with classic fairytale cliché, it's successfully removed everything that made the other sequels such a chore in one fell swoop. In fact, the only character who remains the same through out the entire film is Shrek himself, although the other characters are very much present. Am I confusing you? Good. You have to go see it to find out what I'm talking about.

It's got its funny moments, it's touching moments, and a whole lot of comical running about all wrapping up what is, fundamentally, quite a simple premise. Shrek is bored with his life. He wants to spice it up. In comes Rumplestiltskin with an offer of a deal ... You can see what's coming, but you won't see how it all falls into place. It is at the same time both utterly predictable (you know how it ends, surely?) but at the same time completely surprising. The joy is in watching how the story pans out, rather than in what happens in the end. This may render it harmless, but it's a feel-good family film of the best sort. It's got humour for the adults, and slapstick for the kids (who am I kidding? Slapstick for the adults, too). It's got everything the first film had, and was so sadly missing in the interim.

If you've got kids, and even if you haven't but liked the original Shrek movie, then Shrek Forever After is for you. It's the sequel the original deserved, rather than the ones it ended up with.

Tarot - Gravity Of Light

I don't know why I hadn't heard of Tarot before. The Finnish heavy metal band, while quite obscure outside their home country, is also Marco Hietala's band. He started it with his brother, Zachary, in the early 80s, 20 years before he was to join Nightwish. They were originally known as Purgatory, and released their first album under the name Tarot in 1986.

I discovered Tarot while browsing Marco's musical history on Wikipedia after discovering that he also sings for Delain, another recent discovery. He has one of the most recognisable vocals in metal, and I knew it was him the second I heard him singing on Lucidity, Delain's first album. When I discovered the imminent release of their 8th studio album, Gravity Of Light, I quickly acquainted myself with as much older material as I could.

Tarot are a heavy metal band. If you prefer your metal with a never ending list of genre prefixes, you might look away. It's not melodic, it's not symphonic, it's not operatic. It's not post-anything. It's unashamedly heavy metal, even when some in the industry are looking to ever tighten genre definitions to differentiate themselves from the pack.

And it works. It works well.

Already a big fan of Crows Fly Back, I was hoping it would be more of the same style, and I wasn't disappointed. From the opening riff in Satan Is Dead, a descending, detuned guitar drone leading into a nice, heavy riff, you know what you're going to get. All sorts of tricks, riffs and tempo changes are used to keep your interest, and keep you listening. It's done tastefully, though. It's not cheesey. It's metal.

The first standout track comes in at number 3. Rise! has everything. Quick, precise drumming, twiddly guitar riffs and chugging bass combined with a strong chorus and clear enough vocal to keep you singing along for the rest of the day. I'd love to be in the crowd when they play this track live.

Another one that will have you nodding along is Magic And Technology. Much slower, more deliberate, still heavy. Calling Down The Rain, the very next track, changes again and has some solo riffs that will have you breaking all the strings on your air guitar.

Later on in the album everything softens just a little for I Walk Forever, which is almost balladic with its softer piano solos and wailing, heavy chorus. Sleep In The Dark includes more synths than other tracks, and so has a more ethereal, slightly symphonic feel. It soon dispenses with all that, though, and returns to the business at hand; good, heavy metal riffs that assault your ears when you're least expecting it.

This album isn't immune to filler, unfortunately. Not every riff or chorus will have you hooked. Hell Knows, the second track, is a bit overshadowed by it's neighbours Satan Is Dead and Rise! Others, like Caught In The Deadlights, are great songs but not as awe inspiring as maybe they could be. That said, there's not a bad song among them, and I think it's more a case of the outstanding tracks grabbing the attention before others get a chance.

The great tracks are evenly spaced though. It's no front-loader. Whenever you think it's starting to slip, they produce a bass heavy riff to wake you up and make you take notice. If you've replaced the strings on your air guitar and are trying to keep up, you'll have fingers like bloodied stumps by the end of Sleep In The Dark.

Toward the end of the album, things slow down again for Gone, which builds from a quiet, almost acoustic sounding ballad to a heavy, chugging finish. My copy also bonus track, End Of Everything, which effectively punctuates the end of the album and is, I think, a better closing track than Gone, which suffers unnecessary-fade-out syndrome. Fortunately, it seems that all editions have this bonus track, but that makes me wonder why it's labelled as a bonus?

Gravity Of Light is a competent, enjoyable heavy metal album. It's definitely worth a listen, and it's definitely worth checking out Tarot's extensive back catalogue. If you want your metal heavy, without the knobs on, this should be right up your street.

Fightstar - Be Human Deluxe Edition

I am ashamed to admit that I have previously avoided seriously listening to Fightstar because of their obvious link to pop boy band Busted.  I am sure there are tonnes of people as narrow-minded as I, who flatly refuse to give the band a chance.  I am pleased to say that I have rectified the situation by recently purchasing two of Fightstar's albums:  2007's 'One Day Son, This WIll All Be Yours - Deluxe Edition' and the most recent release 'Be Human - Deluxe Edition'.

Doozr had been spared the pleasure of Busted and somehow avoided hearing any of their musical offerings.  I however, was not so lucky and whenever I thought about giving Fightstar a listen, I'd always think to myself "No, 23inertia, it's Charlie from Busted!!".

Fightstar appear to have an exciting post-hardcore, metal, progressive and acoustic sound.  With 'Be Human'  they have also introduced a more choral and orchestral element, something I greatly appreciate.

'Be Human' is their 3rd studio album, originally released in April 2009, with the Deluxe Edition released in March 2010.   The album opens with 'War Machine" a particularly catchy track with beautiful orchestral elements.  When you reach the fifth track 'Chemical Blood' it explodes into an electric mix of raw blast beat drumming, intricate guitar riffs and beautiful strings.  The vocals on this track are almost growly in places with a continuous change in tempo throughout.  When I first listened to this track I had to repeat it again and again - I am still stunned by its complexity.

The other standout tracks for me are 'Colours Bleed to Red' which has an amazing, hard paced drum and guitar finale that leads straight into the piano intro of 'Damocles'.  'Follow Me Into the Darkness' is a slower paced track which just stops you in your tracks.   Beautiful vocal over a simple string and piano backdrop intertwined with guitar work that sends tingles up your spine.

'The English Way' was their first release from the album and is without a doubt the track with most mainstream appeal.  There is an undeniable mainstream feel to many of the tracks, but it's almost as if you can't quite put your finger on where the overlap between mainstream and completely alternative exists.

This album is a truly stunning roller coaster ride that I honestly did not expect.   The band are currently taking a break to work on separate projects but they are planning to start working on new material together in 2011.  I await their offerings with great anticipation.

Anathema - We're Here Because We're Here

It's been a while since Anathema released an album. 2003, in fact, so many people have been waiting for quite some time. But the time has finally come, and We're Here Because We're Here is finally out.


In all honesty, I'm quite late to the party. I first heard of Anathema a couple of years ago when they played a very intimate gig at Sheffield O2 Academy. I plonked myself front and centre, no more than 3 feet from the band, and just absorbed the atmosphere emmanating from the tiny stage. It was spectacular, and I've been a fan ever since. I had to buy the new album.

But has this long wait been worth it? Unquestionably yes. This is one of those albums that just works. It's obviously had plenty of time, effort and emotion poured into it, and the band have even been quoted as saying it's their best yet.

A slight change in direction, while not nearly as remarkable as previous shifts in style, and even genre, has meant that this album is more positive than previous offerings. Gone are the laments, the heartache and woe. Instead, a wistful, contemplative, yet cheerful melancholy. The sort you might feel on a quiet summer's eve when the world is at peace, and everything, just for that moment, is okay.

It would sound wrong if I said there were no stand-out tracks on this album, but truthfully there are none. They are each as finely crafted as the next. In this case, it is intended as nothing but praise. Of course, the tracks are distinct, and unmistakeably Anathema. Thin Air, with it's rising, ever optimistic riffs, or the heavier Angels Walk Among Us lead you through to the epic finish, Hindsight.

Throughout the album new age or spiritual references are thrown in, either as spoken text or in the lyrics. But there is no impression of this being a spiritual album. Rather, it's used to enhance the almost Zen like worldview put forward. "We know things can be crap," they seem to say. "But it's going to get better. And that's awesome."

Listening to the music provides a wonderful experience, but this is also type of music that you don't have to listen to in order to hear. The feelings come through the melody, the riffs, and tempo and immerses you in an ambience that doesn't shout out for your attention. Instead, it works it's way into your subconscious without you even noticing.

On listening, this album sounds all at once new and fresh, but comortable and familiar. Like the tranquil déjà vu of the moments between waking and sleep; a fuzzy, dreamlike world of peace and safety.

In Hindsight, the last track on the album, snippets of the song that inspired the album title can be heard. "We're here because we're here because we're here because we're here ...", sung to to tune of Auld Lang Syne. Almost a hundred years ago, it could he heard across the trenches of World War 1. Sung to boost morale and act as a rallying call for the soldiers as they experienced the attrocities of trench warfare, it seems oddly placed, in a way. But it has a deeper implication here. We're here because we're here. So let's make the bloody best of it.

She Screams Remedy

The new wave of social media sweeping the web has provided audiophiles like myself even more ways of discovering new music. From the venerable last.fm to Facebook, there are many ways to seek out new music. Conversely, there are also new ways for bands to seek out new fans.

I've already been followed by a few bands on Twitter, even though I may never have heard of them. Delain, Avenged Sevenfold and Celesty have all appeared on my followers list, presumably from the content of my tweets and from others following me. I've checked them all out. It's a good way to connect directly with potential fans.

The latest of such followers was one @KyrstenSSR. I tend to check new follower profiles when they appear, mostly to root out spammers and fake accounts, and this time discovered that she is a singer in a band, She Screams Remedy. Of course I had to see what they were like.

First impressions were good. Very good. They use dual lead vocal, male and female, and sound not unlike Grammatics, crossed with HIM, and with a few growls throw in. Good stuff. £4.83 and a download later and I was listening to their debut album (billed as a 7 track EP), cunningly called Self-Titled.

I was hooked immediately. This is a very listenable sort of rock music that hooks you in and doesn't let go until they've finished. From the first riff of opening track Travesty to the subtle growls of Without A Sound, and the almost ambient Allegoria, there's a bit of everything on here.

Along with the tracks on Self-Titled, a number of tracks are available on MySpace and Facebook from what appears to be an upcoming release. The band's MySpace page mentions June 18th as a particular point of interest. Hopefully something amazing will happen in 3 days time. Until then, I'll listen to what I have and see what happens!

Dead Like Harry Live DVD ...

How excited was I when I got in from work today?  Through my letterbox today was a very exciting package indeed.

Dead Like Harry decided to release live footage from The Library Theatre gig they performed in December last year.  I pre-ordered the DVD and as a thanks they have included my name, along with the other pre-orderers, on the DVD cover.  How exciting is that?

Having spoken to lead singer Sam Taylor via email about buying tickets for their gig at the Abbeydale Picture house on 17th July - he included the 6 tickets for said gig, numbered 0001 to 0006 with the DVD.  How exciting is that?

The DVD contains live footage from the show, plus interviews and photographs of the band.  It is excellent and I have thoroughly enjoyed watching it this evening.  It has really got me excited about the 17th July, I can't wait to see them live again. :D

Tramlines 2010 - The festival on our back doorstep

Tramlines is Sheffield's biggest music event of the year. From Friday 23rd to Sunday 25th of July, come and see 38 bands at dozens of venues, with loads of real ale pubs on hand, and entry is free! You can't get better value than that.

We missed it last year for one reason or another, so we're determined to get there this year. 23inertia has expressed no particular preference for what bands we see, but I have a short lineup I'm wanting to catch if at all possible:

• 65daysofstatic - hot on the heals of their latest album, We Were Exploding Anyway
• The Hoosiers - A bit like Marmite, you love 'em or hate 'em. Apparently the new material is vastly different to older stuff so I really fancy a listen
• Echo & The Bunnymen - Just ... because. Do I have to spell it out?

I'm a bit miffed that The Eighties Matchbox B Line Disaster aren't coming back. They played last year, and they have a new album out. Oh well, can't have everything I suppose.

Oh and one other thing. Craig David? Toddla T? I think not ...

Gigs, gigs and erm more gigs - part two.

A challenge was set for 2010. Doozr and I hope to attend at least one unique gig a month. A challenge indeed with our hectic lives. To date we have done an excellent job and although Doozr is one gig ahead of me, I think we'll both be cruising to the finish line with a good 14 or more gigs under our belts. So what has Sheffield got to offer for the latter half of this year?

We are off to see Engines of Armageddon again in a couple of weeks. This time at West Street Live, a venue I have not yet had the pleasure of. I hope a few more people turn up this time. Doozr and Tanzeelat had lots of fun being the entire audience I know, but some other bodies to mosh about with would be ideal.

On the 17th July we are heading to another new venue, Abbeydale Picture House. Dead Like Harry are performing here as part of the charity event Sound Clash.  Really couldn't resist seeing these live again.

Panic Room will be playing O2 Academy on the 10th September. Although we have heard many good things about this band, neither of us have actually heard their music yet. Female fronted prog rock is a pretty safe bet though to be fair.

On the 5th October The Magic Numbers will be playing Leadmill. This gig was originally advertised for the 9th June, however it has been postponed to October. Tickets for the original date will be accepted on the new date.

Back to Corporation again on 16th October. This time Sabaton and Alestorm are playing. I am assured by Doozr that Alestorm are a fantastic Pirate Metal band.  He's actually seen them a couple of times, at Corp and the metal festival, Bloodstock.

Finally, the perfect way to end the gig going year. The mighty Electric Six on the 11th December at O2 Academy. This amazing Detroit based alternative rock band have become a favourite of ours over the years. Their gigs are intimate but full of energy and excitement.

So, all being well. Money, babysitting and time allowing. The latter part of 2010 looks to be a fun filled musical extravaganza. I can't wait!!

Multi-Musical Mon...Wednesday!

It's been quite a week for new music so far. Some new discoveries, some unexpected surprises, and some new artists to watch out for.

We discovered recently that Tarot, featuring Marco Hietala of Nightwish fame, were releasing a new album in April. The band's last album, Crows Fly Back, is a nice, crunchy heavy metal album and Gravity Of Light is more of the same. Chugging guitar mixed with twiddly riffs make for a well produced metal album. More on this one later.

At the same time, I picked up Isolation Songs by Ghost Brigade on the recommendation of Last.fm. I'm glad I did. A combination of melodic death, doom and prog metal with the requisite riffage, screams, growls and clean vocal and a melodic yet thudding bass. Good listening for death and prog metal fans alike, I can't fault this albums technical ability. It's not quite as catchy as Dark Tranquillity, and not as complex as Opeth, but maybe those comparisons aren't really fair. They are hard acts to be compared to. I like it, and if you like DT or Opeth, I think you'll like it too.

If that lot isn't exciting enough, the discoveries continue. An article on Invisible Oranges alerted me to a new death metal album from Martriden. Encounter The Monolith is a concept album based loosely on 2001, and uses Martriden's ludicrously fast beat to good effect. It's a 45 minute, 6 track album, and when it ends it seems like an age, yet no time at all. Once your ears get used to the onslaught of relentless drums and some superb guitar noodling, it's hard to slow down to the more pedestrian pace of normality. Bought it yesterday and managed 5 listens already. Enough said.

Another thing that caught my attention was Trent Reznor's latest project, How To Destroy Angels. A bit less industrial than NIN stuff, but not as electronicy as later freebies, this debut EP, available free, is a decent mix of post-industrial rock with female vocal. It works really well and is definitely worth keeping track of in future.

And last, but by no means least, Anathema have finally released a new album! A mere 7 years in the making, We're Here Because We're Here was finally released on May 31st. My copy is on order and should arrive on Friday, at which point I'll actually find out what it sounds like. Should be good.