Just another music lover's gig review blog.

Richard Ashcroft (moments before hissy fit)

Wednesday, August 1, 2012

Non-music rant #2: An Open Letter to Campbell Newman

****Context for readers: our state premier, Campbell "Soup" Newman, who I did not vote for, is the only premier in Australia who will not put forward any money into a national disability insurance scheme, which Australia has needed since the beginning of time. Australia is one of the worst countries in the world in terms of looking after their people with disabilities, we spend half as much money on support in all forms, than we should. Campbell has also fired around 7 thousand public servants (non front-line so far, so I'm safe, for now), based on the supposed "fact" that labour borrowed so much money to pay them, that we are on the brink of bankruptcy as a state. This is a "fact" that is not altogether backed up by any true facts. (just google Campbell Newman job cuts or something and you'll see what I mean). Hence, my second rant. Stop me oh oh oh stop me...***


Dear Mr Campbell,
I am a writer of a music blog which a number of my close and far family and friends read faithfully, and I often leave dormant for a time while I’m busy with life and everything that goes with it. I also am lucky enough to be employed by the government (one of your public servants you may wish to sack later), working for disability services. I’ve had the pleasure of working with people with disabilities for over 3 years, and even before that when I was a part time therapist working with a child with autism.
My experience with people with disabilities is a mere bit of dust on the tapestry of other’s. But even I can see the necessity of bringing these experiences into focus.


Firstly, the juxtaposition of my own life, compared to the lives of others, is ridiculous.
I basically am at a place and ability to do whatever the heck I want. I have a fulfilling job, relevant to my interests, that gives me security and finance to support my desired, chosen lifestyle. I live where I’ve chosen to live, with people I have chosen to live with, at a location I desire. I’m close to the things I like to do at this location… shop, buy what I want without having to consult with anyone else, attend music events, movies, performances, galleries, restaurants and bars, and gyms (all of my choice). I can drink as much as I like, and indulge in other good-in-moderation things, without having to answer to anyone, I can visit my friends when I like, and I can choose who my friends are. I see my family often, and they have been in my life, all of my life. I am in a relationship, with everything a relationship allows, and if I wasn’t in this relationship, I could still provide for myself a healthy sex life if I wanted to (whether by myself or another person). I am a visible consumer, I can vote, and I can choose what I do with my spare time, I can choose what music I listen to, and try to make a valued contribution to society by writing about music online. You could say I have a valued, social role, in most aspects of my life, my career, family, personal life, friends, and recreational time.


A lot of people in this world can probably read that paragraph and think that it describes them. In fact, for some people, this kind of life is a given, something expected, taken for granted, the basics.
For a lot of other people, this paragraph is pure fantasy, a dream that they might laugh off as ridiculous.
The adults I’ve met with (intellectual and physical) disabilities… some acquired, some born, most, if not all, exacerbated by their neglected, sometimes brutal past; have never, and perhaps will never, be able to say these things about themselves. They’re stuck, and literally stuck, in a system that is incompatible with what it claims to provide.


You’re probably on your way to your twilight years, I’m guessing Campbell? I assume you have a pretty neat little idea of what you’d like to do in those years, don’t you? Probably deciding to retire when you like, buying a caravan or houseboat or plane ticket, and scooting around to all the places you’ve always wanted to go to, selling off the family home to buy a lovely little queenslander in the country? Something like that? Ok, well imagine instead, that in your twilight age you lived in a tiny box-like, urine-smelling government built house, where you shared your entire life with 3 or 4 other people around the same age, who you have not chosen to live with, and a handful of rotating carers that helped you with those little tasks you can’t do completely by yourself. Imagine that your time outside the house, doing what interests you, was scheduled rigidly, to occur for a total of 6 hours every fortnight. That means, in a week, 3 hours are allocated for you to simply get out of the house. 165 hours remain in which you are firmly stuck inside those walls. Imagine if, during those 3 hours, you were accompanied to programs or activities that were chosen for you, based on what’s available, and what people think you might like. (You've never had a job, so you have little money to spend on anything different anyway). Some of them are courses like cooking or music, which you’ve been involved in from start to finish, multiple times. You’re sick of them, and you’d like to tell your carers, but they don’t have the time to sit down with you and let you explain to them, in your way of communicating, and in a way they can understand. In fact, you can’t tell them that the potato mash you get served up every night for dinner, is your least favourite food ever. Then, on the odd occasion that you get so fed up you throw the plate at the wall with all your strength, you get put in isolation, a bunch of people go on talking about how aggressive you’ve become, or worse, you’re given some valium to ‘calm you down’ / put you to sleep. The little privacy you have in your room is always broken by carers checking on you. You’d like to have a relationship, with someone, but you can’t even take an underwear catalogue from the mail to imagine such a thing happening. Soon psychologists come to visit you, one after the other, to talk to you, watch you, and write things about you. Meanwhile, all you can do at home is watch TV, which you don’t get to pick the channel, and listen to the radio, of which is always on country music, which you hate. But as people heard you grew up on a farm, they assume it’s your favourite music. You’ve never had a drink at the pub, and you’ve never felt what being drunk is like, but you definitely, repeatedly know what being drugged up is like. You’ve never even been to the ekka, or to a zoo, or a concert, or the theatre.
You don’t have energy to think about what you might want to do with your life on a grander scale… travelling, hobbies, exploring, even working. Because the smaller basic things need to be met first.
Imagine that where you live is an area 2 hours away from where anyone you could identify as your biological family live, who you go to visit maybe every once every six months. When you visit, your whole household come with you, so you don’t even get to spend two hours of private quality time with these family members. You could develop close bonds with the people who work with you every day, but within a few years of developing an attachment with one or two, they are moved on to another house, without much explanation from you, never to be seen again, leaving you confused, heartbroken, and trust-broken. Before living here you were in an institution, but at least there were more people in your life then, a few you even considered your friends. Now you never see them, except at department organized Christmas lunches and dances, which make you anxious as you're not used to so much activity and energy in one small room.


Imagine if this was your life, completely, and totally, and there was nothing that was going to change whatsoever, until you become too frail to be cared for, put into a nursing home, or deteriorate to the point that a cold turns into pneumonia which sends you dying on the hospital table hours later. Or they discover you have had cancer for months just that little too late.


Would you be depressed?
Not so oddly enough, a lot of the adults I worked with, were diagnosed with depression. A number of them also presented with behavioural ‘problems’, which needed solutions. Solutions that involved getting them involved in valued roles, getting to choose what they wanted to do with their day, having more time doing these things, and developing long lasting relationships with people that cared about them.
Solutions that myself, nor their carers (as well meaning and caring as they could be), nor the system, could actually carry out.


Why?


Because the system doesn’t allow for it. There is simply not enough money to change things. All of us who work in adult disability services have the opportunity to do is provide band-aid solutions for problems that won’t go away, because they’re so set in, thanks to a deeply flawed system. A system that really, doesn’t care enough about them.


Disability affects EVERYONE. The other side of this coin, is with the people I work with today, young children with diagnosed developmental delays who need all the early intervention they can get, to prevent them ever ending up in a the above ‘hypothetical’ situation. This is absolutely crucial. Because unfortunately the above ‘hypothetical’ situation, is in no way hypothetical. It is extremely real.


I know it’s hard for you to imagine, Campbell, because it’s hard to put yourself into someone’s shoes until you actually go and spend time with them. But disability affects EVERYONE. You could have a stroke tomorrow and wind up in the exact same situation. And, were you not so lucky to land a cushy job as premier, you would be crying out for the support you just can’t afford. And it will have been you who has prevented this support from being available.


We treat people with disabilities like they are lesser, invisible people who don’t deserve a say because they lucked out. We treat people who don’t communicate in the exact same complex way that you and I do, as if they have nothing to say. We need to ask them what they want, and we need to have the means to give them what they want. Right now, they’re stuck. We can’t leave them stuck until we have ‘enough surplus’, or until you’ve fired as many valuable public servants as you can (some of whom work in disability services). Because by the time that happens, so many of these people will have deteriorated, so many of them will have given up. This isn’t a ‘hmm, maybe we should, maybe we shouldn’t’ decision. This is a motherfucking necessity. We need this. Tax me as much as you like, reduce the money you're handing to the disagreeable (imo) racing industry, get rid of those bloody citycycles, give me one less train to Ipswich a day (which is always late anyway), take the plants out of my office, I don’t care, just put some money in to the NDIS, and stop being a douchebag about it.


Yours, faithfully, 
ladygrinningsoul


 Campbell: loves his bloody citycycles.

Thursday, June 28, 2012

Lanie Lane @ the Hi Fi, 31st May 2012 VS Kirin J Callinan, Black Bear Lodge, 21st May 2012


VS 



BLOGFIGHT!


I've decided that part of the reason why I am so terrible at posting reviews on time is that I take far too many words to review them. Less is more, as they always say, and I don't necessarily have to take 1000 words to say something that can be better said in 500. So, concise.tight.reviews. is my plan. With that in mind, I'm going to review Lanie Lane and Kirin J Callinan in the same review, and I will decide which I liked better, and the winner gets more song plays from me! AND I'm going to be as brief as I can about both of them. 


Lanie (pronounced "Lannie", somehow) Lane, has won over Rockwiz viewers and general Australians, bad teeth and all, with her 1950's rockabilly country pop style, and all the fashion and hairstyle trimmings to accompany it. It's a selective genre, one I've not been very familiar with or really found an interest in. 
But for one parental birthday or another, I went along to the Hi Fi, Dad's favourite venue of choice (see 'Damned' review), to see her perform. Upon our arrival, the Rubens were already deep into their set, a band who is gaining a lot of momentum on Triple J at the moment. I really liked their effortlessly bluesy rock style, with a heartfelt croon which particularly stands out in their current single "Lay It Down". I even, almost, bought an EP.
Lanie was a happy, excitable young lady backed with a very exceptional band who accompanied her soulful voice well. She belted out her songs with emotion and thrill, playing guitar along with them. Throughout the tunes she threw in a couple of words about the songs, stories of love and loss, gentlemen and country livin', culminating in that one song I'd heard, "Oh Well, That's What You Get For Falling In Love With A Cowboy". Throughout the set I was very impressed with her talent and skill, and the way she and the band complemented each other so well. But I was sadly, and sorry to admit, a bit bored. The fact is, as I said, hers is not the type of music I'm that fond of, and it was really the style I was bored of. The only time it was changed up at all was during a duet with Lanie and her guitarist (Aidan Roberts), who sang a song about drugs that he had written. My parents thought it was a bit wanky, and as Lanie listed off a bunch of substances while backing Aidan's chorus, it kind of was. But it was also a very beautiful, stripped back song, that put the spotlight on Lanie's voice as well as showcasing Aidan's nicely. 
Despite my waning interest, there was a full crowd tonight, and her popularity is for good reason. The girl has talent in spades and is obviously beloved for bringing old fashioned country music to a mainstream(ish) audience. She's even supporting Jack White on his Australian Tour. So, great job Lanie, and I'm sorry I don't like you more.


Lanie: No fucks to give.

Then, a few weeks later on a Thursday night after a lovely dinner with a good friend, I accompanied my gig buddy/boyf to see Kirin J Callinan at Black Bear Lodge. I knew nothing about his old band the Mercy Arms, or himself, or what kind of music he performed (Triffids meets My Bloody Valentine was my reference point), but was happy to see something new... as I usually am!
After two support bands, one averagely ambient (DCM), and another much more entertaining and indie-licious (Nite Fields), we were both ridiculously tired. But thankfully, Kirin arrived with his super unique haircut: perfectly shaped black fringe with shaved head and very short straight mullet at the back of his neck. 
Already fans were urging him to take off his shirt, to which he replied smoothly "In time, in time". I'm not sure if it was necessary, but he kept to his word upon reminder. 
Anyway, to the music. I'm at a weird stage in my taste where I've discovered Rowland S. Howard, and now any angsty weird guy who sings with a deep voice sounds like him. I can't be objective enough to tell you if Kirin actually does, but he reminded me of Rowland anyway. Kirin had a band with him, all decked out in hospital masks, which he proudly told us he paid $2 each for. However, I'm not convinced they were necessary, as Kirin, his amazing, powerful, vibratoing voice, and his guitar that went from whispering to howling in seconds with hardly a strum, would have been enough. 
After a couple of songs (I can't tell you what they were called, and I doubt setlist.com will be able to help me), in which all ears and eyes were glued to the stage, Kirin took to a different form of entertainment: spruiking autographed framed pictures of himself. It was pretty amusing and if they weren't a bit creepy, and I had the money, I would have bought one for the heck of it. His stage presence was pretty incredible and he had a really professional, and comfortably natural way with the crowd, despite having an appearance about him that would suggest a more timid, troubled genius. 
His songs were confronting, heartbreaking, jarring, and shoegazey, and he conveyed so much with his voice, and accompanying facial expressions, it was easy to forget how tired I was and just watch the magic unfold. I was pretty well won over. They didn't have time to do a couple more as they had to drive back to Sydney, so it felt a lot shorter than it should have been, but very satisfying. 


"When I told her, I didn't love her anymore, she cried."


While his recorded stuff is good, he's really best to see live, so if he's ever around your way, do yourself a Steve Brule and CHECK IT OUT. 


Lanie gets 7 out of 10 Peggy Olson 1960 Fringes, and Kirin gets 8.5 out of 10 Kirin J Callinan 2012 Fringes. KIRIN WINS! A toast.


p.s. Ah Blogger, you were doing so well, and now you're doing weird random highlighting that I can't turn off. I apologise on behalf of blogger, readers.

Monday, June 18, 2012

Prince, Friday 18th May, Brisbane Entertainment Centre



above: probable reason why i didn't really get into prince when i was a teenager.

Prince is someone I only ever dabbled briefly in until last year, partly thanks to Dropbox (always thanks to Dropbox) and a very cheap Purple Rain cd at JB. It hasn't taken long for me to become a fan, the fan I never knew I could be. It would have been sooner had my parents ever played Prince when I was growing up, and mum could have also ended up with a ticket as well. But they DIDN'T, so I'm now one up on my parents... suckers!


Prince's tour was announced about a month before the show, leading to frantic ticket buying and yet another artist making me poor for a week, and I ended up with gold seated tickets (thx gig buddy!). The good part about a big ego musician annoyingly announcing a tour at the very last minute is that there is very little waiting to occur prior to the gig, and also meant I had 4 weeks to get familiar with as much Prince as possible. I think I did pretty well though, and in fact 'Purple Rain' has become not only a favourite so-bad-it's-good film but favorite all time album. Anyway, to the show! It was always going to be shit at the Entertainment Centre (BEC for short) but this nights show was really no exception. The parking was of course horrendous (and I still don't understand why they charge for crappy parking which isn't used at any other time) and we just made it in time for the show to start.


To start with, we were greeted with a man playing an amazingly intricate composition on classical guitar in the centre of the stage. At this point the huge video screens that were set up above the love symbol stage displayed him in pristine clarity. Then, as the guitarist switched his tune to an acoustic "Purple Rain", we noticed a hooded figure stand up at the end of the love symbol arrow and walk toward the guitarist, kneeling before him as he played, his hood leaving a long train behind him. Before our eyes, they both miraculously and gracefully disappeared underneath the stage. Where they go!? 

Not long after, the band appeared and began to play an energetic song I'd not heard (Thunderstorms??), and the music finally hit the audience with excitement racing. Prince was nowhere to be seen, until suddenly, we heard him singing and there he was, just out of nowhere, no fancy entry or anything. After such an elaborate introduction, this was not very Princey! They put on an excellent opener and then moved on from number to explosive number, not before Prince announced to the crowd.... "Hi Brisbane. I am here. Where are you." Yes, sir, you have achieved god-like status and it is well earned and accepted. Aaaaaand you know it. 


The songs were thick fast and absolutely brilliant, Prince sounding as good as he ever did, with back up singers supporting him with warmth, energy, and all sorts of interesting haircuts. I wasn't recognising much to start with, but as soon as soon as the words "Dearly Beloved.." were spoken, the audience went, well, crazy, along with me, masking his half said intro. Halfway through this superb live translation of "Lets Go Crazy", the band went brilliantly into "Delirious" and then effortlessly came back to finish off the initial song. "1999" soon followed, sadly concluding all of his songs off the title album. At this point one of my gig buddies said "THIS RIGHT HERE IS MY DREAM!", and it really was that kind of moment- hearing such a phenomenal signature song played and sang in the flesh by Prince himself in all it's ecstatic glory; it couldn't get much better than that. 



above: a medley of shitty instagram photos because prince wouldn't let me bring my camera. I 4give U tho P


After a couple more with the band, Prince went over to his piano, which had been set up with prerecorded backing tracks. He sat down and commenced a medley of bits and pieces of some of his best and most popular songs. "When Doves Cry", "Sign O the Times", "Hot Thing" and "Housequake" were included in this quick mix, as well as about five seconds of "Darling Nikki" until he stopped to say "I can't play thayat!". While it was nice to have just Prince playing around with us (hehehe), I couldn't help but feel cheated that we didn't get a big band rendition of some of my favourite songs. I also don't particularly like when artists get lazy and allow the audience to sing the chorus for them. Which he did. A fair bit. Some audience participation harmonies are fun, but I don't really pay stacks of money to hear a bunch of my neighbours yelling out a favorite line, to be honest.  


Luckily, Prince reintroduced the band for more full length songs, including the exceptional "Take Me With U", "Raspberry Beret", "Cream" (hey that's right! that song exists!), and even a Michael Jackson cover ("Don't Stop Til You Get Enough"). 

I couldn't wait any longer to use this bathroom and unfortunately left just as he took to the piano again and used its real keys to play some solo versions of songs. I missed "The Beautiful Ones", which I could hear from the bathroom stall and sounded lovely, but stopped short.  As promised, Prince finished on an extra long version of "Purple Rain" which lasted 16 minutes (not the predicted 19, how sad). He introduced it by getting the audience to start singing the 'oohs', which was difficult and high and I felt like a dickhead even trying. This didn't matter, as everyone else tried, and after a fair few minutes of broken audience voices, he lead us into the actual song. It was everything I wanted it to be, epic, tear jerking, harmonies crossing and Prince howling, huge bass drums, and a wonderfully drawn out finale. I just wish he did that one awesome riff towards the end of the song but you really just can't please me completely.

A couple of short encores followed, one involving a cover of "Everyday People" by Sly and the Family Stone, and the final encore being "Kiss". During his final moment, Prince let it all out, getting his super groove on. "Kiss" was the sexiest song of the mix he would allow, and he let himself be taken over with the song's sexiness. He was even lit up in a single spotlight ala his "rival" Michael Jackson, but instead of moonwalking, he finished on this ridiculously awesome (and, I'm going to say, better) butt thrusting dance, which momentarily made you forget he's probably well over 50. 

I have a feeling our encores were cut short, as that was that. True to BEC style, after the lights faded up we were snapped back to reality, reminding we weren't in 1984 glam city, we were in a poorly maintained, 90's built stadium building. 
I have to mention some criticisms here (other than those I've already mentioned). Firstly, the electronics were shocking. The lightshow was fun, but the spotlight was rarely on Prince and the video display (which had so much promise when the intro guitarist was playing), would either not be displaying Prince at all or have him half in shot. Sometimes it wasn't showing ANYTHING, just total darkness. I'm not sure if this was Prince's decision to avoid being photographed (I had to ditch my camera for this reason, and hence had to go back on Sunday to retrieve it, forgetting I'd done so) or BEC requiring some better cameramen (if that was the case, I could recommend about 10 right now). What a waste of technology. Secondly, as per normal BEC events, the sound could have been way, way better, and naturally was not. I need to just have a disclaimer before every BEC show to prevent the usual whinge..  oh GOD I really hope something changes for Radiohead in November. 



Despite its flaws, Prince was a lot of money well spent, and I regret snapping up a ticket for the next weekend, as well as being too tired /lazy/ movingoutthenextday to catch his magnificent after party shows at the HiFi and also at... um... Eaton's Hill. Someone better have shown Prince where the better parties are at while he was here.


A lot of whingeing, but a solid, memorable show, helping to escalate my newfound fandom. 8 phallic guitars out of 10. 

Thursday, May 17, 2012

INDEPENDENT! LOCAL! BRISBANE! OVERSEAS! get into it!

Hi everyone. I have been going to a few things here and there over the year thus far that have been more social events than "OH MY GOD I AM GOING TO SEE THIS BAND TONIGHT" which often tends to happen when you're out and about and you end up seeing a local band play a drinking venue. The best part about going out to meet up with friends and seeing some music along the way is you often find yourself really enjoying the band and you get something extra out of your night. It's why I prefer to go to a gig than go to a club, and it's why you should too! Anyway I thought I'd discuss some of the local bands I've seen so far over the past six months, or that I've noticed on the radar and would like to see. Come with me. 


LOCAL
Please click the names for links to bandcamp or similar artist pages! I've thrown in a couple of videos which happen to have been directed by very talented people I know, and I know it may seem like a great big plug but I honestly also think they're excellent.


Astrid and the Asteroids
I saw Astrid and her fellow Asteroids at the Zoo months back, and have wanted to write about them since. Simply put, they are a goddamn talented crew of musicians (mostly Conservatorium graduates, so figures) lead by the enigmatic and vocally marvellous Astrid. Not only do they put on an energetic and powerful live show, decked out in out-of-this-world space costumes, but their music is catchy, infectious and brilliant, in it's brassy, groovy style. I had some super mad fun at this gig. 


Cub Scouts
Cub Scouts have been touring with the likes of Brisbane darlings Ball Park Music and getting quite the name for themselves. They have a very Holiday's feel to me, blissful jangly pop with sweet lyrical moments. I can see them becoming the next indie pop faves on the Triple J circuit and beyond, and it's not hard to see why. Try not to get their song below stuck in your head, I dare ya. 


videoclip directed by world's greatest housemate Sam Rogers

Tiptoes
Tiptoes is a one man band here in Brisbane who specializes in electro-post-pop with the essences of Pulp and Prince, mixed with some Microphones-esque folk. His subject matter is often psychadelic, existential and apocalyptic, with lyrics of depth and complexity hushed in a contemplative croon. His work is both unique and brilliant, and he can even play two far-apart synths at the same time while singing, as I had the priviledge of witnessing at a show at a Real Bad Music gig in February. I'm looking forward to the split single he is currently recording with fellow musician Perpetual Nervousness, and hopefully a 6" EP later in the year. 


Mindjar
I caught Mindjar at the Zoo a few weeks ago and was pretty impressed with their tight set, reflective of old school 90's and 00's alt-rock with dashes of metal-lite. Lead singer Corrie has a superb voice, belting out heartfelt lyrics, sometimes with a screech, others a whisper, and was completely immersed in his performance. The band itself is well in sync and with thumping drums and growling bass, play tight together- but this is clearly Corrie's avenue to shine, sliding himself around the stage like a good frontman should. 

Blank Realm
Blank Realm were part of the third annual Deadshits festival, held at Black Bear lodge, at which I was eager to see label mates Kitchen's Floor for my first time. However good they were, it was Blank Realm that stuck in my memory, so much so that I considered checking them out again at Record Store Day (but did catch some very good Jungle Giants before departing instead). Very electro-ambient, full of reverb and fuzz, but also with some infectiously gritty rock moments, they also managed to entertain me most with a positively charged set. I expect they're already 4ZZZ old hat faves.

Royal Zephyr
Royal Zephyr are a bunch of suave Brisbane gents (I should stop typing the word Brisbane. They're all from Brisbane. Gah) who I'm yet to see live, but they channel some serious 60's - 80's punk rock in their songs; drum fills, electric riffs and all. One track sounds like it could have been a long-lost Doors recording, another is like something Tame Impala wishes they'd created. Whatever their influences are, they have a very retro feel which I have a feeling will be a lot of fun live.


Skypilot
Skypilot is a very easy to enjoy alt-rock band, made up of a group of excellent musicians around Brisbane. They've been compared to the National and U2, and while I'm not a huge fan of either of those bands, they have a similar vocal and musical style.. while in my opinion, being much more enjoyable. They have an excellent range from slow burning lovely acoustic moments, to intensity building drum-pounding guitar-screeching energy. 


videoclip directed by world's best brother and girlfriend, Nic F and Lydia H. I'm also in it!


...


OVERSEAS


Additional to some excellent local bands, are some fantastic international (namely US) musical acts I have come across via internet befriending and some that have travelled. These are all independent, local artists in their area, unsigned and completely excellent. I'd encourage you to check them out and support original, independent artists, also they're just freaking good. 


Pocket Vinyl
This Connecticut piano-rock duo has some clear influences, such as Ben Folds, Beirut, but with a fresh and unique passion that makes them stand out. Their songs are beautifully produced and coupled with frontman Eric's brilliant emotive voice and lyrics. Their shows are something I would really like to see over here, in which Eric plays and Elizabeth paints to the music, always something beautiful and inspired (no Red Paintings jokes). They auction off the painting at the end of the show, so the audience may get even more than just a performance. They're also husband and wife too. It's cute.


Clotworthy
Clotworthy, a young musical genius from Philadelphia, makes music I wish I could make (but I'd have to be the female version). Clotworthy tells the familiar story of what it's like to be a dude, trying to make a life, get a girl, maintain a friendship, chase that neverending carrot that is success, but not always make it. Also, what it would be like to be Bill Murray. Along with the relatable lyrics sang with his excellent and unique voice, his synth-driven electro rock music carries you along, and is destined to stick in your head. 


The Uncle Steves
The Uncle Steves, from Illinois, seem to have taken Beck's "Mellow Gold" era and taken it to a whole other level, turning it into their own unique genre. They excel at mixing hip hop with gritty rock, harmonies, acoustic ecstasy and some excellent handclapping. The Uncle Steves style is infectious and powerful, and stays with you for days... There are moments of melodic bliss amongst moments of raw shoe gaze, and it all ties together brilliantly; with heaps to discover upon repeated listenings. 

Max Hay
Away from his home of Montana, Max actually toured Australia in April and played a gig at the Dowse bar as part of their Wednesday event 'The Round.' The Round involves 3 musicians playing a number of songs each, in a round as it suggests. While the other musicians, Brad Butcher and Sam Buckingham, were quite good, Max was the clear standout. His style could be described as Bill Callahan meets Henry Wagons (except less Australian of course), with a tongue in cheek sense of humour peppered in between. Tying together his deep voice with acoustic guitar, harmonica and DIY percussion, his live performance was pretty mesmerising, and I hope he makes the trip back again. 


I'm sure I'll write about many more artists to come! I hope you like them.


So... guess what my next review is going to be of? The motherfucking man in purple himself, Prince. Never thought I'd ever end up at a Prince concert, but there I will be tomorrow night, hopefully in some faux leather, frills and purple eye shadow. Can't wait.

Friday, April 27, 2012

A short and sweet Elbow Review: Saturday, 24th March 2012, The Tivoli.

I want to just briefly post about my last Elbow gig in March, as I've already reviewed them, and this performance was essentially song-for-song identical as the Enmore gig I first reviewed. Regardless, there are things to be said about this performance, and while I'm in danger of sounding like an obsessed and crazed band groupie, I have to tell you how good they were. 
I only caught the tail end of Bombay Bicycle Club, as gig buddy and I decided that the jazz band at Black Bear Lodge were good enough to sit through most of during pre-drinks. A little bit of research tells me they were the Low Down Jazz Quintet. They were really quite entertaining and their smooth sounds, coupled with the rustic feel of Black Bear, with corner tables and real candles, overlooking a bustling city, made me feel like I was in some 1950's lounge bar in New York. I also now want to be the singer of a jazz band. 




Anyway, Elbow. Oh Elbow. I was really excited to see them for the third time, and despite not trailing off the same setlist as last year's, they did not disappoint in the slightest. Frontman Guy Garvey was all charm as usual, perhaps telling the same stories as usual but with fresh spark and excitement to be there, and keeping us all amused. He also gave annoying hecklers (we heard you yell 'MANCHESTERRRR!' the first time) what for, not being afraid to tell them to shut the hell up. 
The weird thing about me and Elbow is I actually dearly love their earlier albums (especially 'Asleep In the Back', one of my favourite albums of all time), over their newer ones, while I do love them also. Over the past few years, none of these songs are touched on in favour of Mercury prize winning 'Seldom Seen Kid', and latest 'Build a Rocket Boys'. Remember, I love these albums as well, both are stunning pieces of work, they just lack the darker, more mysteriously complex and brooding side of Elbow that their first ones contain. Basically, Elbow are much happier lads these days and it shows. But what really helped me have the  ultimate best time at this concert, was that I am a much happier lady these days, and I can actually relate to the jovial, schmaltzier stuff that they are all about in their live show. It's of course not all love stories and 'today is grand!' moments, and those sweetly melancholic songs they go back to e.g. "The Night Will Always Win", and "Puncture Repair", are enough to bring a little moisture to the eyes. So ending on the uplifting "One Day Like This", is a necessary move, because it ensures their audience leaves with an ultimate high and smile on their face, and that they reflect on the night as a performance to remember.
I haven't even mentioned how GOOD the band is, how precise and delicate and moving their musical performance is, and how fucking emotive and delighting Guy's voice is. It's this, combined with their obvious love of performing, which completely gets me, and even if I'd probably die of joy if they played "Newborn" or "Asleep in the Back" from their debut, I'm still enamoured by their performance every damn time. They're not hip hop or indie rock or ambient-electronic aficionados go-to band by any means, but dammit they're probably the best live band I've ever seen and should be rewarded as such.
Anyway, here are some piccies!


'Mirrorball'. Schmaltz.

oh heavens.

'Weather to Fly'. Still much better than on record.

probably some audience participation bizo or whatev

If you love Australia so much why don't you marry it.


9... and a half... armpits out of 10. 

Bon Iver (with Sally Seltmann), The Tivoli, Friday 16th of March

Riding well off the back of his recent grammy win, in which even One Direction fans want to know who Bonny Bear is, Bon Iver came to Brisbane for a rare three (3) shows, to appease all the new and old fans that have multiplied tenfold in the last year. The shows were announced way back in December last year, at which time I was pretty excited, until Justin Vernon and co.'s 'flavour of the month' status overshadowed everything else.
It was easy to get back into excitement mode when a Thursday night concert goer friend raved about how great he was, and also went and met him not a kilometer from where I was doing nothing in my house. DAMMIT!


Old Sal
My gig buddy tonight was my dear brother who had joined in on the Bonny bandwagon around the same time I had. We rocked up in time to see New Buff... I mean Sally Seltmann. I could be biased, but Sally didn't have quite the same stage presence that she did a fair few years ago under the moniker of New Buffalo. Now that she is riding off the back of female supergroup Seeker Lover Keeper, I guess the audience wasn't as excited as they would have been had SLK been onstage, and hence she played a lot of their songs. She also gave us a few new songs from her self-titled solo album, as well as a couple I recognized from her later New Buffalo repertoire. Despite the disconnect, she sounded lovely and I very much enjoyed it- her angelic voice still comes across well onstage. Sally's also definitely migrated from her days of pressing play on a backing track while singing into a microphone, as she did the first time i saw her in 2005 supporting Bright Eyes. Somehow I just remember more people being a little more transfixed by her back then.




The stage for Bon Iver was made up quite ruggedly with hessian draped around as if we were in a cabin in the woods. He's come a long way since those 'For Emma, Forever Ago' days, as he came on amid huge cheers. Everyone wants a piece of Bon Iver now, and I guess three sold out shows are testimony to that. As predicted by my brother (with a very accurate imitation of the opening chords), Justin and the band started off with the first song, "Perth" from the latest album 'Bon Iver, Bon Iver'. Live, it was a spot on, moving interpretation of the record, which is what I imagined it to be. From the quiet, building opening notes, to it's crashing crescendo, every sound filled the theatre, leading into the second song "Minnesota, WI". It was quite magnificent, and when Justin started to sing, I didn't expect it to sound quite so hauntingly beautiful. He sounded so true to recording, strong and echoey, I wondered if there were any effects going on. And even if there was it was still impressive.
The excellence went on from there and he played a wonderful selection of all the fan favourites, including "Blood Bank" off his title EP, and even "Brackett, WI" which he did for the brilliantly compiled 'Dark is the Night' compilation. 




The musicians were fantastic, and you really couldn't fault them for a second. As they left and Justin took the stage solo for "Re: Stacks", it was a delicate, gorgeous and sniffle-inducing moment. The only thing you could fault was that I realized just how similar their songs sounded and how much of a style Bon Iver have created. It is a style that is is not to everyone's taste, and can at times be in danger of getting old. In fact, there were a couple of moments where i did find my mind wandering... but to be honest that does happen at gigs, and it's not necessarily a bad thing. Sometimes I can think through an entire problem situation at a gig; it can be a nice place to reflect. (Unfortunately I cannot count gigs toward psychological professional development).


Old mate
Coupled with the brilliant music was the band's, and particularly Justin's, laid back manner. Despite the opportunity to be high and mighty, there is no pretension with this man, and he engaged the crowd as a genuine, down to earth fellow who could be your mate, just doing what he loves and having a good time. 


I have to mention the worst part of the show however. I became so mad about a group of metrosexual-appearing guys behind me that I wonder if i am actually getting quite senile, bitter and twisted. In addition to one of them doing the '*tap shoulder*, *look the other way*' routine to me before the performance, these guys nattered and laughed through the whole performance (because obviously Bon Iver is also a comedy group???). It reached breaking annoyance point when one of them said 'Where are we going afterwards?' and another asked 'Who is this guy again? He's good.' This happened while "Skinny Love" was being played. I was looking forward to hearing the ultimate sad times/break up/depression song transcending onstage and letting it wash over me, but I COULDN'T thanks to their giggling and chatting. I detest that feeling of someone laughing behind you; you wonder if they are laughing at you, know it's probably ridiculous, but continue to be unsettled anyway, and want to punch them all in their collective face. Instead of doing this however, I looked around and glared at them evilly. It did nothing, but I felt slightly more satisfied than if I had just stewed in my spot.


I just DON'T UNDERSTAND, if you don't know who a band is and you'd rather go pick up chixx at the Met, then why are you paying $65 to see a musician at a venue full of his fans? If you're not a fan, and are going to talk the entire time, then go away. I know this may sound hypocritical, because I did do this at Gareth Liddiard's show a year ago, but I was at the window rather than in the crowd, and he was a complete dickhead and sounded like shit. Sorry Drones fans, but not really. Bon Iver on the other hand were amazing, and I felt they were disrespecting the band by doing this. Support acts can suffer from the audience talking through their set, but that is kind of expected since people aren't there to see them, but during the main act... there is an exit. 
Now that rant is over, I feel dirty and like I should be writing to mX or A Current Affair. I just think there should be some mosh pit etiquette to follow. Why don't we list some etiquette rules now since we're in this mind funk?? No? Too bad. 


1. Don't fart. Hold it in. Go to the toilet. Don't fart. For the love of god. 
2. Keep your laughter and loud chats and stupid opinions to yourself. If you want to say a lot of things, use the text on your phone.
3. Don't lean on me, I'm not a pole, or a chair.
4. Do be expected to have your personal space ratio go out the window, and expect it to be somewhat smaller. Don't get too bothered when people accidentally touch you. Having said that, you are entitled to a bit of breathing space..
5. If you want to jump/dance/go mad, please be respectful of people who don't want elbows in their chins and their face on the floor.
5. If you want to drink, buy a couple beforehand. Don't try to go to the bar and get back to the exact same spot you were before, unless you're happy to be cursed by a lot of people. 
6. Putting your arm up in the air and pointing throughout the entire song is not only bad for your arm health but I don't want to watch/ take a photo of your arm. Feel free to point it up and down though, I can kind of work with that.
7. If you have diabetes, take your insulin. If you don't have your insulin shot, and you're about to faint, get the fuck out of the mosh pit. Don't eat my lollies out of my hand with your slimy tongue. I don't care how big of a Björk fan you are. 


I'm sure there are many rules that you, reader, could come up with and share with me. So maybe you should!!


Bonny Bear gets 8.5 "wanna be combovers and Minanite beards" out of 10.

Tuesday, April 3, 2012

Real Estate (with Feathers), The Zoo, Tuesday 13th March, 2012


New Jersey formed five piece, Real Estate, turned up for me kind of out of the blue for me about a year ago. They were shared to me on Dropbox, and after sitting there for a few months, became my latest new find. Soon Pitchfork were all over them like an electric blanket and they must have gained enough popularity to justify an Australian tour. So, investing wisely in a ticket (invest, real estate, geddit???!) I went to the Zoo on this Tuesday night with some rare-to-find fellow fans and got my property development happening. (this is the last bad joke.)

Supporting the band were a couple of indie-sounding-bands, and we got there early enough to catch some of Feathers. A couple of girls who look like they just discovered Warpaint and want to be their bffs, came onstage and began to commence a set of very obvious indie girl pop tunes. They were inoffensive and pleasant enough, but there was nothing really driving the music that stood out from the Tegan and Sara’s of the rest of the music world. They had similar musical stylings to that of Real Estate- summery, jangly pop vibes, but again, none of it really gelled to me- I was a wee bit bored.

They didn’t play for too long however and soon it was Real Estate time. I immediately recognised lead singer Martin Courtney’s very indie haircut (hello Dan Humphrey, the wavy dark mop may become trendy yet) which matched a lot of the audience's indie haircuts. This was a very pitchforkian occasion, but that’s the beauty of hipster gigs- everyone is one, so the wank factor goes into 'so bad it's good' territory, and you don’t notice it as much. It was clear though that everyone was here for the music, which, as they opened with "Fake Blues" from their first self titled album, was outstanding from the very beginning.


my one not shit photo.

In fact, I don’t remember a time when the Zoo sounded quite so good. The airy twang of the guitars and spacious drums were replicated perfectly, if not better than on record, and the sound enveloped the venue with such crispness. "Fake Blues" was followed by "Easy", the opener of their latest well loved album 'Days', and I found myself extremely delighted when hearing the opening chords. Martin Courtney had the quiet sensual frontman thing down with little fuss or fanfare, just pouring his soul into the words and chords. His voice was lovely and heartfelt, with that slight echoey effect which is covered all over the album tracks.
The songs churned out and each one had me bopping along even more than the one before it. Popular new ones "It's Real" and "Out of Tune" oozed sweet breezy goodness and every pulse was on the mark. 


Prior to the performance, a part of me had wondered how good this show was going to be, and if it may be one of the more boring shows of the year. WHY you ask? Well while Real Estate’s low-fi shoegazey pop is a celebrated thing right now, their music does have a very distinctive style that rarely crosses the boundary- and their second album is no great departure from their first. However, i realised just how much I enjoyed their songs as they played them, and their pristine production meant I was thoroughly, exceptionally entertained all the way through. It also says a lot about a band who can completely engage the audience not only with a catchy chorus accompanying pleasing music, but even while during their instrumental tracks, such as both incredibly melodic tracks "Kinder Blumen" and "Atlantic City" in which I found myself not even realising that there wasn't lyrics. That's what I think makes Real Estate a standout act, and why they have so much love at the moment; every instrument of their songs are tuned in perfectly with each other to collectively portray an outpour of emotion, encapsulated in every note, beat and chord. As a live band, they continue to do this effortlessly, and fed off each other like it was child's play. 


Time went relatively quickly, and before we knew it it was encore time already. At this point, the song that got me completely hooked on the band, the debut opener "Beachcomber", had not been performed, and I was not the only one waiting for it. I completely expected it to start up when they (very quickly) came back onstage, but I was sadly disappointed, and instead, the slow burning "Suburban Dogs" was chosen from the same album. I couldn't help but miss "Beachcomber", but their chosen song still left us in a quietly content, contemplative mood, as we slowly emptied from the Zoo. 
The greatest part of this gig was how much it made me appreciate their music more. I now have to stop myself from listening too much to both albums , as I have finally found a replacement for 'Watch The Throne' which is in now danger of being burnt out. I'm happy Real Estate exist and look to be not one of those 'so hot right now' indie darlings that burst onto the scene and then disappear, but a brilliant established band, that deserves its praise and a long progressive career. Well done indie kids!


9 tenancy agreements out of 10. (Sorry, I mean to say that was the second last bad joke.)

Thursday, March 22, 2012

St Jerome's Laneway Festival, RNA Showgrounds, Saturday 28th January 2012

One thing that happened almost two months ago was the St Jerome's Laneway festival. Another majorly anticipated day of my January, it also marked the last big January thing and the end of my first week back at work. So it was guaranteed to be an epic day, or at least, I was going to make sure of it.


As I live a stone’s throw from its new home of the showgrounds (lane? Um, suuuuure), a few of my laneway goers came by for pre-drinks (beer for them, berodkas for me), and we headed around the wrong way through the rain to the venue. Due to the downpour, the organisers had decided to move everything indoors to the pavilions, meaning that while it was nice and dry, the echoey acoustics combined with rain drumming on the tin roof left the sound somewhat hindered. I’m going to make mention of that now so you can read my review of the bands in the context of this situation. A lot of people found this situation irritating, but to me Laneway did the best that it could, and to be honest, I didn’t really give too many hoots.




First stop was Yuck, the 90’s grunge band of 2011. I hadn’t got mega into their stuff but I enjoyed the familiarity of their songs, not just from what I heard of them, but also in how much it sounded like something I would have heard on the radio 20 years ago. (YES 20. WHEN DID I GET SO OLD). To me they’re a bit like Screamfeeder with a more American accent and it’s just the kind of nostalgia people seem to be up for these days. And it worked well, as we bopped along to the easy to enjoy/sing along tunes, it made the rain seem less present and felt more like a summer afternoon of sun and cider and relaxing. Cider from the bar did help this cause. Note: they also had a good snare.



After Yuck finished their set and more cider was had, we traipsed off, passing everyone we know in the process, and myself and gig buddy no. 1 checked out Total Control. Total Control is a semi super group made up of members of Eddy Current Suppression Ring, UV Race, and some other Melbourne bands I haven't really listened to. I had no idea what to expect, which is often a good thing, and I was pleasantly entertained as a result. They played tightly together, maintaining some of the grungey rock that ECSR is all about, but also with an added catchiness that I could easily come back to again. I think I was pretty drunk by this point because that's all the conclusions I could really come to about this band. They ticked the 'good' box, and I was content in my cider induced haze. More cider please. Goddammit I love festivals that provide cider.




After Total Control finished, we heard a bit of the DZ Deathrays, a band that is getting a lot of people talking, but aren't really my thing. They imposed upon the audience a loud, grating explosion of raw punk, a bit too harsh for my ears but definitely energy expending, and woke me up a little from my zoned out fuzziness. It was however a little repetitive and ear flooding so I was happy that it was only a temporary placement until Girls' set was about to start. 



Girls picked up where Yuck left off with their vibe: hazy, laid back and sunny, with slightly more of a Beach Boys feel than seattle grunge. Their new album heights were reached with "Honey Bunny", "Vomit" and "Saying I Love You"… as well as some blissfully catchy songs from the albums I hadn’t yet heard. Lead singer and ex-cult member (yep!) Chris Owens was as pretty as the music came with a subtly sweet, emotive voice, sporting flowers on stage to increase the prettiness of the vibe. So much pretty! As did Yuck, Girl’s set was assured to provide the feeling of relaxation, without being boring. It was perfectly timed, and got me back into the haze I was after Yuck.



Cults were a band I heard lots of praise about but knew pretty much nothing of. They were a little late starting but were apologetic and seemed ultimately thrilled to be playing here. Cults perhaps suffered the most from the sound troubles, and even at the very front they sounded particularly distorted and indecipherable. What I could hear however did sound pleasant, and lead singer Madeline had a charm and cuteness about her the audience found entertaining (and adorable) enough. They’re a band I’ll seek out more of as through the distortion was a catchy, poppy vibe that could quickly become infectious in the right circumstances.

We decided to catch a glimpse of Feist as there was some lag between Cults and Toro Y Moi whom were supposed to be playing at the same time as her. At this time, hours into the day, I finally located a friend I’d been madly texting back and forth to meet up with. I don’t remember it being so hard to find people at Laneway ever, but it was probably the packd like sardines situation that it was, that made it so difficult. Furthermore, I probably go on too much about this, but as Laneway grows as a festival, so too does its audience and popularity, threatening that it may become another large scale monster affair.
Feist was riding this tour off the back of her reasonably well received new album 'Metals' which, while not pure pop perfect as 'The Reminder' was, is suitably sexy and a definite grower. Hence, the few songs were heard were from it, and were lovely live representations of their album selves. Her voice was as touching and exquisite as the first time I’d heard her at Laneway’s second year. The atmosphere was much better then (it wasn’t p**ing down rain and you could also see her face), but it was still a pleasant, warm vibe. I heard later, as we scuttled off for some grooving, that she had been given electric shocks by the microphones a few times, which would predict further electronic difficulties later in the night. Ok, so the sound wasn’t great and no one could be blamed for that, but electrocuting the performers isn’t really cricket and I hope someone responsible was strongly told for it.




Next was Toro Y Moi which I had become enamoured by very quickly over the last few months, thanks to their album 'Underneath the Pine'. They came on with an energetic bang, and got myself and gig buddy 1 dancing and grooving along with the rest of the audience. The sound issues didn’t matter; the bassline was enough to turn up the dial to ‘dance’. It was one of my most anticipated spots of the festival and I was happy to unleash my love for their album right with the band members. "Still Sound" was the danceable peak amongst chilled downs and jumpy ups, with a nice amount from the new album so that there was a lot I could bounce around to in recognition. Chazwick (ha! that's his real name!) had a strong voice despite previously mentioned sound distortions and presented the lyrics with ample laziness, true to those on the album. While they played for a shorter time than I’d hoped, I was very satisfied with what I saw.




It was food and Horrors time soon after, my other highly anticipated act of the day. I’d been obsessing over the Horror’s last two albums (and their first, but not as intensely) for many a year now so the opportunity to finally hear them perform was fraught with excitement but also worry… as I had seen a few youtubes that suggested they weren’t so good live. I needn’t have worried though. They delivered extremely well and played a lovely selection of their best parts from 'Skying' and 'Primary Colours', including all of the built up instrumentals that I had come to love. Lanky and odd frontman Faris Badwan’s voice was a little touch and go with some of the songs, which you can’t help if you’re a monotone crooner used to a bit of enhancement on album tracks. But it worked well anyway, as well as totally on form guitar screeching, and drum fills making my hands imitate them on their own accord. 




There was nothing from 'Strange House', and it’s a sad fact that they appear to have neglected their raw gothic debut following, as it really is their background which gained them publicity, and got them to where they are today. Their maturer sound however, is excellent and they displayed that with prowess in their preformance. Each live rendition was a fitting tribute to how darn excellent they are at songwriting and how far they really have come. They even played a shortened version of the deliciously indulgent "Sea within A Sea". I wanted so much more from them. Come back and do a non-festival tour please fellas!


By the time the Horrors had finished my happy music cup had been completely filled to the point of spillage, so I contentedly wandered, ate and stood with my gang, not particularly waiting in anticipation for M83, but looking forward to hearing some familiar ambient electronic pop. As I chattered it became clear that m83 was going to be late. Twenty minutes.. thirty minutes… forty minutes went by, and the crowd was finally getting a bit anxious to see them come out. I wasn’t that bothered, but I had a friend waiting for me to go with her to see Toro Y Moi’s DJ set after the festival ended. Compared to the Kanye crowd at BDO, the crowd didn't appear that bothered either- it wasn’t until about 45 minutes of waiting that we heard any ‘BULLLLLSHITT’ chants, a decidedly larger amount of time longer than 10 minutes of BDO crowd impatience.
Again, there was no explanation as to why things were taking so long, but apparently if you were more of a social tard than my group, there were announcements being
made on facebook and twitter, alerting fans to the fact that technical issues again were marring the timely performance. I’d like to think not everyone is glued to their phones while in a moshpit (as I surprisingly wasn’t) so that does bother me that a microphone wasn’t picked up and a few words said.




Finally, almost an hour later, the frenchies appeared to play their set. Front man Anthony Gonzalez said a few words of apology and then launched into the excellent track "Teen Angst" from ‘Before The Dawn Heals Us’, which I was really happy to hear, expecting all new stuff. I’ve heard that their setlist was different from what it might have been due to whatever technical problems went down. But maybe that was a good thing, as I was pleasantly entertained by the few tracks from their earlier albums which they may not have played otherwise, including "Sitting" from their 2001 debut. The sound really wasn’t that bad, but I wonder if it was due to pre-recording rather than the actual live band.




They did play what everyone wanted to hear, including of course "Midnight City", which blew the crowd away as it promised to do, and while it’s been bordering majorly on overkill, I instinctively belted out ‘THE CITY IS MA CHURRCH!’ at the top of my lungs with everybody else. It felt like it was played extremely early, but it was only followed by one more song,"Couleurs" from 'Saturdays = Youth'. Thus, sadly, M83's set ceased reasonably quicker than desired, as soberly predicted by lawyer gig buddy, due to 10.30pm curfew constraints.


The night was not yet over and despite a ridiculously long day, our tired, weak legs carried us over to Woodland bar to see Toro Y Moi do a DJ set which we hoped would make us go crazy with delight. My friend who met us enjoyed it, and we did dance with all the energy we had left. However it was a rather large anticlimax as the songs he spun were a little lifeless, repetitive and all build up with no satisfying peak (and yeah, okay, I didn’t recognise any of them). Eventually we left the scene for a drink at Rics and then a stumble home much much later than I had anticipated. As predicted, it was a goddamn full blown motherflipping epic day, one that I could turn into one of those crazy all-in-one-day movies, like "Human Traffic" or "One Sweet Day" or "Nick and Norah's Infinite Playlist" or "Ferris Bueller's Day Off" or "Go" or "Run Lola Run" or "25th Hour" or "A Single Man". I did die at the end. 


I give the day 8 and a half blockbuster rentals out of 10.