Katy Perry - This Is How We Do (Official Music Video) [+ Review]

In case you weren't getting your daily dose of Katy Perry, we've got you covered. The pop singer has just released the music video for her single 'This Is How We Do', and it's fair to say we were sort of apprehensive. Having had less than positive feelings about 'This Is How We Do' and Perry's choice to make this her next single, we prepared to watch the music video with a clear mind, and hoped that, at least, the video would be better (as the music video for 'Unconditionally' and other songs have been quite nice). 

                         (Obstructing a game of ping pong[table tennis] by sitting on the table) 

You can, however, read our review of 'This Is How We Do', right here. But back to the music video. In case you are anticipating a negative remark, we thought the video opened up in a fun and fresh manner, with Perry taking on the form of a living portrait, and we thought - maybe - this could actually be good. 

                                       (Perry with her girls, reppin' Piet Mondrain) 

As you have probably guessed, we are a little bit disappointed in the video. Although we like the various use of kaleidoscopic patterns and colours, with homages to abstract art and the pop art era, it does get a little borderline ridiculous at some points. We were promised initially, that Perry's purple wig wearing days were over and that we were to be greeted with a newer, darker Perry as hinted in her promotional advertisements for Prism. However, we fail to see any difference between this and the video for 'California Girls.' Ice cream theme? Check. Accompaniment of gal pals? Check. Bubblegum colour theme? Check. 

Sufficed to say, the video is bizarre - which is not necessarily a bad thing - except this is a little mind-numbing. Notable (and questionable) points: An Ice-cream twerking? Really? Must there always be twerking in every video - and by an animated food source of all things? We're assuming this is meant to be 'fun' and 'cute' but it's really just strange. Some very poor animation of stereotypical black handbags and lipsticks (in fact, the none-live action elements are cringey bad, but maybe that's the point?). There are elements of the video which look a little like something from Art Attack or 'Don't Hug Me I'm Scared.' 

                             (Perry 'getting creative' with the absence of creepy puppets)

Oh, yes. Overall, we kind of expected (and hoped) for something with a little bit more substance but the overall feel is very superficial and we guess that kind of fits the 'carefree' nature of the song. Although I'm not sure how comfortable I'd feel spending my rent money on bottles. But you know, it's cool and shit. Please, feel free to let us know how the video resonated with you, in the comments below: 

BANKS - Beggin For Thread (Official Music Video) [+ Review]

BANKS is back and looking as artistic as ever, with her new music video for 'Beggin For Thread', which features elements of contortion and atmospheric lighting and dancing. This woman has got a real vocal talent and her music videos always match up perfectly and are thoroughly interesting to watch, considering the type of simplistic production that is showered with enigma at every turn. BANKS is fairly captivating as a musical artist, and she certainly makes sure the attention is on her throughout the video by offering rather focused glares at the camera and some pretty neat arm twists. 

She's got that kind of look in her eye that encapsulates the song perfectly. In regards to the song, it's pretty standard BANKS fare, and we're quite partial to the opening lyrics 'So I got edges that scratch/ And sometimes I don't got a filter/ But I'm so tired of eating/ All of my misspoken words', and the low tone to her voice just emphasises the intrinsic nature of the song. BANKS certainly knows how to bring the hits, and this one is another strong addition to her upcoming album, Goddess; 'Beggin For Thread' is collectively written by BANKS, Tim Anderson and Jesse Rogg. Watch the monochrome video below: 

Lady Gaga & Tony Bennett - Anything Goes [+ Review]

It's no secret that we love a bit of jazz, and the new track from Lady Gaga and Tony Bennett is simply divine. A studio video for the track has also been released (watch below), and it features loads of cute and funny moments from the recording of the track, with Gaga and Bennett messing around in the studio. Doing justice to the 1934 original, Gaga and Bennett's cover is eloquently sung with real some real attitude, as the duo showcase their vocal range by blasting out those high notes and seemingly having a lot of fun doing it. It's an undeniably fun track, and we love the jazz elements and it's interesting to hear the two sing on another song together after their 'The Lady is a Tramp' collaboration. 

When the two had their first collab, it was certainly an unusual pairing considering both stars' images, but we have to say we've been loving the two and it's good to see (and hear) them back in the studio again. For anyone denying whether Gaga can sing, this pretty much blows every argument out of the water, as she triumphantly and playfully sings 'Anything goes' with different renditions alongside Bennett. If you're feeling that jazz-mood, then whack this on and it's sure to lift your spirits and take you back to the classical era. Watch the studio video below: 

Guardians of the Galaxy (2014) Review

                                                           "What a bunch of a-holes"

“Not another Marvel movie!” “There’s no way it can be better than Avengers Assemble!” “Who even are the Guardians of the Galaxy, anyway?” 

Allow me to stop you right there. These are some phrases that have unsurprisingly been chucked around amidst a sea of anticipation for Marvel’s latest cinematic venture; Guardians of the Galaxy. But before you begin to ask yourself whether anything can top the last ‘team of superheroes’ movie (or indeed re-enact a hulk/Loki throw-down to signify that your preferred Marvel movie will always reign supreme), I ask you to discard all preconceptions and delve into a film where fun can truly be had, and the sarcastic and witty rule with an iron fist (and silly dancing). Guardians of the Galaxy may be the best Marvel film to date that features character that most non-comic book lovers will have never heard of. 

Not one to shy away from bold statements, it is with confidence I can say that this film will leave you stunned – for all the right reasons. The intergalactic adventure centres on the Peter Quill (portrayed by Chris Pratt, who you may know from The LEGO Movie) whose character is introduced wearing his retro style headphones, attached to an awesome mix that he seemingly carries everywhere. Quill is goofy, awkward and adventurous, and soon he manages to get in trouble whilst locating an item that he hopes to sell to the highest bidder. Unfortunately, the item is an orb coveted by Ronan, who sends people after Quill, forcing him to team up with the other four members – Gamora (Zoe Saldana), Drax (Dave Bautista), Groot (Vin Diesel) and Rocket (Bradley Cooper) - of the newly formed ‘Guardians of the Galaxy’ in order to stop the orb falling into the wrong hands.

Sufficed to say, the casting is suitably epic, and although the film doesn’t have the draw of more well-known action stars like other Marvel films, they actors involved give surprisingly accurate performances as their comic-book-turned-film characters. Pratt is every inch the ‘Star Lord’ and his dancing sequences are some of the funniest in the entire film, whilst Zoe Saldana proves she has a real talent for out-of-this-world characters, with her portrayal of the enigmatic Gamora being suitably ferocious and calculated at any given time. The comic element takes the shape of a racoon in the film, as Rocket is brash, sarcastic and witty with plenty of one-liners to keep an audience entertained; it would appear Bradley Cooper has found his calling. An especially notable performance comes in the form of the blue, robotic Nebula, who is portrayed by Doctor Who’s favourite companion Karen Gillan. In a villainous role, Gillan unexpectedly shines – with a little help from the CGI department, Gillan is engulfed by the role, and you can truly see the determination of the character carefully constructed on Gillan’s robotic features. 

Guardians of the Galaxy also features in IMAX 3D – I know what you’re thinking – but this is one of those rare occasions where 3D doesn’t become a hindrance to a piece. A firm advocator for recognition of the overuse of 3D in films (which has become largely unnecessary and a literal headache), I was pleasantly surprised by the film’s slick use of 3D elements to add to the picture’s realism and its efforts to engage the audience and fully immerse them in the environment. The visuals are undoubtedly breath-taking, and IMAX 3D helps to heighten the experience, and compliments this action-fuelled adventure perfectly. Indeed, the action sequences are so impressive that you’ll soon be lost in the dreamy galactic atmosphere that houses magnificent kaleidoscopic structures and fascinating creatures; you would be forgiven for losing your place in the plot. The fight sequences are truly wondrous and awe-inspiring that it almost seems criminal to have them all in one film, and it seems likely that you might need at least a couple of minutes to recover from each scene (and probably a few watches to even appreciate the depth of the landscape and the effort that went into creating these imaginative sequences). 

What is perhaps so refreshing about the film is its snappy, self-mocking nature – much like 22 Jump Street – the film openly criticises cheesy sequences and ridiculous typical sequences in films of the same genre (like the slow-mo walk down corridors), and this just adds more humour to a fun-loving film like this. It’s comforting to see that Guardians of the Galaxy doesn’t stray into the stupid clichés and awkward scenes that so many action movies seem to include (and when it does, it mocks them and things don’t usually end up how you would think, stereotypically. This self-aware element is one of the most effective and appreciated in the film. Likewise, the abundance of pop-culture references is sure to leave any 80s fan frothing at the mouth, with a notably retro soundtrack that can’t help but transport you back to the feel-good era.

Indeed, never fear, there are plenty of in-jokes for older audiences and lots of references to Kevin Bacon to go around. Brimming with heart, and pure enjoyment at its core, this latest summer blockbuster definitely doesn’t disappoint, and although the boundaries of the film can sometimes descend into the manic and implausible, it is difficult to find any faults with the construction of the piece. There is enough true character and charm for the film to sustain its thrilling pace and finish comfortably within its 121 minute running time (take note, Hobbit series).

The Guardians may not be as well known as Marvel’s other dynamic heroes, but these defenders of the galaxy certainly prove that they can up the action and entertainment to out-of-this-world levels. 

You can check out this review which is also published on I'm With Geek, here. 

Jessie J, Ariana Grande, Nicki Minaj - Bang Bang [+ Review]

Jessie J, Ariana Grande AND Nicki Minaj in one song? Well that can only be a summer hit, surely? Right? Well...the result is sort of mixed. Let's first off say that we were super excited to hear this new track from soul sister Jessie J, funky rapper Nicki and sweetheart Ariana, and we had high hopes - perhaps a little too high? We're not saying the song is bad - oh no - we're saying it's not as good as it could have been, considering the talent available. In all honesty, we have mixed feelings about the song. 

'Bang Bang' opens with Jessie giving it her usual sass 'She got a body like an hourglass/ But I can give it to you all the time/ She got a bootie like a Cadillac/ But I can send you into overdrive', and at the moment, we're liking the element of jazz and funky beats that accompany, and the extra 'clapping' noise, amongst the rhythmic beat. But here's where it goes wrong - we just can't get into the chorus. At all. The bit that sounds so especially odd is the end off the chorus verses when the 'ahhhhh' kicks in; it honestly sounds like a track from High School Musical. 

Sufficed to say, we're not loving it so much now, but the chorus soon ends and we are greeted with Ariana's powerful vocals and she's doing pretty well with her enunciation this time round, strongly singing 'She might've let you hold her hand in school/ But I'mma show you how to graduate'. Obviously, afterwards we are back to the marmite chorus and we're not quite sure whether this will grow on us or not (we really hope it does!). 

Thankfully, it's quickly over and we're onto Nicki's rapping verse and she kills it. Repping it for her girls, she quick-fires her sassy lyrics 'Go, Batman robbin' it/ Bang, bang, cockin' it/ Queen Nicki dominant, prominent/ It's me, Jessie, and Ari/ If they test me they sorry'. Then onto the bridge, and we're still feeling it with Jessie pronouncing the letters 'B' 'A' 'N' 'G' in an edgy manner, but then we're back on the chorus and the vibe is slightly dimmed. So, whilst we were excited for this pop pairing, we're not sure whether the chorus lets it down or not. What do you think? Are you a fan of the chorus (there must be someone out there who is!)? Let us know in the comments! You can listen to 'Bang Bang' below: 

Luther - A Retrospective

Gritty and highly intelligent, Luther was a true gem amongst the stones of television shows. The British TV series crept onto screens in 2010 and was broadcast on the BBC (One). Like many BBC shows, Luther had relatively few episodes (6 in Series 1, 4 in Series 2 and 4 in Series 3) but every episode was packed full of quality; at every corner there was a different twist or turn, a new or exciting character was introduced or re-appeared and there was never a dull moment throughout the 3 series. Luther is perhaps one of those shows where you were truly sad that it was so short-lived, as it had so much potential to be even better and long-lasting, but considering how long production took for the episodes (there was a 2 year gap between Series 2 and 3) it almost seemed inevitable that it would come to a close.

Starring in the title role was Idris Elba, who played the slightly demented at times, and extremely hard-hitting and dedicated, detective Chief Inspector John Luther. The legendary Luther seemed to cause havoc wherever he went, and if the going got tough, you could be sure that Luther would be willing to go to any lengths to get the job done (hanging people over the sides of buildings, teaming up with a psychopathic killer and covering up other people’s murders are just a few activities in his day-to-day routine).

But of course, helping (and stalking) Luther on his journey was Alice Morgan, portrayed by Ruth Wilson, a highly intelligent psychopath who killed her parents and developed an obsession with Luther. Assisting John on several tasks (including killing people who had wronged John and helping him escape from custody); Alice proved that she was a vital part to the team. Two parts disturbing, three parts creepy and an ounce of adorableness, Alice and Luther made for a dynamic duo, and Wilson and Elba’s on-screen chemistry was electric. Completing the unstoppable team was Justin Ripley, played by Warren Brown. Ripley was a young policeman who was loyal to Luther till the end – the end being his unfortunate demise near the end of the third series. Ripley and Luther got in a number of tight scrapes, but the two managed to soldier through and there was certainly a bromance going on between the two.

In addition to its fantastic range of characters, Luther also provided excellent character development, as Luther, Morgan and Ripley soon became fan favourites. Elba’s performance as Luther was as legendary as the character itself; able to fully grasp all of the complex emotions and also emulate Luther’s anger issues in a scarily perfect manner, Elba was triumphant in his role and earned much critical praise for his performance. Wilson also received praise for her role as the calculated Alice, and she simply stole every scene she was in with a simple look on her face or a menacing stare.

Luther is one of the shows that just had everything, from creepy, but highly engaging and stimulating plots to well-thought out characters and fantastic dialogue. The suspense in Luther was built up brilliantly as it often relied on leaving out certain points or not being able to truly understand them until the ending sequence. While it is with a heavy heart that we mourn the loss of our beloved television series, there is hope in the future for a possible feature film or spin-off series involving Alice Morgan, as these ideas remain in the pipeline (fingers crossed). 

Neon Jungle - Welcome To The Jungle [Album Review]

Repping the British music scene, four-piece girl group Neon Jungle have released their début studio album, Welcome to the Jungle. The group, comprised of members Sheereen, Amira, Jess and Asami, are hoping to serve up a sassy filled and edgy album that is riddled with their previous hits. So, just how successful are they? 

The album is a mix of EDM, electro-pop and dance-pop, incorporating rhythmic versions of hip hop and trip hop elements. Welcome to the Jungle is definitely a mix of popular styles and quirky sounds, and if you want an apt description of the group, we’d say they probably remind us of a slightly more edgy version of the classic ‘pop girl group’, with unique and different styling than you might expect. There are elements on the album where there is true difference and inspiration, and some of the tracks certainly have that radio-friendly acoustic that has proved so popular, but there are elements to it which make it that little bit more ferocious. We probably like Neon Jungle best when they are at their most edgy, brimming with attitude and style, and when their personality is truly able to shine through the tracks. 

Examples of these on the album would of course be their debut hit ‘Trouble’, which is a mix of electro and dance-pop, and features one of the catchiest hooks we’ve heard; ‘They say “Here comes a hurricane,/ Trouble is her middle name!”/ But I don’t look for trouble,/ Yeah trouble looks for me’. The beat is pretty electric in this track and the emphasis on ‘Trouble’ is notable and really stands out amongst the other hits on the album. Of course, it was the song that got the group noticed, so it’s always going to have a special significance in Neon Jungle’s career history. Additionally, one of the sassiest tracks on the album is undoubtedly ‘Bad Man’, which switches between airy, electro beats and a more lower, darker ‘grime-esque’ beat, reminiscent of artists like Gwen Stefani and Nelly Furtado. It’s an interesting sound brimming with (and we can’t believe we’re saying this) ‘swagger’, and it is very confident and allows the ladies’ personality to shine through – which is comforting as with a rather constructed girl group you can often have songs that are devoid of all personality (this is unfortunately the case on some tracks from the album, despite their initial promise). 

We’re also a bit partial to ‘So Alive’, track-listing number 9, which has a very uplifting feel mixed with the classic electronic beats that Neon Jungle are known for. There are elements to the track that sound almost like bird squawking, but we kind of like that! The raise in vocals on the chorus is especially notable as the 4-piece group sings; ‘Play all night, we’re not afraid/ We are, we are, we are/ So alive, so alive’ – we’re partial to a long note, and the depth of the hold on the latter part of ‘so alive’ is euphoric. 

Other notable tracks on the album include the rap/pop infusion ‘Braveheart’, which is an intriguing mix of classic pop and quick-talks from the quartet in a rather more modern sound and take on the usual route girl-group tracks can take, and ‘London Rain’, which showcases their diversity, not to mention a pretty on-point harmony that echoes the Girls Aloud era (although we definitely think Neon Jungle can sing better – sorry girls!).  

Tracks we have developed a love-hate relationship with include ‘Louder’ – hear us out. The song is certainly a different turn and style that the ladies haven’t show before, by releasing a ballad-esque piece with loud instrumentals that are almost deafening. This sound grows on us, but we would have liked the vocals to be even more deafening than the music, as it can feel like the vocals are lacking in comparison to the rather overwhelming beats. Additionally, ‘Welcome to the Jungle’ is another example of this, as whilst we like the points in the track where it takes on its own style (in the form of impromptu pop-rapping from select members), it sounds a bit too similar to some of their previous work. 

The flaw in Neon Jungle’s construction is not dissimilar to that of Foxes’ Glorious, in that it is a bit too well-constructed (we’re looking at you producers!), which can often create tracks that are devoid of personality like ‘Can’t Stop The Love’ and ‘Sleepless in London’. This type of pristine perfection can often feel a little suffocating, as listeners often want to actually hear the personality of the singer/group instead of the sound of the producers that reflects so ominously in the background of the song. Whilst we can’t fault many of the undeniable ‘hits’ that the album has, there is some evidence of the dreaded ‘album filler’, where it’s quite clear that some tracks haven’t been treated to the same time and dedication that other songs have enjoyed. It’s obviously a difficult task to churn out countless hit, but whilst some albums manage to reach this almost seamlessly (albeit a few), Neon Jungle’s Welcome to the Jungle just falls short of the mark which would earn it a few more elusive stars. However, there are enough hidden gems in the album to redeem it, and make it at least worthy of a listen (if only to discover which tracks are your favourite!). Frankly, ‘Bad Man’ is a diamond of a track, and we’re secretly hoping Neon Jungle chooses to release that one next. Welcome to the Jungle is out now and available via iTunes, Spotify, Amazon and other musical retail stores. 

Katy Perry - This Is How We Do (Lyric Video) [+ Review]

Oh, yes - there's another Katy Perry lyric video out for her next single - and before you get your hopes up - it's not 'Legendary Lovers'. Oh, no - it's 'This Is How We Do'. What track is that, we hear you say? Well, whilst the lyric video is certainly colourful and interesting, the actual song is anything but. Perry seems to be releasing a lot of songs recently that aren't her strongest (or fan favourites for that matter), from the lacklustre 'Birthday' which failed to make as big as an impact as 'Dark Horse' and now onto 'This Is How We Do'; things don't look great for Perry. Whilst we were excited to see that a new song was being released by the singer for her next single, 'This Is How We Do' is actually a pretty lazy attempt at the song, with monotonous repetition of the word 'Do' and generic, clichéd lyrics that would send even the most eager fan to sleep. 

Some of lazy lyric writing include the chorus 'This is how we do, yeah, chilling, laid back/ Straight stuntin' yeah we do it like that/ This is how we do, do do do do, this is how we do'. Seriously? Aside from having literally no lyrical content (which sometimes isn't always a bad thing, especially for dance or house music), the beat is pretty generic and sounds rather boring and not exactly memorable. This is surprising as Perry's songs have always had that catchy edge to them (even if you didn't want them to), but 'This Is How We Do' seems like a bizarre single choice for the singer, considering it is a relatively below average track from the singer, whereas tracks like 'Legendary Lovers' would probably prove more popular, and have a better sound to them. 

The track itself also features the usual popular drinking lyrics such as 'sipping on Rose' and excessive mentioning of Chanel (which isn't even a very good brand) 'Chanel this, Chanel that, hell yeah/ All my girls vintage Chanel baby'. Overall, the track is bizarre - and not in a good way - and seems rather lazily constructed and executed, with little thought actually put into the lyrics or the execution of the song via Perry's vocals (even she sounds bored). If you want to put yourself through excessive pain (or want to mute the sound and check out the rather cool lyric video) then feel free to watch Perry's latest lyric video for 'This Is How We Do', below: 

Robyn & Röyksopp - Do It Again (Official Video) [+ Review]

Robyn and Röyksopp are doing it again with their new black and white music video (watch below) to accompany their track 'Do It Again'. The electropop trio have teamed up again and the result is another epic collaboration, in which Robyn sings beautifully (we especially like the humming parts). A feverish display of electronic vibes, 'Do It Again' is all about chaos and knowing that it's wrong, but still wanting to 'Do It Again', in this case with another person who evokes that type of behaviour in you. This is echoed rather poignantly in the lyrics 'We should not be friends/ We'll just do it again/ If you stay around/ We'll just do it again'. 

The video echoes this sentiment rather aptly, as it features a rather chaotic environment, in which angry townspeople are running around all over the place, people are drinking, and a girl who has her leg in a brace gets up and walks into the light. The track is all about the momentum that builds until breaking point and after that feeling is over, you want to feel it again - and this is reflected in the building of the tempo as the track reaches its breaking point with Robyn's repetition of 'Again' signalling the madness ensuing. It's a rather clever affair of striking imagery, with the video sure to keep you watching as there is purely so much going on. It's a rather magnificent pairing and the two keep on bringing the killer tracks and dramatic videos. Watch (and listen to) Robyn and Röyksopp's video below: 

Bastille - Oblivion (Official Video) [+ Review]

Finally, Bastille's 'Oblivion' has a music video (watch below) - and it stars none other than Game of Thrones star Sophie Turner, who portrays Sansa Stark on the hit HBO show. 'Oblivion' is taken from the Bastille album, Bad Blood, and it's certainly an emotional song. With touching lyrics 'Are you going to age with grace/ Are you going to age without mistakes', this particular Bastille song is one of their most poignant and thought-provoking - and their video encompasses all the emotion of the song perfectly. The video sees Sophie Turner portraying a young woman who wears a sports jacket and sings (lip synching) to a watching crowd before jumping in a demolition derby car and putting on her helmet. 

Whilst there are many different interpretations to a music video, from what we can tell, it seems to be that Turner's character may have lost her brother or other male relative in a derby car accident (hinted by the lyrics 'But oblivion is calling out your name/ You always take it further than I ever can') and is now mimicking his lifestyle in order to keep his memory close to her (by possibly wearing his jacket and surrounding herself in the atmosphere he surrounded himself in). Whatever your take on the video, it certainly has a quality that resonates within you, and it's always interesting to see what path Bastille's videos take, considering they tend to be quite visually rich affairs. So, feel free to sit back and enjoy Bastille's 'Oblivion' in all its music video glory, below: 

"Weird Al" Yankovic - Sports Song [+ Review]

The latest "Weird Al" video to be released is the pretty blunt 'Sports Song' which echoes what all sports songs are really about - reminding the opposite team how great you are, and how much they 'suck'. Yankovic makes this relatively clear in his new video as he initially trots around the issue using eloquent language and then bluntly states that 'we're great (we're great)/ And you suck (you suck)', in a manner so that the other team can fully comprehend what Al and his marching band are saying. Yes if you ever needed a more grand way of saying that your team is better than someone else's, bring in a whole extravagant marching band complete with drummers, trombone players and Al as your leader. 

Also, throw in some enthusiastic sports fans in the background and you've got yourself a game! 'Sports Song' is the first track, to get a video, that is not a direct parody of a pop song, instead it is parodying sports songs as a whole, and how they all essentially say the same thing. So, if you ever needed a way to say to an opposing team that your team is better, feel free to whip out "Weird Al"'s version to really get your point across in a humorous and effective way. Remember, you're great! Watch Al's sports-tastic video over at Funny or Die, below:
http://FunnyOrDie.com/m/92s4

"Weird Al" Yankovic - Word Crimes [+ Review]

The release of "Weird Al" Yankovic's newest album (Mandatory Fun) ushers in a whole host of new videos from the parody singer-songwriter, including the incredibly apt and truthful, 'Word Crimes'. The aforementioned song is indeed a parody of Robin Thicke and Pharrell Williams' 'Blurred Lines' (yes, that creepy song), and Weird Al's version is about a billion times better than the original. Expressing his opinions on the many word crimes committed by the general public (such as overuse of emojis, using the wrong verb/noun, misspelling a word, and more general fuck-ups by man-kind), Weird Al manages to convey many of the same thoughts shared by the public, whilst combining it with popular culture. 

The track is thoroughly entertaining and the lyrics are clever and appropriate for the subject matter - notable lyrical gems include 'I thought you'd got it through your skull/ about what's figurative and what's literal', which makes reference to the way in which people say they 'literally died', when what they mean is, in fact, figuratively (of course this sometimes is used sarcastically to convey humour). The beat is obviously in the traditional style of 'Blurred Lines' but the notable word change-up and adaptation by Weird Al makes the track a more intelligent version for those interested in grammar, literature, and correct spelling. It is undeniably clever and catchy, and above all - pretty hilarious - so it would seem that Weird Al has done it again and created something great. Watch the animated video for the track below: 

Lykke Li - Gunshot (Official Video) [+ Review]

Indie-pop singer Lykke Li is back with a new video for her, certainly intriguing, 'Gunshot', which is taken from her most recent album, I Never Learn. So, what is 'Gunshot' about, we hear you ask? Well, according to Li herself, it's about that moment 'in a relationship where you've fucked up', commenting that there are 'some things you can never take back'. In case you thought that sounded quite tame, the video is hear to remind you how deep the feelings can be, with Li collapsing onto the hard, concrete floor simulating several gun-shot wounds. Complete with some particularly haunting make-up, Li performs erratic dance sequences which can only be described as violent shaking, which are certainly notable, if not slightly disturbing (but we're getting the impression that that might be the whole point). 

The rather solemn nature of the song is something that we didn't thing we'd like, but strangely - we actually do. The way the chorus picks up and Li's vocals sort of echo across the track in a rather monotonous manner sort of reflect the emotion that she probably felt when writing this song. The sounds certainly resonate in your head as she sings 'And the shot goes through my head and back/ Gun shot, I can't take it back/ My heart cracked, really loved you bad/ Gun shot, I'll never get you back, never get you back'. If you're looking to be reminded that your break-up can always be worse, then feel free to check out Lykke Li's 'Gunshot' video, below, and tell us what your favourite part of the video is: 

True Blood - Season 7, Episode 4 'Death is not the End' [Recap + Review]

Almost reaching mid series, the fourth episode of True Blood brought with it a whole new world of change. The character dynamics have slowly been changing from the get-go of Season Seven, but it was more than obvious in this episode that there is a new force to be reckoned with, and her name is Sookie Stackhouse. If you've watched the ep (or simply want a spoiler-filled recap) then read below, or alternatively, scroll down for the review of the latest episode.

Short Recap: 

After the death of Alcide in 'Fire in the Hole', Sookie calls up Alcide's father, Jackson, to inform him of the news, and he seems notably upset, despite their differences. Meanwhile, Jason telephones Hoyt and also tells him of the death of his mother, at the hands of a vampire. Sookie and gang head over to Andy's/Holly's in order to ask her about where the vampires are keeping the rest of the people. After much encouragement, Sookie manages to get through to Holly and they figure out that the vampires are holding the people at Fangtasia. Whilst all of this is going on, Eric and Pam are travelling on a plane back 'home' to Streveport, Louisana (as Eric reveals) and the two reminisce their time in Louisana. 

This prompts several flashbacks sequences related to the founding of 'Fangtasia' which was formerly a video store that the authority forced Eric and Pam to own and run after their little escapade in France. It is revealed that Fangtasia was formed upon the suggestion of Ginger (who also turns up in the episode as a local girl looking for some vampire research) that they turn the store into a nightclub, complete with stripper poles, but that Pam glamoured her into forgetting it was her idea, and stole the idea for herself to impress Eric (who enjoys the story from Pam on the plane). 

Back in Louisana, Sam and Jason go to Rosie's house to inform her that Kevin is dead (which was revealed by Holly when Sookie talked to her), and it is clear she has been brainwashed by the rest of the crazy townspeople, but allows them into her house nonetheless. Sookie and her gang go on over to Bill's house, to reveal where Arlene and Nicole are being kept, and Bill says he will round up the troops. Sookie has a stern talking to with Jessica, who is avoiding eating, and Sookie takes a distinct 'IDGAF' attitude and forces her to eat and woman up. Jessica does so, and uses Lafayette as her meal, upon the insistence of her boyfriend. With the troops rallied in the living room of Bill's house (in the form of usual suspects like Violet, Jason, Jessica and beau, Bill, and a few unfamiliar faces). 

There is a sudden knock at the door, and none other than Pam and Eric arrive and upon hearing his voice, Sookie runs out and embraces Eric, only to notice he has contracted the HEP-V virus. Sookie tells him about her boyfriend Alcide's death, and Eric is upset to know she carried on dating magical creatures, but she tells him he died this morning, and he realises she is still in mourning and apologises. Eric ropes Willa into coming (although she isn't too happy) and after Eric has an unsuccessful attempt at breaking down a wall, Bill blasts it with one easy punch. Pam insists that she will go instead of Eric, and rat-Sam inspects the place beforehand. Bill and Pam get Nicole and another out, but Arlene has unfortunately been taken upstairs to be fed on. 

As Bill waits for an opportune moment to attack, Eric and Sookie barge in the front door and Eric cues to Bill and co. to attack, only for the idiotic townspeople to show up and ruin everything. The vampires manage to defeat the HEP-V bunch (although there are a few human casualties), but Arlene is almost dying and Eric can't save her due to his condition. Arlene begins hallucinating about Terry, and Sookie begs her not to go with him, and fortunately James (Jessica's beau) shows up and feeds Arlene his blood to restore her health. 

So, what's our review on this week's episode?:

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Having played the damsel in distress far too many times, you might expect that Anna Paquin’s Sookie would be in a state of disarray following the sudden death of her werewolf beau, Alcide, in the previous episode. Instead, Sookie steps up to the plate, by showing everyone in Bon Temps that she means business and nobody can get in her way. ‘Superwoman Sookie’ does her fair share of rallying the troops, choosing a variety of tactics ranging from the sympathetic with Holly, to the downright stern with Jessica; turning her into the matriarchal figure of the episode. 

Carrie Preston and Anna Paquin are particularly notable in the episode, with Paquin stealing the scenes she is in. Her dialogue and connections with her co-stars (in particular, the female ones) are on point, and there are some genuinely endearing and moving moments to enjoy. It’s great to see this different side to Sookie, as she and her fellow women show what they can achieve when they battle it out. Rather tragically, Paquin’s character appears to be at her best when the odds are against her, because those are the times when she is able to put it all behind her, muster up the strength and carry on with her missions like none other. This shift in character dynamic has been occurring slowly throughout the season, but it is no more evident in this episode as, rather surprisingly, Sookie seems to be the most competent character, whilst former heavy-weights (such as Eric) lay vulnerable in the shadows.

Of course, you can never truly get rid of the Ex-Sheriff. Skarsgard’s Eric may be gradually wasting away, but he still maintains his suaveness and charismatic aura,  whilst putting on a brave face, even though it’s quite clear he is not the man he used to be – made evident in the several flashbacks we are treated to throughout the episode. In the flashback department we finally see the founding of Fangtasia,  offsetting the rather heavy storyline developing in the present, by mixing it with the lighthearted return to the former cheap video store that Fangtasia used to be; complete with past Eric, Pam, and none other than Ginger herself.

Bauer Van Straten and Skarsgard are back as the slightly less dynamic duo, as Pam is forced to pick up the slack and unite with old enemies to help rescue the hostages at Fangtasia. Still, there are plenty of Pam/Eric moments to keep audiences interested, as the two play out like they are on a sleepover, reminiscing about old times. It’s particularly haunting to see how things have changed in the hierarchy of vampires, from the thumb of the authority, to the decadent Sheriff and all that glimmers in between; it’s clear that things nowadays are nothing like they used to be for Louisana’s favourite vampires. 

With episode four reaching some resolution with certain plot-points, there are plenty of things to look forward to in the next episode. Especially what lies in store for the inhabitants in Louisana.