Röyksopp & Robyn - Do It Again [EP Review]

Norwegian Electronic music duo Röyksopp teamed up with Swedish Recording Artist Robyn to produce an EP entitled Do It Again, which features 5 tracks; opening with the smooth electronic jazz mix track, ‘Monument’, which features subdued vocals from Robyn. The instrumentals on ‘Monument’ are just that; monumental. The shifts in tempo and the variety of electronic sounds being produced are captivating and engaging enough to hold your attention for the 9 minutes 57 seconds that the track consumes, which is no small feat. Whilst ‘Sayit’ is an exploratory piece, featuring human and mechanical vocals, which create an intriguing contrast and help to build the tempo of the track, resulting in an effective dance vibe. 

‘Do It Again’, the title track from the EP, features a feverish display of electronic vibes, whilst the subject of the track is all about chaos and knowing that it’s wrong, but still wanting to, as the song goes, ‘Do It Again’. This is echoed rather poignantly in the lyrics, we see Robyn on top form; ‘We should not be friends/ We’ll just do it again/ If you stay around/ We’ll just do it again’. ‘Do It Again’ showcases the momentous feeling the 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. You can read our full-length review of the single, 'Do It Again' [and the accompanying music video], here. 

‘Every Little Thing’ is a particular mid-tempo gem, featuring soft vocals from Robyn, that combined with the beat, make for a haunting sound that isn’t easy to forget. The track oozes nostalgia, as if the pair has been friends for a life-time. ‘Every Little Thing’ is the shortest track on the EP, coming in at just over 4 minutes [4:03], yet it is still a highly effective addition, which mixes usual electronic beats with more dramatic instruments that display the type of passion that the artist express through their music; ‘Baby, why you falter/ When you know I’m waiting/ When you know I’m waiting here’. 

‘Inside The Idle Hour Club’ is the last track on the EP, and is almost as long as the opening track, coming in at 9 minutes, 54 seconds. This makes for an impressionable conclusion to the EP, as most of the track is intrinsic instrumentals, which build that type of pace that you just don’t get from vocally-heavy tracks. The track combines deep bass beats with lighter, string instrumentals that give off a quintessential club acoustic, which is a very fitting end to their collaborative EP. ‘Inside The Idle Hour Club’ is perhaps a more deeply fitting title, as the track has a soothing aura, but ultimately does feeling like you’re passing by time – but that you don’t really care; it’s an infectious calm. 

Whilst we would have liked to hear a bit more of Robyn’s addictive vocals, the explosive pairing is satisfying enough in this particular EP, as Röyksopp and Robyn prove to be a force to be dealt with when they combine their musical efforts, and the EP is extravagant and bold, with intrinsic electronic styling’s that are unrivalled. 

Lucy (2014) Review

                                          'Ignorance brings chaos, not knowledge.'

Luc Besson, best known for his film The Fifth Element, turns his talents to one of the summer's anticipated science-fiction action films, Lucy, which he directed, wrote and edited. 

Lucy stars Scarlett Johansson in the leading role as the title character, a unsuspecting party girl, who after a fateful encounter with a Korean drug boss (Choi Min-sik), is forced into becoming a drug mule for a mysterious new drug; CPH4. After the bag leaks while inside of her, Lucy starts to develop new superhuman abilities as her brain is able to quickly use more than 10% of its capacity, prompting her to seek out help from Dr. Norman, portrayed by Morgan Freeman. On her escapades, she also manages to run into French Police Chief, Pierre Del Rio (Amr Waked). 

The concept of the film is certainly intriguing; you probably won’t see anything like it this year. It seems evident that Besson’s latest cinematic venture achieves mixed results – the action sequences are delightfully thrilling without overdoing it, and the visuals are arguably some of the best of the year. However, the abundance of visual metaphors and some painfully slow pacing (particularly towards the beginning of the film) makes it a little uneasy to watch. You end up get the feeling that the director should have approached this at full volume, and made the film have a more frenetic pace, and really gone all out with the special effects; that the trailer suggested. Arguably, the sequences shown in the trailer are the highlights of the film, and this can feel a little disappointing when you gear yourself up for the hour and a half thrill ride that you were expecting, only to find this is not the case. Fortunately, in the more captivating sequences, the film is clearly on a momentum, and benefits from effortlessly cool performances from Johansson and Freeman. 

In regards to Johansson and Freeman, the two make for a surprisingly delightful pairing, and Johansson’s transformation with her character is delivered in a suitably calculated fashion. Prior to becoming a drug mule, Johansson’s bambi-esque naivety is a strong contrast to the logical, almost cold and emotionless demeanour that her later self expresses, once the drugs have entered her system and she is ‘super-human’. 

Freeman provides a professional contrast to the no-nonsense Lucy of late, as his research as Professor Norman provides the basis for the film’s trajectory. Sufficed to say, Freeman is perfectly suited in his intelligent character, and is an intriguing match to Johansson. A moment of light relief in the film comes courtesy of Amr Waked, who stars at the everyday French police chief, Pierre Del Rio, and his bewilderment with Lucy as a character mimics the feelings some audience members might have to her; the representative of the audience itself. Waked and Johansson’s characters also share some more emotional, human moments as Lucy is becoming more devoid of her conventional humanity. 

To say the ending was surprising would be an understatement; it seemed obvious that certain things would have to give if she was really going to self-combust when she reached 100%. However abrupt, the ending felt a little anticlimactic, despite being conventionally ‘satisfying’, and this could have possibly been explored more, as it seemed like throughout the film there was never really a particular ‘goal’ as to what we were heading for. There are certainly a few unanswered logical questions that hinder the film from reaching its very own 100%. However, the thrills are there at certain places, and it’s suitably silly and intriguing as a concept and as said, the visuals are pretty remarkable, and the piece is interesting as a conceptual film about life as we know it, even if the facts aren’t always there. 

The point is, the film knows it’s a little silly, and it plays off this well, even if it doesn’t quite manage to reach its full potential, taking into account its talented cast and the clear draw that female leads are having over recent years (see: The Hunger Games, Maleficent and others). With this new level of appeal surfacing for female leads, Lucy had much potential to become a strong science-fiction action film, but its gaps in logic and uneven pacing hinder it from being a true success.  With that said, Besson’s Lucy deserves at least one watch, even if it is just for Johansson’s enthusiastic and devoted performance. 

Troye Sivan - TRXYE [EP Review]

Having recently peaked on the Billboard 200 last week at number 5, Troye Sivan’s third EP (his first with major label Universal Music Australia [EMI Music Australia]), TRXYE, has proved popular amongst audiences and allowed the singer to make a big impact on the industry.

The stylized EP features 5 tracks; ‘Happy Little Pill’ being track-listing number one. The song focuses on the idea of loneliness, and how different people respond to that type of isolation, and the track makes particular references to addictions in its lyrics ‘Nothing but time to kill/ Sipping life from bottles’, which showcases a deeper side to the singer. Cased in brooding vocals and atmospheric electro-pop beats and synths, ‘Happy Little Pill’ is an infectious track which proves the singer has the ability to make music that is worth listening to. Suitably dark in places, and glazed with a touch of the enigmatic, the track positions the listener in a manner in which to experience the rest of the EP. It is at this point you will be wondering whether the rest of the EP follows the same suit, in regards to the more hidden depths hidden beneath the dance-floor vibes. You can also read our full review of Sivan's 'Happy Little Pill', here. 

Track #2 is the sensual ‘Touch’ which depicts the first interaction between lovers, when they finally embrace each other and feel that sense of energy. ‘I can almost feel your breath/ I can almost feel the rest/ Night is young and we’re living’ encapsulates this feeling perfectly; it is the nature of anticipation and living in the moment and being excited for what’s next. Sivan’s lyrics give reference to his level of maturity, having co-written ‘Touch’ with Thomas Rawle, and this level of knowledge and emotion transfers beautifully into the songs that have been produced, with Sivan managing to convey through his hazy and soft vocals the exact emotion that he wants. This is particularly significant, as it shows that the 19 year old singer has potentially an intriguing career ahead of him in the music industry.  

TRXYE is particularly poignant as it manages to juxtapose fairly energetic beats with rather more solemn and deep lyrics, which make for an interesting contrast in between the nature and construction of the track. ‘Fun’ is a perfect example of this, which features striking lyrics including ‘Let’s go have fun, you and me in the old Jeep/ Ride around town with our rifles on the front seat/ Fun, you and me in the Middle East/ Shooting at rocks, bullets cocked in the midday’ which makes fun of its own name, considering in reality, this is anything but ‘fun’. This once again makes reference to a more complex, meaningful EP from such a young vocalist, and chucks in a bit of social commentary for good measure.

The fourth track is the more solemn, piano laden ‘Gasoline’, which showcases the singer’s regret over a failed relationship; ‘I’ve done you wrong, I regret it/ I write this song, try to forget it’. This are possibly some of the most personal lyrics of the EP, in that they are no doubt relatable to most people, and this feeling of mistake and regret is one that most people will have faced in their life. Sivan is no exception, and his vocals ooze emotion in the sincerest form, as the touching beat continues in the background.

The last track from the EP is Sivan’s ‘The Fault in Our Stars’, an ode to the book (and film) of the same name. Naturally, the lyrics focus on the relationship between two people (from the book) and the obstacles they face together, considering their illnesses and conflicts. It’s a heartfelt addition and it earns its place amongst the other great tracks from the EP. 

Although Sivan can certainly perfect elements to his delivery and rhythms, this third EP shows that the singer has a great deal of potential, and that he has the ability (and the team) to help make this happen. TRXYE is a surprisingly well-constructed EP, with strong substance and hazy electro beats that make for compelling listening that’s easy on the ears. 

Into The Storm (2014) Review

                                         'That's the biggest Tornado I've ever seen.' 

Are we about to get an upgrade to a disaster movie for the Internet generation? Does Steven Quale’s Into The Storm deliver what its many trailers have promised? Starring Richard Armitage and Sarah Wayne Callies in the leading roles, the found footage disaster film aims to offer up an alternative for viewers who have got tired of the cheesy, clichéd devastation films of the past (or those who are looking for an alternative to Sharknado).

Armitage, fresh off the Hobbit trilogy set, stars as Gary Fuller, the Vice Principal of Silverton High School, whose son becomes trapped by a mysterious storm in an abandoned paper mill, forcing Gary to go rescue him. Meanwhile Wayne Callies stars as a Meteorologist, who works a storm chaser team, headed by Pete (Matt Walsh). With the town of Silverton, Oklahoma in jeopardy from the impending storm and colossal EF5 tornado, the question remains as to who will actually survive this devastating example of Mother Nature at its most brutal.

It seems almost a time-honoured tradition that movies which feature heavy amounts of special effects rarely succeed in pairing these visual feats with a coherent and intriguing storyline, and when the occasion arises that a film features both it is a somewhat surprising marvel to behold. Unfortunately, Steven Quale’s Into The Storm is not one of these marvels. Relying heavily on its CGI effects to distract you from the lack of a plot, the film tempts you with exciting sequences only to disappoint you after they end and you suddenly realise that the story hasn’t actually gone anywhere, and seems lost within its own internal storm.

A strong case of visual style over substance; as the film draws on the plot vastly unravels, and no sooner than the characters are introduced are they forgotten. The main failure of the film is its aversion to coherent and strong storylines, with many characters being introduced only to be killed off in bizarre manners; admittedly the visual effects are the films centrepiece and are treated as such. If you were to go into the cinema expecting to see trucks flying in the air, schools being ripped apart and general meaningless devastation then you may find a strange sense of enjoyment from watching this haphazard affair unfold on screen -  if however, you were expecting more then it’s safe to say you won’t find it anywhere amidst the rubble. A disappointingly pale imitation to Twister, Into The Storm is just not the disaster film we need or deserve, and although the visuals are impressive for its budget, if it was really attempting to go all out for high-tech special effects, it probably needed a larger budget (see: Michael Bay’s Transformers series).

Richard Armitage tries his best to save the piece (and the town), but even his best efforts can’t save this particular feature, which features some disastrous dialogue and half-hearted performances from its other cast members. The resulting effort of Into The Storm is relatively weak, but the better moments certainly come courtesy of the effects and the (fake) found footage style, these manage to make the film entirely watchable, and perhaps even possibly enjoyable for adrenaline junkies who want to be blown away by the visuals, and who can ignore the lack of progression in the (almost non-existent) story. Whilst Into The Storm will certainly not be to everyone’s taste, its visual flair manages to save it from ending up in the bargain bin come DVD release.

Jessie J, Ariana Grande & Nicki Minaj - Bang Bang (Official Video) [+ Review]

Pop songstresses Jessie J, Ariana Grande and Nicki Minaj have joined forces to create the riotiously sassy 'Bang Bang', and it's stirring up a storm with the release of the new music video (watch below). As expected, the video sees the trio feature in separate segments of the song whilst singing their verses, and then sees them unite at a dance party. It's a colourful infusion of dancing styles and kaleidoscopic dresses, and each singer has their own dedicated 'atmosphere' in which to sing their verses. 'Bang Bang' certainly benefits from its unison of three successful pop singers, and the video certainly has the draw of three artists to help attract attention to the song. 

We have detailed our thoughts on the song itself here, if you want to go read the separate review of [just] the song. But now for the video itself. As the video opens, a shot of the singers' names overlaps the background of a hustling and bustling city, and then the infectious, jazz-influenced beat begins to come in. This type of busy atmosphere assists in amping up the nature of the song, building up the expectation and excitement for the beat to drop and the verses to start [this is also helped along by quick shots of the singers as they gear up ready to perform in their video together]. Up first is the sultry Jessie J, who blazes onto the screen in her vibrant pink car (and of course their are the obligatory flashes of Beats merchandise, as is seemingly custom in any music video now) and soulful bursts out her verses with confident flair, in her usual power-house manner, complete with energetic dancing. 

As the chorus builds, Grande takes to the [figurative] podium, clutching a 'Bang' old style speaker-phone and begins to dance around her palm tree themed room (complete with pink neon palm trees lights in a similar style to Miley Cyrus' most recent album artwork). We like this build up of anticipation and tension, and Jessie J's vocals are on point [as we have mentioned in the song review], and her video portions have that 'summer vibe', with hazy lighting and street dancing that wouldn't be out of place in a Step Up film. There is also head banging [which we love]. With that, it's now Grande's turn and its pretty much of the same, distinctly sassy but sort of cutesy at the same time [it is Grande after all], and she really reaches for those high notes and succeeds, and the whole kitschy motel theming is appropriate for the song [although we do wish she would switch up her hairstyles and expressions a little bit, as it can get a little dull and repetitive - but that's more personal taste]. 

Jessie J and Grande's parts then interchange and this segment is suitably fierce and feisty (especially in regards to Jessie J's expressions and segments), and it fits perfectly.That's enough of Grande and Jessie for now, and it's Nicki's turn (and this time, no wardrobe malfunctions in sight - success!) and she steps out of her designated helicopter effortlessly and prepares for her verse. The rap is on, and Minaj brings it, killing her segment with snappy rhymes amongst her background dancing (who are really, quite good). 

In case you weren't dead by this point, Jessie J really does what she does best and reaches for those high notes with a triumphant close 'See anybody could be good to you, You need a bad girl to blow your mind (your mind)'. With the video almost over, the trio kick it at Nicki's rooftop setting, with an energetic and vigorous closing party. Director Hannah Lux Davis really did a tremendous job with the music video. Keen to check it out for yourself? Then watch 'Bang Bang' below, and tell us your thoughts in the comments!