Well…sorta. I have been huge Matthew Good fan for many years now, and it amazes me with such drivel in the UK music scene, how Canada’s most famous unknown is not well…um…known in the UK. And on this one issue, I have to say I am grateful to iTunes for providing Matthew Good exposure outside of North America.

Vancouver is Matthew’s fourth album after dissolution of the Matthew Good Band in 2002 and I would argue his strongest. His music, often deeply personal invariably offers a sometimes scathing commentary on the issues of the day. Both these concepts are in abundance in Vancouver.

The album is very accessible musically and lyrically, but provides additional depth to those fans who frequent his blog and are aware of the issues that lead him to describe himself as an ‘activist’. But that’s not to say the album is an inside joke for devotees. I would find it hard if someone could not see something special and human through the turmoil depicted in ‘Silent Army In The Trees’ or ‘Great Whales of the Sea’.Social commentary being the primary aim for the album, with ‘Vancouver National Anthem’ and the afor mentioned ‘Silent Army…’ highlighting thought provoking issues which are dealt with in a firm but not overbearing kind of way. The messages are clear but the songs stand up for themselves and it’s not a case of being preached at with the themes running riot over musicality.

The other thing you can count on MG delivering is at least one monumental angry rocker and ‘Fought To Fight’ is once such tune, and a stand out track. Sometimes sampled sound bites can be contrived but Good has the knack of keeping these reined in.

Album opener ‘Last Parade‘ is for me the album in a nutshell. A medium paced, atmospheric build up recalls songs from MGB’s ‘Audio of Being’ and quickly envelopes you in a tide of angst and sardonic social commentary set to a backing track which I can only describe as ‘optimistic melancholy’. It is one of those songs that hoists you on it’s shoulders for a wild rumpus through the woods at 80 miles per hour. By the time the five plus minute track is over you are already hitting the back button to start it all over again. Truly astonishing and one of Good’s most accomplished songs to date.

For more about Matthew, click here for his frequently updated blog.

* Note: I know this album has been out for a while…I forgot to finish this post off about 6 months ago!

Original Alien Art Director Roger Christian is quoted as saying “Ridley told me some of his ideas when we were here in Toronto. He has a very clear understanding of where this should go. They kind of stopped dead one of the greatest horror franchises there’s ever been, and it had legs to go on. So I’m hoping he’ll revive another three. The world certainly wants it, and the fans want it—everybody.”

I am not sure where this could go but a trilogy would seem to point in the direction of a whole new cast and story arc, which would be a good thing in the hands of Scott.

UPDATE: Yahoo stole the story from Shadowlocked like a bunch of hacks. Shame on them. No linky for you.

Gun's new album 'Popkiller'.

I caught the newly reformed Gun at Swansea Sin City last night and my ears are still ringing. Felt bad for the boys that there was not a high turnout but that said, we really got into the swing of things. They played through a string of Gun’s finest aswell as three tracks from the new ‘Popkiller’ mini-album.

With the the likes of Skin reforming, it seems there is a real shift for the British rock bands of yesteryear, and if singer Toby Jepson is to believed, it’s all down to the internet. Following the gig, I managed to to speak with Toby and he was very insightful on the position of music in 2009, the effect of Spotify and iTunes, and what our music buying habits will be in 5 years time.

For Toby, Gun is a new chance to produce music in a climate where the artist makes the rules. The proliferation of Protools and easy access to the web means that anyone can be a musician and get their songs heard. Now combine that concept with a group of guys who have been doing it for 20 years, and you have  a level of experience that can take full advantage of these options.

And that neatly takes me onto ‘Popkiller’, Gun’s  new mini-album. Why a mini-album? Is this a test the water concept? Not according to Toby, who would rather put out a succession of mini-albums multiple times a year opposed to the big release concept that consumed the music industry of yesteryear. If fans come out to the gig having downloaded some Gun material, it suits the band just fine. Buy a ticket, and while your hear  pick up a beanie hat and that ever so tempting mini-album at only £6! And why not!

One thing’s for sure, they should shift them judging by the quality on Gun 2.0′s release. It only has six songs, but each one of them is an interesting mix of the Gun of days gone by (even with an 0141 pop sensibility) without straying too far from the distorted guitars and catchy riffs. And Toby’s wider vocal range lends the songs to produce a naturally wider range than Mark Rankin era Gun. That’s not to say there Little Angels-esque screaming vocals, but there’s definitely some new Scarborough tricks to this old Glaswegian Dog.

Standout track for me is ‘Seraphina’, which is a quick paced rocker tinged in 80′s synth pop. You can certainly hear the boys have thrown in some influences from the recent 80′s revival, but that works well and should get them heard outside of the normal rock fraternity. The riffs and choruses are here in abundance and it is very easy to have the likes of ‘Let Your Hair Down’ sprint around your head for days with it’s ‘Cars’ inspired guitar riff.

‘Popkiller’ itself is just a disgustingly catchy song, reminding me very much of early ‘Feeder’ material. If I had to say what Gun sound like, I’d probably mark Feeder out as the band to compare with (if Feeder’s recent output was up to this standard though!).

Out of the five tracks, only ‘Ripping Up Letters’ returns to type, with a slower tale of forlorn love lost in friendship, and to me this is the low point of the album, as tracks either side of it are full of energy and fizz. It’s not a bad track though, but not up to the standard of  the other four.

Overall a good effort and certainly ‘Popkiller’ makes an impact. It is a must for fans of British rock music, so if you have bought Gun before, you’ll lap it up. And on evidence of this Jepson era Gun will go far, and might well grow some new fans along the way.

You can order ‘Popkiller’ from Towsend Records, and Toby Jepson is on the road in December supporting Skin.

Torchwood's Hub Entrance festooned with letters to Ianto

Science fiction fans are a special bunch, and Torchwood fans are especially enthused with their show it seems. I was meeting a friend down Cardiff Bay over the weekend, and gave a brief tour. “Do you watch Torchwood? This is where it’s based” etc… and as I pointed out the “not-so-secret” entrance to the Torchwood Hub, I immediately thought “what’s that on the door…next to the flowers?!?

Anyone following the series will know of it’s perpetually high body count, and this month’s new “Children of Earth” arc was no different. There were words of condolence stuck to the door, alongside small bouqyets for Tesco £2.99 flowers in memorial to the recently deceased character of Ianto. And it brought a wry smile to my face. Some fans fave gone as far as write poems and eulegies, and while some might scoff at this, I thought it was kind of sweet.

At the end of the day, Torchwood: Children of Earth was a fantastic piece of television that is set to send the Torchwood characters to sci-fi “classic” status. Reviews of the series as aired on BBC America have been very good, and this can only be a good thing. It’s just a shame that Ianto won’t be around to enjoy the future. Rest in piece Butty, you made some good coffee.

Letter's to mark Ianto's passing....awwwww.

I am not the only person to think that Torchwood’s “Children of Earth” mini-series is up there with the best of Battlestar Galactica. The Guardian’s Daniel Martin thinks so, and heaps praise on the series. And rightly so. I have rarely seen science fiction encompass all aspects of drama, but CoE has a fair amount of well placed humour, action but most importantly horror. The subject matter is the definition of horrific, and the choices made by the main protagonists cast virtually everyone (apart from Gwen and Ianto) in a poor light. And that includes Captain Jack Harkness.

The Doctor Who spin-off really hits it’s stride after a lukewarm first series ramped up into a very enjoyable second. Last series, the team lost two of it’s mainstays, leaving the enigmatic Captain Jack, Gwen and Ianto behind. After last series’ Who finale, we were half expecting a slew of guest stars but they kept the core cast for CoE to a minimum. And it works well (without giving spoilers) to let the remaining three breathe a little.

The story follows a plot by an alien race only known as the ’456′ to exchange the threat of annihilation for a ‘gift’. We learn that the Torchwood brethren have a history with them, and we flesh out some misdeeds along the way. But, strikingly, the story is wholly original in the way that it’s subject matter is the most unpalatable aspect. Some scenes were disturbing to anyone who has a child, and the stark reality depicted in the story is in contrast to the somewhat glossy look and feel of previous episodes (and Doctor Who to boot).

This was a show for adults in its subject matter opposed to the first series which seemed over the top in it’s display of sex and bad language. It represents the best of recent Doctor Who and Torchwood in its execution, direction and acting, but more importantly sets a very high standard for British drama in general. Children of Earth doesn’t wimp out at the end, which is always a worry with shows of this ilk, and maintains a firm grip on the subject matter. I thoroughly recommend this to anyone seeking a good story, very well told. 5 out of 5!

• Robots. Big ones. Hitting each other.
• A straight forward narrative.
• A good laugh.

What did I get? All three. In spades. But for some people, this seems to be a problem and I am not sure why. I love Transformers…it is to all intents my childhood encapsulated and since seeing the first version of Bayformers, it is there. Has anyone actually watched the old cartoon series recently? Is the dialogue and plotline not truly appalling in places? I think so.

There’s only one animated TF which stands above the parapet as a solid piece of work that is the 1986 movie. I love that film and what I love about it is that it still has the heart of these characters, but in an ever so slightly serious setting. This is the same as the Michael Bay movies.

You cannot take this franchise seriously, it is by definition a big dumb movie, but that seems to embarrass people from going to see it and kicking back for a few hours. I crave more of this rubbish! Nay…demand it! It is a work of art at doing what big dumb Hollywood does best and should be regarded as such. These films will never be Lawrence of Arabia. Or Goodfellas. Or Jaws. They are what they are, and what that is they do that very, very well. The comparisons with “kids toys” making serious movies (a la The Dark Knight) are so way off the mark – Superman Returns in part bombed because people could not identify with it. Batman Begins was great because it set and identifiable tone. There is not such tone here – Transformers is like looking though a window into the House of Fun. People are tall and skinny and not at all realistic.

I think part of the problem is that some “critics” (e.g. Mark “Pompoused Windbag” Kermode) have to see this film to offer a critique. And they don’t want to. They know it isn’t going to be right for them; but they are not the target demographic. But they seem incapable of offering anything other than their own perspective. Some critics say stuff along the lines of “well…if you liked the first you might like this” while other basically cast you out of the sensible public peer group and point fingers. There is nothing abhorrent about TF2. Nothing over the top offensive; sure there’s a dash of misogyny there, and frequent use of certain stereotypes but some people claiming the Twins are racist is plain stupid. And even the fact that Shia Lebeof’s college class seems to be comprised of the most “attractive” people possible is nothing that High School Musical doesn’t portray anyway. I wish these people would get a grip and stop taking blatant stupidity seriously.

That’s the film in a nutshell: two and a half hours of blatant stupidity. And I thought my £6.90 admission was bloody well spent. If you want a good ride then see it. If you are offended by big dumb explosions…stay away. Roll on Transformers 3.

But Being Human ended well didn’t it?

I can’t see it going full scale sci-fi though. The slow burning pace has worked for most of the episodes and the title’s premise of exploring our characters ‘being human’, and even with the impending doom our three reluctant humans face, I doubt there will be any Buffy type action. Or even Twilight for that matter.

Being Human has been quirky and genuinely funny. Although slightly selective with Vampire mythologies, it still works quite well. Mitchell the vamp is a bit sensitive to daylight, but it does not seem to post much of a problem, and we don’t know about garlic or crosses either. However, a good old stake in the heart still does the trick, and it is only in the fifth episode that we see a vampire busy count begin.

The only downside to the series is that all three characters don’t seem to be that special – maybe I am missing the point somewhat but the werewolf transformations only occur every other episode, and poltergeist spookiness was a bit of a damp squib. So anyone looking for a British Buffy will be disappointed. That said ‘Being Human’ is far too intelligent with its drama and humour. It will be a shame when it finishes, but overall I have been really enjoying it. Let’s just hope that the final episode packs a bite.

I know it sounds a little over the top, but The Curious Case of Benjamin Button has changed my life. Never in a million years did I think that a film could have such an impact on me. It is a little hard to define in words the true scale of this as both a motion picture, and a work of art but I am truly, breathtakingly staggered by it.

So, you guessed I liked the film? Well where do I start? Firstly, David Fincher has done a remarkable job and this film marks him as one of the truly great directors. It is visually stunning, from the lighting and colours that depict the warmth of Benjamin’s elderly childhood, to the brightness and clarity of the world as he grows younger in it.

The acting is superb, with both Pitt and Blanchett shine as the two age confused lovers, and we see an immaculate spectacle of virtually seamless special effects throughout. Literally, you are left wondering how did they do that? The film is the cutting edge of technology, but never once does it oppose the story telling. As a viewer you have to pinch yourself that you are not pointing out artefacts of digital processing – there is just very little to indicate that this is predominantly computer generated. Fincher’s shrewd use of light and shadow always leaves room for the audience’s interpretation, taking the pressure off the effects slightly, and making them all the more believable. But there is nothing I can say that hasn’t been pointed out by other reviews so Google them…

(Check out Andrew Chan’s excellent review here… but only read this link if you want to hear from a soulless fish wife who cannot say anything constructive.)

Brad Pitt deserves all the awards you can throw at him. Always the consummate actor, in this role his ability reaches new heights. The look of wonder on his face as he witnesses an early father figure reciting a play to the look of horror on his face when he fears a scolding from his mother are marks of genius. You believe Benjamin is experiencing a life of wonder in his eyes, and Pitt plays it perfectly.

Now this might seem a little over the top considering the main protagonist is ageing backward – a silly contrivance of a plot device in some people’s eyes. However, this can in some ways be ignored as the soul of the film – and I mean that literally – exists in the characterisation of Benjamin Button. Some reviewers have criticised the film for not having enough character development but I really thing they are missing the point. Benjamin is on the edge of the world in most respects, told that he is going to die any day now, surrounded and exposed by friends and strangers to the passing of life and waiting for the impending end. This gives him the perspective to look with bright, inquisitive eyes each and every day – to relish in the wonder of being the best you possibly could be no matter how short of time you are.

There is strong character development throughout, especially in Cate Blanchett’s Daisy. We see her grow from a precocious child to a promiscuous young woman that is sometimes extremely unlikable. As I watched her path cross with Benjamin as the years progressed, I sometimes ached for things to go right for them even when it was obvious they could not. One of the key strengths is that the film is very heartfelt. There is chemistry between all the principal cast members that gives a level of realism in sometimes unrealistic circumstances that I think is unrivalled in cinema history.

This film has been remarked as being Fincher’s most mainstream film to date – almost as if he has sold out slightly but this is too easy a stick to poke at him. All of his films have focussed on strong aspects of humanity from the extreme’s of Fight Club and The Game to the primal fears portrayed in Panic Room. And maybe he had become pigeonholed for more aggressive storytelling traits, but I think that his approach is 

very similar with Benjamin Button – the only difference is the carefully crafted script by Eric Roth which ultimately has a lighter tone. Well maybe not lighter…but different. The tools are the same and Fincher tells this story about humanity as it should be told. Any other director would have had problems, and I think that the pitch would have been significantly different if Ron Howard had developed this years ago as originally intended (reference the saccharine!).

But the main thing I want to say about this film, is how I have utterly been knocked sideways by it. It was an extremely special experience for my wife and I, and I can say in all honesty that we sat in the cinema together and fell in love with it. The core of the film is the passion and soul that makes the vast majority of other films look cold. It is a film that teaches you about love, and loss. About overcoming adversity and living a life as fully as possible. I have been lucky never to go through the pain of mourning a loved one and from this film I think I can appreciate that feeling somewhat.

Now why would that be a good thing? I am not sure to be honest, but I feel alive because of it. They say you don’t appreciate them till they’re gone, but the experience of this film has shown that the prospect of saying goodbye to my wife and daughter is unbearable, and seeing Benjamin say goodbye to his family had incredible emotional impact. The inevitable end of his life was extremely hard to watch, and bordered on being harrowing due to the poignancy that strikes to the very core of your being. Quite simply, if you are not moved by this film, you cannot have a soul. I just feel as though I have more of a life to live, more of the world to see, and a longing to spend more time with those I love. All because the film’s repeated theme that “you never know what’s coming to you” rings true.

In many films that seek to shed tears there is usually something that tips it slightly, that brings the feelings of guilt for falling for the climax only to be pet down by poor acting, trivial dialogue or soppy music. But never once does the story descend in saccharine as the drama is precisely sculpted by David Fincher almost to the point of perfection. Tension is alleviated with a laugh or joke here or there when required, and the music frames the picture excellently. The pacing of the movie flows like the tide, always appearing to be natural and never forced. Fincher has raised the bar of cinema very high indeed.

The Curious Case of Benjamin Button is part love story, part adventure, part feel good movie and part fairy tale. It is beautifully sad, but makes you appreciate your life in a way that I never thought possible. In the days since seeing Benjamin Button, I have thought of little else. I can say on reflection it is one of the best films I have ever seen and maybe could be the greatest film. This is not because it is perfectly made, but because it has a perfect heart. The only shame is that we will not see any more of Benjamin’s adventures, or his life with Daisy – the three hours of the film could never be enough in my eyes even though I felt that I have lived a complete life with him.

Go see this film and revel in its beauty. I cannot wait to see it again.