Friday, 4 January 2019

2018 in 8 noise sounds

I mean 97.6% (scientific fact) of all music is pretty dog-tod these days, but you do hear some now and then that make you think "'t's alright."

Here are some of those noises listed below. I also learnt this year that music is best enjoyed via your ears...



EVISBEATS
ムスヒ
It's got  on it and features 2018's bestest song with the nicely named Phoka.





Homeboy Sandman and Edan - Humble Pi
Telephone the Queen, Edan is back! And he's brought his mate Homeboy Sandman with him. They like dissing the internet and stuff, like ironically or something...




Toshiki Hayashi (%C) and 鈴木真海子 - 金木犀
Toshiki Hayashi (%C) (whataname) hooks up with 鈴木真海子 and says "oh sweet siren with your enchanting voice...grab us a beer, will ya?!"



鎮座DOPENESS and SABO - チルミーチル
What's that woman up to?



Cut Chemist, Edan and Mr Lif - Metal Storm
Are Edan's eyes and hair real?!




Anchorsong - Cohesion

More rhythmic spinning from the TruThoughts man, with some pretty Indian-inspired artwork for confirming that 2018 is orange.




EVISBEATS - Holiday

Ever heard tracks by EVISBEATS released on 7" and wonder why they don't make it on to his albums?LIke that one where the bloke raps and the woman prances about a bit? Well, "Holiday" answers some of that. And some new ishhh for your ears.




DJ Krush - Cosmic Yard
Not that former yakuza's best, but nice and steady for the ears.




Will there be more noises this next year? I'm yet to hear...

Tuesday, 1 January 2019

10 Films that I done saw in 2018

Here be ten new* films that I had the privilege of watching these past twelve months.

Some are better than others, but this be my order of preference, like the way I prefer cat poo to dog poo...

*Megz Obvz disclaimer alert: again, due to, at times, well rubbish release dates in the UK and probably general slowness by me, some of these are like not proper 2018 films and that. Plus there's like better films I haven't seen...probably.

1. Shoplifters
Director: Kore-eda Hirokazu
Japan

Well obvious choice and that, but definitely the best film I saw that featured Lily Franky's buttocks. It's even got a story and stuff about an unconventional family of those shunned by society, complete with nice shots.

2. BlacKkKlansman
Director: Spike Lee
America

Clearly influenced by this year's Cannes festival, Lee sees a return to form with his story based on the life of a black undercover policeman infiltrating the KKK, with the help of his trustee Jewish side-kick. Laughs and that. Undoubted fictionalisations of course. But good film and stuff. 

3. The Third Murder
Director: Kore-eda Hirokazu
Japan

Proper hogging the limelight this year this boy, this change of style courtroom drama is far from his best, but that can still put it far ahead of many others. Questions like the nature of law and that and sort of is designed to make you think about things...I thought.

4. Four Springs
Director: Lu Qingyi
China

Man with camera films his family over a number of years during times of sadness, joy and playing with mobile phones. Got some proper pretty shots to look at and could be the start of a nice documentary career.

5. The Great Buddha+
Director: Hsin-yao Huang
Taiwan

Strong year for Taiwanese cinema this (from like the three I saw, anyway). Self-referential comedy about some oddballs going about their business of watching one's boss' dashcam footage for larks. 

6. Joy of Man's Desiring
Director: Masakazu Sugita
Japan

Like a bit old and that (2014), but got its UK premiere this year courtesy of the Japan Foundation Touring Film Programme. Children are left emotionally abandoned after their parents' death after an earthquake, leaving the old eyes in tears.

7. The Sower
Director: Yosuke Takeuchi
Japan

Post-triple disaster depression leaves one man the obvious scapegoat in the death of his niece. Many questions about society asked alongside some sunflowers. 

8. Three Billboards Outside Ebbing, Missouri
Director: Martin McDonagh
UK / America

Latest from the man who done there "In Bruges" and stuff. It's not as good as "In Bruges", but it one enough of the big awards for you to act as though it is. 

9. Tokyo Girls
Director: Kyoko Miyake
UK / Japan

BBC commissioned documentary about the men who stare at idols and the idols they stare at. Is it all a bit weird? Probably. Is it wrong that the BBC snipped it down when showing it on BBC Four? Yes, also. 

10. A Family Tour / I Have Nothing to Say

Director: Liang Ying
Taiwan / Hong Kong

Ying's short and then feature prequel tell the joys of a family reunion coach trip through Taiwan for a politically-driven director based in Hong Kong. One in black and white; the other in colour, this is a nice complimentary bumper pack of political fun.


That's that then...

Sunday, 30 December 2018

Sorry to Bother You

The Coup will probably be remembered as much for their creativity and controversy in album names and covers as their music. 1993's "Kill My Landlord"; 1994's "Genocide and Juice"; 1998's "Steal this Album"; and the untimely working cover for 2001's "Party Music" depicting the group blowing up the World Trade Center planned before the month of September. It's fair to say they certainly had a lot of creative ideas.



The same can also be said for frontman Boots Riley's debut as a feature director, "Sorry to Bother You": a film that features the same brand of controversy, social comment and humour for which The Coup are known.



Cassius "Cash" Green (Lakeith Stanfield) is a man without a job and living in his uncle's garage, though he does have a girlfriend. Desperate for work, he fakes a fabulous career history for a telemarketing job, naively unaware that the credentials for any low-level sales caller are irrelevant. Proving he can read English, he is told to "stick to the script" and start making calls.

But as anyone who has worked in cold-calling will tell you: it's tough. His failures prompt his booth neighbour Langston (Danny Glover) to suggest he adopt his "white voice": a voice projecting the confidence of a person who knows their life and source of income are successful and secure. Cue hilarity. And also cue Cash's discovery of his talent for selling, when taking on his "white" persona.



Soon head-hunted to become a "Power Caller", he is switched from calling Everyday Joes to Big Dick Willies, selling the manpower services offered by the blatantly sinister WorryFree to mass production manufacturers, as an alternative to exploitation of Chinese workforces. But on being invited to the circle of trust, Cash soon finds that WorryFree is as ironic a name as suggested; and has his moral conviction and penis size questioned by those close to him.



"Sorry to Bother You" is a film of ideas: the social comment on the current nature of zero hours contracts and commission payment and how they treat those party to them; the humour applied in the notion of race as a state of mind when the visual element is removed; the lush life promised in career progression at the cost of long hours and one's morality; and social media fame that quickly sees condemners become poster children. Riley tackles all of these with a tongue-in-cheek humour that provides the laughs, as well as addressing social problems with the nature of modern labour forces.

There's a lot going on here. Perhaps, at times, too much. Some aspects are explored in detail, while others are more readers' digest snippets of comment. There is a lot to digest, and the sides can interfere with the main courses (I must be hungry). Cash's girlfriend, artist Detroit (Tessa Thompson), is a woman with many layers to get through. A political activist and performance artist, she seemingly puts on her "white voice" to sell her art to rich investors, though this isn't explored enough, and as such leaves her character under-cooked and somewhat hard to swallow in parts (really hungry).



As such, "Sorry to Bother You" can feel somewhat like an album of separate songs, some better than others, rather than a complete whole as a film. Similar to "Office Space", scenes can work very well as comedy sketches, but may need to be fully-formed a little better. This perhaps is the result of Riley struggling to get the film project off the ground for a number of years; an idea he has been working on for some time, with The Coup's album of the same name coming in 2012.

But importantly, for the film's sake at least, Riley is having fun throughout, especially with the film's climax. Despite the serious subject matter, we are kept entertained; the laughs kept coming, without bogging us down in a law degree. Creativity and humour are the film's two strong points. The soundtrack's not too bad either.

For a first time director, this is certainly an interesting debut. Politics will always be close-to-hand for Riley in his music and now in his cinema, as seen with his comments on Spike Lee's "BlacKkKlansman" - a film with a similar plot device - and so he will always want to get his opinions across. Its success will also result in more faith from producers in the future; and with some more polishing of his methods, Riley's call to the film industry won't be bothering, but welcome.

Saturday, 15 December 2018

Every 14 Days...(48)

Telephone the Queen: It's the 200th book spectacular! Yes, I have now made my way through two hundred books since starting this pointless venture back in 2010. But, two hundred books better-read, I am no more intelligent than I was when I was 28 years old...In 2011, I was 28 years old. Can you guess which of these four books was the magical 200th?

Yes, correct, it was that one...


Record of a Night Too Brief (Hiromi Kawakami)

This is something of an oddity. Three short stories from the definitely trendy (in Foyles, at least) Japanese author of "Strange Weather in Tokyo". I'm not quite sure if I can adequately account for the first, titular story, though I can confirm that the three tales get more comprehensible and better as they go.

"Record of a Night Too Brief" as the opener is essentially a stream of consciousness about an evening of peculiar events. I can't particularly say I remember much of it and the ever-changing and strange nature of the story left me switching the off button a fair amount. I, therefore, offer little in the way of opinion.

The second, "Missing" is still of the bizarre variety, though not quite as weird, but still definitely there. A sister's brother disappears, something of a trait in her family, leaving behind his fiancée. The second brother steps into the absent's shoes, though his spirit lingers on in his sister's universe.

Lastly, "A Snake Stepped On" is the story of a young woman working with an ageing couple in their shop. After stepping on a snake, she is visited by an elderly woman in her flat each night, claiming to be her mother, though is indeed the spirit of the snake. Again strange, but this is certainly the strongest of the trio.

Definitely more one for the hardcore rather than casual fan, as "Strange Weather..." is, I kept this one quite brief.

Days to read: 5
Days per book: 14.8


Iza's Ballad (Magda Szabo)

Not a huge number of Magda Szabo's works have been translated into English; and from those that have you'd believe her to be a woman who writes stories about intergenerational female feuding. That's based on the two I've read, anyway.

Written several years (like decades and that) before the more famous "The Door", "Iza's Ballad" is, for me, the stronger of the two tales where a younger woman deals with her frustrating relationship with an older woman. This time a daughter takes in her widowed mother, moving her to Budapest after the death of her father. But, while seemingly the ideal solution, the more the days pass, the clearer it becomes that it is indeed the worst possible scenario for both.

My gripe with "The Door" was that I didn't particularly like either character. Here, however, at least the mother is more likeable, but the exploration of both characters (and others) is well developed throughout, with the motivations and lack of an easy solution well worked.

Themes of selfishness, love, generational differences and the ambitions of a younger generation against their parents' are all covered, with Iza a woman who is so right about everything that those around her simply can't accept it.

Days to read: 16
Days per book: 14.8


Adrian Mole: The Wilderness Years (Sue Townsend)

With the third installment, "TrueConfessions of Adrian Mole", taking a more bootlegs and B-sides collection approach, it was nice to return to the good ol' fashioned diary format for this fourth look into the "growing" of Mr Mole.

Now nicely in his twenties, Mole sees his failed love life in Oxford transfer him to London where his love life is equally failed, though at least he is now officially qualified for his job as dish washer in a Soho restaurant.

It is a move back to the witty humour of the first two books, with the well executed comic timing from the diary format. And though Mole is now ageing physically, he is still 13 3/4 at heart.

Days to read: 9
Days per book: 14.7


Kwaidan: Ghost Stories and Strange Tales of Old Japan (Lafcadio Hearn)

Greek-Irish-British-American-Japanese man of unusual name Lafcadio Hearn is someone any Westerner studying Japanese culture will have come across. Moving to Japan in the late Nineteenth Century, he became a leading scholar of Japanese culture for English-speaking consumption.

"Kwaidan", is one of his most famous works, made into a notable film by Masaki Kobayashi. Offering a glimpse (and only that) at traditional Japanese ghost stories and folktales, this is somewhat an inconsistent and unusual collection of short tales and essays.

One thing that is notable is just how short some of these short stories are. They are mere anecdotes as opposed to stories, with little in the way of real storytelling and development. One gets a patronising tone throughout from Hearn, feeling fully aware that he is telling us about the story, explaining points along the way, rather than telling us a story. You get the sense Hearn wanted us to know that he had discovered them.

These two elements: the over-explanatory (to you, you simpleton) tone and lack of storytelling skill, don't exactly make this the most enjoyable read. However, enough of the stories are intriguing enough to make this a worthwhile collection, but it will probably require some further reading. Luckily, however, Hearn references his other works throughout, so you know where to go...He's like the BBC once a programme hits the end credits.

Yes, this was the book that was the magical 200th.

Days to read: 8
Days per book: 14.7 

Saturday, 24 November 2018

Shoplifters

So, after years of films put forward, Kore-eda Hirozaku finally scooped the big prize at this year's Cannes festival, claiming the Palme d'Or for his latest "Shoplifters". Coming a matter of months after the multiple successes of "The Third Murder" at the domestic Academy awards in Japan, he is adding medals to years of critical acclaim. But how does his most prized film sit among the rest of an oeuvre in which a bad film has yet to materialise?


Well, as if a "Nobody Knows" of adults, "Shoplifters" shows a "family" of acquaintances, brought together by a similar social status and treatment by their more traditional families. "Grandmother" Hatsue (the late Kirin Kiki), oversees her "son" Osamu (Lily Franky), his younger "wife" Nobuyo (Sakura Ando), her "sister" Aki (Mayu Matsuoka) and the couple's "son" Shota (Jyo Kairi).

After a session of successful five-finger discount, Osamu and Shota walk home passed the again-left-out-in-the-cold Yuri (Miyu Sasaki). Offering her food and warmth, they soon realise they will need to return her to her rightful home. But as they are about to do so, her parents' arguing can be heard, and Nobuyo can't bring herself to leave her in an unloving household. The couple, therefore, have just given birth to their second child and latest family member.


But what they can offer in a loving home cannot be matched financially. They all live in a one room shack, sleeping on top of each other. Osamu has a low-paying job in construction, but soon finds himself injured and out of work. Nobuyo works in a laundry service, but finds herself in the same scenario. Aki is the only real earner, but working in a peep show flaunting her bits, and as such does not share her keep with the others. The family's main livelihood, therefore, comes from Hatsue's pension and low-level thievery. Osamu and Shota are the main protagonists in this line of work, and Yuri is brought in on their game.

But a financial and family structure such as this can only stay stable for so long. Caught in the act, an accident during escape sees a hospitalisation, leading to arrests, prompting confessions, resulting in the end.


Kore-eda always poses a question in his films, to which there is no immediate answer. Here it is as to the bind that keeps families together. While they have no blood ties, in "taking in" Yuri, they treat her better than her parents ever will, with more love and dedication. They have little to offer any new family members, but all seem happy with the situation, despite all having lives that one would seek to avoid. This is closer than the relations the depicted blood relatives offer each other.

The "Shibatas" are together by choice rather than forcibly by blood, with their post-modern solution a seemingly better option against tradition. But blood ties will always be there, and the choice to walk away from the Shibatas is also true. On arriving, Yuri is given the option to stay or return to her family; and once the authorities become involved, there are perhaps deceptions in all of them.

Shota gets caught on purpose, knowing it could result in their demise; Osamu and Nobuyo's killing in self-defence of her ex-husband is revealed; Hatsue and Aki have former family connections, Hatsue claiming money off Aki's parents on the sly; and with Shota lying in hospital ready for questioning, the others plot their escape, leaving him alone. The "family" is perhaps no more than a convenience for the criminal, low paid and deceiving, with little actually known as to those they share a floor with. But once legally put to rights, all show that the artificial family they'd created was perhaps preferable to the alternative. With no blood ties, they had to be more careful and considered in their behaviour to each other and what is said and revealed, leaving a happier compromise.


As ever, Kore-eda's slow pacing allows for a succession of detailed and delicate shots to build the story, as well as your knowledge of Lily Franky's buttocks. The end, however, is a confessional, each revealing their story to the police in individual interviews (partly conducted by Kengo "...Yonosuke" Kora). Though these are not designed to pull too tightly on the heart strings. As with "Nobody Knows", the everyday nature of the reactions, again perhaps a nod to the reaction and treatment of the lower classes and underclass in modern society: unseen and treated with indifference.

Their family unit is not allowed to survive in the legal system; the poor and destitute barely able to survive under it also. And following on from "The Third Murder", Kore-eda again questions the nature of justice: The Shibata's "kidnap" Yuri, but treat her better than her parents ever would, though they are the convenient scapegoat.


Featuring good performances throughout from some old reliables as well as some new names, there is undoubtedly a lot of expectation sat on "Shoplifters". The truth is that it is not his best film, but is definitely up there in a career of high standards, though perhaps doesn't leave as much of an impression as some that have come before it. But in an era of dropping standards, this is certainly the best new film I have seen this year, cementing that his is one of the best talents in contemporary cinema and justifying those awards.

Sunday, 18 November 2018

Politic 35

Having a lot of Homeboy Soundman sound waves coming in my frontal lobes lately...



...Listen here. But not via the internet, of course...


I'm Confessin' (That I Love You) - Thelonious Monk
The Gut - Homeboy Sandman and Edan
#NeverUseTheInternetAgain - Homeboy Sandman and Edan
Grim Seasons - Homeboy Sandman and Edan
Beauty - Edan
Clarity - Homeboy Sandman
Bus (A Rhyme) - Homeboy Sandman
Life Support - Homeboy Sandman
Not Really - Homeboy Sandman
How to be a Carpenter - Aesop Rock
金木犀 - Toshiki Hayashi (%C) and 鈴木真海子
Contact (Toshiki Hayashi (%C) Remix) - 鈴木真海子 
Under the Hood - Specifics
Love I Never Had It So Good - Ronny Jordan and DJ Krush
Triple Shot - スチャダラパー
Testimony - Anchorsong
般若心経RAP - Evisbeats
Houseki - Tate Takako
秘密の物語 - Tate Takako
あした、僕は - Tate Takako

Wednesday, 14 November 2018

The Great Buddha+

Taiwanese director Hsin-yao Huang's feature debut "The Great Buddha+" starts as a comedy tale of middle-aged misfit slackers, though by the end highlights the loneliness of those involved, perhaps brought about by a modern age of overactive media consumption.


Pickle (Cres Chuang) is an incompetent night watchman for Kevin Huang (Leon Dai), the local successful man commissioned to make a Buddha statue for a temple. With little to do each night, his friend Belly Bottom (Bamboo Chen) joins, bringing gifts of pornography, cold food and company. A bumbling duo of idiocy and perversity, Belly Bottom asks Pickle about Kevin's dashcam footage - looking for something to watch as the hours go by.

The pair then sit night after night watching hours of road moving towards them, though every now and then there are interesting recordings of the sounds going on in the back seat when Kevin has a lady with him. Eager for more "action," the pair watch more and more, soon uncovering some dark secrets which could have drastic implications for Kevin, as well as Pickle.


"The Great Buddha+" is a film full of self-aware in-jokes. The "+" in the title refers to the fact this is a building on an original short film from 2014, with a narrator popping-up here and there with an almost DVD commentary to add explanations and film notes, as well as cover plot holes. Shot in black and white - which is pleasing on the eye (the dashcam footage the only part of the film in colour) - the characters themselves even claim that reference to colours is needless in a black and white film. Belly Bottom also comments as to how TV is now easy to make, simply collecting hours of dashcam footage together. Something the film thankfully does not become.


Less post-modern comedy comes from the characters themselves, each with quirks and a buffoonish quality of loveable rogues, making-up a collection of life's downtrodden. Pickle is a man seemingly without dignity and courage, easily led; while Belly Bottom is the weird and wonderful, obsessed with claw machines. Their only other friends are Peanut (Na-dou Lin) who works in the local 7-Eleven (the source of further amusement) and the non-speaking, homeless Sugar Apple (Shao-huai Chang).


Their lives are contrasted by Kevin and his rich and powerful friends, frolicking in swimming pools with young women, with our heroes the clear opposite end of the spectrum. They spend their nights watching videos to learn more about the life of Pickle's boss, however, the sadness in the film's conclusion is not so much in death, but in learning that they knew little about those closest to them. Despite the hours spent together, Pickle knows little about Belly Bottom and the life he leads outside of joining him in his cabin at night. The group of misfits perhaps don't even fit alongside each other.


Cres Chuang stated that novice director Huang didn't give too much direction to the actors - whether out of naivety or craft - so little was really known as to who the characters really are. And in an age when learning as much as possible about others through media dominates, Buddha looms over all holding the secret.