The Inbetweeners Movie- Film4/E4 (17/08/2011)

     When ‘The Inbetweeners’ burst onto TV screens around the UK back in 2008 and from what started life as a hysterical sitcom of almost cult status, it has now been transformed into one of the most highly anticipated movie events of the year! The film reached number one at the British box office after just one day mainly due to the success of the TV series, fans of which will not be disappointed. On occasion, translation from the small screen to the cinema can be tragic, but fundamentally, ‘The Inbetweeners Movie’ is an hour and a half classic episode.

'The Inbetweeners' Movie'

      Directed by Ben Palmer, the priceless plot follows the four heroes, Will (Simon Bird), Jay (James Buckley), Simon (Joe Thomas) and Neil (Blake Harrison) on their first holiday abroad without their parents. Naturally, there are epic fails and laughs aplenty along the way. What makes this film work so well is the fact that the characters are precisely the same as they appear in the television series, and there is a strong enough storyline to carry the movie as opposed to irrelevant laugh after laugh. Will remains as uptight as ever, Simon as hopeless as ever, Jay as hilariously dis-honest as ever, and Neil just as hysterically slow. As the film is so highly entertaining, this value comes at the expense of the four main characters and their impossibly high hopes. However, the film does depict the Inbetweeners sharing the spotlight with four girls, which works surprisingly well on screen as they are not quite overshadowed. 

 

     As usual, pretty much every attempt to get a girl falls right back in the boys’ faces and Simon is still desperately hung up on and inevitably after Carly, who fans of the TV show will know has been a reoccurring storyline throughout the three series. Although some of the gags can come across as crude and somewhat vulgar, the target audience is sure to understand them immediately, and essentially, they carry out their purpose of enhancing the humour. Colloquialisms such as ‘chirpse’ and the mandatory ‘clunge’ make appearances in the movie which simply make the characters more approachable and real to the audience.

'The Inbetweeners' Movie' cast at the world premiere in London

     Although ‘The Inbetweeners Movie’ relays heavily on the performances of the four likeable main characters, they all deliver the goods. Think four boys to booze-drenched Malia, along with fall outs, humiliation from the opposite sex, granny pulling, a happy ending for once, along with plenty of Neil’s classic moves. The film is definitely worth seeing, if only to watch the boys reach for the exhausting and seemingly impossible goal of getting laid.

4/5

Kids In Glass Houses- In Gold Blood (15/08/2011- Roadrunner Records)

    Kids In Glass Houses, a quintet from Cardiff started life with support slots for the likes of Lostprophets, 30 Seconds To Mars and Manic Street Preachers in late 2006 and early 2007. After several variations in line up, their third full length EP ‘E-Pocalypse!’ was released in October 2006 and despite that they remained unsigned at the time, they received much praise within music media from Kerrang, NME, XFM and BBC Radio 1. It was clear that there was much attention surrounding Kids In Glass Houses and although they were beaten by Gallows for Kerrang’s Best Newcomber Award in 2007 followed by supporting Funeral For A Friend on tour in December.

      Their first album, ‘Smart Casual’ was primarily pop-punk based and a more mature sound arose from their 2010 album ‘Dirt’, which left them with a great deal to live up to. Frontman Aled Phillips explained that ‘In Gold Blood’ would throw the band into a ‘radically different direction’ which is never something fans can take lightly. The album aims to fundamentally be conceptual and illustrate a journey through its tracks. The first track ‘Gold Blood’ was the first single to be released from the record on 5^th June 2011 and it certainly portrays the variation in sound. Beginning with a heavy, undefined and almost unrhythmic riff, it is clear the pop punk days of Kids In Glass Houses are well and truly gone! However, the steady beat and anthemic sound are welcoming and convey the band’s capabilities as individual musicians. Lyrically, the track is rather complex, especially for potentially young listeners and although there is no sentimental value, the song is catchy and effective, ‘When the golden gods and clowns come to save you, with gold blood...’.

      Without conventional rock hooks it can be difficult to entice the listener but with a title like ‘Teenage Wonderland’ the second track should be full of cheer and contentment. Instead, it is reminiscent of being young ‘When we were young, we made the mistakes that make us what we are today...’, without a trace of a tear jerking breakdown. Although a similar sound to ‘Matters At All’ (‘Dirt’), the track demonstrates how much the band have developed. ‘Diamond Days’ is also somewhat similar to ‘Matters At All’ and is the first song from the album to reference specific relationships of any kind, ‘I feel your body shaking...could be the devil talking...’, which is extremely rare for a rock band. The 30 Seconds To Mars esque, rapid back beat and strong instrumentation portray how hard the band have worked on the arrangement of each track and to (cliché as it may be), to appear as individual as possible but retain their appeal. The blend of each instrument is flawless and the unedited vocals of Aled Phillips are very refreshing and encouraging for up-and-coming live shows.

Artwork: 'In Gold Blood'

     Fourth track, ‘Not In This World’ is the signature crowd pleaser as it commences with light gang vocals, ‘na, na na na na...’ and proves how much Kids In Glass Houses intend to be accepted. Although the track takes over thirty second to actually come together, it is remarkable how well Kids In Glass Houses have managed to pin-point precisely who they intend to be as a band. Particularly within this song, Phillips’ voice is both unique and powerful, especially when he truly opens up his vocals. The riff, drumming and continuation of gang vocals blended with the melody is faultlessly faded out and is clearly an intended final song for future performances. ‘The Florist’ exposes the vocal range of Phillips’ and how a melody with a collective pronoun, ‘If we want what we need...’, can bring musicians and fans of music together. The wave of full power to a gentle melody and back again and later into a horn section followed by a classic rock riff is seamless.  Additionally, the personal element of the lyrics establishes a connection with the listener and charts the progress of Kids In Glass Houses’ audience connection techniques; ‘I remember the day the music died, I remember the way my mother cried when daddy went to war...’.

      Released as a single on 7^th August 2011, ‘Animals’ begins with steady drumming and guitaring and evolves into an off beat, soulful rock song. ‘Only The Brave Die Free’ utilises a brass section as it commences, proving the potential diversity of the rock world as well as the extensive production process carried out by Jason Perry, that has obviously been necessary to create ‘In Gold Blood’.  Although this track would not be out of place in a hope-filled musical, it is provides a glimmer of the band’s former ‘Smart Casual’ sound and ‘Easy Tiger’ in particular. It is interesting to note that Kids In Glass Houses have remained with Roadrunner Records since their very first record yet have retained their sense of self, expanded their fan base and enhanced their production and style in four short years.

Kids In Glass Houses: 'Gritty, refreshing and sharp...'

     Eighth track ‘Annie May’ appears as the weakest track of the album thus far with its limp verses yet the chorus is the saving grace due to how raw and rough around the edges Aled Phillips’ vocals are. Even though this song is by no means a conventional ballad, it depicts how diverse Kids In Glass Houses are as song writers and musicians. The track also acts as a potential half-way point in a gig set list.  ‘Fire’ is full of funk, wit and eventual vigour although lyrically, it is somewhat disappointing in its simplicity and bluntness; ‘We walk into the fire, fire. We dance into the fire, fire. The flames are getting higher, higher...’.  The saxophone section is very ‘Mellow Magic’ but somehow appears as the track’s missing link as violin solos seem the perfect addition to Yellowcard’s work. It also adds an exciting element for tours yet to come. Moreover, the curious drumming solo to close the song is something very rare and effectual. ‘Black Crush’ is unavoidable but unfortunately very weak whereas ‘A God To Many Devils’ is astounding vocally, particularly the medley of the album’s content towards the end.

    Gritty, refreshing and sharp, ‘In Gold Blood’ is a record that, if nothing else, is likely to establish Kids In Glass Houses as mature musicians full of energy and enthusiasm.  Even though the two singles from the record are actually the heaviest tracks which is misleading to say the least, each chart-ready chorus is unblemished and distinctive.

4/5

My Chemical Romance– Danger Days: The True Lives Of The Fabulous Killjoys (22/11/2010 Reprise)

    Formed in New Jersey back in 2001, just a week after the September 11^th terrorist attacks in New York, My Chemical Romance, despite losing two members, have triggered a new sound with the release of their fourth record, ‘Danger Days: The True Lives Of The Fabulous Killjoys’. Making a name by touring with the likes of Avenged Sevenfold, Green Day and Fall Out Boy, they were well established by the time they were signed to the major label Reprise Records. When their third album, ‘The Black Parade’ went on sale in October 2006, My Chemical Romance had thrown themselves head first into the re-vamped genre of emo, and appeared at the forefront of which until the construction of ‘Danger Days...’.

     This fourth album, is anything but a straight up emo based record. Conceptually, it is set in the post-apocalyptic surroundings of California in the year 2019. It follows the lives of the ‘Fabulous Killjoys’, which also, believe it or not, includes nicknames for each band member, such as frontman Gerard Way who is named ‘Party Poison’, a name also shared with the eighth track of ‘Danger Days...’.  Commencing with ‘Look Alive, Sunshine’, a ‘song’ that lasts a mere twenty-nine seconds, is a feeble introduction to the rest of the album. It is simply a demonstration of the concept of the compilation, made up of tongue twisters and alliterations for only their biggest fans to bother to learn, ‘You’re here with me, Dr. Death Defying...your proctor, your helicopter...’. If you can bare the strain of such a pointless track, the most repetitive song ever written follows. It is clear My Chemical Romance have refused to let go of their somewhat overbearing conceptual theatrics.  

My Chemical Romance

     ‘Na Na Na (Na Na Na Na Na Na Na Na Na)’, (yes, that’s twelve ‘Na’s’ in total), was release just under a month before ‘Danger Days...’ went on sale and is a solid and simple establishment for the album. In fact, this track may have worked better as the beginning for the record with its punch in the face attitude. It is hardly earth shattering,  but if nothing else, the lyrics are easy to remember, making it festival appropriate. This track also illustrates My Chemical Romance running as fast as possible away from their woe is me reputation gained from ‘The Black Parade’, which is understandably difficult to shake off. However, with its fist pumping rhythm, repetition and emotion-lacking breakdown, ‘Everybody wants to change the world, but no one wants to die.’, they have well and truly eradicated it.

     Track three, ‘Bulletproof Heart’ instigates a simplistic piano riff, painfully dissimilar to that of ‘Welcome To The Black Parade.’ When followed by mind-numbing vocal edits on par with the likes of Jason Derulo, it is only forty seconds into the song when a real song commences. Although nothing special, it proves to the listener that there is some good music behind the conceptual and pop based barriers.  Limp anthem ‘Sing’ follows and it is probably the most well produced track on the album. With its screeching car, unnerving drumming, uncomplicated piano and somewhat sinister vocals, the scene is set for a half hearted reference to ‘everyone that you left behind.’ Released as a single in November 2010, ‘Sing’ depicts how little effect a potentially anthemic song has on the world when it is not ‘teaching’ the listener something specific (Rise Against, 30 Seconds To Mars etc).

     Also chosen as a single in March 2011, ‘Planetary (Go!)’ illustrates that My Chemical Romance have picked up on the fact that mainstream music is changing. Songs topping the charts over the last few months have been club based, and the beginning of this track is no different. Having managed to not eradicate instruments or their individuality completely, the song is hardly heart- warming but the eerie emo vocals and shrill siren opening the track are unavoidable, ‘There might be something outside your window, but you just never know...’. The chorus is dancy, full of funk, and festival perfect, not to mention the tempo variations and build up being entirely irresistible. ‘The Only Hope For Me Is You’ is made up of a magical, movie moulding foundation, but it is not the tear-jerker the listener may be expecting from the title, nor is it a huge track within itself.

    Lasting just twenty-six seconds, ‘Jet-Star And The Kobra Kid/Traffic Report’ stands as an intermission within the compilation which wouldn’t go unnoticed in a video game. ‘Party Poison’, the track named after Gerard Way’s ‘character’ is average and adds very little flavour to ‘Danger Days...’.  Ninth track ‘Save Yourself, I’ll Hold Them Back’ showcases Way’s vocal abilities better than most of the album and the likeable beat and harmonies make it vibrant enough to keep a gig crowd going.  ‘S/C/A/R/E/C/R/O/W’, inconvientiently spelt as such, although somewhat repetitive is clearly My Chemical Romance playing it very safe due to its obvious similar sound to ‘I Don’t Love You’ (‘The Black Parade, 2006).

'Danger Days: The True Lives Of The Fabulous KIlljoys': Artwork

     ‘Summertime’ could do with a little more instrument and vocal variation as it progresses due to it becoming rather cyclical quickly. Yet with its evident similarity to U2’s ‘City Of Blinding Lights’, it is one of the best tracks ‘Danger Days...’ has to offer. As the most sentimental track from the record, the soft vocals that Gerard Way conveys throughout are welcomed with opening arms after the overuse of the futuristic concept from the rest of the album, ‘When the lights go out will you take me with you?’. Twelfth track ‘DESTROYA’ depicts just how tedious a rapid and repetitive track can be, despite its Limp Bizkit, rap metal type influences. ‘The Kids From Yesterday’ is a song you could not skip if it popped up on your IPod. Despite the awful, ear-splitting and distracting wooden drumming throughout (light symbol rhythms are so underrated), it portrays a glimmer of the original emo scene, ‘sun goes black...’, ‘But you only feel the music when your heart begins to break.’ With indie esque ‘oohs’ and a portrayal of the progress of My Chemical Romance as musicians, this track would be at home on 30 Seconds To Mars’ ‘This Is War’ record. Perhaps also nicking the idea of a straightforward concept would have been an idea.

     ‘This is Dr. Death defying signing off...’ followed by the American National Anthem is not exactly something you find on your everyday rock record and there’s a reason it has never been tried before ‘Goodnight, Mr. Death.’ ‘Vampire Money’ is a rapid end to the album with a great guitar solo, gang vocals and pseudo live ending. Bonus tracks ‘We Don’t Need Another Song About California’ and ‘Zero Percent’ pretty much pin point the progression of My Chemical Romance from the emo boys to the overusers of an overcomplicated concept.

     From teen angst to supposedly glamorising suicide, (which would have been an unproblematic concept), My Chemical Romance still had time to create alter-egos for themselves alongside ‘Danger Days...’. Despite overcomplicating affairs, an intense, varied and high volume album was created.

 3/5

You Me At Six– Lover Boy (25/09/2011 Virgin Records)

 You Me At Six, a pop punk band from Weybridge, Surrey are set to release their third album on 3^rd October this year. The first single from which, ‘Lover Boy’ will be released 8 days prior and an official music video is expected over the next couple of weeks.

     ‘Lover Boy’ is fans’ first taste of what is to come from up-and-coming ‘Sinners Never Sleep’, and if it is anything to go by they will not be disappointed! Firing up with somewhat bland gang vocals, the track takes off when the thumping blues bass line begins. Despite it being simplistic, it sets the stage perfectly for a gritty and intense first verse. Written by the band themselves, this track is personal and bitter without being over the top. It defines some progression from the band’s previous compilation ‘Hold Me Down’ without varying their sound completely, which can be difficult to achieve.

'Lover Boy': Artwork

    The verses of ‘Lover Boy’ illustrate frontman Josh Franceshi’s astounding vocal abilities, proving the possibility of being an earth-shattering singer without being technically flawless. Serious You Me At Six fans will spot Franceshi’s live techniques shining through within the chorus, such as a trace of his Weybridge accent, ‘Don’t you feel bad, don’t you feel bad?’, as well as an insinuation of the original, post-hardcore You Me At Six, ‘of course I would...’.

     Overall, the likeability of this debut single from ‘Sinners Never Sleep’ is unquestionable and the temper filled edge of it lacks sentiment, which is something that adds to a worthy catchy song, ‘this is the night you’ll regret in the morning...’. If nothing else, the band prove opportunity for more artists and bands to write and release memorable material that is not pop based. You Me At Six have done well with regards to writing a relatable track for their fans, without being whiney, soppy, heartless and without screeching about sex, drugs and booze every other lyric.

You Me At Six

     With the gritty and grainy guitar solo and gang vocals, the track is also gig-perfect, particularly for an opener. Additionally, the boys have managed to avoid default pop mode like other bands of a similar genre and have successfully charted their progress as musicians, and undoubtedly people from previous work, despite ‘Lover Boy’ being described as the most similar to the sound of ‘Hold Me Down’.

4/5

Listen to the track here: http://www.youtube.com/watch?v=1slKomFgYBI

The Vaccines – What Did You Expect From The Vaccines (14/03/2011 Colombia Records)

     The Vaccines, an English Indie Rock band formed in London in 2010. Instantly reaching number four in the UK album chart propelled The Vaccines to unswerving success, pushing the indie scene more towards the forefront of the mainstream music scene that it has been in years! After their demo of ‘If You Wanna’ was played and praised by Zane Lowe on this BBC radio show, the band’s first London show at The Flower Pot, Camden swiftly sold out in October 2010.

     Judging from the opening track of ‘What Did You Expect From The Vaccines?’, ‘Wreckin’ Bar (Ra Ra Ra)’, which lasts just one minute and twenty four seconds, is not only an effective opening for an indie album, but also for intimidate and potential arena shows alike. The Vaccines’ potential is mind-numbingly obvious despite their quirk and edge, which some may perceive as a flaw. The clean riffs, rhythms and reverb-rich guitars of the first track provides the band with the underestimated and timeless quality of widespread likability. When releases as a single in November 2010, ‘Wreckin’ Bar (Ra Ra Ra)’ was teamed with fourth track from ‘What Did You Expect From The Vaccines?’, ‘Blow It Up’. This song portrays the band’s various influences, such as The Ramones, pop based components, 1980’s American hardcore and rock ‘n’ roll from the 1950s. The blend of these two tracks illustrates that it is possible to be an indie based band that utilise the occasional pop element, without running straight for the most basic, overused aspects.

'What Did You Expect From The Vaccines?'

     Second track, ‘If You Wanna’, which was sold as a single from March 2011, conveys painful similarities to The Big Pink’s ‘Dominos’ at the very beginning, but thankfully, The Vaccines come into their own and eradicate any strong connections with other indie bands in just over ten seconds. Their soft sound is perfect for any place, mood, and person and the chirpy chorus and lyrics are irristable; ‘That’s what all the friends I do not like as much as you say...’, ‘But if you wanna come back, it’s alright, it’s alright...’ . With this song in particular, the band have achieved something very rare, especially given the competitive nature of the music industry today. They have fresh and light sound despite carrying heavy influences from other genres and artists. ‘A Lack Of Understanding’ commences with quite a heavy bass line for the indie scene, but unfortunately, by the time Justin Young’s vocals kick in, the compilation is screaming out for a more upbeat track to drown out the somewhat whiney texture.

     ‘Wetsuit’ provides a dreary tempo, which tarnishes some festival perfect moments and widely emotive lyrics ‘time gets harder to outrun...’ ‘we all got older at break-neck speed...’. ‘Nørgaard’ is the saving grace to this album like sun to a crappy day. It’s upbeat, 1950s and surf-rock influences are nothing if chirpy and full of cheek; ‘smaller tits, skinny frame, tall, short hips and you all end the same...’.  It is a wonder that the following track ‘Post Break-Up Sex’ was released as a single in January 2011 as opposed to ‘Nørgaard’. With its mock-sympathy tone and dull instrumentalities, it has nothing on the previous piece in terms of wit and vigour. ‘Under Your Thumb’ is another song sprinkled with dynamism whereas ‘All In White’, which follows reverts back to the monotonous edge The Vaccines appear to be comfortable and complacent with. However, it’s potential is clear during the opening fifteen seconds which display heavy influences from more recent Coldplay work.

The Vaccines

      Penultimate track, ‘Wolf Pack’, is a bit of an oxymoron within itself with its attempt with sarcastic humour; ‘You’re just someone new I don’t want to talk to...’, paired with a limp back beat . ‘Family Friend’ is almost laughable due to how slowly it commences. It is followed by ‘hidden’ track ‘Somebody Else’s Child’ which follows the same trend.

    ‘What Did You Expect From The Vaccines?’  Well, perhaps a little more high-spirited haste, humour and heart. Although likeable, the album is hardly life changing and lacks lustre and grit.

3/5