All Time Low- Dirty Work (06/06/2011– Interscope Records)

     All Time Low, a Baltimore born pop-punk quartet formed in 2003, released ‘Dirty Work’, there fourth studio album, marking the band’s move to major label,Interscope. Perhaps it is this change that has influenced the variation in All Time Low’s original sound. Unfortunately, this records illustrates an apparent experimentation with sound and style, but All Time Low have lost the magic they used to have; their sharp and witty yet harmless lyrics combined with powerful pop and ballads have been erased and replaced with a soulless slap in the face for fans that were promised an honest record.

'Dirty Work': Artwork

    The band used to be unconventional, but well-liked by the pop-punk scene, but as they have seemingly attempted to leave the scene, they have been unable to redefine themselves well. Instead of creating a new style, they have really hit a brick wall, proving that it is important for bands and artists to stick to a genre of some kind. ‘Do You Want Me (Dead?)’ appears as sharp as comic as ever, but as the track begins, it is clear this is not the case. From the outset, the ‘guitaring’ is almost laughable and the introduction does not fit together somehow, despite the fact that the album’s release date was pushed back by several months, giving the band more time than expected to tweak any details such as this. Frontman Alex Gaskarth’s voice has been tampered with all too much, and the fake echo used on this track does not suit the band at all. As the song kicks it, it’s a kick in the face for fans expecting a meaningful yet comic track. The melody is simple and limp, but as the song progresses, it is obvious the record will be catchy, but not in a good way.

     Second track, ‘I Feel Like Dancin’ was released separately as a single on 05/04/2011, and after reviewing it myself, I had hoped this track was an lone experiment, but the remainder of the record follows a similar road; with a loss ofAll Time Low’s individual vigour found in their previous work. Making use of words such as ‘shawty’ and ‘crunk’, this song was, according to the band, created as a mocking of modern popular music, displaying just how nonsense-filled it really is, despite being co-written by Weezer’s frontman Rivers Cuomo. However, as the rest of ‘Dirty Work’ is very similar to ‘I Feel Like Dancin’, making All Time Low either hypocritical or oblivious of the same themes appearing in their own music.

      Continuing the in un-inspirational direction, ‘Forget About It’ utilises voice variation and dance-inspired elements designed to block the listeners’ attention from the vocals. Although melodic, All Time Low have hit rock bottom by becoming lyrically lame, ‘You know, there are some days when I really feel like this could work. Like, you and I are finally gonna get it right. Then there are days like today, when you make me want to tear my fucking hair out." Understandably, relatable lyrics are the key to emotionally connecting with fans, but there is no heart placed into the lyrics themselves, as if they are the first draft of a work in progress. ‘Guts’, supposedly the new ‘Vegas’ (‘So Wrong, It’s Right’, 2007) commences with a start stop outline eventually crashing into off-beat drumming and more over-edited vocals. The sound of the chorus is almost pleasing, until you hear the pointless lyrical input that is, ‘I’ve got the guts to say anything...’. Where are the notable anecdotes from funny or emotional love stories?

     ‘Time Bomb’, if nothing else, makes an attempt saves this album. It hints at the ‘old’ All Time Low, with more natural vocals, actual audible use of instruments, a haunting yet varied melody and steady, crunchy pop-punk beat, it is everything that the rest of the album should be made up of. With a track such as this, you can visualise the venue yelling and shuffling along. ‘Just The Way I’m Not’ is immediately reminiscent of The Big Pink’s ‘Dominoes’, but with nothing but unnatural vocals and a back-beat, it is a wonder the song made it onto the record. It’s a track that will stick around in your head, but one you’d rather drown out with whatever you can. Seventh track ‘Under A Paper Moon’, ‘Return TheFavour’ and ‘No Idea’ are nothing but monotone, and the band’s only attempt of a ballad or sentimental song on the compilation, aside from acoustic versions of other tracks, ‘A Daydream Away’ has nothing on the band’s back catalogue of love songs; it is unrepeatable and almost fickle for a love song.

All Time Low? Exactly.

     ‘That Girl’, ‘that girl, she’s such a bitch’. Need I say more? Like the rest of the album, there is no heart or theme for this track, it is both dull and meaningless. Final track, ‘Heroes’ is anything but heroic. Its lyrical imagery if you man ‘you’re not a hero, you’re a liar, you’re not a saviour, you’re a vampire, sucking the life out of all the friends you’ve ever known...’ is laughable. Bonus track ‘Get Down On Your Knees And Tell Me You Love Me’ is the second best track from ‘Dirty Work’ and it is criminal and baffling as to why it is not actually on the record. Other bonus tracks‘My Only One’, ‘Bad Enough For You’ and (appalling) acoustic attempts of ‘I Feel Like Dancin’ and ‘Time Bomb’ revert back to the disappointing sound from the rest of the record.

     Blunt, honest, yet tinged with emotion, the old All Time Low were edgy and tinged with dramatic drive. Aside from one or two tracks, the band have lost their way with this new sound on this album. Track after track of immature meaningless melodies, the soul has disappeared from their sound, with no individuality or rock edge in sight. ‘Dirty Work’ is a slap in the face for their fans! All Time Low? Exactly.

   

1/5

Coldplay – Every Teardrop Is A Waterfall (03/06/2011– Parlophone)

      Coldplay, probably the most famous alternative rock band on the planet, released ‘Every Teardrop Is A Waterfall’ a few days ago to give fans a taste of what is to come when their yet-to-be-named album eventually drops in the next few months. If this song track is anything to go by, the London-based band has hit the jackpot yet again.

'Every Teardrop Is A Waterfall': Graffiti-Inspired Artwork

           Written by the entire band, with assistance from various co-writers, a monster track has been formed. Coldplay have always done admirably with writing timeless tunes, full of vim and vigour, and never selling out. Yet to be honest, when I heard the first lyric of ‘Every Teardrop Is A Waterfall’, my heart sunk, ‘I turn the music up, I got my records on...’. And despite the seemingly morbid title, the track is uplifting to say the least, with one of Jonny Buckland’s infamous riffs and a strong and steady backbeat of military marching drums driving the piece, as found in ‘Viva La Vida’.

      The band are also well known for being one of the first emo bands with their depressive undercurrent, but although their sound has not varied considerably since most recent album ‘Viva La Vida Or Death And All His Friends’ , there is something comforting and calming about this song. Along with their timeless qualities, Coldplay manage to compose music for any person of any age; just someone who simply appreciates their inspiring lyrics and stunning melodies, this song being no exception. Although, fans of the band will note the lack of leading piano on this track, adding to its optimism. Commenting on a true love for music, ‘I feel my heart start beating to my favourite song...’ the track can make a connection to so many people.

Promo Shots: Coldplay

           Additionally, with elements from the 1976 song ‘I Go To Rio’, Coldplay, this pop song laced with rock ‘n’ roll elements is both moving and blissful. Having received many a Radiohead comparison through the years, Coldplay have turned a ‘poppier’, repetitive corner over the last few years. ‘Every Teardrop Is A Waterfall’ marks a continuation of the bands high standards of produce, with a track that is bold, bright and when placed with harmonic layers and Chris Martin’s wonderful vocals, it’s a killer.

      Coldplay happen one of my favourite bands of all time, but I listened to this track neutrally and was not disappointed. Whether you are a Coldplay lover or hater, this single is undoubtedly addictive and escapist, and you can practically hear a sold-out chanting arena.


5/5

All Time Low- I Feel Like Dancin’ (05/04/2011– Interscope Records)

     Baltimore born Pop Punk band All Time Low have released this, their first single from upcoming third studio album ‘Dirty Work’. Co-written with Weezer’s frontman Rivers Cuomo (along with the All Time Low’s own Alex Gaskarth), this track is everything most people expect from a Pop Punk band; harmless.

All Time Low

     In recent interviews, the band have expressed a delight in composing their new album with more personal and emotional songs, and unfortunately, this track utterly undermines that concept. The tune appears to be
‘borrowed’ from Joan Jett and The Blackhearts’ ‘I Love Rock And Roll’, as well as ‘Pour Some Sugar On Me’ by Def Leppard’. Undeniably, both are catchy, impressive songs, but cloning of them is unnecessary.

     Beginning with the word ‘shawty’ followed by ‘crunk’, the boys have managed to construct a real ‘facepalm’ moments for themselves.  As the song progresses, some of All Time Low’s edge and vigour return, with mischievous lyrics (if a little immature), ‘Everybody get kinda awesome...’, and an infectious chorus. Any fan of the band can recognise that this track will be nothing compared to previous work live as it has none of the punch as, for instance, ‘Damned If I Do Ya (Damned If I Don’t’) (Nothing Personal, 2009), but its likeability makes it impossible to completely hate. All Time Low have never come across as a serious (emotional) band, but this song fails to even capture the party-mode they tend to embrace so well.

'I Feel Like Dancin': Artwork

     Lyrically, this track is a train wreck; without depth or hint of sentiment. Of course bands experiment all the time, so let’s hope this is recognised as an unsuccessful one by the guys, and not a new sound. However, it has been reported that Gaskarth wrote the song as a joke to make am ironic joke of mainstream music and the tedious party songs many people adore. But why write a song embracing it...and then release it as the first single from a brand new, more poignant album?

     Only time will tell if All Time Low have produced an album bursting with tracks like this and return to their lovable characters so many know and love.


2/5


 Watch the official music video for ‘I Feel Like Dancin’ here: http://www.youtube.com/watch?v=MTJkE8Ki3Gg

Destroy Rebuild Until God Shows- D.R.U.G.S. (22/02/2011 Sire/Decaydance)

     Formed in L.A. in late 2009, Destroy Rebuild Until God Shows (D.R.U.G.S.) is a post-hardcore rock super-group lead by ex-Chiodos frontman Craig Owens. After his well publicised 2008 overdose and departure from Chiodos in September 2009, fans were desperate to hear something new from the vocalist. Via Twitter, Owens announced the official formation of new band D.R.U.G.S. Approximately a year after forming, D.R.U.G.S. have released their bitter, anger-driven self-titled debut.

Frontman: Craig Owens

     

     The aggressive first track, which was released as single in November 2010, ‘If You Think This Song Is About You It Probably Is’, propels the band comfortably into the heavy-handed alternative scene with a thumping drum solo commencing it, along with breathy vocals courtesy of Craig Owens. The lyrics immediately provide the listener with a perfect taster of what is to come from the rest of the album, ‘Today was the day you tried to shut me down.’; anger-fuelled, intense sounds flavoured with softer elements such as dance-inspired mixing. By utilising a start-stop format and various tempos for this song, D.R.U.G.S illustrate their song writing skill. This, along with Owens’ powerful, soaring vocals and the versatile abilities of the rest of the band layered together convey the venue-filling potential this band have.

     Something rare about D.R.U.G.S. is their capability to be a post-hardcore group using scream vocals that are actually audible to listeners, something shared with the likes of A Day To Remember and The Blackout. Owens’ distinctive voice drives the band, with his flawless quick changes from melodic moments to burly scream sections and back again. Although it is only their debut, this album could easily be mistaken for a second or third album, reflecting the experience of the band’s members. Second track, ‘The Only Thing You Talk About’ is more a scene-associated song, obviously reaching out to younger listeners as it commences with soft gang vocals, ‘We all know, we all know, that you’re the only thing you talk about.’ Lyrics such as this aim to attract the younger ground, such as fans of You Me At Six, All Time Low, and others from the Pop Punk Scene.  This track contains thrashing guitaring and a catchy pop-inspired chorus, a hardcore breakdown before the final chorus, followed by Owens bellowing, ‘I knew as soon as I’d left that you’d go and fuck someone else, you whore.’

     Third track ‘Graveyard Dancing’ begins with mild melodic beats that lull the listener into a false sense of security. But by twelve seconds in, the thumping drumming and boisterous sound return, employing the timeless component of light and shade within a track. Having said that, the lighter aspects come across as sarcastic when juxtaposed with the theme of the album, ‘You’re not as pretty as you maybe think that you are.’ The mature backbone of this album sets D.R.U.G.S. apart from other similar bands, as well as the unusually heartless and hate- fuelled lyrics, ‘Why is it I love you so much and all you do is hate, hate, hate...’. It is clear that the band took time to evolve their sound in order to produce this ambitious debut offering.

      Released on 6^th December 2010, second single and fourth album track ‘Mr Owl Ate My Metal Worm’ not only has a pop punk inspired title, but from its inception, retains D.R.U.G.S.’s energy entwined with emo elements, ‘I’d like to keep cutting...but I can’t stand to watch myself bleed...’. Placed against forceful backing vocals this track rewrites the emo rule book, making the band groundbreaking and well established in their debut. ‘Sex Life’ premiered in January 2011 and it complements previous tracks with its tricking the listener about the strength of the song, which foregrounds the fact that it is possible to compose an ‘I-hate-everything-and-everyone’ compilation and be talented musicians. 

Destroy Rebuild Until God Shows (D.R.U.G.S.)

    Stunning in its apparent simplicity, ‘Laminated E.T. Animal’ begins with the subtle strumming of an acoustic guitar, alluding a Parkway Drive type breakdown and negative emotion filled remainder including epic group vocals. Seventh track ‘Stop Reading, Start Doing Push Ups’ fires up with a Green Day/Rise Against moral-yelling introduction before sweeping in Craig Owens’ perfectly gritty tone. It is clear that the band spent time developing their sound as every note and occasional sound effect combines seamlessly with the vocals. ‘I’m The Rehab, You’re The Drugs’ is punchy without endorsing pop elements. It derives from a sense of self-pity minus any whining.

     ‘I’m Here To Take To The Sky’ incorporates a slight sense of optimism, ‘If the sky is the limit, then I’ll build a bridge up to it!’, so much so that it could be mistaken for an All Time Low track. However, the album was crying out for some hope by track nine. ‘The Hangman’ returns to the heavier form which appears to be D.R.U.G.S’s most comfortable sound, ‘Sometimes hate can be so beautiful...oh please, oh please, just let me bleed...’ . Final track ‘My Swagger Has A First Name’ closes the album with guest vocals from Underminded’s Nick Martin and high creative energy and drumming just begging to be heard in a sweaty, sold-out venue. Bonus tracks ‘A Little Kiss And Tell’, ‘Ghost Town’ and ‘The Holly Situation’ unfortunately come across as very generic compared to the remainder of the album.

      Music is undoubtebly Owens’ emotional outlet, proving there’s nothing like honest and personal lyrics, ‘I’m so used to being a coward!’, together with great music. Infectious and fiery, D.R.U.G.S. have managed to generate a fresh and almost exclusive sound and establish themselves as flexible, resourceful and great musicianship overall. But, this offering is pleading for a chilled acoustic track to throw some variety in with the other solid tracks.


4/5

D.R.U.G.S.' Debut Album Cover

www.thisisdrugs.com

Rise Against- Endgame (15/03/2011 DGC/Interscope)

Produced by Bill Stevenson, ‘Endgame’ is Rise Against’s sixth studio album, marking how much they developed as recording artists, songwriters and veterans from their aggressive outset. Impressively, they have retained their signature theme of expressing the negativity of the world through sentimental songs that are treasured by many thousands of fans all over the world. Rise Against have never been conventional, but it is their individuality and high standards that have made them so well-known.

     The Chicago quartet have enjoyed mainstream success, after being considerably underground, since their third album, ‘Siren Song of the Counter Culture’. With politically enforced, activist driven and animal rights protesting lyrics and three straight edge members (excluding drummer Brandon Barnes), they are somewhat unusual components of the punk puzzle; a world overflowing with drugs, booze and girls. After being formed over a decade ago, fans were anticipating a variation in sound from Rise Against, as well as the inspirational hits the bands have brought before.

The Album Artwork of 'Endgame'

     With influences from punk rock heavyweights such as Face To Face and Down By Law, Rise Against certainly don’t make it easy for themselves! ‘Endgame’ is boasts some of the band’s best work to date, opening with a melodic punk riff in first track ‘Architects’, in which, you can really feel the heavier sound of Rise Against. The ferocious backing drums and thunderous chorus, ‘Do you still believe in all the things you stood by before?’. Along with a powerful guitar solo, you can practically feel the mosh pits opening up.

     ‘Help Is On The Way’, which was released as a single on 25^th January, peaking at number 3 on both the US Billboard Rock Songs and Alternative Songs Charts, is a catchy, crunchy track, portraying the band’s cluster of influences. The speedy intro is reminiscent of The Red Jumpsuit Apparatus’ ‘Face Down’, but the addition of Tim Mcllarth’s unique vocal abilities tinged with anger and frustration allow the band to almost adopt theatrical elements with the dramatic drive of their proceedings. A welcomed element is the use of light and shade in the track, illustrating Mcllrath’s talent for both singing and screaming beautifully. The constant change in speed keeps the listener attentive and interested, and gives long-standing fans something to clutch to.

      Third track ‘Make It Stop (September’s Children’) retains Rise Against’s established dramatic backbone to create a ready-made head-banging workout. Think 30 Seconds To Mars meets Green Day’s Boulevard of Broken Dreams.’ War-inspired gang vocals, mammoth musical muscle and a superb clutter of instruments, tempos and arena-filling swagger help reiterate Rise Against’s serious message about the evils of the world. A breakdown of the song towards the end is almost identical to Green Day’s ‘Holiday’, but with Mcllrath reading the names of fallen soldiers in their early teenage years, the solemn backbone of the band’s music is fantastically emphasised.  

     ‘Disparity By Design’; drenched in punk-edge, truly delivers the concept of Rise Against’s music with frantic flourishing from start to finish. ‘Satellite’ conveys the band throwing what they know to the wind, with a gentle introduction and a chorus that not only ties the song together, but also combines band and fan, ‘We won’t back down, we won’t run and hide!’ Rise Against have the compelling ability to compose solemn music without ballad after ballad and emo or self-orientated lyrics, ‘We are the orphans of the American Dream’, which must be applauded.

     Sixth track ‘Midnight Hands’, along with ‘Survivor Guilt’ and ‘Broken Mirrors’ depict work peppered with funk and heart, which is a rare mixture to find in punk rock tracks. ‘Wait For Me’ appears to be the expected ballad of the album, and it does not disappoint, although it is by no means superior to ‘Hero of War’ from previous album ‘Appeal To Reason’, which is a stunning tear-jerker. However, it stretches the sheer diversity and overall verve of Rise Against, boosting their appeal to new fans, allowing them to clamber further up the mainstream ladder.

Rise Against

     The speed and skill communicated through ‘A Gentlemen’s Coup’ and its start/stop framework expresses the intended anger, ‘We storm the gates, raise the flags...’.  The capabilities of Rise Against appear infinite thanks to the vast variety found throughout ‘Endgame’ and the split second of acapella vocals from Mcllrath propels his gift into the well-deserved spotlight. ‘This Is Letting Go’, as track eleven on a twelve-track compliation, should be the clear waker-uper, really showing what the band can do; impelling the listener into the band’s solid graft admirably. Final and title track ‘Endgame’ is a bass filled finale, exploding with a beautifully broadcast, stunningly-deafening melody. Along with bonus track ‘Lanterns’ a reasonably chilled song, ‘Endgame’ is rounded off wonderfully.

     Hitting the listener like a speeding train from beginning to end, ‘Endgame’ marks the development of Rise Against as musicians and their determination to use their music for good and making political messages accessible and seamlessly ear-splitting.

5/5

     

All Time Low @ London Brixton Academy (12/03/2011)

     All Time Low, from Baltimore, Maryland were formed in 2003 and released their debut studio album, ‘So Wrong It’s Right’ in July of 2005. Tonight, they play their largest UK show to date, proving that high school kids coming together to play Blink-182 covers can conquer the music industry. All Time Low are rapidly becoming one of the most well-known pop punk bands around, with a little help from multiple airplays on BBC Radio 1, tracks peppered with bubblegum pop and unique musical skill.

     Their fan base appears to be ever-expanding and with fan-favourite ‘Dear Maria, Count Me In’ recently hitting gold-standard sales without ever being played on the radio, proving the worth of frequent touring and faithful fans. Support for this tour is made up of rising stars Young Guns and alternative rock stars Yellowcard. Tonight’s sold out show is a prime example of music fans becoming younger and younger, with most of the room having barely reached puberty.

     High Wycombers Young Guns are first to saunter on stage to rapturous applause, and although they performed admirably, their five song set was somewhat disappointing due to the exceptional standard of their album and EPs. As their stage time ended up being just in excess of half an hour, Young Guns played nothing unexpected, including ‘Winter Kiss’, ‘Stiches’ and ‘Crystal Clear.’ However, aside from three or four rows towards the front of the crowd, unfortunately they failed to whip the audience into shape for the following bands, which, if anyone had experienced them live before, would be fully aware that they were more than capable of doing so.

     Yellowcard graced the stage for just over forty five minutes, armed with foundation melodic skill, and a violin, setting them apart from other alternative bands on the scene. After coming together in 2007, Yellowcard have released a total of seven albums, yet they are not as conventionally successful as headliners All Time Low. Having said that, their set was nothing short of incredible, with that unnamed magic element running throughout, which gig goers yearn for. The pure emotion and power poured into every single song was seemed effortless yet staggering.

 Support: Yellowcard

     Although Yellowcard did vary their overall style initially from punk rock to pop punk, their individuality remains clear and judging by the reaction of the crowd, many people were struck by the same sing-along sensation as I was. Blasting favourites such as ‘Hang You Up’, ‘Only One’ and ‘For You and Your Denial’ showcased the diversity of musical talent and skill in the band, as well as the range of tracks they have composed over the years. I, for one, will certainly make a point of seeing this band headline their own show in the near future.

Headliners: All Time Low

   To be frank, All Time Low had a great deal to live up to owing to the knockout performance from Yellowcard but with a decent combination of encouragement and professional showmanship, with one or two signature jokes thrown in, they played a great show. All Time Low’s stage presence has always been quirky and personal and with frontman Alex Gaskarth erupting on stage with ‘Keep The Change, You Filthy Animal’, it was obvious how keen the band were to develop the crowd’s energy and enthusiasm, enhanced by Gaskarth’s somewhat desperate repletion of ‘...this is the best UK show we’ve ever played’. 

     Although nowhere near rowdy, the audience remained pumped throughout the hour and a half set, chock-a-block with both old and new tracks. The beautiful sound that the walls of Brixton Academy bring to any band instantly boosts any sound already heard, and the projection of ‘Damned If I Ya (Damned If I Don’t)’ illustrated the crowd’s deafening refrain and the awesome mainstream success underestimate the supremacy of pop-based elements to help bands steer their triumphs, as long as a distinctive style is created and retained.

     Crowd pleaser ‘Jasey Rae’ was brilliantly executed, along with ‘Poppin’ Champagne’ and ‘Six Feet Under the Stars’, portraying the variety thrown into tonight’s setlist as well as All Time Low’s uncommon flair with regards to song writing. After ‘A Party Song (The Walk of Shame)’, which, although a great track, marks the bands development as both musicians and people over the years, brand new track ‘Time Bomb’ shook the walls. From the boys’, yet to be released and highly anticipated fourth album ‘Dirty Work’, it, in itself reveals the increased maturity of All Time Low, but I am glad to note that they have not lost their infectious mischievous side.

     ‘Lost in Stereo’, ‘Stella’ and ‘Break Your Little Heart’ render a flaw in the setlist as they are all taken from the band’s most recent release, yet due to an incredible high volume of sales, this is to be expected. Signature ‘slow one’ ‘Therapy’ followed, showcasing the solid flair and vigour that All Time Low boast, along with their positional to generate an atmospheric rasp throughout the set. And after a half-hearted mini cover of Katy Perry’s ‘Teenage Dream’ and ‘Remembering Sunday’, tonight’s encore kicked in consisting of ‘Weightless’ and ‘Dear Maria, Count Me In’, which wrapped up the show perfectly.

     Despite some hiccups concerning track placing in the band’s setlist and being somewhat outshone by breathtaking support Yellowcard, the execution of tonight’s performance was excellent and left fans hungry for the official release of ‘Dirty Work’ in the next couple of months.

4/5

My YouTube Videos:

Believe- Yellowcard- http://www.youtube.com/watch?v=WjxlUKU1YqQ&feature=channel_video_title

Only One- Yellowcard- http://www.youtube.com/watch?v=AHtjKmnoZY4

Stella- All Time Low- http://www.youtube.com/watch?v=QJG7M1Qkk38

Black Swan- Fox Searchlight Pictures (21/01/2011)

     Starring Natalie Portman, Black Swan is a beautiful and haunting ‘physcoramatic’ piece directed by Darren Aronofsky, who is renowned for his hard-hitting and thought provoking work, such as Requiem For A Dream (2000). Portman encapsulates the seemingly naive, dainty and dedicated young ballet dancer, Nina Sayers, who is utterly consumed with her profession. Dancing for the New York City ballet, and living with her mother, a former ballerina who is also infatuated by dance, she lands the lead role in Swan Lake when artistic director Thomas Leroy kisses her and she bites him, allowing him to discover her potential. The artistic director, played by Vincent Cassel replaces Beth Macintyre (Winona Ryder). However, Leroy is also astounded by the unique abilities of new dancer Lily, brought to life by Mila Kunis, who is best known as the voice of Meg Griffin in hit US T.V series Family Guy.

 

The Film's Director Darren Aronofsky

     Leroy states that he requires a prima ballerina capable of personifying the white swan’s innocence and grace as well as the sensuality of the black swan. Innocence and grace are clearly Nina’s traits whereas Lily encapsulates the innate, slightly off-centre sensuality that Leroy yearns to bring out of Nina through her dancing. The girls become friends which develops into a fierce rivalry as Nina craves Lily’s lose characteristics, causing her to get in touch with her darker side. Nina eventually experiences hallucinations and shows definite psychotic signs, making the audience question her every move and thought, which is a difficult role for a protagonist to have, because it is within the nature of the viewer to trust the main character without question.  

 

          Fundamentally, Black Swan is a thrilling drama illustrating the lifelike aspects of a dedication to dance, specifically ballet, which is renowned for harsh expectations for those involved, which is seen early on in the film with Nina cracking her toes in preparation. The theme of obsession appears to be a favourite of Aronofsky’s, perhaps due to how hard-hitting and heartbreaking it can be, after all, it is always more interesting to view the life of a troubled character than someone who is excessively  care-free and optimistic. Unfortunately, from simply watching the preview trailers for Black Swan, one can completely comprehended the majority of the storyline. But, having said that, the nauseating imagery and troubled existence of the protagonist attract nothing but deep sympathy from the audience because of how well-acted the film is.

 

     The simplistic cinematography aspect of conveying parallels between characters within the film and a story within said film has been somewhat overused, making the overall plot very unsurprising. But I am sure not many audience members expect the parallels to be quite so dark and disturbing. The juxtapositioning of the film’s actual storyline and that of Swan Lake are cleverly placed to portray realism and surrealism perfectly in tandem. I appreciate that Arnonofsky has never underestimated the potential power of colour, or lack thereof, because by simply labelling one character as the white swan, and the other as the black, a probable plot forms in the mind of the viewer instantly. As a perfectionist, it is inevitable that Nina becomes more spontaneous to project the black swan on opening night. A film gripping film about jealousy, fear and dedication, Black Swan is glitteringly stunning, with several ‘must-look-but-my-stomach-cannot-bare-it’ moments. Arnonofksy's use of mirrors is unusual as it seamlessly represents the idea that dancers and actors alike must develop a sense of self-criticism in order to be successful, which is an ironic portrayal of similarities between the character of Nina and Portman, as the actress playing her. 

 

      In a similar way to Aronofsky’s previous work, Black Swan has no concealed message or moral for the viewer, allowing utter focus on the dazzling acting, incredible cinemaphotography and storyline. Some of the shots of the dancing, specifically group rehearsals and rapid close-ups making everywhere appear claustrophobic, creating audience-character empathy, are fantastic and despite the movie being from the protagonist’s point of the view, the variation of shot keeps the audience questioning Nina’s mental stability. Additionally, the graphic and captivating dancing scenes are the backbone of the film without taking the focus off the storyline itself, which is a very difficult balance for a director and cinematographer to attain. Andrew Weisblum’s editing must also be applauded because his juxtapositions of lifelike aspects with a montage of mental instability are intense and some of the sequences of shots reflect the sense of tainted beauty found in the storyline.

 

A Black Swan Film Poster

      Black Swan is one of those films that, assisted by Clint Mansell’s cold and haunting score, a charismatic piece, that does something very rare as tests the limits of cinema on an emotional level. Some scenes with make you feel physically sick, but not because of their realism, but because of their distant connection to reality, which is incredibly rare. The frequent intense use of mirrors is unforgettable, and will have you jumping at your own reflection for weeks to come. Black Swan, in which Natalie Portman absolutely gives her best performance to date, manages to encapsulate spectacular dance sequences, storyline parallels, dramatic and charming acting and character deterioration, all coming to a holt in the most predictable but stunning fashion. 

4/5