Blog — Page 154 of 281

Bret Easton Ellis – White

Panmacmillan

White is in essence a compilation of eight essays based on two central themes responding to contemporary culture: The drawing of a demarcation line between generations and the way people conduct themselves in this day and age, i.e. devoid of integrity and authenticity.

Now, if you know Ellis from his previous literary emissions, you would be hard pressed to find it surprising that the way he goes about elaborating is informed by an outspoken, unapologetic and at times abrasive tone that channels his criticism of a popular culture the protagonists of which are according to his assessment, well, weak, overprotected and needy.

What makes White interesting for the Ellis aficionado is that is has autobiographical bits and pieces and references that pieced together give one a accurate idea of how he ticks and what his influences are.

One of this many gripes that repeatedly rise to the surface is what he perceives to be corporate fascism, i.e. art being tainted by underlying ideological messages, which is intriguing as one cannot help but sometimes think that Ellis’ own wealth is at least partly based on having arranged himself with the machine he prides himself on raging against.

He defines freedom as being able to express oneself without caring about the consequences, a position that he deliberately takes on when he muses about the signs of our times.

A hyperbolic, passionate and entertaining rant against everything corporate that certainly does not lack narcistic, at times petty and self-aggrandising nuances, and while some of his anecdotal meanderings seem to lack direction and significance, it reveals a lot about the man in terms of him thriving on being agitated and his need to express himself no matter if there is actually a point to it or not.

Mentors: How to Help and Be Helped

Russell Brand

Look at Russel Brand – what an evolution!

I would be hard pressed to claim that his recent emissions do not hold merit. While he has proved entertaining in the past, he has evolved to a stage where a deeper understanding of the human condition meets compassion and an astute assessment of the new world order.

The outcome is a book musing on what wanting wants.

Having indulged in fame and everything that comes with it, including the downfalls, this emission is based on his first-hand experience with the 12-step program, with his approach being based on the understanding that basically love and connection are integral ingredients for a way towards enlightenment.

Detailing his relationships with his mentors and shedding light on how they assisted him to get out of pickles, the essence of what he extracts is widely applicable when it comes to maximising one’s potential – i.e. it is relevant to the most highbrow as well as pedestrian reader and not just another celebrity preaching from the ivory tower of entitlement.

There’s heart, guts and wisdom along with an introduction to the people Brand considers to be his mentors and the reasons substantiating them being labelled as such.

Despite his Brand-esque more often than not entertaining detours, Russel’s writing is focused and succinct, however, there are still bits and pieces that indicate that the circumstances he reports from are slightly different from the one of the readers, who will not necessarily have had access to ashrams, psychologists, therapists and an entourage that caters to one’s every whim.

At large, his experiences are shared in a relatable manner and the fact that the end result, i.e. the person Russel Brand has graduated to become, is a better version of himself speaks for itself.

Does it inspire to find mentors? Maybe.

Do you need mentors? Well, having good ones will certainly be of advantage.

The main reason I find this book to be a worthwhile read is that it seems honest, at times surprisingly raw, and offers insights into realms most wish to find enlightenment in.

Thus Let Us Drink Beer – 3 Ravens

Every now and then one cannot help but think that certain alcoholica are covered. Been there, tried that, the rest are variations. Then you come across an entity that infuses the game with its idiosyncratic twist and makes things exciting again.

Enter 3 Ravens.

Based on a common core range, i.e. European style brews and ones inspired by American Ales, that was established in the early noughts, the fine people behind 3 Ravens ventured out and upped the ante with speciality ranges on either a seasonal or limited basis.

3 Ravens’ New World IPA was the first of the range that came across my palate and boy, was I in for a treat. Claiming that it is “hop forward” would be an understatement par excellence and the resulting limey, piney dankness has made it an instant favourite for boilermakers as its tropical flavour prove to set a great canvas on which a peaty scotch can unfold its nuances.

Now, IPAs tend vary quite a bit in terms of tastes, which keeps things interesting, however, the innovative approach which informs the liquid emissions of 3 Ravens take things up a notch or two.

Take Simcoe Juicy, where not only the name but even the appearance is reminiscent of a lemonade-y beverage, but its fruitiness combined with the core IPA flavour profile makes for one refreshing beer.

The Coffee & Blueberry Shake IPA – yes, you read right, is not just alluding to berry flavours but is based on blueberry puree combined with fruity hops, fresh roasted coffee beans, lactose, vanilla and a creamy base of oats and wheat. Add Mosaic and Bramling Cross hops and you got yourself something an intense yet immensely aromatic and drinkable West Coast IPA to have a whole lot of fun with.

3 Ravens’ Double IPA is more conservative in flavour yet no less fruity – a melange of grapefruit, pineapple, peachy flavours and honey is complimented by a delicate bitterness that makes it for one smooth NEIPA.

While some of the names and flavour profiles might have you think that these are novelty beers, the opposite is the case:

3 Ravens is a brewery that has mastered the alchemy of brewing high quality IPAs and then experimented to create nuanced and well-calibrated brews with subtle nuances that take you on a journey and make drinking beer fun again.

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photo by T

Rammstein – Self-titled new album

The release of the yet untitled upcoming seventh studio album by the entity that heralded the dawn of what has been classified as “German Neue Deutsche Härte”, i.e. Rammstein, is upon us.

My personal relationship with the individual constituents of a band that has conquered this earthround multiple times over, dates back to the late eighties when excursions to Hungary exposed me to punks from the GDR, who traded tapes of such obscure bands like Sandow and Feeling B and other outfits like Zwitschermaschine and Schleimkeim.

The fact that the roots of Rammstein can be traced back to underground punk bands has always added an additional dimension and credibility, especially once Rammstein became mainstream darlings with their Depeche Mode cover version and eventually conquered the new world with their David Llynch collaboration and their hyperbolic Teutonic antics.

The fact that the phenomenon and institution that Rammstein has established itself as has never not been intriguing, with specifically their live and video incarnations always pushing the envelope of what is commonly considered to be acceptable and of good taste, speaks volumes about their significance.

Needless to say that one was eager to see if the new album's lead single, "Deutschland", was going to add yet another relevant facet to the complex theme of Germanic patriotism and not merely a lacklustre button push to get the feuilleton writers of their homeland riled up – especially given the “controversy” the mere announcement of the title of their first single ignited.

The choice of Specter, who has had a major influence on the evolution of hip hop in Berlin and therewith everything that has now infiltrated mainstream territory,  to direct the video for “Deutschland” got my hopes up: I was not disappointed as the eye candy that frames the solemn, patriotic and ambivalent discourse is an exercise par excellence in making viewers visually sensitive to Lindemann’s narrative, which guides us down the rabbit hole of German history and polarises opinions resulting in debates about what constitutes good taste, provocation merely for provocation’s sake and what can be justified under the banner of free speech in the current political climate.

I have yet to experience the album in its full glory, yet what I have heard so far is a surprisingly fresh breeze that does not tinker with the DNA of Rammstein too much – think effective dynamics and pacing,  Flake's creative keyboard work, the throning thick and tight wall of sound and guitar licks that Richard Kruspe and Paul Landers have become known for, along with Lindemann’s trademark vocal delivery.

However, the formula works better than ever and even adds previously unheard facets, most prominently the ditty going under the name of “Puppe”, which exhibits Lindemann at his rawest and presents an adequate acoustic musical equivalent to what can be found at the core of his more personal literary emissions.

Summa summarum, an album that I’d recommend to anyone remotely interested in heavy music and specifically to those who enjoyed Rammstein’s previous emissions.

Bruce Dickinson: What does this button do?

No matter if you like Iron Maiden or his other incarnation in the field of music, it would be hard to deny that Bruce Dickinson is a renaissance man of sorts as he has reinvented himself constantly, be it as a commercial pilot, cancer survivor, author, beer brewer, writer, spearhead of NWOBHM or what else you got.

Given the aforementioned gives whatever the man emits a credibility that a lot of his peers’ lack or at least what their output makes it appear less profound in comparison.

What Does This Button Do?  Is not a biography per se but via memoirs it gives an astute account of the evolution of a man that has a lot of interesting facets, which are underpinned by a passion to go beyond of what most people would be satisfied with.

The book is not an old world equivalent to The Dirt or anything remotely similar. Despite being borderline forensic when it comes to detailing some of his personal trials and tribulations, he refrains from shedding light on petty disputes, ex-partners, celebrity friends and foes or inner and outer band related rivalries. Bruce is much better than having to rely on such antics.

The beauty of the book is that Dickinson has mastered the craft of telling by omitting and one gets quickly what he implicitly tells in between the lines.

One cannot help but feel that the tome is also an invitation to enter the world of Bruce Dickinson, i.e. not a fantasy wanky rock star world but access to the realm of a salt of the earth guy who applies himself to whatever he feels passionate about.

The fact that Dickinson proves to be a good and witty writer certainly aids in eliciting smiles and the occasional laughter, which adds a light heartedness that goes amiss with the literary emissions of his peers.

An inspiring, entertaining, thoughtful and genuinely good read that is devoid of self-aggrandising grandeur and adds yet another dimension to an agile man whose journey has had many avenues and is far from over.