Blog — Page 241 of 282

T2 Trainspotting
Now at cinemas

Making a great movie is difficult. Standing out against the myriad of mediocre big budget offerings is no mean feat. Stars need to align. Lightening is to be caught in a bottle. Once accomplished, the sequel needs to be even more original while lacking the advantage of introducing the characters and their relationships. Everybody knows Spud, Sick Boy, Renton, Tommy and Begbie. Focus is on the story and most films narratives just do not lend themselves well to a sequel or prequel. The budget for the sequel might be higher but it also buys time all the rope one needs to hang oneself with.

It’s been 21 first years since the black comedy drama Trainspotting, based around a couple of heroin addicts from Edinborough made a global impact. An impact of the scale that made one question if art was imitating life or the other way around, with its stylishly nihilist heroin chic becoming part of mid-90ies DNA of pop culture. Returning for a sequel was always a daunting task.

T 2 is respectful of its original incarnation. It’s the reunification of Director Danny Boyle and Ewan Mc Gregor, with whom after Trainspotting, A Life Less Ordinary and Shallow Grave, he fell out with, as Gregor was supposed to be the lead in Boyle’s The Beach, which was eventually given to Leonardo diCaprio.

While there is an undercurrent of regret and fear, T 2 is an epic, choppy yet at the same time also sadder, slower tour de force – a tour de force that is at times a bit longwinded, tinged with sentimental nostalgia and both aurally and visually self-referential throughout, yet one that has its surprises and twists with the comic flaws and antics of the main protagonists still intact and being a main ingredient.

It is solidly based on the foundation of its forerunner, which would make it hard to enjoy for anybody not familiar with the original, yet manages to not tarnish the legacy, which is largely due to Boyle’s chops as a great filmmaker: T 2 lives from the way the story is told more than from the story itself.

The movie got older with its audience, with them being able to relate to the mid-life crisis Renton is going through. There are numerous rhythmic parallels drawn by Boyle between Renton’s life behind the façade of having it together and his life 21 years ago, for which, again, familiarity with the original is an absolute necessity.

It can be a balance act to stay true to the spirit of an original while acknowledging the changes over two decades. Boyle acknowledges to some extent, yet deliberately chooses to not comment on current developments in the United Kingdom, which feels a tad like a missed opportunity.

T2 is a reprise.

Boyle manages to encapsulate the futility of endeavouring to relive an idealized version of the past while the sobering reflection of eroding ambition and aging starts to sink in. A faithful elaboration of the original, recommendable for anyone who likes the original. Choose acceptance.

The Menzingers
Mr. Smalls Funhouse
Pittsburgh, PA
February 28, 2017

The first time I saw the Menzingers play in Pittsburgh was at this club that doubled as a concert venue and a nightclub. I remember it so clearly because it was the first and only punk show I attended that had air conditioning. I was there, shivering a bit, and these four gangly, grungy dudes walk on stage and that was it, I was hooked--a forever fan. The amount of energy and conviction the Menzingers possessed that night gave them the title in my mind for many years after as the best current live performing punk band.

Flash forward some 6-7 years later and the Menzingers were back in Pittsburgh kicking off their tour for their newest release After The Party. They opened their set up with their new hit "Lookers", not a bad move on their part considering that song was released first before the entire album. Not to mention it's one of the catchiest songs on the entire album. These boys might not be as grungy looking as they did before, but I'm not complaining here. The Menzingers are one of those punk bands that have managed to become better versions of themselves while still remaining true to their roots; they essentially have become the adults we all want to be.

That being said, the Menzingers are like any smart band and played to their strengths during their set. Yes it's a tour for their newest album so we all except those new songs to be played, however that doesn't mean you can abandon the old songs that crowds will expect as well. About four songs in they played "The Obituaries" and you could hear the entire crowd singing along. I remember looking around at the crowd and feeling this stupid sense of purpose. You know, that feeling when you realize you're not alone in the world and in that moment you are in the same mindset as all the people around you. It's a great feeling and why a lot of people enjoy shows so much.

Before playing "Thick as Thieves" guitarist/singer Greg Barnett shared with the crowd that Pittsburgh was one of the first stops the band played when they toured for On The Impossible Past. He remembered being nervous to play the new songs, wondering if people would like them, and he admitted he felt the same way this night about After The Party and it felt really reassuring to hear people singing along. It was a touching moment because usually stage banter is full of terrible or just plain awkward jokes, but it was an honest, raw moment that captured who the Menzingers are as a band and who Barnett is as a songwriter.

Halfway through their set they played the classic "Time Tables", a signature song about heartbreak and youth that we all know and love. "After the Party" was also a standout song for me because prior to the show it wasn't a song I payed much attention to, but hearing it live added conviction to it. "Midwestern States" and "Tellin' Lies" are sure to become classic Menzingers' hits, they are hands down two of the catchiest and musically pleasing songs both on the record and live.

They solidly ended their encore with "Casey" and "In Remission"; two of their strongest songs about the ups and downs of relationships that really hit at the heartstrings of your youth. The Menzingers did manage to still engage the audience and create undeniable energy after years of performing, but I will say there was a different air about them this time around. Maybe it's the fact that I'm in my late 20s now and I'm not the angsty youth I once was. Maybe it's the fact that the band itself is maturing. Maybe it's both. I'm not mad at those facts either, because after all, where are we gonna go now that our twenties are over?

Marshmello
Enmore Theatre
Sydney, AU
March 2, 2017

This was the first ever-Australian show for the man with the LED enhanced marshmellow mask and boy, did he get a reception: 
The Mellogang (yup, that’s how his followers refer to themselves) got all amped up chanting football songs in anticipation of the man in white entering the stage.

Sydney’s Enmore Theatre was filled close to capacity and once he unleashed his synth-laced trap melodies, upbeat breakdowns and rollercoaster drops, the dance floor started pumping and did not let up.

With ample singalongs and crowd participation, it felt more like a rock show than the more passive and receptive outcome one would expect from a DJ holding court.

It is not hard to see how Marshmello’s distinctive blend of EDM has positioned him firmly among the other helmeted spearheads of the genre as he powers and mashes both current and evergreen pop and hip hop hits to his own saccharine confection that the pre-dominantly Asian Kawaii loving audience could not get enough of.

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Photos by @ryanhadji

Vault
Australasian Art and Culture

Vault encapsulates a quadruple thrEat: 

An elegant, extravagant, eloquent and engaging Art and Culture Magazine with particular emphasis on Australasian contemporary art.

Vault embodies the common denominator when it comes to the preeminent designers, artists, collectors and enthusiasts in New Zealand, Australia and beyond – while most of the content is specifically relevant to Oceania, it is pervaded by a global outlook and relevant to anyone remotely into the arts.

It features profiles of artists and genres, updates on art movements, show reviews, and event schedules. Interesting interviews and previews give art appreciators an inside look at the work and inspiration of up-and-coming artists, and critiques and reviews show what's new and on-point in the art world.

An enduring holistic approach encompassing fashion, architecture, food, literature and the finest forms of visual expression is paired with attention to design and photography lets readers really engage with and appreciate the works and artists being covered in each issue.
An almost tactile experience with the high quality printing and paper that is used by Vault.

Designed to be read not only by collectors, artists, art dealers, and art professionals, with its visual and textural delights Vault is the perfect magazine for today's lover of art, bucking the digital trend with a stylishly printed magazine that is as much of a joy to hold as to behold.

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Photo from Vault website

Barbu by Cirque Alfonse
Sydney Opera House Studio
Sydney, AU
February 26, 2017

Needless to say that the mélange the troupe of Cirque Alfonse, with all its Québécois folklore, brings to the table as a collective is much bigger than its individual parts added up.

Barbu (which translates to “bearded” or “bearded man” – quite a telling name) the company’s 2015 Edinburgh Fringe hit, is performed on a small circular stage and catwalk and delves into the origins of the circus in Montreal at the end of the 19th and beginning of the 20th century.

Think acrobatic vaudeville and burlesque comedy.

The troupe, comprised of five gentlemen and two female protagonists, introduces itself with non-stop routines agile and daring feats of balance and strength, utilizing an array of props including teeterboards, hoops and balls, poles, roller-skates, and whatever one can juggle with in the most contorted and seemingly impossible way.

As the show goes on, the intricacy and sweat inducing physicality of each feat becomes increasingly intense, with loads of shenanigans, unpretentiously camp humour and audience interaction thrown in for good measure to keep the mood light and fast paced.

The pace of the show is enhanced by all protagonists constantly involved: The four men (Jean-Philippe Cuerrier, Francis Roberge, Jonathan Casaubon and Antoine Carabinier Lepine) get few breathers in this interval-free 90-minute show.

Barbu’s women – aerialist Genevieve Gauthier and acrobat Genevieve Morin might have less of a presence, though deliver superb performances when in the spotlight.

The action is serenaded by an entertaining live musical soundtrack courtesy of a three-piece electro-folk band led by singer-guitarist Andre Gagne, whose circus rave adds spice when things get kinky in the second half of the show, e.g. when Lepine appears as a human disco ball circling in a Cyr wheel or when beer kegs are juggled in underwear.

What makes Barbu a fun night out is that the troupe works as a family based collective: There is an esprit de corps that enriches the physical acts, which is further enhanced by the artists mingling with the audience.

One can tell that the protagonists are not merely re-enacting their bits but have been involved in the development from the get go and take pride in it.

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Photos by KAVV