Thursday, 31 March 2011

DH Lawrence: Women in Love

 
BBC4 drama Part One Written by William Ivory


"One must learn to love, and go through a good deal of suffering to get to it, and the journey is always towards the other soul." DH Lawrence





Written by William Ivory, this new two part drama for BBC4 is an adaptation of the modernist writer DH Lawrence’s two classic novels ‘The Rainbow’ published in 1915 and ‘Women in Love’ later in 1920. Of course there will be the purists that will not like the 'mish mashing' of two novels, but so far I think it works. Surely it's impossible to disappoint with a writer so ahead of his time, his books were burnt after the successful prosecution of obscenity and not published until a decade later, he was clearly entertaining enough to ruffle a few feathers.




Lawrence always seemed uncannily tuned into the role of women; sexuality, marriage and independence in particular, at this beginning to a new century along side so much social change and the ever growing rights for women.






There is a lot of feminist dispute about whether he thought his female characters were making life too hard for themselves in these modern pursuits and should have settled down, or whether he thought the plight of female liberation and difficulty were something of a message in his stories for women to ‘not settle for less’ in their pursuit of passion and living life.

Whichever way you decide to go after reading his novels, there is no doubt that he had a fascination and understanding for femininity which could perhaps have come from his relationship with his own mother; the point is his stories are riveting and make him one of the greats of modernist writers.


William Ivory, a fellow Nottinghamshire dweller of Lawrence, has a love for this writer and this drama does, for this opening, bring together two of his greatest achievements successfully; beautifully shot, gorgeous costume and scenes of moving intensity between sisters, couples, lovers; everything that makes us human.







The drama is based mostly around the pursuit of passion of two sisters Ursula (Rachael Stirling) and Gudrun (Rosamond Pike) Brangwen. The web of relationships around them indicate a need for ‘being true to oneself’.





From their very working class parents Anna (Saskia Reeves) and Will Brangwen (Ben Daniels) struggling with a dip in passion in their marriage after many children and fears of aging to the closet homosexual church man Rupert Birkin (Rory Kinnear) harbouring feelings for the classless oaf and industrialist Gerald Crich (Joseph Mawle), there are a host of characters struggling with love and impulse.



The opening scenes set the relationships up with dialogue, close ups of wedding rings, religious imagery, the blood of a miscarriage trickling down Ursula’s leg after an unsatisfactory sexual encounter with the quite unappealing Anton Skrebensky (Joseph Kennedy). 






DH Lawrence wrote about living life dangerously so of course sex plays a huge part in everything he writes in his study of familial relationships. And this is where part one of this drama begins and ends; the unmarried briefly pregnant Ursula and then the dumped Gudrun after her married lover will not allow any more ‘decay’ so vanishes leaving her and his devoted wife and children. Hmmm perhaps Lawrence was axe grinding about these modern women with their need for variety?

 Meanwhile Anna and Will Brangwen try to be thoroughly modern as she tells her husband to take a lover and sighs you don’t understand me … but in a very touching scene, Will returns to his ‘girl’ realising she is the only one he can look upon, cut to crying baby, nappies everywhere and what seems to be at least ten children filling the house.



Anyway rushing too far ahead, Ursula seems the older and wiser sister as she tells her art student boho chic little sister about her so called modernity in reference to men;




“You still orbit them, make them the light by which you are illuminated."


So clearly not as modern as she thinks. To end with ‘You may as well climb into this bed with me’ shows the outcome of most women who pursue passion in these times, the ultimate bullet you will carry for 9 months as a single woman.

The class struggle and tension between Gudrun and her parents, in particular her father Will, is evident as he begs her to help him understand her ‘London crowd’. It could echo Lawrence’s own experience as a great writer who grew up in the modest household of a miner in Nottinghamshire.

Both Ursula and Gudrun are trying not to fall into their mother’s ‘perceived’ trap. Ursula’s blood gives Anna a flashback, one of many used in this drama, to her wedding night. Interspersed with poor Ursula’s seedy encounter against a fruit and vegetable stall is the tension of  her parents passionless bedroom, lights off and mechanical. Another flashback to Ursula’s childhood hints slightly at all these women in their relationships with each other and for their father/husband struggling in their ‘orbits’ to be the brightest light.
 


Rupert Birkin’s story and obvious homosexuality hinted at his sexual difficulty with Hermione Roddice (Olivia Grant)  and revealed in his feelings for Gerald Crich only really started to draw me in towards the end of this episode.





 His ever building crisis of faith starts to spiral as Hermione taunts him with the claim that the union of a man and woman is at the heart of the Christian Church. It will be interesting to see how he develops in this crisis coupled with his struggle with his own sexuality.






Gerald Crich clearly has his own parental issues with a domineering father who he flinches from when he goes to touch him and later orders him back into the lake to find his sister's long drowned body.






The passion or lust discursive throughout is so brilliantly captured by Anna Brongwen’s words to Ursula;

“Find love that burns your very soul, and know this, it will burn your body too, and if it does not, then you’re not in love”.


This spurs Ursula on to finish her passionless relationship with the creepy Anton but with tragic result that seemed inevitable as she questioned his manhood. The rainbow in the background could symbolise Ursula’s connection to nature, the seven rays of light and peace giving her strength to get through what is about to happen.

The scenes between Will and Anna are quite moving as she demands he takes a lover but comes back to her. Attempting this he realises the young girl is a mistake and Anna is ‘his girl’;

“She had your skin, and now it’s not, that’s alright, it got like that with me."




He returns to Anna’s bedroom ‘unfettered’ and tells her ‘You are my soul’, a heartening scene amongst all the build up of gloom, Ursula and Gudrun both humiliated by their lovers, Rupert’s ‘trap’ on the train and Gerald’s anger at his father, his sister’s death and his subsequent seedy sex with the young girl Abby (Jenna Dunster) to prove he’s alive and ‘a man’ after the humiliation of failing his father.




Do you need to be familiar with DH Lawrence to really appreciate this? No I don't think so and hopefully some will pick up the books of this sometimes overlooked writer as a result.






Catch up with Part One : Women in Love on BBC iplayer


Catch up with what William Ivory has to say about his love for DH Lawrence

Part Two on this evening at 9pm...enjoy!

Monday, 21 March 2011

Christopher and His Kind… BBC 2 Drama


Simply Marvellous Herr Issyvoo…

 Oh how times have changed with ‘The Doctor’ being allowed time off to do some rather naughty but nice drama. I was quite excited to see how they would pull this off having read Isherwood’s ‘Goodbye to Berlin’ quite a while ago.



Based on Isherwood's semi autobiographical novel, it opens with the man himself played by Matt Smith in 1976 sounding even more the ‘gentleman’ than ever, tip tapping away at a typewriter, aged hands and words of wisdom, it quickly flashes back to the 1930’s and Christopher’s bid to escape the domineering and emotional blackmailing 'mummy' (Lindsay Duncan).  On her damning words when he says he’s going to Berlin, she clips harshly;

You won’t forget, will you darling, that the Germans killed your father’.  Camera shot straight to the framed and fierce looking Colonel Frank Isherwood and Christopher’s look of cold disregard.

He leaves mummy with his ‘runtish’ brother, Richard, who twitches nervously around the matriarch trying to get some recognition against the obvious favourite ‘Christopher’ after begging his sibling to ‘take me with you’. Next shot is super dapper Isherwood being the focus of the rather ‘screaming queer’ Gerald Hamilton on a rather beautiful steam train, toot toot, love beeb 2 for these details. 



The drama shakes a bit at this point with some silly innuendo between Christopher and Gerald.  In the next scene, ‘The Cosy Corner’, the first sight WH Auden, the poet (Pip Carter) takes Isherwood the ‘raring to taste sexual liberation’ to see, is  a brothel.  It’s not liberation, its pretty boys selling themselves to men to give them money to pay for ‘cunt,’ the raving heteros! This is where the so far naive Isherwood meets the 'femme-ish fatale' Casper, one minute in his bed, buying him bracelets, standing him up and finally the cruel reality, donning an SS Uniform and trying to block Christopher from entering a Jewish store to buy socks, how frightfully British Herr Issyvoo.






Amongst all the Soft Cell music video shots and Harry Potter steam train scenery, enters the beautiful upper-class waif Jean Ross, (Imogen Poots)  damaged by men, bad bad men and singing maudlin songs in a bar in Berlin trying to ensnare any possibility of a glamorous career in Hollywood.




Wildly outrageous and uncaring of opinion, she takes lovers, she drinks, she smokes while all the time she wears green nail varnish to symbolise her political leanings to communism? The inevitable happens and she resorts to a back street abortion and vanishes albeit until a brief reconciliation back in London some years later when she is giving out The Daily Worker in Knightsbridge; so easy to be militant when you’re middle class. During all this the poor Wystan Auden is pining, ‘a little bit in love’ with the roguish toff Isherwood.

Gerald Hamilton leaves in a cloud of controversy, highlighting the plight of a gay man of this time as criminal and having to keep on the ‘run’ leaving Isherwood falling fast for road sweeper ‘Heinz’ and the growing threat of the Nazis.



 
More raids, more swastikas, the recruits being everywhere; Isherwood’s rent boy and seemingly Heinz ( played by the actor that pulled off Boy George recently, Douglas Booth ) brother  Gerhardt being part of the ‘night school Gestapo’.




This story as does the book ‘Goodbye to Berlin’ shows the problems faced by a society changing from the more liberal Weimar Germany when Berlin was ‘the place to go if you were a bit quirky’ to a place under siege from the Nazis, anti culturists (hence the burning books and art work) who wanted to rid the country of any perceived flaw whether it be race, sexuality or hindrance to the government.


Isherwood’s political resistance seems lame, highlighted by his Jewish English pupil, the shopkeeper, yet his ‘cause’ is gay liberation, highlighted by his failed attempt to get Heinz out of Nazi Germany and his return to Berlin some years later to find him married to Hilde ‘who turns a blind eye’ and his son named after Isherwood himself (plus a very funny moustache, come on props, you could have done better than that to age the boy Heinz)  and his refusal to play along with the pretence as most gay men would have done at this time.

Bodice ripping, no correction, trouser ripping romp with some moving scenes and the impeccable Matt Smith, and yes he has a watch, a very important watch in this too…brilliant!


 
And as always, BBC2 throw up some credits and intriguing carry on the story bits which sometimes makes you wonder if they missed out the best part…Isherwood’s younger brother shared a bed with 'mummy' in her last days and woke to find her dead beside him? What? Perhaps that’s more Channel 4 though? Isherwood never went to her funeral.


Good drama so now go read some Isherwood.

Wednesday, 16 March 2011

The Final Act

Being Human: Supernaturally Spectacular



 

Well lately it has been all music, music, music here again, I haven’t been able to watch another film since the brilliance of Black Swan and I’ve been a bit lazy with the reading so time for some television.






First off, Mitchell is at peace now. A beautiful being that will be missed, however I think it was time for him to go, there’s only so long the battle with the dark side can go on for one vampire. It would have been a Star Wars scale disaster to string this out, so thank you for Mitchell’s very moving and timely demise BBC.



I actually wondered whether Annie should have been left in purgatory at first but then we would have been left with Scooby and Scrappy Doo. This series has such great writers working on it that I’m sure ghost Annie will develop above and beyond the supernatural diplomat and romanticist and I will change my mind; this has definitely been her best so far.




In this finale, George finally won me over, he certainly can do grief stricken, most probably as he sounds like he’s on the verge of tears at the best of times coupled with a strangely high pitched voice for a big man wolf. I think my absolute favourite scene  with him was in a previous series when he started to change in the Primary School, pretty sure I had no nails left by the end of that episode.

I only have two minor criticisms of this end to the series, Nina’s recovery was rather vague and rushed (Annie whispered something to her?) and where on earth did Mitchell get that rather lovely vintage car for the sunset scene that’s now covered in the freshly staked Herrick’s dust? Oh and squeeze one in from last week, how was Annie able to stake a vampire?



Despite these details, it’s all still very watchable and although I enjoyed True Blood for similar themes, Being Human kicked its supernatural ar*se just from the point that I felt more sympathy for the characters; not at any point did I get the tell tale prickly eyes watching Bill or Sookie struggle with humanity.





Annie’s role in turning around Lia was her great scene and I loved the ‘Ashes to Ashes’ style use of televisions throughout the seasons. The self prophesying twist was pretty fab and revealed for me that the wolf shaped bullet was Mitchell himself, the monster within him.To blame Annie’s love for justice, or Nina’s phone call is pointless. Mitchell was director of his own downfall from the moment he stepped on that fateful train and created the gallery of  faces that made up the Box Tunnel Twenty victims, washing 'bits of humanity from his hair for a fortnight'.





Following the Nina cliffhanger was some mean feat for writer Toby Whitehouse but it was pulled off with the dramatic and bloody return of ‘old’ Herrick.






Herrick never really struck me as the top of the vampire league, brilliant character and actor he is, there always has to be an even older one and I always felt there was something slightly homoerotic about his feelings for Mitchell, particularly in the cage scene when he talks of his poster boy and mocks his good looks.While he desires Mitchell as his right hand man, Mitchell reminds him that he makes him ‘vulnerable’. This makes sense with the final staking of Herrick; why didn’t he see it coming? For want a better word, he was a little gaga over Mitchell.

Introducing the new and even older baddie Edgar Windham, teeth bared, veins throbbing and mocking George’s comparison to Herrick was a clever move. Preparing for Series 4, Windham will have some difficult shoes to fill, the writers will have the real challenge especially now Mitchell is gone and the fickle public will no doubt squeal ‘No more!'. Don’t stop watching something because a character leaves, stop watching if it becomes rubbish.




And please BBC, he must be gone now, he better not be one of the many ghosts that are arriving as prophesied by Windham. Returns from the ‘death of death’ sometimes feel like you just changed your mind. Herrick worked but to put Mitchell back together now would be silly.




Setting up the darkness of Windham worked well with his prophesy being the last straw for George, pushing him to free Mitchell with the merciful staking and words ‘I’m doing this because I love you’ succeeding where Herrick’s attempt to get George to kill Mitchell failed. Where will it all go now?


To not mention the soundtrack along with some of the smaller but plot necessary and brilliant characters like McNair and Tom of this great supernatural drama would be a pity. I loveloveloved the letter scene and Tom's part in getting Mitchell and George out of the cage along with the use of this Death in Vegas with 'Dirge',  it was so fitting at the point Nina made the fated phonecall as was Duran Duran's 'Hungry as a Wolf'...top marks all round.

Although... Dear BBC, is 'comedy drama' really a fit description for Being Human?  There were funny moments but even so...









Aiden Turner is off filming The Hobbit, surely he won’t be an actual hobbit, he’s far too dandy, but  for all the grieving, he’s going to be back on a much bigger screen in the not too distant future.

I'm really trying to resist writing ' John Mitchell RIP' oops too late.

Monday, 14 March 2011

Austra and 'Lose It'

Coming off the much anticipated debut, Austra are now streaming the second single 'Lose It' and after the stark gorgeousness of 'Beat and the Pulse', they are too good not to keep a close eye on.





 I lovelovelove this new track and getting super excited about the album, 'Feel It Break', coming out on May 16th . Katie Stelmanis has an exquisitely dramatic voice and this track is soooo good; ' in the darkness comes, another another...' her classically trained vocals enchants against the goth electro swirling synths. Listen below or stream away at Soundcloud.














Just pay attention, especially after the brilliance of  'Beat and the Pulse' matched with a wonderfully directed video by  Claire Edmondson.   I haven't been so excited since, oh god, last week? Austra have sounded super cool from the offset and seemingly have a clear commitment to making high quality experimental electronic music. A reminder of the brilliance of the video for 'Beat and the Pulse' below.








AUSTRA "Beat and the Pulse" by domino


Jump to a  previous post for my  take on this video which confronts female sexuality and empowerment head on; topless women dancing can only really be shot by a woman to inhibit any objectification. Jumpy jump again for an interesting interview  Katie did talking about her own sexuality,  its relation to her sound  and the implications for modern music made by gay women.

There's a lot doing this brand of music right now and moving on from the more obvious 'riot grrl' sound of lesbian bands. Very loved and admired for me are Creep and Romy Madley Croft  especially after their wonderful collaboration with 'Days' and the recent cross from the trashy sound to electro with Beth Ditto and Simian Mobile Disco.

The album is going to be an experimental noir pop treat; already comparisons are being made with favourites of mine like The Knife, Soft Cell and Kate Bush; a mish mash of sleazy new wave with Katie's spin being the classical and operatic training, pure love for everything Austra have done so far.

The debut 'Feel it Break' is out with Domino on May 16th...can't wait!

http://www.austramusic.com/

Related Posts:


Brilliant new video for 'Beat and the Pulse'
Austra, Creep and some 'Witchery Dubskip'




Friday, 11 March 2011

Fever Ray with 'The Wolf ' and new Posttod: Nordic brilliance.

I lovelovelove Fever Ray!






Oh my, people are being mean about ‘Red Riding Hood’ and it hasn’t even premiered yet. Time will tell as it’s released in the US tomorrow and on our shores on the 15th April. It’s suffering with ‘Twilight’ misconceptions; I haven’t seen any of these films so happily, this is passing me by.



So for the good bits, a Grimm fairy tale, Gary Oldman and eerie electronica from Fever Ray on the soundtrack, can’t be that bad surely? Jump here for the trailer but more importantly new Fever Ray, yes, yes, yes! ‘The Wolf’ has spooked up raw percussion and is paranormally icy coupled with her esoteric vocals emulating the howl of a wolf; pure brilliance. This track is every bit to the standard of her debut as Fever Ray where she indulges in the darker side of electro in contrast to her lighter genius as one half of the duo The Knife.

The pounding drums and distorted wildness of the reverb suits the adaptation of this legend of ‘coming of age’ so well. Karin Dreijer Andersson is the Nordic Queen of Supernatural Electronica and is relentlessly full of surprises, churning out a Darwinistic Electro Opera after some years of quirky synthpop.

Although some of her fans are a little dismayed at the mysterious artist doing a soundtrack for such a big production, I’m not at all; she proves again and again that she is completely unpredictable. Jump here for the infamous protest she made for women who had been scarred by acid being thrown in their faces and her way to give them a 'voice'…stunning.

Not only did I get a deluxe copy of her debut for my birthday this week, it was also the day that ‘The Wolf’, that had been dangled in blogland for weeks, finally started soundclouding and youtubing in its full glory...woop woop!

It’s my party and I’ll indulge all I like, here’s another super spooky offering from her…enjoy! Stranger Than Kindness...too much love.






 Other news: Posttod...new EP in 2011



Another mysterious electro duo from Fever Ray’s homeland, Sweden,  is Posttod made up of Kevin Mortensen and Hayk Ananyan. This part of the world really does churn out some high quality music, an endless supply lately with the newbies Niki & the Dove and fab new album from Lykke Li.

Their EP out in 2010 had this gem of a track sitting nicely with a video clip of a pretty fab short film ‘I’m here’ by Spike Jonze. Lots of jumping but do so right here for my original post. This is such a great tune and deserves more attention.






Another favourite is ‘In My Dreams’, quite literally dreamy, synth tinkling away so keep all eyes and ears out for more to come from this duo. Scarce on vocals but then I can never remember lyrics anyway...mesmerising.

     In my dreams by Posttod

A little teaser from them with this new project has a trailer for its demo; the full track can be downloaded here. It will consist of 8 tracks of similiarly laid back electro and will be available for free from itunes and spotify.


The quality of their brand of electro up to now has been tippitytop so very much looking forward to this 2011 EP. Just a demo so far but my initial reaction is that this track is sounding a bit rawer, will wait patiently for more.


Related posts:


Monday, 7 March 2011

My date with 'Black Swan'...


...it was so good, I sat with people and only got mildly cross about their unnecessary restless movements.




I looooooove high brow trashiness. Falling for 'Black Swan' was easy, it won't please everyone and  clearly not ballet dancers but very simply, there hasn't been many films made about ballet, or with ballet in, since ' The Red Shoes' in goodness knows, 1948 or something? All stops have been pulled out,  above and beyond some of the criticisms of the dancing,  I'm pretty sure people will watch it and enjoy the deranged brilliance of Natalie Portman.





Yes it is a soap opera of the arts ( re fond memories of  the 75 hour epic Amadeus)  and completely extravagant  in places but it does encourage rethinking misconceptions about how boring ballet allegedly is. I also think it will prompt people to check out 'Swan Lake' of which the film is loosely based; all this while throwing in a story of a woman's descent into madness to the standard of Rosemary's Baby. Too much perhaps? No way, I love it.

I do think the grumpy professional dancers need to give Natalie a break really, a film with dancing will always spark rows over  'actor verses dancer' casting. If you want to watch ballet, you need to see 'Swan Lake', if you want to see a good film, go for 'Black Swan'; with untrained eyes, you will see a rather beautiful glimpse into the darker world of ballet.


Nina Sayers (Natalie Portman)  is the central character in a film that's main issue is the pursuit of perfection and control; control of herself particularly in regard to her sexuality, a knock on from her abusive mother (Barbara Hershey) who is herself a retired ballet dancer that blames her daughter for her short lived career.




Although Nina is a wonderful White Swan,  to acquire the darkness of  Black Swan and be The Swan Queen, she has to find her debauched alter ego and this is where the action and spiralling madness begins; scenes of vomiting and self harming, a psychotic mother making cruel adjustments to ballet shoes leading to the infamous hallucinatory lesbian sex and masturbating without realising your mother is in the room ( you cheeky monkey director Darren Aronofsky ) However, joking aside from this obvious 'get the lads in to watch something a bit arty erotic', these scenes are done tastefully with very little nudity and cleverly shot to show her main competitor Lily's (Mila Kunis ) face flashing to her own at the height of orgasm.



The blurring of reality and fantasy is superbly done with snatches of the dark Nina mostly by the use of mirrors. A wonderfully insane 'Old Swan' Beth (Winona Ryder) has a smaller but compelling part, again showing the pressure on women to remain 'the little princess'.





Without giving too much away, her need to be the perfect Swan Queen leads to extreme paranoia in a competitive field where some are out to get or push her; her mother with her cruelty, her teacher (Vincent Cassel) with his predatory teasing half-seduction to force her to lose control;




'Go home and touch yourself. Live a Little'.

That wins my favourite saying of the week, it's only Monday and I've already managed to say it twice in different contexts.







Her madness envelops and escalates when the wild Lily takes her out and persuades her to take drugs. Nina finally makes a stand  against her mother (but still barricades herself into her bedroom) with the punishment that she doesn't wake Nina to get to her performance in time.


 


In some ways the portrayal of women in this film is problematic in the modern world; they are all either insane or whorish muddled in with jealous and obsessive but  Tchaikovsky's 'Swan Lake' was written in the late 1800's. Based on Russian folk tales; witches, beauties and evil mothers all clamour for the Prince's attention, to loosely base a film today on this would always leave a bitter taste for some feminist thought.

Nina does achieve perfection to fatalistic extreme proportions as the film closes with her mother's tears of joy and Nina's final line, 'I felt it. Perfect. I was Perfect.'



Directed by Darren Aronofsky

Starring :
Natalie Portman
Vincent Cassel
Mila Kunis
Barbara Hershey




Highly recommended from someone who doesn't like sitting next to people to watch films. This movie was good enough to stop me killing  people for loud breathing, unnecessary coughing, embarrassed giggling and fidgeting... so go go see. 



*Little reminder lovely readers...don't forget to jump on anything purple in the text, it's a link to something related that will be interesting.*




Tuesday, 1 March 2011

New IAMX, a bit of Glass Candy, a Phantom and some confusion...





It’s about time for some eyeliner electro again and the beautifully self indulgent angst ridden Chris Corner pulls it off so wonderfully in his solo project ‘IAMX’. This is psychosis on repeat; ‘Nobody can hear you, nobody can hear you…’ but he’s so easy to listen to. We can hear him because with all the tension, there’s some pretty good noise and he’s still making it.




He’s wailing in recovery from the popdom fallout of ‘Sneaker Pimps’; he’s finding his place and melancholically putting together some darker yet hook laden electro, toning down the cabaret and stripping the sound down for a wider audience and getting a bit political.  Lovelovelove for IAMX…jump the hurdles, embrace the turmoil and the haunting.  It’s a pretty good single from the forthcoming album’ Volatile Times’ so listenlistenlisten.



The video has that darkly beautiful noir loveliness that Chris Corner specialises in, surprisingly in this one with an unmade up face giving him an innocence. Alongside the imagery of madness, entrapment with some mostly androgynous dancers, there's something a bit political , of course, the album is 'Volatile Times'; perhaps the 'Ghost of Utopia' is the slave to capitalism, our minds trapped into pursuing what is really fabricated perfection?  I tried,  someone has to attempt to deconstruct these very expensive videos;  it's just brilliance basically so watchwatchwatch.

With a biggup  to fellow blipper Telekon for IAMX alert… released 4th March.



Glass Candy is definitely worth a mention too. This is super catchy and discovered after the electro gothettes Austra  tweeted about them. Glass Candy’s frontwoman is  an electro Kate Bush in primary colours and the boy/girl duo made a brave attempt at Kraftwerk's  'Computer Love'; throw in a ‘Sex Dwarf’ soon please and it will tick so many boxes for me.





Feel the love and listen to ‘Feeling Without Touching’ and then keep an eye out for them. I completely love this video that has been choreographed from the same school of 80's moves The Knife are so expert at. They have been knocking about for a while but gathering a following lately…and so well deserved.






Other news:


 I went to see Phantom of the Opera and it was brilliant even if reminding me I can’t sing or dance and the standing ovation made me feel a little panicky.

My mum bought me a magic ‘Phantom’ mug and my sister was suitably empathetic about the singing/dancing traumas we both suffer. We’ve decided it’s a long limbs thing and then decided it’s still better to be tall… or perhaps I dreamt that?





I was also in an audience in a TV place this evening but I’m not revealing details until I’ve seen it, mostly as;

  1. Not sure how much the teeny tiny (like to think ‘select’) audience were getting filmed…
  2. Had to wear headphones and sit on a very low box in a short dress which is tricky when you have very long limbs ( but thank fuckery there was no singing or dancing required)
  3. Messed up clapping (How easy is clapping?)
  4. Unplugged my headphones by accident and pretended I could still hear what was going on…classic blooper moment
  5. Referred to the Beatles as the ‘Famous Five’… (Enid Blyton is clearly my John Lennon)
  6.  Hang on… I’m quite proud of not knowing how many Beatles there were.
  7. Got told off by Mister Tinkerbell for talking halfway through a track even though he'd already made jokes about wishing he'd put 'Hello Mum' on the bottom of his converse because a camera pointed at his feet briefly, who's the embarrassing one? Will have to wait and see.
  8. Wanted to steal a framed photograph of Kate Bush but resisted as I only had a small bag and I try hard not to be a criminal.
  9. The whole thing was rather surreal in a good way and made more so by tourists taking photographs of a zebra crossing while risking the road rage of London commuters. We barged through those crazy people.
  10.  More importantly, Treefight For Sunlight are sweetheart Danish poppets in impressive knitwear and the experience was definitely worth the running and near fainting on London Underground.



Thinking the graffiti must knock down the house prices in this road? No and it also has a zebra crossing that needs a lick of paint...I LOVE LONDON which is another song from Crystal Fighters so gives me another excuse...







...to continue the love for  unfinished operas and witch hats. Check out this band profile aired late on C4 last week and then dance around to this 'At Home' ( Pony Pony Run Run Remix ) with me, it's my current obsession...too much love.