Bellyflop

Jukebox Juicebox #34

2007-08-27T09:37:00.000+01:00

Julian Cope “You Gotta Problem With Me” (2007)
It’s been a couple of years since Julian Cope released a brace of albums – Citizen Cain’d and Dark Orgasm – that signified a return to form of sorts. The Arch Drude has not resting on his laurels in the meantime, finishing the Japrocksampler tome, overseeing the deluxe re-release of Jehovahkill on Island as well no less than four albums on his own Head Heritage label (live compilation Concert Climax, Rite Bastard’s twin slabs of psych-prog, early solo demos collection Christ Versus Warhol and another ballsy rocker from side project Brain Donor). You Gotta Problem With Me follows the template of previous Cope releases, with thirteen songs over two CDs (or “sides”, in a nod to vinyl albums of old). Given Cope’s justified stance against environmental greedheads, and the album’s running time of under an hour, I question the necessity of the album’s 2CD, jewel case plus cardboard slipcase packaging. That said, it looks great and, as ever, the CD booklet is chock-full of photos, lyrics, poems and short articles/essays. But the important thing is the music and whether Cope has delivered another modern classic. Well, it’s fair to say that You Gotta Problem With Me will be no surprise to anyone who has followed Julian Cope’s self-released albums and a disappointment to those praying for a return to the commercial heyday of Saint Julian, Peggy Suicide or even Interpreter.

As with Dark Orgasm, the album opens with a nod to Jehovahkill, Doctor Know’s musical template in this case being Upwards At 45 Degrees, an urgent vocal and downtempo guitar leading to an inevitable three-minute wig-out. It’s a good, if not spectacular, start with Cope’s opening line ‘I may flake out tonight if I cannot get my way’ a warning of things to come. If fact, things kick in as early with track 2, Cope’s unintelligible mumbling (translated in the CD booklet) on the two-minute Beyond Rome coming across like an intro without a song. The equally brief Soon To Forget Ya starts off unpromisingly with a lengthy spoken word piece, a frequently used Cope device that’s never been a personal favourite. Things pick up in the second half with an insistent acoustic-led refrain of 'Don’t fall in love ‘cause you know that I’m sure to forget you', Cope adopting a bizarre early David Bowie cockney accent. Possibly anticipating dissent in the ranks at this point, Cope screams 'Shut the fuck up' at the title track’s start. It’s an unapologetic rock song, though the "parental advisory" lyrics and intentionally annoying interference and screeching permeating You Gotta Problem With Me will inevitably preclude mainstream radio play (as it that matters). The political passions are still burning, most notably on They Gotta Different Way of Doing Things and Can’t Get You Out Of My Country which, oddly enough, are also the album’s grooviest moments. The former’s swinging rhythm questions attitudes to women and homosexuality in the Middle East, with some typically wry observations (‘some guys were holding hands / they said “it’s tradition, we are not gay” / but there were no women out on the streets / and I wondered what Allah would say’). Can’t Get You Out Of My Country has a Doors-sy vibe reminiscent of Cope’s own Reynard The Fox. Again, static interference is laid over the song in great swathes, for no apparent reason. If the album was on a major label, you’d suspect that Cope was attempting to sabotage an obvious single choice; as it’s not, it suggests a need for greater external influence on the production side of things.

It's fair to say that much of Cope’s recent work has suffered from frustratingly inconsistent production and You Gotta Problem With Me is no exception. The intriguingly titled Peggy Suicide Is A Junkie has a bass-heavy sound, with vocals pushed so deep into the mix that they’re almost indecipherable, undermining any potential lyrical value. By contrast, A Child Is Born In Cerrig-Y-Drudion benefits from an unfussy acoustic arrangement, vocals to the fore … and from having full lyrics available in the CD booklet. Subsequent track Woden is even better, with an urgent, repetitive acoustic chord sequence and Cope adopting a faltering falsetto. It sounds like it could have been inspired by 1984’s O King Of Chaos, which wouldn’t be a surprise as a great version was included in Cope’s live set last year. Ballad Sick Love sounds like a rough demo, with rough synth piano, harmonica, deep vocals and climatic squalling guitar, yet for all that it's an effective song. Vampire State Building is built around the funereal elements of Beethoven’s Symphony No.5, casting the USA as the titular Vampire State and George Dubya as Nazi Doodle. Hidden Doorways, on the other hand, is a far more personal reflection on Cope’s role as ‘savant guardian’, noting that ‘it’s the promise of death that keeps me alive’. The song is built on a drum machine backing and a naggingly familiar new wave guitar riff - I’m thinking the bridge from John Cougar Mellencamp’s Jack And Diane, which is an unexpected influence if true. Final track Shame Shame Shame is sadly not a cover of Jimmy Reed’s 1963 smash, but another acoustic song in the same vein as Woden. Another overtly political number (‘[…] genocidal leaders […] rape our heads and feed us pure damn lies, brazen compromise’, ‘let there be instant karma on every battery farmer’) it’s a powerful song, though feels a little out of place as the album closer. The song attempts to address this with a climatic rock out, but even this is undermined by a premature fade out after less than a minute.

On reflection, You Gotta Problem With Me is an frustrating contrast of songwriting genius, self-indulgence and patchy production that will challenge even the most committed Julian Cope fan. "Side Two" is perhaps to best way to approach the album as a first-time listener, as it’s the most immediately accessible clutch of songs, but it's worth sticking with the album as a whole as it will grow on you. Looking ahead, let’s hope the forthcoming re-release of a deluxe edition Peggy Suicide inspires Julian Cope. And a decent producer wouldn’t go amiss either.

Tracklisting
[CD1]: 1. Doctor Know 2. Beyond Rome 3. Soon To Forget Ya 4. You Gotta Problem With Me 5. They Gotta Different Way of Doing Things 6. Peggy Suicide Is A Junkie

[CD2]: 1. A Child Is Born In Cerrig-Y-Drudion 2. Woden 3. Sick Love 4. Can’t Get You Out Of My Country 5. Vampire State Building 6. Hidden Doorways 7. Shame Shame Shame

Buy the album on Julian Cope's official website

Previous Julian Cope reviews on Bellyflop:
Citizen Cain'd / Dark Orgasm
Live In Bristol, 20 Feb 2006
Live Japan '91

Jukebox Juicebox #33

2007-08-26T09:34:00.000+01:00

Robert Forster & Grant McLennan “Intermission” (2007)
In the wake of Grant McLennan’s untimely death last year, a reappraisal of his solo career (and that of fellow Go-Between co-founder Robert Forster) is long overdue. A single CD and thirteen tracks apiece seems rather miserly, particularly given McLennan’s prodigious solo output. And ignore the ‘best of’ sub-title - listen to these compilations as primers rather than comprehensive overviews. It’s immediately apparent how effortlessly the songs complement one another: you can shuffle the tracklistings or even compile your own pseudo-Go-Betweens album from these songs; the end results will still sound perfect. A lazy shorthand summary of the music on Intermission could describe Robert Forster’s CD as earnest and intelligent (alt.) country, McLennan’s as simple, acoustic-led folk tales and love songs. The country and western references in the Forster’s songs are easy to spot: liberal use of slide guitar, pedal steel and violin; lyrics that dwell on past relationships and rekindling the fires of lost love; even a C&W cover version in Frisco Depot. Yet, Forster’s songs have always opted for complexity over simplicity and this is obvious after just a single listen. Danger In The Past, the title track from his 1990 debut solo album, is a prime example. The narrator’s account of being drawn back into the life of a friend who has recently been hospitalised (sectioned?) is hauntingly beautiful. The repetition of the title throughout the song emphasises the poignancy of the verses, notably the choice line “…I took your hand and I told you never show your problems in a country town.” I’m reminded of The Modern Lovers’ Hospital and I think it’s fair to draw parallels between Jonathan Richman and Robert Forster. On a different note, Danger In The Past (both the song and album) was produced by Mick Harvey, whose contributions on piano add a melancholy that underpins Forster’s searching lyrics. Forster’s final solo album included here, 1996’s Warm Nights, similarly benefits from an influential producer and guest musician, Edwyn Collins. In keeping with the album’s title, Collins brings a warmth to the three songs included on Intermission, his distinctive guitar enabling high point Cryin’ Love to rock out in an early 1970s style. I feel compelled to offer some criticism and it is that the album is topped and tailed by Falling Star. Despite being a great song, two versions are not required, especially given the limited selection of tracks on offer. Personally, I would have ditched Mick Harvey’s original version from 1990, as the version on 1992’s Calling From A Country Phone benefits from a superior, more spacious re-recorded take. It also seems somewhat out of place to add a cover version though, given that 1994’s I Had A New York Girlfriend featured nothing but covers, inescapable. I’m not heard Mickey Newbury’s 1971 original of Frisco Depot or, for that matter, Waylon Jennings or Scott Walker’s versions from 1972 and 1973 respectively. It’s impossible to guess whether Forster’s languid take observes or ignores any of these though, to a certain extent, it’s a moot point as in my opinion it’s the compilation’s only slight dip in quality.

Unlike Forster’s ‘mix and match’ approach, Grant McLennan’s CD2 follows a strict chronological progression through his four solo albums. Things get off to cracking start with 1991’s Haven’t I Been A Fool and Easy Come Easy Go, their immediacy and accessibility begging the question why both weren’t mainstream radio smashes and blasting out of car windows everywhere that summer. Black Mule, the final selection from debut solo album Watershed and recently featured on last year’s stunning Go-Betweens live DVD/CD That Striped Sunlight Sound, is a great example of McLennan’s lyrical skill. Evoking Australia’s past in the song’s main tale of a prospector, McLennan switches in the final verse to a man “walking down a Beirut Street” who is blown up by a car bomb. This juxtaposition of observations that “life can be cruel” should jar, but somehow works. The similarly wonderful Hot Water, a violin-led ballad, opens with the line “I read about your death in the paper when I was buying tomato seed”. The narrator reflects on a past spent “carrying our flowers to the barricades watching them cops kick down the door” whilst living in a present “seeing my payin’ horses foam” under a “big old sun”. It’s a moving song, McLennan’s economy of lyric and melody understating the true depth of his writing. The closing trio of songs from 1997’s final solo album In Your Bright Ray demonstrate that whilst McLennan’s songs had not evolved in the way that Forster’s arguably had, his basic template had been refined and near as dammit perfected. This is evident in the closing title track, which could just as easily sit on The Go-Betweens’ 2000 comeback album The Friends Of Rachel Worth. And that in essence is why entitling this compilation Intermission is so appropriate. Robert Forster and Grant McLennan’s solo ventures provided an opportunity for the artists with room to breathe outside of The Go-Betweens, to develop and hone their formidable songwriting skills; in retrospect, their reunion seemed inevitable. Another good title for this compilation would be Chrysalis, but Intermission really says it all; the fact that it was chosen by Grant McLennan makes it even more apt. Whether you are familiar with The Go-Betweens or not, you really do need to check out this beautifully packaged compilation. And, once you’ve fallen in love with it – and believe me, you will – then the desire to explore the rest of Robert Forster and Grant McLennan’s back catalogue will be a natural next step.

Tracklisting
[Robert Forster CD1]: 1. Falling Star 2. Baby Stones 3. 121 4. I’ve Been Looking For Somebody 5. I’ll Jump 6. Beyond Their Law 7. I Can Do 8. The Circle 9. Cryin’ Love 10. The River People 11. Frisco Depot 12. Danger In The Past 13. Falling Star (Original Version)

[Grant McLennan CD2]: 1. Haven’t I Been A Fool 2. Easy Come Easy Go 3. Black Mule 4. The Dark Side Of Town 5. Lighting Fires 6. Surround Me 7. No Peace In The Palace 8. Hot Water 9. I’ll Call You Wild 10. Horsebreaker Star 11. Malibu 69 12. One Plus One 13. In Your Bright Ray

Stripping Down #24

2007-07-14T10:24:00.000+01:00

Essential X-Men #153 (Panini UK)
“Chasing Hellfire!” by Chris Claremont & Andy Park
(Uncanny X-Men #454)
“World’s End” by Chris Claremont, Alan Davis & Mark Farmer (Uncanny X-Men #455-456)

It’s been a busy year for resurrections (or should that be resurr-x-ions? Sorry, couldn’t resist!) Following Colossus, Marvel Girl, heck, even Donald Pierce last issue, we now welcome back Betsy Braddock, aka Psylocke. Fittingly, Alan Davis, who drew her first adventure as an X-Man two decades ago, is back to chronicle her return. Ahead of that, Chris Claremont wraps up his rather yawnsome reunion of The Hellfire Club, assuming that anyone’s still interested. Andy Park’s art has been decent enough, but I’d be lying if I said that I didn’t race through the issue to get to the first part of World’s End. As you’ll expect from Alan Davis and long-time collaborator Mark Farmer, each page appears to be effortlessly eye-catching. In fact, Davis and Farmer’s work is so consistently good that it’s easy to overlook how good it really is and Dean White’s colour art only enhances the visuals with effective use of palette. As for the story itself, Claremont uses a favourite device in an early scene to set things up. During a Danger Room session, Wolverine tests the team’s non-super powered combat skills, a sure indication that this will prove to be a life-saving exercise mere pages later. However, the spotlight is on Psylocke and her inexplicable return. The team are understandably sceptical, given that they’d cremated her corpse (though, interestingly, this seemed to be less of an issue when Colossus return in similar circumstances). New recruit X-23 also gets a look in, treading the same path of the enigmatic wild card as Rogue, Marrow – whatever happened to her? – and Sage before her. The pair inevitably team up to rescue their captured colleagues at episode two’s cliffhanger. New alien race The Hauk’ka, basically dinosaurs in human form, are well realised by Davis and Farmer; Claremont is usually good at developing this type of would-be world beater so I’m intrigued to see where he goes with this. World’s End is not an edge-of-your-seat read, though Alan Davis does seem to bring out the best in his jaded writing foil, so it’s satisfying fare at least.

Ultimate Spider-Man & X-Men #70 (Panini UK)
“Silver Sable” by Brian Michael Bendis, Mark Bagley & Scott Hanna (Ultimate Spider-Man #87)
“Breaking Point” by Robert Kirkman & Salvador Larocca
(Ultimate X-Men Annual #2)

Wow, what’s happened to Mark Bagley? After seemingly constant criticism of the uniform, inexpressive faces of his character art, I was a little taken aback this issue. Mary Jane looks like Mary Jane! Kitty Pryde looks like Kitty Pryde! Silver Sable looks like…oh, you get the idea. The point is, at long last, the characters in the story are distinct from one another, rather than generic mix’n’matches that rely overly on the colour artist to distinguish between, say, the blonde or the redhead. Bagley’s clearly honed his craft over the years but his figure art has always seemed to lag behind, say, his work on buildings and hardware. Not so here. I mean, we’re not talking about radical, cutting edge stuff here but credit where it’s due. There’s an awkward exchange between Peter and MJ – the latter having just discovered his relationship with Kitty Pryde – that captures MJ’s emotions perfectly. That said, it’s difficult to identify the narrative spark that ignited this creative blast as this is arguably one of Bendis’ dullest Ultimate Spider-Man scripts to date. It’s a riff on 1963’s Amazing Spider-Man #5, with Silver Sable (in place of Dr.Doom) kidnaps Flash Thompson, mistakenly believing him to be Spider-Man; the romantic sub-plot involving Peter, MJ and Kitty Pryde also steps up a gear. This is the second of five chapters, and it’s difficult to say at this stage whether the plot will pick up or be stretched even more thinly. Silver Sable’s a rather inconsequential adversary so far and although I’m pleased to see X-Man Kitty as Peter’s romantic interest, I hope she’s used more effectively in upcoming storylines. Here’s hoping that next issue’s script is on a par with the surprisingly good art in this. In the X-Men strip, the good news is that Dazzler, comatose since being impaled by Lady Deathstrike ages ago, finally wakes up. The bad news is that, following Magician’s betrayal of the team in the last few issues, Nightcrawler has flipped his wig. Kidnapping Dazzler from her hospital bed, he transports her to an isolated cavern, convincing her that he is rescuing her from an attack that has devastated the team. Just in case you’re wondering why the furry blue German has cracked up, the story kicks off with a flashback to a Weapon X mission, where Nightcrawler was used to depose the leader of a small country with extreme prejudice. Of course, given Dazzler’s somewhat abrasive relationship with her team-mates, the X-Men aren’t entirely surprised by her sudden disappearance and Nightcrawler’s suspicious behaviour goes unnoticed by all but Wolverine. Robert Kirkman’s run so far has been good, but this is disappointing; like Nightcrawler’s play acting, there’s a lot about this story that fails to convince. Guest artist Salvador Larocca is also below par: the minimal layouts here match the Ultimate X-Men house style yet are a pale reflection of his far superior work on the mainstream series currently appearing in Essential X-Men. Unusually, it’s Spider-Man that nudges ahead as the most enjoyable strip in this issue.

The Avengers United #81 (Panini UK)
“Sidekicks” by Allan Heinberg, Jim Cheung & John Dell (Young Avengers #1-2)
“Death On The Hudson!” by David Michelinie, John Byrne & D. Hands (The Avengers (v1) #184)
“Set Sails!” by Stan Lee, Jack Kirby & Vince Coletta (Journey Into Mystery #120)

I have to admit that the very concept of The Young Avengers didn’t inspire confidence. However, a few pages in and any misgivings I had were promptly disspelled. In a smart move, the team themselves don’t appear until halfway through the first episode. Instead, the public reaction to the new team – ‘Who the #*&% are The Young Avengers?’ - is discussed by J. Jonah Jameson, Kat Farrell and Jessica Jones and, latterly, Captain America and Iron Man. Allan Heinberg cleverly uses this device to anticipate and address reader misgivings and it works. When The Young Avengers make their dramatic debut on page 12, crashing through the glass roof of a church, I was looking forward to seeing the characters in action. Characterisation and dialogue are real strengths; Heinberg doesn’t give away much, yet there are intriguing hints at Patriot’s focus-bordering-on-obsession, Hulkling and Asgardian’s mutual appreciation and the unveiling of Iron Lad as a teenaged Kang at the close of the first chapter. As the knowingly ridiculous aliases imply, the series doesn’t take itself too seriously and provides a welcome contrast to Brian Michael Bendis’ Avengers series. I’m looking forward to seeing Cassie Lang (aka the deceased Ant Man II’s daughter) make her proper debut next issue, not to mention an appearance from big, bad, grown-up Kang. Back in the 1970s, the team continue to thwart The Absorbing Man’s efforts to flee the United States. As with The Korvac Saga, David Michelinie continues to question The Avengers’ right to act as both judge and jury, with a more empathetic impression of Crusher Creel emerging at the story’s climax. This period continues to be a rich vein of Avengers’ history and well worth mining. In Tales Of Asgard, I suspect that the Norse Gods are wholly dependent on their immortality as it takes them forever to get anything done! After several issues, the mission to save Asgard finally gets underway though not before Volstagg gets into trouble with his wife and Magrat The Schemer and Kroda The Duellist are put in their place by Hogun The Grim. Jack Kirby’s rough pencil art are crudely inked by Vince Colletta but that doesn’t impede the vague air of excitement now that Thor and his crew have set sail. Let’s hope that the quest lives up to prolonged preamble…!

The Astonishing Spider-Man (v2) #6 (Panini UK)
“Skin Deep” by J. Michael Straczynski, Mike Deodato & Joe Pimentel / Mark Brooks & Jaime Mendoza (Amazing Spider-Man (v1) #517)
“Unusual Suspects” by Paul Jenkins, Phil Winslade & Tom Palmer (Daredevil/Spider-Man: Unusual Suspects #4)
“And Death Shall Come!” by Stan Lee, Gil Kane & John Romita (Amazing Spider-Man (v1) #90)

The vibranium-coated Charlie Weiderman goes over the edge as he blackmails Peter Parker and exacts revenge on his high school bully. The approximation of the Lee/Ditko-era’s Peter Parker – Flash Thompson – Liz Allen triangle in the ongoing flashbacks rather heavy handedly explores Spider-Man’s ‘path not taken’ through Charlie. The story itself is well paced, with typically good dialogue and impressive art… well, the Deodato/Pimentel portions, anyway. However, the concept is tired and Straczynski doesn’t add anything new, all the more disappointing given that he previously raised the bar on this series. After an enjoyable few issues, the Daredevil/Spider-Man series also wraps up in slightly underwhelming fashion, as Copperhead attempts to recreate hell on earth and humankind’s last hope is… The Owl?! My struggle with the story was the lack of information about the principal characters and an inability to place it chronologically. A prime example is The Owl, who bears little resemblance to the character who appeared in Break Out a couple of issues previously. The necessary exposition I’d awaited from part one never arrives, though I think writer Paul Jenkins could have incorporated it without slowing the narrative pace. Instead, I felt that I needed to have done my Marvel homework before reading Unusual Suspects in order to get the sense of it. Gripes aside, I did love the two ‘epilogues’ which see Matt Murdock and Foggy Nelson get one up on The Kingpin and show that Spider-Man is not the only one with a sense of humour, as Daredevil proves at his expense. Phil Winslade and Tom Palmer’s art on Unusual Suspects is stunning to the end, with some wonderfully mind-bending panel layouts and one of the best renditions of The Owl to hit the comic page. Completing the issue as usual is the archive tale, featuring Spider-Man’s final battle with Doctor Octopus and the death of Captain Stacy. Printed out of context, it’s difficult to gauge the extent of Peter’s respect and affection for his prospective father-in-law and therefore the impact of Captain Stacy’s death is lessened somewhat. Still, in purely narrative terms, this story has it all: Stacy’s selfless sacrifice; his last gasp revelation that he’s known Peter is Spider-Man all along; an accusing anti-Spidey crowd, convinced that he’s murdered a public hero and, naturally, Peter Parker’s own guilty conscience that he is responsible for this tragic sequence of events. Add to that Spidey’s efforts, despite repeated pummellings, to bring Doctor Octopus to justice and this story packs a dramatic punch. The combined efforts of artistic heavyweights Gil Kane and John Romita should also be acknowledged. A rather patchy issue overall, story-wise, The Astonishing Spider-Man remains on the right side of entertaining, thanks to it’s consistently powerful visuals.

Stripping Down #23 - Cabot

2007-06-30T11:30:00.000+01:00

Here's a sneak preview of my first proper comic strip in, ooh, ages. Yep, the unexpectedly long gap between my last published comic work - 2000's The Art Of Falling Apart EP - and something new will be imminently plugged by One Day In Bristol #2 (of 2). The first issue premiered at May's Bristol Comics Expo (which I missed) and has since sold out. The script is by Sam Morgan, who's written some good short stories for Dead By Dawn, and pencilled by Lauren Seymour, with inks by moi. It's fair to say that I was initially daunted by the task. Lacking both decent graphics software and the nerve to potentially ruin some nice layouts, I decided to work on photostats of the first few pages. I soon realised that (a) it was extremely difficult to redraw stuff where needed; (b) I needed a heck of a lot of Tippex to tidy things up afterwards; and (c) a single page was taking about four times longer than it needed to! Anyway, as my sense returned and my confidence grew about halfway through the seven-page strip, I took to inking directly over the pencilled pages . The above examples (pages 1 & 3 respectively) contrast Lauren's original pencils with my inked pages. That it's far from the best comics work I've ever done is indisputable. However, it's inspired me to carry on with a four page comic strip that I've been working on for a little while that draws heavily on Patrick McGrath's short story The Angel. Spookily enough, early drafts set the story around Cabot Tower, a local landmark which features prominently in Sam Morgan's story. Well, when I say prominently, I mean that one panel features an enormous phallus adorning one side of the tower, courtesy of infamous graffiti artist Banksy (sadly, not reflected in reality).

Anyway, I haven't seen the fully lettered Cabot - Andy Richmond's taking care of that - but I'll post an update when One Day In Bristol #2 finally hits the shelves...

Stripping Down #22 - Small Press, Big World

2007-06-30T11:14:00.000+01:00

Trixie Biker: Enter Jack Narcissus (WaterCooler Comix)
by Matthew Craig

Deva City’s premier superhero is back, along with her trusty bike Dixie and The Go-Go-Pixies. I enjoyed this more than #1, mostly due to a smart script that satirises the current trend for recycling pop (pap?) boy bands like the Backstreet Boys and Take That. Matthew Craig’s storytelling is simple without being simplistic and, as before, his enthusiasm and obvious affection for the characters greatly compensate for the artistic shortcomings. I like the fact that Craig have moved forward, both narratively and stylistically, and I’d like to see him continue to develop both – particularly the visuals – in future issues.

Visit Matthew Craig's website to purchase a print copy or rummage through a veritable treasure trove of online delights! You can also read my previous review of Trixie Biker here.

Man Man And Friends 1-2
(Banal Pig Comics)
by Gareth Brookes

Each 16-page issue is chock full of Brookes’ rapid fire stick figure comic shorts. Mixing obvious gags with acute observations, the abundance of material ensure that a laugh is only a glance away. I’d be interested to see Brookes’ frequently on-the-ball humour paired with more substantial art but, for now, this is great value (and fun), packed with potential.

Available via the Banal Pig Comics website

Trouble Bruin / Newstreet Bootleg (WaterCooler Comix)
by Matthew Craig

Matthew Craig’s Trouble Bruin benefits from a more reflective approach than his other superhero creation Trixie Biker. There’s a pathos underpinning the occasional but overt humour which, over thirty-four pages, enables the reader to empathise with the characters, particularly father figure Eric ‘Capability’ Brown, aka Blue Ted. Craig’s art is somewhat limited in range and whilst this doesn’t detract from the story, at times it doesn’t quite meet the demands of the script. My only gripe is that there currently isn’t a follow-up story/ issue; having read what is essentially an extended prologue/origin tale, I wanted to see more of the adult Trouble Bruin. Although I think Craig was right to avoid the usual device of using a modern day narrative to frame an origin ‘flashback’, having a subsequent Trouble Bruin tale on sale would have been desirable. Hopefully, the further adventures of Trouble Briun won’t be long in coming. As compensation, limited copies of Trouble Bruin came with a Newstreet twelve page ashcan edition, introducing another of Craig’s superhero creations. There are two four-page shorts contained in this bootleg, the first seeing Newstreet foil a bank robbery. It features Craig’s most accomplished art to date and hopefully points the way forward for his style. The second sees the super-confident Asian Brummie learn a lesson in humility when he encounters Trixie Biker. This crossover strip is not as visually striking as it’s predecessor, but it’s good fun. Judging by the final pages of each story, the character seems to have undergone a last-minute change of name from Street Walker to Newstreet. A wise move. More please!

Both available via Matthew Craig's website

Melanchomic (Glaikit Comics)
by Andrew Waugh

A collection of predominantly single page ‘slice of life’ strips offering wry observations on the trials and tribulations of being a single male. Waugh’s basic style relies heavily on repetition, but is surprisingly emotive given this (self-imposed) constraint. Despite the occasional – and openly confessed – filler, there are plenty of enjoyable strips. Personal favourites are Juicy Fruit, The Fine Art Of Pulling and Women’s Parts. The penultimate page is a house ad for The Guttest Story Ever Told, a peaen to/piss-take of ‘80s movie stars including Steve Guttenberg (obviously), Lou Diamond Phillips and Rick Moranis. Sounds unmissable.

Drop Andrew an e-mail at andrewjameswaugh@yahoo.co.uk or visit his MySpace site if you want to find out more.

In Lieu Of A Review...

2007-06-30T10:15:00.000+01:00

...aka a few of my favourite things in recent months:

Reading:
Zadie Smith White Teeth (2000) - A funny, engaging, exciting debut novel. Believe the hype.
Neil Gaiman & Andy Kubert 1602 (2003) - aka What if the Marvel Universe came to be in the 17th century?
Daniel Way, Javier Saltares & Mark Texeira Ghost Rider (2006) (in The Mighty World Of Marvel) - One of my favourite characters, back in a (Johnny) Blaze of Glory.
Karen Ellis Planet Karen (2006-) - Small press that shows the big hitters a thing or two about comics.

Listening:
Soulsavers It's How Far You Fall, It's The Way You Land (2007) - Imagine the Paris, Texas houseband if it comprised members of R.E.M. and Portishead, with Ennio Morricone as musical director and Johnny Cash as front man...
Talking Heads Fear Of Music (1979/2006) - Their best album, no question.
Death From Above 1979 Sexy Results (MSTRKRFT Remix) (2005) - To steal from Nina Simone, this is funkier than a mosquito's tweeter.
John Cale All My Friends (2007) - A stunning cover of LCD Soundsystem, that John Cale makes all his own.

Watching:
Kiss Of The Spider Woman (Bristol Old Vic, 09/06/07) - Not as good as the Raul Julia/William Hurt film adaptation, but impressive nevertheless.
Marcus Brigstocke (The Comedy Box, Hen & Chicken, Bristol, 20/04/07) - "Intelligence and humour not mutually exclusive" shocker!
The Prestige (2006) - Apologises for The Illusionist with it's inventiveness and manic lead performances
Heroes (2006-) - TV superheroes done right, in spite of Jeph Loeb's involvement!
Doctor Who (Series 3) (2007) - David Tennant as The Doctor vs. John Simm as The Master? 'Nuff said!

Jukebox Juicebox #32

2007-06-23T07:08:00.000+01:00

The White Stripes “Rag And Bone / Icky Thump” (2007)
I have this strange connection with certain bands, in that I like their songs that I hear, read their interviews, articles and reviews with interest and yet don’t get around to actually buying any of their records. Perversely, I’ll often pick up records that I’ve never heard by bands I know little or nothing about, often for the flimsiest of reasons, but that’s a whole other story. So, this happens to be the first White Stripes I’ve bought, even though I’ve been a ‘fan’ since I saw the video for Fell In Love With A Girl donkeys years ago. I haven’t even got around to downloading anything by them; the best my iPod can muster are mash-ups of 7 Nation Army and The Doorbell Song, pairing the duo with Alter Ego and Jay-Z respectively. In fact, the impetus for getting this record without having heard it was that part one – the one-sided, etched red vinyl 7” of Rag And Bone – was a giveaway with the 9 Jun issue of NME. Icky Thump was released the following week, seven days before the album of the same name. Rag And Bone is my favourite of the three songs here, mainly for the subject matter, the ‘in character’ dialogue between Jack and Meg that bridges each verse and a guitar hook that sounds uncannily like Mud’s 1973 smash Tiger Feet. In fact, there’s a 1970s (by way of the 1950s) feel pervading this EP, the antiquated guitar licks and muffled rhythms evoking the ghosts of blues and rock ‘n’ roll. Yet at the same time, The White Stripes continue to sound fresh and exciting. Icky Thump reminds me of Led Zeppelin of all things, with Jack’s vocals recalling Robert Plant, some mighty Jimmy Page-esque riffs and a naggingly insistent keyboard and drum combo. Exclusive B-side Baby Brother is unabashed blues rock, the reference point here being Screamin’ Jay Hawkins and The Cramps. It’s short and sweet but lacks the inventiveness of the previous two songs.

Tracklisting [2 x 7”]: 1. Rag And Bone / 2. Icky Thump / 3. Baby Brother

LCD Soundsystem “All My Friends” (2007)
The idea of getting artists to cover rather than remix your songs for a single release is nothing new: Pulp, Elvis Costello & The Attractions, The The, even Carter The Unstoppable Sex Machine have done this in the past. However, it’s still a relatively unusual move and the choice of artists is always interesting. It’s common knowledge that James Murphy, aka LCD Soundsystem, knows his stuff when it comes to music and this is reflected in the artists covering All My Friends, one of the stand-out tracks from recent album Sound Of Silver. One is a veteran musician who has enjoyed a renaissance in the past few years, the other one of the current leading lights on the retro (old but) New Wave scene. John Cale is the revelation here, somehow managing to make his cover, not LCD Soundsystem’s, sound like the original version. Cale is in fine form vocally and the faithful but faltering reproduction of the song’s one note keyboard riff on a guitar is incredibly effective. Despite matching the original’s duration of seven and a half minutes, it doesn’t feel nearly long enough…! Franz Ferdinand’s version is a tad shorter, with a guitar hook that oddly enough recalls Wish I Was Skinny by late, lamented 1990s indie band The Boo Radleys. Producer Erol Alkan clearly has an ear for the mosh pit as well as the dancefloor and ensures that the song’s frequent peaks are suitably rousing. Alex Kapranos’ distinctive vocals carry much of the song, though the climatic group chorus does give the impression that the band have lost their sense of direction and aren’t quite sure how to wrap up the song. On the flip side of each 7” single are the original LCD Soundsystem takes: you’re probably familiar with the album version by now; there’s also an edit, clocking in at just under six minutes. The latter cuts the lengthy repetitive keyboard intro, but is otherwise identical and therefore slightly redundant. Make no mistake though, this is a brilliant single – go for the 7” package, not only for the John Cale version which is only available here, but also for the ultra heavyweight vinyl – you can not only hear the quality, you can feel it!

Tracklisting [2 x 7”]: 1. All My Friends (john cale version) / 2. (album version) / 3. (franz ferdinand version) / 4. (edit)

James Yorkston “Woozy With Cider” (2007)
I stumbled across the Jon Hopkins remix of Woozy With Cider whilst surfing the net. It was enough to encourage me to make the short hop to eBay, where copies of this promo CD are currently doing the rounds (the official releases are limited to 7” and 12” vinyl only). Jon Hopkins’ gentle, piano-led take remains the standout, complementing Yorkston’s dry, self-deprecating, spoken word vocal and surpassing the (still very good) original version. Steve Mason, aka King Biscuit Time, doesn’t mess too much with the blueprint, introducing some keyboard chords and vocal effects, whilst Kode9 adopts a similar approach though reduces the lyrics to little more than the odd refrain. Quiet Village, which includes Matt Edwards aka Radio Slave, offer up an effective ambient dub mix that unfurls to nearly ten minutes. My second favourite mix of Woozy With Cider has to be by the intriguingly named Dusty Cabinets, a brooding menace underpinning Yorkston’s narrative on this dark dancefloor version. Bonus 7” B-side Sunday Jacket is a mellow, acoustic number but relatively unmemorable. However, mixes/tracks 2, 3 and 5 alone make tracking down the 12” or CD worth your while.

Tracklisting: 1. Woozy With Cider (original version) / 2. (king biscuit time remix) / 3. (dusty cabinets remix) / 4. (quiet village remix) / 5. (jon hopkins remix) / 6. Sunday Jacket (with The Big Eyes Family Players) / 7. Woozy With Cider (kode9 remix)

Paul Hartnoll featuring Robert Smith “Please” (2007)
I almost overlooked this in my local Virgin Megastore which given the limited number of CD singles on sale these days is saying something. Behind the nondescript cover are a trio of mixes of the title track featuring veteran miserablist and The Cure frontman Robert Smith. To be honest, neither the lyrics nor the mixes really inspire. Statik’s downtown, downtempo and downbeat remix unfortunately accentuates the whiney qualities of both Smith and backing vocalist Lianne Hall's vocals, which is not good. KGB transform the song so that it sounds like it’s been drawn from The Cure’s back catalogue, which at least is an interesting approach. As for the original mix of Please and exclusive ‘B-side’ Old School Tie, they unashamedly sound like outtakes from Orbital’s final album that Hartnoll just couldn’t bear to throw away. Whilst recycling is a good thing, it’s less justifiable when applied to largely forgettable variations of EP tracks from the last century. The mix to seek out isn’t included on this CD, but should still be easily available for download. Hartnoll’s own Remember 1992 Mix also sounds like old school Orbital but thankfully of the uptempo, crowd pleasing variety. The trademark chunky chords and pulsing beats are present and correct, whilst Smith and Hall's vocals are split, providing a more successful ‘call and response’ dynamic. On the whole, Please is a disappointment that, despite the fusion of two great talents, fails to capitalise on either’s strengths.

Tracklisting: 1. Please (original version) / 2. Old School Tie / 3. Please (statik remix) / 4. Please (kgb remix)

Related websites:
The White Stripes
LCD Soundsystem
Sounds Like Silver - LCD Soundsystem Remixed
James Yorkston
Paul Hartnoll

Stripping Down #21

2007-06-17T06:58:00.000+01:00

The Avengers United #80 (Panini UK)
“Breakout!” by Brian Michael Bendis, David Finch & Danny Miki
(New Avengers #5-6)
“The Redoubtable Return Of Crusher Creel” by David Michelinie, John Byrne & Klaus Janson (The Avengers (v1) #183)
“Gather, Warriors!” by Stan Lee, Jack Kirby & Vince Coletta
(Journey Into Mystery #119)

A blistering conclusion to Breakout!, as the team clashes with Wolverine, Sauron and his band of mutates, plus Black Widow Mk II and a highly suspicious S.H.I.E.L.D. operation in the heart of The Savage Land. This is probably the most enjoyable mainstream superhero series that Brian Michael Bendis and artist David Finch excels at drawing mean dinosaurs and reptiles. There’s plenty of action, some good dialogue and a neat set up for the new team. Speaking of which, the characters are a good fit so far, at times echoing the tension of the Captain America / Hawkeye / Quicksilver / Scarlet Witch dynamic from waaay back. ‘The old order changeth’ and in this case, it’s definitely been for the better. I’ve almost forgotten the Chuck Austen run that came before…! The 1970s strip provides a welcome change of pace from the epic storylines both in the lead strip and in previous archive instalments. Ms. Marvel and The Falcon officially join the team, with mixed feelings, whilst David Michelinie is smart enough to recognise the popularity of the ousted Hawkeye, giving him a large slice of the story in the second half. The plot revolves around Crusher (The Absorbing Man) Creel’s efforts to sneak out of the U.S. and start a new life (of crime) down South. Of course, kicking off his plan with a robbery and kidnapping isn’t the smartest thing to do and it attracts the attention of Earth’s Mightiest Heroes, promising the inevitable slugfest next issue. John Byrne and Klaus Janson are well matched on art duties, whilst Michelinie’s script is dripping with humour, mostly courtesy of The Beast (who, you have to admit, is far too serious in The X-Men these days). As usual, Tales Of Asgard wraps things up. It’s ostensibly an introduction to the now infamous Warriors Three, though only Volstagg gets some lines and more than one panel in this chapter. The urgency of Thor and Loki’s mission is emphasised by a grim warning of ‘the war to end all wars’ Ragnarok. Light but fun storytelling that won’t ruin your appetite.

Marvel Legends #7 (Panini UK)
“The Lonesome Death Of Jack Monroe” by Ed Brubaker, John Paul Leon & Frank D’Armata (Captain America (v5) #7)
“The Sons Of Yinsen” by Joe Quesada, Frank Tieri, Alitha Martinez & Rob Hunter (Iron Man (v3) # 31)
“Wrecking Havoc” by Dan Jurgens, Erik Larsen & Klaus Janson
(Thor (v2) #28)

A break from the regular Captain America story, flashing back to Jack (Nomad) Monroe’s last year on Earth. His seemingly callous murder by The Winter Soldier in Marvel Legends #3 is seen in an entirely new light as it is revealed that Monroe’s days were already numbered. Having followed Nomad’s appearances in Captain America during the 1980s Mark Gruenwald/Paul Neary run, I missed the character’s solo series and subsequent appearances in the Marvel Universe so don’t know much about the breakdown that led to him becoming an incarnation of superhuman serial killer Scourge. However, it seems that this, and a degeneration of the super soldier serum that granted Monroe’s powers, is slowly killing him. Ed Brubaker presents a poignant first person perspective of a man experiencing both physical and mental deterioration. It’s not difficult to empathise with Monroe’s desire to go out fighting (crime) as Nomad, though there are signs throughout the story that the drug ring he is pursuing is nothing more than a delusion. That this ultimately proves to be the case underlines the quiet tragedy of a man who railed against his status as a perennial second stringer in order to make a difference. Taking all of the above into account, the Winter Soldier’s actions are more akin to a mercy killing than a brutal murder. Whether the Winter Soldier proves to be Cap’s long dead partner Bucky or not, it’s clear that he may be operating on the side of the angels after all, albeit with more extreme methods than the Sentinel Of Liberty. A brief mention for guest artist John Paul Leon, who never fails to impress. His loose, almost indie style here is a stark contrast to regular artist Steve Epting’s uber-dark photo realism, yet it perfectly suits Brubaker’s intensely personal narrative. Just one criticism and that’s the rather sloppy editing that allows the titular character’s named to be misspelt Munroe throughout the contents page. Come on, show a dead guy some respect…! In the aftermath of The Mask In The Iron Man, Tony Stark finds he has a brand new heart, though not without it’s own limitations, and decides to ‘go retro’ with a return to a former, iconic, suit of armour. Frank Tieri joins Joe Quesada on writing duties but the latter is still clearly in the driving seat judging by the rather clumsy plot and dialogue. This is yet another story centred on a foe long thought dead - this time Iron Man’s very first adversary, Wong Chu – that had this reader thinking “so what?” Likewise Alitha Martinez is a competent artist, heavily influenced by the early Image house style, but I’m already missing predecessor Sean Chen who seemed the ideal artist for the Iron Man series. This is the least impressive of the issue’s three stories, so I’m hoping things pick up next issue. Following the Blood Oath mini-series, we pick up Thor’s regular series more or less in line with Iron Man’s, i.e. a few years behind both Captain America’s current run and the Collectors’ Edition line as a whole. I’ve heard good things about Dan Jurgens’ tenure on the title, though this is very much old-school Thor in the style of Stan Lee, Gerry Conway and subsequently Tom DeFalco, with an emphasis on unsophisticated (melo)drama, humour and of course fighting. In this instalment, Thor and The Warriors Three are assaulted by The Wrecking Crew, who are seeking to reclaim their Asgardian-enhanced abilities. This they do, with apparently dire consequences for Hogun The Grim. Jurgens ticks all the narrative boxes, but I had been hoping for something more, whilst Erik Larsen and Klaus Janson’s perfunctory visuals do little to excite. Whilst not as much of a disappointment as the Iron Man strip, this series will need to up it’s game in the next few issues.

Stripping Down #20

2007-06-04T07:35:00.000+01:00

The Mighty World Of Marvel (v3) #55
(Panini UK)
“Beyond!” by Dwayne McDuffie & Scott Kolins (Beyond! #1)
“Vicious Cycle” by Daniel Way, Javier Saltares & Mark Texeira (Ghost Rider (v5) #3)
“Rumble In The Sky” by Kurt Busiek, Erik Larsen & Al Gordon (The Defenders (v2) #6)

Lead story Beyond! seems to satisfy three reader requests in one fell swoop: i) more Spider-Man, ii) more Scott Kolins and iii) Marvel Super-Heroes Secret Wars. Well, okay, maybe the last isn’t strictly accurate but it’s the next best thing if you ignore Secret Wars II (and believe me, I’ve tried). As with the original series, Beyond! sees a group of superhumans kidnapped from Earth and challenged to fight each other for their heart’s desire. Alongside Spider-Man’s arch foe Venom, there’s Kraven, who seems to have both reformed and gained a sense of humour since his last appearance in The Astonishing Spider-Man. In addition, there are three former Avengers: Firebird, The Wasp and Hank Pym (aka Ant Man aka Giant Man aka Goliath aka Yellowjacket); the interesting dynamic here being Hank’s history of hanky panky with both women. Rounding out the group are Medusa of The Inhumans and two relative unknowns, dyed-in-the-wool goodie Gravity and The Hood, who appears to be rather more conflicted, morally speaking. The writer, Dwayne McDuffie, impressed with his Damage Control mini-series and Deathlok revamp in the late 1980s/early 1990s, but pretty much dropped off of my radar after that. Happily, his script doesn’t disappoint, giving plenty of space to each of the featured characters, building up to the unexpected cliffhanger. Scott Kolins’ art is impeccable, his take on Venom a particular high point, with Paul Mounts’ colour art adding a real depth to Kolins’ visuals. Whilst lacking the sheer scale of the 1980s Secret Wars maxi-series, this is nonetheless a refreshing take on the now commonplace superhuman slugfest. In the second strip, the 2006 return of Ghost Rider continues apace as the biker with the flaming skull confronts Dr. Strange, appropriately enough in a graveyard. It’s the time honoured narrative of two heroes at cross purposes coming to blows but, thanks to Daniel Way’s sharp set-up and deft writing, the conflict avoids coming across as clichéd and predictable. Likewise the Lucifer sub-plot, despite being a mere three pages this issue, continues to intrigue as the dead rise in Oklahoma and go on a killing spree. Javier Saltares and Mark Texeira perfectly judge the visual tone, with the horror of the latter sequence coming from what is implied, rather than explicitly shown. The pair really are an ideal match on this series, with colourist Dan Brown’s excellent work enhancing the mood of the story no end. With a bound Dr. Strange on the receiving end of Ghost Rider’s Penance Stare at the episode’s climax, I’m looking forward to seeing how the good ol’ Doc gets out of this mess next month. This is undoubtedly one of MWOM’s best features to date. I wish I could say the same for The Defenders. As a kid, I loved Marvel UK’s Rampage weekly, which headlined the non-team’s early exploits, and followed them through to Rampage monthly, Hulk Comic and Captain America weekly, before sticking with the original US title to the bitter end in the mid-1980s. This 2001 revamp promised so much, with the classic line-up restored and a pair of capable creators in Kurt Busiek and Erik Larsen. However, halfway through the series’ short-lived run and I’m starting to understand why it was cancelled as I’m still feeling underwhelmed. The Defenders was, by virtue of it’s status as a non-team, a home for ‘leftfield’ creators, heroes ‘in between’ solo series (or membership of The Avengers) and the Marvel Universe’s more obscure villains. The latter has certainly been true in this incarnation, but I found it very hard to muster any enthusiasm for this issue’s adversaries, Red Raven and, erm, Bi-Beast. Having the story narrated by the ‘dumb’ Hulk is mildly amusing, and there’s a big explosion to close the episode, yet… there’s still something missing. I’ve struggled to put my finger on it, though I think in part it’s the characterisation, or lack of it. Much as I love these characters, there’s little here to engage the reader. If I were new to The Defenders, I’d be forgiven for not giving two hoots about any of them, which seems to be borne out by comments from MWOM readers, particularly in the Panini Comics forum. Disappointing.

The Mighty World Of Marvel (v3) #56
(Panini UK)
“Beyond!” by Dwayne McDuffie & Scott Kolins (Beyond! #2)
“Vicious Cycle” by Daniel Way, Javier Saltares & Mark Texeira (Ghost Rider (v5) #4)
“Fire Above, Thunder Below” by Kurt Busiek, Erik Larsen & Sal Buscema
(The Defenders (v2) #7)

Judging by Scott Kolins’ (uncharacteristically bland) cover, Venom may have bitten off more than he can chew. Inside, Medusa proves this by giving the symbiote a good whupping for murdering Spider-Man in the opening instalment of Beyond! Of course, you know that the webhead isn’t really dead and, to his credit, writer Dwayne McDuffie doesn’t drag things out, resolving this particular issue by the close of the chapter. The group crash land on an alien world, encounter both a friend (Deathlok) and foe (Dragon Man) and get more questions than answers. In the absence of Spider-Man, it’s Kraven who gets the best lines, a choice exchange being with Hank Pym on the latter’s size changing abilities:
Hank Pym: “I submit myself to the same [shrinking] process but there are certain biological difficulties…”
Kraven: “Say no more. Shrinkage is nothing to joke about.”
Aside from Carry On moments like this, Beyond! continues to provide a winning combination of solid writing and impressive art. There are also informative fact files on Kraven, Gravity, The Hood and Firebird, to help bring readers up to speed. In the Ghost Rider strip, the mysterious Numecet appears and reveals the true nature of Lucifer’s manifestation on Earth and Johnny Blaze’s unwitting part in his plans. As to be expected from writer Daniel Way, Ghost Rider seems to be in a no-win situation; it’ll be fascinating to see how the character defeats Lucifer without also condemning himself to an eternity in hell. The Defenders storyline comes to an end with another shift of narrative perspective, this time to the new Valkyrie. Although this keeps the tone of each issue relatively fresh, I don’t think that it’s achieving it’s intended purpose of enabling the reader to engage with the characters or understand their relationships with one another. The core members of Dr. Strange, Sub-Mariner and Hulk are keen to break the curse that binds them together; Nighthawk, Hellcat and Valkyrie see The Defenders as their surrogate family and want the team to remain intact. Beyond that, I don’t feel any closer to empathising with any of them, which is a real shame. The main action sees The Defenders fight to save Red Raven’s aerial city from The Wayfinder, have yet another truncated stab at freeing Atlantis from Attuma’s mob of marine Z-listers and a battle with former foe Hell-Eyes that’s over before most of the team (and indeed, the readers) have even caught up. There’s an epilogue worthy of the Steve Gerber era that promises more (Headmen, probably). The Defenders take another break next issue to make way for their AWOL founder member – and now movie star – The Silver Surfer in a classic tale. Bring it on!

Jukebox Juicebox #31 - Forever Green

2007-06-03T09:33:00.000+01:00

Green Gartside
Venn Festival, Arnolfini, Bristol, 02/06/2007

A relatively late addition to the line-up of the fourth annual Venn Festival, I was expecting this to be a solo set, maybe acoustic guitar, some samples, and little more. In fact, as we poured into the recently revamped Arnolfini’s upper auditorium, the frantic activity onstage indicated that I was way off in my assumption. Green Gartside took to the stage just after 6.00pm, introducing “some of Scritti Politti” – namely Rodhri Marsden on keyboards, Alyssa McDonald on bass, Dave Ferrett on keyboards and occasional bass. As with all of the Venn Festival performances, this was a short set at just under three quarters of an hour. However, of the nine songs performed, five of them were brand new – incredible given the 7 year gap between White Bread Black Beer and Anhomie & Bonhomie (and nearly 2 decades since Provision). It’s been six months since the band performed live and, given Green’s much documented onstage nerves, the limitations of the Arnolfini set up, and a predominantly brand new set, it would have been reasonable to assume that things would be pretty shaky. An unfortunate consequence of Dave Ferrett moving from keyboards to bass for several songs was that bassist Alyssa McDonald was left standing like the proverbial gooseberry on stage, with nowhere to go and nothing to do. However, in spite of this, frequent gestures and requests from the band to adjust the levels and Green’s self deprecating comments about their performance, the set was jaw droppingly wonderful. Of course, the highlight was Green’s voice itself, amazingly managing to achieve the same kind of spine tingling beauty that it delivers on record. Of the new songs, Unfrozen is a layered acoustic number whilst Forgiven incorporates some affecting tweeting and piano sounds. Two Minute and Antarctic recall the hip hop inspired sounds of the greatly underrated Anhomie & Bonhomie. Antarctic was dedicated to The Yin Yang Twins; like most of Green’s references this evening, this was lost on the audience, including me until I Googled them. The fifth and final new track, which Green claimed to have “completed in the dressing room” loosely seemed to be about the US Civil War’s most famous Confederate General, Robert E. Lee, though I could be wrong! The penultimate song of the set, this was quite a folky number. The set opened and closed with tracks from White Bread Black Beer, namely Robin Hood and The Boom Boom Bap, with the infectious E Eleventh Nuts also represented. Great though these were, even better was the inclusion of The ‘Sweetest Girl’, which I never thought I'd hear performed live. The hapless Alyssa McDonald particularly shone with her bass playing on this song. Before ending the set with The Boom Boom Bap, Green asked the guy at the sound desk if he could buy him a pint of Guinness to save queuing at the bar (a good call: despite the revamp, the Arnolfini bar is still a nightmare). As my beloved, my friend and I sat outside on the dockside still reeling from the incredible gig we’d just seen, I was pleased to see Green walk past with his crew, clutching the remains of his black beer. Let's hope he brings Scritti Politti back to Bristol for another round.

[Set list]: 1. Robin Hood / 2. Unfrozen * / 3. E Eleventh Nuts / 4. Forgiven * / 5. Two Minute * / 6. The ‘Sweetest Girl’ / 7. Antarctic ** / 8. Robert ** / 9. The Boom Boom Bap
[* introduced as working titles, ** no titles given]

The excellent Scritti Politti fan site bibbly-o-tek includes a 10 minute segment from BBC Radio 2's Charles Hazlewood Show on 16th May 2007, where the presenter interviewed Green Gartside and premiered Unfrozen and Forgiven. Listen here

Green Gartside interviewed by Scotland On Sunday (June 2006) and Digital Spy (July 2006)

Stripping Down #19

2007-06-02T09:22:00.000+01:00

The Astonishing Spider-Man (v1) #150 (Panini UK)
“Sins Past” by J. Michael Straczynski, Mike Deodato & Jose Pimentel
(Amazing Spider-Man (v1) #513-514)
“Carnage” by David Michelinie, Mark Bagley & Randy Emberlin
(Amazing Spider-Man (v1) #361-362)

A 100 page special to celebrate a century and a half and to close the first volume of this incredibly successful UK Spider-Man title. The first half of the issue is devoted to the concluding chapters of the controversial Sins Past, as Spider-Man finally confronts Gwen Stacy’s children with the truth about their father. The extent of Norman Osborn’s manipulations goes some way to offsetting the less palatable retroactive continuity. Although this storyline has skirted very closely to the realms of implausibility, particularly in redefining Gwen Stacy and her relationship with Peter Parker, it’s impact cannot be denied. J. Michael Straczynski has stirred up a narrative hornets’ nest, leading to one of the liveliest debates about Spider-Man comics in a long time. Credit also to Mike Deodato, whose work on this series is arguably a career best. The second half of this giant sized edition features the 1992 debut of Carnage; I’d put the emphasis here on ‘archive’ rather than ‘classic’ Spider-Man. I’ve never been a fan of either the character or then-artist Mark Bagley, but it’s interesting to see how much the former has declined and the latter has improved in the last 15 years. David Michelinie’s script is good, but not on a par with his earlier work on the title. However, the unusually bloodthirsty narrative (typical for the early 1990s) is balanced by the sketching of Cletus Kasady/Carnage as a dangerous psychopath with no moral restraint, juxtaposed with his ‘father’ Eddie Brock/Venom’s warped sense of justice and protecting the innocent and Spider-Man’s moral dilemma in finding a way to deal with them both. Rounding off the issue is a fascinating article by Comics International’s Mike Conroy, where David Michelinie explains his reasons for creating Carnage as a counterpoint to both Spider-Man and Venom, and how the character was subsequently used and misused. All in all, this is a fine swansong and I for one am looking forward to The Astonishing Spider-Man volume 2, although it’s fortnightly frequency means that my bank account won't be…

The Astonishing Spider-Man (v2) #1 (Panini UK)
“Breakout” by Tony Bedard, Manuel Garcia & Raul Fernandez
(Spider-Man: Breakout #1-2)
“Carnage” by David Michelinie, Mark Bagley & Randy Emberlin
(Amazing Spider-Man (v1) #363)

Wow, this just screams “Buy Me!” An Andy Kubert illustration, excessive use of alliteration, a shiny foil cover and a big, bold number 1 in the corner box. I’m not a fan of relaunches for the sake of it, so does the interior of The Astonishing Spider-Man volume 2, number 1 stand up to scrutiny? Simple answer is that it sure does. Previews magazine had originally listed this premiere issue as running Sarah’s Story, a follow-on from the recent Sins Past arc. Given that the point of a relaunch is to provide a jumping on point for new (and lapsed) Spider-Man readers, leading with a continuity heavy story would have been a bad move. Although the replacement mini-series Breakout (originally planned for ASM #3) is also a tie-in to the similarly titled storyline currently running in The Avengers United, it’s entirely enjoyable as a standalone series. Writer Tony Bedard’s writing provides sufficient explanation without an over reliance on exposition, meaning that the narrative is suitably fast paced. Artist Manuel Garcia does struggle a bit with long shots, his figures looking a tad static and/or amateurish at times, but expressive facial close ups and panel layouts in general are a real strength. Inker Raul Fernandez adds a polish to Garcia’s pencils that overcomes most of their shortcomings. The archive strip wraps up Carnage’s first appearance (there’s a handy contents page recap if you missed The Astonishing Spider-Man (v1) #150). The story is really nothing to write home about and Mark Bagley’s rendition of Venom is dreadful, shadowed only by an excruciatingly awful depiction of a rock concert. At least next issue promises some proper classic art, courtesy of John Romita Snr and Jim Mooney. On reflection, a reassuring beginning for the (slightly) new Astonishing Spider-Man. Let’s hope it maintains the high standard in the year ahead.

The Astonishing Spider-Man (v2) #2 (Panini UK)
“Breakout” by Tony Bedard, Manuel Garcia & Raul Fernandez
(Spider-Man: Breakout #3-4)
“Beware…The Black Widow!” by Stan Lee, John Romita & Jim Mooney (Amazing Spider-Man (v1) #86)

Another double dose of Breakout, as The U-Foes and Crossfire’s crew attempt to flush out Rosalyn Backus, the object of both teams’ enmity. Luckily for Backus, Spider-Man gets to her first and begins to unravel some of the mystery surrounding Backus’ history with these super-villains. Tony Bedard has produced a fast-paced and unpredictable tale, where nothing is quite what it seems. Crossfire, who always seemed to me like a second rate Bullseye, has become in the course of this series both an intriguing character and formidable foe. Bedard also makes good use of comparisons between the two groups. Crossfire’s crew, comprising mind-manipulators The Controller, Mr. Fear, The Corruptor and The Mandrill, clearly struggle to work as a team, ultimately to their cost. Vector’s leadership of his team on the other hand is much tighter, more akin to family unit of the Fantastic Four, whose powers The U-Foes sought to replicate. Breakout explores power on several levels: physical superhuman abilities as a blessing or a curse; individuals’ use of power to influence others; and, of course, the old adage about the corrupting effect of power. The end result is a story that deftly balances thought provoking narrative and dramatic tension and, given the large cast of characters, doesn’t forget to place it’s lead character at the centre. Garcia and Fernandez again impress with some energetic storytelling. Back to 1970 for the classic strip, one of my favourite Marvel heroines, The Black Widow, swings by. I’d forgotten that the Russian femme fatale debuted her black skintight jumpsuit, inspired by The Avengers (TV’s Emma Peel not the Marvel’s superteam) in these pages. An iconic look that hasn’t dated as the decades have passed. Wowza! The story itself is a bit hokey: The Black Widow, seeking to establish herself a superhero, decides to fight Spider-Man in order to test his abilities and learn from the experience. Unfortunately, Spidey’s feeling more than a little under par and is convinced that he’s losing his spider-powers. The script is inevitably melodramatic (come on, this is Stan Lee after all), the art is vintage John Romita and there’s a finale worthy of the best soap operas. What more could you ask for?

The Astonishing Spider-Man (v2) #3 (Panini UK)
“Breakout” by Tony Bedard, Manuel Garcia & Raul Fernandez
(Spider-Man: Breakout #5)
“Unusual Suspects” by Paul Jenkins, Phil Winslade & Tom Palmer
(Daredevil/Spider-Man: Unusual Suspects #1)
“Unmasked At Last!” by Stan Lee, John Romita & Jim Mooney
(Amazing Spider-Man (v1) #87)

In the concluding chapter of Breakout, Spider-Man calls in some help from New Avengers team-mates Captain America and Iron Man to stop The U-Foes and Crossfire’s crew. As with the previous chapters, Tony Bedard manages to provide each of the characters with convincing motivations and rationales for their actions. Of the two teams, the reader is encouraged to empathise with The U-Foes and in particular Vector, as their pursuit of Rosalyn Backus has been driven by much more than just greed or revenge. Manuel Garcia’s art isn't quite up to the same standard here, the artist notably having a hard time with the aforementioned Avengers, who seem oddly squat throughout. However, on the whole, Breakout has been a welcome break from the regular Spider-Man series and a perfect start to this new title. Sticking with mini-series for the second strip is Unusual Suspects, a Daredevil / Spider-Man double header. Just one look at the credits was enough to assure me that this would be a great read and chapter one does not disappoint. Phil Winslade’s incredibly detailed pencils are a joy to look at, not least the opening half dozen pages. Veteran inker Tom Palmer has been a favourite for as long as I can remember reading comics and seems to thrive on working with artists of this calibre. Although Palmer’s heavy style can be overpowering at times, here his judgement is spot on and the best of both artists’ styles are evident. Paul Jenkins’ script is typically rich, with a well constructed premise and some excellent dialogue. I was rather bemused by the trio of villains – Gladiator, Stilt Man and Copperhead – none of whom are the original Daredevil foes. Exposition would have affected the flow of the story, but I hope that this – and The Kingpin’s blindness - will be explained, either in the story itself or by way of an accompanying article. Unmasked At Last! screams the classic strip’s splash page. Of course, Stan Lee’s still writing like it’s the early 1960s so you know that the story will include so many twists and turns that Lee can barely squeeze in a deus ex machina at the end. I don’t think I’m spoiling things too much by saying that this issue leads into The Death Of Captain Stacy storyline (and is included in the Pocket Book of the same name that, strangely enough, Panini UK published in March). As of itself It’s not a 'classic' classic if you get my meaning, but it’s a fun story if only in demonstrating that ol’ Peter was often more of a worry wart than his dear Aunt May…!

Jukebox Juicebox #30

2007-05-28T09:11:00.000+01:00

The Wombats “Backfire At The Disco” (2007)
I’ve never heard of The Wombats and rarely buy NME these days, but I’d hazard a guess that reviews of this song will inevitably include the phrases “live favourite”, “quirky indie pop” and “the next Arctic Monkeys”. I’m not sure how many of these actually apply, but Backfire At The Disco is a breezy number that underpins a tale of woe about a date gone wrong. Some frenetic guitar, timely whoops and a singalong chorus ensures that indie kids tanked up on cider or Newkie Brown will be chugging along to this on the dancefloor even now. However, it’s the remix by KGB (another new one to me) that really cuts the mustard, with a grimy bass, cow horns and a pulsing beat that come across like The DFA, which can only be a good thing. The lyrics and vocals sit extremely comfortably with the funkier, club-oriented sound and this one’s guaranteed to get the shake the bones.

Tracklisting: 1. Backfire At The Disco (original version) /
2. (kgb remix)

The Wombats MySpace page

The Maccabees “Precious Time” (2007)
An indie-on-a-major five piece from Brighton comprising Orlando, Robert, Rupert, Felix and Hugo? Suggests a bunch of rich kids trying to get down with the proletariat, doesn’t it? Relax, it’s not as bad as all that, but there is an inescapable sense of contrivance about the band and their music. Precious Time ticks all the right boxes, with it’s narrative focus on adolescent first love, a squalling guitar chorus and lots of chanting. However, frontman Orlando’s vocals are definitely an acquired taste; sounding like he’s literally got a frog in his throat, Antony (of …& The Johnsons fame) seems to be the obvious reference point. I can understand the appeal of this track, but it’s actually my least favourite of the three included here. The Real Thing kicks off with a handclap rhythm and acoustic guitar, building up to a real campfire rouser. The lyrics again focus on the obvious – trying to get over an ex-girlfriend – and the vocalists’ almost identical delivery to the previous song suggest a limited range. Still, it comes in at just under a minute and a half and, as such, doesn’t outstay it’s welcome. The best is saved ‘til last, with a great remix of X-Ray by South Central that pumps up the beat and distorts the vocals, producing a behemoth of a track that sounds like Franz Ferdinand on speed. Needless to say, the lyrics remain pretty by-the-numbers, but the infectious rhythm means that you’ll be too busy moving to give a damn. More remixes like this and I’ll remain interested in the band.

Tracklisting: 1. Precious Time / 2. The Real Thing / 3. X-Ray (south central x-ray vision ‘for those with eyes to see’ remix)

The Maccabees' MySpace page

Mark Ronson “Stop Me” (2007)
This is an inspired cover version, taking The Smiths’ Stop Me If You Thing You’ve Heard This One Before, adding epic strings, a heavy rhythm and a reprise of Diana Ross & The Supremes’ You Keep Me Hanging On. It recalls both the Now Voyager remix of You Got The Love by The Source featuring Candi Staton and the track that inspired it, Massive Attack’s seminal Unfinished Sympathy. The main differences here are the horn section, providing a counterpoint to the downtempo strings, and vocalist Daniel Merriweather. I’ve no idea who he is, but he takes the song to another level and adds a new dimension to Morrissey’s original lyric. Cover versions as they should be, enabling the listener to appreciate the song in a whole new way. Chicken Lips do not disappoint on the remix front, providing a pulsing electro beat and bassline that complements Merriweather’s performance. I’m less enamoured by the Dirty South remix – sounds a bit like Junior Vasquez on a bad day in parts and probably would have benefited from ditching the vocals at the risk of losing it’s most recognisable hook. A non-album track rounds off the EP: I don't know what the original of Queens Of The Stone Age’s No One Knows sounds like, but it’s a safe guess that this is yet another fairly radical reworking. Vocalist Domino comes across like a cross between Beyoncé and Amy Winehouse, whilst a funky guitar break, hip hop beats and saxophone provide a suitably jazzy backdrop.

Tracklisting: 1. Stop Me (featuring Daniel Merriweather) (album version) / 2. (a chicken lips malfunction) / 3. (dirty south remix) / 4. No One Knows (featuring Domino)

Mark Ronson's MySpace page

Stripping Down #18

2007-05-26T09:21:00.000+01:00

The Avengers United #78 (Panini UK)
“Breakout!” by Brian Michael Bendis, David Finch & Danny Miki (New Avengers (v1) #1-2)
“On The Matter Of Heroes!” by David Michelinie, John Byrne & Gene Day
(Avengers (v1) #181)
“The Sword In The Scabbard!” by Stan Lee, Jack Kirby & Vince Colletta
(Journey Into Mystery (v1) #117)

Six months have passed in the Marvel Universe but only four short weeks for The Avengers United readers since Earth’s Mightiest Heroes disbanded. Time, then, for a brand new team. In keeping with previous line-up changes, there are veteran Avengers (Captain America and Iron Man), familiar but unexpected additions (Spider-Man and Wolverine), a couple of revamped and reinvigorated B-listers (Luke Cage and Spider-Woman Mk I), plus a retconned Golden Age hero (The Sentry). Well… on the cover at least and even then, shrouded in shadow. As this is written by Brian Michael Bendis, the opening two episodes come across like an episode of TV show 24, with lots of talking interspersed with nosebleed inducing action as old Spidey foe Electro stages the eponymous prison break at supervillian penitentiary The Raft. David Finch’s art screams Hollywood blockbuster, though there is an over reliance on splash pages and static panels. More irritating is Finch’s inability to draw distinctive faces. If I reading this in retro Marvel UK style black and white format I suspect that, on visuals alone, I would struggle to differentiate between Luke Cage and The Purple Man, Jessica Drew and Mary Jane Watson. That said, it’s refreshing to see a genuinely new and interesting team of Avengers and this is a big, big improvement on the creative team’s debut with the disappointing Disassembled. In the classic strip, John Byrne takes over art duties, complemented here by some great inking from Gene Day. The story features another historic (albeit short-lived) line-up change, imposed by government liaison Henry Peter Gyrich, a great opening sequence with Wonder Man and The Beast, plus Quicksilver and Scarlet Witch in an intriguing cliffhanger. They sure don’t make comics like this anymore. I probably bang on in every review of this title about how little I enjoy Tales Of Asgard. It’s back this issue after a short break and – dare I say it? – isn’t all bad. The promise lies in the fact that, rather than the usual five page stand alone heavy handed moral, this is the first of a multi-part ‘quest’ storyline. Let’s hope it delivers the goods.

The Avengers United #79 (Panini UK)
“Breakout!” by Brian Michael Bendis, David Finch & Danny Miki (New Avengers (v1) #3-4)
“Honour Thy Father!” by David Michelinie, John Byrne & Klaus Janson (Avengers (v1) #182)
“The Crimson Hand!” by Stan Lee, Jack Kirby & Vince Colletta (Journey Into Mystery (v1) #118)

This issue’s cover boasts a gratuitous T’n’A shot of Spider-Woman, who has clearly has had several tucks and implants since she first hit the scene in the 1970s. Inside, the improvised team of heroes deal with last issue’s prison break and Captain America is inspired to make this assemblage a more permanent arrangement. Naturally, one of the team is working for an as yet unknown third party (shades of Emma Frost in the current X-Men storyline here); I’d imagine it’ll be a long while before this sub-plot comes to the fore. Despite a cover appearance last issue, the final new member – a certain hirsute Canadian mutant – doesn’t debut until the final panel. However, Breakout continues to be a promising start for the fledgling New Avengers. Travelling back to the late 1970s for the archive Avengers tale, the team attempt to save the lives of Quicksilver and Scarlet Witch, leading to a surreal battle with their adoptive father. Klaus Janson’s inking is characteristically heavy, particularly compared to Gene Day’s in the previous issue, but it still works well, allowing John Byrne’s clear storytelling to shine through. In the closing Tales Of Asgard, Loki is trying to off his half-sibling Thor before their quest has even got underway. No surprise that the God Of Thunder foils the God Of Mischief’s plot, but it’s a fun read that greatly improves on the laboured morals of previous tales.

Panini UK website

Jukebox Juicebox #29 - You Can Go Home Again

2007-05-23T07:15:00.000+01:00

Go Home Productions "Six Pack" (2007)
Hot off the decks is the ever reliable Mark Vidler's latest freebie EP in a 7" double pack format, with a free 7" flexi to boot, providing a whopping six slabs of bastard pop for your aural pleasure. The opening track mashes Marvin Gaye's Too Busy Thinking About My Baby with Kaiser Chiefs The Angry Mob with blistering effect, The Beatles' Penny Lane acting as a great reprise. Marvin Gaye could have made some classic rock music if he'd teamed up with, say, Jimi Hendrix or The Rolling Stones back in the day. In the absence of the real thing, this track is a more than welcome substitute. Hung Phantom pairs Madonna's Hung Up with Justice's Phantom and Goblin's Tenebre, proving that even without the ABBA sample, the former is a great track. Supreme Evil is built around a backing of ELO's Evil Woman, with Diana Ross and the Supremes' Stop (In The Name Of Love) and Michael Jackson's Bad providing the vocals. It's been said plenty of times elsewhere, but Vidler's skill lies in encouraging the listener to reappraise artistes or songs, particularly those that are (overly) familiar in their original form. Long Distance Good Luck Call is a good example, imbuing Lisa Kekaula's vocals on Basement Jaxx's Good Luck with an earthier quality when paired with Phoenix's dirty beats and guitar riffs. Revisiting The Beatles for the two flexi tracks, Vidler is a tad cheeky here, pairing the Fab Four first with Disney's Pinocchio (!) and Radiohead, then with Bill Conti's Going The Distance, aka The Theme From 'Rocky'. Pinocchiohead On LSD is initially a bit hard to get your head around as I've Got No Strings and Lucy In The Sky With Diamonds battle for supremacy over Creep's chugging rhythm, but perversely it's a success. The final track is the slightly better of the two, lending Hello Goodbye with an unexpectedly epic quality. I'd part with a few quid for this EP, so how great is it that all of these tracks are currently free to download?

Tracklisting [A]: 1. Marvin Gaye v. Kaiser Chiefs v. The Beatles: Too Busy Thinking About The Angry Mob / 2. Madonna v. Justice v. Goblin: Hung Phantom / [AA]: 3. ELO v. Diana Ross & The Supremes v. Michael Jackson: Supreme Evil / 4. Phoenix v. Basement Jaxx: Long Distance Good Luck Call / [flexi]: 5. Pinocchio v. Radiohead v. The Beatles: Pinocchiohead On LSD / 6. The Beatles v. Bill Conti: Goodbye Rocky

Go Home Productions "Pink Wedding" (2007)
If you're not subscribed to the Go Home Productions mailing list (and why not?!), you may well have missed this gem back in March (although a Google search is likely to unearth MP3s if you look hard enough). It pretty much does what it says on the label: Pink's Get The Party Started never sounded so good with Billy Idol's White Wedding (especially Steve Stevens' guitar hooks) underpinning the song; Sir William Of Idol himself drops in with the occasional "Pick It Up!" or "Dynamite!" Far more of a party track than Pink's original plodder, this is another prime example of why Mark Vidler is still head and shoulders above the increasing number of mash-up artists out there.

Go Home Productions "Nightbeatle (Beatleg Bootles 2)" (2007)
Probably a love it or loathe it mash-up, laying The Beatles' When I'm Sixty Four over Daft Punk's ambient Nightvision, I'm firmly in the former camp. When I'm Sixty Four has always been one of my least favourite Beatles tracks, yet Vidler transforms Paul McCartney's vocals from whimsical to wistful in this astounding (re)version. This mash up, with Nightvision's added synth washes, now sounds oddly reminiscent of 10CC's I'm Not In Love before (not meant as a criticism!) An unexpected pleasing spine tingler and another essential download. Get this while you can from the Go Home Productions website.

Stripping Down #17

2007-05-20T06:53:00.000+01:00

Wolverine & Deadpool #137 (Panini UK)
“Enemy Of The State” by Mark Millar, John Romita Jr. & Klaus Janson (Wolverine (v2) #25)
“The Gehenna Stone Affair” by Peter David, John Buscema & Bill Sienkiewicz
(Wolverine (v1) #14)
“Great Men” by Joe Kelly, Anthony Williams & Andy Lanning (Deadpool #22)

Enemy Of The State concludes as S.H.I.E.L.D. race to foil Hydra’s plot to assassinate the US president and Wolverine faces off against his own team-mates…with fatal consequences for one. Actually, the death of an X-Man – Northstar – isn’t quite the shocking event that it probably was in the States. For UK readers, this is pretty much the former Alpha Flight stalwart’s first and last appearance as an X-Man, given that Essential X-Men have skipped the run of stories that Northstar has appeared in. As such, there’s been little chance to develop empathy for the character or understand his relationship, or contribution to, the X-Men. That said, there’s no denying that it’s a well written sequence within a wholly enjoyable series and proof (if any be needed) that writer Mark Millar is firing on all cylinders here. John Romita Jr’s art is similarly impressive, though it’s interesting to note his depiction of George Dubya as a lithe, canny, even 1970s period Charlton Heston-esque figure. Without having a clue as to Romita Jr’s political leanings, it’s difficult to know if this ‘heroic’ rendition of the US president is the result of patriotism, rose-tinted artistic licence or editorial pressure… Speaking of creative teams, the trio responsible for archive strip The Gehenna Stone Affair seem to be having fun. Writer Peter David is clearly poking at some of predecessor Chris Claremont’s more bloated narrative conceits, not least Wolverine’s questionable ‘Patch’ alias, which is wisely ditched this issue. Bill Sienkiewicz’s inking adds an abrasiveness to John Buscema’s otherwise smooth flowing visuals, to great effect. In the Deadpool strip, British artists Anthony Williams and Andy Lanning provide an excellent fill-in, as The Merc With A Mouth encounters Cable. Joe Kelly pulls together a number of plot threads in preparation for next issue’s much anticipated Dead Reckoning. Whilst frequently derided on the letters page as overly quirky or comical, Deadpool is in fact a real asset, delivering a surprising amount of light and shade, both in the stories themselves and Wolverine And Deadpool as a whole.

Wolverine & Deadpool #138 (Panini UK)
“Agent Of S.H.I.E.L.D.” by Mark Millar, John Romita Jr. & Klaus Janson. (Wolverine (v2) #26)
“The Gehenna Stone Affair” by Peter David, John Buscema & Bill Sienkiewicz
(Wolverine (v1) #15)
“Dead Reckoning” by Joe Kelly, Walter McDaniel & various(Deadpool #23)

There’s plenty to enjoy in the lead strip, a sequel to Enemy Of The State. The story opens with a flashback to The Gorgon’s meteoric rise to power within first The Hand and then Hydra. The second half , set on the S.H.I.E.L.D. Helicarrier, is split between the agency’s efforts to recondition Wolverine and a climatic aerial assault by Hydra’s horde of resurrected superhumans, Elektra and Northstar included. Gripping stuff, to say the least. The penultimate episode of The Gehenna Stone Affair is pretty much an issue long melee. Still, when it’s a John Buscema drawn melee, then the fun is in spotting how many different directions the hapless opponents will be punched or flung from each panel. Finally, Deadpool faces his Dead Reckoning though Tiamat, the mother of all alien adversaries, is still lurking in the shadows. As always, Joe Kelly’s script deftly balances exposition, humour and tension, making for a fast paced tale that doesn’t leave the reader behind. Equally importantly, the script gives all of the characters, especially Deadpool and cadaver-like precognitive Montgomery, room to breathe. Walter McDaniel delivers strong pencil art, though a trio of inkers don’t really get the best out of his work. Despite that, Dead Reckoning promises to be the best of a the series so far and that’s saying something.

Stripping Down #16

2007-05-16T07:08:00.000+01:00

Fantastic Four Adventures #24 (Panini UK)
“Dream Fever” by Karl Kesel, Tom Grummett, Larry Stucker & Norm Rapmund
(Fantastic Four (v1) #526)
“Rock Bottom” by Geoff Johns, Scott Kolins & Andy Lanning (The Thing: Freakshow #1)
“The Return Of The Mole Man!” by Stan Lee, Jack Kirby & George Bell
(Fantastic Four (v1) #22)

Dream Fever was always going to have a tough job, following as it does from Mark Waid and Mike Wieringo’s consistently inventive and enjoyable run. However, even compared to Karl Kesel’s previous fill-ins as scripter, this is a disappointment. Long-time adversary Diablo is again criminally underused and the story’s climatic sequence featuring Sue and Johnny fails to convince. In the archive strip featuring The Mole Man, even the usually reliable Lee and Kirby stumble somewhat, as the FF flee from complaining neighbours into the diminutive villain’s trap. The set up swallows nearly half of the story and the plot seems rather hastily wrapped up in the closing panels. The issue is rounded out with the debut of Freakshow, a solo adventure for The Thing. Geoff Johns’ script is… okay, albeit a little heavy handed with both dialogue and, on the strength of the opening instalment, premise. The ubiquitous Scott Kolins (is there a Panini Collectors’ Edition that hasn’t featured his work?!) produces some good visuals here. It’s interesting to compare Kolins’ relatively early style here, which avoids use of black fills and shading, with his work on last year’s Beyond!, currently featuring in The Mighty World of Marvel. I prefer the latter, particularly as Freakshow’s older, cruder visuals are helped little by David Self’s rather insipid colours. Hopefully, the series will prove to be more than a simple ‘don’t judge a book by it’s cover’ moral. I also hope it encourages Panini to reprint more stories featuring The Thing, particularly some key Marvel Two-In-One tales and the current written by Dan Slott. Fingers crossed.

Fantastic Four Adventures #25 (Panini UK)
“Distant Music” by J. Michael Straczynski, Mike McKone & Andy Lanning
(Fantastic Four (v1) #527)
“Old Friends” by Geoff Johns, Scott Kolins & Andy Lanning (The Thing: Freakshow #2)
“The Master Plan of Doctor Doom!” by Stan Lee, Jack Kirby & George Bell
(Fantastic Four (v1) #23)

The FF Reborn! proclaims this issue’s cover. Neither this nor the other strapline, The World’s Greatest Comic Magazine!, are strictly true. However, as well as hitting the quarter century, Fantastic Four Adventures also introduces the new creative team of J. Michael Straczynski, Mike McKone and Andy Lanning. I’ve mixed feelings about Straczynski’s comic writing: I loved Supreme Power, but consider his take on The Amazing Spider-Man to be inconsistent. Still, the run gets off to a promising start with a smart bit of narrative misdirection. There are a number of other nice touches, including The Thing’s realisation that, whilst the rest of the team are broke, he’s a multi-millionaire and Reed’s discovery that the US government have been trying to replicate the creation of the FF almost from Day 1. Mike McKone’s pencils are spot-on, amply coping with the epic and small scale demands of Straczynski’s script. Andy Lanning again proves that he’s one of the – if not the – best inkers currently working in mainstream comics, the detailed inking unmistakeably his own without subsuming McKone’s own style. Freakshow, whilst not straying too far from the previous issue’s premise, introduces an interesting twist with the appearance of shape-changing Krees and Skrulls towards the end. And, thankfully, Lee and Kirby are back on track in the issue’s closing classic strip. Dr. Doom’s up to no good again, this time recruiting a trio of souped up thugs who inevitably prove to be no match for the fab foursome. All in all, a good mix of stories that makes for an enjoyable read.

Jukebox Juicebox #28 - Oh iPod I Love You

2007-04-07T09:22:00.000+01:00

I finally got around to upgrading from my much loved Panasonic portable cassette player to an iPod Nano last month. Even though I'm making very slow progress with uploading stuff from my record collection (about 500 songs so far, barely half the 4GB space), I've been giving my iPod a good run for it's money. It's been great to hear songs that I haven't listened to in a while, as well as discovering a whole load of stuff on the internet. The shuffle option has proved to be highly addictive when it comes to unusual playlists. I quit smoking (again) on Tuesday and (honest, guv) the moment I lit up my last fag, Chumbawamba's Give The Anarchist A Cigarette kicked into my headphones. Thankfully, so far my iPod's skipped John Lennon's Cold Turkey, which is also lurking in there somewhere...

Anyway, here's my Top 20 Most Played so far:

1) Turin Brakes "Pain Killer" (2003) - My favourite track from the exceptional Ether Song album. Official website
2) Lou Reed "Satellite Of Love" (1972) - Lou + Bowie = Transformer, arguably Reed's best album. Official website
3) The Fall "Lost In Music" (1993) - An incredible cover of the Sister Sledge disco classic (!) from The Infotainment Scan. Offical website
4) Idha Ovelius "I’m Losing More Than I’ll Ever Have"(1994) - The wife of Andy Bell (Oasis, ex-Ride) covers Primal Scream. Only available on a promo cassette with the now defunct Select UK music magazine. Download track from Popboy's fan site
5) Stevie Wonder vs. Rod Stewart "Uptight Maggie (Mash-Up By Go Home Productions)" (2005) - So wrong, yet so right...! One of Mark Vidler's finest moments. Join the GHP mailing list to get lots of lovely free stuff.
6) Darren Hayes vs. Marilyn Manson "Insatiable Love (Mash-Up By McSleazy)" (2002) - I wasn't a particular fan of either song originally, but these work really well together. Download track from McSleazy's website
7) Jay-Z vs. The White Stripes "The Doorbell Encore (Mash-Up By Team 9)" (2005) - It seems my route into rap and hip hop is via the mash-up...! All this and Queen's Another One Bites The Dust thrown in for good measure...! Download track from the Team 9 website
8) Kelly Clarkson vs. David Guetta vs. The Egg "Since You Love Me (Mash-Up By Loo & Placido)" (2006) - Would have been even better if the mash-up had ditched the vocals from the Guetta track, but Ms. Clarkson will never again sound as good as she does here. Loo & Placido's website
9) Chumbawamba "Give The Anarchist A Cigarette" (1994) - '...I hate every pop star that I ever met'. Song title from the book by Mick Farren, track from 1994's Anarchy album. Official website
10) Mirwais vs. Simian Mobile Disco "Naïve Hustler (Mash-Up By IDC)" (2006) - I love Mirwais' Naive Song and this pairing with the Simian boys is a natural. Download track from the IDC website
11) Aztec Camera "Oblivious" (1983) - Roddy Frame is a criminally underrated songwriter. I think he wrote this song when he was about 16 and it's remained one of my favourites from the 1980s. For more info., this is a great fan site or you can visit Roddy Frame's official website
12) The Coral "In The Morning" (2005) - I picked up The Invisible Invasion for a couple of quid in a Virgin Megastore sale and really enjoyed the album as a whole. This is a perfect pop combination of uplifting melody and dark lyrics. Official website
13) Tweet vs. Primal Scream "Oops I’m Loaded (Mash-Up By Team 9)" (2006) - Tweet's saucy ode to onanism laid over the Weatherall seminal remix of the Scream's I'm Losing More Than I'll Ever Have. Wow! Download track from the Team 9 website
14) The Jesus & Mary Chain featuring Hope Sandoval "Sometimes Always" (1994) - The voice of Mazzy Star perfectly complements the Chain's stab at alt. country from 1995's underrated Stoned & Dethroned. I never get bored of listening to this. Can't wait to hear Ms. Sandoval's appearance on the new Massive Attack album. Listen to the J&MC on MySpace or visit Hope Sandoval's official website
15) Madonna vs. Cassius "Toop Toop Groove (Mash-Up By Loo & Placido)" (2006) - This shouldn't work, but does. I defy you not to get into the groove! Track currently available for download from the Loo & Placido website
16) The White Stripes vs. Alter Ego "7 Nation Rocker (Mash-Up By IDC)" (2004) - The former's bassline and squalling guitar mashed with the latter's screeching synths. A killer. Download track from the IDC website
17) Madison Avenue vs. Blur "Don’t Call Me Song 2 (Mash-Up By McSleazy)" (2000) - The overpolished pop original gets roughed up by Blur's dirty guitar to great effect. Download track from McSleazy's website
18) Kelis vs. Kasabian "Get I.D. (Mash-Up By McSleazy)" (2004) - On the strength of this, Kelis really should do more rock tracks. An epic, melancholic tune. Download track from McSleazy's website
19) Erlend Oye "Sheltered Life (Radio Edit)" (2003) - I love Oye's Unrest album. The single version is markedly different from the original, sounding like a maudlin electropop single from 1981. Which is no bad thing. Official website
20) Calexico "Tulsa Telephone Book (Live At The Roskilde Festival, Denmark)" (2000) - I'm a fairly recent convert to Calexico and there's a bunch of stunning concert performances (including this track) available at www.archive.org Calexico's official website is also worth checking out for downloadable goodies.

Jukebox Juicebox #27

2007-04-06T09:09:00.000+01:00

Gossip “Standing In The Way Of Control” (2006)
A three-piece punk band from the US, the lead track comes across more pub than punk. Actually, it seems more inspired by 1980s (are we forever doomed to relive this decade?) post-punk and new wave. Soulwax hit the nail even more squarely on the head with their Nite Version, named after Duran Duran 12” mixes, including a stuttering synth line that immediately recalls said band’s My Own Way. Trevor Jackson goes for a much more minimal approach with an atypical Playgroup Remix. It’s an interesting approach, but Beth Ditto’s aren’t quite up to the task so, given the option, I’d have gone for a dub of this track. This song seems to have released multiple times since October 2006 (both as promos and official singles) and has been troubling the Top 40 recently, so should still be pretty easy to get hold of. Get any format that includes the Soulwax mix and you can’t go wrong.

Tracklisting [promo]: 1. Standing In The Way Of Control (radio edit) / 2. (soulwax nite version) / 3. (playgroup remix)

Tracey Thorn “It’s All True” (2007)
The first solo record from Tracey Thorn in quite a while, but it pretty much follows the Everything But The Girl template of the last few years, mixing Thorn’s trademark mournful lyrics and vocals with dance inflected beats. Interestingly, all of the mixes here look to the past for their inspiration. Producer Ewan Pearson oddly goes for early 1980s electro on the album version, the song coming across like an ironic cover of a Shannon song. It sounds great with the video clip, but doesn’t work quite so well as a song in isolation. The DSE dub, by Pearson and fellow producers Darshan Jesrani and Sasse Lindblad, takes the track to it’s logical conclusion, though Stuart Price (aka Jacques Lu Cont aka Les Rythmes Digitales) was doing this kind of thing much better nearly a decade ago. Martin Buttrich harder mix which comes across like a distant, downtempo cousin of Thorn’s collaboration with Deep Dish, The Future Of The Future, in the late 1990s. Best track is undoubtedly is the extended remix by Escort. This also aims squarely for the 1980s, but is laden with a rolling bass, synth hooks and funky guitar that complement Thorn’s delivery and remains the most memorable version of this song.

Tracklisting: 1. It’s All True (album version) / 2. (escort extended remix) / 3. (martin buttrich remix) / 4. (dse dub) / 5. It’s All True [video]

The Killers “Read My Mind” (2007)
I haven’t heard Sam’s Town in it’s entirety but this track seems to have been on constant rotation for months now. It’s lacks the impact of, say, Somebody Told Me or Mr Brightside, and seems undecided whether to be U2 or The Psychedelic Furs. That said, it’s a neat song with enough peaks, troughs and hooks to keep you interested. The Pet Shop Boys are an unusual choice to remix the single, having only done a handful of reworks in their career. I’m still not convinced it was a great decision – the full length version included here dragging on a bit, despite some good ideas, including some additional backing vocals from the Boys themselves. My only gripe is that, considering there are further mixes from Steve Bays (Hot Hot Heat), Gabriel and Dresden and Linus Loves knocking about in various formats, a 2-track CD single seems incredibly stingy. Shame on you, Vertigo, for being such tightwads!

Tracklisting [promo]: 1. Read My Mind (album version) / 2. (pet shop boys stars are blazing mix)

New Young Pony Club “The Bomb” (2007)
Another new band (to me, at least) and not to be confused with Ireland’s Pony Club aka Mark Cullen. NYPC most immediately sound like The B-52’s minus frontman Fred Schneider, that’s to say early period stuff like Dance This Mess Around and Give Me Back My Man rather than Love Shack or (gulp) Meet The Flintstones. In fact, there are times when vocalist Ty Bulmer sounds scarily like Kate Pierson and, although this is yet another band indebted to the decade that dare not speak it’s name, at least their influences seem somewhat broader. Paul Epworth’s overhaul of the track as Phones is an oddity, less groovy than than the original, yet the introduction of squelchy beats and a downright spooky, cut-up monastic chorus somehow works. There’s also a chance to remix the track yourself using the u-myx software included on the CD. Wrapping up this EP, and another nod to their inspirations, is a downtempo, whispered version of Squeeze’s Take Me I’m Yours, which adds a psychotic element to the song that I’d never picked up on before. Check out New Young Pony Club before they become old nags (sorry, couldn’t resist…)

Tracklisting: 1. The Bomb (original version) / 2. (phones collateral damage mix) / 3. Take Me I’m Yours / 4. The Bomb (u-myx)

Related websites:
Gossip
Tracey Thorn
The Killers
New Young Pony Club (MySpace)

Six Months In A Leaky Boat

2007-03-22T08:19:00.000Z

....Well, more like two hours on a recently refurbished boat. Honestly, you wait for a good gig to come along and then you get two at once...! My beloved was overjoyed to find out that Crowded House, one of her favourite bands, was reforming. Keeping a close eye on their website for tour news, it was Sod's Law that the announcement of a warm up gig at Bristol's Thekla Social (about 10 minutes from our home) was made whilst she was at work. The limited number of tickets were gone in a flash and were seen fetching up to £200 apiece on eBay shortly afterwards. A workmate of hers managed to get into the venue by slipping the door staff £20 and, by all accounts, it was a cracking night. Feck. Still, at least the Bristol Evening Post (above) also managed to blag a ticket and review the gig the following day.

Anyway, on the basis of Badly Drawn Boy and Crowded House's recent 'intimate' low-key gigs, I'm fully expecting to see Julian Cope performing Hey, High Class Butcher at my local meat shop this weekend...

Have You Fed The Fish?

2007-02-27T06:29:00.000Z

I spotted this in my local free paper this weekend. Badly Drawn Boy played live in a Bedminster chippy just down the road from my house last Saturday? I wouldn't have believed it if you'd told me. Damn, and I thought spotting Simon MacCorkindale in The Tobacco Factory couldn't be beat...

Badly Drawn Boy official website

Don't make me angry, you wouldn't like me when I'm angry...

2007-02-25T13:31:00.000Z

According to The Superhero Quiz, I am The Hulk

I am "a wanderer with amazing strength".

As if that wasn't bad enough, according to The Supervillian Quiz, I am The Joker

I am "the Clown Prince of Crime... a brilliant mastermind but criminally insane. I love to joke around while accomplishing the task at hand".

Let's see...
Have had green hair? Check.
Owned purple jeans? Check.
Have destroyed property whilst on a mindless rampage? Well...
Kill people on a whim? Er... okay, so maybe this isn't an exact science...

The Superhero Personality Quiz
The Supervillain Personality Quiz

Stripping Down #15 - The 'Lost' CI Reviews Part 3

2007-02-25T12:08:00.000Z

Why 'lost' reviews? See here...

Marvel Legends #1 (Panini UK)
“Out Of Time” by Ed Brubaker & Steve Epting (Captain America (v5) #1)
“The Mask In The Iron Man” by Joe Quesada & Alitha Martinez (Iron Man (v3) #1/2)
“Blood Oath” by Michael Avon Oeming & Scott Kolins (Thor: Blood Oath #1)

Filling the vacuum left by Titan’s acquisition of Batman Legends, this new anthology spotlights Avengers mainstays Captain America, Iron Man and Thor. Surprisingly, it is the lead strip that proves to be the highlight, with Ed Brubaker and Steve Epting’s atmospheric story kicking off with the apparent murder of The Red Skull. Equally surprisingly, the Iron Man story more or less picks up from it’s previous run in Panini’s long-defunct Marvel Heroes Reborn, with the rare Wizard ½ issue prelude to The Mask In The Iron Man. Neither Joe Quesada’s writing nor Alitha Martinez’ art are anything special, but it’s a satisfying enough read. The mighty Thor, like Iron Man, is currently without an ongoing series in the US, so we’re treated to the Blood Oath mini series, which came out at the tail end of 2005. However, the story itself focuses on the Lee/Kirby era, as the God of Thunder joins The Warriors Three on a quest for five items that will avert their execution. Michael Avon Oeming delivers an enjoyable script, complemented by the seemingly ubiquitous Scott Kolins. A promising start for this title.

Marvel Legends #2 (Panini UK)
“Out Of Time” by Ed Brubaker & Steve Epting (Captain America (v5) #2)
“The Mask In The Iron Man” by Joe Quesada & Sean Chen (Iron Man (v3) #26)
“Blood Oath” by Michael Avon Oeming & Scott Kolins (Thor: Blood Oath #2)

Captain America and S.H.I.E.L.D. discover a terrorist plot beneath the streets of Manhattan and try to determine it’s link to the Red Skull’s recent assassination. Being mainly familiar with Mark Gruenwald and Paul Neary’s 1980s run on the Star Spangled Avenger, this downbeat, gritty Captain America is a welcome change. Ed Brubaker’s narrative is reliably tense and Steve Epting’s visuals are a quantum leap from his early work on The Avengers, having improved beyond all recognition. The Iron Man strip benefits from regular artist Sean Chen’s contribution, as fetishistic foe Whiplash defeats Shellhead, seemingly exposing the latter’s identity as Tony Stark in the process. Thor and The Warriors Three climb Yggdrasil, the World Tree, and encounter Lerad the giant eagle in the second part of Blood Oath. It’s a fun tale, with strong art, though the jump to the climatic double splash page left me with the feeling that a couple of story pages went AWOL at the printers…

Marvel Legends #3 (Panini UK)
“Out Of Time” by Ed Brubaker & Steve Epting (Captain America (v5) #3)
“The Mask In The Iron Man” by Joe Quesada & Sean Chen (Iron Man (v3) #27)
“Blood Oath” by Michael Avon Oeming & Scott Kolins (Thor: Blood Oath #3)

Ed Brubaker’s Captain America reads more like an episode of TV series 24, with taut pacing, multiple plot threads and the sense that the titular hero is constantly one step behind the villains of the piece. In fact, three chapters in and I’m still not sure who’s behind all this, or indeed if the Red Skull’s death should be taken at face value. Probably not, given that Brubaker’s narrative suggests that nothing is what it seems. Following his recent appearance in The Avengers United as part of The Invaders, Union Jack makes a welcome reappearance here. Even more intriguingly, we are reacquainted with Cap’s former sidekick Jack Monroe, aka Nomad, who appears to have become a drifting drunk. In a gripping cliffhanger, Monroe is shot and thrown into the boot of a car. I only read a few issues of Mark Waid and Ron Garney’s 1998 reinvention of Captain America, but I’m really impressed by how much the character’s developed in the past decade. I never thought I’d ever say this, but Captain America is a ‘must read’. By comparison, Iron Man promised much last issue but is let down by a “it was only a dream” cop out midway through this issue’s instalment. I like the concept of Tony Stark’s armour gaining sentience, but Joe Quesada’s writing lacks the sophistication and polish of his series predecessors Kurt Busiek and Roger Stern. In the final strip, Thor slugs it out with Hercules, whilst the Gods of Olympus wager on the outcome. Although slightly less enjoyable than the previous two episodes, this is still an entertaining story that provides this anthology with a sense of balance. Whilst it would be good if Captain America didn’t hog the cover every month, it’s difficult to find fault with Marvel Legends.

Who Farted

2007-02-25T10:37:00.000Z

A combination of light sleep and hangovers means that I often wake up at the crack of dawn on the weekend, whilst my beloved has a lie in. This leads to the time honoured tradition of a pot of tea - or, in the case of a severe hangover, a mug of Bovril with Tabasco sauce, a failsafe cure - a barrel of biscuits and a Doctor Who video or DVD. So as not to wake my loved one, I watch the latter whilst wearing headphones. This occasionally leads to some unexpected 'extras' on the soundtrack...

This week: "The Mark Of The Rani", hardly one of the Sixth Doctor's - or indeed the series' - finest moments. Episode two, thirty seven minutes and forty five seconds in, the Doctor awakens an unconscious Peri in a mine shaft. Is the Doctor's unexpectedly loud (and possibly unscripted) "Shhh!" a thinly veiled attempt to disguise an equally insistent botty burp? Or maybe the Doctor is sending a warning to The Master in Tersuran, something he was to repeat in The Curse Of Fatal Death?

It's long been accepted that 'whoever smelt it dealt it' and 'whoever denied it supplied it'. Is it also reasonable to assume that 'whoever created the distraction caused the infraction'? Maybe I just need to drink less and sleep more...

Stripping Down #14 - The 'Lost' CI Reviews Part 2

2007-02-18T12:19:00.000Z

Why 'lost' reviews? See here...

The Avengers United #73-74 (Panini UK)
“Earth’s Mightiest Heroes” by Joe Casey & Scott Kolins
(Earth’s Mightiest Heroes #5-8)
“The End…And The Beginning!” by Jim Shooter + David Michelinie & Dave Wenzel (The Avengers (vol 1) #175)
“The Destiny Hunt!” by Jim Shooter + David Michelinie & Dave Wenzel (The Avengers (vol 1) #176)
“A Viper In Our Midst!” by Stan Lee & Jack Kirby
(Journey Into Mystery #115)
“The Challenge!” by Stan Lee & Jack Kirby
(Journey Into Mystery #116)

Joe Casey’s exploration of The Avengers’ early years continues to impress. Back stories explaining Jarvis’ involvement in Hawkeye’s imminent induction and Captain America’s crippling obsession with seeking vengeance for Bucky’s death lend the narrative – and characters – more credibility. In the concluding chapters, Hawkeye, Quicksilver and the Scarlet Witch replace Iron Man, Thor, Giant Man and the Wasp in the team’s first major line-up change. Whilst I’ve had mixed feelings about Scott Kolins’ art in the past, he’s pulled out all the stops here and produced some of his best work. Wil Quintana’s colour art (and the paper quality) has resulted in some overly muddy pages at times, but this is a small gripe. Earth’s Mightiest Heroes has been a welcome diversion from the current series, helping the memory of Chuck Austen’s largely execrable run to fade before Brian Michael Bendis mixes things up next issue. In the main archive strip, the origin of Michael/Korvac is revealed before an assemblage of Avengers finally discover their foe, promising one heck of a climatic conflict. Dave Wenzel is not in earlier artist George Perez’ league but he does a good job particularly in the closing pages and despite Pablo Marcos’ occasionally heavy handed inking. Tales Of Asgard wraps up each issue with, predictably, Loki up to his old tricks yet again. These stories were never a must read for me as a kid and the passage of time hasn’t done much to change that opinion. Given their prodigious output at the time, Stan Lee and Jack Kirby are below par on this series, though at least inker Vince Colletta is consistent. Consistently crap, that is.

The Avengers United #75 (Panini UK)
“Disassembled” by Brian Michael Bendis & David Finch
(The Avengers (vol 1) #500-501)
“The Hope…And The Slaughter!” by Jim Shooter & Dave Wenzel
(The Avengers (vol 1) #177)
“Hulk Remembers…” by Fred Hembeck (The Avengers (vol 1) #500 (Director’s Cut))
“The Man In The Ant Hill!” by Stan Lee & Jack Kirby
(Tales To Astonish (vol 1) #27)

A 100-page anniversary issue and the debut of the much aniticpated Disassembled, as a series of crises tear The Avengers apart. So, was it worth the wait? Well… not really. I have to put my cards on the table and say that I think both Brian Michael Bendis and David Finch are overrated. Regardless, it’s fair to say that neither deliver their best work here, with even the ‘shock’ deaths of Jack Of Hearts, Ant Man (Scott Lang, not Hank Pym) and The Vision lacking in impact. It’s easy to compare this to the Under Siege storyline that ran through #271-280 of the original US series which, in my opinion, has so far proved superior to the opening instalments of Disassembled. Still, I was reassured that the climax of The Michael/Korvac Saga, one of my favourite Avengers sagas as a teen, wouldn’t disappoint. And, sure enough, as I read the 18 pages that comprised the original #177, it didn’t. However, as the source of this reprint has been the 1991 trade paperback collection, this has not only resulted in poor quality reproduction of each chapter’s splash page, but also in a ‘new’ 4-page epilogue written by Mark Gruenwald and drawn by Sal Buscema. As might be expected, it does nothing to enhance the original storyline and in fact needlessly undermines the ambiguous ending of Jim Shooter’s original script with heavy handed exposition. This epilogue was quite rightly dropped from the subsequent 2003 collection and, to be honest, I could have happily done without it here. Fred Hembeck makes a welcome reappearance with an amusing two page ‘talking heads’ narrative as Hulk recalls his contribution to the team’s formation and subsequent ousting, with not a little bitterness. As might be expected, it’s a hoot and a nice diversion from otherwise downbeat material. Wrapping up the issue is a reprint of Tales To Astonish #27, featuring the first appearance of Ant Man (Hank Pym, not Scott Lang). Well, to be strictly accurate, the story introduces Pym, his discovery of the size-changing formula and subsequently terrifying adventure as he tests the formula on himself. It’s the kind of sci-fi fantasy short that Stan Lee and Jack Kirby excelled at in the 1960s and, obviously realising they were onto a good thing, it was a mere eight months before Ant Man’s regular series debuted in Tales To Astonish #35. In summary, The Avengers United #75 delivers an overhyped and underwhelming first half, but compensates for this with the (predominately archive) second.

The Avengers United #76 (Panini UK)
“Disassembled” by Brian Michael Bendis & David Finch
(The Avengers (vol 1) #502-503)
“The Roots Of All Evil” by Bill Morrison (Marvel Double Shot #2)

As the cover promises, the conclusion of Disassembled promises yet more mayhem and death. Those who haven’t been in living in a bubble in the two years since this storyline was originally published in the US will be aware that Hawkeye meets a controversial end this issue. During an unexpected Kree invasion, Hawkeye is struck in the back by a stray blast, igniting his quiver full of explosive arrows. Comandeering a Kree jet pack and flying into the ship itself, his last act is one of self-sacrifice, though a rather pointless one. Doctor Strange turns up at the end of the issue’s first instalment, which rarely bodes well during a crisis. Lo and behold, a flip of the page reveals that The Scarlet Witch, driven insane by the loss of her imaginary children yonks ago and by her perceived betrayal by her friends and teammates, has been subconsciously causing the string of disasters that have decimated The Avengers. I’m not going to spend time here arguing the toss about the implausibility of this narrative and the explicit cock-ups that Bendis makes in this story – heck, there’s an entire section of Wikipedia dedicated to that. However, it’s sad that Bendis seems to have used Chuck Austen’s misjudged interpretation of Earth’s Mightiest Heroes as the basis for this schlock horror, largely ignoring their predecessors Kurt Busiek’s and Geoff Johns’ sterling storylines and characterisation. Artist David Finch’s contribution relies overly much on large panels and single or double splash pages, with the best part of four pages in the final chapter comprising cut and paste panels of The Scarlet Witch from past issues. In fairness, Finch has a good eye for layouts and copes well with detailed crowd scenes. However, I find his Jim Lee-esque facial art a bit monotonous, with characters frequently looking constipated. Maybe it’s the pain of having to deliver such bad dialogue… Frank D’Armata’s colour art is more of a hindrance than a help, the blood red wash over Hawkeye’s death scene creating ‘atmosphere’ at the expense of clarity. So, after much hype, and the best part of six years in The Avengers United, Disassembled ends this series of The Avengers on a bum note. Thankfully, a reliably well-written and informative Avengers Spotlight feature helps make sense of The Scarlet Witch’s convulted history. Following next issue’s Finale we can look forward to the debut of The New Avengers in #78, albeit with the same creative team of Bendis and Finch. In place of the regular classic strip, there’s some light relief to be had with The Roots Of All Evil, written and drawn by Bongo Comics supremo Bill Morrison, and containing some much needed belly laughs. At the suggestion of The Enchantress, Loki decides to revert from ‘God Of Evil’ to ‘God Of Mischief’, causing all manner of problems for the erstwhile Avengers. The line-up is a rather unusual one, including The Black Knight and The Falcon, but rendering The Avengers in the style of The Simpsons and Futurama is an inpsired move. The sight of a bald Thor (victim of a helmet lined with hair removal cream) was enough to make me chuckle out loud, but it’s just one of several admittedly juvenile but extremely funny moments. More please…

Jukebox Juicebox #26

2007-02-11T10:33:00.000Z

Two Culture Clash “Two Culture Clash” (2004)
This Wall Of Sound release purports to be an innovative creative pairing of electronic music producers with (predominantly Jamaican) reggae/dancehall greats. The sleeve notes even go so far as to sniffily dismiss other efforts as “half-baked, ham-fisted assemblage of dancehall vocals grafted onto electronic beats in a studio on the other side of the Atlantic”. So, has bringing the producers to Jamaica and locking them in a studio with the island’s “lyrical wordsmiths” produced the “unprecedented” success that writer David Katz clearly believes it is? Well, of course not. There are some undeniably great moments on this album, but be under no illusion that Two Cultures Clash has resulted in something completely new. Instead, the producers seems to have moulded their sound to complement the performers, most of whom dish out the lyrical clichés that both characterise and damn the musical genre. If you can accept that this won’t be the earth-shattering, life-changing album that the hype suggests, then you can settle back and enjoy nearly an hour’s worth of good music. How Do You Love? is a deliberate shot at the charts, with Jon Carter bringing out the best in vocalists Patra (who guested on his Monkey Mafia single Work Mi Body) and Danny English. The two Jacques Lu Cont tracks - …And Dance and Na Na Na Na – are perhaps the album’s dancefloor highlights, with a minimal, pulsing beats that prove impossible to resist. General Degree provides vocals on both, but the addition of Ce’Cile on the latter is like a pumped up version of Ciara’s Cookies. It should be no suprise that Roni Size doesn’t disappoint on Knock Knock, a muscular rhythm suiting Spragga Benz’s rough monotone delivery, whilst West London Deep’s Rudie No! featuring Big Youth comes on like The Specials in space. There are inevitably a couple of disappointments. Kid606 seems uncharacteristically restrained on This Anuh Rampin’ and it’s left to Switch on the subsequent Love Guide (featuring Ms. Thing) to take the sound in an abstract direction that the Kid is usually more than capable of. Phillipe Zdar (Cassius/Motorbass) injects Get Crazy with an infectious, pulsating rhythm, let down only by Innocent Kru’s tired (and tiresome) lyrics. But these are small gripes. Elsewhere, Howie B. and Horace Andy team up for Fly High, a dub extravaganza that is arguably the best song that Massive Attack never recorded, whilst Justin Robertson’s retro dancehall ballad Save Me closes the album. Showcasing a vocal from Nadine Sutherland, Save Me is guaranteed to send a shiver down your spine… and get you skanking uncontrollably. As long as you skip the sleeve notes' hyperbole , then Two Culture Clash is a great album. It's not as ground breaking as it's instigators think it is, but it is worth more than a casual listen.

Tracklisting: 1. How Do You Love? / 2. ... And Dance / 3. This Anuh Rampin' / 4. Love Guide / 5. Get Crazy / 6. Olé / 7. Enuff 4 You / 8. T Fly High / 9. Backstabbin' / 10. Knock Knock / 11. Na Na Na Na / 12. Nuff Marijuana / 13. Rudie No! / 14. Save Me

Adrian Sherwood “Becoming A Cliché / Dub Cliché” (2006)
I’ve been a fan of Adrian Sherwood since his maulings of Depeche Mode’s People Are People and Master & Servant turned me onto his prolific On-Usound productions in the 1980s. That said, I somehow managed to miss his debut solo album, 2003’s Never Trust A Hippy, altogether. In fact, even this album seems have slipped out quietly at the end of last year and caught my eye as I was browsing the reggae/dub section in my local Fopp store. The album sleeve depicts Sherwood’s head atop an anatomical diagram, surrounded by the names of the artists guesting on this album. As you might expect, it’s a formidable line-up: Lee ‘Scratch’ Perry, Little Roy, Dennis Bovell, LSK (aka Lee Kenny), Samia Farah, Raiz, Jazzwad, Mark Stewart and the late, much-lamented Bim Sherman. The album’s title could refer to Sherwood’s perceived status as the heart and soul of the contemporary dub sound, that there is a typical Adrian Sherwood/On-Usound blueprint. Whilst recalling the glories of his Pay It All Back collections, there’s plenty of evidence across the two albums that Sherwood is an innovator as much as an institution. Opening track Animal Magic is in some respects an update of 1988’s Last Train To Doomsville from Pay It All Back Vol. 2 featuring as it does Lee ‘Scratch’ Perry and infant back-up vocals, in this case from Sherwood’s daughters Denise and Emily. Monastery Of Sound - as the title suggests - throws Gregorian chants into the mix, the song really coming into it’s own on track 11, with long-time collaborator Mark Stewart adding an unmistakable vocal edge. Another track available in two versions on the original disc is You Wonder Why, the LSK version preceded by a French version by Samia Farah (a third dub take appears on CD2). There’s a difference in the versions that makes their inclusion essential, rather than self-indulgent. A special mention for Bim Sherman, whose sampled vocals enliven Nu Rizla and hammer home just how much his presence is missed. The main album closes with Bloodshed featuring Raiz from Italian act Almamegretta. My sole experience of Almamegretta was hearing their incredible version of Massive Attack’s Karmacoma over ten years ago; suffice to say Raiz is still in good form and provides an edgy variation to the On-Usound blueprint. Dub Cliché, available with limited quantities of the album, is an essential purchase (though my PC seems to throw a hissy fit every time I try to play it!) The minimal dancehall sound of Dubshed is set alight by Dennis Alcapone’s vocals, whilst the mighty Dennis Bovell returns for Clichéd Dub Slave with rousing slogans including “From conception to the grave / Work, no play / Slave!” I could go on, but I think you've got the message. Go out and buy this album. Now!

Tracklisting [Becoming A Cliché]: 1. Animal Magic / 2. Two Versions Of The Future / 3. A Piece Of The Earth / 4. Monastery Of Sound / 5. Dennis Bovine Part 1 / 6. J'Ai Changé / 7. You Wonder Why / 8. The House Of Games / 9. Nu Rizla / 10. St Peter's Gate / 11. Home Sweet Home / 12. Forgive Yourself / 13. All Hands On Desk / 14. Stop The Bloodshed
[Dub Cliché]: 1. Monkey See, Monkey Dub / 2. Dubshed / 3. Zoo Time / 4. Clichéd Dub Slave / 5. The Noise From Brazil / 6. Stepping Crowd / 7 Sans Toupee / 8. Silly Billy Remix By Activator / 9. Moving House / 10. J'Ai Dubé / 11. Dennis Bovine Pt 2/ 12. Silly Old Dub

Stripping Down #13 - The 'Lost' CI Reviews Part 1

2007-02-05T06:41:00.000Z

Comics International's absence from the newsstands for the past few months, due to it's change of ownership, has meant that several issues' worth of my reviews will now never see print. Rather than consign them to the dustbin of history, I'm publishing some of the reviews here, either in their original or expanded form, as part of my regular Stripping Down feature. Consequently, several of these issues are no longer available on the newsstand but you should be able to pick them up on eBay...

Batman Legends (vol 2) #1-2 (Titan Magazines)
“All Star Batman & Robin The Boy Wonder” by Frank Miller & Jim Lee (All Star Batman & Robin The Boy Wonder #1-2)
“Batman & Son” by Grant Morrison & Andy Kubert (Batman #655-656)
“Worlds Finest” by Jeph Loeb & Ed McGuinness (Batman/Superman #1-2)

Sensibly not wishing to mess with a winning formula, Titan’s relaunch of Batman Legends largely follows the Panini blueprint: US-size, 76 page format with slick card covers, reprinting 3 stories every 4 weeks. Even Jim Lee’s front cover harks back to the one used for Panini’s premiere issue. Inside, the editorial is crowded by the inclusion of an exhaustive Titan Magazines roll call that takes up a third of the page. Credit where credit’s due and all that, but it does make for a rather bland opening. Whether this has also influenced the decision to use ‘framing shoulders’ for each of the three stories splash pages, but it’s a bad move which craps the art and looks quite dated. It’s obviously too soon for a letters page, but there appears to be a regular Bat Signals section which, unsurprisingly, is an opportunity for Titan to tout their Batman-related wares and reprint some mini-interviews with Frank Miller (#1) and Jim Lee (#2). The interviews are a poor relation to the previous volume’s features, mostly written by Comics International’s Mike Conroy and always an informative and insightful read. So what of the comic strips themselves? Apart from Sin City, I haven’t read much of Frank Miller’s work since his work on Daredevil and Batman. However, if I was expecting something on the scale of Batman: Year One, I could only be disappointed. This even makes Jeph Loeb’s Hush seem like a classic, with ill-defined central characters and some excruciating lines (“There’s something rotten in Gotham City. It wears a badge.”) As with Hush, Jim Lee’s art provides plenty of T&A (in this case reporter Vicki Vale) but little to really spark the limp script into life. If anything, the second chapter is even more of a narrative mess, particularly as Alfred and Vicki Vale seem to have been involved in a car smash between chapters. Batman & Son, picks up the regular series a year or so on from the Panini Batman Legends run, which is annoying. The gap summed up with the throwaway editorial line “Batman has finally cleared all the super criminals out of Gotham” – wha huh?! The story also seemingly kicks off with the resolution to the previous (US) issue’s cliffhanger as The Joker poisons Commissioner Gordon and murders Batman’s doppelganger before the real thing defeats him. So, it’s only the second half that concentrates on setting up the current storyline, which it does quite well. Bruce Wayne, superficial socialite, reappears after a long absence and Morrison handles this well, with a scene as Alfred teaches Wayne to relearn his pseudo characteristics and mannerisms. Talia Al Ghul’s plot to transform her League of Assassins into an army of Man Bats intrigues, not to mention her relationship to the titular child. All of these threads develop satisfyingly in the second instalment. Andy Kubert’s art, whilst not his very best, makes the most of a strong script and his depiction of the ninja Man Bats is especially exciting. Despite a highly unimpressive showing in the previous volume, the Superman/Batman storyline (which, confusingly, precedes the Panini run) isn’t as bad as I thought. The writing, particularly the split narration from the lead characters, doesn’t work as well as Jeph Loeb evidently thinks it does and suddenly finding Lex Luthor as President of the USA is a bit hard to swallow. That said, it’s a reasonable story with a good cliffhanger in the opening chapter and an interesting clash between Superman and his future self in the next. Better still, Ed McGuinness art is a big improvement on Michael Turner (who illustrates the aforementioned subsequent story arc). McGuinness’ bold lines and clear storytelling more than make up for the shortfalls in the script. It’s impossible to avoid constant comparison with the Panini’s previous incarnation of Batman Legends, but Titan’s effort is pretty woeful so far. Hopefully, better choice of comic strips including an archive section will improve this comic’s fortunes but it needs to happen sooner rather than later. At present, the best thing about this title is that it’s compiled and printed in the UK, which at least means a minor boost to industry and the economy but isn’t really the point of buying a comic. Hopefully, Titan’s Superman Legends title will be less of a disappointment when it hits the newsstands in March…

Titan Magazines' Batman Legends page

I Nearly Married A Primate...

2007-02-03T12:11:00.000Z

Taken from the Apes Mail letters page in Marvel UK's Planet Of The Apes weekly #62, cover dated 27 Dec 1975:

Dear Stan,
In previous "Apes Forum" pages, girls have fallen for Galen, but I have fallen for Zira. I fell for her when I saw the film in Bournemouth in 1974. Ever since I have been her best fan. When I win the football pools I will go to America to visit her.
G.I. White, Poole, Dorset

On behalf on Marvel head honcho Stan Lee, POTA editor Neil Tennant (when the Pet Shop Boys were merely a twinkle in his eye) cautiously responded:
Romance, it seems, is blossoming everywhere. And it isn't even springtime!

I've Googled for subsequent news stories along the lines of:
Dorset pools winner changes name to 'Gorilla Interest' - imprisoned in U.S. for acts of bestiality.
I'll let you know when I find one....

More evidence of unhinged Marvel UK correspondents can be found in my Feb 2006 item
Comic Book Letters Pages Aren't What They Used To Be...

Grocery Grammar

2007-01-28T12:35:00.000Z

Shopping in my local greengrocer's yesterday, I overheard two of the staff talking. One called the other a lummox - apt, sure enough, but not the kind of word you hear bandied around in effing and blinding South Bristol. Even more unusually, rather than follow up this insult with an expletive laden riposte, the recipient instead questioned whether lummox was singular or plural. He thought the latter, and argued that the correct usage in this case was therefore lummock. His friend disagreed, contesting that a lummox multiplied was a group of lummoxes. I was chuckling to myself so much that I nearly missed the bag I was placing my tomatoes into. What a lummox.

Jukebox Juicebox #25

2007-01-28T11:42:00.000Z

Radio 4 “Electrify” (2003)
A US EP collecting single remixes previously released in the UK, this compilation focuses on Radio 4’s defining song Dance To The Underground. The New Version is essentially a radio friendly remix, the rough edges of the DFA-produced original smoothed out, with inevitably less impact. Fortunately, the accompanying remixes more than make up for this. The DFA’s nine-minute instrumental version marries a pulsing beat to synth strings to thrilling effect before climaxing with some wonderfully off-key “da da da”’s. The Playgroup Remix is everything you’d expect from the unassailable Trevor Jackson, a relentless disco dub built around the incredibly infectious original bassline. The Faint’s remix is more off-kilter, the vocals laid over a frequently changing tempo and Oriental sounding chimes with unsettling effect. Start A Fire is a shadow of the EP’s key song and, despite a pulsating overhaul, even Justin Robertson seems unable to find a spark to really set this track off. Likewise, Adrian Sherwood roughs up Struggle in a dub style, with some help from Mark Stewart. It’s reminiscent of Sherwood’s similar mangling of Living Colour’s Auslander a decade previously, but lacks it’s bite. The extended mix of the New Version essentially restores the killer opening bassline though the original version (included here as a video) remains the definitive take. The video itself is worth a mention, if only as an example of how music defines your mental image of a band. I’d imagined Radio 4 as Strokes-like aesthetically aware New New Wavers. Disconcerting then to find that they are in fact Coldplay fronted by Gary Jules. Time to send in the Fab Five from Queer Eye For The Straight Guy methinks…

Tracklisting: 1. Dance To The Underground (new version – radio edit) / 2. (the dfa version) / 3. (playgroup remix) / 4. (prance mix) / 5. Start A Fire (justin robertson vocal remix) / 6. Struggle (adrian sherwood/mark stewart mutant disco vocal mix) / 7. Dance To The Underground (new version – full length) + Dance To The Underground (original version) [video]

N.B. There’s also a German version of the Electrify EP, featuring a considerably different tracklisting.

Little Axe “Ride On (Fight On)” (1994)
Skip MacDonald’s Little Axe project references his possibly better known contributions to the On-Usound stable, unsurprising given the involvement of Doug Wimbish, Keith Le Blanc and producer Adrian Sherwood. However, Little Axe’s sound has less of a rough edge and incorporates elements of blues and gospel music that differenitates it from, say, the likes of Tackhead. The opening two versions of the lead track provide a rallying call to “sisters and brothers” but, despite the title, the song is more focused on the groove, rather than the message. Fluke’s remix is more spacious, giving the rhythm room to breathe and remaining one of their better reworkings. Bonus track Hear My Cry’s sole line “I love the Lord, he heard my cry, Lord, Lord, Lord” similarly betrays it’s influences, but with less impact.

Tracklisting: 1. Ride On (Fight On) (7” edit) / 2. (control tower mix) / 3. (fluke mid-fi surprise) / 4. Hear My Cry

Morrissey & Siouxsie “Interlude” (1994)
The idea of pairing Morrissey and Siouxsie Sioux on a cover version of the title track from an obscure 1968 film, sung by Italian-American chanteuse Timi Yuro, seems on the surface an odd one. Yet, there’s a subtlety in each singer’s delivery of that both complements the other and plays to their melancholic strengths. The song, as the film, focuses on two lovers living in the moment of their intense attraction to one another, uncertain if “what seems like an interlude now / could be the beginning of love”. Yet there’s a sense of resigned inevitability that “love will end” which lends both vocalists delivery an added resonance. The extended version is perhaps the most effective as it’s instrumental second half accentuates the feeling that the narrative lovers will fail to “hold fast to the dream”. The third – and, at seven and a half minutes, the longest – track is enjoyable in it’s own right but makes the listener hanker for the fully blooded version. Despite being a Top 30 hit at the time, Interlude seems to be a bit of a forgotten gem, it’s only subsequent appearance (fortunately in it’s full length version) being on Morrissey’s 1997 best of Suedehead. Worth seeking out.

Tracklisting: 1. Interlude / 2. (extended) / 3. (instrumental)

Portishead “All Mine” (1997)
As Portishead make painfully slow progress with their third album, it’s increasingly difficult to remember the impact of 1997’s self-titled second. The band’s decision to retain their characteristic fusion of cinematic soundscapes and Beth Gibbons’ smoky nightclub chanteuse, but through layered, complex recording rather than sampling, may have seemed sheer madness. However, as the opening salvos of All Mine and Cowboys amply demonstrate, it was possibly a price worth paying. The opening moments of All Mine are classic John Barry, but Gibbons’ vocals take the song into another dimension entirely. Despite a subconscious inability to focus past Gibbons’ lisp, which at times makes her sound as if she’s singing without the benefit of teeth, her voice is spine-tinglingly magnificent. Her performance is perfectly matched, both to the eerie narrative about obsessive love, and the frankly unsettling musical backing that supports it. Cowboys is the bridge between the ‘old’ and ‘new’ Portishead, containing more of Geoff Barrow’s looped beats and screeching scratches and Adrian Utley’s squalling guitar. Beth Gibbons’ lyrics are wonderfully ambiguous, equally open to interpretation as a comment on dodgy builders (okay, I'm joking here) or the record business in general. The instrumental version gives more space to the intricate layering of sounds, but Gibbons absence is painfully felt, so it’s the full vocal version that does it for me. Hopefully, we’ll have the opportunity to greet a new Portishead single by the tenth anniversary of their last…

Tracklisting: 1. All Mine / 2. Cowboys / 3. Cowboys (instrumental)

Traci Lords “Fallen Angel” (1995)
Ex-porn star Lords provided guest vocals on the Manic Street Preachers’ Little Baby Nothing, leading to a solo album 1000 Fires, produced by trance/techno heavyweight Juno Reactor. Fallen Angel, the second single, provides half a dozen mixes over half an hour and seems to be trying to cast it’s net of appeal widely. Lords is, perhaps unsurprisingly, hardly the strongest vocalist and the lyrics, though unexpectedly reflective, are a bit by-the-numbers. Nevertheless, the original version is a solid track with the remixes taking the song in interesting directions for the most part. The Red Hot Chili Peppers’ Chad Smith and Dave Navarro provide an edit and extended mix, beefing up the song with rock guitar. Primax deliver typical mid-1990s Euro Pop fare, which is fun but unmemorable. Least inspired is the Muzik Club Vocal mix, Johnny Vicious’ characterisitic single-note tinny synth strings and repetitive beats quickly grating. Undisputed highlight is the Perfecto Mix adds club-friendly beats and flamenco guitar to the song’s angelic chorus hook and is arguably one of Paul Oakenfold’s finest moments.

Tracklisting: 1. Fallen Angel (honeymoon stich radio mix) / 2. (perfecto mix) / 3. (muzik club vocal) / 4. (primax iberiann mix) / 5. (honeymoon stich mix) / 6. (original album mix)

Boxcar “Universal Hymn” (1993)
A pulsing trance/techno pop track with it’s sampled refrain “the prayers of mankind are with you” and ‘celestial chorus’, not to mention a brace of mixes from Lionrock mainman Justin Robertson, this is pretty de rigueur for the early 1990s UK dancefloor. However, quite how this Brisbane act were been received in their native Australia is another matter. Travelling the country in 1990-91, finding clubs that tapped into the exciting dance music scene that I’d left in the UK was a largely unrewarding task, Perth in particular still stuck in the mid-1980s, musically speaking. Of Universal Hymn's four mixes, the Radio Mix is perhaps the least memorable, the band’s superior Mandrake Mix (slightly) extending the track and adding further sampled shouts that recall Moby’s Go. However it’s Justin Robertson’s mixes, typical of his output at the time, that raise the song to another level. The Pure Pandephonium mix remains pretty faithful to the original though is more uptempo and spacious. The instrumental Faster Mix does exactly what it says by nudging the BPMs up a notch further and ditching the samples to great effect.

Tracklisting: 1. Universal Hymn (radio mix) / 2. (pure pandephonium) / 3. (mandrake mix) / 4. (faster mix)

The Boo Radleys “Free Huey” (1998)
Poor Martin Carr: a criminally underrated songwriter, his band The Boo Radleys produced a wealth of top-notch material in the 1990s. Sadly, they’ll probably register in the public consciousness purely for their breakthrough hit Wake Up Boo! By 1998, the fatigue of fighting against public indifference was inevitably taking it’s toll and Free Huey proved to be the band’s swansong single. Characteristically, the record buying masses ignored this in favour of Oasis and Blur and Martin Carr called time on The Boo Radleys shortly afterwards. In many ways, the band’s strength and weakness was vocalist Sice. Not the strongest singer, there’s an engaging quality to his performance which draws the listener in. However, with more pumped-up, aggressive tracks like What’s In The Box, C’mon Kids and here on Free Huey, Sice simply comes across as too lightweight. The great thing about The Boo Radleys is that their EPs were packed full of tunes that were on par with their albums, and this is no exception. Everything Falls Away gradually develops into a stomping 1970s inspired pop song that could easily have been a single in it’s own right, whilst In A Galaxy Far, Far Away is an admirable attempt at a dub-inspired groove, with Sice on good form on both tracks.

Tracklisting: 1. Free Huey / 2. Everything Falls Away / 3. In A Galaxy Far, Far Away

Moby “Spiders” (2005)
Hotel was an underwhelming album, yet Spiders’s determinedly middle of the road sound made for a logical single release. It would have been nice to have seen some mixes of Spiders added to the single to provide some much needed oomph, which seemed to work with the similarly uninspired Lift Me Up. With it’s refrain of “Let peace and beauty reign / and bring us love again”, a more dancefloor-focused Spiders could have recalled the heyday of similarly celebratory tracks like Feeling So Real and Everytime You Touch Me. Speaking of past glories Put The Headphones On, like so much of Moby’s material this decade, sounds like a rehash of his 1990s work. In this case it’s a (slightly) sped up but anaesthetised version of the sphincter-shaking menace that is Moby’s remix of The Smashing Pumpkins’ 1979. A throwaway instrumental, Put The Headphones On is therefore typical Moby B-side fodder. Last but not least (albeit only by the skin of it’s teeth) is a remix of Raining Again by Ewan Pearson. If you read my previous review of Goldfrapp’s Ride A White Horse, then you’ll know that I don’t quite ‘get’ Pearson's appeal. I find most of his mixes perfunctory rather than innovative and that’s pretty much the case here. At least Pearson ups the tempo and strips the vocals to a single line (“sadness like water raining down, raining down”), elevating the remix from the original’s mediocrity. A disappointing single on every level.

Tracklisting: 1. Spiders (album version) / 2. Put The Headphones On / 3. Raining Again (ewan pearson vocal)

Reading Allowed #4

2006-12-30T11:15:00.000Z

Angela Carter
“American Ghosts & Old World Wonders”

I’m a bit of a magpie when it comes to books, preferring to experience as many different authors as possible rather than enthusiastically ploughing through an author’s entire oeuvre. However, I find myself drawn back to Angela Carter time and again, from Shadow Dance to The Magic Toyshop and, earlier this year, The Passion Of New Eve. In basic terms, I love Carter’s use of language, her fantastical storytelling and her ability to evoke empathy with even the most extreme of her creations. Angela Carter died in 1992 and American Ghosts & Old World Wonders is a posthumous collection published the following year. Comprising short stories, in some cases narrative sketches, American Ghosts… hints at the work that Carter would have continued to produce through the 1990s and beyond. Revisiting her fascination with fairy tales and the circus, particularly her desire to explore and tease out the fear and horror that resonates, this collection features (in)famous characters, historical (19th century patricidal killer Lizzie Borden, astronomer Tyco Brahe) alongside the fictional (Cinderella, Lewis Carroll’s Alice). The stories also display an impressive range of styles. The Merchant Of Shadows is an echo of The Passion Of New Eve’s gender challenging exploration of Hollywood, albeit told in a more traditional manner. John Ford’s ‘Tis Pity She’s A Whore juxtaposes the Jacobean dramatist’s dialogue with that of his American film director namesake, Carter’s additional commentary creating an incredibly effective piece. Humour resonates throughout: the belching, hard drinking Sister in The Merchant Of Shadows; the ludicrous image of Archduke Randolph consummating his relationship with a fruit femme in Alice In Prague, or The Curious Room; the deliciously dark retellings of the Cinderella story in Ashputtle or The Mother’s Ghost. Yet the horror of the (real?) world constantly casts it’s shadow. Despite being arguably the most straightforward and predictable narrative, Gun For The Devil is one of my favourites. With it’s Mexican border town setting, “ a town without hope, without grace”, and a population leading a “poverty-stricken half-life”, this hell-on-earth setting is perfect for the story of two men’s pacts with the devil and the price that these deals exact. Whilst it’s eclectism may suit the convert rather than the first-time reader, American Ghosts & Old World Wonders demonstrates that even Angela Carter’s ‘works in progress’ were a cut above most contemporary writers in her field. Inspired by storytelling of the past, Angela Carter in turn has left a body of writing that similarly inspires.

Angela Carter on Wikipedia

Footnote: Bizarrely, there's a Lizzie Borden hotel which boasts "Apart from that bloody murder all those years ago, our hospitality is impeccable" (?!) Their website invites visitors to "axe us about our guided tours". If that's not enough to discourage you, have a look, just don't say that I recommended you...

Stripping Down #12

2006-12-30T11:03:00.000Z

Essential X-Men #146 (Panini UK)
“The End Of History” by Chris Claremont & Alan Davis (Uncanny X-Men #445-447)

To those of a certain age, Alan Moore and Alan Davis’ revival of Captain Britain* in the 1980s remains one of the greatest superhero sagas committed to the comic book page (*Not wishing to overlook Dave Thorpe’s contribution as original writer on the revamp). Key to it’s success was the cast of incredible characters, not least ‘Mad’ Jim Jaspers and uber killing machine, The Fury. The latter quite rightly established itself as the ultimate in unstoppable foes, cutting down superheroes like so much chaff; even Captain Britain himself was killed (and subsequently resurrected by Merlin) before the relentless cyborg could be stopped. Although this may have had more to do with Moore’s acrimonious split with Marvel soon after, the fact that The Fury hasn’t reappeared in the mainstream Marvel universe since has cemented it’s reputation as one of the company’s most memorable foes. Now, Chris Claremont – and returning X-artist Alan Davis – have decided to resurrect the character. Does the story enhance, or shatter, The Fury’s reputation? What do you think? Stretched over three US issues, the story starts off well enough, as a small team of X-Men discover The Fury in the bowels of a demolished and deserted Braddock Manor (the ancestral home of Captain Britain). In the first part’s promising cliffhanger, the X-Men completely underestimate the threat posed by their unknown foe and appear to pay a heavy price. However, remember this is the X-Men written by Chris Claremont, where characters are despatched and resurrected with reckless abandon. Therefore, where Alan Moore’s characters were constantly outfought by The Fury (and, Captain Britain aside, stayed dead when they were killed), here the ‘ultimate killing machine’ struggles to nail C-listers like Cannonball. After a drawn out battle, Claremont proceeds to wrap things up with his usual tired devices. X-Men joining hands to ‘channel’ their powers through a focal point? Check. A truckful of alien tech cluster bombs, handily stored in the armoury, lobbed in for good measure? Check. Compared with Moore’s Captain Britain saga, where the heroes were forced to rely on their abilities, strength of will and ‘proper’ team work to win the day, Claremont’s plot adopts the stereotypical approach of bombing the shit out of something until there’s nothing left to fight (hmmm, sounds familiar…). The closing panel sees a rather smug team, revelling in their bonding experience with little concern for the missing Captain Britain. A victory perhaps but, for this reader at least, a pyrrhic one. The irony is that, if you want a story featuring The Fury that remains true to Moore and Davis’ original vision, you’ll find it in Panini UK’s younger readers’ title Spectacular Spider-Man Adventures, courtesy of writer Jim Alexander, Jon Haward and John Stokes (see my review in Stripping Down #2). I’m just praying that Claremont doesn’t focus his attention on the aforementioned Jaspers or Moore’s superlative superteam The Special Executive. That will truly be The End Of History as far as I’m concerned…

Spectacular Spider-Man Adventures
(Panini UK)
“Night Of The Goblin” by various

For some time, Panini UK have been producing homegrown comic strips for their younger readers’ Spectacular Spider-Man title. This handy pocket sized book collects a year or so’s worth of stories for a mere £3.99 and provides a consistent level of quality throughout. Given the limitations of the comic strip format – 11 page standalone stories inspired by the 1990s animated TV series, with only the occasional nod to continuity – there is inevitably little in the way of character development. However, what’s apparent in the latter part of the book is an editorial shift that sees the comic strip adopt a Marvel Team-Up format, but also allows for greater depth in the narratives. This is particularly evident in the collection’s closing story – and sole two-parter, To Save Tomorrow/The Rule Of Four by Mitchel Scanlon. Exploring an alternate world where the roles of Mr. Fantastic and Dr. Doom have reversed to tragic and disastrous effect, Scanlon’s writing provides a neat set up, underpinning narrative and a conclusion which satisfies on several levels. As writer on ten of the fifteen stories collected here, Ferg Handley provides a sure narrative steer throughout, the highlight being Stormy Waters, featuring the Sub-Mariner. The Marvel Team-Up approach enables both the writers and artists to flex their creative muscles on Marvel stalwarts like the Fantastic Four, Wolverine and The Punisher, as well as lesser known (to the target readership, at least) characters like Silver Sable and Captain Britain. Jim Alexander’s writing on the latter is the best of his three contributions. Despite narrative constraints, the story packs in a mini-origin for the Captain, his first meeting with Spidey and an enjoyable climatic battle with The Red Skull, all ably illustrated by Jon Haward and John Stokes. In fact, this pocket book is a strong showcase for Haward, whose art at times evokes classic Spidey artist John Romita. The other artists – John Royle, Simon Williams and Paul Marshall – all produce work to rival their US counterparts. Knowing how much the Spectacular Spider-Man comic strip has continued to evolve and improve since the stories reprinted here, I hope that further collections won’t be too far behind.

Panini comics website

Jukebox Juicebox #24 - Remixamatosis

2006-12-29T10:47:00.000Z

Various Artists “Future Retro” (2006)

I forget who coined the phrase ‘repetition celebrates and devalues’, but this is aptly applied to the music industry. Artists and songs are resurrected, repackaged, rereleased, reworked and remixed ad nauseum, The Beatles mash-up/megamix Love being one of the most recent examples. With downloads of all stripes likely to be eligible for the ‘singles’ chart in the near future, U2, Oasis, Westshite and McFly will likely be jostling for pole positions with the Fab Four, Elvis, Abba and Michael Jackson. The 1980s, which seems to have enjoyed a continual revival since, er, the 1990s will probably figure strongly in this. The fascination with the decade that taste arguably overlooked has resulted in countless contemporary updates of it’s memorable – and not so memorable – musical moments, the latest being the Future Retro compilation. Currently available in the UK on import only, the project is a labour of love for compiler ??? who commissioned all of the remixers on this album. On the whole, it’s a pretty consistent collection though inevitably there are a few tracks that miss the mark. Tiga’s mix of Depeche Mode’s Shake The Disease is halfway through before it starts to make an impression, whilst Jaded Alliance’s take on Erasure’s A Little Respect sounds like an ill-matched mash-up. Surprisingly, several tracks remain faithful to their origins: The Crystal Method speed up New Order’s Bizarre Love Triangle, losing some of the key hooks in the process, but without undermining the main melody; Infusion’s similar handling of The Walk by The Cure is even more effective. The latter part of the album contains some real gems. Devo’s Girl U Want is roughened up by Black Light Odyssey whilst obscurity Boy by Book Of Love (which I admit I’ve never heard of) benefits from a beefy “rockstar mix” by the equally unknown DJ Irene (presumably not the Home And Away character moonlighting on the wheels of steel). Adam Freeland transforms B-Movie’s Nowhere Girl into a guitar dub dirge that echoes U.N.K.L.E.’s Unreal, but the best is saved for last with the unexpected yet obvious pairing of Morrissey and Sparks. Moz’s debut solo single Suedehead gains an epic stature, with chopped up vocals laid over sweeping strings. A perfect close to an imperfect but worthwhile compilation.

Tracklisting: 1. The Cure: The Walk (infusion mix) / 2. Yazoo: Situation (richard x remix) / 3. Echo & The Bunnymen: Lips Like Sugar (way out west remix edit) / 4. INXS: Need You Tonight (static revenger mix edit) / 5. Depeche Mode: Shake The Disease (tiga remix) / 6. Erasure: A Little Respect (jaded alliance 'electrospect' remix) / 7. Howard Jones: New Song (peter black & hardrock striker mix edit) / 8. Alphaville: Forever Young (hamel album mix) / 9. New Order: Bizarre Love Triangle (the crystal method extended mix)/ 10. Grandmaster Flash & Melle Mel: White Lines (Don't Don't Do It) (elite force mix) / 11. Devo: Girl U Want (black light odyssey mix) / 12. B-Movie: Nowhere Girl (adam freeland mix) / 13. Book Of Love: Boy (dj irene rockstar mix) / 14. Morrissey: Suedehead (sparks remix)

Shirley Bassey “Diamonds Are Forever…The Remix Album” (2000)

On the surface, a project that seems completely unnecessary. That is, until you realise that this album followed hot on the heels of the Welsh diva’s collaboration with Propellerheads on History Repeating, which became both a theme tune (Channel 4’s So Graham Norton) and a chart hit. Unsurprisingly, Propellerheads reappear here, with Goldfinger repeating their then-successful formula of funky beats and wah-wah guitar. Groove Armada and Nightmares On Wax also play to type, the latter to particularly good effect on Easy Thing To Do. Some tracks miss the point entirely, notably the dreadful comedy cut-up of Big Spender, but Kenny Dope’s drum-driven reworking of The Doors’ Light My Fire perfectly complements Bassey’s belting vocals. Given it’s inconsistency, it’s advisable to either pick this up cheaply as I did or download key tracks. Either way, don’t overlook it altogether.

Tracklisting: 1. Where Do I Begin (awayteam mix) / 2. Goldfinger (propellerheads mix) / 3. Light My Fire (kenny dope remix) / 4. Diamonds Are Forever (mantronik 007 mix) / 5. Easy Thing To Do (nightmares on wax) / 6. Never Never Never (groove armada mix) / 7. Big Spender (wild oscar mix) / 8. Spinning Wheel (dj spinna remix) / 9. Light My Fire (twelftree’s lady mix) / 10. If You Go Away (dj skymoo mix by moloko/rob brydon)

Carl Douglas “Kung Fu Fighting Remixes (Dub Drenched Soundscapes)” (2003)

…And if the Shirley Bassey remix album seemed unnecessary, then what the heck does one make of this? Douglas’ early 1970s disco track is not one that immediately suggests a relationship to dub and in truth, not all of the artists involved strictly adhere to that principle. The frankly bizarre concept of stretching this single track over 16 remixes (17, counting the hidden a capella track) and 80 minutes also means that it’s nigh on impossible to listen to the end result as an album in it’s own right. Anyone who has previously bought dub remix compilations on the Select Cuts or Echo Beach labels will find the usual suspects here: Rob Smith, Dreadzone, Don Letts/Dan Donovan, Kid Loco; however, it’s the lesser known acts that impress, notably G-rizo, Pole and Dubbelstandart. The Ruts’ Andy Gill delivers a funked up but essentially unchanged version of the original whilst Audio Active take the trakc to it’s logical (ludicrous?) extreme. It’d be nice to think that the songwriters – Carl Douglas and kitsch producer Biddu – will benefit from further royalties as a result of this album. However, given it’s limited appeal, I wouldn’t recommend that they break out the bubbly just yet.

Tracklisting: 1. Kung Fu Fighting (noiseshaper rmx) / 2. (dreadzone rmx) / 3. (belleville shaolin rmx by kid loco) / 4. (rob smith’s kung fu skanking rmx) / 5. (adrian sherwood’s on-usound rmx) / 6. (uptone rmx) / 7. (audio active rmx) / 8. (g-rizo rmx) / 9. (pole rmx) / 10. (don letts dub cartel rmx by dan donovan) / 11. (shaolin rmx by the strike boys) / 12. (karl möstl rmx) / 13. (dubbelstandart rmx) / 14. (salz rmx) / 15. (dave ruffy/mark wallis rmx) / 16. (rmx by the name of seeed) / 17. (g-rizo acapella) [hidden track]

Visit Venus “The Endless Bummer Rmx Appendix” (1999)

One of the consequences of a ubiquitous remix culture is that it’s possible to own tracks but have no idea what the original version sounded like. This is a case in point, the result of a trawl through the ‘5 for £16’ shelf at Plastic Wax Records in Bristol. I have no idea who Visit Venus are, or what they sound like but, looking at the artists involved, figured it was worth shelling out a few quid for. As it happens, it turned out to be another one of those serendipitous musical purchases. Rae & Christian kick off proceedings with a typical funky breakbeat mix of the charmingly titled Space Nazis Must Die. The opening bars of For A Few Euros More are reminiscent of Adam & The Ants’ similarly Western-inspired The Magnificent Five, before Carsten Meyer aka Erobique takes it back to late 80s Chicago house. There are three remixes of Planet of the Breaks: Matthew Herbert’s mix actually sounds a bit like Slam in places, whilst Jazzanova’s ‘mix of two halves’ with languid lounge beats during the former, welded to an uptempo jazzy latter more characteristic; my favourite of the three is omar santana’s electro edit, with hip hop beats, computer game vocals and ominous synth strings. Another highlight is Jimpster’s Hurt Of A Nerd, a funky, bass-driven number with some 1970s inspired flute and strings. Closing track Kinski Disko Fox Machine starts off like a Transglobal Underground track, with Eastern beats and driving bassline, before reverting to the more typical Groove Armada sound. And, just when you think it’s all over, there’s an extra tucked away at the end. Leading off with some hilariously inept rapping, there is a brief acoustic/vocal reprise of For A Few Euros More, with sci-fi samples from The Big Tilt thrown in for good measure. An hour or so’s worth of great tunes, with several surprises, make this a great album to hunt down on eBay or, better, in your local secondhand record store. And maybe I’ll get around to checking out Visit Venus one day too…

Tracklisting: 1. Space Nazis Must Die (rae & christian rmx) / 2. For A Few Euros More (erobique dance mix) / 3. Planet of the Breaks (herbert remix) / 4. Planet Of The Breaks (jazzanova remix) / 5. Children Of The Rave Solution (visited by: funkstörung) / 6. Planet of the Breaks (omar santana edit) / 7. The Big Tilt (dmx krew rmx) / 8. 144.000 (runaways rmx) / 9. The Big Tilt (dj koze rmx) / 10. Hurt Of A Nerd (jimpster rmx) / 11. Kinski Disko Fox Machine (groove armada rmx) / 12. For A Few Euros More (reprise) [hidden track]

Stripping Down #11

2006-12-28T09:40:00.000Z

The Mighty World Of Marvel (v3) #50 (Panini UK)
“The Titannus War” by Robert Kirkman & Paco Medina
(Marvel Team-Up (v3) #13)
“Games Godlings Play!” by Steve Gerber + Len Wein & Jim Starlin (Giant Size Defenders #3)
“Tomb Of Dracula” by Robert Rodi & Jamie Tolagson
(Tomb Of Dracula (v4) #4)
“The Peerless Power Of The Silver Surfer” by Stan Lee & Jack Kirby
(Fantastic Four Annual #5)

A bumper 100 page issue celebrates MWOM’s half-century, no mean feat given the crowded UK newsstand comics market. After a year long build up, the current Marvel Team-Up run comes to an end with a climatic melee featuring Spider-Man, Hulk, Wolverine, Dr. Strange, She-Hulk, Ms. Marvel and Nova versus super super Skrull, Titannus. Typically, the aftermath suggests that the story is far from over, but Robert Kirkman nevertheless provides a satisfying tale, with greatly improved art from Paco Medina. Tomb Of Dracula also concludes with a major battle this issue, as Blade faces off against the titular Lord Of The Undead. Despite the fact that the series has borne no resemblance whatsoever to it’s original (and unquestionably superior) incarnation, it’s been an enjoyable read. Jamie Tolagson’s art has been a notable asset and surprisingly consistent, given the small army of inkers involved. The Defenders return for an encounter with The Grandmaster, guest-starring original MWOM headliner Daredevil. The story exemplifies Gerber and Starlin’s tendency in the 1970s to juxtapose ‘out there’ splash panels with huge swathes of text. As with Tomb Of Dracula, several ink artists are involved, though in this case predictably diminishing rather than enhancing Jim Starlin’s pencil layouts. A fun, but unexceptional, addition. Rounding off this anniversary issue is the Silver Surfer’s first ever solo story, courtesy of Stan Lee and Jack Kirby. Frank Giacoia’s inks bring out the cosmic majesty of Kirby’s pencil art and whilst adversary Quasimodo isn’t the most memorable of Marvel villains, this is a great example of Lee and Kirby’s strengths as a creative force. As ever, MWOM is an excellent showcase for the Marvel universe, it’s mix of the new and the old, the familiar and the obscure a winning formula that promises to keep on delivering.

Panini comics website

Stage Presence #9

2006-12-27T11:31:00.000Z

“Ménage à Un” by Richard Herring
The Comedy Box, Hen & Chicken, Bristol, 02/12/2006

With the odd exception (Josie Long and Reginald D. Hunter, step forward), the acts at The Comedy Box have been at the very least entertaining . On this basis, and despite not having seen Richard Herring’s live act before, it seemed like a sure thing for a night of top notch comedy with a couple of friends. What I forgot to take into account was the mercurial nature of the audience, who can often make or break a show, despite the best efforts of the performers. And so it was tonight. Compere John Richardson seemed to have his work cut out for him, though over the course of the evening managed to bring the audience on side with some witty observations and brutal, but not aggressive, verbal lobs to the crowd. Support act Lee Nelson's chav Londoner persona was less successful. To be honest, I just couldn’t see the point, when the real world version borders on self-parody and pretty much renders the whole of Nelson’s act redundant. The minutes were peppered with irritating ‘innits’ and I found myself counting both down to the point when he left the stage, presumably to audition for a bit part on The Catherine Tate Show. Digressing slightly, it’s worth briefly describing the atmosphere at this point. I’d say that roughly a third of the hundred or so people in the room seemed to be there to meet with friends and get drunk, the fact that there was a comedy show (which they’d paid for) also taking place largely incidental to their evening’s entertainment. Our table was directly behind one such gathering that seemed to grow in numbers and volume as the evening progressed. Directly blocking my wife and I’s view of the stage was a giraffe-like crusty with upwardly mobile dreads, paired with a bizarre hybrid of Billy Idol and Aggie from Channel 4’s How Clean Is Your House? Man, woman or androgynous lab creation, I still couldn’t tell by evening’s end. Each took turns to stand up to address friends across the table, go to the bar for drinks or just swap seats for the sake of it with a frequency that someone with ADD would be hard pressed to match. Having set the scene, I’ll add that Richard Herring had spent most of the time leading up to his performance on the sidelines, observing both the warm-up acts and the audience. I’d have forgiven him for turning tail at this point and heading home. However, he took to the stage, to the seeming indifference of (roughly a third of) the audience. It was quickly apparent that Herring’s material was going over the heads of Aggie Idol and friends, plus another table of ‘lads on the lash’, but this only seemed to encourage Herring to plumb deeper and darker with his material. Imagine an episode of Chris Morris’ Jam performed live on stage and you’re some way there. Early in the set, Herring singled out a 16 year old girl in the front row, referring to her genitalia as a ‘squirrel’s ear’ and talked about popping the cap on her coffee jar. All this whilst her parents squirmed with discomfort across the table (what were they thinking when they decided on this as a family night out?!) This was probably the point where Herring lost (at least) another third of the audience, the line between stage persona and reality smudged beyond recognition for many. Some of the material was more accessible, including an amusing skit on ‘sky potatoes’ and a riff on two (intentionally) ill defined characters that end up sidelining their creator and hogging the stage. However, for the most part, Herring largely continued to poke at the membrane separating comfort and unease, which included exploring the desire to fornicate with the crucified Jesus’ orifices, to a collective admonishing tut from (by now at least) three quarters of the assemblage. Ménage à Un is a difficult show to watch and the crowd, who seemed to be predominantly seeking inoffensive, unchallenging, ‘easy’ laughs, were never going to ‘get’ it. I think this had an effect on Herring, particularly towards the end, which is a shame. If there’s no room for performers like Richard Herring, who are prepared to challenge convention, push the envelope and take risks with their material, then the world really has become a sad, narrow minded place.

Richard Herring's website

Stripping Down #10

2006-12-03T08:14:00.000Z

Avengers United #73 (Panini UK)
“Earth’s Mightiest Heroes” by Joe Casey & Scott Kolins (Earth’s Mightiest Heroes #5-6)
“The End…And Beginning!” by Jim Shooter + David Michelinie & David Wenzel (The Avengers (v1) #175)
“A Viper In Our Midst!” by Stan Lee & Jack Kirby (Journey Into Mystery (v1) #115)

Earth’s Mightiest Heroes is the latest in a long line of series that attempt to reinvent or retcon (retroactively insert continuity into) Stan Lee, Jack Kirby and Steve Ditko’s formative classics. Some, like John Byrne’s risible Spider-Man: Chapter One have been quickly (and quite rightly) dismissed by both readers and Marvel themselves. Joe Casey’s Avengers series succeeds by exploring and expanding Stan Lee’s stories, rather than simply updating them for a modern audience. I particularly like the revelation that Hawkeye’s imminent induction to the team results from a meeting with erstwhile butler Jarvis, rather than the recommendation of his employer Tony Stark, aka Iron Man. This issue also focuses on Captain America’s crippling obsession with seeking vengeance on Nazi mastermind Baron Zemo for the death of his partner Bucky at the tail end of World War II. In both cases, the back stories render the original tales more plausible whilst remaining true to Lee’s vision for the characters. Whilst I’m not overly keen on Scott Kolins’ rendition of Thor, and the colour art occasionally makes his pencil art murky and difficult to follow, the visuals on the whole have been an asset to Casey’s writing. The Michael saga has long been one of my favourite Avengers stories and is a welcome addition to this title's archive section. The pace necessarily slows this issue to allow for the eponymous character’s origin and motivation to be revealed, but the cliffhanger promises an action packed final two instalments. Despite the fact that the enormous cast of characters results in their being slightly sidelined, it’s also been good to see the Guardians Of The Galaxy in these pages. A reprint of their origin story, drawn by the mighty Gene Colan, would be welcome in an upcoming issue of The Mighty World Of Marvel. I suspect this may not be the popular view, but I’d be happy to see the back of the second archive strip, Tales Of Asgard. Never a highlight of my Marvel UK comic experience as a kid, these stories really haven’t aged well, with last issue’s take on Little Red Riding Hood the nadir of a consistently underwhelming series. Vince Colletta’s half-arsed inking doesn’t help; I’ve never rated him as an artist, but his treatment of Jack Kirby’s potentially powerful art borders on the criminal. I’d like to see Tales Of Asgard replaced by another back-up strip or, equally preferable, a return to the informative and well-written Avengers Spotlight features, which have taken a back seat of late.

Wolverine & Deadpool #132 (Panini UK)
“Enemy Of The State” by Mark Millar & John Romita Jr (Wolverine (v2) #20)
“If It Ain’t Broke--!” by Chris Claremont & John Buscema (Wolverine (v1) #8)
“A Kiss, A Curse, A Cure” by Joe Kelly & Steve Harris (Deadpool/Death Annual 1998)

Following Greg Rucka and Darick Robertson’s Return Of The Native, which was beautiful to look at but a frustratingly sluggish read, Mark Millar and John Romita Jr debut with Enemy Of The State. Hitting the ground running, an exciting opening instalment sees Wolverine go AWOL after being ambushed by zombie ninjas in Japan. SHIELD discover Wolverine sometime later on the brink of death; however, it quickly transpires that he has been brainwashed by Hydra in the intervening period and proceeds to go on a killing spree. Millar’s script plays to his strengths, creating tension and uncertainty in both the characters and the reader. The ever versatile Romita Jr enhances the atmosphere considerably with dark, claustrophobic art that cements his reputation as one of the greatest artists working in mainstream comics today. In a single issue, Wolverine has once again become a “must read”. The second Wolverine story reprints the early issues of his 1988 (first) ongoing solo series. At this point in time, writer Chris Claremont had driven the X-Men into a rut and although the same propensity for overwriting, belaboured points and implausible plots is evident here, there’s also a sense of fun and vitality lacking in the ‘parent’ title. This is particularly highlighted in this issue’s conclusion of a two-part story featuring the Hulk. Both characters have adopted alternate identities: the Hulk as smart, grey-skinned mob muscle Joe Fixit; Wolverine as the less convincing and flimsily concealed ‘Patch’, keeping rival crime bosses in check on the island of Madripoor. Much of the entertainment is provided by the characters’ awareness of each other’s true identity, Wolverine setting the Hulk up for a series of prat falls to amusing effect. There’s a plot hiding in here somewhere, but it’s subordinate to the comedy antics. Unencumbered by the mismatched pairing in previous issues with inker Al Williamson, John Buscema’s art shines here. Co-feature Deadpool’s origin concludes in typically leftfield fashion as his mutant powers kick into overdrive and yet another relationship hits the skids. Given that Deadpool’s latest paramour is the embodiment of Death, this is perhaps no bad thing. Guest artist Steve Harris is no substitute for series regular Walter McDaniel and produces some patchy visuals that fail to do writer Joe Kelly’s script justice. That said, Deadpool continues to be a surprisingly rich comic book experience (which I completely missed the first time around) and an appropriate counterpoint to Wolverine’s grimmer and less self-deprecating narratives.

Batman Legends #41 (Panini UK)
“Family Reunion” by Judd Winick & Paul Lee + Doug Mahnke (Batman (v1) #640-641)
“To Kill A Legend!” by Alan Brennert & Dick Giordano (Detective Comics (v1) #500)

In a sudden, but on reflection unsurprising, move DC have renewed their Batman licence in the UK with Titan, bringing Panini’s title to an abrupt end. Although an anomaly in Panini’s otherwise exclusively Marvel focused Collectors’ Edition line, Batman Legends has been a consistently enjoyable read and I, for one, am sorry to see it go. Thankfully, the final issue ties up the current storyline and (most) plot threads, thereby providing a perfect jumping off point. Two thirds of this issue are devoted to Family Reunion, as Batman discovers that Jason Todd, aka the former Robin Mk II, believed murdered by The Joker, has somehow come back to life as extreme vigilante The Red Hood. Judd Winick’s deft script delivers plenty of action and a satisfying denouement, Batman struggling to comprehend both Todd’s resurrection and hardline stance on battling crime. Artist Paul Lee is a disappointing stand-in for Doug Mahnke in the first instalment, but Mahnke returns with a visually powerful final chapter. The how’s and why’s of Jason Todd’s return are not explained here, but Family Reunion is nevertheless a fitting conclusion to a series that has continually exceeded Jeph Loeb and Jim Lee’s frankly over-hyped Hush that launched Batman Legends. The archive section has also been a delight, with classics from Denny O’Neill and Neal Adams, Frank Miller’s Year One and Alan Grant and Norm Breyfogle’s Anarky, to name a few. This issue doesn’t disappoint with 1981’s To Kill A Legend, a story that prefigures DC’s later Elseworlds stories by exploring an alternate world where Batman is able to prevent the murder of his parents. As you might expect, artist Dick Giordano delivers the goods here with some wonderfully realised pages. All in all, Batman Legends ends on the same high note that it’s frequently held throughout it’s three-year run. Titan are relaunching Batman Legends on December 21st. Acknowledging Panini’s success, they are largely replicating the formula, mirroring not only the title but also the Collectors’ Edition branding and three story format. However, the new series will focus on Frank Miller and Jim Lee’s All Star Batman & Robin The Boy Wonder, Grant Morrison and Andy Kubert’s Batman and Son and, most depressingly, Jeph Loeb and Michael Turner’s turgid Superman/Batman series. Although any misgivings I had about a UK Batman title were more than amply addressed by Panini’s assured handling of the title and choice of current and archive material, Titan’s revamp on the surface lacks appeal. Like I said, Batman Legends #41 provides a perfect jumping off point and… I’m poised on the edge.

Panini UK comics website
Titan Magazines' Batman Legends mini-site

Stage Presence #8

2006-11-27T10:38:00.000Z

“Characterful” by Adam Hills
The Tobacco Factory, Bristol, 19/11/2006

As he ambles cheerfully onstage, the immediate impression of Aussie Adam Hills is that he’s a bloody friendly bloke and – judging by the resounding welcome – well loved. Hills engages with members of the audience from the outset, encouraging and including their humorous input, rather than extracting it at their expense. As the title suggests, Hills’ show focuses on his preceived lack of character in contemporary society, skillfully creating a stand-up performance that that this full of it, whether through personal anecdotes, political commentary or frequent audience participation.

Adam Hills’ style could be described as gentle or easy going, but don’t confuse this with unchallenging, safe or boring; Hills is laconic without being laidback, insightful without being spiteful. How many comedians have you seen display their artificial foot as a prelude to a hilarious true story about applying for a drivign licence, or encourage a theatre full of people to engage in a bout of “tummy drumming”? After two hours’ consistently entertaining stand up, it was easy to believe Adam Hills’ expressions of disappointment that it was time to go home. I felt the same way.

Adam Hills website

Jukebox Juicebox #23

2006-11-26T11:04:00.000Z

One Dove “Morning Dove White” (1993)
Pure and simple, one of the great lost bands and underrated albums of the 1990s. On paper, it’s hard to see how One Dove could fail. Their blend of dub-driven club-friendly pop, shaped by Dot Allison’s breathless vocals, caught the attention of Andrew Weatherall, whose own Sabres Of Paradise remixes gave the band an added dancefloor cachet. Getting Weatherall on board to produce One Dove’s debut album was an astute move, given his infleunce on Primal Scream’s seminal Screamadelica, but seemingly at odds with the sound presented through their singles. Whilst the 12” mixes continued to aim for the heart of the dancefloor, including jaw dropping reworkings of White Love and Breakdown by Slam and Secret Knowledge (aka Kris Needs) respectively, Stephen Hague and William Orbit delivered more homogenised mixes for radio airplay. The latter takes toned down the bass and left Allison’s occasionally weak vocals too exposed. On this basis, hardly a great incentive to buy the album. But Morning Dove White remains one of Weatherall’s finest achievements and only hints at what this Scottish trio could have achieved had they not been drained by record industry politics. The vinyl version spread tracks 1-9 over four sides of vinyl, but in fact the CD provides the most complete listening experience. The version of Fallen which opens the album is breathtaking and complements Weatherall’s ten-minute remix of White Love. The producer’s influence threatens to subsume the band’s identity only once, with instrumental My Friend sounding more like a Sabres of Paradise outtake rather than One Dove. There Goes The Cure and Why Don’t You Take Me provide the album’s most downtempo moments. The latter at times evokes Black’s maudlin classic Wonderful Life and showcases Dot Allison’s reflective songwriting, developed to great effect on her two subsequent solo albums. Provided you skip Stephen Hague’s ‘radio mixes’ of Breakdown and White Love, both thoughtlessly tacked onto the end of the CD, I challenge you not to fall in love with Morning Dove White after a single listen. If you don’t, then check your pulse, because I suspect you may be dead.

Tracklisting: 1. Fallen / 2. White Love (guitar paradise mix) / 3. Breakdown (cellophone boat mix) / 4. There Goes The Cure / 5. Sirens / 6. My Friend / 7. Transient Truth / 8. Why Don’t You Take Me / 9. White Love (piano reprise) / 10. Breakdown (radio mix) / 11. White Love (radio mix)

One Dove fan site
Dot Allison offical website
Andrew Weatherall's Rotters Golf Club website

The Human League “Reproduction” (1979)
Like most people of my age, my introduction to The Human League was through Smash Hits (RIP), Top Of The Pops (RIP) and their genre defining album Dare (still going strong). I remember being fascinated by (and equally squeamish about) the striking cover to this, their first album proper, when seeing it stacked in HMV. This may account for the reason why it took me the best part of a decade to listen to Reproduction and a further fifteen years to buy a copy. The first thing to strike me is what a bloody good record it is. Built around the core of Ian Craig Marsh and Martyn Ware (who went on to form Heaven 17), Phil Oakey and Philip Adrian Wright, the album’s layered electronic sound lays the foundations for both The Human League’s own subsequent material and the synth pop revolution. This is particularly evident in Empire State Human (which should have been a massive hit) and their cover of The Righteous Brothers’ You’ve Lost That Loving Feeling. This reissue doubles the original album’s number of tracks, notably with the original single version of Being Boiled (subsequently sampled by Richard X) and The Dignity Of Labour Parts 1-4, replete with the bonus Flexi Disc issued with limited copies of the 12” EP. The latter is an extract from the band’s conversation about what to put on the flexi disc in the first place and makes for hilarious listening. These days, The Human League may be earning a crust from touring their early 1980s heyday but both this and follow-up album Travelogue are a testament to the band’s groundbreaking songwriting.

Tracklisting: 1. Almost Medieval / 2. Circus Of Death / 3. The Path Of Least Resistance / 4. Blind Youth / 5. The Word Before Last / 6. Empire State Human / 7. Morale... You've Lost That Loving Feeling / 8. Austerity / Girl One (medley) / 9. Zero As A Limit / 10. Introducing / 11. The Dignity Of Labour Part 1 / 12. The Dignity Of Labour Part 2 / 13. The Dignity Of Labour Part 3 / 14. The Dignity Of Labour Part 4 / 15. Flexi Disc / 16. Being Boiled (fast version) / 17. Circus Of Death (fast version)

There are loads of Human League fan sites worth a look, including:
Secrets Online
Blind Youth (specifically covering their 1977-1980 material)

Bang(ers) Out Of Order

2006-11-23T06:47:00.000Z

I was simultaneously amused and dismayed by the news that Powys Council’s trading standards department have brandished the cosh on one of it’s popular local products. Black Mountains Smokery have been advised to relabel their Welsh Dragon Sausages, to include the word pork, to ensure that vegetarians do not mistakenly buy the product believing them to be meat free. Sounding far more cloak and dagger than reality suggests, Powys Council were “tipped off” that the sausages breached the 1996 Food Labelling Act. I guess the assumption here is that vegetarians are a largely illiterate lot (my wife would strongly disagree) and therefore incapable of reading the word pork on the ingredients list, cunningly placed as it is ahead of other items such as leek and chilli. When I buy Welsh Dragon Sausages from my local butchers, they’re displayed amongst a cornucopia of raw flesh – again, a heavy hint to vegetarians that these product ‘may contain traces of meat’. Despite Powys Council conceding that they “don’t think anyone would imagine that dragon meat was being used” (well, hoo-bloody-ray for common sense!), you have to wonder if their trading standards staff have a little too much time on their hands. What’s next in the firing line? The good old Cumberland? The Frankfurter? Toad In The Hole?!

Black Mountains Smokery website (go to News for other links to this item)

Stage Presence #7

2006-11-12T11:55:00.000Z

Health warning: these reviews are laden with puns, some intentional, most inexcusable.

“As Used On The Famous Nelson Mandela” by Mark Thomas
The Tobacco Factory, Bristol, 26/10/2006

I’ve seen several of Mark Thomas’ live shows, though these have tended to be ‘works in progress’, performed in the pleasingly retro working mens’ club environment of The Comedy Box, above the Hen & Chicken pub in Ashton. As Used On The Famous Nelson Mandela is part of a ‘proper’ tour and has consequently resulted in a shift to a larger venue, albeit only a few hundred yards down the road. The Comedy Box’s fag-smoke laden (more imagined since it’s ban on smoking) air provides an intimate, almost confessional atmosphere, the microphone almost superfluous as the comedian performs to an audience of no more than a hundred. The Tobacco Factory couldn’t be more different, adopting the air of a university lecture theatre, with seemingly three times the number of people squeezed into rigid rows of plastic seating and jostling to catch sight of the performer on stage. However, given that his shows are effectively political commentaries and calls to action, Thomas is equally at home in either venue and plays to his strengths. Tying in with his debut novel of the same name, and recent Channel 4 documentary After School Arms Club, As Used On The Famous Nelson Mandela sees the global arms trade squarely in Thomas’ sights. The show covers Thomas’ attempts to challenge the law governing political demonstrations in Parliament Square, his attendance at an arms trade fair and efforts to expose loopholes in arms trade laws that culminated in a controversial unbroadcast BBC Newsnight article about the Hinduja Brothers. There’s no doubting Mark Thomas’ commitment (or research – the show is positively loaded with facts and stats), but his disarming delivery prevents it coming across as political ranting and/or bullying. Where Thomas succeeds is in populating his narratives with well defined characters, challenging stereotypes and separating the (often relatively likeable) people from their questionable occupations. If you’ve not seen Mark Thomas before, then try to. As his website states, if you’re not pissed off, you’re not paying attention. Time to wake up and smell the smoking gun.

Official Mark Thomas website

“Shame” by Russell Brand
Bristol Hippodrome, 29/10/2006

Russell Brand is undoubtedly the comedian du jour, thanks to a strikingly retro style makeover and his brand of high octane presentation seen on Channel 4’s Big Brother’s Big Mouth and Russell Brand’s Got Issues, as well as his BBC Radio 6 show (moving imminently to Radio 2). Much as I enjoy his on-screen presence, I’ll admit to wondering if this could translate to a full stand up show, particularly in a humongous venue like the Bristol Hippodrome. Phill Jupitus is a case in point: often funny on quiz shows like Never Mind The Buzzcocks; died on his arse during his Quadrophobia tour at the Bristol Old Vic in 2000, thanks to a complete humour bypass. But I digress. Warm up was provided by Trevor Lock, Brand’s Radio 6 sidekick, but half baked is probably a more apt description. Lock’s dapper appearance and delivery disappointingly resemble little more than Russell Brand Lite™. An over reliance on bland ‘stream of consciousness’ musings and a frankly tiresome heckler do not make for an inspiring show, so it was relief when Mr. Brand himself finally appeared on stage. There’s no denying that Russell Brand is an eye-catching, engaging personality., describing himself as an ‘S&M Willy Wonka’ or ‘Victorian pimp’. In fact, the long, back-combed bouffant and all-black attire, including neck scarf, ammunition belt, skin tight ladies’ jeans and winkle pickers will remind those of a certain age (and musical taste) of a Fields Of The Nephilim / Dogs D’Amour* hybrid. Brand gets off to a slow start, exploring the Hippodrome’s ornamental balconies framing the stage, then returning to a bar stool and flicking through a copy of the Bristol Evening Post. Amusing though Brand’s critiques of the day’s ‘big’ stories are, and despite his insistence that the show itself has yet to start, stretching this ‘prelude’ over half an hour is a tad indulgent. However, Brand really hits his stride as the focus shifts to himself, more specifically, his addictions to drugs (former) and sex (ongoing). Despite some graphic descriptions (and miming) of his exploits, Brand conveys this sometimes cautionary, sometimes celebratory tales in an amusing and accessible manner. I have to confess at this point that, thanks to a stinking cold, I was heavily medicated and am embarrassed to admit that I nodded off on a couple of occasions (thankfully brief and drool free). This should not be seen as a reflection on Russell Brand’s excitable and exciting show. Unlike Mark Thomas, who seems capable of running and running, there’s an inherent fear that Russell Brand will implode in the not too distant future. In light of this, I’d recommend that you catch this talented performer while you can. Russell Brand may have issues, but an active and appreciative audience seems to be damned good therapy.

* I discovered whilst writing this that Tyla from the Dogs D'Amour played an acoustic gig in Bristol the night before. Maybe he and Russell Brand are a shape shifting single entity, after all. Spooky.

Official Russell Brand website

Stripping Down #9

2006-10-25T05:51:00.000+01:00

Fantastic Four Adventures #18 (Panini UK)
“Dysfunctional” by Mark Waid + Karl Kesel
& Paco Medina (Fantastic Four (v1) #514-515)
“A Skrull Walks Among Us!” by Stan Lee & Jack Kirby (Fantastic Four (v1) #18)

The Wizard forms (yet another) variation of The Frightful Four in (yet another) bid to defeat Reed Richards’ currently down-on-their-luck heroic quartet. Following a year of pretty heavy storylines, culminating in the Fantastic Four meeting God (as played by Jack Kirby), we’re back into more familiar territory with Dysfunctional. Waid and Kesel’s script introduces an intriguing pair of femme fatales in Salamandra and Cole, respectively the ex-wife and daughter of the aforementioned Wizard. However, a couple of narrative points niggle: I’m not entirely convinced by the Wizard’s casual dispatch of long-time compatriot The Trapster. Also, the omission of fellow founding member The Sandman seems odd, given The Wizard’s ‘rehabilitation’ of the character in The Astonishing Spider-Man a while back. Then again, the latter’s current whereabouts could well have been explained in another title that hasn’t seen the light of day on this side of the pond. Whilst stretched (no pun intended) rather thinly over two issues, with at least one more to follow, Dysfunctional is an enjoyable old school Fantastic Four story, combining humour and drama. Paco Medina’s art is strongly reminiscent of series regular Mike Wieringo, though crosses the line into overtly cartoony that the latter more expertly treads. Stan Lee and Jack Kirby’s regular archive feature spotlights the debut of the Super Skrull. Not one of their finest stories, it nevertheless contains some memorable moments, not least the opening sequence showing the FF sitting in front of the TV before Reed and Sue head off for a swim. Municipal pool by car? Nah, Hawaii by ICBM, of course! Priceless.

Panini UK comics website.

2000AD Extreme Edition #18 (Rebellion)
“Shako!” by Pat Mills + John Wagner
& various (2000AD #20-35)
“The Shop That Sold Everything!” by Grant Morrison & John Stokes (2000AD #477)
“Project Overkill” by Kelvin Gosnell & Ian Gibson + Jesus Redondo (2000AD #119-126)

The concept of cover feature Shako – (stupid) man versus (smart) beast – is familiar. In this case, the eponymous character is an omnivorous polar bear who inadvertently swallows a canister of experimental nerve gas after a US plane is downed in the Arctic Circle. Cue a succession of predominantly sadistic, gung-ho Americans who attempt to kill Shako, but ultimately are fodder for a slew of inventive deaths. Over sixteen episodes, even Mills and Wagner struggle to avoid repetition, not helped by a constantly changing rota of Spanish artists that vary wildly in quality. Half-hearted morale aside, Shako provides some mindless entertainment for an hour or so. Project Overkill, another early series, follows a similarly well-worn path, that of the lone hero taking on a sinister government agency. The art, by Ian Gibson and Jesus Redondo, is much more consistent and coherent than Shako, as you might expect. However, after a slow build, Kelvin Gosnell’s story comes to an abrupt, albeit conclusive, end after eight episodes. It’s difficult to judge if Project Overkill was a deliberate filler, or was curtailed after failing to engage 2000AD readers. However, the sense that the series feels truncated means that it doesn’t really make a lasting impression as a consequence. Finally Tharg’s Future Shocks, sandwiched between the two main features, is thematically speaking somewhat incongruous, but the involvement of Grant Morrison and John Stokes is enough to justify it’s inclusion.

2000AD website – Extreme Edition page.

Negative Burn #3 (Image/Desperado)
by various

A striking cover by Tomislav Tikulin fronts the latest issue of this black-and-white anthology which, despite the involvement of a major publisher and several well-known professionals, retains a pleasingly small-press feel. The Stone Devil, the first of eleven (count ‘em, eleven) features, is a marvellous Faustian tale with deft scripting by Phil Hester and suitably bleak art by Federico Dallocchio. Danijel Zezlj’s El Angel Exterminador offers a striking visuals but is let down by a narrative that somehow manages to be clichéd, superficial and obtuse all at once. Similarly, 9/11 story Breaking Up is a disappointment, with Paul Jenkins delivering an unusually stilted monologue and Kevin Stokes’ cartoony style sitting rather uncomfortably with the story’s tone and subject matter. Like Danijel Zezlj’s contribution, The Empty Canvas by R.G. Taylor is a case of style over substance. His insight into the artistic process looks great, but I felt that the strip had little more to say, in literal and expressive terms, and consequently is rather forgettable. Whilst stuck in critical mode, I’ll fire off a final salvo at Graeme Neil Reid’s 3rd Time Lucky?. It’s a well executed piece, but suffers from an over familiar theme and, as the closing comic strip, means that the anthology ends on a rather flat note. Happily, Negative Burn #3 has considerably more pros than cons. Brian Bolland contributes an amusing Mr. Mamoulian skit on daydreaming, whilst Frazer Irving allows a peek at seven pages of extracts from his Sketchbook, which is a delight, whilst only hinting at the range and breadth of this talented creator. I’m unfamiliar with who – or what – Matthew Smith’s Fade is but Signs & Wonders 1: Legacies, the issue's sole serial, offers an intriguing opening instalment with sketchy yet atmospheric line work. Rivalling The Stone Devil as my favourites this issue are a trio of very different tales. Mike O’Neill and Alex Apps produce a hilarious cautionary tale about accepting a Free Lunch from ninjas. Superhero satire Broken is another winner, with a smart idea by Dean Haspiel wonderfully realised by Michel Fiffe’s detailed art. However, Jim Alexander and Jon Haward’s Conjoined Sins, featuring their gumshoe detective creation Sideburns, is perhaps The Stone Devil’s most serious competition for best comic strip. If you’ve read my previous Stripping Down reviews, you’ll know that I’ve highly rated their previous superhero material. Rest assured, Jim Alexander’s smartly scripted tale of betrayal and deceit doesn’t disappoint, with strong dialogue and characters. Seemingly shot directly from detailed pencil art, there’s an edgy quality to Jon Haward’s visuals that arguably ranks it as one of his finest pieces of work to date. As a fellow bearer of mutton chops, I can only call for more Sideburns, please. Anthologies can be a bit hit and miss, but there’s plenty in Negative Burn #3 to make it a worthwhile investment of your time and money.

Desperado Publishing - Negative Burn page.

Negotiating The Beast (Downright Bockedy)
by Sean Mac Roibin & John Robbins

A welcome collection of previously published work, comprising a single text piece, an introduction-cum-obituary for Mac Roibin by his artistic foil (alter ego) John Robbins, and twenty one-page stories. Essentially a hybrid of prose and comic strip, neither medium is compromised. Nor for that matter is the narrative focus; the cover (perhaps wisely) warns that “cumulative effects may cause irreversible damage”. Broadly speaking, Negotiating The Beast not only examines the underbelly of humanity, but slits it open and extracts the contents. Whether conveyed in the first- or third-person, there is a detachment to the writing that lends the humorous pieces a discomfiting quality and makes the frequently unsettling scenarios even more provocative. There are literary comparisons – Will Self, Ian McEwan and Derek Raymond immediately spring to mind – but Mac Roibin’s writing offers an intensely individual and incredibly consistent vision. Likewise, John Robbin’s art is versatile enough to realise – and frequently heighten – the atmosphere of the stories. The darker narratives are brought to life through expressionistic brush and ink work, juxtaposing with detailed cartoon line work on the overtly comical or purportedly autobiographical tales. Of the latter, Blob’s Basketry and The Waiting Room are of particular note. At the other extreme, A Delay In The Evil Registering and Something In The Way deliver two of the most chilling narratives that I’ve read in any comic, with crap-inducing final panels that linger disturbingly in the mind. Negotiating The Beast is never an easy or comfortable read, which is exactly what makes it an essential purchase.

Sean Mac Roibin & John Robbins’ website.

Reading Allowed #3 - Holiday Snapshots

2006-10-22T18:09:00.000+01:00

Intelligent, intriguing and inspiring, often simultaneously:

Like the bastard offspring of 'Carry On'
(not intended as a recommendation):

Stage Presence #6

2006-10-20T19:01:00.000+01:00

“The Birthday Party” by Harold Pinter
Bristol Old Vic, 14/10/2006

Determined to avoid our usual last minute arrival at the theatre, we travelled by car and arrived in plenty of time. After stopping at the lovingly restored Victorian surround of Queen Square, I then wasted much of the gained time by fruitlessly plugging coins into three parking meters before finding a fourth that swallowed my money and gave me the desired ticket. Still, things were looking up as we entered the Old Vic and managed to not only order drinks for the interval but also get a pre-show sup. We were sitting in the largely empty upstairs ‘courtyard’ when, after a few minutes, a couple of men sat at the next table. Their small (but loud) talk focused on whether or not either had a girlfriend, suggesting that they really didn’t know each other that well. However, the unavoidable feature of the pair was that the elder of the two had chronic hiccups. Belcher (as I’ll affectionately refer to him) seemed incapable of completing a sentence without an inappropriately placed vocal semi-colon. “I hope he’s not sitting near us,” wished my beloved. We had tickets for the upper circle; we usually try out different areas and vantage points in the theatre, albeit generally in the stalls or the dress circle. This was our first time in the balcony area, though I had memories of being stuck behind a column in ‘The Gods’ during school visits, meaning that my view was usually restricted to one half of the stage. On this occasion, a steep descent took us to our seats in the front row, which seemed to overlook the fact that people predominantly possess knees , or indeed legs. As the remainder of the audience noisily filed in, my love looked over her shoulder and gasped. A party of five were descending the stairs: two were clearly ‘in charge’, adopting the roles of carer; Belcher was numbered amongst the remaining three. We watched agog as the two carers assisted an aged man, replete with beer bottle glasses, pirate’s eye patch and walking sticks, take precarious step by precarious step. Silently praying that at some point the group would stop and filter into a row of seating, they eventually did, in the row directly behind us. Although we’d stopped staring at this point (I don’t think I was squeezing my eyes shut yet), we could easily pinpoint the group’s location at all times, thanks to Belcher’s spasmodic exclamations. There was a temporary grace period as the group settled into their seats, until their sole female member decided to swap seats with Belcher. Clambering into the front row, there was a heart-stoppingly interminable moment when the woman, legs akimbo as she straddled the row of chairs, lurched sickeningly over the balcony. A collective shudder anticipated the woman’s inevitable plunge into the lap of a patron in the stalls, but she surprised us all by regaining her balance and hopping back into the newly-vacated seat behind. In their final pre-show act, the group gave me the dubious pleasure of taking their photo – a last request before they all met an untimely but ultimately clumsy death? – before settling down as the lights dimmed and the play began. I have to be honest: don’t know much about Pinter, beyond an alleged predilection for dramatic pregnant pauses. Not so with The Birthday Party, for Belcher was able to fill each deliberate silence with a wretched outcry. Not that he was alone: the South West branch of The Haemorrhoid Sufferers’ Association seemed to be well represented, judging by the loops of squeaking chairs throughout. In fact, the only thing missing from this veritable frogs’ chorus of croaking and creaking was Sir Paul McCartney. About an hour into the first half, Belcher finally had the decency to leave, though by this time the potential nuances of Pinter’s writing had completely passed me by. After a much needed interval whiskey and hurriedly smoked cigarette, we saw that Belcher had rejoined the party for the final act. Amazingly, the hiccups had not abated and, after about ten minutes of rhythmic yelping, we overheard a female voice in crisp RP, tersely admonish, “This is not acceptable!” One of the carers retorted, “It’s an involuntary reaction – chill out, man!” to which (I was surprised to see) he didn’t receive an involuntary punch on the nose in response. I wanted to laugh out loud but I don’t think Pinter was playing for gags at that point. Belcher eventually departed again, though someone stepped up to the plate and delivered a couple of loud burps from roughly the same seating area. My money’s on one of the carers, driven to an impromptu act of defiance. So, what can I tell you about The Birthday Party? Well, it largely reminded me of a BBC TV “Play For Today” from the 1970s, with austere, low-budget sets and overly earnest performances from the cast. But then, I’m probably not the best judge of this. After all, The Guardian loved the play and that was without the added bonus of belches.

I Went To Bulgaria...And All I Got Was This Lousy Postcard

2006-10-16T07:56:00.000+01:00

You can imagine my disappointment on discovering that there are no giant surfing pigs in Sunny Beach...

Stripping Down #8 - My Field Trip To Planet Karen

2006-09-17T10:20:00.000+01:00

Whenever I begin to feel jaded about comics in general, something comes along that reignites my passion for the medium. Karen Ellis has injected the well-worn 'visual diary' concept with a joie de vivre that is hopelessly addictive. Karen's tightly written and at times brutally direct daily observations are immediately engaging. The art, loose but well defined and brimming with kinetic energy, greatly enhances the peaks and troughs of the narrator’s life. Each daily account can be enjoyed as of itself, but there is a cohesion that makes the entire book a persuasive read. The confident writing and art have continually improved since the comic strip's launch in March 2006, and Ellis' self-confessed 'short cuts' to get back on schedule are master classes in storytelling. Life on Planet Karen is far from unremittingly sunny, but even the darkest confessionals are imbued with an optimism and humour that can engage the most cynical reader. This is clearly a small press creator at the top of their game. Read this, donate generously and ensure that this talent does not go unnoticed or unrewarded.
Available on the Planet Karen website

Adapted from my reviews that originally appeared in Comics International #198 and #200

Stripping Down #7 - Small Press Spotlight

2006-09-17T09:28:00.000+01:00

Guide Dog Detective 1
"In-furr-nal Affairs" by Jess Bradley

Fur noir with a hard-boiled crime drama coming across like Cats & Dogs on amphetamines. The eponymous hero, a down on his luck labrador, tries to crack a rabbit crime syndicate and absolve his guilt over his partner’s death. An assured and well realised homage, enlivened by the all-animal cast.
Available from Travelling Man, 8 Park Street, Bristol, BS1 5NF, UK.

Scar Tissue vol.2: Destroy Bristol Special (Scar Comics)

A bumper, landscape format collection of 13 pieces, with generally strong writing, surpassed by even more impressive art. Highlights include Ali Graham’s collection of Housd shorts, Bristol Destroyed by Terry Hooper, Andy Vine’s fun EC Comics pastiche Faced With Beauty and Karen Ellis’ cover and wonderfully succinct Planet Karen epilogue.
Available from tha Scar Comics website.

Sporadic (Mini Mag) 0.5

This anthology, edited by Andrew Stitt, is more hit than miss, and devoting two of the twenty pages to creator profiles suggests a paucity of good material. However, the £1.00 cover price and some promising contributions justify a casual purchase. Matt Blissett’s After The Adventure is an enjoyable homage to Ted Hughes’ The Iron Man and his political satire George, featuring Damian Street’s sharp cartoon art, is the highlight. Gareth Slieghtholme’s front and back cover illustrations also impress. Sporadic's first issue proper will hopefully capitalise on the potential of this edition.
Available from 15a St. Augustine's Street, Norwich, Norfolk, NR3 3BY, UK.

Trixie Biker And The Go Go Pixies (Watercooler Comix)
by Matthew Craig

A fun 12 page comic short featuring Trixie Biker, her semi-sentient motorbike and a pair of pixies as they thwart ‘ether huffing fruitbat’ Dr. Julius Kroporkin’s attempted bank robbery. The artwork is crude, with text placements that occasionally detract from or confuse the narrative, but Craig’s enthusiasm for the characters shines through.
Available from Matthew Craig's website.

My reviews were originally published in Comics International #198 and #200.

Stage Presence #5

2006-09-10T10:41:00.000+01:00

“Restoration” by Edward Bond
Bristol Old Vic, 09/09/2006

Restoration is billed as ‘dramatic, explosive and wickedly comic…packed with rousing songs and biting satire.’ Whilst not misleading, Headlong (formerly Oxford Stage Company) Theatre’s production of Bond’s 1981 play is, in every sense, a play of two halves. The audience (a relatively poor turnout, it has to be said) endured not only energy sapping heat but also a play that swiftly moved from wickedly comic to just plain wicked in the final hour and a quarter. The audience were a continual distraction, with Johnny Come Latelys, mobile phones ringing and even at one point someone’s stomach growling above the dialogue. I’ve rarely seen an audience make such a rapid beeline for the bar and/or exit as I witnessed (and participated in) last night. In fairness, Restoration isn’t a bad play, in fact Bond’s writing for the most part is every bit as sharp as the opening hyperbole suggests. Mark Lockyer, as the dishonourable gentlemen Lord Are, dominates every scene that he appears in and rewards the audience with a expertly judged performance, whilst the remaining cast members give their all. That said, Michael Schaeffer’s energetic acting is undermined by the fact that his lines are often unintelligible. Also, Dorothea Myer-Bennett saddles hapless bride Ann Hardache with a regional accent so closely mirroring Jane Horrocks’ character Bubble in Absolutely Fabulous that it detracts from her own comic touches. The musical performances are strong, accompanied by a three-piece who materialise behind a thin screen at the rear of the stage when the play demands. Although relatively short, judiciously pruning some songs (and indeed, some scenes) may have made for a less bum-numbing theatre experience. The applause was enthusiastic but brief and, as mentioned previously, followed by a veritable stampede for the cool night streets…and, in my case, a neighbouring bar. In the wee hours of this morning, nursing a whisky and cola in Renato’s, I was still none the wiser as to why I’d been in such a hurry to join the rampaging herd or why I had this nagging feeling of disappointment with Restoration. However by then, I’d become far more interested in the celebrity photos adorning Renato’s walls and stopped giving it any more thought.

Jukebox Juicebox #22 - Singles & Jingles Pt. 1

2006-08-28T08:05:00.000+01:00

Thom Yorke “Harrowdown Hill”
Reviews of Yorke’s first solo album The Eraser focused quite heavily on this track and made much of it’s narrative based on scientist Dr. David Kelly’s apparent suicide at the eponymous venue. I haven’t heard the album, but Harrowdown Hill is worthy of the positive reviews that have preceded it’s single release. I first heard it on music TV, slumped drunkenly on my sofa in the wee hour. In retrospect, this is the ideal combination of medium, physical state and timing required to appreciate the song. Judging by the EP’s aural palette, Yorke’s been listening to David Byrne and Brian Eno’s My Life In The Bush Of Ghosts, not mention a slew of goth-influenced mid-1980s indie bands, and contemporaries like Kid606 and Two Lone Swordsmen. CD single ‘B-side’ The Drunkk Machine is less structured, both lyrically and musically but, like Harrowdown Hill, is underpinned by an infectiously funky bassline that breaks out of the swirl of electronica. Harrowdown Hill’s lyrics have been discussed and dissected many times over already. Suffice to say that Yorke’s writing is such that the song has a clear topicality, but skilful phrasing ensures a timeless appeal. If anything, the extended mix improves on the original, providing a spaciousness that perversely accentuates the feeling of claustrophobia and isolation. What a shame that the BBC canned Top Of The Pops – it would have been great to see Thom Yorke, sandwiched between Shakira and Beyonce, performing Harrowdown Hill to a bemused audience.

Tracklisting: 1. Harrowdown Hill (original version) / 2. The Drunkk Machine / 3. Harrowdown Hill (extended mix)

Amp Fiddler “Right Where You Are”
And now for some light relief, courtesy of Joseph “Amp” Fiddler. I’ll ‘fess up straight away that I’m largely unfamiliar with Herr Fiddler’s back catalogue and bought this on the strength of the pair of mixes by Tom Middleton, aka Cosmos. What can I say about Right Where You Are? Bland, MOR, chart-clogging R’n’B which thankfully on this single is an edit of the potentially coma- inducing full length album version. The hitherto unknown (to me at least) Australian duo 2am Productions provide a more upbeat mix which, to all intents and purposes, could be a Black Eyed Peas cast-off. Of the two Tom Middleton reworks the Biz Remix is unquestionably the superior, ditching most of the vocals whilst retaining the trademark Cosmos sound. Hot Chip have a similar disdain for Amp Fiddler’s vocal performance, chopping and changing the tempo underneath a melody that sounds uncannily like early Inner City, yet is strangely all the better for it.

Tracklisting: 1. Right Where You Are (edit) / 2. (2am remix) / 3. (tom middleton lub remix) / 4. (tom middleton biz remix) / 5. (hot chip remix)

Coldcut featuring Robert Owens “Walk A Mile In My Shoes”
Single number four from Coldcut’s Sound Mirrors albums sees the duo team up with Robert Owens to rework a classic 1970s number by Joe South. The album version and radio edit included here call to mind the string laden sounds of Massive Attack, the Now Voyager remix of You Got The Love by The Source featuring Candi Staton and, closer to home, their early 1990s cover of Yves Montand’s / Nat King Cole’s Autumn Leaves. Typically, there’s a diverse selection of mixes available on the CD. Tiga’s mix recalls his darker dancehall moments, with an urgent yet simultaneously unsettling beat. Tom Belton tries for a more uptempo, hands in the air feel (or, more specifically, Tom Middleton’s Cosmos sound), but doesn’t quite pull it off. Timo Garcia + The Cheshire Catz keep up the bpms, though retain the melancholy of Robert Owen’s outstanding vocals. However, only Henrik Schwarz really manages to enhance the Coldcut original, creating a sweeping epic that just builds and builds. The edit featured here serves as a teaser for the majesty of the full, nine minute version included on the 12” single, so maybe you need to buy or download that too. Four singles in, and there’s no sign that Coldcut are milking it.

Tracklisting: 1. Walk A Mile In My Shoes (radio edit) / 2. (tiga mix) / 3. (henrik schwarz edit) / 4. (tom belton’s ssl edit) / 5. (timo garcia + the cheshire catz remix) / 6. (album version)

The Flaming Lips “The W.A.N.D.”
The Will Always Negates Defeat, to give the song it’s full title, is possibly as angry as The Flaming Lips can get. Referring to “those fanatical minds…telling us all it’s them who’s in charge”, Wayne Coyne’s narrator defiantly responds that “we’ve got the power now, motherfuckers; that’s where it belongs”. An aggressive, dirty sounding bassline, plus prog-rock percussion, handclaps and sci-fi keyboard swoops all serve to propel the song forward, providing a great foil for Coyne’s cracked delivery and falsetto backing vocals. As you might expect from a Goldfrapp remix, the track is given an ethereal equality, with Alison’s additional vocals sharing equal room with Coyne’s. Nicking the rhythm from Associates’ early 1980s classic White Car In Germany, the remix is structured around the opening verse, and takes the song in an interesting direction, complementing rather than surpassing the original.

Tracklisting: 1. The W.A.N.D. (album version) / 2. (supernaturalistic goldfrapp remix)

Thom Yorke's The Eraser album
Amp Fiddler
Coldcut
Robert Owens on MySpace
The Flaming Lips
Goldfrapp

Jukebox Juicebox #22 - Singles & Jingles Pt.2

2006-08-28T08:01:00.000+01:00

Franz Ferdinand “Eleanor Put Your Boots On” (2006)
This is the first record I’ve bought by Franz Ferdinand though thanks to their ubiquity, I’m extremely familiar with their output. That said, Eleanor seems an odd choice as a single. The opening moments remind me of Blur’s The Universal, that is until a banjo (!) kicks in and the listener is taken into altogether more upbeat territory. If you believe what you read, the song is apparently either (a) about lead singer Alex Kapranos’ current love; (b) a nod to The Beatles’ Eleanor Rigby; or (c) both. Whatever the inspiration, the lyrics are pretty throwaway. This new recording is a beefed up take on the album’s version, which begs the question of how thin sounding the original was. Accompanying track Ghost In A Ditch, featuring guitarist Nick McCarthy on vocals, aims for a similar Beatles-y vibe, particularly in the chorus and use of horn section. Actually, it sounds more like The Icicle Works circa 1985. Fade Together is the high point, thanks to a menacing ambient remix by The Avalanches’ Bobbydazzler. Stripped of the song’s lyrics and, presumably, the majority of it’s melodic structure, the track is underpinned by occasional piano chords and Kapranos repeating a couple of key lines. A rather mixed selection, then, but redeemed by the final track.

Tracklisting: 1. Eleanor Put Your Boots On (re-recorded version) / 2. Ghost In A Ditch / 3. Fade Together (avalanches remix)

Cabaret Voltaire “Just Fascination” (2001)
I was eleven years old when this track originally appeared on Cabaret Voltaire’s album The Crackdown and my listening tastes centred around Adam And The Ants, Toyah and Madness. Having a brother nearly four years older than me meant that, by musical osmosis, I also absorbed the sounds of Magazine, The The and Richard H. Kirk’s groundbreaking work with Stephen Mallinder as Cabaret Voltaire. Although the pair no longer record together, Kirk’s output in the past three decades has given prolific a whole new meaning. What’s amazing is that quality never seems to be compromised by the quantity of his material. No surprise then, that both Virgin and Mute have asked Kirk to revisit – and reinvent – his past for their posthumous releases of classic Cabaret Voltaire tracks. All but two of the five tracks on this promo CD single are available on Virgin’s 3CD Cabaret Voltaire anthology Conform To Deform. Richard H. Kirk previously updated Just Fascination for Virgin’s Technology: Western ReWorks remix album in 1992 and, on the evidence of the three mixes he delivers here, there’s plenty more mileage in this track. Dubbing the vocals and playing with a variety of rhythm tracks, what’s immediately apparent is that Kirk still has a strong dancefloor sensibility. The fact that the remixes are easily identifiable also confirms how right Kirk and Mallinder got it the first time around. Conversely, the pair of previously unreleased François Kevorkian remixes of Sex, Money, Freaks from 1987 demonstrate the challenge of enhancing or surpassing Cabaret Voltaire’s original takes. The 12” dub works best, but both sound very much of their time, in a way that the duo’s own tracks don’t.

Tracklisting: 1. Just Fascination (r.h. kirk remix) / 2. (alternative mix) / 3. (dub mix) / 4. Sex, Money, Freaks (kevorkian 12” mix) / 5. (kevorkian 12” dub)

The Free Association “(I Wish I Had A) Wooden Heart” (2002)
Planned as the lead single from the eponymous debut by David Holmes’ offshoot band, this inexplicably never made it beyond the promo CD stage. A shame, as this is a quality EP with a strong selection of tracks. In addition to the radio edit, Roots Manuva delivers a dub of Wooden Heart that presses all the right buttons. Providing an atmospheric, bass heavy vibe, Petra Jean Phillipson’s vocals fade in and out, with Manuva himself delivering a stream of consciousness rap (which, in all honesty, is complete gibberish) midway through. Accompanying track Effectin’ is a full version of a song that initially appeared on David Holmes’ mix CD Come Get It I Got It, which also served as an introduction to The Free Association. Again, Phillipson’s voice dominates, riding a wave of rhythms and samples that should be dissonant but add texture. A great ‘lost’ single that’s worth hunting down via the likes of eBay or Music Stack.

Tracklisting: 1. (I Wish I Had A) Wooden Heart (radio edit) / 2. Effectin’ / 3. (I Wish I Had A) Wooden Heart (space hog dub by roots manuva)

Blues Explosion “Crunchy” (2005)
Although still fronting the band, Jon Spencer has taken the democratic step of dropping his name from the band. Otherwise, it’s business as usual, with no major change to the Blues Explosion template. What I’ve always liked about the band is their willingness to explore new sounds and musical directions through remixers, whilst personally ploughing the same furrow. On this EP, !!! (pronounced chk chk chk) and The DFA overhaul tracks from the Blues Explosion’s album Damage. I love the former, which introduces an infectious beat (is it bossa? is it samba? darned if I know) to some seriously funky guitar chords. The vocals are a strange mix of Matt Johnson’s distorted delivery on his early 1980s The The albums and New Order’s Bernard Sumner. Every time I play it, I have a compelling urge to crank the volume up to max and sashay around the room. The DFA take a more typical route to the dancefloor, with repetitive one-note keyboards and an insistent rhythm bolstering Mars, Arizona. Spencer’s performance is largely untouched here and rides above the clashing guitar and bass breaks that inform the first half of the mix, and the oozing electronic bleeps that dominate the second. By contrast, Blues Explosion Man is a stripped down, live acoustic take which gives full vent to the Spencer spleen. It’s classic blues approach should stick out like a sore thumb next it’s club-focused companions, but neatly rounds off an essential EP.

Tracklisting: 1. Crunchy (tmj (!!!) remix) / 2. Mars, Arizona (dfa remix) / 3. Blues Explosion Man (live at fmu)

Franz Ferdinand
Avalanches
Brainwashed's Cabaret Voltaire site
Richard H. Kirk
François Kevorkian
David Holmes presents The Free Association
Roots Manuva
Blues Explosion
Brainwashed's !!! site
The DFA

Stripping Down #6

2006-08-21T08:34:00.000+01:00

Ultimate Spider-Man & X-Men #58 (Panini UK)
“Hobgoblin” by Brian Michael Bendis & Mark Bagley (Ultimate Spider-Man #77)
“Magnetic North” by Brian K. Vaughan & Stuart Immonen (Ultimate X-Men #63)

As Comics International readers may be aware, I have mixed feelings about this comic: on the one hand, I generally fail to find fault with Ultimate X-Men; on the other, my reviews of Ultimate Spider-Man tend to be unremittingly critical. To get this out of the way, my main gripes with the latter are:

i) The reimagining of Spider-Man as a comic strip counterpart of teen TV soaps like Dawson’s Creek and The O.C.;
ii) Bendis’ admittedly skilful turn with dialogue, in particular ‘talking heads’ sequences, often being at the expense of pace and action;
iii) The limited development of characters, with an almost exclusive focus on (yawn) Peter and MJ’s relationship, which seems criminal given the potentially rich supporting cast;
iv) Mark Bagley’s pedestrian art, especially in failing to employ facial expressions to convey the emotional rollercoaster of Bendis’ writing.

Taking point iv), Bagley, to his credit, is an ace at meeting monthly deadlines, a seemingly all-too-rare quality these days. I also accept that I’ve much maligned him, both in comic book letters columns and the aforementioned CI reviews pages. Okay, the latter’s 60-word review limit does mean that constructive criticism often makes way for snappy put downs and, worse, means that I’ve rarely if ever acknowledged anything that Bagley’s done well. Time to redress the balance somewhat, then: Mark Bagley’s redesign of The Hobgoblin is stunning. Something of a cross between DC’s Etrigan and forgotten Marvel character The Gargoyle, Ultimate Hobgoblin not only looks like a scary mutha, but Bagley also manages to suggest the inner torment of Harry Osborn, the character unwittingly transformed into this monster. Visually, the exchanges between Spider-Man and Hobgoblin are thrilling, moving and downright unpredictable. How ironic that Bagley’s most emotive work features characters who are literally or metaphorically hiding behind masks. Where Bagley struggles is in transferring the emotion to more human moments, notably the awkward reunion between Peter and Mary Jane at the story’s climax. The problem is that Bagley’s characters are often barely distinguishable, particularly in extreme close-up. Given Bendis’ predilection for ‘talking heads’, and at times silent exchanges, this can result in my being unable to tell Peter and MJ apart! However, return to the Spider-Man / Hobgoblin scene and the proof is there that Bagley is capable of much more expressive work. Unfortunately, Bendis’ writing doesn’t quite hit the mark either: after five issues’ build up, the climax is strangely underwhelming. I was reminded of a similar storyline in The Amazing Spider-Man #233-236, where C-list villain The Tarantula is transformed into his namesake after a failed attempt to acquire the spider-powers of his foe. Despite the victim being a previously two-dimensional villain - rather than in this case Peter Parker’s best friend – writer Roger Stern invested The Tarantula with a depth that allowed me to empathise with the character’s inevitable and plausible end. After reading this issue, Bendis has unfortunately left me with the feeling that The Hobgoblin has provided (a) a trade paperback fulfilling storyline and (b) a stock ‘classic’ character to unearth when sales on Ultimate Spider-Man start to dip. My only other experience of Brian Michael Bendis’ writing - outside of a disappointing guest slot on Ultimate X-Men - is Alias, which I enjoyed immensely. I’ll soon be able to form an opinion his work on The Avengers, but I’m hoping that it won’t continually leave me cold, like Ultimate Spider-Man. Thank goodness then for Ultimate X-Men, which seems to have kept true to it’s principle of reinventing and challenging readers’ preconceptions regarding long-established characters, whilst remembering to tell a bloody good story every four weeks. Writer Brian K. Vaughan is on a par with Mark Millar’s memorable earlier work on this series, developing characters whose relationships to one another grow, fracture or break but always seem convincing. Current storyline Magnetic North presents a truly dangerous Magneto. Inspired by the X-movie trilogy, the character is currently incarcerated in a suspended plastic cell, seemingly beyond the range of his mutant abilities. Yet, a sequence of events have led to the similarly powered Polaris being imprisoned with Magneto and it’s plain that this all part of his plan. There’s an obvious metaphor in Magneto’s chess set (his sole possession), his games mirroring the actions of his free agents. Magneto’s portrayal as a strategist means that Cyclops and Havok, brothers and Polaris’ former/current loves, are drawn into conflict, even though Professor X is aware that he and his team are being manipulated. Vaughan’s characterisation is top notch, from Cyclops and Havok’s passionate sibling rivalry, to Polaris’ torment over her inadvertent slaughter of humans, to Magneto’s cold rationalising of his stance in the human-mutant conflict. Artist Stuart Immonen is the perfect foil for the writer, with a relaxed yet deceptively detailed style that adds weight to the story. Ultimate Spider-Man & X-Men has definitely polarised the opinion of this reader. If both had continued as individual UK titles in their own right, I would have ditched Ultimate Spider-Man by now. Accepting that a co-starring strip is necessary in a 52 page 4-weekly title, ideally I’d prefer to see Ultimate X-Men paired with Avengers counterparts The Ultimates or even Ultimate Fantastic Four. However, for now, it provides a compelling reason for buying the current incarnation of this comic.

The Avengers United #69 (Panini UK)
“Once An Invader” by Allan Jacobsen, Chuck Austen & C.P. Smith (The Invaders #0)
“When Worlds Collide!” by John Jackson Miller & Jorge Lucas (Iron Man (v3) #84)
“…Though Hell Should Bar The Way!” by Jim Shooter & George Perez (The Avengers (v1) #170)
“The Coming Of Loki!” by Stan Lee & Jack Kirby (Journey Into Mystery #112)

An unusual issue, in that neither of the contemporary stories reprints The Avengers’ own US title. First up is the conclusion of The New Invaders storyline, which in turn sets up their own short-lived series. Incoming writer Allan Jacobsen has a much better understanding of both teams than Chuck Austen and the story arc’s finale benefits greatly from this. C.P. Smith’s art doesn’t quite attain the heights of his subsequent work on The New Invaders, but his loose style is a refreshing change from the likes of Kieron Dwyer, Oliver Coipel and Scott Kolins, who have graced these pages in the past year or so. The Avengers play a largely peripheral role in this episode; whilst understandable, it feels rather odd, given that this is their own comic, after all. Also slightly frustrating is the sense that this latest incarnation of The Invaders are unlikely to reappear in a UK Collectors’ Edition title. Fine if you can get hold of the collected series (which I reviewed and recommended in Stripping Down #1), but it would be good to see at least the initial story arc reprinted in, say, The Mighty World Of Marvel. The second story coincidentally features fellow Invaders artist Jorge Lucas tackling the Armoured Avenger, Iron Man. It’s been a long while since ol’ Shellhead’s solo series has been reprinted in the UK and much has changed in that time. Not only has Tony Stark publicly revealed that he is Iron Man, but he’s also become US Secretary Of Defence. Neither of these significant events have really been touched on in The Avengers, the latter all the more surprising given the team’s recognition by the United Nations as an independent political power. John Jackson Miller does a good job of exploring the tensions and inevitable conflict of interest that this has created, as Iron Man discovers a WMD hidden in the basement of Avengers Mansion. I’ve found Jorge Lucas’ art to be somewhat inconsistent, but it impresses here, particularly with his attention to detail on the military hardware. This episode is apparently a prelude of sorts to the controversial Avengers Disassembled storyline beginning in #75, so it’ll be interesting to see how events develop. The first of the archive reprints shunts The Korvac Saga to the sidelines, focusing instead on the resurrection of Ultron’s robotic ‘bride’, the as-yet-unnamed Jocasta. Captain America and Iron Man seem to have resolved their differences a little too easily, following the events of last issue. It’s also interesting to note in retrospect how sorely underused The Beast was, his scientific prowess played down in favour of happy-go-lucky light relief, a role subsequently adopted by the She-Hulk. Though predictable, Jim Shooter makes the most of the plot and George Perez’ pencils are typically rich, though slightly hampered by Pablo Marcos’ less than subtle inking. Another Tales Of Asgard strip rounds off the issue, though Thor is conspicuous by his absence, as the focus shifts to the story of Odin’s adoption of villain-in-waiting Loki. Given their prodigious output, it’s hardly surprising that Stan Lee and Jack Kirby occasionally turned in a dud, and this is one of them, a rather unremarkable tale. Vince Colletta’s workmanlike inking really does Kirby’s pencil art no favours, begging the question of how Colletta was able to sustain a career. Sadly, in this case ‘classic’ doesn’t automatically mean good, but simply old. To end on a high note, a special mention for Steve Epting’s Iron Man cover, also featuring The Falcon, Ant Man, Black Panther and The Wasp. A slickly produced set piece, with effective colouring from an unfortunately uncredited artist with an indecipherable signature. Whoever you are, well done, that person!

Panini UK comics website www.paninicomics.co.uk

Jukebox Juicebox #21 - Enjoy The Times

2006-08-06T15:05:00.000+01:00

The Times “E For Edward” (1989)
…and Ecstasy and Electric Guitars and E.L.O, all of which influence the sound of this album. Edward Ball’s feet are still pretty firmly in the pop-rock camp, but an interest in club and drug culture is apparent from the opening anthem, Manchester, which name checks The Hacienda and 808 State, and is possibly the first song to use the phrase “off her shed”. Valvaline, more familiar as a brand of oil, is apparently also 1970s slang for ‘happy’ or ‘high’. The tune itself mixes the aforementioned E.L.O. with a synth-based riff on the hook from Dexy’s Midnight Runners Geno. Snow remains perhaps my favourite song on the album, unexpectedly fading in during the opening line. A simple yet effective love song, Snow is set to a pulsing bassline, stuttering synth lines and a typical 80s breakbeat that somehow all come together. I’m still not sure what the refrain “what I love, I bite … I love her” means, though. An instrumental take, retitled Gold and included as a bonus track, is good but doesn’t compare to the full vocal version. There are a number of downtempo moments, underpinned by acoustic guitar and strings, which Ball later developed in his subsequent ‘solo’ work. The coupling of Count To Five and All My Life create a heartbreaking ten minutes. The additional version of the latter which closes the album, is if anything even more stirring, sounding like Ball is performing in an empty theatre hall. Edward Ball’s lyrical strength lies in populating his songs with interesting characters and/or events and this is especially evident in Crashed On You and another favourite, French Film Bluerred. Musically, the rest of album is a typically diverse mix of influences: Catherine Wheel is a glam rock stomper, nodding to Bolan and Bowie, whilst No Love On Haight St. is the bastard progeny of Ray Davies, Paul Weller and Billy Bragg. Acid Angel Of Ecstasy, the final track of the original vinyl release, hints at the psychedelic leanings that would come to the fore on 1991’s Pure. A shuddering guitar chord recalls The Smiths’ How Soon Is Now? (which Ball would actually sample on Et Dieu Crea La Femme), whilst the lyrics allude to the narrator’s submission to a drug fuelled existence. The song opens with “T.I.M.E.S….Trust In Me Ecstasy Said.”, the ‘bad’ aspect of the character’s personality listing sexually charged conquests, whilst the ‘good’ plaintively pleads “Forgive me, for I know not what I do.” E For Edward is not a perfect album, but it is vastly underrated. Despite the demise of Creation Records at the turn of the century, I hope that Edward Ball’s work as The Times will receive the re-release and re-appraisal it so richly deserves.

Tracklisting: 1. Manchester / 2. Valvaline / 3. Snow / 4. Catherine Wheel / 5. Crashed On You / 6. Count To Five / 7. All Your Life / 8. French Film Bleurred / 9. No Love On Haight St. / 10. Acid Angel of Ecstasy / 11. Gold / 12. Sold / 13. Life

The Times “Alternative Commercial Crossover” (1993)
Alternative Commercial Crossover is once more a frustrating melange of inspired ideas and styles that should have been massive at the time, but somehow failed to catch the record-buying public’s interest. Something of a comment on the times (no pun intended), there are two references to the period’s dominant US music in The Obligatory Grunge Song and How Honest Are Pearl Jam? Of course, the title of the former is a red herring, whilst the latter is a more polished update of the untitled bonus track from 1990’s Et Dieu Crea La Femme and says very little about the leaden Seattle rockers. Dub influences are more clearly to the fore on this album, not least in Baby Girl, which samples the melody and cribs the chorus from Scritti Politti’s The ‘Sweetest Girl’. It’s one of two songs to feature rapper Tippa Irie, the other being the positively loopy Finnegans Break. As the paraphrased title might suggest, breakbeats and toasting crash headlong into the frenetic Irish sounds of (ahem) The Bejaesus Ejit Celi Band. On paper, it sounds like a sorry mess, though it’s alarmingly infectious. A reprise unceremoniously ditches Irie, but drops the tempo, pumps up the bass and ends on a guiltily hilarious sample. Following it's original inclusion on Pure, the subsequent success of The Times’ cover of New Order’s Blue Monday (Record Of The Week on Simon Mayo’s BBC Radio 1 breakfast show in 1992, fact fans) means that Lundi Bleu makes another appearance here, albeit in a vocal free remix by The Grid. Sorry I’ve Written A Melody and The Whole World’s Turning Scarface are the counterparts of I’m Losing More Than I’ll Ever Have and Loaded by Creation label mates Primal Scream, the first an anthemic grower, the second focusing on the piano and chorus and upping the groove factor. Edward Ball temporarily shelved The Times after this album, producing a brace of more conventional Britpop-focused records that sadly still failed to crack the charts. The Times were subsequently dusted off and independently released two albums at the tail end of the 1990s. There are also a number of excellent retrospectives available, including Here’s To Old England, released in Sep 2005. Check out The Times’ MySpace site, which links to Edward Ball’s other prolific output. Then go buy all his records and encourage him to make even more.

Tracklisting: 1. The Obligatory Grunge Song / 2. Finnegans Break / 3. How Honest Are Pearl Jam? / 4. Baby Girl / 5. Ballad Of Georgie Best / 6. Lundi Bleu (Praise The Lord Mix by The Grid) / 7. A Palace In The Sun / 8. Sorry I’ve Written A Melody / 9. Finnegans Break (Corporate Rock Mix) / 10. The Whole World’s Turning Scarface / 11. All I Want Is You To Care

Jukebox Juicebox #20 - Go! With The Times

2006-08-05T12:29:00.000+01:00

The Times “Pure” (1991)
Listening to radio station Triple J in Perth, Western Australia in 1990 was my only link to the burgeoning UK indie-dance crossover. I can remember being blown away one evening by a ten-minute cover version of New Order’s Blue Monday, sung in French, with extracts from John Lydon and (what I thought was) Sinead O’Connor seamlessly woven in. On returning to England several months later, I managed to get my hands on a vinyl copy of Pure and so began my fascination with The Times, and more specifically, the world of Edward Ball. The twin sides of vinyl were labelled Brown Ball and Pink Ball. Although this is the case with my recent CD replacement copy, the album has been segued into a single, 40 minute track. Whilst annoying for those who feel an obsessive need to program and skip tracks, Pure makes much more sense as a continuous piece. The album opener, From Chelsea Green To Brighton Beach is a rousing mix of football terrace chants, Quadrophenia samples and pastiche of The Jam before taking a sharp right turn into the psychedelia of A Girl Called Mersey (apparently a tribute to Pete Wylie’s daughter). Just when you think you’ve pegged the album, it takes another turn, this time laying samples from A Clockwork Orange over a dub-inflected interlude, before launching into the aforementioned Blue Monday, here retitled Lundi Bleu. The song opens with a sampled monlogue on the nature of conceptual reality, before a rumbling, locomotive bassline and Paul Heeren’s squalling lead guitar propel the song towards Edward Ball’s endearingly awkward French vocals. The song encapsulates the album’s spirit of experimentation, with the aforementioned Lydon rant from the middle section of Public Image Limited’s Religion I and 1970s folkies Prelude’s haunting rendition of Neil Young’s After The Goldrush creating an epic of gargantuan proportions. All cover versions should be this radical. Compared to Brown Ball / 'side one', the three tracks comprising Pink Ball are a stark contrast, opening and closing with kitsch 1960s radio show idents. Stylistically inspired by Ball’s dance offshoot, Love Corporation, A Beautiful Village Called England features cod-rapper Angel Dust (aka Cindy Lovecore) toasting DJ Mr. Wolf, who chops and changes the beats per minute with alarming regularity. Ours Is A Wonderlove World is a downtempo tale of a doomed existence, with vocalist Catherine Wheel’s deliberately emotionless recitation echoed by Ball’s more melodic delivery of the same lyrics, as the song leads to the strangely depressing climatic refrain of “God is love”. Angel Dust returns for more stream of consciousness ramblings over a bouncing beat that at times bizarrely mimics Pink Floyd’s Money. An untitled epilogue includes a female sample that sums up Pure perfectly: “Is it art or anti art? Dadaeqsque compositions on vinyl…or is it quite simply just pop?” Quite simply one of the best albums of the early 1990s.

Tracklisting: 1. From Chelsea Green To Brighton Beach / 2. A Girl Called Mersey / 3. From L.A. To Edgbaston / 4. Lundi Bleu / 5. A Beautiful Village Called England / 6. Ours Is A Wonderlove World / 7. Another Star In Heaven / 8. untitled reprise

The Times “Et Dieu Créa La Femme” (1990)
The blistering Septième Ciel, with it’s opening salvo of “Pop’s coming! / Don’t stop the party!”, is an infectious celebration of the dance culture spreading the UK at the time. Sampling The Smiths’ How Soon Is Now? (which contemporaneously appeared on Sinead O’ Connor’s I Am Stretched On Your Grave and Soho’s Hippychick), Septième Ciel – and accompanying track Aurore Borealé - continues the fascination with the ecstasy-fuelled tunes suggested by 1989’s E For Edward. Not that the album is solely focused on dancefloor hedonism. As the title suggests, Et Dieu Créa La Femme is equally concerned with old fashioned love. Edward Ball’s penchant for heartfelt lyrics come to the fore on the piano driven Confiance and Chagrin D’Amour, as well as the more uptempo tribute Pour Kylie. There are also moments of acid-tinged pop-rock in Volupté and Baisers Volés, whilst 1990 Année Erotique updates Serge Gainsbourg’s Je T’ Aime. A pair of unlisted and untitled bonus tracks bolster the CD release. The first is a version of The Times’ 1983 classic I Helped Patrick McGoohan Escape. My guess is that it’s the Thanks For The Trip Dad! remix by (yet another) side project DJ 6 & the Escape Committee from the 1990 Creation compilation Pensioners On Ecstasy. It’s an energetic floor-filler that perhaps deserved more commercial success than the proliferation of dance tracks inspired by The Prisoner theme tune that decade, but doesn’t really fit in with the album as a whole. Likewise, the dizzingly paced final track samples a naggingly familiar 1970s track, the name of which will come back to me long after I’ve posted this review. Good as of itself, but again an unnecessary add-on to an otherwise seamless album. My advice: rip the bonus tracks onto a compilation, load the album proper onto your portable player and transport yourself back to the heady days of the 1990s. The aural equivalent of feeling flowered up.

Tracklisting: 1. Septième Ciel / 2. Aurore Boréale / 3. Confiance / 4. Chagrin D’Amour / 5. Volupté / 6. Baisers Volés / 7. Pour Kylie / 8. Sucette / 9. 1990 Année Erotique / 10. Extase / 11. untitled [I Helped Patrick McGoohan Escape (Thanks For The Trip Dad!)] / 12. untitled