Likened to most bands that ever donned a frown and a trench coat, it can be easy to pigeon hole Editors. Cue comparison to Interpol… But go back over their now six album strong portfolio and you’ll find an intelligent evolution of sounds, from a band who arguably defined their own genre rather than being pulled down by the indie rock undercurrent or slipping into store bought comparisons. NME tried once, with a description I won’t bother to repeat, but with Editors the old adage is the best – the music speaks for itself.
Returning to the venue they opened back in September 2009 (queue jumping The Twang and Ocean Colour Scene to christen the O2 Academy Birmingham’s new Bristol Street main stage) Editors are on the road promoting Violence – the nine track hybrid of dark rock and electronica, with the thumbprints of razor edged pop that the band do so well. Cue comparison to Depeche Mode…
Released in March 2018 through PIAS Records, Violence has Editors sharing the production credit with Leo Abrahams – the guitarist and producer who has played with Imogen Heap, Pulp and Ed Harcourt, and produced artists including Carl Barât, Frightened Rabbit and Paulo Nuiti.
The album’s lead single, ‘Magazine’, was released to favourable reviews in January – a track that had been bouncing around Editors’ songbook since The Weight of Your Love, but has only found it’s home with the new ensemble. Further singles ‘Hallelujah (So Low)’ and ‘Darkness at the Door’ were released in February and April respectively, with the album’s latest single and opening track, ‘Cold’, released in October.
The O2 Academy Birmingham ‘homecoming’ gig sold out back in August, not a huge surprise. But there are more UK dates across October if you have the desire and designated driver free to get there – and if you live in mainland Europe, Editors will no doubt be on a festival bill somewhere near you soon.
Otherwise settle down in your plush Chesterfield armchair, look meaningful through a sideways glance, pick your favourite vacuous celebrity or BS infused politician, and…
NOT NORMAL – NOT OK is a campaign to encourage safety and respect within live music venues, and to combat the culture of sexual assault and aggression – from dance floor to dressing room.
Crystal Moselle’s Skate Kitchen is her sixth venture into the world of directing, and features a primarily female fronted cast, led by Rachelle Vinberg in her first feature length film. Vinberg plays Camille, an isolated teenager who enjoys nothing more than skateboarding and scrolling through her Instragram feed.
Upon following the female skateboarding collective ‘The Skate Kitchen’ closely on the platform, she attends one of their meet ups in NYC and quickly befriends them. From this Camille begins to navigate adolescence with her new friends in tow, as opposed to being alone with her mum in their suburban Long Island house.
I didn’t know what to except when going into the preview – organised by Film Hub Midlands in conjunction with Telford & Wrekin Council – having avoided researching the film until I was able to catch a screening. But I imagined it would be more of a documentary that focuses on the technical side of skateboarding. And despite this not being the forefront of the film, it was still woven successfully into the narrative to create a good balance of realism and fiction. You’re able to see that Moselle’s approach to the subject is authentic and well researched; indeed, the writer/director initially approached The Skate Kitchen girls after seeing them on the subway and was curious to know more, which is what spawned the making of the eponymous film.
At its core though, Skate Kitchen is not just a skateboarding documentary or drama piece but a modern coming of age film – one that is primarily (and successfully) directed towards females, as opposed to the relationship between them and their male peers which can often be the focus of such films. Although Skate Kitchen does touch upon this too.
Compiled of relative newcomers (apart from Jaden Smith), the cast is what makes Skate Kitchen unique and charming. The girls aren’t trying to fit into their assigned roles and the characters they play just seem like an extension of themselves, which makes sense given Moselle’s approach to the film. Due to the ease of their performances and how natural their chemistry is, it makes Skate Kitchen feel authentic and intimate, like a fly on the wall witnessing real life conversations amongst a group of girlfriends. There are no weak performances within the cast, with each member bringing a distinct personality and something individual to the film. I felt this particularly extended to Janay (Ardelia Lovelace), whose character is played with such realism it almost felt like a documentary; Lovelace is really enjoyable and interesting to watch which makes it easy to invest, emphasise, and root for her throughout.
Skate Kitchen’s strengths go further than being well cast and directed; the film doesn’t just explore the world of females occupying the typically male dominated domain of skateboarding, but goes beyond that to incorporate the classic coming of age tropes in a fresh, modern way. This makes it accessible to those in their teenage years, especially female viewers.
Topics that are typically shied away from are spoken about and shown in length; scenes where Camille discusses periods, tampons, sexuality, and family relationships are dealt with frankly and with blunt honesty – mainly from Kurt (played affectionately and charismatically by Nina Moran). It’s through this approach that Skate Kitchen does the job of expelling and diminishing stigma around such natural issues, alerting audiences to the fact that these are simply normal.
Concepts such as fractured families, finding freedom, body dysmorphia, and first loves are also shown throughout the course of the film, but none of them feel underdeveloped or skimmed over, with all of them fitting comfortably within the film’s narrative.
The only pitfall is that despite having strong themes, it didn’t feel as though there was much of a definitive plot to Skate Kitchen. There was no big, main, end goal. But this doesn’t detract too much, as the film presents itself as more of an exploration of coming of age as opposed to a succinct story about it. In a way this even works to the film’s favour, as it makes it more true to life; Skate Kitchen still ends up where it needs to.
Although I did feel this issue diminished the opportunity to develop certain narratives, especially when it came to Camille’s relationship with her mum – played by Elizabeth Rodriguez (better known from her performance as Aleida Diaz in Orange is the New Black). At the beginning of the film, Camille’s mum is a constant on screen – banning her daughter from skating after she ‘credit cards’ herself on the board. Camille disregards this and, to add insult to injury, starts travelling to New York regularly to meet up and practice with the girls from The Skate Kitchen.
Halfway into the film their mother-daughter relationship is in pieces, but it suddenly becomes secondary and fades into the background with them only reconciling briefly on screen near the end. When they do reconcile it’s still touching, and the scenes of Camille holding her mum’s hand whilst guiding her precariously down the street on her board are some of my favourites from the whole film. Yet it would have been nice to see them resolve their issues in a full scene – or for the mum’s narrative to be woven in more evenly throughout the whole film, as opposed to heavily then not at all.
This point also extends to her relationship with The Skate Kitchen girls, after their explosive falling out near the end we don’t see them make up again and it would have been interesting to see how this played out on screen. Although, again, this isn’t necessarily a negative – this approach shows how insignificant and irrelevant teenage arguments can be in the grander scheme, and how things can go back to normal. Rather than showing a scene where they make up verbally, we end with shots of all the girls skating carefree down New York streets with nothing but music, shots of their boards, faces, and the city.
Overall, Skate Kitchen isn’t a film I will be eagerly waiting to re-watch, but I think it’s an important, heart warming, and entertaining film to put on your list. Also the influx of these films – namely ones that are female written and directed, and feature a female dominated cast – are important. They show a perspective not present in a lot of mainstream films and address issues or topics that are often missing too, especially amongst a female teenage or young adult audience – an agenda the UK distribution company for Skate Kitchen, Modern Films, has been working hard to promote.
The use of protagonists from different cultural, racial, and economic backgrounds is also a strong tool in storytelling, and allows film to be more readily accessible to a wider range of people. Not only that, but through sharing female experiences via film, audiences can find solace, solidarity, education and guidance that they may be lacking in the public sphere and it opens up a dialogue for certain issues and topics.
Diversity within film has always been important and although there is still a long way to go, with films like Skate Kitchen the future of fair representation does seem a little brighter.
Skate Kitchen – official trailer
Skate Kitchen (rated certificate 15) is out on general release, with screenings at Midlands Art Centre from 12th to 17th October. For more details, including a full programme schedule and links to online bookings, visit www.macbirmingham.co.uk/event/skate-kitchen-boarders
For more on Midlands Art Centre, including venue details and further event listings, visit www.macbirmingham.co.uk
________
NOT NORMAL – NOT OK is a campaign to encourage safety and respect within live music venues, and to combat the culture of sexual assault and aggression – from dance floor to dressing room.
Although despite the grandeur that unfurls, Jubilee Road shuffles into the first and title track with gentle keys – setting the scene of Tom Odell’s own ‘Eleanor Rigby’ ode to London, albeit one with a sprinkle of Martin Amis.
It’s been over two years since Odell’s last LP, and five since his debut. Not that we’re counting. But the staggering of artistic expression requires some chronology, and what do you do after your 88 fingers have been shaken, stamped on, and poked into screens across the pond and back again. Twice. You go home or you go big. Jubilee Roaddoes both.
The album’s second track, and it’s lead single, the f-word infused ‘If You Wanna Love Somebody’ (even the radio play) continues to ramp things up – bringing a gospel undercurrent to a Jackson Browne flavored call to the heart. It’s a little obvious, to a cynic like myself, but I can see it covered in enough Christmas and Jamie Cullem sideways glances to do alright without me.
Then the storytelling returns with ‘Son of an Only Child’, in a track the seethes with what I can only presume is honesty. Or a fucking, good, lie. I’ll admit, it’s my favourite from the album – due in part to a steady melody that grows from a shadow to a monster, but more so because I know that bar. I know me in that bar, listening to that man and forming cannonballs to throw at strangers within reaching distance. I believe the frustration, the maudlin anger; I believe this track. So, I believe the album. Plus the lyrical hat tip to Taupin/John is a nice touch – and one better owned that brought to the floor by cynics like me.
Jubilee Road continues to bounce from self-effacing laments, to the dissection of a broken world we all tip toe through. Or round. Or away from. But the backbone of confident ivory, high octane vocals and visceral lyrics keeps this album from ever falling short – with the flows outweighing the ebbs in a comparison barrage of Tom Waits-meets-Elton John-at-a-Billy Joel-barbeque.
The obligatory label mate duet is well delivered on ‘Half as Good as You’, with Alice Merton sounding more like Florence Welch that Florence Welch. And even if Tom Odell is “tired of eating breakfast on my own,” it seems to make for some pretty good source material. Heaven help album four if the lad finds true love.
But the (second) best is saved until last, and whilst my mum is still alive I do have an older sister and the understanding of vicarious pride. Odell’s open diary/songbook is what makes Jubilee Road flourish and no more so than in its closing track, ‘Wedding Day’. It’s heartbreaking. It’s honest. It made me cry. And to round off my somewhat clunky framing technique, it’s the flashlight through the mist that sails this LP home.
‘Wedding Day – Tom Odell (live at Rough Trade NYC)
On Friday 12th October, Tom Odell releases Jubilee Road – out via Columbia Records. For more on Tom Odell, including link to online sales, visit www.tomodell.com
NOT NORMAL – NOT OK is a campaign to encourage safety and respect within live music venues, and to combat the culture of sexual assault and aggression – from dance floor to dressing room.
There will also be a special guest appearance from Ruby Wednesday, who is flying The Familyyy Fierce nest for a night to sit glacier cherry style on the evening’s proceedings in Birmingham.
Doors open at The Nightingale Club from 8:30pm, with Drag Me to Hell! starting from 9:30pm prompt – running until the 16+ curfew ends at 11pm. Tickets are priced at a super reasonable £3 (adv) and £5 (otd), with entry to the official after party included if you’re old enough to go. Or brave enough, this is a ‘Halloween Theatre Show’ after all…
But there’s more to Dragpunk that shock, horror, and baking ingredients abuse – the local ‘collective of creative queer-minded people’ are strong advocates for artistry and inclusivity, promoting shows that create ‘a safe space for self-expression’ for every friendly face that attends.
Dragpunk’s latest offering, Drag Me to Hell!is also a shimmy/shake into more theatrical territory, with the set piece showcase conveyor belt making way for a narrative led production.
“We want to give a solid Halloween show,” explains Dragpunk’s Paul Aleksandr, “full of atmosphere with some very cool and well thought out performances, from horror to some creepy tongue-in-cheek comedy. It’s the start of something different for drag Birmingham drag shows.”
Sounds like a night out to me, one the show’s promo rhetoric says ‘will take you back to the times of Victorian darkness, bringing drag performances and theatre together, where spirits, demons, and some good ol’ camp horror will bring the night alive! Quite literally!’
Ah, you’ve got to love Halloween for the marriage of performance and art, and Dragpunk have never been afraid of a bit of needle and thread. If you’ve ever seen Aleksandr’s ‘Hungry Caterpillar’ costume…
For more from The Nightingale Club, including full event listings and online ticket sales, visit www.nightingaleclub.co.uk
________
NOT NORMAL – NOT OK is a campaign to encourage safety and respect within live music venues, and to combat the culture of sexual assault and aggression – from dance floor to dressing room.
**Final tickets remaining – to book your ticket for The Taboo Club live music showcase and NOT NORMAL – NOT OK drinks reception, click here for the special See Tickets link**
If you have already purchased a ticket to the gig and would like entry into the drinks reception, please contact ed@birminghamreview.net – or the band that you bought the ticket though.
The Taboo Club are a newly formed ensemble of longstanding local musicians, delivering a ‘heartbreakingly cathartic’ amalgamation of genres and influences. Led by rising waves of rhythm guitar, over an identifiable bass backbone, their sounds also embraces strong elements of saxophone and keys – all tinged with the sultry, low lit vibes of a ‘bourbon lit Harlem dive bar’. Read Sam Lambeth’s interview with The Taboo Club here.
On the bill as local support will be Liquid Cheeks, playing their first live set as the newly formed electro/garage two piece. Liquid Cheeks are made up of Ben Ollis Gibbs and Greg Christopher, from the erstwhile Byron Hare, and will be showcasing their current singles ‘He’s a Flower’ and ‘Serendipity’. Read Emily Doyle’s interview with Liquid Cheeks here.
Also appearing will be Lilac Noise, Stoke’s electro melodic four piece who have been building a maelstrom of momentum since May this year – coming to Birmingham for their first show in the city, and promoting their soon to be released debut single ‘Paradox’.
NOT NORMAL – NOT OK is a campaign to challenge sexual assault in live music venues that was set up in June 2018, by a collective of people who work within the local music scene. Many venues and gig goers across the city have already been supporting the campaign, wearing the NOT NORMAL – NOT OK stickers when they promote or attend live music events.
Later this year, NOT NORMAL – NOT OK will be increasing its outreach – working with regional support agencies, West Midlands Police, and venue operators across Birmingham to establish a stronger presence in live music venues – as well as providing further and clear avenues of support for the gig going public, and helping the venues deliver their existing duties of care.
Doors open upstairs at The Victoria for the NOT NORMAL – NOT OK drinks reception from 7/15pm, with entrance to The Taboo Club live music showcase from 8pm – on Saturday 29th September.
NOT NORMAL – NOT OK is a campaign to encourage safety and respect within live music venues, and to combat the culture of sexual assault and aggression – from dance floor to dressing room.
Doors open at the O2 Academy Birmingham from 7pm, with tickets priced at £25.00 (plus booking fees) – as presented by SJM Concerts/Gigs and Tours and Goldenvoice. For direct gig information, including venue details and online ticket sales, click here.
Returning to the venue they opened back in September 2009 (queue jumping The Twang and Ocean Colour Scene to christen the O2 Academy Birmingham’s new Bristol Street main stage) Editors are on the road promoting Violence – the nine track hybrid of dark rock and electronica, with the thumbprints of razor edged pop that the band do so well. Cue comparison to Depeche Mode…
NOT NORMAL – NOT OK is a campaign to encourage safety and respect within live music venues, and to combat the culture of sexual assault and aggression – from dance floor to dressing room.
