General release Archives

April 27, 2018April 26, 2018

ALBUM: The Great Untold – Scott Matthews 27.04.18

On Friday 27th April, Wolverhampton’s Ivor Novello award winning songwriter, Scott Matthews, is set to release his sixth studio album, The Great Untold – out via Shedio Records. Scott Matthews will be also performing at St Paul’s Church in Birmingham on Sunday 20^th May, as part of The Great Untold UK Tour – as presented by Moseley Folk. For online ticket sales from Skiddle, click here.

Recorded over a winter spent at home, The Great Untold is very much a milestone for Matthews and sees him starting a new chapter in life as a married man and soon to be father.

Title track, ‘The Great Untold’, opens the album with a tender, intimate affair between Matthews’ soft vocal and guitar intricacies. Accompanied by nothing more than flourishes of piano, it certainly sets the tone; Matthews goes back to his roots as an acoustic act, with inspirations such as Tim Buckley and Nick Drake ringing through loud and clear.

‘As the Day Passes’ also puts Matthews’ stunning vocal delivery at its forefront; with a lullaby like piano outro, and soothing picked Spanish guitar part that harks influence from world music, it’s the kind of song you would expect to hear in a Wes Anderson film.

The hazy vocals of ‘Silence’ create the atmosphere of a summer’s evening. The chorus sees Matthews muse, “Silence, nothing’s complicated in my solitude, where I can hear myself…” in a statement that confirms his re-kindled solace as an acoustic artist, away from his full band environment.

‘Something Real’ is euphoric and joyous in its musical arrangement, with bold acoustic guitars providing a counterpoint for Matthews’ vocal powerhouse. His mastery of melody and harmony is at the forefront of this track and it would be no surprise to find this particular gem as a Jeff Buckley B-side, its ringing guitars and soaring vocal falsetto harking back to Buckley’s iconic Grace album. The same goes for The Great Untold’s lead single, ‘Cinnamon’; subtle soundscapes and drone like vocal delivery create an atmosphere that creates imagery of the time in which the album was conceived.

Tracks such as ‘Goodnight Day’ and ‘A Song to a Wallflower’ particularly stand out for me and help to diversify the album, which dare I say is needed at times. ‘Goodnight Day’ shows a darker side Matthews’ songwriting; a Gold era Ryan Adams-esque ballad, Matthews is accompanied by a choir of vocal harmonies in this big screen noughties film soundtrack worthy affair. Whilst the steady beat of ‘A Song to a Wallflower’ sounds as if it came straight from the Help soundtrack, with strummed acoustic guitars and Beatles bass sound it could easily have been penned by Lennon and Mcartney.

The album closers, ‘Daydreamer’ and ‘Chapters’, take us back to the place where it began, merely an acoustic guitar and Matthews’ tender vocal delivery.

Despite its thin instrumental textures, The Great Untold is still every bit as captivating as Matthews’ 2001 debut album, Passing Stranger – a yardstick the artist has arguably been judged by since its release. But the lack of percussion on The Great Untold is perfectly subsidised by Matthews’ vocal talent, providing plenty of melodies, highs and lows to keep the listener hooked.

You could further suggest that the largely acoustic sound of The Great Untold encourages the best from the songwriter’s voice and instrumental prowess, as heard on 6 minute epic ‘Lawless Stars’. A combination of moody reverberating guitars accompany Matthews’ blanket of choir like vocal harmonies, seeing the songwriter make the most of the most of his natural vocal gift. The track is a journey, building into a crescendo of guitars and voice before it fades into an instrumental section containing just a slide guitar part – a nod, once again, to Matthews’ Bert Jansch influence.

Although an album of beauty, for me The Great Untold stays a little too much within its seemingly set format of acoustic guitar and vocals, lacking the raunchy guitars and primal beats that can be found in Matthews’ wider portfolio.

But as a relatively new listener to Scott Matthews, this latest album did not disappoint – showcasing his songwriting talent and ability to write catchy melodies that do not conform to the typical songwriter style. And in a time of overdressed pop production, an album that often contains just a voice and a singular instrument is especially refreshing.

‘Cinnamon’ – Scott Matthews

The Great Untold by Scott Matthews is out on general release from Friday 27^th April, though Shedio Records. For more on Scott Matthews, with links to online purchases for visit gig tickets and Matthews’ full catalogue, visit www.scottmatthews.uk

For more from Shedio Records, visit www.shediorecords.com

Scott Matthews will be performing at St Paul’s Church in Birmingham on Sunday 20^th May – as presented by Moseley Folk. For online ticket sales from Skiddle, click here.

March 28, 2018July 17, 2018

BREVIEW: Ready Player One – UK release from 28.03.18

Words by Ashleigh Goodwin

Monday evenings are nearly always unbearable. I practically run home, eager to get to the warmth of my house, only to emerge the next morning for work and to start the cycle again.

However last Monday, I headed to Cineworld on Broadstreet for a preview of Steven Spielberg’s Ready Player One. This was made possible by Film Birmingham – Birmingham City Council’s film office who enables accessible and effective ways for production within Birmingham, ‘done through a number of free services available to the film and television industry including locations and crews as well as filming permissions.’

Film Birmingham has been a supporter and developer of film and TV since 2006, and embodies the rich history of cinema dating back to 1863 whilst connecting Birmingham productions to the wider UK film industry. They also support film events and industry screenings, which is what led me to being packed into Screen 10 of Cineworld instead of curled up at home. You can tell, even before the lights go down and the screen comes to life, that this is something special – whether it’s just the opportunity to preview a high profile film from the comfort of our home city, or the fact that some of Ready Player One’s landscapes were handpicked from right here in Birmingham.

Ready Player One is an adaption of Ernest Cline’s bestselling novel of the same name, and it seems only fitting that Steven Spielberg directs as the novel incorporates a hefty amount of 1980’s references – a time where Spielberg arguably conquered the industry, directing and producing films from E.T. to The Colour Purple. And Ready Player One doesn’t waste time in transferring this nostalgic vibe, opening with Van Halen’s ‘Jump’ and automatically engrossing the audience; the whole soundtrack is perfectly curated to reflect the imagery and content – vital in supporting any film, but especially one interweaving so much popular culture. There’s even a DeLorean.

Ready Player One follows Wade Watts (a superhero sounding reference that he doesn’t fail to mention when introducing himself) played by Tye Sheridan, most recognisable as Ellis from Mud and Scott Summers from X-Men: Apocalypse. Wade is orphaned, living with his Auntie and her partner in a trailer park in Columbus, Ohio – in a future that doesn’t seem too far removed from modern day, but where its occupants spend most of their time immersed in a virtual reality world called OASIS. OASIS offers salvation in this arguably desolate 2045 landscape by allowing the player to take on any reality-defying form they wish, and was created by the eccentric and off-centre mogul James Halliday (Mark Rylance). But there’s a further incentive in OASIS than just escape; before his death Halliday hid ‘Easter eggs’ within the virtual world, and whoever finds them first will inherit his fortune. And so ensues a world-wide race to do just that.

Spielberg has previously stated that as he has grown older he feels ‘a deeper responsibility to tell stories that have some kind of social meaning’, with this ideology being perfectly evident in Ready Player One. The film is set amidst the future of technology and the popularisation of virtual reality, something currently capitalised on within modern society now more than ever.

As a subject for filmmakers and storytellers, virtual reality is increasingly interesting to explore – the possibilities, scenarios and outcomes of a virtual world are endless and limited only by imagination. Plus, as a modern society, with we can plausibly picture ourselves there in the not too-distant future, right alongside those entering OASIS or being captivated by the advancement of technology. Spielberg successfully shows the juxtaposition, yet balance, of physical Vs virtual domains and how slowly but surely the latter is beginning to outweigh the former.

You can’t fault the conventions of Ready Player One either; the blockbuster quality is evident, complete with mind-bending car chases, huge sets and beautiful visuals. And whilst the latter were what I found most enjoyable most about the film, you’d expect nothing less than stunning cinematography from a Spielberg production. Ready Player One proffers a dystopian future through carefully curated shots and angles which solidify the setting for the audience. It seems familiar, by incorporating futuristic touches but remaining on the right side of believable – as though you could pass this landscape on your way to work and not bat an eyelid, with the frames of The Stacks (the estate Wade lives in) being amongst my favourite within the film.

Although Ready Player One is a two hour twenty minute action-packed, surreal ride (this is unassailable) I also feel this is where the root of its problems lie. Despite the sheer amount of content packed into the (slightly lengthy) run time, certain concepts, ideas and storylines still feel underdeveloped and overlooked throughout the narrative. This particularly extended to the relationships portrayed within the film; I feel little real connection with any of the characters, not due a narrative intentionally overlooking any emotional development, but because there are simply so many additional plot points needed to complete the main storyline.

This ‘broken spider web syndrome’ seems to be a running theme across Ready Player One; Wade loses his Auntie at the hands of the film’s villain, yet this is never addressed again – other than the scene directly afterwards where he looks fleetingly anguished. Similarly, Samantha (Olivia Cooke, known for her endearing performance in the TV series Bates Motel) explains she wants to win the coveted prize to avenge her father’s death. This makes for an interesting plot point but one that is never further developed and gradually we lose this side of her character, with the focus on her shifting to being solely Watt’s love interest midway through the film.

This, again, is problematic; Watt’s professes his love after a few short scenes of interacting with Samantha’s avatar, Art3mis, with a short, lacklustre conversation, yet still their relationship intensifies. Watt’s then continues to declare his love throughout the film at arguably inappropriate moments, such as when they’re immersed in battle scenes or during the penultimate moments of action. Which although fits conventions – declarations of love before battle scenes – due to an underdeveloped relationship, feels as though it’s just ticking boxes to say ‘yes, this film also has a romantic sub-plot’.

Apart from a deficit in emotional or character development, I feel Ready Player One has another downfall – and perhaps this one isn’t a fault of the filmmakers, as any book to film adaption can bring challenges of staying true to the nuances of the original text. But in Spielberg’s production, the sheer volume of pop culture references don’t translate that effectively to the big-screen. They feel a little forced – not being an undertone or an influence, but more thrown directly and relentlessly at you one after the other.

There is a particular scene where Wade’s avatar, Parzival, is trying on clothes for a date, moving from Michael Jackson’s ‘Thriller’ outfit to Duran Duran-esque costumes; at one point he asks “am I trying too hard?”, which encompasses my feelings on the amount of pop culture that was supposedly a highlight of the film (and the book). And with Spielberg’s work itself being such a strong staple of popular culture, it seems especially off-kilter that his latest production rides so much on other references that felt neither subtle nor natural within the narrative. Apparently this was even argued by the director himself when the aforementioned DeLorean was suggested, with Spielberg finally acquiescing as he was only Back to the Future’s producer.

Despite these points, watching Ready Player One is an engaging experience. But whilst I enjoyed the concept and the exploration of virtual reality, the visuals, and the soundtrack, there were other, more conflicting factors that I couldn’t move past – making the storyline a little confused and ultimately forgettable. It’s been a week since viewing Ready Player One and I struggle to remember some of the names, places, and certain elements of the plot.

Saying this, maybe I’m missing the mark – but this is the appeal of film, hundreds of people can watch the same piece yet it will produce different thoughts and feelings across the aisles. And whilst the knowledge that Steven Spielberg shot aspects of this film here in Birmingham fills me with immense excitement and civic pride, that fact is more alluring to me than the actual on screen content it turned into.

And the Oscar for best Council film development department goes to…

Ready Player One – Official trailer

Ready Player One is out on general release from Wednesday 28^th March, being screened daily at Cineworld on Broadstreet. For Ready Player One show times, alongside the cinema’s wider programme, visit www.cineworld.co.uk/cinemas/birmingham-broad-street

For more on Ready Player One, visit www.readyplayeronemovie.com

For more on Film Birmingham, including upcoming projects, visit www.filmbirmingham.co.uk

February 1, 2018February 2, 2018

ED’S PICK: February 2018

Words by Ed King

The shortest month of the year is here. Luckily it’s also the turning point, as life starts to push up through the thaw and Percy Thrower can start planning his planters. OK, bad example, but there’s a joke about daisies in the somewhere.

But luckily for us mortal coilers, the venues and promoters of this city are still packing a pretty heavy punch with February’s event calendar. If there truly is no rest for the wicked, then it seem incongruous that anyone got Christmas presents this year.

Comedy starts strong with the ‘queen of the acerbic broad smile’, or Katherine Ryan as she’s known in other publications, bringing her Glitter Room tour to the Symphony Hall (2^nd Feb) – a week before the Machynlleth Comedy Festival Showcase (9^th Feb) comes to mac with Joe Lycett, Tom Parry, Mike Bubbins, Rachel Parris and Danny Clives. Then it’s back to the Glee Club for a little end of the month self help, as Lloyd Griffiths (23^rd Feb) walks us through what it’s like to feel in:Undated in ‘a show about overcoming the overwhelming.’ I call them mornings, but we’ll see what he brings to the table.

Hurst Street is the home of dance this month, with Matthew Bourne’s Cinderella coming to the Hippodrome (6^th – 10^th Feb) whilst round the corner DanceXchange and Mark Bruce Company present a reworking of Macbeth (8^th-9^th Feb). And no doubt making St Valentine’s Day less of a massacre for many in this city, see what I did there, Birmingham Royal Ballet present The Sleeping Beauty back at the Hippodrome (13^th – 24^th Feb).

Music has everyone from the soon to be great to the already good coming through the city, kicking off with a cross city battle between Peach Club at The Sunflower Lounge (6^th Feb) and While She Sleeps at the O2 Institute (6^th Feb). A week later we have Iron & Wine at Symphony Hall (13^th Feb), followed by Bedford’s alt rockers Don Bronco at the O2 Academy (15^th Feb) as Dermot Kennedy plays the O2 Institute (15^th Feb). A day later there’s Mondo Royale spicing it up at the Actress & Bishop (16^th Feb) bringing a few different strands of your music rainbow across our city. In the days after that, we see Cabbage at the Castle & Falcon (17^th Feb), one not to be missed, The Ataris at The Asylum (17th Feb), Irit at the Glee Club (19^th Feb), Laura Misch at the Hare & Hounds (20^th Feb), Big Cat at the Indie Lounge in Selly Oak (23^rd Feb) and Puma Blue at The Sunflower Lounge (24^th Feb).

All the ‘big gigs’ this month are at the Genting Arena, in the shape of Imagine Dragons (24^th Feb) and the man himself, or one of them at least, Morrissey (27^th Feb). But there’s a few home grown releases this month worth saving your sheckles for too, as Amit Datani releases his debut solo album – Santiago (17^th Feb) and Table Scraps send another fuzz monster into the world with their latest long player – Autonomy (23^rd). Watch out for March’s listings for showcase gigs from both.

Exhibitions come from a multitude of angles this month, with the two blips on our radar being Factory Warhol at The Sunflower Lounge (10^th Feb) and The Dekkan Trap from Sahej Rahal in mac’s First Floor Gallery (17^th Feb) – with a few ancillary events to introduce both the artist and exhibition.

Some suitable love story based theatre starts treading the boards in this most Hallmark of months, with Penguins (1^st –10^th Feb) and Brief Encounter (2^nd– 17^th Feb) coming to the Birmingham REP, as The Last Five Years get played out at The Old Joint Stock (14^th – 18^th Feb). Then it’s the arguably less seductive A History of Heavy Metal with Andrew O’Neill & Band in mac’s Theatre (18^th Feb), before the award winning Mental has a three day at The Old Joint Stock (21^st – 23^rd Feb) and Terence Rattigan’s The Windslow Boy begins it’s run at REP (21^st Feb – 3^rd Mar). And for one night only each, LEFTY SCUM: Josie Long, Jonny & The Baptists and Grace Petrie present a mix bag of ‘Music! Comedy! Revolutionary socialism’ again in mac’s Theatre (27^th Feb) whilst back at The Old Joint Stock there is single An Act of Kindness (28^th Feb) to round off the month. But don’t worry, it’ll be back in March.

So, enough to keep you lovebirds busy this month – or to distract the kings and queens of singledom on that depressing light letter box day. But whether you face this world alone or together there’s always Fight Club for £1 at The Mockingbird Kitchen & Cinema (12^th Feb). Cheaper than a card, at least.

For more on any of the events listed here, click on the highlighted hyperlink. Ed King is Editor-in-Chief of Review Publishing, which issues both the Birmingham Review and Birmingham Preview.