Film Review.

S.U.B

M.A.R.

I.N.E

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Please welcome to the world of film directing, Richard Ayoade. Commonly known for his role in Channel 4's 'The IT Crowd', playing 'that guy' that simply saves the show from being completely dire- 'Moss'. Switching from the acting role to the directors chair, Ayoade makes a superb debut in 'Submarine'. Side-stepping the cliches of his past and creating an instant classic, we find Ayoade perhaps orchestrating a much more creative and alternative strand in his DNA. .

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Oliver Tate, a brilliantly strange Welsh school boy who spends his days fantasising as many young men do but with a slight twist in his approach; despite the obvious (girls, the kissing of girls, and one girl in particular), Oliver pictures the mass depression which would hit Wales if he were to die. Oliver is a character who can make the audience laugh, although if ever asked, he would never understand why. He is often philosophical in his approach, whilst justifying his actions immediately with a humorous explanation (picture an intellectual Karl Pilkington if possible). At the forefront of master Tate's life are two things, Jordana Bevan and the intense fear that his mother is having an affair with their 'Ninja' neighbour. The former is a completely brilliant character; Jordana is cryptic, mysterious in personality and has a strange obsession with all things flammable. Oliver is smitten, but don't expect a relationship of the 'Romeo and Juliette' or 'Titanic' kind, Jordana hates intimacy constantly shrugging Oliver's hand off her red duffel coat whenever he attempts to comfort her. Oliver's family are also fabulous creations of Ayoades mind. Oliver's father Lloyd Tate is an ex-Open University presenter 'who never quite knew what to do with his hands', whilst his mother is a woman who believes Oliver has some sort of mental disorder - a superbly ironic stance.

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'Submarine' is a film which will be adopted by the 'hipsters' who need something else to cling onto after years since 'Napoleon Dynamite' and 'Juno' hit the screens. However, unlike these films, 'Submarine' is much deeper and intelligent, almost a work of art - the photography and cinematography throughout are simply genius. Despite some arguing it to be 'too cool in places', 'Submarine' and Ayoade have every right to feel proud. From the acting to the directing, Ayoade's debut can be deemed an instant success and 'must see' for all young film enthusiasts.

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Pulp Rating: 4.5/5

Crystal Fighters. Live and Rising.

M.C.R.

R.U.B.Y.L.O.U.N.G.E

18.03.11

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There are two things to bare in mind when attending a Crystal Fighters gig in 2011; they are bigger than you think, they will get bigger. Expecting Basque instruments, Spanish flair and a great sense of proud abnormality, this live spectacle was approached with a great sense of curiosity and inerement. With a hand full of Radio One playlist hits and a joint hosting session with Nick Grimshaw, Crystal Fighters find themselves rising (and rightly so) in Spring 2011.

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Entering the stage in long shawls, Apache attire and scruffy, yet stylist long hair, Crystal Fighters immediately appear to be the band their music suggests; a 'hippyish' ensemble, powered by illegal substance with heavy Basque influence (we can only speculate as Sebastien - the bands front man - appears removed from reality, but totally in touch with the crowd of the Ruby Lounge). The set opens with Track No.1 from the debut album, 'Star Of Love', the rather basic pattern and layers of 'Solar System' appear to start things off relatively well for a fairly new outfit on the alternative scene. The crowd accept this and move with it - phase one. A decent opener. What happens next is not what was expected prior to the evenings entertainment. 'Follow' and the rather Dubstep inspired 'Swallow' (a great shame and by far the albums worst - unfitting track) pave the way for the eruption which occurs as 'I Love London' rips out of the small, but mighty P.A system. The crowd rush, bump and clobber into one another as no individual shape can be thrown into the pit of hipsters created- phase 2.

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Throughout, the band appear at ease with this commotion, almost as if they are expectant, a true sign of confidence in a newly rising outfit. Any slight scream or highly pitched 'eeeeyyy' from Sebastien is met with riotous applause and lustful admiration. This marks the mid-point which is undoubtedly, and perhaps ideally placed, peak of the show. The trip to the end of the show is how one could imagine the band themselves are feeling, a 'coming down' situation - phase3. 'Plage' is an instant hit, an album favourite and definitely a song which should appear on even the most generic summertime playlist. Lyrically the band are maturing; chanting, wooden rhythmical backing which coincides and brilliant use of repetition make the band a unique and rather different experience to that experienced most years - moving towards a perhaps Basque and Balearic revolution in the alternative and underground music scene (remember nu-rave in 2007 anyone?). The highlight of this 'come down' period (excuse the pun), is 'At Home', the song Nick Grimshaw himself described as a 'definite summertime anthem'. The track is backed heavily by Laure and Mimi, both backing singers proving to be much more than the pretty faces of the stage, with vast contributions both in the studio and live alike (even if Sebastien is screaming most songs into his rag covered microphone). If you need a song to sponsor your spring/summer - Crystal Fighters; At Home should be a definite contender.

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Predictably, the band finish with 'Xtatic Truth', a clear fan favourite and fitting end to what was as superb live spectacle. Ignore the hype which surrounds acts like 'Brother', and 'The Vaccines', and put your money in your pocket to join in some different, Basque and Balearic noise in Crystal Fighters 'Star Of Love'. An album which wreaks of summertime fearlessness, a cross between The Naked and Famous and Delorean, Crystal Fighters are becoming, and soon will be, one of the bands of 2011. You heard it hear first.

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Gig Rating: 4.0/5

Album Rating 4.2/5

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Alex Lester

Its no longer 2001.

Virginity Lost.

PULPMAGAZINEMUSIC.BLOGSPOT.COM

Album Review No; 1

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2001. New York. Albert Hammond Jr, Nick Valensi, Nikolai Frature, Fab Moretti and Julian Casablancas. The Strokes. A band producing one of the decades best albums in the form of Is This It. (No there is no question mark). Hard To Explain, Someday and The Modern Age, influencing the likes of the Arctic Monkeys to the Yeah Yeah Yeahs. 10 years pass. Two more albums. A gap. And then this. ANGLES. The Strokes return. And the result.....

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ANGLES opens strong. Machu Picchu is dominated by the White Fender Strat of Albert Hammond Jr jolting note to note, Julian enters, husked and gritty. The chorus bears witness to Valensi's rhythm twinned with Hammond's alternative distortion. It works well. It soon becomes clear that this is going to be a different ride to Is This It, Room on Fire and First Impressions. Even the artwork has changed. Change Change Change.

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Easing past Under The Cover of Darkness (listen to Radio One, its on their main play list), Julian and the New Yorkers create two numbers which take us back to the 1980s. Almost grunge-esc in tempo and vocals, but it kind of works. Taken for a Fool, epic in introduction (albeit short), and classic in structure. This sees The Strokes revert back to the latter ends of First Impressions, before kicking into a chorus which suits this new image down to a tee. Its snappy and sharp. This really works. The guitars sound superb coinciding with Mr Casablancas lyrics.

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The latter periods of the album see the best work. Gratisfaction is a must listen. Its so brilliantly new. The group harmonise on the chorus to back Julian, only slightly, but enough to make a serious impact and a definite sign of unity (forget the doubters). Just listen to the lyrics.

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The moral of this tale; its not Is This It. Its not even close. But its not 2001. The Strokes have evolved, and too right. The context has changed, in ten years, they have all changed. ANGLES follows solo projects, marriages, kids! The Strokes are no longer the young men staying on each others sofas, no longer staying up all night in bars sipping down buds and smoking endless cigarettes (fair enough Albert still is). ANGLES signifies a return. It signifies brilliance reunited. And it works superbly well. Headlining festivals all over Europe this summer (put money on Reading & Leeds), The Strokes find themselves firmly back. Back in 2011. Not back to 2001. Moving forward with maybe the odd look back. Change is a good thing.

Change is essential.