Bon Iver – Bon Iver

 

A much-told yarn: Justin Vernon, veteran of indie bands Mount Vernon and DeYarmond Edison (nope, me neither) retreated to his father’s remote log cabin in northern Wisconsin for the winter of 2007 following a relationship breakdown and a severe bout on mononucleosis (glandular fever in English). During this prolonged sojourn he wrote and recorded a set of personal cathartic songs, playing & overdubbing all instruments, with the intention of using them as a set of demos for later projects. Encouraged by friends to release the album in its raw state, the resulting For Emma, Forever Ago appeared in early 2008 and received near universal praise and a place near the top of most critics’ “album of the year” lists.

The influence of For Emma… has been surprisingly widespread for such an understated record: Flume has been covered by Peter Gabriel and used as a backdrop to the extended end-sequence of a recent episode of House (as, previously, had Re:Stacks); Skinny Love has just enjoyed a run in the UK charts via a cover by the 15 year-old Birdy; Creature Fear and The Wolves (Act I and II) have also been featured on various American TV soundtracks. It’s probably only a matter of time before somebody blows away the X-Factor panel with an audition version of the wonderful title track.

Since this debut the only other releases under the Bon Iver moniker have been the track Brackett, WI on the 2009 AIDS benefit album Dark Was the Night and the same year’s Blood Bank 4-track EP (again a solo effort, but with a much fuller “band sound” and a slightly less intense - read “cold” – feel). Justin has been busy elsewhere though, most notably on Kanye West’s bizarre (but strangely compelling) My Beautiful Dark Twisted Fantasy in 2010; West’s Lost in The World was originally built around a sample from Blood Bank’s Woods, he invited Vernon to join him for the sessions and they ended up co-writing & recording further track Monster.

This time around Bon Iver (the act) returns as a fully-fledged 4-piece band and Bon Iver (the album) is a much more lushly-produced effort - rather than a remote log cabin and basic recording equipment, Vernon has been able to make use of his own customised studio, housed in a converted former Wisconsin veterinary clinic (!). Each of the song titles refers to a place, real or imaginary, and this was one reason why, when sent a review copy over a month ago, I originally thought the album title was Bon Iver, Bon Iver as in “New York, New York” (I still think that this would have been a better name than the unimaginative eponymous one selected).

The new collection is rather more eclectic and varied than its predecessor. This is both a bad and a good thing: it loses some of the singular identity and consistent tone of the previous effort, but it does showcase a wider variety of style and influence. The overriding mood remains firmly rooted in the melancholy though – don’t come looking here if you’re expecting a sudden adrenaline rock rush.

Perth is a strong opener. The Vernon falsetto is intact, the fuller, more electric sound enhances, rather than swamps, the slightly sombre feeling (“I’m tearing up across your face - move dust through the light to find your name”), there are angelic-sounding backing vocals and it features some engaging military drumming which recalls the ending of the aforementioned Creature Fear. Then comes Minnesota, WI, a somewhat stranger beast. It’s almost prog-rock in both its arrangement/time-signature and its lyrics (I mean: “armour let it through, borne the arboretic truth you kept posing” – come on!); with Justin’s pitching dropped a good octave, the vocals on the verses sound remarkably like Camel’s Andrew Latimer.

Elsewhere the smorgasbord of style comes thick & fast: Towers delivers string-plucked Americana à la alt-country fellow-beardies Fleet Foxes; Hinnom, TX is all dreamy phased echoes not a million miles from 10cc’s I’m Not in Love; Wash builds slowly, without ever reaching a crescendo, from a repeated 2-note piano line, taking its time to layer on subtle strings which underpin the album's most plaintive vocal.

The acoustic guitar returns to drive Halocene, perhaps the song closest in feel to Bon Iver's previous output - the "I could see for miles, miles, miles" refrain is particularly effective. Michicant is not too dissimilar to Halocene, gentle, acoustic, multi-tracked vocals over a vaguely fairground rhythm, punctuated with some short sharp (typewriter?) bells.

Calgary, the single, has been available for some time and there seems to be a general consensus that it “sounds like Coldplay”. Although it’s easy to see where this comparison comes from, the more I listen to it the more I think that it’s actually closer to The National playing over the rhythm section of The Police’s Every Breath You Take (I realise that this makes it sound a bit of a hodgepodge but, trust me, it’s a corker):

 

Lisbon OH (rather than the Portuguese capital) is a short & simple instrumental interlude - sustained chords from what sounds like the Bontempi organ I got for my 11th birthday punctuated with a few bleeps, leading into the closing Beth / Rest ,which probably sails closest of all of these songs to the disposable - a big production number with ringing synthesiser backing which could be lightweight Bruce Springsteen (or even Hornsby, actually!).

Bon Iver has/have (must sort out whether it’s singular or plural) managed to pull off some clever tricks with this album: it’s absolutely a recognisable Bon Iver record without sounding too much like its predecessor and, although it consists of a wide range of styles & influences, it still manages to come over as a cohesive set. I suspect that a number of people who loved the emotion and simplicity of For Emma… may be disappointed with this far grander sound & production, but I also suspect that an even larger new audience may be drawn to the undoubted commercial appeal & invention displayed here.         

Bon Iver is available now on 4AD (UK), Jagjaguwar (USA) in all formats.

Arctic Monkeys – Suck It and See

Alex Turner took his cat to the vet to get it neutered. The vet asked him “Is it a tom?” “No” replied Alex, “it’s here int’ box.”

I really like this band. They have achieved huge popularity – deservedly so - with their rhythmic stylings & acerbic wordplay. As less & less “alternative music” seems to be prevalent in the upper echelons of Pop Music’s Rich Tapestry these days they probably inhabit, in the UK at least, the role of “indie band that people who don’t like indie music like”. Hitting the ground running in 2006 with the amazing Whatever People Say I Am, That's What I'm Not, they followed it up a year later with the equally (in some ways even more) impressive Favourite Worst Nightmare.

2009’s Humbug was a watershed for the band (what is it about third albums?). Abandoning the UK to cross the pond to record it, they enlisted Queens of the Stone Age’s Josh Homme as co-producer. The result was somewhat deeper, slower, rockier; while not a disaster (and critically acclaimed, in some quarters more than their preceding efforts), to me something was missing. There were still great tunes - Cornerstone in particular - and the lyrics remained as sharp as ever but it seemed slightly less… well… charming, I think.

Expectations for the new platter to be “poppier”, as promised in interviews, were dampened somewhat by the pre-release of 2 tracks which both sit in the heavier end of their canon. Don't Sit Down 'Cause I've Moved Your Chair is squarely Humbug territory; over a guitar plucking a Peter Gunn riff Alex delivers a string of bad advice (“break a mirror, roll the dice, run with scissors through a chip-pan fire-fight”) before the song bursts into a heavy rock workout – not bad, but neither classic. The other pre-release track, Brick by Brick, doesn’t really sound like Arctic Monkeys at all. With drummer Matt Helders on lead vocals it’s musically early 70s and lyrically simple (“I wanna build you up… I wanna break you down… I wanna steal your soul… I wanna rock n roll” – you get the idea). There’s a slower mid-section which recalls Black Sabbath circa Masters of Reality (the best bit) but my initial reaction was underwhelmed.

However, I think that the little tinkers were toying with us! Suck It and See turns out to be, on the whole, joyous and upbeat. The band has, undoubtedly, matured – and the better aspects of Humbug which demonstrated their growth are still evident – but this album is a doggone great collection of pop songs; in fact, both of the aforementioned tracks grow in stature in the context of the album.

It opens with the cracking She’s Thunderstorms. The title might seem like a back-reference to the last album’s slightly lugubrious Crying Lightening but the delivery couldn’t be further away: poppy, boppy, with great images (“the heat starts growing horns”) and acknowledging the universal truth that there’s no quicker way of delivering a great melody than borrowing a little bit of the Theme from Fireball XL5 for your verses. If anything second track Black Treacle is even better – all “belly-button piercings” where “the sky looks sticky, more like black treacle than tar”– and tops out with a great guitar-led middle 8 and Alex feeling like “the Sundance Kid behind a synthesiser”.

The crown jewel in this collection, though, is probably the title track. It’s a ridiculously catchy love song -“you’re rarer than a can of dandelion & burdock and those other girls are just postmix lemonade” - with a couple of excellent chiming guitar solos, a chorus with a soupçon of Good Vibrations that you’ll be humming for hours and bound-to-be-endlessly-quoted lyrics (“that’s not a skirt, girl, that’s a sawn-off shotgun – and I can only hope you’ve got it aimed at me”). Actually, for all of the wit, metaphors and similes sprinkled across this album it’s notable that Turner also recognises the times when the simplest phrase works best: “you have got that face that just says “baby, I was made to break your heart”.” In olden days this would have been called a sure-fire hit; Suck It and See will be ringing exuberantly around the festival arenas this summer.

There’s plenty of other fetching pop to be found too. Closing track That’s Where You’re Wrong rounds things off with a jangly epic flourish, building its layers over a 2-chord tune. The Hellcat Spangled Shalalala, meanwhile, is a bittersweet tale of failed romance driven brilliantly by the rhythm section - on top form throughout - with a 60s-style “sha-la-la-la” chorus culminating in Alex’s exasperation: “What you waiting for? To sing another f***ing sha-la-la-la?” 

The pre-released tracks are not the only heavier ones on show here. All My Own Stunts is a mid-tempo rocker which features the returning Josh Homme on backing vocals (apparently!) and recounts “watching cowboy films on gloomy afternoons” before cajoling “put on your dancing shoes and show me what to do” (cowboys, along with stormy weather, are recurring motifs for Alex). Library Pictures is the shortest, sharpest, fastest track; closest in spirit to their debut, it’s driven by excellent rolling frenetic drumming.

Piledriver Waltz - another highlight - was included, nary a few weeks ago, on Alex’s solo soundtrack for the movie Submarine (previously reviewed). It’s been given a little touch of paint here & there but doesn’t differ vastly from the original version, remaining musically and lyrically complex with shifts in the time signature and allusions to “breakfast at the Heartbreak Hotel" where "your waitress was miserable and so was your food". It also offers somewhat better advice than Don't Sit Down… with “if you’re going to try and walk on water make sure you wear your comfortable shoes”.

Sequenced either side of Piledriver Waltz are a pair of tracks which also match the tone of Submarine. Reckless Serenade is mellow, leading off with a Pixiesesque bass-line before a circular guitar riff underpins another song of devotion. Love is a Laserquest is a further ballad, this one reminiscing about lost love with conviction that Alex will still be longing even if/when he’s turned into some latter-day Val Doonican (“when I'm pipe and slippers and rocking chair singing dreadful songs about something”).

The production is far crisper and cleaner than Humbug (James Ford is back in the reins solo this time), the album is fairly short (40 minutes) but that works in its favour and it’s well worth a listen – go on, suck it and see.

Suck it and See is released in the UK on June 6^th (USA June 7^th) on Domino Records.

Kate Bush – Director’s Cut

Any new album from National Treasure (©) Kate Bush is still rare enough to be considered an event. It’s been 6 years since she delivered the admirable Aerial and that was only the 8^th album in a 33 year career and came a full 12 years after her 7^th, 1993’s The Red Shoes (wow - what a lot of numbers!). With typical singularity (and as the title of this set alludes) we’re not actually getting new material this time around though; Director’s Cut consists of 11 songs culled from the aforementioned Red Shoes and its immediate predecessor, 1989’s The Sensual World, which Kate has decided to rework. All of the vocal & drum tracks are brand new (a wise choice with the latter as the Linn drums of the period have not aged too well), lyrics & arrangements have been tinkered with and 3 tracks have been completely rearranged & rerecorded.

It’s a fun, if pointless, game trying to figure out why Kate has decided on this course of action right now. Is it possibly a case of writer’s block? Unlikely, I think – she’s not under any pressure to release anything these days and there’s plenty of invention on display here. It seems that the copyright of the original recordings has reverted to her recently, but it also seems unlikely that this is the primary motive as: (a) her own label, Fish People, is still distributed by EMI and (b) she is so venerated, and her output so sparse, that it’s hard to imagine that she would have been prevented from releasing such a project if she had wanted to previously.

Perhaps the opener Flower of the Mountain could be an indication. This is a new, renamed version of the title track from Sensual World, a song originally built upon text taken from the end of James Joyce’s Ulysses but amended to Kate’s own lyrics when Joyce’s estate refused permission to use the extract. Apparently she was unhappy at her efforts (“Well, I’m not James Joyce am I?”), approached the estate again when coming to work on this project, was granted permission this time around and has restored the song to its original concept. Although the end result is a beautiful, swooning arrangement, I think she’s actually sold her own abilities short here: the original Sensual World managed to crystallise the mood of Ulysses succinctly in much the same way as the amazing Wuthering Heights did over 3 decades ago.

Aside from the above restoration I found most of the real interest here in the songs that were completely reworked. One of these is This Woman’s Work, possibly her most loved ballad of all and used so poignantly in NSPCC adverts. It was a brave decision to redefine this particular track and what is presented here is, in many ways, stunning: it’s been slowed, stretched, bent, darkened and stripped down, leaving an eerie echo long after it finishes.

Immediately following is Moments of Pleasure, also in a completely new version. If anything, the transformation here is even more startling. The original Red Shoes version always sounded, to me, like somebody getting their holiday photos back from Happy Snaps and smiling at pleasant recent memories. The new version brings to mind the same person finding those same photos buried in a box in the loft 18 years later and gazing at them in a much more melancholy light. If This Woman’s Work now sounds sonically close to Tori Amos then the new Moments of Pleasure is slap-bang in Tom Waits territory!

There are other highlights here, the changes being more subtle but the overall effect still positive. The Song of Solomon – already one of Red Shoes’ strongest songs– has been given a slightly deeper vocal, is sequenced straight after the opener and extends the early erotic tone of the album well (as does Lily, in which Kate really lets rip!). The Red Shoes (the track) has had a minor but very effective remix – it retains the Gaelic jig elements of the original but these have been pushed down in the mix (think of the guitars on early Joy Division) and this has made the song feel more intense, manic and closer in spirit to the Powell/Pressburger movie.

Deeper Understanding is one cut which, perhaps, could have benefited from a tad more modification. While the opening has a somewhat prescient prophetic air (“As the people here grow colder, I turn to my computer and spend my evenings with it like a friend”) the later sections now seem positively quaint , both lyrically (“I pick up the phone and go ‘execute’”) and musically (the burbling of a PC modem PSTN dial-up)... but it's still a lovely song:

With Never Be Mine, Top of the City & And So is Love it’s definitely a case of “spot the difference” from their original incarnations, but this triumvirate hang together well in the context of the album; Rubberband Girl, however, does attain a new veneer. This is the third completely new recording and, while it’s still quite a throwaway song (intentionally, I'm sure) it now chugs along like a 60s rhythm & blues pub-band (a very good one) with some tasty harmonica that Dr. Feelgood would have been proud of.

This is an interesting experiment and, if rumours are anything to go by, works as a warm-up for forthcoming new material along with (deep breath) possibly the chance to see Kate live for the first time since 1979!

Director’s Cut is available in just about every format just about everywhere just about now. If you have cash to splash I’d recommend the 3xCD pack, which contains a (really well) remixed Red Shoes and the original (sublime) Sensual World.

Fleet Foxes – Helplessness Blues

“If I had a hammer, I'd hammer in the morning, I'd hammer in the evening, all over this land” – for those of us of a certain age this song brings back memories of Ed “Stewpot” Stewart’s Junior Choice and Peter, Paul & Mary’s happy-clappy interpretation; the younger generation are probably more familiar with Changing Rooms’ Handy Andy’s novelty version (gulp). In fact, the song was written by Pete Seeger and Lee Hays in the late 1940s in support of the emerging post-war progressive movement, which was focused heavily on labour rights – something of a rallying call in austere times. On the title track of hirsute Seattle folkies (©) Fleet Foxes’ new album Robin Pecknold sings “If I had an orchard I'd work till I'm raw; if I had an orchard I'd work till I'm sore - and you would wait tables and soon run the store”. It may not be as rousing but it’s certainly indicative of the mood that informs the band’s sophomore effort: while not overtly “political”, this set is often more focussed on the day-to-day than their previous effort was.

Helplessness Blues (the track) is an excellent centrepiece: opening quietly with acoustic guitar & voice, Pecknold informs us that, although he was taught to believe that he “…was somehow unique - like a snowflake” he would now “rather be a functioning cog in some great machinery serving something beyond me”. The sound opens out and the voices start to layer as he continues to set out a manifesto which accepts the need to be part of a meaningful movement while maintaining individuality: “I don't need to be kind to the armies of night that would do such injustice to you; or bow down and be grateful and say ‘sure, take all that you see’ to the men who move only in dimly-lit halls and determine my future for me”.
The lyrics could, I suppose, be interpreted as rather more precious & egocentric and refer instead to being in a suddenly-successful band with all of the “pressures” that entails, but I’d prefer to think that it’s a commentary on the Western World’s current economic status. The “orchard” refrain at the end seems to reinforce this opinion.

There has also been a slight shift in the band’s musical template for this album; it feels like the second-hand vinyl shops in their locale have run out of the American 1960s folk & psychedelia referenced so enthusiastically on their previous releases, forcing the band to look across the Atlantic and absorb some of the English and Irish folk-rock of the 1970s instead. The Plains/Bitter Dancer resembles a somewhat sinister Morris Dance overlaid with a faintly eastern canon of voices before the second section delivers an almost medieval melody. The Shrine/An Argument is an even more convoluted medley: it opens with a Christy Moore feel and refers brightly to “apples in the summer” before shifting down-tempo to a fairground waltz-time which suddenly sees the world rather more pessimistically (“in the morning, waking up to terrible sunlight”). The mood-swing isn’t complete there, oh no sirree… the pace drops once more to become almost funereal, and then a “freeform jazzy” (?) squawking sax takes centre-stage; it’s certainly experimental, but I have to admit this last section made me think of Pigbag tuning up.

It’s not, by any means, all wild deviation from their established template though. With its swooping air and Beach Boys harmonies, opening track Montezuma is not a million miles away from the Sun Giant EP’s Mykonos (actually it’s 6,896 miles, pedants), Battery Kinzie is all bass drum & hammered piano  - a close cousin to the previous album’s White Winter Hymnal highlight - and Someone You'd Admire is fairly straightforward and wouldn’t sound out of place on the latest R.E.M. album. Sim Sala Bim  - a magician’s incantation à la “abracadabra”- is also firmly in the band’s established mystical hunting ground both lyrically & musically (the outro is a great frenetic guitar riff that brings Crosby, Stills & Nash’s Marrakesh Express to mind).

Lorelai is probably the most personal song on the album. It has a much fuller sound - layers of voices and tambourines over another waltz beat - and while it initially sounds as if we’re in for a bleak few minutes (“So, guess I got old - I was like trash on the sidewalk”) it’s actually plaintive and yearning (“I was old news to you then”). There’s a lovely drop to a minor key for the middle 8 and it closes with footsteps echoing into the distance. A real highlight.

There are moments when I found myself disengaging from the album, it has to be said: the finger-clicking Bedouin Dress has a Gaelic violin-driven feel (and features the album’s first mention of mythical Irish island Innisfree – it crops up in The Shrine/An Argument too) but it does meander a bit; The Cascades is a short guitar-led instrumental, similar to those that Nick Drake occasionally dropped into the middle of his albums… not unpleasant but neither particularly memorable.

Blue-Spotted Tail is all plucked acoustic guitar (again!) with a very simple melody – pleasant but a little slight. Grown Ocean, however, brings proceedings to a close on a rather more exciting up-tempo note.

This is not really for everyone; one of my friends, following an enthusiastic recommendation of their eponymous debut, lambasted me a couple of weeks later for making him "listen to a load of hippy sh**”. There’s probably nothing here likely to change his mind but it is a thoughtful, interesting and melodic collection.

And I’ve made it through a full Fleet Foxes review without once mentioning Grizzly Adams… damn, just blew it!

Helplessness Blues is released in all formats on May 2nd (UK), May 3rd (US).

Radiohead – Supercollider / The Butcher

Nice! An unsolicited email from Radiohead’s W.A.S.T.E. arrived this morning announcing “two tracks for your listening pleasure” which (it seemed at pains to point out) were “not part of a new loyalty points scheme, a Radiohead clubcard or even an air miles redeemable reward type thing... just a big old-fashioned thank you!”.

Supercollider and The Butcher were released on limited edition 12” vinyl (very limited - 2,000 copies only!) to mark Independent Record Store Day on Saturday April 16^th. In keeping with their rather singular approach to disseminating their music the band has opted out of reselling them in any form just yet (even the “pay what you like” approach used for In Rainbows) and instead mailed a completely gratis link to their subscribers – or, at least, those of us who’ve shelled out for the yet-to-be-received “Newspaper Album” version of The King of Limbs (previously reviewed here).

So what do we get? Actually, a couple of really good tracks.

Supercollider opens with a sharp, crisp electronic pulse-beat followed by a canon of swirling synths fading in to lay down the backdrop for a rather lovely melody. The lyrics are typically oblique (and hard to catch, if I’m honest!) but the theme seems to be about dust, particles, pixilations “in a blue light, in a green light, in a half light, in a work light”, building up to what sounds like Thom trying to convince us that he’s upbeat at the end (“I have jettisoned my illusions, I have dislodged my depressions, I put the shadows back into the boxes”) – I, for one, don’t buy it! This is a long (over 7 minutes) workout for a song that doesn’t adhere to a verse/chorus/middle-8 structure but it rides its time well; layer upon layer of instruments are added including (yes!) Jonny’s guitar. It all puts me in mind of the better moments from LDC Soundsytem’s This is Happening.

The Butcher is driven by a heavier marching drum loop and deep deep bass, along with creepy organ, wailing backing vocals and a far gloomier vocal – but it all works really well! Lyrically this is much darker territory – quite visceral horror, really: “Cut out, chop, liver on the block, my heart still pumping” ending with the frankly unnerving refrain “he's a warrior, warrior, he's a little bitch coming out of him”.

The email informed us that “The Butcher was recorded and mixed during The King of Limbs sessions but we couldn't make it work on the album; Supercollider was started during those sessions and finished off in March of this year”. It’s hard to see the logic in the former statement (it is neither wildly different from, nor overly similar to, anything else on the album) but second-guessing Radiohead’s motives is a pointless exercise. Supercollider would definitely have fitted nicely into the album’s overall soundscape and opened up some space in the flow. In this “digital age” though it’s easy to tack them onto the end of the album on one’s mp3 player – and that’s exactly what I’ve done.

Thanks very much guys… now, when do I get my “Newspaper Album” edition of The King of Limbs? 

Supercollider & The Butcher are available for download from W.A.S.T.E. by email invitation, or you could try buying a vinyl copy on eBay if you've got £100+ to spare. Alternatively I'm sure they will be available in other purchasable forms soon.

Source Code (director: Duncan Jones)

Zowie Bowie, Rolan Bolan… oh how we laughed at the short-lived penchant of early 70s Glam Rock Stars to come up with silly rhyming names for their offspring. The erstwhile Zowie is all grown-up now and going under the rather more conventional moniker of “Duncan Jones” (co-opting his father’s birth surname). Jones is a rising star of a director, having given us the excellent intelligent SF movie Moon in 2009 and now following it up with this intriguing further entry in the same genre – admittedly more of thriller in nature this time though.

Source Code certainly hits the ground running: US military pilot Captain Colter Stevens (Jake Gyllenhaal) wakes to find himself on board a rush-hour commuter train. Sitting opposite him is a girl called Christina (Michelle Monaghan) who is chatting in a matter-of-fact manner about her life (“I took your advice…”) suggesting that they are good friends. Colter has no idea who she is and proceeds to inform her so; she is confused by this and insists that he’s a school-teacher named Sean Fentman. A trip to the lavatory, discovery of ID confirming this in his wallet and a glimpse in the mirror showing Fentman’s face only adds to his confusion. Then a huge explosion rips through the train, completely obliterating it, and Colter suddenly finds himself alone, strapped into a small dark capsule.

This is a stunning opening and the movie continues apace as the basic set-up of the plot is revealed right up-front (so the following is not really a spoiler): Stevens is part of a military programme which seems to be called "Beleaguered Castle". This project involves use of an experimental process known as “Source Code”, based upon the concept that the brain of the recently deceased can be accessed soon after death and that the human mind has a near-perfect recall facility of 8 minutes; this means that those last 8 minutes can be “relived” in perpetuity by a proxy test subject. Colter is a “perfect match” for the aforementioned Sean Fentman, who was, indeed, a teacher on a train into Chicago which was destroyed by a terrorist bomb that morning. The unknown bomber is also in possession of a dirty bomb which he/she intends to detonate in Chicago later that day – so Stevens is required to relive Fentman’s final 8 minutes on the train repeatedly in an attempt to identify the terrorist.

Having started with a Quantum Leap moment re the lavatory mirror we now move into, most obviously, Groundhog Day territory; however, the fact that this film references (intentionally, I’m sure) so many others should not detract from the fact that it is quite original in its plotting and execution. Colter’s link, via video screen, to the outside world is through Captain Carol Goodwin (Vera Farmiga – excellent in Up in the air and just as convincing in a completely different type of role here). The development of this remote relationship, without ever wandering into any kind of romantic territory, is certainly reminiscent of A Matter of Life & Death.

As Stevens repeats and repeats his journey, considering, eliminating, reconsidering suspects at each stage, his relationship with Christina (remember – based upon basically the same repeated 8 minute sequence) grows without us ever learning anything more about her than we really knew at the outset. Gyllenhaal and Monaghan manage to make this work convincingly – indeed, the acting is consistently good throughout… and I haven’t even mentioned yet the slightly creepy turn by Jeffrey Wright as Rutledge – the programme director (inventor?) of Source Code: Dr Strangelove and Dr House combined!

It’s hard to write anything more about the plot without giving away the subtle twists during its relatively short (just over 90 minutes) running time; indeed, there’s an excellent homage to yet another famous 80s SF movie that I won’t reveal as it would divulge a particularly clever and moving moment… but I’m sure any fans of this field of film will recognise it when it happens. There's also a lovely bit of supporting casting which references one of the sources that I have already mentioned above.

To me, the basic philosophy as the movie unfolds goes something like:
Is this really only a replay of an historical event? If so, how can Colter/Fentman alter the sequence of events? If the events are altered, especially to the point of altering the outcome of many or all of the parties involved, what does this mean? Could this affect the “real world”? What is the “real world”?

If you start to think about the hokey science and/or the effects of any of the above questions then the intrinsic logic of the overall concept may start to unravel (and I admit the ending didn’t work for me completely at first); however, if you go with the flow, accept the anomalies and empathise with the believable Stevens then this is a great ride and (I suspect) one of those films that will stand up to repeated viewing.

I love the work of the late Philip K. Dick and, to me, it’s high praise that this movie feels like one of his musings on “the human condition” and ranks alongside the better efforts at translating his prose to screen: Blade Runner, Minority Report… even Total Recall (regardless of Arnie!). If you want a good blockbuster with a bit of thinking involved then this is well worth a look.

Source Code is on general release in cinemas now.

Alex Turner – Submarine.

Arctic Monkeys are probably the only ‘Web 2.0’ music success not funded on the QT by the established industry - I’m looking at you Sandi Thom - and became a phenomenon by sticking to their guns and writing eloquently in language with mass-market appeal; having the best drummer in many a year didn’t hurt either! Alex Turner and Miles Kane’s nascent super-group The Last Shadow Puppets 2008 effort The Age of the Understatement was an intriguing hybrid of his inimitable vocal styling and John Barry arrangements. After the slightly disappointing & over-produced Humbug, and squeezing in just ahead of the forthcoming Suck It and See, comes another side project, this one solo.

Submarine is the directorial movie debut of IT Crowd’s Richard Ayoade. It’s an 80s-set comedy-drama, based on the novel by Joe Dunthorne, concerning a 15 year-old’s attempts to lose his virginity while simultaneously saving his parents’ marriage. Turner has written the soundtrack… so far, so ‘Badly Drawn Boy’s About a Boy’.

What we have here is a short collection: 6 titles (although the opener is a 50 second preview of Stuck on the Puzzle, so 5½ songs may be more accurate), making it a - what? EP? Mini-album? Albumette? Whatever it is, it signifies a departure from his previous work; not exactly ground-breaking, but surprisingly wistful.

After the intro (piano & acoustic guitar refrain with a short, almost whispered verse) the set opens properly with Hiding Tonight. It’s hard not to think of fellow Sheffield cove Richard Hawley here; the lyrics remain firmly in familiar Turner territory (“I’ll know the way back if you know the way”), but the vocal delivery is restrained, understated and really rather lovely. Glass in the Park continues in the same vein: a great gentle melody delivering a paean to young love with minimal accompaniment.

It's Hard to Get Around the Wind is voice, acoustic guitar and typical Turner wordsmithery: “It’s like you’re trying to get to Heaven in a hurry and the queue is shorter than you thought it’d be and the doorman says ‘you need to get a wristband’” – which is then wonderfully rhymed with “quicksand”. Penultimate track Stuck on the Puzzle is a reverse-reprise of the opener, broadens the sound out to a more familiar band feel and is a real highlight. Piledriver Waltz is the most musically and lyrically complex track here, with shifts in the time signature and allusions to “breakfast at the Heartbreak Hotel" where "your waitress was miserable and so was your food".

All in all this is a really strong collection well worth investigation; in particular, Turner’s vocals are tuneful, melodic and well suited to this change of pace for him. I’m looking forward to seeing how these excellent songs play in the context of the film.

Submarine is now available as a CD, 10” vinyl or download from the usual outlets.