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Mr. M. A. Reed (Argleton, GB)
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The Book Of Souls
The Book Of Souls
Price: £5.00

5 of 7 people found the following review helpful
5.0 out of 5 stars Stunningly good., 17 Sept. 2015
Verified Purchase(What is this?)
This review is from: The Book Of Souls (Audio CD)
Album sixteen. ALBUM SIXTEEN. Let that sink in. Prince could make sixteen albums before you've had dinner (probably), but most of us are mere mortals, and sixteen albums give you a quandry. What more is there to say? What is the point? How many more Iron Maiden albums will there be?

Well. Make no mistake. Iron Maiden now are – at least – as good as they have ever been. “Book Of Souls” is their best album in 27 years. 93 minutes of double album style prog-metal about monsters and plasma and history? How can I resist?

They're like some kind of ubershouty Tangerine Dream, endlessly writing very very long songs, with lots of three-pronged widdly woo fretwork - “Speed of Light”, the first 'single', clearly has at least three guitar solos, from three guitarists, one after the other. It's not metal, but prog-rock, made with very heavy tones, where the band aren't constrained by the length of a 7” single, focusing instead on writing something with as many tempo shifts, parts and bridges you can imagine. Even “The Red And The Black” is a mere 13 minutes long, and powers along like a modern day 'Heaven Can Wait'. In fact, having spend most of 2012-2014 touring their “Maiden England” show (a recreation of the 1988 tour designed to show fans that were too young to see it then get another chance), the musical DNA of their classic late 1980's era is sprinkled all over “The Book Of Souls” like arterial wounds from an knife fight. There's another three-guitar-solos-in-a-row load of fretwankery, which is of course, utter brilliance in its hairy-chest stadium rock preposterousness, .and lasts at least seven or eight minutes. In fact, that's pretty much every song on the album ; 8 minutes of hollering and guitars, that sounds pretty much brilliant and would give me Air Guitar RSI if I saw them live.

Five years between albums is a long time. But the band haven't rested, and in the past five years, have toured the world twice, and released a live album, reissued a classic concert on DVD, and … oh yeah, Bruce Dickinson has managed to kick throat cancer. Recorded before that, and thus, delayed, “The Book Of Souls” is the bands first genuine double album at 93 minutes, and, in one case, manages to beat even their most epicness with album closer, “Empire Of The Clouds”. Every song is a highlight, apart from the slightly rubbish acoustic codas. The rest of it is snarling, wonderful, enormous thunderstorms of rock – even “Shadows Of The Valley” which is a carbon copy of “Wasted Years” and even references their 1986 song 'Sea Of Madness'.

It's as if they wrote five years worth of songs and only recorded the best ones, with none of the usual end-of-side-two rubbish. Every song seems to have longevity built in by design, for a long standing life, and it's already high up my iPod play list. The whole of “Book Of Souls” is easily the best Iron Maiden album* since 1988's epochal, perfect “Seventh Son of A Seventh Son”. And it's about time.


What The World Needs Now
What The World Needs Now
Price: £7.99

13 of 14 people found the following review helpful
5.0 out of 5 stars The best PiL album since album., 17 Sept. 2015
Verified Purchase(What is this?)
Six years into the latest reincarnation of Lydon's PiL, and our favourite curmudgeon and his band provide Public Image Record #11, with the superior “What The World Needs Now.” 2012's first reunion album, “This is PiL” was a good opener, a promising second debut, but this sees the band move leaps beyond that, with some of the best songs PiL have committed since the early 1980's. This is a foul mouthed, angry, righteous racket from a new version of the band that have grown into themselves and fulfill their potential.

“What The World Needs Now”, is an album : not merely a collection of songs. A selection of songs designed to work well together, complement each other, flow. “The One”, perhaps the most sentimental thing Lydon has penned in decades, is built on an ascending structure that reminds me of 'Rise'. “Big Blue Sky” sees Lydon sing the way he hasn't really done in a very long time, with harmonies and melodies. The record opens with the marvellous “Double Trouble”, and the opening 4 songs are a suckerpunch of utter PiLness - in fact there's not one duffer on the whole thing,and that is so very refreshing.

So... it sounds exactly like most other PiL records, but it's new... different... probably their most cohesive record since 1986's glorious “album”.which most of this lineup toured. Lydon has a wonderful control of melody, taking the promise of this lineup's later albums (1987's “Happy?”, 1989's “9”), and expanding upon it, with lovely riffs, the insistent drumming of Bruce Smith (ex-Pop Group), and the sense of permanent aspiration and creation ; “I'm Not Satisfied” is the kind of thing that PiL have been doing for seemingly ever, and sounding brilliant at it. I know PiL haven't made many records in the past twenty years, but this is a long-standing piece of work that harks back to their fruitful and brilliant 1980's journey.

Whereas the late 80's version of the band – of which this PiL is 3/4's the same - seemed to be alien to their earlier, weirder stuff, here, the two bands sound like they've become one : “Corporate” could have come from deep in “Metal Box”. As indeed would album closer, “Shoom”, which to me is the single best individual track PiL have released in 25 years. It's foul mouthed, angry, and rotates on a brilliantly curvy rhythm, that grows and grows and towers, and well, PiL are better than the Pistols. What The World Needs Now is exactly what the world needs now. PiL haven't made a record this good in 29 years.


Dog Man Star - 20th Anniversary Live At The Royal Albert Hall
Dog Man Star - 20th Anniversary Live At The Royal Albert Hall
Price: £7.99

12 of 13 people found the following review helpful
4.0 out of 5 stars Good, but only half the show. Where's the encore of b-sides and big hits?, 12 Sept. 2015
The recording and performance is excellent : HOWEVER, this is a single CD edition, featuring the performance of "Dog Man Star" ONLY. The 2nd half of the set and the full range of encores, b-sides and hits, is only available on the 2CD/4LP superdeluxe box set version. Hence, not five stars.
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Twenty years is a long time. Twenty years since Suede released the peerless 'Dog Man Star', and twenty years since Bernard Butler last appeared on stage with them. Twenty years since they were written off by doubters. Twenty years since Richard Oakes, an unknown but perfect discovery, rescued the band from oblivion. And now, four years into a spotless reunion, where the band have played the best shows of their lives, and managed to make a comeback record that matches their best material from back then, Suede revisit the scene of their greatest triumph, and come within a hairs breadth of eclipsing it.

But not only that. Returning to the same hall that held their single greatest live show four years after the fact, Suede simply not only have to live up to the best gig they ever played, they have to deliver the elusive “Dog Man Star” - the holy grail of their work – live. And they play one of the best shows of theirs I have ever seen. One that knocks almost all of the others away.

And why? Well. Because why not?

The whole evening is the sound of the band proving that not only did they justify the legacy that was cruelly stripped from them by time, but returned as bruised champions to take the crown both then, and now, as a superior band that earnt it then, and have kept it now. One of the best there was, one of the best there is, one of the best there ever will be. If you don't agree, you can't be convinced. You either know it or you don't. You can't explain art with a spreadsheet, only by looking at it, and knowing that yes it is.

They open with “Introducing The Band”, and from the opening seconds, Richard locked in a near hypnotic groove, Mat thumping away on bass, Simon Gilbert perfectly in position, Neil Codling reserved and intense but adeptly flourishing guitar and piano as if there could never be a Suede without him, and Brett now comfortably in place as effortless frontman, this is Suede as good as they ever were, and better than they often were, for there's no visible addictions or illnesses blighting their skills.

“Dog Man Star” is performed with passion, and with a string section at key points that makes these songs alive. The band perform “Still Life” in a crash of drums and guitars, as the orchestra explodes around them, and this is how it should always have been. This is just as powerful and passionate and relevant as Suede were in 1994, because their music and their songs survived outside of the march of time. Not time capsules, but memories of common emotions. And whilst the cavernous and mostly seated Albert Hall observes and sits, the standing section meanwhile laps up the bands performance.

No band has a right being this good : but then again, Suede – who have now made 20 years with (very nearly) the same line-up, who I have seen in every form, all over the place, countless times since the days of Nirvana, are the same band they always were, still so young, so strong, and frankly, as good as they were. This was in the top handful of Suede shows I have ever seen, and this album captures that moment perfectly. But only the first half of the show.
Comment Comment (1) | Permalink | Most recent comment: Sep 20, 2015 5:39 PM BST


Philips Sonicare HX9111/21 FlexCare Electric toothbrush - Platinum
Philips Sonicare HX9111/21 FlexCare Electric toothbrush - Platinum
Price: £84.99

5.0 out of 5 stars Whiter Whites!, 29 Aug. 2015
Customer review from the Amazon Vine Programme (What's this?)
A rechargable toothbrush is a modern luxury... and this is one of the better ones. Whilst you still have to clean your teeth, instead of merely gliding the brush over your teeth, like any good brush you need to make an effort. What is good is that the spin and power is more than ample, and can be set to three levels. Battery charge life is good and relatively long. The levels can be both visibly, and feel clearly powerful. It's comfortable and fits well, with a powerful attack, and demonstrable results, alongside useful settings. It's strong and powerful with plenty of aptitude. The best electric toothbrush I have had


Positive Songs For Negative People
Positive Songs For Negative People
Offered by jim-exselecky
Price: £5.99

3 of 5 people found the following review helpful
5.0 out of 5 stars “Rejoice, rebuild – the storm has passed.”, 10 Aug. 2015
Frank – despite all the arrows slung at him about his irrelevant education, or the sheer gall of existing in a irony-free artistic position, has done it again. 2013's “Tape Deck Heart” did exactly what the best music can, must, needs to do – be a lifeline in a sea. For a myriad of reasons, the past couple of years have been exceptionally difficult for me, and yet, in this, there was always … as well as family, friends, and lovers... music, and at the lowest tide, the songs lifted me.

Here, on album six, “Positive Songs For Negative People” offers both more of the same, little variation, from before, and at the same time, is a light shining in the dark. It sounds like a best of made of new songs, and in the same of “Get Better” and “The Next Storm”, and “Mittens”, these are some of the best songs Turner has ever written. Hell, some of the best songs anyone has ever written.

'see the road rising up to meet me and my enemies defeated in the mirror behind'.

There's a wider world view, on occasion : “The Opening Act Of Spring” offers the kind of flourishes expected of folk rock, and at the same time, there's the racket-in-a-bucket he can do in his sleep in the thoroughly average “Out Of Breath”. And, in his heartfelt screaming, there's ocasions where the Turner voice becomes a primal urge. And in this, there's the wonderful “Glorious You”, where Turner again addresses, the same thing he often does – how to be you in a world that doesn't want you to be anything but a worker. And then he brings out the finest individual song he's written since Album#2, with the heartbreakingly brilliant “Mittens” : a song about how love doesn't always quite fit. We've always felt like that – trying to squeeze love out of something that doesn't quite work. There's a set of gutteral yelling around 3 minutes where he seems to give up on language and just expresses something because expression can defeat articulacy. Sure it's sincere, and possibly too sincere, but we exist in a world where too much art is either at best, insincere imitations of emotion, or at worst, meaningless abstraction – either of which use language against us by creating barriers language always sought to overcome.

The second half of the record is less impressive – songs like “Josephine” that sparkle and soar in an acoustic form – become stadium singalongs designed for uplifting arena rock anthems. And then, the record takes a deep breath, and a live, raw “Song For Josh” carries the kind of sentiment we need, just one man and his guitar. I've lost friends the past few years, and almost lost myself in 2007 at my lowest ebb, and when he sings "it will kill me to think for a second you felt alone. Why didn't you call?"

Deluxe editions carry a 10 song acoustic album. Which is possibly the best single Frank Turner record : his songs start their lives as one man and a guitar, and occasionally their strengths are enscapulated exactly and only there. Stripped of their embellishments, a simple sketch often captures the starkness the song needs – and cuts to the bone. Make no mistakes, humans are emotional, raw, and feelings are nothing to be ashamed of. Feelings are one of the things that elevate us beyond mere automatons. The past few years have been difficult for me, the age where the body starts to fail the spirit, where adulthood is clearly entered, where you have to choose who you are, and what you stand for, and how you live, and there's no turning back now. These songs are part of that, and it's important to know that even in the shape of all things, that we are not alone, and these songs are part of that :


Mad Max: Fury Road [Blu-ray] [2015] [Region Free]
Mad Max: Fury Road [Blu-ray] [2015] [Region Free]
Dvd ~ Tom Hardy
Price: £6.99

5 of 8 people found the following review helpful
5.0 out of 5 stars Maddest Maximus, 26 July 2015
I'm sick and tired and bored of tedious, focus-group, bland 'films' being shovelled at me. Of terrified marketing men, and visionless idiots shovelling £200,000,000 at films which have less personality and intelligence than my cat. Of my cinemas being filled with films that scream loud and signify nothing, with stories not worth telling, and cynically designed to do nothing more than extract money from people and steal their time. Anyone of a dozen, humourless, brooding superheroes lamenting their enormous powers, written by idiots who've not had enough life experience to know anything other than whimsy and bland, unintelligent repetition of previous stories, and seeing hundreds of millions of dollars thrown at a tale not worth telling in a movie that doesn't move me.

“Mad Max : Fury Road” is the most obvious, full on, totally crazy action movie I've seen in years. Only “Machete Kills” comes anywhere near it. It's a film where you don't set your watch by the obligatory action scene every 20 minutes. A film where the action actually drives the plot, and has a purpose, and the plot moves in a straightforward, linear fashion : no convoluted aren't-we-clever fog from Bob Orci, no huge plot holes you could crash a War Rig through, just a simple, straightforward and driving plot that operates in terms of logic, sense, and with a singular purpose. It's a tale worth telling – about a compulsion to escape an oppressive dictatorship, for a desperate quest for freedom – and anyone who has ever felt trapped in a situation will know the lengths to which one will go to achieve freedom, even if it is a meagre freedom.

It's not a reboot as such. You don't need to know anything about the name “Mad Max”. It's a man haunted in a post-water apocalypse. It's a cinematic masterpiece : not because it's particularly amazing, but because it is possessed with a determined, singular vision, undiluted by bland, and stupid, focus groups and unafraid to dream big. What is the point of all this effort, if not to express your ideas? What is the point of a film, if not to use all the tools at your disposal? Mad Max isn't just entertainment, it's not just a movie, it's a spectacle, a huge vision writ large, the kind of movie they don't make anymore – and they well should. Technology has never been so capable, and yet the limits of ones imagination show clearly how painfully crippled the imagination of most filmmaking is. What's that? Yet another alien robot planning on destroying the world? This happens every week, and it's boring.

Finally, Mad Max is cinematic geek catnip for another reason. There are no ridiculous ten minute CGI tracking shots where the camera flies through the air like some kind of superhuman drone, no scenes where Max knocks out 20 bad guys with a single strategically placed kick each in slo-mo, no tricks like that that break the wall and enter the impossible valley of unlimited possibility. Every shot looks like there was a camera, on a crane, in the moment, as some insane person drive a huge truck through the air. The vehicles move exactly the way that a huge lump of steel going at OhMyGodMilesPerHour would if it was flying through the air. It is real. It is actual cinema, not stupid cartoons created in an edit suite in Silicon Valley.

Everything about this movie may seem to be a list of what it isn't, but what passes for modern cinema is dreary and dull, and despicable, braindead crap like Transformers embarrasses mankind and humiliates the medium of film. Mad Max is an actual film ,with a compellingly obvious motive, and real life, in camera action. It may sound awful that the bar is set so low these days that a decent plot and good stunts elevate the film above the vast majority of sludge thrown at the screen, but by any standard, “Mad Max : Fury Road” is simply one of the best action films of the past thirty years.


Alternative Light Source
Alternative Light Source
Price: £7.99

0 of 3 people found the following review helpful
5.0 out of 5 stars Unexpectedly potent return to form., 15 July 2015
It doesn't feel like 15 years since the last Leftfield album. I don't even know how long ago it was, though the bands always glacial work rate – an album every five years even at their most prolific – makes new material, at best, a rarity. It hardly seems like a decade and a half since I saw them touring “Rhythm And Stealth” at Glastonbury. So much changes in 15 years. Can Leftfield still be current, be relevant at all, after a decade and a half away from the coalface? Do they exist in a rarified world of isolation, away from the outside world, a self-sealed entity like AC/DC?

Following on from 2011's reunion ; well, lets be blunt, it was no reunion, but half the band starting again and using the bands name to play live, kind of like Oasis without Noel Gallagher, or the Pet Shop Boys if Chris Lowe wasn't there. On paper – and to the ears – it sounded authentic, and real, but it's a bit ersatz - a very very good recreation, but not quite the same. On the other hand, “Alternative Light Source” is classic Leftfield. Sure. It sounds real, it sounds genuine, it sounds real. Leftfields strength always came from a combination of a relentless drum patterns, the insistent urgent pounding, a fierce machinegun bass, and nowhere is this more compelling, more unstoppable than on “Universal Everything”, where's there's a drop and return around four minutes in that at the precise moment I experienced that for the first time, I knew there would be no doubt that this would happen.

It opens with “Bad Radio”. Unlike many, here there's an assortment of guest vocalists, but the words are more just part of the mixture, a human texture, and an air, a feeling. It's hard to pick out individual highlights - “Universal Everything”, and the Sleaford Mods guesting on “Head And Shoulders” are the sound of the city, the sound of traffic lights, trucks, chicken shops, of urban Britain, the insistent, unsleeping heartbeat of a capitalist, working city, and at the same time, also, distant – watching – observing – judging the world as is, with it's relentless, brutal obsession with margin and profit and money, which is, in itself a form of bottom line, besuited terrorism. Endlessly beset by creatures of commercialism.

You might expect the second half – or Side Two, for the older folk – to dip, but then the title track provides a dark interlude, before a final conclusion with “Shaker Obsession”, and the haunting, hesitant “Levitate For You”, which sounds like the muttering of ghosts and the idle chatter of haunted dreams that have been ground to dust through exhaustion and hard fist of an uncaring slavemaster. Is it 15 years already, since the last album? Is it the time where we are back to the grind, and is this the entertainment that comforts? In these times of darkness – spirtiual, emotional, commercial – we need an Alternative Light Source, a path that leads us through the night to the morning.


Terminator Genisys (Blu-ray 3D + Blu-ray) [2015]
Terminator Genisys (Blu-ray 3D + Blu-ray) [2015]
Dvd ~ Arnold Schwarzenegger
Price: £9.99

4 of 13 people found the following review helpful
2.0 out of 5 stars Incoherent mess full of logic holes and bad casting, 12 July 2015
I'm nostalgic for the days when Tirmynator 3 : Rise Of The Machines was the worst Tirmynator film. It may seem like that is impossible, but there was a time, only twelve years ago, when there was no Tirmynator : Salvation, and no Terminator: Genisys. Rest well, for Tirmynator : Salvation is still one of the worst, and stupidest films ever made. A story that didn't need to be told, that nobody wanted, or needed, told poorly and with so little respect it actually showed contempt. How does it feel to be hated? Because that's how the Tirmynator franchise is treated.

Tirmynator:Genisys is easily the fourth best Tirmynator film. There's a hell of a drop between that and Rise Of The Machines. Then again, going to work is more fun than Tirmynator: Salvation.

On the other hand, Tirmynator:Genisys, is – at best – a reasonable attempt to take a dead franchise, and resurrect it because someone needs to make money. It's a pointess retelling/prequel/sequel/remake of a story nobody needed reinventing, It takes some interesting liberties with the timeline, and the curious point is that – for the first ten or so minutes – truly captures the Future War that has only ever been seen in flashback previously. The first part of the first film is pointlessly remade (and I watched the first act of the original Terminator to check), slavishly, but with less flair than Gus Van Sant's Psycho. Don't even get me started on the casting.

Actually, yes. Get me started on that. Aside from Arnold, the only genuinely good casting is J.k.Simmons, who seems to have been transported in from a far superior movie as a ruined, alcoholic survivor of a timeline that never happened, obsessed with finding answers to unanswerable questions, and

wait -

a timeline that never happened?

Oh yes, the first Terminator film? That no longer exists. The second one? That no longer exists either. Or the third. So how could the original attack on the police station that J.K.Simmons be haunted by have happened?

Ohgodmybrainhurtsstopthinking. Unless he's one of the cops chasing Kyle Reese for 3 minutes that saw all his friends vaporised by the T-1000 – wait – BRAIN BRAIN WHAT IS BRAIN?

Aside from J.K.Simmons, though... the casting is appalling. Jai Courtney has the personality and the conviction of a boiled sweet. Jason Clarke is John Connor, in the way that George Lazenby was James Bond. A bland placeholder thrown at inconsequential dialogue, with the gravitas of a feather, without making any sense and about as threatening as a ticket inspector on a train – aside from the obligatory scars. Kyle Reese should be hungry, desperate, trapped in a paradise that he's only ever heard about and desperate to meet the women he has loved from afar.. but Jai Courtney just acts like a guy whose got lost in the bread aisle of the supermarket. There's a dearth of decent actors these days, or more correctly, most actors chosen for roles these days are so bland, and boring, that I couldn't give a damn if they got shot in the face in front of me, only feeling a mild sense of relief that someone finally eliminated that annoying fly buzzing around my living room.

Aside from J.K.Simmons, about the only one of the new cast that is in anyway servicable is Emily Clarke as Sarah Connor. She does a great job of turning drivel into the merely mediocre.

The more I think about this, the more this new film is an appalling waste of a franchises potential. With the exception of one halfway interesting idea – what if a Terminator came back and tried to wipe out Sarah Connor as a child, which would make a great film in itself, a Cold War 60's era Terminator film – the rest of this is rote and uninspiring. The Terminator hasn't actually been a Terminator since 1985. Every single leading Schwarz you've seen in T2,T3, and this, has been a captured and reprogrammed hero Terminator thrown back through time after capturing the enemy base in a move so actually improbable that it makes a killer robot uprising seem staggeringly inevitable.

Here though, we have a pensioner Tirmynator versus a pointless greatest hits. The CGI-recreation of T-800, the unstoppable badass who instantly seared the screen as one of the most powerful bad guys of all time, manages to get eliminated in about 5 minutes. The T-1000, the shape shifting liquid metal assassin who was seemingly invincible in the second film, gets eliminated within 15 minutes in a 'chase' that lasts a mere 10% of the running time of the second Tirmynator film.

The rest of the film is some kind of incomprehensible Time Travel Trickery that makes Primer look as linear as Mad Max : Fury Road. Bluntly put, this film ain't no good. The timeline of this film, if show on a piece of paper, would look like a child's drawing.

The entirity of Tyrmenator : Abortion is so staggeringly, bafflingly bad it feels like a bet placed by a prolifigate billionaire to create their own cinematic white elephant. Schwarzenegger's presence proves that he'll either do anything for money, or has appalling taste … or both.

After thoroughly destroying the original timeline of the first film, Tryminator:Atrocity throws so many other barely thought out ideas into the mix that it's barely tolerable. Like a cinematic Las Vegas, no one seems to have a moment where the question is asked and answered .. “Why?”. Think not, there is only kill or do not kill.

I honestly despair of how poor the stories and plots are for modern-era remakes/sequels to established franchises are. The plots are unneccessarily complicated, and at the same time, often appallingly unintelligent. Questions should be asked of ever film

“Is this a story worth telling?”
“Does this make some kind of sense?”
“Are the characters true... or are they obviously doing stupid things to make plot happen?”
“Will this be a film worth watching?”
If the answer to any of these is “no”, by the way, it shouldn't be made.

Here we are. A sequel you don't need to a film you hated. Wait for the Sunday night premier on Channel 5 on Christmas Day 2017.
Comment Comment (1) | Permalink | Most recent comment: Aug 12, 2015 8:26 PM BST


8:58
8:58
Price: £12.99

1 of 1 people found the following review helpful
5.0 out of 5 stars Unexpected brilliance, 11 July 2015
Verified Purchase(What is this?)
This review is from: 8:58 (Audio CD)
Listening to this, it's easy to believe that Orbital haven't split. Though really, have they? Listening to this, you'd think that the singular member that comprises 8:58, Paul Hartnoll, was the band's Noel Gallagher. There's no sense that this isn't an Orbital album. If you just listen to it, and that's the thing, there's no sense that it isn't the next logical progression. So many hallmarks of the parent band are here, it's hard to think an act this good headlined the Isle Of Wight to 100 people the other week.

Frankly, the act have done themselves no favours with a nearly ungoogleable name, a webpage that is nearly impossible to find. There is something such as too much of a clean break, as there's no way a record this interesting deserves such an unloved fate.

It opens with – and the whole album – is wrapped around a text read by Cillian Murphy, about the tyranny of time, of clocks, and watches... and being watched. The textures around it, lush arpeggios and soundscapes, rising string symphonies created on computer, are the modern day equivalent of classic overtures. It's more symphonic, and more classical in approach – like Philip Glass on the dancefloor – than anything else.

Compared to Hartnoll's previous solo album (“The Ideal Condition”), which was a dry and linear record, this is lively, human, vibrant, a step ahead, built around the tyranny of time (be that 4/4, 6/8, 8:58am, or 9-to-5), and well, to be honest, an absolutely perfect continuation of the Orbital legacy – in the way that the best solo artists take everything great about their former bands and add something new when working with an undiluted vision – 8:58 reminds me of Karl Bartos' solo work, everything that vital about a parent band, distilled and focused singularly into a new, modern format, and honestly, just as good as Orbital. This? It's great, and gets constant rotation in my world.
Comment Comment (1) | Permalink | Most recent comment: Jul 20, 2015 8:41 PM BST


Fishbowl
Fishbowl
by Bradley Somer
Edition: Hardcover
Price: £12.08

1 of 2 people found the following review helpful
3.0 out of 5 stars Fish Out Of Water, 29 Jun. 2015
This review is from: Fishbowl (Hardcover)
Customer review from the Amazon Vine Programme (What's this?)
Unusual, and charmingly written, this reminds me of a couple of similarly themed, better works ("The Roaches Have No King", for starters), but lacks the immediate dark humour and opportunity for satire that a literal 'fish out of water' story can provide for viewing the oddities of human life from outside. It's easily written, and just rolls off the page, but - and I sound harsh for saying this - it doesn't come alive to me, laced as it is with Hitchockian conceit (not a bad thing) and a curious world view.


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