The season finale of Skins kind of isn't really a finale at all here in the US, considering that BBCAmerica is broadcasting the seasons back-to-back. Nonetheless, it's got all the elements of a classic finale, complete with a 'will he or won't he die' cliffhanger and a change in tone different from the series.
All season long we're slowly led to the belief that Tony is a cad (or, as his sister aptly puts it in a rare instance of vocalization, a 'wanker,') but these past couple episodes seem bent on regaining sympathy for the character. Which is alright, I guess, in that Nicholas Hoult is such a great actor, it's almost necessary to bring him back into the fold somehow. Of course, getting hit by a bus would appear cliche to American audiences by now, but following it by slipping into a musical with the singing Cat Stevens' "Wild World," takes it a step further. It's been done before, obviously (see Magnolia, and the Season 4 finale of Nip/Tuck,) but it still feels somewhat fresh, using the actual voices of Sid, Chris, Angie and even the comatose Tony to sing along. (Here's video of the sing-a-long.)
There were a couple of other nice music moments, but for the most part, in order to catch them all, you need to watch the original UK (E4) version, which you can find on YouTube (Pt. 1, Pt. 2, Pt. 3, Pt. 4 and Pt. 5). The opening scene remains mostly intact, using the great soul track "I've Been Lonely For So Long," but the version that aired here seems to be a cover instead of the original Stax classic by Frederick Knight. The US version also manages to keep The Broken Family Band's "It's All Over" and even Starship's "We Built This City," which backs the philisophical and heartfelt patch-up between Anwar and Maxie, courtesy of Anwar's father. Most of the musical fun was stripped out of the episode, however, as Awar's embarrasing Uncle had some crazy music tastes that found their way to the dance floor (see playlist below).
One thing more to checkout before season 2 starts next week, is the Skins Secret Party mini-episode that is sandwiched between seasons. Unlike the 'Secret Skins' minisodes throughout the season, it actually aired on the network, and ends with an actual party featuring Skins fans who won tickets through various competitions. It features The Foals (pre-Sub Pop) playing "Hummer" at the secret party, with Maxxie putting up little clues around the city, like Where's Fluffy from Nick & Norah's Infinite Playlist. That it ends with Paul Simon's "Me and Julio Down by the Schoolyard" is just an added bonus.
If you thought that SP20 ended on Sunday, you're partly right... the official part did anyway. But like Green River and Fluid did the Thursday night before at the (tiny) Sunset Tavern, some bands were sneaking in more Sub Pop goodness outside the event. Monday night at Neumo's was billed as The Listening Party with Special Guests, and knowing that the band was getting set to start tour with Wolf Parade, some folks figured out that part of the secret pretty early. Yesterday morning, it was revealed that not only was Wolf Parade playing, but also Foals, essentially two of the three bands I most lamented missing out on by going Saturday instead of Sunday (the other being No Age).
The show was insanely great, Foals were tight as motherfuckers and Wolf Parade gave their usual stellar set. And I was surprised at how much I enjoyed The Listening Party as well, with their Pet Sounds, freak-folk, kitchen-sink sound. But ultimately, it was Wolf Parade's night, as evident in this video I captured of "I'll Believe in Anything," during their encore:
Note the annotated video... YouTube added that feature a bit ago, and this was my first attempt at using the 'Pop-up Video'-like technology on one of my videos.
Ah, what a great week. Yesterday was opening day (go M's!) the sun is shining brightly outside, and today we're greeted by an incredibly deep selection of fine new releases. We were spoiled by getting The Black Keys new one last week, so this week we poach from next week's bin, as the debut album from much hyped UK dance-punk act Foals hits Rhapsody a week early. Beyond that, there's plenty here, including a new release from the (sort of) revitalized R.E.M., along with new ones from Sun Kill Moon, Colour Revolt, Los Campesinos! and my fave metal band The Sword. Add to that some great compilations like a Willie Nelson box set and a collection of rarities from Apples in Stereo, and you'd think that would be enough -- but we're also blessed with live albums from The Rolling Stones (soundtrack to the Scorcese film Shine a Light,) Muse and The Decemberists' Colin Meloy. Listing all this even has me wondering whether I'm pulling some April fools day prank, but it's all here, enit.
Sub Pop scores once again, landing the debut from this young Oxford band, in Rhapsody a week early. It's a debut that many across the pond are calling the best you'll hear all year, and there's a lot of merit to that hubris. Comparisons to the dance punk of Rapture and (early) Bloc Party are bound to come, but there's both more dance and math-rock than both those bands, and less pop to be sure. The first singles, "Cassius" and "Balloons," get the feet moving, but they also hit on a more visceral sense. There's also some mood-shifting here as well, and the beauty of "Electric Boom" sort of serves as the heart of the album, an album that will be talked a lot of about, I'm sure. For the UK release, Foals left off their previous hit singles ("Hummer" and "Mathletics,") as neither fit the sound that producer Dave Sitek (TV on the Radio, Liars, Yeah Yeah Yeahs) achieve for them here, but both make it on the Sub Pop release as bonus tracks.
When this Austin band's debut Age of Winters came out in 2006, it pushed me to do a piece on the New Heavy, recent metal that even indie rockers can get down with. Their seemingly sincere D&D-inspired lyrics (think Neil Peart) delve deep into geek territory, and with Gods of the Earth, they go even deeper. "Mother Maiden and Crone" references the Triple Goddess, "To Take The Black" is about George R.R. Martin's fantasy epic "A Game of Thrones", and "The Frost-Giant's Daughter" is the title of a Conan the Barbarian story. I say just roll your ten-sided dice and play the track that corresponds... your HP may dwindle from neck damage, but you'll make up for it with serious HMXP (Heavy Metal Experience Points).
I wrote about this one yesterday for Ear on TV, only leaving out the criticism. I still believe it's their bast album since Automatic For the People, but that doesn't necessarily mean it's as good as it or any album prior to that. The trio has drifted since Bill Berry's exit, and this is as close as they've come to sounding relevant again, and they're trying hard at the 'relevant' part, that's for sure. The album was previewed a couple weeks ago on Facebook (using iLike,) streamed on imeem last week, and the band even snuck in La blogotheque's Take Away performance (#89 - sample below,) which has to this point featured smaller, up and coming acts, the biggest thus far being Arcade Fire. Songs like "Living Well Is The Best Revenge" and "Houston," show they still have some gas in the tank, even if the lead single ("Supernatural Superserious") and "Until The Day Is Done" are color by number tracks. The album ends strong starting with "Mr Richards," with it's textbook John Strohm (Blake Babies, Antenna, Velo-Deluxe) riff, and continues strong all the way to the final two bursts of energy ("Horse to Water" and "I'm Gonna DJ.")