A meditation...of sorts

University...

Film Review: Crimson Peak

Last month we were faced with the new feature film to have been crafted by director, Guillermo Del Toro, Gothic romance, Crimson Peak. Previously renowned for his work directing films such as Pan's Labyrinth and Pacific Rim, Del Toro has this time collaborated with the likes of Tom Hiddleston and Jessica Chastain to create something fairly especial, but which has received a consequently mixed reception.

Crimson Peak follows the story of aspiring American novelist, Edith (Mia Wasikowska), who upon meeting the charming Sir Thomas Sharpe, soon weds the gentleman and moves to England to live with him and his sister, Lady Lucille. From the onset this film casts a strong sense of foreboding, where crime, horror and romance coincide to reflect the focus themes typically found in Gothic novels. These three pivotal characters ultimately share a dark back story, whether it be the enigmatic nature of the siblings' history or Edith's ability to see and communicate with the dead. Evidently it's a film that strikes a chord in all those with a inquisitive nature, for which our curiosity can be channelled through the naive Edith.

One of the main reasons why Crimson Peak was seen as such a disappointment to many viewers was the way in which the film was sold as a horror. The trailer implements jump scares, chilling voice-overs and mysterious, incidental music which is collectively driven into the viewer to make them tense and fearful. So surely, with these many devices in mind, you can easily infer this is a gothic-take on a horror film? You'd be wrong. Yes, there are moments where Del Toro has used violence to make the audience uncomfortable, and yes, he has constructed the story using the harrowing cries of spirits wailing in the corridors; but to be fair, without the ghosts, the story would be no different. What I'm trying to say is that there is no reliance on the ghosts to drive the story forward; this is a story where ghosts are found but it is the reality of crime and murder which is the focus, not the ghosts. Rather this is a form of psychological horror, shown through the development of Lady Lucille and her younger brother Thomas Sharpe. Other than the overhanging threats of murder and repetition of the colour red, the film's notion of horror ends just about there.

Despite being the main character, Edith comes across as one sided, lacking the character development we would expect from any given novel/film's protagonist. At the start, she is presented as strong-willed, independent and in full belief of the existence of ghosts. Push forward to the end of the film and she is much the same, back where she started, albeit with a stronger sense of the spirit world.

However it is not all false intentions and development faults. The cinematography and attention to detail is something to be deeply appraised. Mise-en-scene plays a profound part in any given Gothic Romance, not only in bringing scenes to life with historical vibrancy but to also capture the conflicting serenity and bleak, disquieting nature of a location. Crimson Peak, with its torn roof, seeping floorboards and grand architectural design gives it the reading of a place with memory. Essential in the eyes of Del Toro, this gives the location personality, making it a critical character in this tale. It is also the use of costume and setting which helps to create the right atmosphere. At the beginning, the use of high key lighting, affluent décor and striking costumes, makes the mood comfortable and warming. This is then contrasted with the dismal low key lighting (implemented when the characters arrive in England) and the Sharpe's subversive deep-toned clothing which makes the mood take a darker, more ominous twist.

I've already mentioned how Edith's character appears one sided, but this is not to say she isn't an intriguing one. From very early on, Edith is none too shocked  by the existence of ghosts, and through this fascination she easily emulates the curiosity experienced by Catherine Morland in Jane Austen's Northanger Abbey. Catherine yearns for something exciting to happen, and this materialises in her 'Gothic fantasies'. Similarly, Edith shows this need to escape from mundane social decorums. This subscription to the conventions of the Gothic novel (where often the female protagonist is drawn to the darkness, in order to escape the constraints of society) is an attractive concept and helps provides Edith with a far more distinctive personality, thus sustaining interest for the viewer.

By far the greatest attraction of this film is the two characters, Sir Thomas Sharpe and Lady Lucille. The founding reason this film remains so popular is because of how these two are presented. From the start, both characters are elusive and mysterious, most of all Lady Lucille whose behaviour makes us wary of what she is capable of. Fundamentally we get the sense she is hiding something. As for Thomas Sharpe, he immediately embodies the winsome gentleman found in most period, romance films- soon to become the love interest of the lead female. Yet 30 minutes in and this beguiling character is more affected than what we immediately perceive him to be. Here we have two characters who are much more fractured than their reputation supersedes.

Crimson Peak, despite such flaws cannot be ignored for it's deliverance of a classic Gothic Romance. Sexual intrigue, intense relationships, violence and corrupted actions are all elements that characterise the Gothic genre and this is exactly what Del Toro has brought to the table. The Gothic genre is all about examining the human condition: what is means to be human, how we function etc. Critically however, a Gothic novel/film should provide powerful messages that make us question the actions of a character, usually scripted through pathos and dramatic irony. It isn't until the end of the film that we come to realise Thomas Sharpe was heavily influenced by his sister, following her direction because that was all he had left to learn from. His incestual relationship with his sister is almost a metaphor for his helplessness and reliance on her. Note that Thomas never killed anyone, rather it was Lucille. When Thomas meets Edith and begins to see love as something new, different and more sensual than the love he has for his sister, he begins to realise the love one has for their relatives is different to that of another i.e. Edith. It seems to me that Thomas is really the innocent character in this, caught up in his sister's views. Her reliance on him is draining and we see that theirs is a fragile relationship which although detestable, reaches out to us in the way we reach out to the monster in Frankenstein. Del Toro captures the detestable and makes it anew in a form that even in a modern society, can shock us, and that is mightily brilliant.

Book Review: The Rest Of Us Just Live Here by Patrick Ness

‘There’s something very comical yet tentative about the way he writes’ Wilhelmina reviews Patrick Ness’s ‘The Rest… http://t.co/Gj8tgPGT6g

— Maximum Pop! (@maximumpop) September 18, 2015

An Interview with Lewis Watson

Bred in Oxforshire, Lewis Watson is a pretty established artist coming up in the music world and not just because of his music, but also because of his ultimate dedication to the art and soaring passion to write what's important to him. The singer-songwriter has boundless talent, possessing a soulful, emotive voice which helps to create a tuneful harmony between the lyrics and melodies. It's not hard to slip into the daze of themes surrounding his music, about both matters of importance and in the rare case, something more nonsensical. But even so, the power of Lewis' art is so great that even the most trivial case is examined and cared for so that it may be appreciated by listener's just as much as it's importance lies in the palm of Lewis' hand. Most importantly however, you can always expect his music to provide a cathartic release; as every verse is driven into each repeating chorus, the music caresses the mind with all its poetic vibrancy.

I had the pleasure of talking to Lewis a few nights back and was able to get a quick interview with him, which I hope you will enjoy reading just as much as I did. If his music isn't enough of a hook to draw you in, his bright personality and upbeat ethos is sure to have you seriously respecting him as a musician.

Hey Lewis, how have things been?

"yeah, very good thank you. different with this record because it was recorded in 3 weeks with one producer, in one studio and the band. the first album was recorded over 2 years with 6-7 producers, in a wide range of studios and with a whole catalogue of musicians which was great - don't get me wrong - but i much preferred this approach to creating music. i was in a bubble for almost a month and that really enhanced the process for me. so, yeah, i'm very good !"

So you've released your first album and are set for a second. How would you say your music's developing?

"i'd like to say that my music is evolving, lyrically as well as production-wise. i've always said that if you sit down and listen to all of my music (not that i recommend this to anybody....) in order, from the 1st ep through to the first album, that you'd hear a slow progression in the sounds and the lyrics. this is just because i'm still growing as a person and a musician and i'd like to think that you can hear my 'journey' through listening that way. this second record is a continuation of that journey. i've used the band more, i've used the electric guitar and synthetic instruments more and it's helped me to create an album that i can't wait for people to hear."

Are you hoping to adopt a slightly different style to attract a wider audience?

"another thing that i've always said is that i make music for me first. it's not that i don't care what people think of my music (everybody always cares about what people think !), i just think that i'd be selling myself short if i just created what i thought other people wanted to hear. i've been very lucky in the fact that people enjoy listening to my music and it makes me very, very happy to hear that it can calm somebody down after a stressful day or help somebody get to sleep but i never write the songs for that reason. i write them for me first because then, it doesn't matter if it's well received or not because i'll be happy. i wouldn't say that this album is a different style, really (there are a few happier ones in there but i didn't force them (!!) - they just came), it's just another step in the journey. a little evolution. if it attracts a wider audience then great, hiya !"

What do you hope fans will take from your new music?

"i don't know, really. (you never really know, really...) i just hope that people will enjoy it. like i said, i wrote these songs for me and i'm very happy with the way that they've turned out so, whatever happens, i'm fairly happy. however, it is weird having this music almost ready to release without knowing what people will think. i reckon only about 10 people have heard this album in full and that's a pretty scary thought. people could love it, people could hate it. it's that kind of stuff that keeps me up at night... so yeah - i just hope that people enjoy it but, like i said, i'm happy with it either way !"

You manifest a very affable and open personality. Is it something of this sincerity that you hope to express through your music?

"haha, thank you ! i'd really struggle to write a song about a fabricated situation, they're all based on an experience i've had or shared with a close friend/family member so in a way, yes. they're all 'sincere' and i hope that comes across when people listen back. i always enjoy the songs that i can connect to the most and it's these songs (most of the time) that have been written when the artist/band has poured their heart out into a few words and melodies, not invented a story and written about that. i just hope to replicate that."

You've worked alongside artists such as Gabrielle Aplin, Kimberley Anne and Hudson Taylor, to name a few. How important do you think it is to have connections in the industry?

"connections are amazing but these are all friendships, i love those guys and i believe in what they do. we've all shared the road together and we've all gone through the motions of being young artists in a fairly isolating industry. so in that way, we relate to each other. it's always nice to collaborate on a song, too. love that."

Earlier in the year you were one of the first few artists to step up and cover Zayn Malik's first solo track, I Won't Mind. Why was that?

"i just heard the song and really enjoyed it. the fact that it was a really raw demo just set me up to have a go. i'd been wanting to test myself in recording music and i thought that trying to record, mix and release a song in under an hour seemed like a nice challenge. so i set up my equipment and just made a rough demo of the song. it took me just over an hour (so i failed) but i was very happy with the outcome and it was nice to hear what people thought of it, i still haven't heard from zayn. quite a risk but it worked well. heck yeah, risks."

When it comes to songwriting, do you feel you have to build a story to make it evocative or can it be as ineffable as a notion, or simply down to a feeling?

"a song can be written about anything, for me it's writing about something that i struggle to talk about. i find that it helps me find the most poetic way to describe the situation/feeling/person, etc. but the subject can be anything, a melody i heard, a view i saw, a person i miss, a time when i was wronged, a time when i wronged somebody, etc. anything."

Finally, what pushes you to make music? Is it a matter of feeling inspired by other artists' work or more about finding your voice and expressing yourself through it?

"being inspired by other artists certainly helps me strive to make the best music that i can but that's not the sole reason. music is just something that i've enjoyed all of my life and to be able to create music is something that i've always wanted to do. i never expected to do it, i never expected anybody to listen to it and i definitely didn't expect anybody to enjoy it !!! but yeah, everybody has their dream and this is mine. i'm so lucky to be able to do this and i won't let that go for anything, getting here was hard and i'm still at the start so i'm excited to see where it takes me !"

You can find Lewis on Facebook, Twitter, YouTube.
Lewis' debut album, 'The Morning' can be purchased from iTunes or if you fancy a physical copy, just head down to your local HMV.

Music is so FUDGING amazing

EP Review: Messing With My Head by Rosie Samaras

It’s been a while since its debut release, but ‘Messing With My Head’ by singer/songwriter Rosie Samaras is no less enticing than when it was first released, appealing to audiences both young and old. The EP as a whole is far different from any of the material I’ve looked at before, with an alternative crisp sound that’s just as ironically exciting as the rock tunes I endlessly revel over.

Throughout the EP Rosie uses her smooth vocals to convey sharp emotions and she does so using a characteristic tone of voice which makes her music especial and personally more enjoyable. ‘Messing With My Head’ is the first track on the EP and as a forefront song, acts as a marker for the quality of the remaining tracks. Lyrically it’s beautiful and the melody creates a serene mood which when matched with her intense control of tone helps to create something individualistic and appealing. The delicate picking pattern combined with the assured guitar strums provides just the right sense of serenity to create a compelling track. Opposing this is ‘Goodbye For Now’ which unlike ‘Messing With My Head’ uses a more up-beat tempo. Really trying to show her breadth of talent, Rosie brings forth a tune which contributes the attitude associated with strong feminine artists such as Christina Aguilera. This is a much stronger song in terms of showing brutality towards this theme of love and relationships which overhangs the subject matter for the EP.

Bittersweet is a word definitive of the music on this EP. When listening to the songs it’s not hard to sense the current of tranquillity and repose that the faintly doleful tracks provide, such as is found in ‘Hard To Forget’ and ‘Bad Idea’. In ‘Hard To Forget’, lyrics such as ‘”you keep me wishing on that star” are reminiscent of childhood dreams, creating a story about innocence and naivety that resonates with many young girls. It’s lyrics like this that will have people turning to Rosie’s music in a bid to identify with her and support her music exponentially. Moreover, this concept of a story is something that makes Rosie’s music iconic and potentially the most successful. ‘Bad Idea’ begins with an intro that opens up as if Rosie’s ready to divulge into a story, and I love the way that as a songwriter, rather than explaining her feelings explicitly, she alternatively paints a picture with her words. The imagery this stimulates is dramatically vivid and powerful.

Usually I would consider the negatives of an artists’ music or sound but in finding little to criticise, what I can contribute more so here is belief that Rosie’s music will establish itself as she gets older. Currently the EP uses a series of instruments which gives it a lively appeal, currently rooting her music in the acoustic genre. However, with the right progression, she may even benefit by experimenting with adding synth sounds to delve into the pop/ RnB genre which would really help to define her voice. Already the high notes found across the entire EP attest to her fine-tuned control of voice; so the talent is there. For now however, this is the first of many releases building towards a more developed sound.

Rosie Samaras is bound to find maturity over the years in the development of her music, but as of now, she can still yet convey a dedicated amount of emotion, making her music inspiring and beautiful to admire. I’m not a massive of fan of female artists’ sound, and it’s hard to pin-point exactly why that is so. Any singer with a unique sound and the ability to invest so much thought and feeling in their music is admirable in my eyes and I’m glad to say I’ve found a great singer in Rosie for showing just this.

‘Messing With My Head’ is out now on iTunes.

You can also find Rosie on Facebook, Twitter and SoundCloud.