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.

EP Review: Small Wars by Zurich

Zurich is an Oxford based band consisting of Adrian Banks (bass & vocals), Chris Gillet (guitar & vocals), and Leigh Taylor (drums & samples). Not only does Zurich capture the hysteria of 80s electronic pop but they also infuse a blend of classically popularised rock into their music: a startlingly evocative mix sought after by many music fanatics. Their sound as a whole is both unique yet familiar through the use of characterised deep vocals, shredding guitar riffs and thrilling combinations of both drum and bass, key indicators of soulful rock tunes.

‘Small Wars’ is the latest EP to have borne the band’s signature sound where we find a variation of both up-tempo tracks and those that are a little softer, but no less transfixing. Two of the most climatic tracks you’ll find include ‘Chemical’ and ‘Alone’. ‘Chemical’ is everything you could expect from a rock song: it rises with an extraordinarily dramatic intro and damnably satisfying drum beats, plummeting into a rich, crisp chorus, leaving you on edge, begging for the music to flourish into something even more majestic (if that was even possible).  Essentially it provides the husky tone of voice respective of a soul-driven musician. ‘Alone’ is another dramatic track drenched with emotion, which like ‘Chemical’, fixates on taking the subject of love and making it both melancholic but addictive.

To not be just a good band, but a great one, a band needs to show that not all rock songs have to be loud to be powerful. Luckily for them, Zurich is able to show just the right amount of flexibility with their music. ‘Invisible Man’ takes on a slower tempo to ‘Alone’ but is, if not more, musically complex with the addition of synths and a noticeably more audible change in chord progression. While it sounds elaborate it works really well to make the song sound more in tune with techno tracks currently circulating the charts.

‘Menace’ on the other hand, is a lot heavier on guitar, fixated on the inner artistry of rock. The title is intriguing so it doubtlessly leaves you curious about the song and without disappointment: a variation and change in pace, chords and tempo creates a sense of excitement, trepidation and boosts satisfaction.  Lyrically it’s dark and languid, “f*** these ghosts of mine”, which appeals to the side of you that begs to rebel against the system, almost luring out the unadulterated demon within us. It doesn’t half pack a punch when a band can have such an impact without screaming violently (we’re looking at you Slipknot).

However, whilst the EP is in majority, something of class and true recommendation, ‘Small Wars’ fell short of my full appraisal. I admire the band’s direction into showing this dichotomy between love and hate, which is a theme commonly used in rock songs. The echo effects also help give the impression that the lyrics are the slurred words of a scarred man, which is evocative to say the least. However, the combination of the deep vocals set against the milder, softer paced melody sounds disjointed. While Adrian’s voice is exactly what you want to find in a rock track it doesn’t quite match well with the more delicate tune set here.

Despite this, the more you listen, the battle cry chanting of "ride it out" filters into your mind and becomes more attractive by the minute.  The violin at the end gives this song a raw and unique Celtic air which subverts our expectations of a rock song in a far more confounding way: thus rendering it a reasonably good tune. 

Although not every song will appeal to every listener, Zurich are a remarkable band with an almost effortless ability to bring forth music that is rooted both lyrically and musically in the rock genre. Many times I found myself searching to link their sound with other bands, such as Muse, whose dark themes resonate within ‘Menace’, and Linkin Park’s Numb where you’ll find the melody connecting with the guitar riffs in ‘Chemical’. Other times it’s hard to find comparison because they’re trying to set new ground for themselves as artists: they’re putting themselves out there, providing a rich and explosive sound which is familiar but new. For that reason I have a great respect for what they do. I certainly look forward to what comes next for this band of inexplicably great, local talent.

The ‘Small Wars’ EP is due release Monday 21^st September and can be pre-ordered now on iTunes.

Physical copies are available for pre-order online.

How does Oscar Wilde's Dorian Gray compare to Dorian Gray in the 2009 film adaptation and Dorian Gray in Penny Dreadful?

Dorian Gray: a man with a marred mask wrought upon his figure in representation of his heartless and corrupt soul.

The Picture of Dorian Gray is certainly an interesting book with a widely complex concept that helps give the reader a sense of tension and trepidation. Like most Gothic novels, it delves into the human condition and looks at the serious consequences of our actions. The Picture of Dorian Gray is just the same: looking at the decline of Gray's concern for morals whilst his reputation (at least for some time) remains unscathed. After having finished uploading the video I came to realise a few more points of comparison could be brought up, all of which can be found below.

• In the novel, Wilde only really reveals that the painting of Dorian, in its state of degeneration, shows that is has aged horribly and the face, scarred with a look of malice. By the end it is described as being many horrors that one could hardly fathom, which in fact leaves the deterioration of this painting, in majority, down to the imagination of the reader. This is really effective because it allows the reader to attribute their own fears to this painting, making it more personal and terrifying to them alone. 

• In Penny Dreadful, John Logan builds up the suspense by showing Dorian entering the chamber into which he has locked away the painting, without giving the viewer a chance to see the picture for themselves. It isn't until the second season that we see it. In a similar way to Wilde, Logan tried to leave the picture up to the viewer's imagination, just as it was for Reeve when filming said scenes. What's potentially one of the most profound things about Dorian is how when he looked upon the painting (and saw the figure move) he still appeared shocked and slightly fearful of how corrupted his soul was becoming: in response to the many sins committed. Just like the novel, there is a part of Dorian that has consciousness of what his soul has become and while he tries to put on a façade of indifference and coolness, he cannot hide the part of him that torments him most.

^Penny Dreadful Season Two Spoiler

• Another point I'd like to make is how the painting was presented in both the 2009 film adaptation and in Penny Dreadful. In Penny Dreadful, we find Dorian's figure hunched over and chained up as a metaphor for his soul being condemned to hell, thus showing he is shackled to this 'agreement'. Being hunched over, Dorian's soul is burdened by his sins and age which leaves him almost cowering in submission of his master (in theory, the devil). I love the way in which the painting was composed in terms of how he was positioned and to have done so in chains, however I felt slightly disappointed by his visage. At first I thought I hadn't felt fearful of the painting because as a member of a modern society, I have become desensitised to the classically 'scary'. But on watching the film, the picture is far more hideous and unnerving; what makes it so is how the painting literally starts rotting and we see maggots falling from the canvas, eating away at Dorian's soul. This sense of revulsion is intensified further through the breathing sounds which makes us feel all the more disgusted by the picture. 

Left: the painting in Penny Dreadful, Right: the painting in Oliver Parker's 'Dorian Gray'

• Not a comparison point, but it is important all the same; the 19th century was a time when fashion, reputation and saving decorums were of the highest concern, particularly in how the three determined your class and level of importance in society. The Picture of Dorian Gray was published in 1891 (first edition published 1890-in serialised form) when society's attitudes and values were rapidly changing. Those of the upper class were more likely to form façades to hide their beliefs whilst still being able to be seen as one of the gentry, upholding their good reputation. In the novel, Dorian Gray uses his youth as the façade for his sins. As the novel progresses, people start to hear stories of his scandalous acts, however no one can fully denounce him because his beauty and fair nature to all who perceive him, appears innocent and unaffected by life's woes: essentially, no one so fair and innocent in appearance could have committed such 'vile' acts as his. The irony behind it all is that we know he has committed them and so in having his youth mask his corrupt nature, he is able to preserve his dignity and reputation.

• Poignancy. There is something extremely poignant about the story behind The Picture of Dorian Gray, found across all adaptations of Dorian's character, and that is the unending tribulation of immortality. Whilst immortality may seem a thrilling and attractive prospect, after years of living the same sensations, Dorian is not only faced with the longevity of boredom but also the isolating alienation he has towards people in society. This is more evident in Penny Dreadful where we get the impression that Dorian lives to form acquaintances with people who are easily torn from his life by the hand of death while he remains detached from the people around him. When he meets Vanessa, another like-minded character with evils such as his he is beyond measure, overwhelmed to have have found a fascinating pursuit which gives his life meaning. Another way in which we are made to feel pathos for his character is when, in the original story, he is so tormented by the painting that he decides to cast aside all sins and to finally lead a good life. In his attempt to do so, he destroys the painting, thus ending his own life. If there's one thing that is bound to have you feeling empathy for Dorian Gray, it's the powerful ending that Wilde leaves us with. 

Extraordinary Means Book Review

Robyn Schneider provides ‘such vivid imagery through her words’. Wilhelmina reviews… http://t.co/vy7QoVmWmg pic.twitter.com/RzZpn2J87g

— Maximum Pop! (@maximumpop) August 7, 2015

Red Queen Book Review

It’s dramatic, compelling and illustrious. Wilhelmina reviews Victoria Aveyard’s ‘Red Queen’. http://t.co/5HhZ0Txxis pic.twitter.com/sLaMxt0o8Z

— Maximum Pop! (@maximumpop) August 6, 2015

Why I LOVE Gothic Literature

Everything great about Frankenstein

Ideally, I began making a video looking into the overarching reasons as to why Frankenstein (the novel) is such a profound piece of fiction and what specifically, makes it so powerful. But after several attempts to try and form coherent words that could chiefly describe the fervour I have for this novel (and failing), I decided to just write about it instead. After all, who doesn't love an essay of a review? (only joking xD)

Other than the character development, as mentioned in the video, there are 3 other essential reasons as to why I find the novel insatiably evocative.

1. It's scary. When Mary Shelley came up with the idea for Frankenstein, she was spurred on by the knowledge that she had to create something that would be so horrific it would shock all who read the tale. After the idea was conceived- that which freighted her own mind-she knew this novel was bound to shock other readers, showing that she was able to successfully create something powerfully frightening that didn't just win her the praise of the writers who set the challenge of writing a horror story, but also the contemporary audience. The fact it still resonates as a horrific tale of abandonment, violence and abhorrence in today's society just goes to show how effective she was at birthing Gothic literature into this expanding society and instil a resonating horror befitting of the label, horror-story.
2. It's timeless. As referred to in my previous point, Frankenstein still resonates within society today, not just because Mary Shelley was a great writer, particularly because she was only 18 when she wrote Frankenstein, but because even now we see how cruel and tainted society is by all that is negative. We may have progressed in our development of our morals and how we judge less harshly than the Georgian/ Victorian era had done towards any one deemed 'different', but there is still the presence of evil, selfishness and brutality in how 'man' acts. If a corpse were reanimated in today's society, they would still be regarded just as inhuman as Frankenstein's monster in the early 1800s. Failing that, they might even be called on as a freak, mistreated and faced with the technology we have, news of their existence would be spread globally, enhancing the taunts and isolation which would befall their innocent mind. Galvanism may not be a viable option to do such a thing as imagined by Shelley but in the future, there's no saying that we might not have the technology and resources to recreate the horrors of Frankenstein's tale. 
3. Themes. Mary Shelley explores a whole variety of themes, many of which are so profound I cannot begin to explain how amazing it is that she, at the age of 18, was able to involve such deep and naturally conflicting themes into her novel, perfectly befitting of the Gothic genre; not just the genre however, but also so poignant and expressive that they seem utterly necessary to make a novel a success. Such themes include:

• Human psychology (Victor's rapid decline into depression and his increasing feeling of unease and fragility which possessed his years following the creation of his 'daemon')
• Mortality (Here, woven into the tale is this idea that life could yet be made from the dead, however haunting it may be, allowing the previous life to continue in yet another form. Percy Shelley's work touches on this, "No more let Life divide what Death can join together")
• The Meaning of Life (Constantly the monster wonders about his existence and why he is brought into the world looking the way he is, scorned by those who fear him. He also shows need for a companion, since marriage, particularly at the time was an important stage in one's life: this perhaps is what he sees as the purpose of life, in finding a companion)
• Developments in science/ learning (Galvanism was a theory that occupied Victor's mind and led him to create the monster for the mystery of electricity was new ground for his young mind. The possibility to do great things from unknown areas of science was and still is overwhelmingly alluring.
• Good vs. Evil (The innocence and purity of the children and women who Frankenstein's monster comes across gives him hope of acceptance. Only to be torn from happiness does this return his mind to a state of vengeance and want of evil wrongdoings)
• Intrigue (How exactly was the monster created? We know galvanism was a part of it but overcome by sheer terror, Victor does not reveal the endeavours of the monster's creation. Shelley also begins her story with an enigma when a Captain accounts for a mysterious figure boarding his ship in his voyage to the Arctic; it isn't until the end that we realise the whole tale of Frankenstein was recounted specifically for the Captain)
• Science & Religion (This is the most exciting theme that the novel was cast forth into because in many ways the novel also challenged religion. In this we find Victor essentially 'playing God' by creating and bringing a new being into existence. Some would say his punishment for this is the never-ending torture that follows from the creation of the 'daemon'. Furthermore, when the two are confronted with one another after a few years, Frankenstein's monster says that he should have been created in Adam's name-his visage-but that instead he is a monster. He then goes on to say that he felt empathy more so with the Devil who felt envy for his fellow 'friends'. The fact this theme was addressed so specifically is exciting)