Erase This – CD Review

Lyrics + Bass: Alan Lastufka
Vocals: Luke Conard
Guitar: Jason Munday
Drums: Christian Caldeira
Piano: Ted Hu
Backing Vocals: Jason Munday, Kristina Horner

I posted a video blog about Alan Lastufka’s album Erase This about a day after I got the digital download a month and a half or so back. I’ll save you the hassle of watching it and just sum it up with 2 words I used in the video: “Musical perfection”.

That was the only way I could describe it after one full listen through.

Now, with a play count on my iTunes alone (not including on my iPod, or the CD, or the DVD, all of which combined probably add another 30-40plays each, just my iTunes) of over 20 for every track, I feel its time to come back and break it down properly.

So here it is, track by track:

Making a Scene: What an opening. Sax solos, great lyrics, and great vocals (both from Luke and Jason), this is a lesson in how to open an album.

Shortwave Part 1: My favourite track on the album by a mile and away. I could literally listen to this every minute of every day. A great catchy pop tune, the mix here is just perfect, Luke Conard’s vocals mesh perfectly with the band behind them, all of which play their parts in forming an absolutely symphony behind him. When the static breaks in with Shortwave Part 2, the true concept of this amazing album shines through in a way which is just indescribably good. Alan really triumphs here.

All I Am: This piano led track is very different from the two which come before – much more melodic and reflective. This and Mirror Song which follows are a great interlude between the first few tracks and the body of the album which follows after them.

Mirror Song: Originally placed on Alan’s Taking Leave EP, this song has been COMPLETELY revamped and revitalised to the point of being unrecognisable. When I heard there was going to be a new Mirror Song before the album came out I was shocked – the original having shone for me on Taking Leave, but this version is so much better. It perhaps feels a little bit of a cheat to have this song repeated from TL (as well as Forgiven later on), but it really is so different that it’s acceptable. Maybe it’s because I know Luke and Kristina are together, but you can literally feel the feelings between them as this ballad unfolds, and this is stronger than anything ALL CAPS have shown to date.


Turn Signal: Breaking into the second half of the album the band returns in full force for what is undoubtedly the most rock and roll track on the album. It was an early favourite of mine, and remains in the forefront.

Boxcar Blood: This song is the first official single on the album, although ironically I think it might be the weakest offering. That’s not to say it’s not a great track, which it is, but if I’d been making the decision I would have led with Turn Signal. I’m not sure what it is about Boxcar, it just didn’t pack a punch with me the first time round, it really took me a couple of listens to get into it in the same way.

Winter’s Song: The album as a whole is a dysfunctional love story, and this is the point when the dysfunction is at its highest.

“While you sing, sing, sing your own ending,
I want to start at the beginning.
While you lie, lie, lie there pretending,
My words quietly keep on spinning”

Conard pines. Desperate for a love song he wrote to be recognised as such by the girl who claims to be his greatest fan, he realises he simply cannot get through to her, and the song ends with a particularly dark piano part.

Shortwave Part 2: And we’re back to Shortwave. After Winter’s Song the uplift into this song is tremendous. The protagonists are “….no longer hiding, doubting”, but instead standing together at last, singing together. As a listener you feel you simply have to join in as Conard informs us that it’s time to “sing it out loud, as if we’re all singing along.” Everyone has come on this emotional journey and it’s almost at its climax. Almost.

Forgiven: Another Taking Leave veteran, this is more recognisable than Mirror Song, but again a vast improvement on the original. Killswitch Kevin comes in one last time and spins his final track (although not the albums). This is an anthem. A straight up anthemic masterpiece. You can almost visualise Jason Munday rocking his guitar solo on stage, as Christian, Alan and Luke all shine with their parts of the song. This is a song for stadiums.

Erase This: This was the first song Alan wrote for the album, initially titled “This.” About a guy who, despite being in a relationship which isn’t working, always ends up going back for more. “I knew what you would do before I even knew you” the character says, almost joking at this point that the relationship is so predictable that it’s never going anywhere different. But maybe that’s the point. “Familiar hands and familiar places” are what we think we need.


As a whole: This album is, simply, my favourite album ever. “Now hold on” I hear you say. “That’s a bold claim!” I know it is. And not one I will make lightly. The connection I made with this album from the very moment I first heard it was unique. I just couldn’t describe it even. The album doesn’t have any of my all time top-10 favourite tracks on it, but as an album, as a whole, it’s simply perfect. The concept is superb and amazingly executed, and from the first bars of Making a Scene to the final moments of Erase This, Alan has taken me on a rollercoaster of emotions, leaving off with a sort of cathartic release that many songwriters could only wish for.

Glee Season Finale Review - Journey

I’ve said it before on this blog, and I’ll say it again: NO show has captured the hearts of the world this year like Glee.

Taking us on a coming-of-age journey from 5 dorks who “really sucked”, Will Schuester’s New Directions have flourished before our eyes, and last night’s season finale was an epic end for the show's rookie season

“I almost quit once” Will reminds us, “But you brought me back with Don’t Stop Believin’. Who cares how we got there, when getting there was so much fun”.

And with those words, the moment we’ve all been waiting for gets underway: Regionals 2010, New Directions Vs Vocal Adrenaline (Vs Oral – Aural? Yeah that seems more likely - Intensity apparently)

Faithfully and the newly revamped Don’t Stop Believin’ stand as a testament to how far New Directions have come, even since Sectionals. Its not just Lea Michele’s Rachel strutting down the aisle now but Finn too, and the rest of the club get’s their chances to shine as the Journey medley continues.

And then Quinn says the 4 words that fans have waited for all season (as indeed has Dianna Agron, desperate to ditch the fat-suit) “My water just broke.”

Vocal Adrenaline’s Bohemian Rhapsody is perfectly mixed in with Quinn’s labour (possibly the shortest in recorded history, given that she ends up back on stage in time to hear the results), but on the night there is simply no way Vocal Adrenaline deserved to win, Rhapsody was good but not good enough – it was a stitch up from the judges that gave them victory. The club then is done for. They couldn’t get 2nd place, and so Figgins’ budget wins.

And from here on out the sob-fest began – yeah, I’m a guy, and I cried at Glee, get over it. Emma fights for the club and despite failing she gets Will to finally confess his love for her – a moment which fell somewhat on deaf ears for me given that I ship Sue/Will, but its ok, there’s more of that to come.

To Sir, With Love was the surprise highlight of the night, as the club sits on their stools and reminds Schu that while he’s there, the club will never truly be over. All this overseen by hero of the night Sue Sylvester, not the callous heartless bitch we saw at the start of the season, but a real person, finally humbled by the events of last week’s Funk. “I don’t like you William, but I admire you” she tells Will, before informing him that she surrendered her leverage over Figgins to get the club one more year – one more shot at beating Vocal Adrenaline.

Somewhere Over The Rainbow, and the emotional climax as we see Shelby adopt little baby Beth are beautiful reminders of why this show is so special.

So I guess there is only one more question to answer: Is it September yet? ‘Coz I need my Glee fix!!!

P.s: I took the liberty of figuring out my order of favourite episodes from the season, which you can see here:

1) Journey
2) Theatricality
3) Sectionals
4) Pilot
5) Home
6) Bad Reputation
7) Showmance
8) Preggers
9) Hairography
10 ) Ballad
11) Dream On
12) Hell-O
13) Laryngitis
14) The Power of Madonna
15) Wheels
16) Mattress
17) Acafellas
18) Vitamin D
19) Funk
20) Rhodes Not Taken
21) Throwdown
22) Mash-up

Doctor Who - Vincent and the Doctor

Tonight saw a very different Doctor Who episode. Yes there was the monster and the mystery, but on a deeper level this was a story about the beauty and importance of life, and also the inevitability and unavoidable nature of death.

Tony Curran's Van Gogh is a brilliant character study of the tortured and insane Van Gogh. Not afraid to shy away from his depression, and eventual suicide, the family show delved into territory many adult shows wouldn't touch, and handled them with both tact and brilliance. The clever line about he and Amy sharing the same "dutch" accent is a stroke of genius, and it means that we don't have to put up with a horrible forced dutch accent, and can instead just cope with what we get and ignore it.

Richard Curtis, a self-admitted lover of Van Gogh, having studied his paintings and his life story many times, does well to bring out the deeper nuances of the man who never knew he would be famous, and his emotional climax of Vincent in the Musee D'Orsay is one of the best realised scenes in Who. As the camera pans around and you just see the utter joy on Vincent's face as Bill Nighy's Dr Black explains that Van Gogh is not only the greatest artists who ever lived but also one of the greatest men who ever lived.

Perhaps its just because I like his art, but the references to his paintings in the sets and in the scenery were amazing. The cafe, the bedroom, and the sunflowers were enough to make me squee, but the Starry Night synaesthesia sequence was amazing - its probably my favourite Van Gogh, and the idea that that was just how he saw the world was interesting and unique.

Ironically in this episode it is the Doctor and the series story which take hits this week - the scene with Matt blindly waving a rake about served only to make him look silly, and take the focus of our hero. This episode was very standalone from the series, and except for the brief mention of Rory (probably inserted for exactly this reason) it could have simply been a 45minute biopic about Van Gogh in which Amy and the Doctor just happen to feature.

As a Van Gogh story then, this was simply beautiful, and one I'd probably give 5*. Even as a standalone Doctor Who story it's a 5* work of art. But right now, just moments after losing Rory, and just 3 weeks from the season finale, this episode seemed to sort of go off on a tangent from the series as a whole, and I'm not sure when we look back on this series, the placement of this episode is going to make sense.

09/10 - Quite a season for Television

Well it’s that time again, the end of another US television season, which means all our favourite shows go away for a few months to allow rubbish summer TV in its place.

But what of the 09/10 season we’re leaving behind? It’s pilots had their hits certainly – Glee, Modern Family and others, and some undoubted misses – Flashforward principal among them.

We said good bye to old friends – Lost, 24, even Heroes, a show I didn’t particularly like anymore but I know there are those mourning its loss nonetheless.

Comedy was definitely the biggest winner as far as my viewing habits went, with new comers Community and Modern Family both achieving and maintaining laugh out loud status throughout their rookie years.

The greatest comedy success story of the season though was undoubtedly Glee. Combining a mix of chart music, a witty and vibrant script and a brilliant ensemble cast, Ryan Murphy’s musical extravaganza blazed brightly across the world, with the show spawning number one singles and albums, quotes being used on just about every social network for peoples statuses, even an International Sue Sylvester Day was declared (unofficially of course, but the point stands).

In drama, the Julianna Margulies fronted The Good Wife performed well, gaining its lead several awards including a Screen Actors Guild award and a Golden Globe.

While not a rookie drama I should also note that House fielded by far its best season to date, and that if Hugh Laurie was overlooked yet again next award season then it would simply be a travesty. His performance especially in season opener “Broken” symbolised one of the greatest single performances I’ve ever seen from an actor on any primetime television show, and really showcased Laurie’s immense talent. Unfortunately if previous years are anything to go by he will be nominated and then passed up as far as he win goes (my guess being for a member of the Lost cast this year, so I suppose I won’t complain too much).

But for sci-fi fans the news was not so good. With Lost entering its final season, ABC launched 2 new shows, Flashforward – trailed quite literally as “The next Lost” - and V, a reimagining of the 80’s miniseries of the same name. Neither show really grasped an audience though, and after haemorrhaging viewers faster than you could say kangaroo (you had to watch it), Flashforward’s quest to grab the Lost viewership ended abruptly in cancellation. V survived, but perhaps by the skin of its teeth, its fan base too clearly slipping.

The only Sci-Fi saviour came in the form of Caprica, a Battlestar Galactica spinoff, which seemed to grab the attention of fans of the original series and critics alike. The show, based 50years before the events of BSG tells of the genesis of the Cylon race, and promises going forward into it’s next season to explore the events leading up to the first Cylon/Human war.

09/10 then was an up and down sort of year, and only time will tell how the rookie shows that made the cut this time around will cope with the tough second season come September time.

Lady Gaga - TrentFM Arena

Fewer stars have had such a polarising effect on the music scene in recent years as Lady Gaga. She is the proverbial marmite of music. But last night at Nottingham’s TrentFM Arena: there was not a hater to be seen as her Ladyship took to the stage for her sell out show.

Using an elaborate stage set up which included as it went along a car with a built in organ, a full size New York subway carriage, and a giant sea monster, this was as much a piece of musical theatre as a concert, as Gaga and her dancers try and make their way from their New York suburb homes to the “Greatest Party on Earth” – The Monster Ball.

Beginning with fan favourite Dancing in the Dark, a silhouette of Gaga is projected through a huge curtain covering the stage, dropping half way through the song and sending us into almost 2hours of intense dancing. To put it simply, the whole night is utter brilliance. Broken up by a curtain with weird and wonderful videos which could only be Gaga productions so that the roadies can change the set every few songs, the night is seamless.

Changing costumes more times than I could count, she completely lives up to the hype, and the backing dancers are certainly earning their money tonight – they are spectacular.

The night is at its best though when plain old Stefani Germanotta from New York City shines through the Gaga exterior.

Sitting alone on stage at her piano, she tells the crowd that her grandfather is very sick in hospital and, almost crying, she announces that Speechless, her slow melodic rock ballad is dedicated to him tonight rather than her father who she wrote the song for. Pillars of flame erupt around the piano, and the whole crowd sings their hearts out as they see their idol breaking down under the strain.

Recovering quickly, she thanks her “Little Monsters” and tells them that no pop star will ever love them as much as she does right at that moment.

The curtain falls, and rises to reveal a massive tentacled sea monster on the stage, controlled by the dancers, and Gaga tells the crowd that only taking pictures of it can defeat it. The opening beats of Paparazzi ring through the arena, and the whole building is filled with the flashing of cameras from just about every fan.

The curtain falls a final time, and this time rises to reveal Gaga surrounded by every dancer she has used all night, in a dazzling silver costume with a spinning gyroscope around her. “We have finally made it” she announces. “We made it to The Monster Ball”. Bad Romance thunders through the arena, and – perhaps not surprisingly garners the biggest singalong of the night, and the whole arena is bouncing up and down.

Like her or loathe her, last night was simply amazing, and Lady Gaga is a force to be reckoned with. She will be around for a long time to come.

Lost – The End – Review

6 years ago a show exploded onto the box that would change Television forever. A show in which every question led to another question. A show in which polar bears on a tropical island, were as common place as simply saying hello.

Lost is a show which means so much to millions around the world, and its no wonder then that to ensure piracy of the episode is low, Sky have opted not to make people wait for the regular Friday night slot, choosing instead to air “The End”, the final chapter of the show simultaneously with their American counterparts. For those who braved 5am to see the conclusion, they were treated to what was, simply put: the finest two and a half hours of television in history.

So what of the episode itself?

On the Island, Jack and the 3 remaining candidates are heading to the Light to face Locke once and for all, while FLocke searches out Desmond. Everyone meets at the light, and both The Man in Black and Jack make the wrong decision – the light goes out, Jack has failed and the Island is about to sink, but MiB is mortal now, and after what is undoubtedly the greatest fight scene in 6years, Kate comes to Jack’s aid and finally kills the Man In Black.

Miles, Richard and Frank (the latter of whom is miraculously still alive after the sub crash – a moment for which the collective shouts of “YES!” from my front room could probably be heard from miles around.) head to Hydra Island in hope of fixing the plane, to leave the island forever, and are soon joined by Claire, Sawyer and Kate. The plane takes off and Ajira 316 is away, leaving Jack to sacrifice himself for the Island, and leave Hurley in charge of “doing what he does best – looking after people”

In the flash-sideways, everyone remembers, one by one, their past lives. Charlie and Claire are reunited as Aaron is born, Faraday and Charlotte get their happily ever after, Sayid finds Shannon with Hurley’s help and they finally get their moment, some 4 years after Shannon’s initial death on the Island. And then, the moment we’ve been waiting for: Juliet meets Sawyer, Kate meets Jack. They make their choices at last. It’s perfect. Utterly perfect.

But how does it end?

Christian Shephard’s (yeah, 6 season’s and I didn’t notice either until Kate points it out) coffin arrives in the sideways, and Jack arrives at the funeral he has sought for 6 years. But there’s one final shocker: Christian is not in the coffin. He’s stood behind Jack. “How are you here? You died!” Jack says. “How are you here Jack?” Christian replies simply. The sideways then are the Losties afterlife. They didn’t die in the crash, what happened really happened, but when they eventually died, some of them years in the future, their consciousnesses go to the Sideways, giving them a chance to reunite with their loved ones. Jack and Christian go downstairs and see everyone, and I mean everyone, from the Island, and Christian finally tells them they can go.

We flash to the Island, and see Jack in the bamboo field where the show began. He lies down and, joined once again by Vincent the dog, sees the Ajira flight over head, and, in the perfect closer, we’re back where we began: Jack doesn’t open his eye, but closes it. Jack dies, and the season, and the show finish.

Put very simply, this was the best episode ever to finally cap off the greatest show ever.

Oscar Nominations

Same as my BAFTA post a few weeks back, I'm going to list my predictions for both what I feel WILL win at the Academy Awards, and what I'd love to win if I had my own choices. At the end of the post are the tallies for what movie wins how many awards, by number and then by name.

Category	Want to win	Think will win
Best Picture	Up	Avatar
Lead Actor	George Clooney	Jeff Bridges
Supporting Actor	Christoph Waltz	Christoph Waltz
Lead Actress	Sandra Bullock	Sandra Bullock
Supporting Actress	Anna Kendrick	Mo’nique
Animated Feature	Up	Up
Art Direction	Imaginarium of Doctor Parnassus	Avatar
Cinematography	Avatar	Avatar
Costume Design	Coco Before Chanel	Nine
Director	James Cameron	James Cameron
Documentary Feature	The Cove	The Cove
Documentary short	No opinion	No opinion
Film Editing	Avatar	The Hurt Locker
Foreign Language	Un Prophete	Un Prophete
Makeup	Young Victoria	Young Victoria
Music (Score)	Up	Avatar
Music (Song)	Crazy Heart	Crazy Heart
Short Film (Animated)	A Matter of Loaf and Death	A Matter of Loaf and Death
Short Film (Live)	No opinion	No opinion
Sound Editing	Star Trek	Avatar
Sound Mixing	Avatar	Avatar
Visual Effects	Avatar	Avatar
Adapted Screenplay	District 9	District 9
Original Screenplay	Up	Up

Want to win: Avatar: 5 Up: 4 Up in the Air: 2 Coco Before Chanel: 1 Crazy Heart: 1 District 9: 1 Inglorious Basterds: 1 Matter of Loaf and Death: 1 Parnassus: 1 Star Trek: 1 The Cove: 1 The Blind Side: 1 Un Prophete: 1 Young Victoria: 1

Think Will Win Avatar: 8 Up: 2 Crazy Heart: 2 A Matter of Loaf and Death: 1 District 9: 1 Hurt Locker: 1 Inglorious Basterds: 1 Nine: 1 Precious: 1 The Cove: 1 The Blind Side: 1 Un Prophet: 1 Young Victoria: 1