Jump Japan....Madonna's new video

Madonna
Jump
Directed by Jonas Akerlund

A little amatuerish by Jonas' stnadard. While I don't totally loathe it, I like Madonna's look but that's about it for a pointless video to a meaningful song. Putting scenes of The Devil Wears Prada where the song was featured would have made a better video. Lazy half-assed work. (B-)

Aural: For The Floor, you Sexyback!

Justin Timerlake
Sexyback

The alumnus of the previously-manufactured and now-defunct N'Sync has returned with a follow-up to his hugely successful debut of 2003, Justified. While that effort shows promise, its slight disarray is sometimes jarring.

Now forward to 2006, the golden boy of music returns with first single Sexyback off FutureSex/LoveSounds. The single is an incredible piece of sweet funk, combining the sensuality of yesteryear's Prince and the deft execution of pre-scandal Michael Jackson though the parental-guidance lyrics are somewhat ludicrous at times. With a hot salacious video to boot, the song is sure pop ecstasy.

At the helm of things is once again hip master Timbaland whose collaborations always bear sumptuously edible fruits. Remixes of the song range from mediocre to superb, beginning with the lackadaisical Pokerface Club Mix which sounds like a piece of early 90's recycled house mix. The slightly more varied Linus Loves Remix ups the ante with a more danceable electro beat. The best mix has to be the cool Tom Novy Ibiza Dub that cleverly uses a verse of Timberlake's sung vocals wrapped around some hypnotic and lackbaid grooves, bringing the song to a completely unrivalled level.

If Sexyback is anything to go by, FutureSex/LoveSounds would be the definition of the hot new love machine of our time. (A)

Aural: Don't Look Elsewhere - Gnarls Barkley

Gnarls Barkley
St. Elsewhere

Every once in a while, a surprise and unexpected collaboration yields stunning results. Under the coruscating lights of the music world where increasingly any nobody can be a star, Gnarls Barkley is a breath of fresh air, bringing together established hip-hopper Cee-Lo (one part of Goobie Mob) and ace producer Danger Mouse (Gorillaz' Demon Days).

Reminiscent of Outkast's polished and neurotic sound, Gnarls Barkley has the additional edge of a modern hip-hop sound mashed with refined electro-beats. Whether it's soulful singing on the wonderful first single Crazy or funky rap-song on Transformer, Cee-Lo demonstrates impeccable sensibilities like hip hop is running through his veins. Danger Mouse complements all these with equally perfect arrangement and production of cool electronic beats and stutter.

The album has quirky lyrics, is sometimes funny, sometimes serious but quite unquestionably a dull moment never exist. Some might find such neurotism to be an inconsistency but when you put on the record, you'll be drawn in by the pomposity. (A)

Visual: Project Runway - The Devil Wears Prada

The Devil Wears Prada
Directed by David Frankel
Adapted from the novel by Lauren Weisberger
Starring Meryl Streep, Anne Hathaway, Stanley Tucci, Emily Blunt

Whoever's idea to buy the rights to Lauren Weisberger's novel is a genius. Despite a rather abysmal novel, The Devil Wears Prada shines on screen. Indeed, The Devil Wears Prada is an example of how some storylines work much better on the big screen than in print.

The film's stylish success is due largely to the over-the-top character Miranda Priestly played by Meryl Streep, the incredible actress who has wowed us with many impeccable performances. Streep revealed a well-kept secret - her gene for comedy which has so far been demonstrated in 1992's Death Becomes Her and last year's Prime. Anyone else might have turned Miranda into a noisy empty vessel but Streep gives Miranda life and great stature.

Miranda is the go-getting and ridiculously demanding-cum-bitchy editor-in-chief of Runway magazine. And incidentally, the matron of this acclaimed magazine house is the head of many like-minded employees including an overzealous first assistant (Emily Hunt) and second-in-command (Stancy Tucci). So when the just graduated wide-eyed Andy Sachs played by Anne Hathaway assumes her position as the second assistant to Miranda, Streep's deadpan no-nonsense stance combined with her ultra-acerbic tongue make Andy's life indeterminately difficult. Not willing to give up, the young lass transforms herself from a dowdy girl to a glamorpuss who satisfies every of Miranda's whim and fancies. Intertwined with all these tow sub-stories of love and of finding who you really are and want to be.

Streep's comic brilliance makes the character of Miranda Priestly so illuminating and unpologetic while complementing the innoncence of Hathaway's Andy Sachs whose only aspiration is to be a proper journalist rather than a fashion junkie. Stanley Tucci's performance serves to add more zest to the already fetching film. Last of all, the dazzling couture pieces that appear so frequently is bound to make Devil the ultimate fashion accesory of 06.

The Devil Wears Prada could be seen as life's superificality but Miranda is true on one thing: everyone wants to be like them in the movie. Seriously, who doesn't? In the end, The Devil Wears Prada is highly entertaining with an Oscar-worthy performance from Streep whose artistry is in turn undeniably and undisputedly ace. (A)

Aural: Crazy Gnarls

Gnarls Barkley
Crazy

So much has been said of the collaboration between Danger Mouse and Cee-Lo and the resultant product from Gnarls Barkley.

First single, Crazy, was leaked a whole 6 months before the album was released. The result is an instant internet frenzy over the song. Infectiously catchy and unquestionably soulful, Crazy is undoubtedly one of the year's best singles alongside Thom Yorke's Harrowdown Hill. Right from the moment Cee-Lo sings "I remember when, I remember, I remember when I lost my mind," Cee-Lo's pristine vocals fired the song to great heights.

It's one of the times when a collaboraton between two different artites that bears fruit this good. (A)

Aural/Mental: Album of the Year - The Eraser

Thom Yorke
Eraser

It's been a long time coming. More than 13 years after Radiohead's debut album comes Thom Yorker's solo outing, Eraser. Some say it's Amnesiac Part 2. You decide for yourself but with a palatable mix of chilly electronic and emo music, the Mercury-Prize nominated Eraser is as weird as it is ecletic. Once you revel in the music, pay attention to the lyrics and the record starts making more sense than before. The electronic stutters toward the end of the title track bring to mind Bjork. The trio of songs that closes the album makes for an extremely satisfying trip into a dark realm that Yorke has slowly drawn us in through the 9-course feast. Throughout the record, his distinctive vocals adds finesse to the entire project.

Recommended tracks: Black Swan, Harrowdown Hill, And It Rained All Night, The Eraser, Cymbal Rush (A)

There's No Secret

I'm Going To Tell You A Secret (Documentary + Soundtrack)
Starring Madonna and crew
Directed by Jonas Akerlund

The title of Madonna's latest offering is ironic. There's neither secret of Madonna's stupendous showmanship at her million-grossing live shows nor much of her current life. So what's this release for especially when it's about a tour that happened 2 years ago?

Whereas most of her previous tours are well-documented on DVD (sans The Blonde Amibiton Tour and The Virgin Tour), the record-breaking Re-invention Tour which forms the basis of the documentary here, is presented as only a soundtrack to the documentary.

What fans get will be 14 live tracks, 5 of which are from the American Life era, in their severely edited form. Some of the tracks sound almost indistinguisable from the original studio recordings (Vogue, Die Another Day). Madonna's voice is unquestionably strong on the tour and where she shines on the emotional John Lennon cover Imagine, she is brilliant and earnestly moving. Other noteworthy performance trackes include the much revered Music and the perenial classic Holiday. Into The Groove was good for the large part, but it would do a lot better without the pseudo-hipness of Missy Elliott's rap. I finally have a new found appreciation for the forgotten Nobody Knows Me, which is without a doubt, a roaring highlight of the disc. Finally, the rock version of I Love New York is a nice alternate treat to the one we hear on Confessions.

As for the documentary, it is certainly well-shot and segmented by Jonas Akerlund. In it, you'll see that Madonna's reached a new maturity that has become the foundation of her life, though many of the revelations aren't necessarily secrets, if you are looking for any. Interspersed between chapters are interviews, behind the scene footages, rehearsals and concert snipplets, but no concert in full. And the promised Director's Cut of the American Life video is nowhere in sight (you are better here with YouTube). It all adds up to the disappointment considering that the Warner Bros. press release had that on it.

As it is with the string of uneventful releases by Warner Bros. and Madonna, Secret might be little too late but still, the documentary succeeds in humanising Madonna, making her less distant to us us folks who love hearing her doing her sing and dance. (B)

Let's Get Together (I really want better remixes!)

Madonna
Get Together

Madonna's 3rd single off Confessions, Get Togther is an apt follow-up to Sorry. Reminiscent of Stardust's Music Sounds Better With You in production, the track is progressive electronic with a pumping bassline.

However, as with the recent Madonna remixes, the maxi-single is severely dismal. Stuart Price's production may be commanding on Confessions but his remixes of the three Madonna singles have been lacklustre so far compared to his stellar work for Goldfrapp, The Killers, Depeche Mode and Coldplay. The Danny Howells and Dick Trevor Kinky Fun Mix is really neither kinky nor orgamsic at all, relying on repetitive beats to produce a generic dancefloor snooze fest. Skip and then come the slightly more interesting mixes from revered remixers Tiefschwarz and James Holden. However, the two remixes are a complete departure from the original tune. Tiefschwarz manages to infuse more futurism into the song, giving it a slight Kraftwerk edge. James Holden's remix held great promise at the beginning but gets tiresome after a whole 8 minutes of repeated electronic blooping (read: irritating).The I Love New York remix by Stuart Price finally recovers some lost ground with a rather rocked-up version of the original.

And the original cover of the maxi-single is hideous if you do come to see it. I rather like the fake one shown here done by a fan. The Get Together video just premiered but it's just Madonna performing the song live superimposed against a futuristic animated background. It really isn't too bad considering the zero expectations I had.

If Warner Brothers (and Madonna) know what they are doing to the recent Madonna releases and promotional blitz, they'd have some inkling that they are doing everything wrong or not doing anything well at all. Such a wasted opprotunity for an excellent track. Lazy ass! (B-)

Aural/Visual: Nelly Furtado's Promiscuous + Maneater

Nelly Furtado
Promiscuous
Maneater

Following Nelly Furtado's dead-on-arrival sophomore album, Folklore, the once-acclaimed artist is ready to recover some lost ground. Enlisting the help of star-producer Timbaland as well as people ranging from Nellee Hooper to Rick Nowels and Chris Martin of Coldplay, Loose is about to unleash itself onto the charts.

If the first two singles are anything to go by, Furtado's foray into the rather pedestrian and crowded hip-hop scene is anything but brilliant. At the hands of Timbaland, first single Promiscuous is highly addictive and danceable with an unforgettable bassline. Furtado's transformation into a full-fledged hip-hop star is evident and convincing on video as well. Rather than appear as some scantily-clad bimbo in distress, Furtado shows Beyonce, Jennifer and Shakira that she too can shake that ass well. Lyrically, the song may be as simple as talking about a pair of salacious couple looking to bed each other, but the song will definitely be a dancefloor anthem of 2006 (much like Timbaland-helmed Missy Elliott tracks).

And to cash in on the success, her record company, Geffen, rush-releases Maneater to radio and retail. Lending his magic again, Timbaland and Furtado creates a track that brings 80's Prince to mind. Funky and equally catchy as Promiscuous, the singer sings of a scary woman who destroys men within sight.

There's nothing preachy or serious here, just a whole lotta fun. The impending album release on June 20 also features a Chris Martin track, All Good Things Come To An End, something worth watching for. (A+ for Promiscuous, A for Maneater)

Cross and Crossed

After seeing red over the so-called blasphemy in the Dan Brown thriller, The Da Vinci Code, the Catholic Church (English Church as well) are angered over Madonna's use of the cross in her opening concert in Los Angeles.

With due respect, they should perhaps relax a bit. The use of the cross in Madonna's concert may not have intended to contain any religious symbolism. Besides, she wasn't rude or anything. And when put in context, the images that ran behind her on the screen, together with the song she sang, Live To Tell, depicted scenes of HIV/Aids-stricken African children in poverty and facts about their suffering. It's all for a good cause really.

The churches should speak, but only after seeing everything. For the well-informed, you make you own mind about this unnecessary 'fiasco.'

I am just going to enjoy the concert footages while in total envy of the numerous Japanese fans who would get to see her again.

Mental: Anagrams+Symbols

The Da Vinci Code
Directed by Ron Howard
Starring Tom Hanks, Audrey Tautou, Ian McKellan, Paul Bettany, Jean Reno
Screenplay adapted from the book by Dan Brown

The Da Vinci Code when viewed strictly on its own merit worked flawlessly as a well-executed mystery thriller. There's mind-boggling suspense, unexplained theories and unresolved mysteries within the span of the film's 150 minutes.

However, when it comes to the subject material, staunch Christians were riled no end by Dan Brown's fiction, calling them blasphemous lies. The published book certainly didn't quite create such a stir back in 2003. Yes, the thing is, in a bid to confine the movie to a reasonable length on screen, part of the intriguing plot in print was left out, making viewers who haven't read the book beforehand guess more than they should.

Dan Brown's postulations were taken too seriously by some quarters. He never really claimed that they were true but merely conjectures based on his research or understanding of the faith.

Now, the acting. I am generally pleased with the performances by the cast despite criticisms that Tom Hanks didn't look the part of the character David Langdon in the book. Well, I thought he did well. Hanks does give the character of the symbologist his own flavor; his constant frown conveyed a sense of urgency in solving the mystery and clearing his name.

The always beautiful Audrey Tautou who plays professional cryptographer Sophie Neveu is perhaps the only likable character throughout the show. The role might not be demanding of her as the sidekick of Hanks' Langdon but Tautou gives a serious performance coming to terms with her grandfather's death and discovering her true identity. It's a welcome departure from the usually impish and wide-eyed roles that Tautou plays.

Ian McKellen's over-zealous historian, Sir Leigh Teabing adds to the mystery when Langdon and Neveu shows up at his door seeking for help to unravel the hidden truth. McKellen's acting prowress is undoubtedly splendid.

Paul Bettany's in his role as the obsessed and self-mutilating-in-the-name-of-god monk, Silas was scene-stealing (he was almost unrecognizable). The conviction in his eyes and behaviour would be one of the pinnacles of the movie as he seeks to further the cause of the religion.

My only disappointment was with Jean Reno. But again, his role was severely limited so we could only see his Opus Dei character Captain Fache pull a long face and all the stops at trying to foil Langdon's and Neveu's plans at every juncture.

No one should really complain at the adequacy of The Da Vinci Code as a functioning thriller despite some of Dan Brown's more ludicrous assertions [In fact, this might spur people, Christians or otherwise, to want to read for themselves the origins of Brown's assertions]. After all, we must remember this is fiction not theology. The way to enjoy the Da Vinci Code on screen is to watch it with a free and unprejudiced mind. (B-)

Aural: Indie Folker Mending Souls

Joanna Newsom
The Milk-Eyed Mender

When a friend passed me the single Sprout and The Bean, I didn't immediately listen to it, thinking that it was some fairy tale song that would be almost too impish for me. I finally played it and loved it instantly. The song is entirely magical with a child-like quality enhanced by the beautiful harp played by the classically-trained Newsom (think of Bjork on Vespertine and Drawing Restraint). A masterpiece I would say. I saw the video and was further entranced by the disarmingly charming visuals that ran across the chalkboard behind her.

I got The Milk-Eyed Mender and I found a gem. Newsom's clever use of the harp gave many of the tracks a surreal and peaceful feeling which tranlsates to a very pleasant experience for the listener. Her voice, reminiscent of Bjork, Emiliana Torrini, Stina Nordenstam and occasionally Kate Bush sometimes bring a slightly heartaching yearning on tracks like En Gallop and The Other Side of Blue.

Recommended tracks include Bridges and Baloons, Spout and the Bean, En Gallop and the absolute mood lifters Inflmmatory Writ, and Peach, Plum and Pear.

Newsom's lyrics may seemingly be irrelevant and somewhat obscure but such is the beauty in its simplicity. Everything of Johanna Newsrom (pint-sized voice, big-sized harp) put together makes The Milk-Eyed Mender a gem worthy keeping and leaves the listener intoxicated... Joanna may never find fame from The Milk-eyed Mender but she's definitely a salvation of today's music. (A+)

Marble smile

Marble smile
Originally uploaded by soul constructor.

Hmmm, haven't gotten ble to stick his tongue out in front of the lens...

Very happy!

Marble sleepy

Marble sleepy
Originally uploaded by soul constructor.

Priceless...got this shot while marble was yawning big!

Marble chill

Marble Chill
Originally uploaded by mfibian.

Taken this morning immediately after I woke up to find marble chilling by my orange dustbin.

Haven't seen him doin' this in ages :)

Lovely!

Inexplicableness

Soul Constructor woke up that day to an inexplicable sense of loneliness that was unsettling. Even though he knows he has the love of a caring family and close-knitted confidants. Still, that feeling overwhelms him, likened to a person stands in solitude on a deserted isle.

An emptiness to hard to mention...

Aural/Visual: Dance! Dance! Daft Punked...

Daft Punk
Musique: Vol. 1 1993-2005 (Special Edition)

To the uninitaited, Daft Punk's around for more than a decade or so though it's really in 1997 when they exploded with Homework that the dance/electronic world sat up and took notice. With their unique brand of French electronic flavor, the duo were able to dazzle their audience.

Mixing hard rock beats with pulsating electronic basslines and vocordered/robotic vocals, Daft Punk brings to us a whole new experience on the dancefloor which includes Alive, Da Funk, All Around The World and Musique. In 2001, following the success of Homework, the duo finetuned their sound and brought some retro-funk on Discovery to their electronic stable. First single, One More Time, with its catchy chorus and retro-disco sounds immediately caught attention and sold wonderfully. Tying up with Japanese anime Interstellar 5555, singles such as Digital Love and Aerodynamic benefitted with stunning visuals accompanied, further consolidating their position in the dance/electronic arean.

Last year's Human After All was much of a disappointment, having being completed in 6 weeks and sounding a lot like a miscast record of leftovers except that Make Love and Emotion still remain two of the best songs they have written which are seriously overlooked.

Musique Vol. 1 serves as a pitstop of Daft Punk's repertoire of music, giving casual fans an opportunity to try the band out. However, as essential with any money-making scheme, Virgin opted to leave the excellent Digital Love and Aerodynamic from Discovery off this collection.

Then what's left for hardcore fans on this special limited edition are the videos. The 12-video collection of which one is a remix also leaves out the above said two singles. Still, it's a visual treat and collection to hold, especially the manga videos from Discovery. Of course, a disc of remixes wouldn't hurt too. Oh, that's been done before too... Damn! (B+)

Visual: The Perfect Insight

The Inside Man
Directed by Spike Lee
Starring Denzel Washington, Clive Owen, Jodie Foster

Spike Lee's Inside Man may seem like just another cop and robber story until you see the story unravel on screen. Robber Dalton Russell (Clive Owen) has planned a perfect heist that has put career cop Keith Frazier in a fix. Amidst intense negotiation between thw two, power broker Madeline White (Jodie Foster) enters the picture proving herself to be a better negotiator than Fraizer. But everyone has their motives and the interlocking puzzle gets more complex. As the story unfolds, each turn becomes
more unpredictable.

Clive Owen is excellent witty robber who's outpacing everyone at every opportunity. Displaying a level of cool collectedness, Owen was convincing as the potentially violent criminal with a broader agenda in mind.

Denzel Washington turns in an equally sublime performance playing the detective who's trying to serve justice while battling investigation for corruption. Detecive Fraizer's urgency in taking Russell to task is well portrayed by Washington.

Jodie Foster's Medeline White may just play a supporting role but it's no doubt that the actress can handle any role with aplomb. Her character's brimming with calm confidence trying to secure a deal with the robber while enriching her own pockets.

Spike Lee's Inside Man is an exciting thriller with non-stop action and suspense. It cleverly plays out and eventually leaves the audience dazzled and in awe. (A)

Aural: Fiona Apple's Extraordinary Machine

Extraordinary Machine

Fiona Apple

Fiona Apple's much-delayed, much-hyped and much-rallied for third album, Extraordinary Machine was many mouthfuls less than her last effort. True to form, the incomplete internet-leaked album now sounds more polished than its original form though purists have begged to differ.

The Jon Brion-produced title track is an exquisite and delighful song that almost brings back the glamorous 60's broadway feel with its clever lyrics. O' Sailor is an Apple piano standard which sounds like a deadringer for Shadowboxer with her smoky yet yearning vocals. The new version has a choral ending absent in the earlier version, resulting in a division of opinions among diehard fans as to which is better. Tymphs re-produced by Mike Elizondo has successfully married Apple's shrewd pop with the ever popular hip hop sound to create the best cartoon tune that Disney never came around to produce. Then there's the sorrowful and dramatic Oh Well where Apple sings with so much unspoken angst.

Sony might find Extraordinary Machine uncommercial enough (Sophie B. Hawkins was an earlier victim, George Michael too) but in this internet age, the fans' ability to rally behind a forgotten artist has demonstrated their collaborative might to the record companies. After all the dust is settled, Extraordinary Machine is best left for fine savouring. (A)

Aural: No need for sorry

Madonna
Sorry

Sorry is the #1 UK followup to the worldwide smash Hung Up. Beginning with Madonna saying Sorry in many different languages, the song then breaks into a rapturous electronic-disco track that also features an irresistably addictive beat throughout.

Included here on this maxi are some of the best remixes of a Madonna song in recent years. In the absence of Rahoufer and Calderone, we see a surpise here being 80's pop icon Pet Shop Boys doing a brilliant mix of Sorry. With Neil Tennant's added vocals and trademark PSB production, it's hard to think that the boys have never worked with Madonna until now (given that they had written Heart in 88 with Madonna in mind but didn't dare risk disappointment so it was never handed to her). The Oakenfold remix of Sorry has to be his best for Madonna yet. Edgy and anthemic, it brings new energy to the song to create a stomper. Green Velvet's remix is set to a fast-tempo electronic beat with enough beeps and blips to keep you dancing. The only bland mix would be Stuart Price's (co-writer of Sorry) Man with Guitar Mix.

The other surprise would be the excellent Paper Faces Mix of Let It Will Be which was heard at one of Madonna's live performance. With added beats and a stylish makeover, the song screams for a release of its own. (A)