Film Review: DIVERGENT

(This review contains a few spoilers and direct references to scenes in the film)

I went into Divergent feeling relatively neutral, not particularly excited, and not expecting anything that great. The trailers were interesting, and I liked what I had seen so far cinematography-wise, but I didn't really know what to expect and how the director, Neil Burger, was going to interpret and develop his impression of Veronica Roth's fantastically fast-paced novel.

Even when the title sequence began rolling, I knew that there was going to be something a little special about this film. I couldn't have been more accurate. Divergent was unique in its stance on the YA novel turned film adaptation as it didn't compromise the visuals or screenplay and yet maintained a good, gripping pace. Although there were a few differences between book and movie, there were also a lot of positives about this adaptation. 

Let's start with what I liked about the film:

The cinematography and appearance of the film was stunning. The attention to detail was fantastic and I really liked their artistic representation of this crumbling but surviving futuristic Chicago. There was a good combination of futurism and technology intermixed with the more simple and mechanical appearance I imagined from the book: for example, whilst the Erudite and Dauntless compounds had a very stylised newness about them, the trains that ran through the city still looked old and weathered. It was this juxtaposition alongside the eroding skyscrapers scattered through the city that really created an exciting visual effect.

The film was also shot in a very intimate manner in which the viewer feels very close to the main characters during the action. Specifically, I really enjoyed the visual choice to make frequent close-ups of Tris whilst the film progressed which allowed us to really notice the small changes in her disposition. My favourite element was the reoccurring motif of her reflection. After the viewer becomes familiar with the Abnegations' uneasiness with mirrors, the simulation where Tris becomes multiplied again and again into infinite copies of herself is a beautiful symbolic representation of her choice. Tris' reflection then follows her throughout the remainder of the film in moments of novelty or excitement, such as the zip-wire scene and the fear landscapes. She is forced to connect with herself.

One of the changes that, in my opinion, really benefited the plot of the film was the construction of Tris as a character. In the book, she does gain bravery and confidence immensely, but still holds something childlike and naive in her demeanour. However, Shailene Woodley's portrayal of Tris was more mature, hard hitting and wittier. Contrary to the dystopian genre, the film was full of light-hearted humorous lines which were timed effectively and because of this, I found it a lot easier to warm to Tris. I ended up preferring film-Tris to book-Tris just because I feel like the journey from girl to woman is a lot clearer in the film and there's something a lot harsher and more determined in Woodley's Tris. 

Furthermore, I enjoyed the beginning of the film a lot where we were able to get a sound and thorough introduction of all the factions and how they fit within the structures of the society. Moreover, it was interesting to see Tris slowly noticing more and more of the Dauntless until she becomes one. The scene where she climbs the bridge amongst the running Dauntless with music pounding and smile spreading across her face is magical: the viewer really experiences a certain exhilaration with her.

As for other changes that worked really well; I liked how the action was more serious, for example, the paintball activity in the novel changes to war games with fake bullets that feel like real ones. Suddenly, that omnipresent danger becomes all the more clearer even in the activities they consider "fun". The fighting, battle and action scenes were also very extensive and the stunts were very well crafted. I really valued this choreography and that they didn't minimise the action as Divergent is characteristically fast-paced and tense.

Similarly, I like how the fear landscapes were interpreted. Unlike the book, the Dauntless can only escape their fears by solving how to stop and escape it, much like a logic puzzle. This made the viewing experience a lot more satisfying and exciting however it didn't really make sense to show bravery by using puzzle solving skills which seem more suited to Erudite. I especially liked Tris and Four's journey into his landscape where he taught her the difference between Divergent actions and Dauntless actions. I felt this made more sense within the context of the tests as well as allowing a more plausible reason for Four to allow Tris into his mind.

Talking of Four, Theo James presented a version of him that was completely different to anything I had imagined, but worked surprisingly well. Theo's Four had such an intense masculinity about him whilst still retaining the tenderness and honesty so integral to his personality. Other characters which exceeded my expectations in a good way were Tori (Maggie Q), Christina (Zoe Kravitz) and Eric (Jai Courtney).

"I don't want to be just one thing. I can't be. I want to be brave, and I want to be selfless, intelligent, and honest and kind."

As for elements that didn't work as well: I really wanted more from the secondary characters. The movie was very focused on the main story-arc as I mentioned before, following Tris very closely. However, in choosing to do this, a lot of the thorough and rich subplots with the secondary characters were lost. The viewer wasn't able to see the romance blooming between Christina and Will; we weren't able to see the true extent of Peter's maliciousness; and we were unable to get introduced to any of the Dauntless-born initiates. It is fully understandable as to why these small details were cut, but the real appeal of Divergent was its set of characters, and it was a real shame that we couldn't get to know them all as well as we did in the book. This also meant that when certain characters did die, the impact was cushioned by the fact that we didn't get that intense connection.

The pacing also felt extremely rushed due to the fact that they were trying to maintain most of the plot points. A lot of scenes were included, but they all seemed to happen briefly, especially during the Dauntless initiation which loses some of its apprehension and fatality. Again this lowered the viewer's investment in the plot and characters and I struggle to think what non-readers of the book would think of this film.

Overall, Divergent was a nice accompaniment to the book. I appreciated the artistic interpretation and creation of this wonderfully corrupt future. The visual design was fantastic and the acting very good although the rushed pacing made it quite difficult to grasp the scientific side of the narrative. A great, cinematic experience but not mind-blowing.

p.s. The actor who played Will (Ben Lloyd-Hughes) looked so much like Ezra Koenig from Vampire Weekend in this film. Scary.

(Screencaps from http://www.divergentlife.com/)

Film Review: THE SPECTACULAR NOW

(This is a spoiler-free review)

The Spectacular Now is a charming and organic story of Sutter Keely, a easygoing boy drawing to the end of his high school years. He lives by the philosophy of The Spectacular Now and concentrates solely on the the moments at hand. Despite his quick-wit and fast talk, Sutter is painfully confused and distant. Through his relationship with the sincere Aimee; acceptance of his unexpected breakup; and a reconciliation with his father, Sutter realises that the Now may not be as simple as he first thought. 

This isn't a bland or typical teenage romance. This isn't predictable or cheesy or simply heart-felt. Instead, The Spectacular Now succeeds at being a kaleidoscopic and shockingly honest record of this boy's journey. There are confusions and illusions within many levels of his life and there are no doubts of this film's ability to portray realism. Teenage life - especially one that is balancing on the cusp of adulthood - is not simple at all. It has its expectations and betrayals and understandings and lessons. This film manages to capture them all with a satisfying mixture of humour and candor.*

Sutter was such an interesting character to undergo this exploration with. The beginning of the film really did him no favours. I didn't particularly warm to him or respect his decisions. However, I began to really care for him due to this true kindness within his personality that was impossible to ignore. Sutter radiated this multi-faceted mix of effortless charm and distracted sensitivity. It was in the little unspoken gestures which really illicited this vulnerable side of him. For example, the way Sutter is extremely charismatic to the customers of the suit store he works for and then turns around to douse his fountain soda with whiskey from his hip flask. He sips out of one of these strawed drinks for the duration of the film until it becomes this omnipresent symbol of his childish exterior with a hidden maturity within.

Miles Teller does a fantastic job reflecting this character. Not having any previous knowledge of his acting, I was blown away by his performance. Likewise, Shailene Woodley's portrayal of Aimee was strong and there wasn't a moment when I didn't believe Aimee's kindness. 

I really liked the family arc for both Sutter and Aimee. Unlike a lot of teenage-centric film and literature, their backgrounds were addressed but weren't exaggerated. When Sutter finally meets his father, there is a simplicity in the way that it plays out. The same goes for the rest of the cinematography. It didn't need any outrageous dialogue or designer costume design or loud music. Every moment and every experience was stripped down and therefore felt all the more honest. This direction made the characters and their lives more believable. I think that's why Aimee and Sutter's on-screen relationship worked so well. It was effortless. The same goes for the ending which I think fit well within the format.

"But the real challenge of my life, the real hardship, is me. It's always been me."

I would highly recommend this film. It is a beautiful story of expectations, intentions and doubts. You never quite know what will happen next because that is ultimately what it is to be human. It's not about the relationship you have with your girlfriend or mother, father or boss. It's about the relationship you have with yourself. The one you never quite realise is there. A truly humbling viewing experience. 

*Ha-de-har. With Miles Teller acting as the Candor-born initiate Peter in the upcoming Divergent, it was too good to miss this pun.

(Images from imdb.com and grande-caps.livejournal.com)

Book Review: THE 5TH WAVE by Rick Yancey

This brutal alien invasion novel shows Earth in true apocalyptic hysteria. Foreign species are invading the planet. But not without destroying and annihilating the entire human race first. Filled with countless psychological plot twists and a clever interpretation of human extinction, Rick Yancey excels in 'The 5th Wave'. 

The novel initially follows heroine Cassie Sullivan, a sixteen-year-old survivor of the apocalypse, whilst she recalls the destruction that followed the first four waves: a worldwide powercut; devastating tidal waves, a deathly plague which causes bleeding from every orfice; and disguised killers that look just like humans which destroys the very concept of trust. These methods have killed all but several hundred thousand humans. The population is rapidly decreasing and it is becoming more and more likely that Cassie will be the last of humanity. The reader follows her journey alongside a parallel narrator as they try to make sense of how, why and what is exactly going on. However, the 5th wave is approaching and they are running out of time.

"Cruelty isn't a personality trait. Cruelty is a habit."

I have to congratulate Yancey here for orchestrating a well-paced and engaging action novel which kept me constantly guessing by maintaining high levels of paranoia. The most effective result of this technique was the inability to deduct who the real enemy was. With the characters, you are never certain who to trust and who is telling the truth. The uncertainty that underlies every page is therefore a captivating way of keeping the story fresh and interesting the whole way through. I found 'The 5th Wave' had a similar reading experience to Divergent where the gripping plot-driven narrative encouraged me to pick this book up at any given opportunity just so I could find out what was happening next.

(This review will contain spoilers from this point onward.)

The narrative style was also very effective and the choice of narrators were also very well considered. I have to admit that after reading the first chapter through Cassie's perspective, I did get a little irritated with her voice and wondered whether I could have read a whole book in that way. However, as soon as the perspective swapped to Ben Parish, I was immediately engaged. Getting a drastically opposing focalisation  to Cassie added insight as well as heightened the aforementioned uncertainty. Once the reader begins to familiarise themselves with Ben and view the events through his indoctrinated point of view, the aliens' manipulation feels that much more realistic. 

The dichotomy between Cassie and Ben was also so clever. At the beginning of the novel when Cassie spends many pages describing her obsession with her high-school crush, I sighed and wondered why there was such an emphasis on this frivolous and admittingly irritating detail. I was so relieved to discover his greater involvement in the novel. There is such a great presence of dramatic irony where Ben's bland and cliché high school jock archetype is both fuelled and subverted by his development into a soldier. He becomes a similarly faceless person in a completely different way - and yet through his narration - the reader gets to learn so much more about his background, adding layers and texture to his characterisation. It was so entertaining to read the climax where Ben's and Cassie's story lines collide and the two meet in this unbelievable, almost hyperbolic situation where the coincidence of them meeting again makes the ending so much more enjoyable to read. It also effectively emphasises the personal journeys the two have gone on:  from one high school student sought after another, to two emotionally broken survivors who have been to hell and back. The fact that Sammy is there as a conduit to link the two together even further is brilliant and their maternal/paternal instincts demonstrate how quickly they've had to grow up. 

In my opinion, I found Ben's character arc and journey more interesting to read and I think it was also written better. The tone was more psychologically thrilling to read I really liked the dynamic between all the other child-soldiers within his army squad. I found it important that Yancey wasn't afraid to use very young children and I subsequently found Teacup to be a very interesting character. Additionally, I think the romance between Ben and Ringer was done well as it never felt artificial or forced and didn't interrupt the high pressured plot. 

On the other hand, I didn't really warm to the relationship between Cassie and Evan. I found the first scene of their initial interaction unbelievable as there was that element of insta-love. I'm not sure whether it was just Evan who I never really connected with, or whether it was Cassie's presentation of Evan that didn't sit well. However, as the novel progressed, it got easier to accept the credibility of their relationship, especially when considering Evan's literal and mental division which would lead to foreign feelings and confusion.

I'm intrigued to read the sequel: The Infinite Sea and I cannot fathom what kind of mind-blowing events Yancey will bring to the story next. So watch this space.

Book Review: MRS DALLOWAY by Virginia Woolf

Wanting to expand my knowledge on 1920s Modernist texts after reading the brilliant The Great Gatsby, I picked up Virginia Woolf's Mrs Dalloway at my school library. Being one of her most well-known novels, Mrs Dalloway was a spectacular introduction into Woolf's effortless and captivating writing style. The narrative follows Clarissa Dalloway through morning and night as she evaluates her lifestyle and past whilst preparing for an elite party. The novel explores internal monologue as the focaliser swaps between each of her guests throughout day as the reader familiarises themselves with the ultimate complexity of the human mind.

One of my favourite aspects of this novel was Woolf's presentation of time. Being a fluid and yet erratic concept, time confuses us all and never ceases to confuse which I believe Woolf captured perfectly. In a Romantic Modernist style, the beautiful lyricism of the prose juxtaposed with the frequent fragmentation of the past and the present creates a startlingly realistic situation as time seems to blur and merge constantly throughout the narrative. Moreover, the motif of Big Ben which illustrates the objective mechanical time of the clock, always appears unexpectedly and throws the reader straight back to the novel's present in that way that we're all familiar with: that the time within our consciousnesses never coincide with the time on the clock face. In doing this, the reader can empathise with the thoughts of the characters in a subtle and effective way where we begin to understand the impact of Clarissa's entangled past with Peter and Septimus' dreadful memories of the war. In true Gatsby fashion, Mrs Dalloway's characters all want to "repeat the past" and return back to the utopian place of hindsight. However, reality triumphs again and again where the slow and at times tiresome pace of the novel really accentuates this inability to escape from the present. 

This theme of unforgiving escapism reappears in the underlying references to death. Clarissa and Septimus fantasise about it and embrace the thought of it which establishes an extremely ominous and profound undertone beneath the frivolity of Clarissa's desire to organise the perfect party.  Even within Peter's mindless opening and closing of a pocket knife the reader is hinted at the possibility of a Romanticism in death. 

"All of this, calm and reasonable as it was, made out of ordinary things as it was, was the truth now; beauty, that was the truth now. Beauty was everywhere."

The technique of essentially swapping narrators every few pages was one of the most interesting aspects when reading the novel. There was a mixture of elegant naturalness - where the change in perspective was so seamless that the monologues passed on without me noticing - and intense confusion where I had to flick back a few pages just to check who was thinking. This combination may have been accidental or intentional but I thought it was effective in making me concentrate better on each characters' personal voice. It also emphasised the similarities in everyone's worries. A lot of the characters had unlikely correlating thoughts which was interesting to show the extent of similarity between unconnected people. It made me wonder: who else is thinking what I am thinking? Who else has the same stress and worry and confusion that I face?

Furthermore, being able to see the world through the eyes of every mentioned character was exciting as it created this paradoxical effect where everyone was connected and yet all were isolated. Although the book followed nearly every combination of relationship such as husband/wife, mother/daughter, teacher/student, doctor/patient, the interactions between the characters paled in comparison to the internal interactions the characters had with the reader. The power of uncontrolled unconscious thought really showed through Mrs Dalloway and was highlighted even further through the absence of chapters. Overall, Mrs Dalloway felt continuous, textured and above all, real.

Concert Review: IMAGINE DRAGONS 'Night Visions' Live at O2 Brixton

Securing three consecutive nights at London's O2 Academy in Brixton, Alternative Rock band Imagine Dragons blasted out an amazing high-energy performance that had me captivated and reeling for days after it ended. Being my first ever concert from one of my all time favourite bands - Imagine Dragons didn't disappoint and really set the bar high for any future performances I go to. Performing songs predominately from their album Night Visions, each and every song was executed to an outstanding degree with nearly all my favourites making an appearance. The music is original, thoughtful and uplifting and I left the evening feeling completely stripped bare of stressful worries. 

On the night I attended, Imagine Dragons were supported by The Moth & The Flame and Linus Young, two bands I had no prior knowledge of before entering the venue. The show opened with The Moth & The Flame who had a lovely rustic lyricism to their sound which I really liked. Feeling lethargic after an hour or so of queuing, the deep thrums of their bass and drums woke me right up and I thoroughly enjoyed their unique style. I did feel that a lot of their charm and lyrics were lost in the size of the stage and I wish I could have heard them in a quieter and more intimate place. I did enjoy them, and their set had me riled up for the Dragons. However, the second supporters, Linus Young, didn't do quite as well. Their drummer and lead guitarist were great yet the band fell short on their vocals. Again, it could have been the acoustics of the large venue, but the female singer sounded particularly pitchy. Unfortunately, being the second support act may not have been in their favour as the crowd admittedly weren't paying attention until the main act were to appear.

Finally, the set was reorganised, the stage darkened and a flurry of piercing eyes emerged within the blackness of the stage. The projected eyes glowed momentarily until a bright illumination of neon wedges overtook them. The stage rapidly burst into light as Imagine Dragons took to the stage and each member played their instruments with passion in a powerful instrumental introduction.  

The Moth & The Flame

(From left to right) Ben McKee (bass), Dan Platzman (drums), Dan Reynolds (vocals), Wayne Sermon (guitar)

The whole atmosphere and set up of the gig was incredible. From the psychedelic lights to the beautiful projections on the screen behind them; with a scattering of multiple heavy drums and a golden guitar; Imagine Dragons filled the venue with their presence and every second they were on stage was exciting. Dan Reynolds (lead singer) in particular had such strong stage presence and it never felt like a separated viewer/musician performance but rather a fully involved connection. There were plenty of opportunities for the crowd to sing along - however out of tune it may have been - and we were encouraged through every drum beat to fully enjoy ourselves. With this positive attitude permeating through the audience, I couldn't help but jump up and down with all the enthusiasm my athletically-challenged body could muster. 

"And now it's time to build from the bottom of the pit right to the top, don't hold back."

Amsterdam

The set list was well constructed with a good amalgamation of their faster songs with slower counterparts. They opened with the brilliant Round and Round which blended perfectly into one of my personal favourites: Amsterdam. The timings and order of the songs created a good complementing experience. Specifically, after a energetic run of It's Time and Imagine Dragons' surprise cover of Blur's Song 2, the contrast of a beautiful acoustic and emotionally-fuelled piece set a poignant tone. The highlights of the night have to be It's Time where the upbeat instrumental had everyone clapping and stomping in response. This was also where several large confetti-filled balloons floated down to the crowd which just made everyone happier. On Top of the World was similarly as uplifting as the whole audience were encouraged to jump together and just let go. Of course, Radioactive has to be given an honourable mention and hearing it live felt truly apocalyptic. If it were possible, they were even better in the encore with Nothing Left To Say where they really made themselves heard. The encore song choice  in my opinion, was perfect as it closed the show in a bittersweet but powerful way. The intensity and energy poured into this last song showed the dedication and passion the band has for their music.

I also really liked how every member had a portion of the show to rock out their own solos which allowed the audience to see every facet of the band's talent. I have no doubt that Imagine Dragons will go far with their extremely skilled musicians, meaningful lyrics and emotional resonance. This is a night I won't forget.

(Concert photos taken by me, The Moth & The Flame and band photo not mine)

TV Review: First Impressions of AMERICAN HORROR STORY: COVEN

The brand new season of American Horror Story finally aired this month with the third instalment, Coven telling the mysterious story of the witches of New Orleans, and in true AHS fashion, alludes to both the past and the present as it explores the complexity of magic and witchcraft. After watching the first two episodes, I can say without hesitation that I love it. Season Three finds a middle ground between the humourous but outrageous Murder House and the darkness and cruelty of Asylum. Coven features a healthy mixture of exciting characters of both old and young generations; dynamic conflicts and antagonists; and a good helping of pancreas (sorry). With a long list of exciting plot twists and room to wonder, the introductory episodes of Season Three don't disappoint. Let's run down a few of my first impressions:

(Disclaimer: This review contains spoilers, so if you haven't watched it yet, what are you doing here? Click away and enjoy the new AHS.)

Starting with the origins of this tale, the season opens with 19th century Madame LaLaurie. Played by Kathy Bates, this strange figure brings the immediate horror to the season. LaLaurie is introduced with a face covered in blood, as she hastily applies more with a face brush: she clearly isn't going to be a tame character.Trapping and torturing slaves in her dank attic, Madame LaLaurie's eerily content disposition chilled me from the beginning. To make it worse, after doing a little research, I was horrified to realise that this woman was not fictional. Taking elements from truth whilst intermixing a frightful magical immortality to her courtesy of Marie Laveau (Angela Bassett), I'm very excited to see more of LaLaurie, especially once trapped in modern day setting. Specifically, I'm intrigued to see the development of LaLaurie's obsession with mythology and her Minotauric creation and possible future allusions to mythological symbolism.

Jumping to the modern day, we are introduced to the season's main heroine: Zoe Benson (Taissa Farmiga). It was exciting seeing Taissa in the AHS cast again, and her acting doesn't disappoint in delivering a subtle but raw performance as her character is plunged into the world of witchcraft. Hopefully Zoe will make some very interesting character developments during the course of this series as her unfortunate gift of death will create some isolating and complex situations.

Similar to the past two seasons of AHS, there is still a building of significance in the form of Miss Robichaux's Academy: a boarding school for the magically talented. The school itself stands as a grand and towering white property. Equally menacing and elegant, the Miss Robichaux's seems to reflect the young women within. But will the witches remain as pure as their house? Alongside Zoe, Sarah Paulson reappears as the school's kind but icy headmistress Cordelia Foxx, Madison (Emma Roberts) a forgotten actress turned drama queen, Nat (Jamie Brewer) and Queenie (Gabourey Sidibe); the other students. Although the population of the school is thin, there is no emptiness and each character displays a strong presence in their unique personalities and magical abilities. Nat is a quiet and somewhat troubled clairvoyant, which I can't wait to learn more about. Queenie is a human voodoo doll - my favourite power by far. Just think of all the possibilities the producers could take with this. Finally, Madison is blessed with telekinesis, which seems to cause much more trouble than harmony in her aggressive hands.

I commend the decision to keep this group of teenage witches tight-knit as it allows a much stronger dynamic to develop and progress between them.  Above all however, Jessica Lange's newest ruthless role as the 'Supreme' blows everyone else away as she commands every scene just with her presence. The Supreme's predicament with her inevitable ageing adds yet another menace. What lengths will she go to retain her youth? Death is not an obstacle, as we are shown in her interaction with the biochemist. With such a strong, prominently female cast, it seems that Coven will hold a very feminist approach this season which I am eager to see unfold.

"We are under siege. Our lives, our very existence is always at risk. Know this. Or, face extinction."

The visual decisions are very different from what I was expecting but have produced clever results. The costume design and atmosphere have been given a jaded, period appearance which heightens the edge of uneasiness of the strange happenings.  However, the modern day doesn't shy away either - with a college fraternity party the backdrop of the opening's main climax. The amalgamation of modern and old thrusts the show into an odd in-between where time is uncertain and vulnerable causing the viewer to remain on the periphery of secrecy.

This aforementioned party was both the cutest and most disturbing scene in Coven's first episode. We are introduced to a small, kindling relationship forming between Zoe and Kyle (Evan Peters) which doesn't last long for the fated couple. I really liked the little reference to Baz Luhrmann's Romeo + Juliet as Zoe and Kyle smile to one another through the rippled surface of an ice sculpture. Not only is it implied that their relationship is cursed from the start, but it is explicitly established that these two are not going to have it easy. On the other side of the party, Madison has been drugged and brutally gang-raped by Kyle's fraternity brothers. When the boys are discovered by Kyle, they are chased onto their fraternity bus, only to be all instantly killed by Madison with a simple flick of the wrist as the bus flips over and over. Now the viewer is caught in a moral dilemma. Were these deaths excusable? These teens are confused, angry and short thinking. It's a dangerous recipe for tragedy if there was one.

Evan Peters is not the only one to play a recurring character who is killed off in the initial episode. Misty Day (Lily Rabe) is quickly becoming another one of my favourites to the group. A young woman discovered by her community for her magical power of necromancy, Misty is burned at the stake. But that is by no means her last appearance, and with the death of two main characters in Episode 1, as well as multiple murders, I'm beginning to wonder what else the writers could possibly have in store for us.

This is emphasised in the resurrection of Kyle in Episode 2. This is possibly the most exciting element of the show for me so far. I am desperate to find out how Zoe and Madison will keep this secret hidden from the Supreme and how Kyle will function as a living, breathing Frankenstein's monster. Evan Peters has also revealed that the next few episodes will show Kyle restricted to body language, devoid of speech. I also have a theory about Zoe and Kyle. As Kyle is already technically dead, would it be that Zoe's power will be reversed so that instead of killing Kyle through sex, she resurrects him instead? More darkness is also hinted to come as Cordelia performs dark fertility magic as she grasps onto her last chance of pregnancy. 

These themes of life and death are thoroughly investigated in this season of AHS thus far. Each character can either bring about one or the other, some yearn death, some yearn life, some embody death itself. If the season continues to be as excellent as it has been so far, it may surpass as my favourite season.

(Images and screencaps from http://kissthemgoodbye.net/americanhorrorstory)

Album Review: MY FRIENDS by Paper Lions

Summers. Memories. Nostalgia.

Canadian indie band Paper Lions' My Friends screams the above; marking every drumbeat and guitar riff with a gentle probe in the memory bank as they manage to illicit mellow connections with childhood and first discoveries.Whether it be through their catchy and radical melodies, or through the humble and at times humourous lyrics, Paper Lions have managed to create a collection of songs that will summon a smile from any listener. 

"I know you are my friend. And if I never met you, I would be different."

I've been a firm supporter and appreciator of Paper Lions for the last year, and was delighted to hear of their new album release. I was even more intrigued when I discovered that a lot of the featuring songs would be rebooted versions of the tracks on their acoustic EP At Long Creek. Although At Long Creek has a special place in my heart with its gentle simplicity, My Friends didn't ruin my love for the songs, but strengthened them instead.

Beginning with ironically light-hearted and catchy "Bodies in The Winter", the album immediately begins on a quirky note. I can't really describe Paper Lions' style other than it being a mixture of The Strokes with Jack Johnson in a bouncy castle with sunglasses and tambourines. The tempo remains cheerful and energised; "Sandcastles" showcasing a more vintage, grainy sound followed by two joyful songs which perfectly capture those warm affections for family and friends in "My Friend" and "Little Liar". The album eventually draws to a close with "My Friends Are Leaving", a slower, bittersweet ending to this carefree childhood of music. However, although I know I can never physically return to those days of youthful smiles, I can replay this beautiful album which transports me back there nevertheless.

As well as being enjoyable on the surface, the lyrics always make me chuckle when I listen to them. Being a band of brothers and childhood friends, the songs and their emotions feel honest and personal. But I also feel like anyone can relate to the story of those early childhood trips to the country and seaside with family friends that My Friends narrates. The lyrics are also artfully imaginative, letting me escaping to "Balance on the rail ties" whilst "The brook runs through the broken arch".

I adore My Friends and I'm glad that it arrived in my hands just when I needed it. Through all my current worries about higher education and adult life, it's elating to be able to take a break from it all and return to the corners of my memories.

Images from Paper Lions' facebook page (https://www.facebook.com/paperlions). 

You can listen to My Friends for free on their website at http://paperlions.com/