Rebecca Schiffman - Before The Future

New York born singer-songwriter, Rebecca Schiffman, releases her fourth album on 25th July entitled Before The Future.

Born and raised on the East Coast, Schiffman has seemingly found her musical home on the west coast and the city of Los Angeles. This album features a multitude of guest artists and collaborators ranging from Deerhoof's Chris Cohen and Tim Carr (Perfume Genius) to name a couple. These new collaborative forces also changed her style of recording from the ten day relocation to the studio as she did with her first three albums; instead this album was recorded in more piecemeal due to the input of others. 

Starting with the title track and another with Cohen, creating this euphoric and anthemic sound for said title track that runs to nine plus minutes (an usual feat to front end an album with a long track). That track is about the grief from the untimely death of a childhood friend. It is the difficulty of grief and understanding of that emotion that is the underlying theme of the album throughout, as heard on 'Rudy's Song' which is about her bereavement for her beloved dog.

Schiffman has a gorgeous lilting voice, a soft delivery that works well with the pleasant melodies being played. Reminiscent of Margaret Glaspy in terms of singing style and Lori Anderson from yesteryear; Schiffman has crafted an album of a sunny disposition but with a more serious undercurrent to proceedings.

And yet there is joy such as 'Little Mr. Civility' about her two year old son, the new life in the world can change your outlook on many things. For Schiffman she did not want to become demonstrative in terms of making the rules and being strict, and this juggling of nature and nurture is the touchstone of the song.

All in all, this is an album of being aware of your feelings, expressing them the best way and how moments can channel or alter creative output. Schiffman is seeking balance between her long in the tooth East coast attitude and new found West coast sensibility; and in some ways she may have found it.

Before The Future is out on all platforms from 25th July

My thanks to OneBeatPR for the review opportunity.

The Dark Hours - Michael Connelly

 

Brand new LA set crime thriller from master storyteller Michael Connelly

Michael Connelly is most famous for creating the indelible detective Harry Bosch, rendered in the Amazon production Bosch starring Titus Welliver. Bosch is a hard-bitten, hard-working policeman who knows what is right and wrong, while the forces that be conspire to restrict his brand of policing in these more politically correct times.

As Bosch has grown up and in the narrative of his books, retired from the police force to become a private detective, we now follow Renee Ballard, a female police officer who works the same beat as Bosch used to do and is also facing the same troubles Bosch used to notice - colleagues who do not work as hard, no empathy for victims and hands tied by paperwork.

This new tale starts on New Years Eve, Ballard has to work the beat as all police officers must do on a busy night of the year in Los Angeles. In a pique of revelry, angelinos shoot bullets into the air amidst this unusual tradition a bullet goes astray leading to a murder investigation. The bullet leads to the reopening of a cold case led by Bosch.

The predatory Midnight Men are on the prowl, a duo of sex predators who attack women on major holidays - single women in their own home attacked and victimised. Ballard takes these attacks personally and chooses to hunt them down. Connelly has always had a great eye for detail in police work, as Bosch says 'get off your ass and knock on some doors' and Ballard's detective work in noticing the streetlights in terms of giving the perpetrators extra darkness is a wonderfully painted narrative detail.

As ever, there is a crispness to the dialogue spoken with real world dialogue apparent amidst a global pandemic and the swiftness of the narrative as Ballard spins numerous plates in the air while combining with Bosch to great effect. 

This makes for a winning combination and this is another winner from the desk of Connelly, a master of the crime genre.

The Dark Hours is out now from Orion Publishing on all formats 

Dark Sacred Night

Michael Connelly returns with the latest novel featuring Detective Harry Bosch

Set in and around Los Angeles, Bosch is not necessarily the lead protagonist of this novel. He is partnered up with the younger female Renee Ballard, a detective who must navigate the dreaded graveyard shift.

The wonderful plot device that Connelly uses is that we have the dual threat of following both Bosch and Ballard as they go around investigating, and while Bosch can seemingly focus all his efforts on solving the case of Daisy Clayton, a murder case that has not been solved for 10 years.

Ballard is used as a political statement - a younger member of the police force who must navigate all various channels of enquiry as well as the actual beat of hitting the street and resolving disputes. 

In the middle part of the book, Ballard investigates the disappearance of an elected official's son; she visits the apartment where he resides, questions the room-mate and then notices a rug has been moved.  It shows that the flat-mate has murdered the missing son, this is great writing and shows the ingenuity and intelligence of Ballard in such matters, in another chapter she attends a strip joint that is worried about someone breaking in and robbing them, this turns out to be youths sneaking a peek at female flesh.

This constant dipping in and out of actual day to day work away from the deeper dive into the Clayton murder case keeps the reader on its toes while appreciating the sincerity of Ballard married with the sheer doggedness of Bosch - a nice union which has perhaps breathed new life into the old sage. A sequel or new book the The Night Fire is out in October of this year

Connelly shares the writing style of contemporaries Child and James Patterson, it is quick and zips along at a clip that allows the book to be devoured in several sittings.  Like James Ellroy who famously writes about Los Angeles and Hollywood, Connelly writes about the city using the vast landscape of the sprawling cityscape to his advantage with a milieu of background characters and cameos breathing life into the story whenever needed.

Dark Sacred Night is one of those thrilling books that can be perfect for the beach or the bedroom, a master storyteller at the peak of his powers.

Out from Orion Books in Paperback from 16th May.

My thanks to Tracy Fenton for the review opportunity and being part of the blog tour

Drive

At Cannes last year, it seemed that Drive flew in under the radar somewhat.  Directed by Nicolas Winding Refn and starring flavour of the year, Ryan Gosling - it became a word of mouth stormer on the Croisetter culminating in a Best Director award for the Danish filmmaker.  Ironic, that a Dane left Cannes with anything to shout about following the shameful exit of Lars Von Trier in the same week.

Drive now revs up for its DVD release in the UK on Monday 30th January and the film should do well on the small screen as it continues an impressive theatrical release where it garnered numerous acclaim and a film that set my personal twitter timeline into over-drive.

Drive is based on the novel by James Sallis , and stars Gosling as a man who is simply known as Driver/Kid who works as a mechanic and part-time stunt driver for the movies in Los Angeles.  He is also a getaway driver for robbers of property and banks, he promises them a five minute window where he is their's for those five minutes.  A minute under or over and he walks away, but he will get them safe as he knows the streets of LA better than anyone.  The thrilling prologue perfectly sets up the stealth mettle of the driver as he avoids police pursuit and cleverly gets involved with the finale of a NBA game.

My only complaint of the film is not really a critique of this opening scene, but without this scene the film would take a long time to get going.  Only after the death of a peripheral character, does the film explode into this smorgasborg of ultra-violence.

To that effect the film is really a B-movie in the same vein of the oeuvre of Walter Hill (Driver) or Sam Peckinpah (The Getaway) that is elevated to exalted heights by an amazing ensemble performance.  All the main characters are played by established and credible actors who take a lot of the economic writing and create real characters.

Bryan Cranston as Shannon, the Driver's boss at the garage, is especially good with a limp for added effect but there is a humbleness in his eyes as his years of experience speak volumes.  The real surprise is Albert Brooks, as the moneyman Bernie Rose; Brooks is a comedian but there is a real coldness in his performance thanks in part to the delivery of his lines.

Yet the legend of this film will be built around the chemistry and central performances of Gosling and Carey Mulligan as Irene, the next door neighbour whose life impinges upon the Driver as he attempts to lend support.  Mulligan has this innocence and purity about her that will lend to a number of roles in the next few years, it could be the making or detriment of her career.

As for the violence I was shocked by the European feel of the violence, only a Danish director could make a film with this much gore and make it look stylish.  At times the film is a victim of style over substance - slow-mo's as the Driver comes home and he parks very slowly, a slow-mo kiss in the elevator ends with an eruption of violence that paints the Driver in crimson.

The DVD includes a theatrical trailer and an intriguing Q&A with Refn held at the BFI Southbank where he refutes stories about the casting process of the two females and his pleasure in blowing one of their heads off.

It is available from Icon Home Entertainment, my thanks to Think Jam Movies for the check disc.