Review: IAMX – Metanoia Tour 2016

Posted on 17 martie 2016 by breathemein

Last time I saw IAMX live, I was complaining about the static audience, but nothing had prepared me for March 14th. Nothing!

IAMX has released two more albums since our last encounter, one of which is practically amazing, and the other one is Metanoia. I thought about reviewing it a few times, but somehow it felt redundant for me to do it.

Metanoia is a weird, weird album. It is said to be rooted deep into Chris’ depression, and it certainly sounds like it. However, early fans will love it, because it sounds so much like The Alternative and Kiss + Swallow, without the lyrical depth that made me scream „Chris, you decadent god!„. Newer fans might be a little confused, though… Metanoia is so rough, so blunt, painful at times and confusing. The album is missing the poetry that makes Chris what he is.

This is the first time I had to wait (not counting the pouring rain at the Killers & White Lies concert) so much to see one of my favorite bands. IAMX got a little lost on the Transylvanian roads, but the wait was totally worth it. Even though the band started playing 3 hours after the intended timeline.

As usual, Chris was so visual. The background played on loop disturbing images of love and loss, of hate and despair, of desert, naked bodies and broken hopes. How else would you know you’re at an IAMX concert?!

He started violently with I Come With Knives, one of the best songs he ever wrote. His keyboard players were demanding all of the attention, yet his voice managed to rule us all.

I never really liked The Alternative – not the song, and not the album, but this time it felt different. This time, Chris had a beautiful crowd all to himself, all of whom paid to see and hear him, and all of us were his devoted fans. In this light, the song made so much sense than it did a few years ago.

Happiness was the first song off Metanoia, and one of the few I really like. Depressing, raw and broken, Chris sang of despair and what more could I ask for? I was truly happy then.

No Maker Made Me is my personal anthem off Metanoia. I truly love the song, the message, the sound of it. I like its bluntness and the raw feeling I get when I listen to it, especially the screaming part of „you fucking sinner”…

In the Tear Garden we meet again. A song with so much meaning, so special and sad, it could only be followed by OCDEM.

Oh Cruel Darkness Embrace Me feels very ambivalent to me now. I sorta have a love-hate relationship with it, though the song is great. Sometimes it feels like irony, sometimes it plays out like demand-able hope. Who says it’s not the both of them?

Last time when I saw IAMX, Spit It Out ended the concert. It’s still my favorite song, my sad song, my beautiful song, and I really thought that’s the best I can get out of it. Yet, somehow, Chris outdone himself. Spit It Out grew up and this metamorphosis was incredible on so many levels. The song sounded like Chris was covering an oldie, so different, so mellow, still angst-y and depressing. I wish I could listen to this version and dissect it all day long, because it’s so different, yet so familiar.

Nightlife is one of Chris’s most used songs in movies and TV shows. You can hear it in How To Get Away With Murder (I think), in vampire movies and so on. This track reminds me of 90s ravers, even though I was never part of that scene. It has urgency, it’s raw, it’s primal and wild, and one of the best songs written by Chris. Even though it’s not universal, I really appreciated the inclusion on this set-list.

The holy trio of Metanoia was up next. Insomnia, North Star and Aphrodisiac followed up what was, I think, one of the best concerts I’ve been to. Insomnia is so demanding, so lost, but there comes North Star, determined and mature. Only Aphrodisiac can be played next, because it’s the only song suited for this color scheme. All three songs have different shades of grey, but Aphrodisiac is so evil, plotting weird stuff under tones of make up and promoting promiscuity in a way that allows you to go through the gates of heaven.

And because Chris is the master of emotional roller-coasting (is that even a word?!), he ends this with the amazing Your Joy Is My Low. This is one of the first songs I listened from IAMX, so I hold it dear and close. Keyboards all over the place, jerky rhythm, a bassline to die for and the amazing poetry that made me fell in love. With such lyrics, who can judge me?

You shift the play, push the curve to sit between your thighs
It’s a sign, it’s time to exercise the lines
You want the double cut through to wet, invade and slide
You slide and I’m awake and I’m the slave tonight

You lie, you lie to spare my life
You needed it, he tasted you inside out

Say it, your joy, your joy is my low
So you want yourself to stop
Say it, your joy, your joy is my low
And when you crack the whip, I crawl again

How can you remain complete after hearing this live? After witnessing Chris’s debauchery with such unaffectedness that makes me run after his bus tour and beg him to take me with them?

Of course, this could only be followed by Kiss + Swallow. Electronica through the roof! The bass rules this piece, and the way Chris says „zero” is so sinful and lovely…

It’s only natural I should admit by now the fact that listening to I Am Terrified live scared me. Not because of the lyrics, but because of the mismatch. It felt weird to hear it after the Kraftwerk-like gem that is Kiss + Swallow, however it wasn’t that bad. Just awkward. And sad. Terribly sad.

If the first encore came with Kiss + Swallow, the second one saw me amazed by the fact that Bring Me Back a Dog is still a thing. It’s one of my favorite songs, and this time Chris had a whole army spitting these beautiful lyrics back at him with voracity and passion. It was amazing!

The night ended with Mercy, one of the songs I avoid at all costs. Well, I avoid it after the first 60-70 seconds. It’s beautifully written, of course, and the vocals are perfect for it. But the chorus makes my heart ache, I almost feel like crying, so I try to keep myself sane by avoiding it.

I thought that this concert will bring me nothing new. Boy, was I wrong! Last time, I complained that Chris needed a better audience, but this time everyone present was there to support and love him. We were all one soul, mixed together with agony, anticipation, love, distrust, disappointment, hope and Chris. I’m so glad I was there, this was the concert I’ve been waiting for two years now.

Pic. The whole setlist here.

Review: Brandon Flowers – The Desired Effect

Posted on 23 octombrie 2015 by breathemein

I’ve been a The Killers fan since 2005, and they are one of the most important bands I stumbled upon during those dark days post-highschool dramedy that was my life, so the solo efforts of Brandon Flowers were a must listen, at least for me.

Flamingo was a mediocre album, so it took me a while to get on board with The Desired Effect. But boy, it did have it!

Dreams Come True is a great opener, filled with promises and great poetry written by Mr. Flowers, the god himself, and it benefits from its weird choice of 80s sound combined with some gospel-y vocals. I could see myself driving on a highway, not a care in the world, knowing that everything will be ok. (9.5/10)

Can’t Deny My Love was chosen as a lead single, and it has that anthem-y feel that Flowers seems to love. Still 80s, still filled with synths, a great tune overall, but it fades quickly when compared to the other songs from the album. (8/10)

If you ever wanted to hear a new kind of Bronski Beat, I Can Change is just perfect. Brandon Flowers’ pleas are amazingly tuned into that awkward request employed by the song. Oh, and Neil Tennant! (8/10)

Still Want You is a promise, just like the whole album. Perfectly in tune with my inner self, filled with doubt, but also with certitude, you can „smell” the maturity in Flowers. (9/10)

I wish I could say more about Between Me and You, a song that, with all its Killers-y sound, feels so Flowers-y at the same time, but all I can really say is it delivers yet another promise from this great man from Nevada. (8.5/10)

Synths and trumpets, the backbone of the 80s, mixed with a disco feel, Lonely Town is the perfect anthem for the teenager in you. (9/10)

Diggin’ Up the Heart will most likely please the old The Killers fans, as it’s definitely one of the songs that bears its signature. Angst-y and valiant, I can’t say I don’t dig it, even though it lacks a personal note. (8/10)

Never Get You Right starts off as a Las Vegas story gone wrong, but then it fades into this beautifully crafted 80s gem that is layered with love and despair at the same time. (9/10)

This time touching the glam rock of the 80s, Untangled Love seems to float in a sea of indecision. With pleading vocals, and guitars to lead the way, I’m guessing that this is the most impersonal song off the album. You can’t pinpoint it on Flowers, or The Killers, or anything else, but what it seems to lack in personality is brought forward by the determination in completing it, so that must be something, I guess… (6/10)

The Way It’s Always Been explores the familiar route taken by so many The Killers songs before, but it does so in a melodic way that almost sounds like a prayer. I’d say that it’s a good way to end the almost perfect album of the Killers frontman, but I think that it kinda lacks hope. (8.5/10)

The Desired Effect is a great album, one of the greatest that feature Flowers on the vocals. It lacks the experimentation perceived on Flamingo, but it also helps him get an appropriate, personal voice. The songs blend in perfectly with Flowers’ voice, his lyrics and themes, and the extensive use of 80s sound is mesmerizing. This one’s a keeper!

Pic.

Review – Masinaria Cehov

Posted on 1 octombrie 2015 by breathemein

Răspunde

N-am cum sa va mint – Masinaria Cehov e un spectacol riscant. Riscant pana la absurd, sau dimpotriva, incepand cu absurdul, nimic din ce are povestea spusa de elevii lui Cristian Bajora pe scena nu e sigur.

Ca sa intelegeti spectacolul, trebuie sa fiti familiarizati cu personajele lui Cehov, dar si cu Cehov insusi, care apare pe picior de egalitate – artist si arta – in secvente haotice despre lumi care se intrepatrund si minti bolnave.

Trebuie musai sa stiti cate ceva despre viata marelui dramaturg si scriitor, care a fost de asemenea un medic reputat si un bolnav de tuberculoza.

Trebuie sa stiti lucrurile astea, pentru a-i intelege delirul creator si pentru a simti neputinta lui cand se vede inconjurat de fiecare din creatiile sale, toate de o mie de ori mai vii ca el.

Trebuie sa stiti Livada cu visini si zborul pescarusului, sa cunoasteti drama Anei Petrovna si pe cele trei surori, sau macar sa fi trecut in vizita pe la unchiul Vania.

Spectacolul e de asa natura incat impleteste scene aparent aleatorii intr-un mod in care teatrul absurd ii da un sens. Masinaria din titlu este o metafora superb realizata, chiar daca mult prea curajoasa pentru un public nepregatit. Spun nepregatit, pentru ca in sala s-a ras de multe ori cand nu aceasta era reactia sperata, si nu s-a reactionat atunci cand ar fi trebuit. Spun nepregatit, pentru ca am uneori senzatia ca oamenii inca merg la teatru dorindu-si sa vada povestile lui Michael Bay pe o scena vie.

Si pentru ca e nepregatit, mi se pare de o mie de ori mai mult de apreciat efortul unor actori adevarati, care au luptat sa-si transmita mesajul cu ajutorul unui spectacol incredibil. Da, am plans si de data asta, martor tacut al unei suferinte deopotriva fizice si sufletesti, am plans si am ras in fata unor oameni care au venit sa-mi arate tot ce au ei mai bun si care mi-au demonstrat ca teatrul darama orice bariere in tine. Masinaria Cehov e un spectacol complet, sincer, dezbracat de inhibitii, dorinte si regrete, si pentru asta sunt fericita ca am avut ocazia de a-l trai langa scena.

Ne vedem la teatru!

Spectacolul face parte din evenimentul aniversar TeenMedia Academy, care serbeaza 6 ani de cursuri de actorie.

Review – Guma de mestecat

Posted on 29 septembrie 2015 by breathemein

N-as fi crezut ca o guma de mestecat poate fi atat de… Elocventa? Expresiva? Completa?

Niciunul din cuvintele astea nu cuprinde imensitatea metaforei din spectacolul Guma de mestecat, realizat de cursantii de la TeenMedia Academy.

Spectacolul este un film derulat pe repede inainte, iar predilectia teatrului de a emula viata nu este nicicand mai evidenta. O casnicie pe panta descendenta, imposibilitatea de a te alinia la ceea ce societatea dicteaza, un cumul de frustrari gnerate de tine insuti – toate te pot face sa iti pierzi directia in mai putin de o secunda, fara posibilitate de intoarcere.

Totul se intampla sub supravegherea atenta a lui Florin Fratila, care reuseste sa spuna prin actorii sai ceea ce a reiterat deja si in Cum se duce totul dracu’ si Sa nu ma uiti, cu un plus de savoare, un plus de comedie si, mai ales, multe personaje.

Cred ca marele punct forte al spectacolului e diversitatea, ajutata, bineinteles, si de scena Salii Studio de la Teatru National. Pe aceasta scena poti gazdui cu usurinta chiar si 10 actori, 10 personaje diferite, care sa spuna o poveste, din care unul se remarca in mod deosebit.

Ionut Gurgu, in rolul lui Cristi, este fiecare din noi in momentele noastre mai putin stralucite. Umanitatea si mediocritatea personajului nu stirbesc cu nimic fascinatia pe care o provoaca si o incita Ionut Gurgu pe scena, in toata nimicnicia lui, iar actorul are un fel deosebit de a transforma pacate in virtuti cu deosebita usurinta, solicitand empatia spectatorului ca pe un drept al sau.

Si cine sunt eu sa nu i-o ofer?

Pentru ca in rolul lui Cristi Ionut Gurgu este cel mai simplu dintre oameni, cel care are nevoie cel mai mult de afectiune, cel care isi cauta cu ardoare sensul si care gaseste doar semne batjocoritoare din partea sortii.

Urmariti spectacolul Guma de mestecat, fie pentru rasete, fie pentru plansete. Dupa primele 2-3 minute, viata va parea mai putin fada si mai plina de sens ca oricand. Spectacolul are marea calitate de a genera impulsul pe care il traim de Anul Nou, cand ne promitem noua ca vom fi altii, mai buni si mai generosi, mai prezenti si mai implicati.

Ne vedem la teatru!

Spectacolul face parte din evenimentul aniversar TeenMedia Academy, care serbeaza 6 ani de cursuri de actorie.

Review: Skrillex & Diplo – Where Are U Now (with Justin Bieber)

Posted on 7 august 2015 by breathemein

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Lately I have been hooked on lightweight music. Or, as I like to call it, manele. Everything from David I’m Trying To Become a Second Fabio Guetta (whom I loathe desperately), Nicki Minaj, Jason Derulo and even the notorious Chris Chick Beater Brown have been on repeat on my playlists.

But one of these songs stands out the most.

Where Are U Now, a beautiful collaboration between Gimme Me UR Flashdrive Skrillex I Forgot To Comb My Hair Again and Diplo I Like to Bully Skinny Chicks With More Money Than Me, employs the soft vocals of Justin I’m an Arse Bieber.

By now, if you’re not familiar with the genre or this particular song, you might be tempted to start throwing stuff at me. But wait!

If you want a song about devotion, vulnerability, fear, emotion and hope, despair and instability, you’ve come to the right place.

Skrillex fulfills his part beautifully, by not abusing his trademark sound. Instead, he establishes a base line for the track, on which Diplo starts building and, boy, does he build!

The instrumental part of the song mirrors the two sides of a coin – very different at a first glance, but when together, they mesh beautifully.

Now, you’ll say „But wait! There’s that prick, Bieber! I don’t wanna listen to that!”. I’ll understand you completely.

It’s exactly what I said the first time I heard about the song, but my curiosity won and I pressed play. I never pressed stop after that, and that’s coming from someone that avoids with fervor each individual that worked on this track.

Justin Bieber‘s vocals are the final touch of an otherwise amazing song. He is alone, he is disappointed, he is waiting for a sign. At times, his voice makes me think he is asking God some explanations for his times of absence. At times, he makes me feel like he is reprimanding a stray lover. At times, he makes me cry, he makes me feel sorry for him and most of the time he makes me fall in love with the song over and over again.

And if this isn’t the sign of a good song, I really don’t know what it is…

Please, enjoy responsibly.

Review: Rihanna – Bitch Better Have My Money

Posted on 9 iulie 2015 by breathemein

Y’all have seen the new bat shit crazy stuff that happens in RiRi‘s new video, Bitch Better Have My Money, right? Draped with XY chromosomes of the Mads Mikkelsen and Eric Roberts variety, hung by perfectly aligned siliconed boobs, her latest visual (because make no mistake – it is a visual) trip is hauntingly weird, violent, saucy and sassy, and maybe there are few more definitions, which I don’t really recall right now.

You wanna see Thelma & Louise circa 2015, updated with 90s couture and golden locks? You wanna see pointy shoes with translucent plastic heels on a boat? You wanna see Rihanna shooting at the cellphone she just used? Then, my friend, you came to the right place.

Also, if you wanna hear RiRi’s angst from Man Down, a little more polished and a little more mature, Bitch Better Have My Money is your tune. I, for one, can’t wait to hear R8!

Review: Margaret Atwood – The Handmaid’s Tale

Posted on 18 iunie 2015 by breathemein

I devoured, in the most literal sense or whatever, The Handmaid’s Tale. This dystopian depiction of a sad, alternate, maybe future reality was my undoing for about two days, because that’s how long it took me to finish reading this gem. Basically, after what was about 10 or 12 hours of violent torture, psychological in manner, I finished the masterpiece of Margaret Atwood.

To say it defies society is the least of your problems. With a material that echoes the depths of 1984 and Brave New World, The Handmaid’s Tale tells the story of an unnamed woman appointed as a (shocker!) handmaid in the house of a Commander, in order to (real shocker!) bear his children.

If the depiction of the sanitary sex scenes won’t perturb you, I really don’t know what will. If you find amusing the living arrangement of an old wife with the assigned mistress, I’m pretty sure your sense of humor is faulty. If you think religious power is the best, then maybe this book spells out the best future for you, so maybe you should give it a go.

But above all else, Margaret Atwood‘s piece transcends its bleak tones and finds a way to leave an impression on you.

The unnamed protagonist and narrator, identified as Offred – because she belonged to Fred (get it?!), goes back and forth to a past when she was allowed to read, have a job, disagree with her husband and raise her child, as opposed to a present time diluted by war, famine, infertility and religion.

Everything is just survival, but not the „zombies gonna getcha” type. People learn to survive the rule of not speaking unless asked to, women learn that they are only walking wombs, coquetry is not permitted, of course, and neither are alcohol, tobacco and coffee. Clothes are meant to inspire chastity, legs are not meant to be shaven and eyes are bound to look only down.

The Handmaid’s Tale is a difficult read, especially for someone that enjoys the benefits of a colorful wardrobe, as opposed to the „uniforms” presented in the book, and the mere triviality of having money and use them as you please seems distant and obliterated in this book.

Offred‘s prison-like room sometimes reminded me of Winston‘s apartment in 1984, and her thoughts loudly reflected his. With great terror I assisted to a very misogynist way of living, one that scared and scarred me, and Offred‘s thoughts were so female-like, that sometimes I thought „am I that crazy? am I truly like that? are all women like that?!”.

Margaret Atwood surprised in an indecent Polaroid of the times the hate, the fear, the magical behind the reason of being a woman, and she did this effortlessly beautiful.

Here’s to never having the chance of experiencing this.

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