Tuesday, 26 April 2016

Death of a Celebrity

I've become quite fascinated with how differently people react when a celebrity dies. If there's some sort of connection to the passed person, the loss can be quite devastating. It's always a sad thing to learn of somebody's death, but is it strange to mourn for somebody you don't know? Someone you have never even met?

There are some who get on their high-horse and berate others who grieve for the famously dead. Sometimes they'll offer up victims of a massacre or natural disaster and ask if their deaths are any less significant. Death is never a happy occurrence, and ironically, it's always going to be a part of life.

When David Bowie died in January this year, it hit me really hard. I think that it was the most that I'd ever been affected by a celebrity death. I couldn't do much else but listen to album after album of his, and was moved to tears several times. Losing Prince over the weekend has stirred some of those feelings up in me again. I was a much bigger Bowie fan, but I still loved Prince, and was lucky enough to have seen him at the Perth Arena in February. To lose both of these amazing artists in the first four months of this year is nothing short of tragic. A huge loss to the music industry, as well as the human race. But what makes us take their passing so personally? I think I might have worked it out.

Artwork of Bowie and Prince by Scarlett River  

When you become a fan of someone's music, you begin to take in part of that person. They're sharing pieces of their soul, their beliefs, their emotions, their very being. If you connect with a set of lyrics that seem to describe exactly how you're feeling or what you're going through, you feel empathy from the songwriter. Sometimes you even feel relief that someone else has experienced the same thing, and you're not as alone as you once seemed to be.

For many, music is a form of therapy. How many of us spent our angsty teenage years in our bedrooms, lost in some moody tunes or cathartic melodies? If you have trouble turning to somebody when you're going through some sort of personal crisis, music is always there. Music can help you wallow in your sadness or even lift you out of your dark funk. Music carries you through the tough times and then lets you surf over the good times. Music is universal. It means many things to many people.

It's been suggested by some that the music and movies that we love as teenagers stay intrinsically linked to us as we get older In those years we are at our most impressionable, and it's easy for our developing minds to form an attachment to actors, singers, artists, performers or who-have-you. We look to those people for escapism or solace or energy. Despite never actually meeting David Bowie or Prince, millions of people felt a connection to them. Their lives aren't any more or less valuable than the poor souls who perished in that landslide, but their reach is vast. People in countries they never toured through would possibly still know their music.

The one comfort we can take when an artist we love dies, is the legacy they leave. We're very lucky to have been left so much music, art, film and literature by artists who are no longer with us. While it might sadden us to listen to a particular song or watch a certain film role, it's always worth remembering that, for the most part, this is probably what that person loved doing the most. It drove them. It was their passion. It was their love. We all can take a little piece of that love, whether they are with us or not. 

Friday, 25 March 2016

"Keep It Real, Pyke!"

A fair few Saturdays ago (Feb 20th), Rhones and I went to see Josh Pyke play at the Astor Theatre. We worked out that it was the tenth time we'd seen him live, including two Basement Birds gigs and The White Album Concert he did with Tim Rogers, Phil Jamieson and Chris Cheney. We're both big fans of his music and we know that we're always going to get a good show when we see him.

I forget exactly when I started getting into Josh Pyke, but I think it was after hearing Middle Of The Hill on the JJJ Hottest 100 Volume 13 compilation and seeing the film clip for Lines On Palms. I thought they were both great tracks, and I was particularly taken by the LRB-esque harmonies on the latter. I was unable to hold on to any lyrics of the clip, but I was taken by the vibe and the harmony sound. It had such a melodic hook too.

I was unable to catch the name of the song though, and when Volume 14 of JJJ's Hottest 100 came out I hoped that the Pyke track on the album would be the one of the video I saw. It wasn't. It was Memories & Dust, which is another excellent song, and includes some of my favourite lyrics of his:

"Comfort comes to those with faith in mysterious ways/
But for me faith don't make up for what we lost"

Armed with the knowledge that I would like at least three tracks, I took the plunge and bought the Memories & Dust album. Mercifully, the opening song was Lines On Palms and the mystery was solved. It didn't take long before I fell in love with the whole record and absolutely thrashed it. I shared a few choice cuts with Rhones, most notably Sew My Name, and she became a Pyke devotee as well. 

I became pretty obsessed with Memories & Dust, and saw the album as one I would have liked to have made myself. Wonderful lyrics, predominately acoustic production, lush harmonies, catchy melodies; all choices that I would have made. I started to seriously analyse it, and when I joined AllMusic as a freelance album reviewer, I wrote up a critique. 

For some reason it took us a while to step into his second album. We even got a free .mp3 download of The Lighthouse Song, thanks to a promotion by The Sunday Times, but it lay on our PC dormant for some time. We did buy Chimney's Afire eventually and begun to dig it (nearly) as much as M&D. The Lighthouse Song has now become one of our big Pyke faves, possibly thanks to the last line of the chorus:

"I'll just hold you tight and we'll not let those fuckers in"

The first time we saw him play was at the old Fly By Night in Fremantle, on the Chimney's Afire tour. We were both hugely impressed by his live performance, and that of his three piece backing band, who all took harmonies and swapped instruments throughout the night. I have a feeling that they were all at the Astor on Feb 20th too.

We won a trip to the Gold Coast in 2009, and while we over there, I found a copy of Pyke's Feeding The Wolves EP. I can still remember that first listen as we put it into the stereo of our rented car, and the opening guitar of Beg Your Pardon filled our ears. The track Goldmines from that EP has now become one of my Top 5 songs of Pyke's.


Anyway, to cut through the story a little, we're big fans of his, and each subsequent release has not diminished our fondness for the man. We've got all his albums, found EPs on iTunes, got our hands on his Lone Wolf box set and have a few cherished items signed by Pyke as well. Yeah, we're big fans, did I say? We even have lyrics from Make You Happy on our bedroom wall:

"And if you keep me on your right/
Could I keep you on my left?"

We were delighted when we saw pillowcases bearing those words for sale at the last Pyke show. Needless to say, they now adorn our bedroom too. 

Going back to that Astor show in February, one of the best moments came from a well-timed heckle. Pyke was explaining that instead of going off stage at the end of the night and waiting for that encore-inducing applause, he was just going to play through. So, he sort of announced that the encore was starting. An audience member yelled out "Keep it real, Pyke!", to which he responded with the exuberant notion of getting a tattoo of that statement, to keep him grounded. If possible, the exchange endeared the audience to Pyke even more. 

Anyway, I'm going to finish off this entry with a list of some of my favourite Josh Pyke tracks. If you're keen to start digging, I suggest these songs to start you off:

RECORDINGS 2003-2005 (2005)
Kids Don't Sell Their Hopes So Fast
Silver

FEEDING THE WOLVES EP (2005)
Goldmines
Private Education
Middle Of The Hill

MEMORIES & DUST (2006)
Fed and Watered
Monkey With a Drum
Forever Song
Sew My Name

LINES ON PALMS EP (2006)
House at Pooh Corner (Kenny Loggins cover)

CHIMNEY'S AFIRE (2008)
The Lighthouse Song
Make You Happy
Our House Breathing


THE BLACK BALLOON (2008) (soundtrack)
When We Get There

BASEMENT BIRDS (2010) (w/Basement Birds)
Not The One
Waiting For You
Cinnamon And Smoke

ONLY SPARROWS (2011)
Clovis' Sons

Coffee Cups
Love Lies
Tapping On A Secret

THE BEGINNING AND THE END OF EVERYTHING (2013)
Warm In Winter
Order Has Abandoned Us

BUT FOR ALL THESE SHRINKING HEARTS (2015)
Be Your Boy
Doing What You're Told
Songlines
Hollering Hearts






Sunday, 20 March 2016

Mulder and Scully Revisited IX (AKA Scully, Skinner, Doggett, Reyes...and Mulder!)

The ninth season wasn't very highly revered by critics and fans, but I still think the show did the best they could without the character of Mulder. This season had a few episodes that focused primarily on Doggett and Reyes, and I think they worked better than the ones that didn't. Trust No 1 teased us with Mulder's possible return at a train station, only for him to be yanked away without so much as a smile. A shadowy figure running through the dark was all we got. It could have been a series highlight, but it was clumsy in its execution and we all knew that Duchovny wasn't returning until the finale anyway. Said episode, The Truth, was a tad disappointing too, acting like a bit of a summary of the series, rather than an ending. I quite liked the addition of Cary Elwes in the role of A.D. Folmer, and Lucy Lawless' appearances in the first two episodes are great. I know her pregnancy stopped her from appearing in the rest of the season, but I think she would have been a great recurring character.

The latest X-Files revival has been and gone, and for the most part, I enjoyed it. I know not every X-Phile was happy with them, but I thought it was great to see Mulder and Scully again. Anyway, back to season nine...


**Warning: spoilers ahead**

4-D (9ABx05)
The idea that parallel worlds exist is not a new one, but I like the notion that two Doggetts can't be in this dimension. In another realm, Agent Doggett tracks a serial killer and unknowingly crosses over into our world, which rips away our Agent Doggett. Confused? It makes more sense when you watch it. I like how Reyes has to convince the hospitalised and otherworldly Doggett of her theory. The hows and whys of how the killer can travel through dimensions is never really addressed, but it doesn't matter. It just happens, and it's how Reyes and Doggett II deal with it that's important.

JOHN DOE (9ABx07)

One of my favourite episodes of the Doggett era. Waking up somewhere in Mexico, Doggett has now idea where he is, how he got there or who he is. Not an original idea, but the execution is excellent. The episode was also obviously influenced by Steven Soderbergh's 2000 film Traffic, with the Mexican scenes very harshly lit. When Doggett finally remembers who he is towards the end of the episode, he has to relive his son's death all over again. It's a truly heartbreaking scene with horrible timing, as he and Reyes are in the middle of a shoot-out. Robert Patrick's performance is flawless. This is everything that was good in the ninth season, and it was written by Vince Gilligan too! It acts as a great stepping stone to the Breaking Bad series.

AUDREY PAULEY (9ABx13)
After being hit by a drunk driver, Monica Reyes is hospitalised, and soon falls into a coma. She wakes up in a phantom hospital that is suspended in space with two other patients, and they assume that they have passed away. Meanwhile, Scully tells Doggett that the comatose Reyes is braindead, which he refuses to believe. This is easily the best Reyes-centric episode of the series and an engrossing watch to boot.  It also benefits greatly from Tracey Ellis' wonderful performance as the title character (you might remember her as Lucy Householder in the third season episode Oubliette). 

WILLIAM (9ABx17)
The arrival of a mysterious man, who may or may not be Mulder (and has no qualms about laying into Skinner), sets off a chain reaction that ultimately ends with Scully deciding to give up William for adoption. While it does turn out to be Jeffrey Spender, the episode confirms for the audience that the Cigarette Smoking Man is definitely the father of both Mulder and Spender. I like the whole "is he?/isn't he?" conceit of this outing too. Although Mulder only appears briefly on screen, the episode was directed by David Duchovny himself.

RELEASE (9ABx16)

I really enjoyed Robert Patrick's role as John Doggett throughout the last two seasons. I was disappointed to learn that his character wouldn't return to the tenth, but understandably, Patrick says he's not one to look back and revisit old characters. As the season was close to wrapping up, it seemed fitting the resolve the story of Doggett's son. Jared Poe's performance as the detached, but psychic, FBI Cadet Rudolph Hayes also makes this episode a memorable one. I also like seeing Elwes' shaking A.D. Folmer after taking revenge on the man who had extorted him for so long. Patrick's acting in this outing is excellent as well, although he didn't hit as high as he did in John Doe.
HONORABLE MENTIONS: Improbable, Provenance, Sunshine Days and The Truth.

STINKERS: Jump The Shark, Underneath and Trust No 1.

Thursday, 4 February 2016

Mulder and Scully Revisited VIII (AKA Here Comes Doggett. And Reyes!)

Well, the ninth season is done and dusted now, which means we've watched the entire series of The X-Files. All 201 episodes in less than that many days. We were ready and eager for Season 10 when it began airing on January 24th! It was a lot of fun watching them all in such a confined space. So, I will now take this opportunity to look back on my favourite episodes from season eight. Here we go...

**Warning: spoilers ahead**

WITHIN (8ABx01)
With Mulder's abduction (and Duchovny's semi-departure) comes the need for a new character. Enter Special Agent John Doggett, played by the excellent Robert Patrick, who is charged with leading the search for Mulder. His first scene with Scully is an excellent introduction to his character, and one of my favourite moments in the eighth season. Initially, I think you're meant to resent him, but as the series wears on, you discover he's fiercely determined and quite a good egg. His refusal to accept anything remotely supernatural almost turns Scully from the skeptic into the believer. It's quite exciting when Duchovny is on screen in this episode, although he doesn't do much. He's either being tortured by aliens in Scully's visions/dreams or being a guise of the Alien Bounty Hunter. I like the reappearance of Gibson Praise in this episode too, as the search for him becomes pivotal in possibly locating Mulder.

WITHOUT (8ABx02)

Yes, for once, the first two continuous episodes of a season are both excellent. The tension ramps up as the ABH infiltrates the FBI search party to find Gibson Praise. Watching "Scully" attack and nearly kill an agent makes for some pretty riveting TV, especially when the real Scully realises what's going on and attempts to apprehend the ABH. Ultimately, the two-part offerings end with Mulder still missing, but the hope of possibly locating him and the introduction of Doggett make for a promising start to the season.

REDRUM (8ABx03)
This is a great twist on the man-lost-in-time premise that has popped up all too often in various mediums. What sets this one apart is that the central character is living each day in reverse order. When he wakes up it's yesterday, and he has no knowledge of the day of his wife's murder. This X-Files episode is quite unique in that this man, prosecutor Martin Wells, is in the spotlight with Doggett and Scully becoming supporting players. Joe Morton's performance as Wells is exemplary as he pieces the puzzle together. The sudden ending - complete with inner monologue - is a bit of a letdown, but up until that point, this is one of the best! 

ESSENCE (8ABx20)

There are some great moments throughout the eighth season, but none of the episodes tend to really soar. For instance, the dream sequence in Via Negativa where Doggett tries to fight from chopping into Scully's head with an axe is wonderfully David Lynch-esque. Right down to the strobe effect. But it's not an easy episode to watch. Doggett and Mulder (finally) working together to solve the murders on an oil rig in Vienen is a great conceit, but it doesn't quite land. The first appearance of Special Agent Monica Reyes in This Is Not Happening (confidently portrayed by Annabeth Gish) is excellent too, as is Mulder's 'resurrection'. I could go on, but I'm supposed to be talking about the season's penultimate episode. This is basically a big chase sequence, but it's quite well done, and the tension is dialed up to 11. We get an unemployed Mulder firing up Doggett to look into what is happening with Scully's unborn baby while being pursued by the new 'Super-Soldier'd Billy Miles. Oh, and Krycek's back as his usual smarmy "do we/don't we trust him" self. One of the more exciting conclusions of a cliffhanger too. What's not to like?

EXISTENCE (8ABx21)
The season finale continues straight after the previous episode and reveals that the alien Super Soldiers cannot be killed. Billy Miles' crushed remains include a metal vertebrae which seems to regenerate a whole new Billy. Pretty cool, huh? There are also more reveals that other minor characters are also Super Soldiers, so the challenge is to find a safe place for Scully to have her baby, which may or may not be the first organic Super Soldier. The scenes with Reyes and Scully in Doggett's old hometown are quite interesting. Reyes has no trouble complimenting Scully on her beauty while she goes through these turns of events, and can transform an old abandoned building into a calm sanctuary with ease. There are two big pay-offs in this episode: the first is Skinner firing a bullet into Krycek's head. The second is Mulder and Scully sharing a tender kiss while embracing their child. As Duchovny was not going to be in the ninth season, this scene is a little bittersweet, but a fine way to see him off.

HONOURABLE MENTIONS: The Gift, Invocation, Via Negativa and Vienen.


STINKERS: Salvage, Badlaa and Surekill.

Tuesday, 19 January 2016

Mulder and Scully Revisited VII

It's getting to the pointy end of 201 Days of The X-Files now! We're right near the end of the ninth season in our viewing now. Mulder and Scully have given way to Doggett and Reyes, but Scully is still around, as is Skinner. No Mulder until the last episode. But, let's look back two seasons ago, like I've been doing. The seventh series is lauded by some as the series' pinnacle. This could be due to how different the show became after Mulder's disappearance (catalysed by Duchovny's desire to leave). Anyway, here's my five favourites from season seven...

**Warning: spoilers ahead**

CLOSURE (7ABx11)
A strong contender for my favourite X-Files episode ever, as Samantha's fate is finally unveiled. I'm sure there were many who felt disappointed in this revelation, as it had nothing at all to do with an alien abduction. The episode before this, Sein und Zeit, was another great offering, and the way the plot shifted from a typical "monster-of-the-week" story into a Samantha one was just brilliant. I also quite liked Anthony Heald's performance as Harold Piller, the psychic that offers his help to Mulder. Piller's refusal to acknowledge his own son's fate is just as heartbreaking as Mulder's acceptance. The use of Moby's song My Weakness is eerily exceptional; it's so haunting. When I heard that music again during the episode it brought back all the feelings from the last time I viewed it. The whys and hows of what happened to Samantha aren't as important as Mulder finally knowing. The final words of the episode are Mulder's response to Scully when she asks how he is: "I'm fine. I'm free." As the title says, he gets closure and can now move on. 

X-COPS
(7ABx12)

The merging of The X-Files with reality TV show Cops was a stroke of genius, and who better to write the script than Vince Gilligan? I'm a big fan of how the cameras follow the action, and it's like we're not just viewers, we're participants. Watching Mulder and Scully look into the cameras is hilarious too. I love how Scully initially wants nothing to do with it, and then mugs for the camera as the episode continues: "Because the FBI has nothing to hide." Mulder seems to be a lot more comfortable with the situation and plays up to cameras beautifully, even giving the show's staple monologues a crack. What starts out as a hunt for some kind of monster gives way to an even scarier premise. Great episode!

HOLLYWOOD A.D. (7ABx18)
David Duchovny's second go at writing and directing an episode is a great romp that manages to lampoon movie studios, pop culture and religious relics. The appearances of Garry Shandling and Téa Leoni are fantastic too, as they play Mulder and Scully in the film version of the episode's events. It's a very funny outing with some great scenes and wonderful dialogue. My favourite moment is the three-way split screen of Mulder, Scully and Skinner in a bubble bath (separate ones). Put simply, I just find the episode a lot of fun to watch.

JE SOUHAITE (7ABx21)This episode was the directing debut of Vince Gilligan who also wrote the script. I remembered this entry as being fairly good, but I forgot just how funny it was. I laughed harder than any other episode in the seventh season. The sheer stupidity of Anson Stokes and his brother as they struggle to come up with decent wishes from a rug-living jinn, or genie, is truly hilarious.  It's dismissed by some as a bit of fluff, but I think it's hugely entertaining.

REQUIEM (7ABx22)
The season finale does a great job of bookending the series to that point. Harking back to elements and characters from the pilot episode, this outing quite rightly draws a circle around the entire show. We get to see Krycek, Cigarette Smoking Man and Marita Covarrubias again as well. From this point on, everything about the show changes, as Mulder's abduction signals Duchovny's departure. He would star in twelves episodes of the eighth season (roughly) and only the two-part final of season nine. The cliffhanger ending is all the more poignant for Mulder ultimately gets proof of alien life, but at the cost of abduction.


HONOURABLE MENTIONS:
The Goldberg Variation, Sein und Zeit, En Ami and The Sixth Extinction II: Amor Fati.


STINKERS: all things (sorry, Gillian!), Chimera and Fight Club. 

Tuesday, 12 January 2016

Bowie

I'm still coming to terms with today's tragic news of the passing of David Bowie. I think it has affected a lot of people similarly. It's as if someone we always thought would be there was suddenly snatched away. Of course, he's as mortal as the rest of us, but there was always something otherworldly about him. I'm incredibly thankful that he has left behind such a massive body of work that will always be with us. His last album, ★ (pronounced as Blackstar) was released mere days before his death, on his 69th birthday. It was his twenty sixth studio album. Perhaps the fact that he'd put out two new albums in the last couple of years, after a decade of silence, had us all lulled into false confidence. I was convinced that he was going to tour again, but now I can assume that his last musical offerings were made by a man looking directly at his own mortality.


When you listen to ★, death is the common thread. It is mentioned in most of the songs, and is the underlying subject in some. The album can almost be seen as a goodbye note to all of his fans. I am amazed that what turned out to be his final record yet again defied genre. There was a little bit of everything in there, from wild jazz to Gregorian chants to lyrics using Nadsat. It is quite extraordinary for an artist to continually look forward and keep reinventing themselves, influencing others all the while. How many imitators did Ziggy inspire? How many acts delved into electronica after the Berlin trilogy? How many groups followed his trail into the New Romantic period? How many people wrote off his work with Tin Machine only to then listen to the aurally similar strains of grunge a few years later? Producer Tony Visconti told Rolling Stone magazine in a recent interview that he couldn't wait to see all the ★ copycat albums. There's no doubt that it will work through the ears of artists the world over now. 

David Bowie's music is special to me for another reason as well. Rhona's favourite song of all time is Ziggy Stardust, and any time she comes along to one of my gigs (either solo or with WGJS) I have to play it. No ifs, no buts; it must be played. He he he...and that's fine by me. I was lucky enough to perform the entire Ziggy album with WGJS for The Newport Record Club's first season in 2014. That was such a fun gig; I got be Bowie and Mick Ronson at the same time! We were invited to do it again for the Rewind series in May 2015, and that was even more fun. Learning and performing that album only increased my admiration and awe of his immense talent, and I felt some sort of connection to him.

I was always aware of Bowie when I was growing up. Let's Dance was a huge album when it came out in 1983, and I was seven years old. Ashes To Ashes still found its way onto Countdown from time to time, and the image of Bowie dressed as that clown is one of my earliest memories of a music video. I remember absolutely loving his version of Dancing In The Streets with Mick Jagger. He he he...it's seen as somewhat daggy now, but I thought it was great. I'd not heard the original version at that time either.

It wasn't until I went to Bali with my family in 1991 that I developed a real interest in his music. Now, there were no streaming services or readily available downloads back then. If you wanted music, you either bought it, listened to the radio or taped songs from the radio. Cassettes were incredibly cheap in Bali at that time and I took the opportunity to listen to some albums that I'd never heard before. One of the tapes I bought was the Bowie compilation Changesbowie, an amalgamation of Changesonebowie and Changestwobowie, which was released in 1990. I remember the TV ad campaign for the album vividly as the camera scanned across the cover while the audio was made up of a second or two of all the songs on it. 

The opening track was Space Oddity, and I remember loading the tape into my little Walkman knock-off and hearing that gorgeous fade-in for the first time. The song was like nothing else I'd ever heard before, with its eerie, doom-laden narrative and lush orchestrations. I was pretty taken with the whole album and I played it to death over the following months and years. As I journeyed through life, I picked up the odd album of his here and there, and proudly became a member of the Club Who Liked Bowie After 1983. I particularly dug 1992's Black Tie White Noise and his industrial rock album Earthling from 1997. 

I didn't really start seriously delving into his back catalog until I received a copy of The Rise and Fall of Ziggy Stardust and the Spiders From Mars from a friend for my birthday one year. Shortly after that, Bowie announced a world tour. He would be in Australia in early 2004! I really liked his last two albums at that time, 2002's Heathen and 2003's Reality and I'd never seen him live before. Along with a small group of friends, Rhona and I decided to go over to Melbourne to see him. After we all bought our tickets, a Perth concert was announced! Ha! Our friend Kieran thought he would go to both anyway, because why not? He and I took it upon ourselves to try and buy all of Bowie's albums before the concert(s). We knew that he had hundreds of songs to draw from, and we wanted to be as familiar with as much of them as we could. On February 26th, 2004 we went to Rod Laver Arena and watched an absolutely fantastic show! I will remain forever grateful that I got the chance to see him live. You can check out the setlist here. 



In July of that year, Bowie was treated for an acutely blocked artery while the tour was in Germany. Except for an appearance at a charity concert singing Changes with Alicia Keys in 2006, Bowie pretty much vanished from the public eye. It appeared that he had lost interest in music. Was he still ill? Had he retired for good? Was he working on other projects? Would he ever tour again? 


I'll never forget when he released the single Where Are We Now? on his 66th birthday in 2013. It was a Bowie birthday miracle! Not only did we get the first offering of new Bowie material in a decade, there was the promise of a new album on the horizon too! I remember watching the typically strange video clip in wonder. Such a melancholy track, but amongst the sadness there seemed to be hope. The final lyrics of the song always get to me a little bit:

As long as there's sun
As long as there's sun
As long as there's rain
As long as there's rain
As long as there's fire
As long as there's fire
As long as there's me
As long as there's you


I can't explain why it makes me well up on occasion. The music seems to turn a little mournful and there sounds like he has a tremor or two in his vocal delivery. There was such a sense of optimistic finality to it, that in retrospect, the last three years of his life might now be seen as extra time. The score was tied, and he wasn't finished. We now know that he spent the last eighteen months living with cancer, but what caused Bowie to start making music again? After ten years what made him go back into the studio? To have Bowie releasing albums again seemed to be an essence back into life that had been missing.

I know some felt The Next Day was a little patchy but I thought it was the perfect link between where he left off and his best work of the late seventies. It was great to see him working with Tony Visconti again, and I became excited about what might follow. The album was fairly straightforward rock/pop, by Bowie standards, and I suspected that his next offering would change direction. I was right, but in true Bowie form, I had no idea where he was going. His next single, Sue (Or in a Season of Crime), was released in October 2014 ahead of his career spanning compilation Nothing Has Changed. It was a seven and a half minute murder ballad recorded with a jazz orchestra. Wow, what a curveball. The release of a new collection of Bowie's best and well-known tracks could now be seen as the foreshadowing of his final work. 

Late last year, there was news of another new Bowie album coming. There was an epic single released with an accompanying video that nudged the ten minute mark. I held off watching it until the album was released on January 8th this year. I bought it that morning and was very excited by what he'd come up with. He'd won over many critics and most reviews were glowing. I greedily imagined what he would give us next. I thought of possible musical experimentations and even allowed myself to believe that he might tour again.

It seems to defy logic that while Bowie's star was ascending once again, his light would extinguish forever only a couple of days later. I don't think I have ever shed so many tears over the death of someone I never met or knew. The news winded me with disbelief and immediate sorrow. I remember being very saddened by Robin Williams' death in August 2014, but not moved to cry for him. Kurt Cobain's suicide was a big shock, but I spent a lot of years being angry at him to really mourn his loss. Who knows what really happened there anyway? When we lost Freddie Mercury, it was kind of expected. We had all been informed that he was battling AIDS and had become quite ill and frail. I was too young to grasp the concept of what happened to John Lennon on December 8th, 1980. Four-year-old me knew who The Beatles were and who Lennon was. I have memories of asking my dad why he was dead and why the man shot him. He didn't know what to tell me. I always get an image of Neil Young's After The Gold Rush album cover when I think back to that time too, as I believe it was on top of our record player in the lounge room. But, to lose Bowie now, while he was still making such great music, it just doesn't make sense. To add to the weight of his death, shortly after the news was confirmed and it wasn't the hoax we all hoped it was, I received my new copy of Rolling Stone magazine. There was a small byline on the cover that read "The Return of David Bowie" and a review of ★ was also included. How's that for timing?

David Bowie had been making music for longer than I've been alive. He's always been there. I don't think a week goes by where I don't listen to a song of his. For that fact, one of my typical gig weeks is rarely Bowie-less as well. I'm thankful that I truly appreciated his music while he was still with us, and will treasure memories of rushing out to buy the new Bowie album. I bought The Next Day, Nothing Has Changed and ★ on the day they were released. I still can't believe that I'll never experience that moment again, and that the last time I did was only a few days ago. I didn't realise that he was saying goodbye. 

Goodbye, David.

Saturday, 2 January 2016

Mulder and Scully Revisited VI

Into the mostly Mulder-less eight season we go! I know things get a little hairy for some viewers from here on, but I don't mind the Doggett seasons so much. Anyway, let's take a look at the sixth season...

**Warning: spoilers ahead**

DREAMLAND (6ABx04)
The Dreamland episodes polarised fans and critics alike, but I really enjoy them. I think that Michael McKean does a great job portraying Morris Fletcher and I really like seeing how Mulder and Fletcher deal with their predicaments. The scene where Duchovny and McKean mirror each other's movements while dressed in singlets and boxer shorts is hilarious! I know it's an homage to the Marx Brothers, but who cares? It's clever and took lots of rehearsal. I think there's a bit of a tip of the hat to Quantum Leap too, especially when Mulder struggles to learn the names of Fletcher's family. I think the concluding episode, Dreamland II, is a little rushed and ends everything too neatly, but the opening gambit is great and both are enjoyable. 

HOW THE GHOSTS STOLE CHRISTMAS (6ABx08)
Boosted by the stellar performances of guest stars Lily Tomlin and Ed Asner, this is one of my favourite episodes ever. I think the interactions between Mulder and Scully while they explore the 'haunted house' enhance their characters nicely. The Believer and The Skeptic are still steadfast in their roles, but they seem to start crossing over ever so slightly. I love the episode's ending when the two excitedly exchange Christmas gifts. The smallest cast ever; just the four actors!

TITHONUS (6ABx09)
Geoffrey Lewis' turn as Alfred Fellig is one of my favourite performances from the sixth season. The world-weary photographer of death is nearly 150 years old and longs to die. The final act with Scully is also great for her character development. As Fellig finally meets his death by taking hers, Clyde Bruckman's prediction of Scully never dying from the third season, seems to suddenly have weight. 

THREE OF A KIND (6ABx19)
I think this Lone Gunmen outing is far superior to the fifth season's Unusual Suspects. Not only is there lots of humour (bimbo Scully, anyone?), the Las Vegas setting and mind-control theme are very entertaining. It's nice to see Suzanne Modeski meet Byers again too. It's a shame that it's a Mulder-less episode, but it seems to work without him quite well. Particularly when TLG trick Scully into coming by using voice trickery. It's fairly lightweight, but I really enjoyed this one.

BIOGENESIS (6ABx22)
The sixth season finale includes one of my favourite X-Files moments. When biology professor Solomon Merkmallen looks at two metallic artifacts, they fuse together and new piece flies into a nearby copy of The Bible. It's a great scene, and it foreshadows the revelations that are 'revealed' later on. The idea that aliens may be responsible for all of the religions of the Earth is a great conceit, and the reveal of the giant spaceship in the beach on the Ivory Coast is one of the last great iconic X-Files visuals. It's hard watching Mulder descend into psychosis, but Scully steps up and tries her darnedest to come up with answers to help him. Throw in a little menace from Krycek and a powerless Skinner, and you've got yourself a par-tay!


HONOURABLE MENTIONS: Dreamland II, Milagro, Arcadia, One Son and The Unnatural.


STINKERS: Agua Mala, Alpha and The Rain King.