Volunteering at Roskilde Festival 2018

Music festivals are about the bands, yes. I should know this being the live music obsessive that I am. But they can be about so much more than just music and partying, and Roskilde for me confirms this. Even though there is a great proportion of the festival geared up towards the hedonistic – the humanitarian side, which includes being run by volunteers, and with all profits donated to charity, gives a positivity and generosity to the festival that the other massive entities lack (with the exception of Glastonbury and maybe Poland Woodstock). I’d known about this highlight of the Danish party calendar for many years – there’s not many festival fanatics who haven’t heard of a festival with such an illustrious history (not overlooking the occasionally tragic moments). When a friend offered me the chance to volunteer at the festival – I knew I had to go. Even though logistically it wasn’t easy, I found volunteering by far to be the best way to experience a festival, and Roskilde to be quite possibly the most worthwhile festival experience I’ve ever had.

Action at the outdoor Apollo stage

Roskilde, being nearly entirely run by volunteers means that there’s a huge percentage of them on site – nearly 30,000. In return for their hardwork, they’re provided camping spots in a volunteer only area, which is a lot more quiet than the near apocalypse party vibe of the main camping area. This access to a bit of peace outside the near complete immersion of noise elsewhere in the festival, is a welcome respite. There are also free showers which are to a surprising level of quality given the amount of volunteers – think high quality summer camp group showers as well as access to discounted food and drink and a special volunteers only area within the festival site. This itself has a cafe with plenty of phone charging space, and tables to keep working if you have any laptop based work you can’t get away from during the period of the festival, but more importantly, there’s free coffee and tea at all times on the festival site in this volunteers area. As well as free lemonade. Anything free is a blessing when at a potentially costly 8 day festival of the likes of Roskilde. If you needed any more incentive to volunteer, there is of course the fact that for four 8 hour shifts, at times you chose, you can see all of the music you wish, including many of the best acts currently touring, and for your efforts, hundreds of dollars will be donated to charity. Millions of dollars in profit is donated to charity by the Roskilde Foundation after the culmination of the festival, meaning your hard work is not just going into partying, but helping the world as well.

A happy volunteer and Roskilde festival goer

If this is at all getting you interested in volunteering at Roskilde, and keep in mind I haven’t even got to the music yet, the first thing you have to do is find a company to sign up with. I signed up with Mellemfolkelig Samvirke or MS Roskilde, which I can highly recommend. Founded in 1944, they are a politically independent non-government organization whose aims include “understanding and solidarity between the peoples of the world, as well as promoting global development based on the sustainable use and just distribution of wealth and resources” (taking from the Wikipedia blurb). All the money raised by MS Roskilde from the volunteers was to be donated to causes in El Salvador. Signing up to volunteer was a straight forward and painless process, and as well as signing up with a company hosting volunteers at Roskilde, you must also sign up at the Roskilde volunteer website, which can be found here. Once you sign up, it’s a matter of following the steps. Emails will be sent out stating when you have to sign certain forms, complete any learning documents that are necessary for your job roles, and when the time is right, chose your shifts. Choosing shifts happens on a first in first served basis, and getting in just as the places were open allowed me to chose shifts that were all largely before the music days. One night shift had to be completed, which I chose for the night I arrived, which gave a pretty epic initial experience – arriving via a 5 hour bus from Northern Germany, setting up my tent, and checking in to the charity base before starting an 8 hour shift that was to finish at 7 in the morning. One of the shifts had to be placed during a music day in order to meet requirements, but this could be taken in the morning, which means next to none of the music had to be missed. Work wise, our charity was involved in running a volunteer camp ground, so the work was not too difficult and involved either patrolling a camp ground, keeping festival goers happy, observing any incidents and keeping noise to a minimum. There were also times where we had to help lost or drunk campers find there tents, which while minor gave a sense of satisfaction in helping the overall friendly feel of the festival be maintained. Other jobs included manning entrance gates, checking wristbands and checking that any vehicles entering the site or campervan camping parks had the correct documents. All pretty basic but fun, and you have a good team to work with, friends to make and free food, coffees and all that good stuff during the shift. I have to admit that signing up and volunteering seemed a somewhat daunting prospect to begin with, and I couldn’t have achieved this without a much more organised Danish friend of mine, so shout out to them for opening up the possibilities for me to experience this. I can recommend you take the plunge and give the volunteering a go as well, if you enjoy festivals, or just charitable experiences.

Party goers take a rest outside the Arena stage

Once your in, the festival opens itself up in a way beyond what it would if you were just merely buying a ticket and camping with all the debaucherous revelers. Having a quiet place to camp is a blessing, unless you want to be surrounded by the hundreds of thousands of Danish youth in the main camping area, who compete in creating their own stereos, blasting them at full volume nearly constantly (except for relatively late mornings hours when a nap to delay the hangover is attempted). These campground parties are part of the history of Roskilde and have grown to an impressive degree, even if to a unbeknownst spectator unfamiliar with such traditions, it may seem something akin to partying amidst the actualization of hell on earth. Deep house booms next to obscure Danish in-joke music, young people engage in drinking games such as beer bowling in the alleys between the camps, partying and dancing goes on all hours as the toilets overflow and the condition of the tents deteriorates with each night. How the Danish youth have the stamina for this level of full of sensory immersion, combined with drinking and recreational drug use is beyond me, but they manage to keep it together for the 8 days of the festival, and although there are occasional tragic occurrences, assaults, overdoses and reported rapes, this would be also the case at any major music festival. Especially within a gathering of people large enough for a week to be Denmark’s 5th largest city. There are plenty of volunteers, safety officers, medics and police working in the background to look after those who need it and keep the festival moving as safely as possible. If camping in a full-blown dystopian wasteland youth party such as this doesn’t sound appealing, but the prospect of a brilliantly curated music and arts festival does, then the amenities in volunteer camping will come as a welcome reprise.

David Byrne at Roskilde 2018

I haven’t even got to the main draw of the festival yet, which for most is not the youth camping raves, but the main festival site with 6+ main stages, 175 acts, and various other events, including lectures, workshops and art installations. The major reason for attendance is the music, the headliners which in 2018 included Eminem, Bruno Mars, Gorillaz, Nick Cave and the Bad Seeds, Massive Attack, David Byrne, Anderson Paak. and the Free Radicals, Nine Inch Nails, Stormzy, Khalid, Dua Lipa My Bloody Valentine, Mogwai and Danish acts such as Nephew, C.V. Jorgenson and The Minds of 99. The production value of the stages is extremely high, with state of the art lighting and huge screens on the main Orange stage (which itself is nearly as iconic as the festival). The sound on all the stages is brilliant and bands are afforded fees clearly large enough to secure their most complete stage designs, with all the lights, screens and prop elements that make concert attendance an immersive and exciting experience. Many performers seemed to be putting on special shows for Roskilde, Eminem for example brought out his Bad Meets Evil co-rapper Royce da 5’9″, Massive Attack brought with them reggae vocalist Horace Andy for perfect versions of his songs with them including a personal favourite Hymm of the Big Wheel, Gorillaz brought with them an absolute plethora of guests (which to be fair is not a rare going on for them) including De La Soul, Little Simz, Booty Brown, Jamie Principle and notably Del The Funky Homosapien, although his performance was cut short by what must go down as one of the strangest stage fails in festival history. I also caught memorable shows from artists such as Clutch, Chelsea Wolfe, PARTYNEXTDOOR, Danny Brown and Fleet Foxes on stages scattered throughout the festival. Genre wise, the festival is hard to down, the most EDM of concerts are side-by-side with the most metal. For example, Phil Anselmo, ex-lead singer of Pantera was at the party, performing with his new black metal project Scour (who made no mention or apologies for his previously racist behaviour, but did perform 2 Pantera covers in tribute to the later Vinne Paul). This could be followed by the likes of rising Swedish pop artist Sigrid. Therefore, ecclepticism is a strong point of the curation of the Roskilde line-up.

Groove-tastic Danish artist Iris Gold in action at Roskilde 2018

That’s only scratching the surface of the performances you can catch at Roskilde, To bring this back to my original point – volunteering at Roskilde can be about so much more than the opportunity to see music (even though there is a lot of music), some of the most memorable moments were the unexpected ones. I witnessed talks by activists such as Chelsea Manning, met friends through volunteering that have opened up whole new avenues of possibilities in Denmark, and put myself into situations that I believe I can learn and grow from. For example, one night the group I volunteered with hosted a dinner and quiz night. Through the socializing at this quiz night, friends were made that I kept seeing without planning throughout the festival, not to mention that our group got 3rd place in the quiz, just about the best placing I’ve ever managed for quiz night. On a personal note, I also managed to give myself food poisoning by eating salami that had been carried around in my bag, getting hot and sweaty for a week, which knocked out nearly a whole day of festivaling from all the vomiting. A mistake I won’t again repeat at a major music festival. And without the volunteering at Roskilde, it might have taken me a lot longer to learn that lesson.

If your looking to see top class entertaining, party with crazy tall and beautiful Scandanavian people with hilarious and cute accents, meet people and contribute to good causes with your volunteer time – then look towards Roskilde Festival. It could be one of the best reasons to travel up to the land of the Danes, and certainly one of the most simultaneously exhausting and rewarding reasons to.

Here’s a compilation of all the footage I shot during my 8 days at Roskilde:

Advertisements

Au Hasard Balthazar (Robert Bresson, 1966) [Film Journal 2017 #2]

A film about an abused donkey in small town France, leading a saintly life that parallels that of it’s young owner Marie. An intriguing plot synopsis, one so specific that it could probably only be attempted by a master filmmaker. Bresson’ is a master indeed, expanding upon Eisenstein-esque montage theories to produce a uniquely film language, implying plot events with poetic edit choices and manipulating his untrained actors to be the conveyor of emotions for audiences to place themselves within, rather than forcing emotional performances onto audiences. His is an incredibly refined and deliberate style, one that screams to be studied by students and critics, and it’s probably unsurprising that he’s a favourite of film school courses worldwide. Also being one of the key influences on French New Wave filmmakers and subsequent followers such as Martin Scorsese or Terrance Malick, Bresson’s films deserve to be discovered by a wider audience – outside of just the elitist art house clique.

This is the 3rd Bresson film I’ve seen, and I’ve been lucky enough to have seen each of his on the big screen. The first being the prison break film A Man Escaped (1956), screened in Film Studies 101 in my first year of a Film and Media Studies degree as an example of a filmmaker using diegetic sound and uncommon camera framing devices to tell a narrative. Bresson spent over a year in a prison camp in WWII which gave him an experts knowledge to tell such a story. A Man Escaped is the most accessible and straight-forwardly entertaining I’ve seen of his and would be a good entry point. Diary Of A Country Priest (1951) was screened during a spirituality in film paper as an example of transcendent cinema. Transcendence being something above a normal earthly or physical level. The country priest of the title, known just as the Priest of Ambricourt, is a sickly man who struggles with his parish duties and become increasingly unwell throughout the film. His faith being tested, he receives no respite, and experiences a journey comparable to that of Christ. In his suffering Bresson insinuates he experiences transcendence of a sort.

I don’t know if the experience of watching a film can truly be said to be a transcendent experience – but this is something frequently stated about Bresson’s best films and their effect on the audience, and many critics state Au Hasard Balthazar as his best. Andrew Sarris exaggeratedly said of the film in 1970 – “No film I have ever seen has come so close to convulsing my entire being … It stands by itself as one of the loftiest pinnacles of artistically realized emotional experience.” Perhaps praising a film to that extent help to justify film as a serious art-form at a time when it’s reputation was still being solidified. But for a reknown critic and academic to be that passionate is perhaps a hint as to it’s place in the canon of classic cinema.

c89721fc835d12399e16467b61f8a98b

Marie rejecting the affections of the earnest (or perhaps boring) Jacques

All of Bresson’s stylistic signatures are present in this film and perhaps mastered, but does that make the film groundbreaking or entertaining for a modern audience? In some ways yes, although research into the tools Bresson is using and his place in film history significantly increases an appreciation of the film, beyond a surface level. The use of untrained actors and the way in which Bresson directs he cast, filming take after take until the performance is diluted to it’s subconscious essence is in theory genius – rather than treating actors like stars, he uses them like a substance is diluted in homeopathy. During my initial viewing of Balthazar I could enjoy the performances as very naturalistic, documentary-like (neorealist perhaps) and understated. A character might say something dramatic, such as Marie refusing the love of her returning childhood sweetheart Jacques – but the lead actor Anne Wiazemsky talks as if she was hypnotized. As fascinating as this is, I would not have known the craft behind the performances without the research after watching the film.

As mentioned, the core narrative of the film concerns the saintly life of the donkey Balthazar, who suffers a life of servitude at the hands of it’s human masters, sometimes receiving kindness and sometimes abuse. Marie takes a shining to Balthazar and their lives are compared to each other, with the donkey’s life of abuse and mistreatment being paralleled by the somewhat tragic fate of Marie. The key sections of their lives are presented in separate segments almost like an anthology film. Within these segments, montage is used to imply meaning – to provide an example, a town drunk Arnold at one point takes owner ship of Balthazar. In one shot he says how he is going to quit drinking. The next shot is a close up on his hand holding a glass at a bar, the glass being filled with spirits. Such a cut caused laughter to erupt around the theater, showing that Bresson had a deft comic touch that is rarely noted.

Town drunk Arnold with Balthazar

 

Recovery not an option for Arnold is spite of his declarations

Recovery not an option for Arnold is spite of his declarations

Marie lives on a farm with her father and mother, known not by name, but they don’t own the farm. The farm-owners daughter dies in the opening sequence of the film, leading the family of the owner to leave the farm, which ends the brief childhood romance of Marie and Jacques (Jacques who is the son of the farms owner). Marie’s Dad is given responsibility over the farm and entitlement to the profits, yet the town bank enforces taking payments from the father which leaves the family in a state of destitution. A trouble-making gang of youths, led by Gerard (Francois Lafarge) soon enter Marie’s life, torturing Balthazar by tying fireworks to his tale, of which Marie does nothing to deter. Gerard seduces Marie, which is implied through his point of view gaze on her skirt, and a montage cut to blowing on a small horn in triumph, implying a successful conquest. Marie’s life becomes increasingly entangled with Gerard, which her family disapproves of yet is unable to dissuade. Gerard uses Balthazar for sometime, taking him from the family just as Gerard takes Marie.

Many crimes are caused by Gerard, and his at one point accused of a murder, yet this plot thread remains inconclusive. Arnold, the town drunk is also tormented by Gerard, yet later in the film Arnold surprisingly comes upon a fortune due to the death of an uncle. Gerard takes this opportunity to cause destruction to a bar, smashing mirrors and the entire collection of glass bottles, knowing Arnold will use his inheritance to pay for the bill. The scene of Gerard destroying the bar is one of the oddest of the film. The destruction is quite complete, and takes place around dancing townspeople. None of the extras dancing react at all to Gerard’s needless destruction. They have been directed not to show any awareness of it. Touches like this contribute to the dream or fantasy mood that Bresson conjures. Dramatic scenes occur, yet they do not occur as in real life, they take on more of a metaphorical role and therefore are more powerful, yet at the same time from a modern audiences perspective, are somewhat difficult to initially understand.

Balthazar at one point is sold to a local circus. He has a brief and seemingly successful career as an entertainer, and encounters other persecuted and subjegated circus animals – the eyes of an Elephant, Tiger and Chimpanzee staring mournfully back at Balthazar. Bresson apparently cared about the rights and lives of animals, sensibilities which fellow master director Ingmar Bergman apparently didn’t share. He famously said of Balthazar; “this Balthazar, I didn’t understand a word of it, it was so completely boring… A donkey, to me, is completely uninteresting, but a human being is always interesting.”

Brutal words, which serve to split Bresson and Bergman fans. Bresson ends the film with the saintly death of Balthazar, who expires surrounded by sheep, having been stolen by Gerard to steal goods – Balthazar’s demise occuring after being exploited one last time by the human’s who care not for his well-being. Marie’s narrative is left open, she at the very least escapes the village, but we are not if this is due to death or her own choice. The cruel characters of the film, notably Gerard never receive punishment for their deeds.

milking-machine

Is it a film that will still be regarded as a classic in 50 years time? That remains to be seen. It’s certainly an intriguing and well-executed premise featuring Bresson’s master touches in terms of cinematography, acting, editing and sound design. But it is very much a melodrama and the moments of comedy are overshadowed the main tragic plot of girl and donkey. It is perhaps most entertaining as a snapshot of life in mid-20th century small town France, with traditional village life ontrasted with growing modernity (such as Gerard carrying around his portable radio, playing Rock n Roll in an imitation of an american bad-boy like James Dean). It may be dated, but if you’re willing to invest in the film some time, you’ll find a more rewarding watch than just about everything else currently being produced for celluloid.

9/10

 

Hunger (Steve McQueen, 2008) [Film Journal 2017 #1]

After completing, and being fascinated with Shame (McQueen’s 2nd film from 2011) last night, I decided to not stop there and continued straight on to the first collaboration between director Steve McQueen, actor Michael Fassbender and cinematographer Sean Bobbit – all three would later work together on 12 Years A Slave.

I think it’s safe to say that I hold McQueen very high in my list of currently working directors. These are three of the most demanding and provoking films I know of in recent memory, it’s hard to pick my favourite of the three – but I think it’s Shame, for it resonated the most with me. Addiction, especially to that of pornography and other instant gratification-giving mediums is so common and not discussed enough in cinema. The relationship between Fassbender’s successful-on-a-surface-level corporate character, and his equally broken sister is tragic and I’m still running it through in my head a day later.

But onto Hunger, which I was intending to write about. McQueen is a master of the long-take, just like Kubrick or Welles. He lets the camera linger on fictional moments long enough that they start to feel real. He documents realities that we can’t visit in a way arguably more penetrating than a documentary filmmaker could.

Hunger tackled issues of Northern Ireland, not something I’ve been that exposed too. Bobby Sands’ tale of self-sacrifice for his nation, bethren and beliefs is evidently an influential one, a modern day myth. I find it hard to believe how a country could be so split down the middle by religious divide, and reading more into Sands’ life after watching Fassbender’s harrowing portrayal of him, I understand the kind of torment the man must have faced to lead him to make such an extreme decision for his own fate.

If a film like Hunger exists to educate the historically and politically naive such as myself, then it is serving a higher purpose than just to entertain, and that therefore makes it not just great cinema, but great art.

[Blog] New Single: Seperations (Produced by Stakker)

A couple of months ago myself and a mate of mine Richard Baldwin, who produces and writes under the aliases Stakker, The Soviet Union and Belville (check out his tunes here), had our first jam, which immediately produced some promising sounds and ideas. We’d previously bonded at a party over a shared interest in old-school audio hardware, and learning that Richard owned not one but two mint condition Roland 808 drum-machines, I knew I had to get together and see what our minds could create.

I was slightly nervous at first to be jamming with such an experience musician, but we kicked straight into it and gelled quickly over some 808 pattern experiments. Quickly laying a beat into Ableton, I scrapped previous verses that I had brought to the jam, and wrote something on the spot to fit the sparse, mid-80s dark electro vibes that Richard was cultivating. Taking some ideas from previous incomplete verses, discussing the refugee crisis, I initially went down the route of the partying-at-the-end-of-the-world theme, that  I had previously explored in End Times. We sat on this rough initial draft for a month or so, having a few jams in between to remix tracks and hang out. Then, after the EU referendum decision, I decided it was appropriate to pick up this jam again and lay something down while the topic and inspiration is fresh. The upcoming US election adds another level of perverse inspiration behind the content of this track.

What we’ve come up with is called Separations, and I’m pretty proud of it. This is the first time I’ve finished a track for my ongoing solo rap project over a beat made not by myself. It felt particularly collaborative due to Richard taking particular interest in how I was delivering the vocals, honing it on specific line delivery as well as the tone of whole verses. We tracked all the vocals in about 3 hours, split up with pizza and cider, and I think the extra production input has taking the track up a notch. It’s still loose, there’s some improv at the end which Richard and I decided to keep in, and there’s a few vocal flubs we’ve kept in there for the hell of it. Stop it sounding too laboured or whatever.

I hope you’ll dig the message of the track – don’t want to be too preachy, but taking influence from political rappers of the past, this is all about unity in the face of the divisions placed upon us by the media, politics and negative rhetoric . Check the track out above, or on bandcamp.

Hamish Gavin and Richard Baldwin Stakker recording Separations

Dicking around at the recording sessions

Journal: Driving around New Zealand listening to The Clean

As the seasons in London shift from summer to autumn, the slight chill in the air juxtaposing the still bright daylight, and a blue sky not yet obscured by grey bleakness, is reminding me of the similar climates of my homeland. Particularly Dunedin, which if memory serves me correctly often finds itself in similarly contradicting conditions. One of the most pleasant things about Dunedin weather, is that even when it is frozen cold, with morning frosts rendering grass crisp like icicles, the sky will nearly always be blue and welcoming. A cold day will always be bright enough to run about outside – which we did plenty of as kids, in the parks, streams and fields of my hometown, Mosgiel.

dunedin-street

A wet Dunedin day

The weather shift also reminded me of some music that seemed to go hand and hand with the chilly warm days of Dunedin. Before I moved over to London, I did a lot of driving around New Zealand – mostly in Auckland, Dunedin and Hamilton, as I strove to obtain my full license before embarking on a mission overseas. I moved to Auckland for several years before London, but I often found myself flying back to Dunedin to visit friends. During these visits, driving around in my Mum’s silver Kea or Grandma’s Mitsubishi, The Clean seemed the perfect soundtrack to to exploring the winding Otago Peninsula and sloped streets of Dunedin. So now that I’m roughly 19,075 km’s from Dunedin, and have been for over 14 months, it is maybe quite comforting to listen to a band such as The Clean, whose music seems to so strongly reflect the landscapes that the Kilgour brothers, and Robert Scott grew up in. Scott was born in Mosgiel, and the Kilgour’s in Dunedin, and I’m not exactly why their music seems to be to be the perfect companion for our vibrant student town and surrounding landscape. Perhaps it’s just that by me choosing to frequently play their Anthology during my cruises ingrained the comparison in my mind. But it seems quite possible that the landscape and energy of the town equally inspired the music – that which was born in student flats and bars of the 1970s, along with other reverb drentched, jangley, guitar based bands such as The Chills, The Verlaines, Sneaky Feelings, The 3D’s etc.. and all the other Flying Nun and Dunedin Sound family.

10671282_10153328666199606_6543501879145605735_n

Pulled over by the cops – on the desert road – North Island

I do favour the hilly roads on Dunedin, but the Waikato has it’s share of roadtrip memories as well, as after my Mum moved to Hamilton in 2012, I spent many weekends driving around those much flatter streets, and generally warmer climate, but again found myself often choosing Dunedin sound bands as the soundtrack. The Clean’s Vehicle seemed to suit these roads, their 1990 album recorded in London during a re-union tour. This is an album I’m returning to now, and perhaps finding an interesting existential connection the circumstances that surround that albums creation, seeing as David Kilgour was also lost for several years in this UK metropolis. Vehicle is the sound of The Clean again connecting with their homeland, and for me being all those kilometers away, it serves a nice replacement to actually standing on New Zealand streets.

So before I go off on another Europe adventure, I thought I would flashback to those cold New Zealand driving missions, where in one case we were off to shoot a music video at the abandoned World War II gun emplacements along the Otago Peninsula, just along from the favourite of New Zealand tourism, the Albatross colony. Or another time, heading off with my friend Anthony to explore the West Coast of the South Island, and both the Fox and Franz Joseph Glacier. Being in central London for more than a year, these experiences of freedom out in the Southern most countryside of the world do seem all the more special. There are many things going for London, but space and fresh air are largely not amongst them. That’s something that Dunedin and New Zealand has in abundance.

hamish-and-ants-roadtrip west coast south island

Anthony Keenan (Ants) and I on the West Coast of New Zealand

Live Review: Death DTA (Le Divan Du Monde, Paris, 2016)

Steve DiGiorgio played his 3 string fret-less bass like a maniac, beard grey and tied up looking kind of like a metal pirate. Bobby Koeble played every riff, every solo including the classic leads he wrote for Symbolic almost perfectly, lip syncing the lyrics along with an enamored crowd. Gene Hoglan, the atomic clock showed no signs of tiring, as he smashed through the ground breaking poly-rhythmic beats he composed for the two classic Death albums on which he played, lighting up cigarettes between songs, and playing the other drummers beats better than they ever could. Max Phelps at the front, the substitute Chuck Schuldiner now a veteran in his own right having toured for 3 years with these legends, still seems as surprised as anyone that he was picked for the role. But it all comes together as the best metal karaoke show one could ever hope for, a massive release for those who have been listening to Death for their whole lives and had perhaps never thought they’d see these songs played live, by a collection of men who wrote them.

gene hoglan

Chuck Schuldiner was of coursed missed, his onstage presence, technical proficiency and signature vocals of which perhaps invented the Death Metal genre (before outgrowing it) could not be replaced by Phelps, who has a role I do not envy, in spite of how fun it looks. I’m sure it’s an enormous task to have to fill Schuldiner’s shoes night after night, but Phelps to his credit nails nearly every solo, and also attempts various low and high vocal styles that Schuldiner moved between during his career. The crowd was supportive, often yelling Max’s name and giving him support. We were there to celebrate Schuldiner’s legacy, as DiGiorgio made clear to the crowd during in between banter, yet these musicians seem to have grown into their own confident and unique force. It’s shame this formation of Death DTA will not be able to move beyond the limits of an official tribute act, and perhaps compose new material. I would be interested to hear what new compositions the group would create.

IMG_1589

To tell it like it was however; hearing such  classic songs live, played by such iconic musicians of the genre, left me to uncontrollably grin for nearly the entire set. I couldn’t but joyously mosh when hearing something like Overactive Imagination off Death’s 1993 album Individual Thought Patterns played live right in front of me, with the very drummer who I listened to in wonder ten years earlier as I tried to figure out what he was doing. I often found myself with my arms around the fellow French Death fans in the pit, jumping up and down and yelling every lyric to Pull The Plug and Crystal Mountain. Air guitar displays burst out amongst us at the front as we fanatics displayed our obsessive knowledge of the solos and fretwork from throughout Death’s discography. There was all the expected moshing and circle pitting, and rampant crowd surfing also broke out. I managed to pull off one ill-timed but hugely entertaining crowd surf as the acoustic intro to Destiny kicked into distortion. It was a bit of a struggle to get down once I was up in the air, but credit to the French crowd for going along with such antics. Almost all the signature tracks were played, minus a few – it will be interesting to see if any future Death DTA tours will feature Scavenger of Human Sorrow or Flesh And The Power It Holds for example (we might need Richard Christie on drums for those two).

Bobby Koeble

This being the last night of the tour, and being a metal show in Paris, there were extra bouts of between song banter – mostly from DiGiorgio , giving shout-outs the the backstage crew and taking time to specially thank the French crowd for coming out and supporting. We were apparently the best crowd of the tour – something DiGiorgio made clear he doesn’t say every night. Whether that was the case or not, it was a great gig and something I’m proud of trekked to have seen. My only regrets are that I don’t speak french well enough to make many friends before or after the show, and that security was tough enough to not allow some of us to wait after the performance to meet the band. Perhaps next time the band tours I’ll have a chance to chat to Hoglan in person. And maybe next time I’ll know French a little better – or maybe that’s asking a little much. For now, this Death fan is satisfied.

Film Review: The Green Inferno (Eli Roth, 2015) – [i watched it so you won’t have to]

I wish I wasn’t reviewing this movie. There are so many better films out there I could be talking about. Why haven’t  I seen The Revenant yet? Or Spotlight? Even The Hateful Eight? None of these I’ve yet had the opportunity to view. I could even make an attempt to be relevant and discuss Batman Vs. Superman: Dawn Of Justice, the most famous big terrible film out there at the present time. But instead, I’m going to talk about Eli Roth’s The Green Inferno.

Why, you might ask, do I choose to review this film, when I rarely do film reviews? It probably has something to do with my old obsession with horror films (which occurred around the same time as my teenage metal phase, which I wrote about in my last blog). I had been watched horror since the age of 11, and as my tastes expanded to ever more gory and shocking entries, it was only a matter of time before I discovered the cannibal film. A particularly un-politically correct sub-genre kicked off by Italian exploitation directors in the mid-70s, cannibal films are usually set in the jungle, often feature real animal murders, extreme gore (at the hands of westerners and depicted indigenous people) and content influenced by Italian shock-documentaries (mondo films) and neo-realism techniques. I would eventually write by Film Studies honours dissertation on the pinnacle of the genre (and a high/low point of extreme horror), Cannibal Holocaust. Needless to say, with a topic like that, my dissertation was doomed from the very start.

Perhaps mainstream American filmmakers like Eli Roth should start pointing their cameras towards the horrors taking place within their own country, of which there are plenty – rather than regressively projecting xenophobic fears onto invented demons in faraway places

 

You can understand then, my interest when I heard that Eli Roth was re-imagining the cannibal genre for modern audiences with The Green Inferno. The title itself is a reference to a scene within Cannibal Holocaust, so I knew this would be a film I would eventually, if reluctantly have to see. It took me a while but last night I finally gave this modern cannibal retelling a spin. Eli Roth isn’t known for subtlety, the Hostel series being the crown of his filmography so far (or arguably Cabin Fever), and staying true to form, you’ll find nothing subtle here. The start of the film is not completely terrible, framing itself as an American college comedy with a bit of an ecological thriller edge. A college ‘freshmen’, Justine (Lorenza Izzo), daughter of a United Nations attorney becomes interested in a social activism group, who led by a shady but charismatic student named Alejandro (Ariel Levy) take a trip to the amazon rain-forest to film logging operations which are obliterating local tribes. This ecological thriller plot I felt could have actually been an interesting. There are a few good characters here, such as a kindly ecological protester Jonah (Aaron Burns), who has a wee crush on Justine. He is also the first to be dismembered when the cannibals arrive (each limb chopped off one by one, and his head removed – such savage indigenous folk they are). Sky Ferreira is the best known actor in the film, although she stays behind in New York, and thus lives, having been a major character for the first 30 minutes, only to decide the mission to the amazon is a ‘lame idea’. Or perhaps her management had second thoughts on the films content.

the-green-inferno

Alejandro, turns out to be selfish and evil, happy to let Justine nearly be shot by the tree loggers, after the group of activists chain themselves to the fowled trees 30 minutes in. They survive however, having succeeded in filming on their smartphones the event of the loggers holding them at gunpoint. Their plane sadly crashes back into the jungle, and this is when the film moves from teen comedy/drama hybrid with some ecological themes, into a straight up classic cannibal gore-fest.

I was wondering how the film would tackle indigenous subject matter, and whether it would be respectful to real cultural practices. After all, cannibal films were ethically dodgy enough in the 1970s, let alone nowadays. It turns out not, and Roth’s depiction of the savage natives is as cartoon-ish as could possibly be. This is very much a case of foreign people being envisioned as the terrifying other, proving that racial terror is deep enough an American interest to be mined for cash decades after one would assume it was too offensive to do so.  At least Cannibal Holocaust gave a understandable reason for the indigenous Amazon tribes-people to be cannibalizing the westerners – that the western documentary-makers had been inflicting horrors upon them. So it was revenge cannibalism. I guess the habitat destroying of the tree loggers in The Green Inferno could be one possible reason for the indigenous people’s  violence against their captive Americans – and the American teens are shown to be shallow in their desire to gain shares and views for their smartphone slacktivism, but these are themes that are only weakly address. Instead, the tribes people are like demons, brutally murdering our western protagonists in a variety of gory but not particularly interesting ways. There is some commentary on ancient female circumcision practices, but mostly it’s all schlock violence. Towards the end of the film the loggers even appear, hacking down the tribes people in a torrent of bullet fire, thus saving our final girl Jan. Therefore everyone in this film is bad. The loggers, the arrogant westerners, the cannibalistic prehistoric indigenous people of the Amazon – all evil, all corrupt. It all adds up to one boring, meaningless, stylized mess.

GREENINFERNOROTHPT1-1

If this was a smarter film, the indigenous people of the amazon would still be allowed to scare you – perhaps through ancient ritualistic sacrifice practices against our western protagonists, yet they wouldn’t be so completely demonized as they are in Eli Roth’s depiction. Painting them red, overdoing the make-up on the tribal leaders, and giving no reason for their savagery. At one stage, our protagonist’s force a bag of marijuana down the throat of their friends’ corpse. The natives then cook and eat this corpse, and in doing so become high. Queue a joke about the indigenous people having the munchies, which involves them suddenly becoming zombies and eating one of our westerners alive. In some sense, I guess this is an inventive way to combine between a teen-stoner comedy gag and a cannibal horror scene. Mostly, it’s mind-numbingly stupid, and undermines any attempts the filmmakers had made earlier to give any insight and backstory into real amazonian tribal practices. I hate to be a stickler for details, this is a schlocky teen horror after all – but the level of crassness in Roth’s scriptwriting made me miss the golden age of 1970s b-movies of which this film is indebted to even more. At least back then, the influential wave of Italian filmmakers such as Ruggero Deodato and Umberto Lenzi put some effort into realistically depicting the indigenous people in their notorious horror creations.

On the positives, the practical effects are good and the acting was pretty reasonable. Production values were slick, and it was nice to see the jungle back on screen. Roth obviously knows his horror, and the references to Cannibal Holocaust and Ferox were appreciated. I guess I’m just disappointed.  I know that a contemporary cannibal film could be better – more realistic in it’s depiction of indigenous people, more detailed in it’s handling of current ecological issues of the amazon, less campy and less-reliant on American teen movie tropes. Perhaps what I wanted was a Werner Herzog cannibal film, and even though Roth used Herzog’s Aguirre Wrath Of God as a reference, he didn’t make it anywhere near that films daring guerrilla audacity. Perhaps mainstream American filmmakers like Eli Roth should start pointing their cameras towards the horrors taking place within their own country, of which there are plenty – rather than regressively projecting xenophobic fears onto invented demons in faraway places – all for the sake of another cheap, sex and death, teen trash money-maker.