Molly Pettersson Hammar "Something Right" Review


Our favourite new Swed-pop diva, Molly Pettersson Hammar is back with a vengeance following her falling out of Melodifestivalen 2015 in the show's biggest scandal of the year (a voting app glitch saw her being knocked out of the contest in the first round of voting). But just as we predicted, Molly P H is fine and dandy.

Her new single, "Something Right," is right in the same soul-pop genre as her debut single, "I'll Be Fine," indicating that Molly P H has something that even Swed-pop artists with 10x more experience than her have yet to find: a clear musical and artistic identity. Despite being a mere 19 years old, Molly has strong signatures in place, including killer vocals, an ever-present smile, and a more vibrant attitude than anyone else currently making waves in the Swed-pop industry. Are the more seasoned Swed-pop artists worried? We reckon they should be; this girl has what it takes to make a run for the throne.

Yet another thing Molly P H has done right is have a music video to accompany her single (we'll stop moaning about Swed-pop artists releasing singles without music videos when they put a stop to that ghastly habit). Like a pro, Molly P H has some product placement to afford her the luxury of putting the video together, courtesy of Polaroid, and then Molly's off! With a fruity-themed room including pineapple walls and watermelon pillows, Molly dons a few outfits and her stick-in-the-mud friends only sign off on her final outfit, despite her looking perfectly lovely in all of her wardrobe ensembles (upgrade your squad, girl!) Then it's off to the city to start a spontaneous dance party with some unsuspecting Swedes. Follow this up with some cake in the face while maintaining smouldering eye contact with the camera, belting on a lollipop microphone, and shameless dancing on a party-bus and even on the top of the bus itself. Watch out world, Molly P H is taking numbers! This video exemplifies that Molly P H is unapologetically herself and despite only having just begun her career, she's doing far more than just 'something right'.

Watch the music video and enjoy the track below:

Måns Zelmerlöw "Perfectly Damaged" Album Review


Måns Zelmerlöw Follows Up Eurovision Victory

With Glossy-Indie "Perfectly Damaged" Album


The third time was the charm for Måns Zelmerlöw in Sweden's Melodifestivalen contest, and he was able to live up to the hype surrounding his "Heroes" number by winning the Eurovision Song Contest with the third-highest points total of any song in the competition to date (Zelmerlöw received 365 points following the likes of Alexander Rybak with 387 points and fellow-Swede Loreen with 372 points). But in this day and age, it's not enough to simply win Eurovision, as a lack of follow-through would amount to a career that is essentially a one-hit wonder as far as wide-reaching traction goes. Thankfully for pop music fans, Måns Zelmerlöw is no mere one-hit wonder.

Zelmerlöw has released his latest studio album, "Perfectly Damaged," and true to what he stated to us back during Melodfestivalen, the album combines the mainstream style and production value of "Heroes" with the musical indie qualities and creative integrity of his previous studio album, "Barcelona Sessions." There isn't a single bad track to be seen in the 12-track line-up but we've selected a few of the stand-out songs that would make for the best singles on a wide scale. (Though we're still astounded that a real music video for "Heroes" has yet to be made).

"Live While We're Alive": Bright, summery, and brimming with warmth, this track is a feel-good hand-clapping, foot-stomper that can uplift the listeners and bestow a positive aura unto them.

"Let It Burn": Måns Zelmerlöw has truly found a comfortable balance with his musical evolution and this track is exemplary of that. While the verses maintain that singer-songwriter feel with strong lyrics and minimal synthetic influences, the chorus infuses EDM sounds and a more simple lyrical aprproach. This eclectic mix shows Måns Zelmerlöw's eclectic understanding of varying musical genres.

"Fade Away": With excellent momentum and percussion to propel the song forward, the song starts off slower and less flashy before exploding into one of the best damn choruses you'll see on this stellar Swed-pop album.

"Someday": While some may debate that none of the "Perfectly Damaged" tracks can out-do "Heroes," if there is one that can give it a run for its money, it's "Someday." With powerful lyrics that create downright cinematic imagery, a backing instrumental arrangement intricately woven together, a groovy break-down in the bridge, and genius hybridisation of electro pop and organic pop, this is the song that could make us curse the Swed-pop deities forever if it's not chosen to be a single. If you love yourself, treat yourself and put this track on a loop and let loose.

There's something for virtually everyone on this album, with a couple morose ballads and some additional mid-tempo tracks that are also solid if that's your preferred flavour of pop. The tracks also neatly fit together without sounding like twelve copies of just one song. This is by far one of the best Swed-pop albums we've seen in the last decade and is an excellent pre-cursor of what will hopefully be a brilliant pop journey and post-Eurovision career for Zelmerlöw.

~

Catch Måns Zelmerlöw on the European leg of his tour:
22 September 2015 ~ Olympia Theatre, Dublin, Ireland
24 September 2015 ~ Heaven, London, UK
25 September 2015 ~ Paradiso, Amsterdam, Netherlands
26 September 2015 ~ Kesselhaus München, Munich, Germany
27 September 2015 ~ Ottakringer Brauerei, Vienna, Austria
29 September 2015 ~ Große Freiheit 36, Hamburg, Germany
30 September 2015 ~ Volkshaus, Zürich, Switzerland
02 October 2015 ~ E-werk Köln, Cologne, Germany
04 October 2015 ~ Capitol Offenbach, Offenbach, Germany
07 October 2015 ~ Fabrique, Milan, Italy
09 October 2015 ~ C-halle, Berlin, Germany
11 October 2015 ~ Lucerna Music Bar, Praque, Czech Republic
15 October 2015 ~ Logomo, Teatterisali, Turku, Finland
16 October 2015 ~ The Circus, Helsinki, Finland
26 October 2015 ~ VEGA, Copenhagen, Denmark
03 November 2015 ~ La Riviera, Madrid, Spain
04 November 2015 ~ Sala Razzmatazz 1, Barcelona, Spain


"Final Girl" (2015) - Film Review

World-renowned photographer Tyler Shields has made his feature film directorial debut on psychological thriller "Final Girl" and the film fits in well with the aesthetics and social commentary often present throughout his photographic pieces.

"Final Girl" tells the story of a girl named Veronica who is trained to take down a group of misogynistic killers who lure women into the woods to be hunted for sport. As far as a narrative back story goes, there are more questions than answers. But this simply aids to the film's hyperreality setting in which mood lighting and eerie shots contribute to a story that reads more like an arthouse piece in which viewers are left to simply follow the heroine's battle against the villainous serial killers.

Just as much of Shields' work has addressed some heavier societal issues, "Final Girl" can be interpreted as a statement about societal misogyny and violence against women. Abigail Breslin holds her own as an action-star on a highly artistic backdrop. Alexander Ludwig portrays the film's main antagonist, Jameson, and his performance is downright skin-crawling in its spot-on embodiment of narcissistic male entitlement. The supporting players are also commendable, and when brought together, we'd liken the group of killers to that of Alex DeLarge and his "droogs" in "A Clockwork Orange."

Though the visual aesthetic of "Final Girl" may look familiar to the most avid followers of Tyler Shields' work, the film is by in large a refreshing change of pace to much of the cinematic content of Hollywood receiving of wide distribution. We'd highly recommend viewing this film and look forward to more of what's to come from Tyler Shields as a film (or television, perhaps?) director.


Final Girl is available for viewing in limited theatrical release and video-on-demand.

Tyler Shields "Final Girl" Interview (San Diego Comic Con 2015)


Tyler Shields is a world-renowned photographer, who has repeatedly made headlines with his striking imagery. But now, Shields is transitioning for the first time into the role of a feature-film director. At San Diego Comic Con, Shields sat down with us to discuss the feature, "Final Girl," and offered up insight into the process of bringing the story to life, this new branch of his artistry, and the social commentary so frequently seen in his work.

Shields noted that for him, the art forms of photography and film-making were the same. After being approached by the producers of the film, he agreed to take the film on, but only under the condition that the film's thesis stay away from the 'female victim' trope so frequently used in Hollywood.

"Women are so powerful, and I view them in such a powered form. But what I find interesting is that, in this movie, you have a very strong female lead and another movie I'm doing, you have another very strong female lead, and there's a lot of people that seemingly want that, right? Yet people make it very difficult for you to make a movie like that; that's what was surprising to me. The people who write checks, they don't like the idea of that, so it's difficult to get these movies made." ~ Tyler Shields, on making film(s) with a strong female lead

No stranger to controversy, or introducing strong social commentary into his work, Shields say that the issues he is most inclined to highlight are the ones that have long-standing historical resonance, be it racism or misogyny. Abigail Breslin was his first choice to play the film's heroine, Veronica, and Shields shares that she accepted the role 45 minutes into reading the script.

"This movie has no CGI, everything you see in it is real. Everyone's fighting, Abigail Breslin is 16 and she's punching people in the face. When you see people's breathing, it's because they're freezing cold." ~ Tyler Shields, on the originality and realism of "Final Girl"

View the interview in full here:


"Final Girl" will have a limited theatrical release and be available for viewing on demand.

Samir & Viktor's "Saxofuckingfon" Music Video Is So Wrong That It's Right


When last we wrote about Samir & Viktor, the duo had just released their current single, "Saxofuckingfon," but had yet to release the music video. Now that the peak of summer has been reached, the two have finally filmed and posted the visual narrative to one of the absolute catchiest summer bops.

Enter our heroes at a gathering of pretentious Östermalm-looking types. Just look at this group's hideously country-club-looking outfits and bougie champagne glasses and you know that trouble's brewing. They don't want Samir & Viktor to join in on their party. So how do S&V respond to this sort of exclusionary disrespect? Invite a bunch of crashers, gather up a few saxofuckingfons, and get the real party started!

Though some folks have been dismissive of Samir & Viktor and their ridiculously catchy singles, there is in fact plenty to like about this video. The platform on which S&V have built their success is a genuine love for having fun and bringing joy to the folks who will pay them any sort of attention (they also used their performance during this year's Melodifestivalen finals to speak out against cyberbullying) and this video is entirely befitting of this thesis. Sure, the video is utterly ridiculous with the terrible choreography and the ghastly outfits to be seen that are worn without an ounce of irony. But in the video's turning point and its ending we see a message of positivity that promotes unity amongst all people who are simply looking to have a good time. It's not about poking fun at those who dare to be different, or getting revenge against those petty Östermalmers who wouldn't let you into their party. Whether you're the type to wear too much hair product, or lip-synch along to the auto-tuned hook of your song, in S&V's world you'll always be welcome to let it rip and get down to the Saxofuckingfon!

Check out the video for yourself here:

Halt and Catch Fire S2E10 (S2 Finale) - "Heaven Is A Place" Recap


Following the WestNet disaster, Sara files for divorce from Joe and Jacob is removed as CEO of Westgroup Energy. Meanwhile, Cameron grows increasingly frustrated with the new network partner of Mutiny, so she goes in search for a used IBM mainframe that Mutiny can use to host their network.

Gordon is undergoing group therapy to manage his stress better so he can keep his health under control. Joe is also struggling with trying to start over yet again, and bombs a job interview despite giving it his best effort but his past sins mean that the company only gave him the interview out of morbid curiosity.

When Cameron minds the IBM mainframe, Donna warns her that it is enormously expensive and it is also located in California. To buy it and move it is a bit too far out of their reach. Donna later gets into an argument with Gordon because he learns that she helped Cameron conspire to sabotage Joe's speech and Gordon thinks that Joe didn't deserve this. Gordon admits during the fight that he had a one-night affair while in California and he said that he acted out after learning he was sick and felt like he no longer had his marriage. Their daughter Joanie runs out due to hearing her parents fight.

The following morning, Donna heads to Mutiny early and tells Cameron that Mutiny should head to California and start over. Gordon visits Joe at his apartment and gives him an antivirus program he wrote in order to counter Sonaris, Tabula Rasa. He wants to help Joe get his life back on track.

Bosworth is at a company lunch with his son's company when he comes to realise that he has made a mistake in leaving Mutiny.

Gordon and Donna are in a panic over being unable to find Joanie but they discover her hiding in the backyard. They have a talk with her to reassure her that no matter what, they will always love her. After sending her back inside, Donna tells Gordon she wants to work things out but in order to do so, they need to move to California, buy and fix up the mainframe Cameron wanted, and they will both work for Mutiny. Though they're unsure that it will fix things, Donna knows that if they stay where they are, their marriage won't make it.

Joe secures another meeting with the company that had blown him off before. He infects their system with a virus and then uses Gordon's antivirus program to fix the problem and afterwards manages to secure venture capital.

Afterwards, Joe tries to recruit Gordon for his latest business venture that he will be embarking on, but Gordon has to turn him down because he will be working for Mutiny to work things out with Donna, though he is happy that things have turned around for Joe.

One months later, the entire Mutiny team boards their flight for San Francisco. Cameron had stopped by Tom's place to make him one final offer to join them by presenting him with a plane ticket to join them. The Mutiny team is elated when Bosworth boards the plane but unfortunately for Cameron, Tom doesn't show up to the plane. On board, Gordon reads about Joe securing 10 million dollars to start an anti-virus software firm, which is what he had been trying to bring Gordon on board for but Gordon had turned him down without knowing the extent of what he was being offered.

Finally, Joe is shown to be in the Bay Area looking at office space for his company, MacMillan Utility.

Humans S1E8 (S1 Finale) - "Episode 8" Recap


Hobb brings Leo, Max, Mia, Fred, and Niska into captivity and places them into a lab to sync up their minds and try to retrieve David's programme. But it's not a successful attempt because Karen isn't hooked up to them. Hobb has also admitted to altering Fred to be his primary user and intends on disassembling all the other synths.

The Hawkins are being essentially help hostage. But Drummond sneaks Mattie and Toby out with Mattie's laptop, on which she has a copy of Leo's memories from when he had connected to it. Leo threatens to Hobb that she'll leak the footage to the press, and Hobb has not choice but to set the Synths and the Hawkins free. They meet up together but Fred leaks the location to Hobbs. As Hobb's forces follow after them, the group is forced to flee into the downstairs area of a building where an anti-Synth rally is taking place. Toby has already figured out that Fred is responsible for the leak of their location and the Synths are forced to shut him off. Meanwhile, Laura takes Joe aside and opens up about her dead brother.

Leo tries to retrieve the code from Fred's mind but can't manoeuvre his way around Hobb's crude code. Karen then arrives, as Leo had told her where they were himself. She agrees to do the sync with them and when under, Karen tries to shut them all down. In the sync, Mia implores Karen not to harm Leo or the rest of their family and eventually relents. David's program is assembled and Karen leaves. She is later met by Drummond who seems to be interested in exploring a relationship with her.

The group must decide what to do next. Niska deletes the code from the computer after copying it onto an external hard drive which she says they should entrust to someone who can keep it safe, Laura. They will decide what to do next regarding the code on their own. The Synths decide to head off on their own but must leave Fred alone because of the risk he poses to their anonymity.

The Hawkins returns home and Mattie is unable to find her other hard drive, leading Laura to grow rightfully suspicious. Niska had told the other Synths she wanted to head out and make her own life but she is revealed to have Mattie's hard drive with her own copy of the consciousness programme.

Humans will returns to Channel 4 for series 2.
Copyright © 2013 Something to Muse About and Blogger Templates - Anime OST.