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Last Splash by The Breeders
Last Splash by The Breeders
1993 | Rock
10.0 (1 Ratings)
Album Favorite

"I wasn't sure if I could pick Pixies as well as The Breeders, but fuck it! They're two different bands. I wanted to put this in here because seeing as this is the story of The Big Moon, as a band we have quite a broad range of music tastes. We all love bands and guitar music generally, but there are so many styles and it can go so many different ways. We all like a lot of the same bands but there aren't that many songs where we have that special cross-over moment and we find a song that we all adore. In the van, whoever’s driving gets to play whatever they want. Quite soon after we formed as a band we went round to Fern's house to try and think of a band name. We had this great night where we got really drunk and danced to Tom Jones. I seem to remember making quite a lot of mess, spilling drinks and stuff. It was just four girls getting very drunk together. We all realised that we loved this song and someone put it on the playlist. We were thinking about calling our band No Aloha after that, for about a week. We even wrote it in big letters on Fern's bedroom wall. We thought it'd be a really cool name, but then in the end we thought it'd be a bit of a mouthful to say on stage - "Hi, We're No Aloha!" - and we didn't want a lifetime of spelling it to people. But whenever it comes on in the van we're always like "yaaaay"!"

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Low by David Bowie
Low by David Bowie
1977 | Rock
9.3 (4 Ratings)
Album Favorite

"I hadn't actually heard this song one before we played Carnegie Hall last year [for The Music of David Bowie concert featuring the Pixies, Debbie Harry, Cyndi Lauper and Michael Stipe]. We were the house band and had quite a few artists coming on to play, so I had to learn it. For me, it wasn't an obvious one. When I first heard it, I even thought it was a terrible song! Like it wasn't even a song! That was just my first impression of it. But it was only when I started playing it, and trying to do my own version of it, that I realised that it all fit perfectly. It was great to play live. It was just him throwing something together - it's unserious, a totally unpretentious concept, and the music just fits the lyrics so perfectly. You know, the drums are not that tight, and there are drum rolls where you think: 'Wow, that's like a beginner that's just been playing drums for six months!' But then you play it and it actually fits! It's really weird. It fits the idea of always crashing in the same car. If it had been played technically correctly it wouldn't have worked. For me, it was a good example of how everything in the backing of a song has to line up with the message of a song. I think a lot of music these days, gets into this over-produced, too-tight, no feel thing, but you can't fault it. It's correct. The dots are all in the right place, but there is no soul. Or even, there isn't a message to grab a hold of and it all falls down. It's so easy now to put something together in your bedroom on your computer that sounds like a finished record, but if you don't have those same elements there that make a good song, you may as well not bother!"

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Playing with Fire (Magical Romantic Comedies #1)
Playing with Fire (Magical Romantic Comedies #1)
R.J. Blain | 2017 | Science Fiction/Fantasy
6
6.0 (1 Ratings)
Book Rating
This review and more can be found at my blog
https://aromancereadersreviews.blogspot.com
A Romance Reader's Reviews

This one starts with Bailey working at the coffee shop where she makes drinks for its regular but unusual breed of customers from humans to pixies to werewolves, adding a pinch of dust to each drink to give them a high. Her nemesis, Chief Quinn, comes in and she makes him a drink before he heads out, taking her boss with him, leaving Bailey to work an 18 hour shift alone. Jealously flares within Bailey as she's had a thing for Quinn since he asked her to find proof of his wife's cheating. When Bailey is asked by Quinn's former brother-in-law to help her find someone, she's reluctant but agrees, and is handed a phone. Only the phone isn't all that it seems setting in motion a series of events that throws her into Quinn's life more than either bargained for.

I enjoyed the first 40% of this more than the latter 60%. The beginning was fun and quirky. I loved the sort of love/hate thing she had going on with Quinn. I enjoyed the banter between her and some of the other cops and it was just up my street. It just seemed their will they/won't they get together thing was concluded too early in the book and I was wondering what the rest of the book would be about. It lost some of its appeal for me after the weird Gorgon vomit scene. And then I just struggled to connect with it again. I soldiered on, determined to finish it.

I also found Quinn's family very complicated. He has almost every type of creature in his family tree from angels to incubus to gorgon but he is very much human and I couldn't keep track of who was who half of the time.

I liked it enough that I'd buy more of this series.
  
EO
Elora of Stone (Legend of Rhyme, #1)
6
6.0 (1 Ratings)
Book Rating
<i>This eBook was provided by the publisher via NetGalley in exchange for an honest review

Elora of Stone</i> is the first in an exciting fantasy series, <i>Legend of Rhyme</i>, for young readers. Set in a magical kingdom, an evil magician steals one child of every pair of twins born. In order to protect their children, Asher and Ariana’s parents move to live near Elora – a good witch turned to stone by the sorcerer. Despite the protection, four-year-old Asher goes missing. The night of her thirteenth birthday Ariana learns of Asher’s whereabouts but only has until midnight to save him.

Full of magical creatures such as witches, fairies, pixies and goblins, <i>Elora of Stone</i> is the start of a sensational story for eight to twelve year olds. Heart stopping moments will urge the young readers to see the book through to the end to discover whether the twins succeed in being reunited and learn the truth about who is good and who is evil.

Although Asher and Ariana are the main characters of the series, they are not born until exactly half way through the book. As <i>Elora of Stone</i> is only one hundred pages, there are a bit too many chapters focused on setting the scene, resulting in the main story line and climax becoming rather rushed and crammed together.

Now that the preliminary introductions to characters and settings have been made, the following books in the series will hopefully flow better. <i>Legend of Rhyme</i> promises to be a unique fairytale to enthrall pre-teens of all reading levels. The narrative is clear and easy to follow with a limit on tricky words. To break up the text there is the occasional beautiful illustration depicting the author’s visual impressions of a handful of characters.

Ending on a slight cliffhanger, <i>Elora of Stone</i> will leave readers wanting more, thus making the <i>Legend of Rhyme</i> series a great set of books to collect; a wonderful start to your own personal library.
  
White Stripes by The White Stripes
White Stripes by The White Stripes
1999 | Alternative
7.3 (3 Ratings)
Album Favorite

"I've got no idea what it's about but from what I can tell it's about a monkey that explodes things, a monkey that likes the colour red but doesn't like green apples, so he explodes the apples. I just think it's really cool. I love The White Stripes. I love Jack White. I love Meg White. I love how simple their songs are, and instinctive. It feels like they've just started playing at that moment and they're making it up as they go along, just seeing how and where it goes. Even the lyrics - the ""exploding monkey"" - it feels so random. They let the music go where it wants to go naturally, they don't get bogged down trying to glue together complicated bits of melody. Quite a lot of the process of songwriting is trying to find ways to stick bits together and it becomes mathematical in that way. Sometimes you get swamped and weighed down with two bits of music that you can't find a way of joining. And then I listen to The White Stripes and think ""Ahh! You just play them next to each other, you don't have to join them."" It's like what I said about Pixies, they make me feel like music can be anything and can be as simple and as messy as you want. And as loud as you want! I find it really freeing. A lot of songwriting is getting in the right frame of mind, so it's good to have this music that doesn't make you feel worried about what you're doing and not be overly precious about it. If one bit of music isn't working with another bit you've got, you can just throw it away and write another bit, it actually doesn't take very long and maybe it will be better. Or maybe it will be worse, but whatever! There's something magical about it. I loved the three-colour thing the White Stripes did, the little codes in the lyrics about the number three and the symbolism in the album covers. And the way they pretended to be brother and sister! Or were they? Or weren't they?! They're just so fucking cool. Out of all the bands to come out of the last twenty years I think they're one of the best. I'm also so glad they broke up. I'm so glad they stopped and that Jack White does his other stuff now. They left the things that they did and they didn't change. It was just perfect."

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Twin Peaks Soundtrack by Angelo Badalamenti
Twin Peaks Soundtrack by Angelo Badalamenti
1990 | Rock, Soundtrack
7.4 (8 Ratings)
Album Favorite

"This has a similar story to Pixies and Beastie Boys in that it came out when I was in high school and me and all our friends totally lost our mind over it. We'd watch it every week and then the next day at school we'd confer and talk about what happened. Which is funny because so many of my conversations with my friends now are so similar. Especially now that you can binge-watch all of these TV shows and TV is just so good right now that it dominates all of our conversations. Especially with a show like True Detective which is kind of like a mystery and you talk about all the weird stuff, you theorise and come up with all these conspiracies. So it was like that with Twin Peaks and that was the first time that I ever had that relationship with a TV show. Then after that there wasn't another TV show that I replaced it with. It was very specific to Twin Peaks. And it was filmed in the region I lived in, the Pacific Northwest, and me and all my friends connected with that and felt a little bit of ownership over that. The music is really pretty and haunting. I actually bought the songbook so that I could learn how to play them. And I really like Julee Cruise, I thought her voice was really pretty. [Nancy played 'Twin Peaks Theme' as an intro the LCD Soundsystem's 'New York I Love You, But You're Bringing Me Down' at their final show in 2011] When we first started playing 'New York I Love You…', I was still trying to learn how to play it, and I don't think I've ever played it the same twice. Even for the recording there was no music written for it. But then as I got more comfortable playing it I started doing different things with it. There's this bit in the middle where it slows down, like the bridge, or the part before the big outro, where it slows down and I can hear other songs that could fit in there. The first song I played in that little interlude was 'Empire State Of Mind', then I got bored of that and started doing Brian Eno's 'By This River', then we would even sing the whole of that song before going back into 'New York I Love You…' but my favourite is when I did 'Twin Peaks'."

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Fight Club (1999)
Fight Club (1999)
1999 | Thriller
An Explosive and Provocative Journey
Few films have managed to spark as much debate and cultural impact as David Fincher’s Fight Club. Released in 1999, this dark and audacious psychological thriller quickly evolved from a divisive box office release to a bona fide cult classic. Based on Chuck Palahniuk’s novel of the same name, Fight Club is more than just a movie—it’s an exploration of identity, consumerism, and the hidden chaos lurking within us all. Fincher’s meticulous direction, coupled with outstanding performances by Edward Norton and Brad Pitt, makes Fight Club a visceral and thought-provoking cinematic ride that lingers long after the credits roll.

The story is told through the eyes of the unnamed narrator (Norton), a white-collar worker trapped in a monotonous life. Crippled by insomnia and a desperate longing for purpose, his mundane existence takes a dramatic turn when he crosses paths with Tyler Durden (Pitt), a magnetic, anarchic soap maker. Together, they form the titular fight club—a raw, underground outlet for men to vent their frustrations by literally beating them out of each other. What begins as an unconventional form of therapy soon spirals into a chaotic and dangerous movement, leading the narrator down a path of self-destruction and shocking revelations.

Edward Norton delivers a career-best performance as the narrator, capturing the character’s descent into madness with unnerving precision. His dry wit and self-deprecating humor make him relatable, even as his actions become increasingly unhinged. But it’s Brad Pitt who truly steals the show as Tyler Durden. Charismatic, unpredictable, and dripping with swagger, Pitt embodies the fantasy of rebellion and freedom that so many viewers secretly crave. Together, the two actors create a mesmerizing dynamic, with Tyler representing everything the narrator wants to be—and fears he might become.

Helena Bonham Carter rounds out the core cast as Marla Singer, a nihilistic wildcard who both disrupts and grounds the narrator’s chaotic journey. Her chemistry with Norton is as compelling as it is unconventional, adding a layer of emotional complexity to an otherwise hyper-masculine narrative.

What sets Fight Club apart is its fearless critique of modern society. It skewers consumerism, masculinity, and the emptiness of the so-called “American Dream,” forcing viewers to confront uncomfortable truths about their own lives. Fincher’s direction is sharp and unrelenting, with the film’s gritty visual style perfectly complementing its nihilistic tone. The innovative use of CGI, fourth-wall-breaking moments, and hauntingly effective cinematography by Jeff Cronenweth keep the audience on edge, unsure of what to expect next.

Yet, Fight Club is not without flaws. Its provocative themes can feel overly blunt at times, and some viewers might find its violent and anarchistic undertones alienating. Additionally, while the infamous plot twist is masterfully executed, it risks overshadowing the film’s deeper messages upon rewatch.

The soundtrack, anchored by The Dust Brothers’ industrial score and the unforgettable use of The Pixies’ “Where Is My Mind?” in the climax, elevates the film to iconic status. These elements, combined with razor-sharp dialogue and endlessly quotable lines, solidify Fight Club as a masterpiece of late-90s cinema.

While it may not be for everyone, Fight Club is a bold, daring, and unforgettable experience that challenges societal norms and forces introspection. It’s an audacious 9/10 film—flawed but brilliant, much like the chaos it portrays.