Film Review: Interstella 5555: 5tory of the 5ecret 5tar 5ystem (2003)

It's been a few years since I'd seen the first four segments and I'd skimmed the synopsis; my expectations weren't too terribly high. Leiji Matsumoto's previous works I'd seen included the film adaptations Galaxy Express 999 and Adieu Galaxy Express 999. Haven't seen those in a while and would like to revisit those. In any case...

The plot is somewhat original, if not a bit far-fetched. Premise: Alien Pop band is kidnapped from their home planet, disguised as human and set-up to gain fame by an eeevil publicity agent. A distress signal goes out and an alien superhero answers the call to rescue the captured band.

I don't intend to spoil much more. It was okay; neither terribly exciting, moving or boring. A short run time of 68 minutes. The animation during "Aerodynamic" and "Superheroes" was impressive. I wouldn't recommend it unless you're a fan of Daft Punk's Discovery album or Leiji Matsumoto. Again, I wouldn't say there was anything bad about it. Personally, I prefer the album, as watching the plot and action had a hard time really holding my interest.

I GIVE IT
3.9 / 5

Album Review: Discovery (Daft Punk, 2001)

I'd heard a few tracks years back ("One More Time", "Harder, Better, Faster, Stronger") and they stuck with me, but I'd never gotten around to the whole album. I'd also seen a small portion of the film based on the album, Interstella 5555. I hadn't had very much experience in the house genre, so I wasn't entirely sure as to what to expect, but perhaps something along the line of a heavy beat with vocals and looped samples.

1. "One More Time" - Upbeat good-feeling dance anthem with looped instrumental samples. Highly enjoyable.


2. "Aerodynamic" - Synthesizer-driven with a heavy-funky bass line.


3. "Digital Love" - I found the pop lyrics and style a little annoying at first, but then I just went with it and enjoyed the warm-happy feeling.
   


4. "Harder, Better, Faster, Stronger" - Extremely catchy rhythm and flow.


5. "Crescendolls" - At first listen, cacophony, but the rhythm and loops clicked into placed on the second listen; a bit repetitive, but interesting.


6. "Nightvision"- At first listen, slow and boring, but in future listenings, its brevity served to clean the audio palette before the next track.


7. "Superheroes" - The initial drum roll was confusing, but it takes off with a pounding bass line and the drone of the vocal loops which give way to a rising and falling synth line (WITH A SPACEY FEEL *WOOSH*) and eventually fades in an abrupt manner.


8. "High Life" - Very much like track 5, but less confusing, more danceable.
   


9. "Something About Us" - A vocal track in the style of track 6, but smoother and funkier.
   


10. "Voyager" - Light synth loop over slower, driving bass and beat; serious in tone.
    


11. "Veridis Quo" - Similar to previous track with more intricate pipe-organ synth; moar srsly.


12. "Short Circuit" - A little irritating synth loop with drum machine; better on second listen.


13. "Face to Face" - I didn't really pay attention to this one at first, but on second listen, sounded better with cool loops, but indifferent about vocals. I actually really like this one.
    


14. "Too Long" - Wasn't impressed with track first time through, rather repetitive, so-so vocals; of course it grew on me second time through with its pulse.

On first listen, only the first four tracks stuck with me, but like most, it's gotten better over time. The dance feel pulls you through it time and time again. I really like this album and I'm looking forward to Interstella 5555.

I GIVE IT
4.4 / 5

Album Review: Invisible Touch (Genesis, 1986)

I approached this album with no prior Genesis experience other than the association of Phil Collins with "soft rock", though I did have an appreciation of Peter Gabriel through So and Us. In short, I anticipated some form of mild, Gabriel-influenced progressive rock.

1. "Invisible Touch" - Needless to say, the upbeat 80's-style pop energy of the opening title track exploded in my face and knocked me over, enjoyably so.



2. "Tonight, Tonight, Tonight" -The second track was much more what I had originally anticipated for the album (a slower, more ambient feel), though with strong emotional vocals.



3. "Land of Confusion" - This caught me off guard, as I'd been somewhat familiar with the cover version of this track by Disturbed and hadn't realized Genesis had originally done it. Angry and upbeat in tone and feel.



4. "In Too Deep" - This track was the type of soft rock I had associated with Collins. Somewhat cheesy, but not terrible.



5. "Anything She Does" - The 80's-style energetic opening here was not a charming as with the first track, though the energy of the rest of the song (and the refrain especially) grew on me.



6. "Domino" - The two-part nature of this extended track was more of what I had expected in terms of progressive rock. Ambient (a glowing feel) in part one ("In the Glow of the Night"), with part two ("The Last Domino") becoming driving and heavy, successfully heightening the nightmare imagery of the lyrics. I love that part two slows down and echoes the same ending as in part one.



7. "Throwing it All Away" - Another soft rock track in the style of Collins, though better than track 4.



8. "The Brazilian" - A great progressive rock instrumental, mechanical and industrial in sound that marches forward, building to the guitar line that sings out as the album starts to fade.

At first listen, the album faded between memorable and blurry, though overall, it was interesting. However, I found myself returning to the album and replaying it with great frequency, adapting to it very quickly. It blends 80's pop, soft rock and progressive rock into, what feels to me, as a unique and memorable blend. Of course, I felt the need to check out the music video for "Land of Confusion", which features extensive use of crafted latex puppets to caricature political and pop-culture figures of the era; although I admire the amount of technical work put into the video, I feel it somewhat tones down the anger of the song with satire, though there are some really cool moments. I now count Invisible Touch among my favourites.

I GIVE IT
4.7 / 5