It's been but a year since Vaults surfaced on the World Wide Web with their debut "Cry No More," and once more they have proven themselves to be a big thing in the very near future with the release of Vultures via SoundCloud. Packed full of melodic noises, a haunting synth that would make Depeche Mode weep, and an air of mystery which makes Vultures a wonderful output by this trio from London. This is but the begging for a band that clearly has so much more to give. Watch this space...
Wednesday, 15 October 2014
Thursday, 9 October 2014
Ida: Review
There are many reasons why Ida
has surfaced as one of 2014’s most prominent films. Having won countless awards,
accolades and international praise with a tirade of support from the BFI Film
Festival, there is a lot to be said about this little film from Poland. On a
glance watching its deceptively unrevealing trailer, it is only fair for one to
assume Ida to be nothing more than a bleak overdone and overused story of a ‘repressed’
and ‘guilty’ nun shot in a glossy monochrome filter. Why waste time watching a countlessly regurgitated
story when you can hark back to reliable timeless classics such as Black Narcissus
in wonderful Technicolor?! Yes, Ida upon a glance may be deceptive but do not
be fooled. Do not let assumptions get the better of your judgement.
The set-up is simple; set in
Poland some years after the Second World War, Ida tells the story of Anna, an
eighteen-year-old woman, preparing to become a nun at the convent where she has
lived since orphaned as a child. Learning she has one living relative left, her
Aunt Wanda, she is forced by her Sister Superior to reconnect with her before
taking her vows. Discovering that her aunt is not only a former hard-line
Communist state prosecutor notorious for sentencing prisoners to death, but she
is also a Jew. Anna’s real name is Ida and she too is a Jew. This revelation sets
Ida/Anna on a journey to uncover her roots and confront the truth about her
family. Together, the two women embark on a voyage of discovery of each other
and their past as they search for the unknown graves of their family.
In many respects Ida is a coming
of age story of a young woman left with nothing but her faith at a time where
no God could be found. As she silently and reluctantly searches for answers to
questions even she didn’t know she had, a growth and revelation in her character
is found and through Wanda she finds temporary freedom (to some
extent), but is freedom enough when there is very little reason left to exist?
Ultimately, Ida is a story of grief, a story of dysfunction, a story of
redemption at a time in human history when very little redemption was to be
found. The juxtaposition of these two women show the obverse and life lasting effects
had on so many of those of all ages who survived persecution from the Nazi’s. One
far too young to know or remember the atrocities of her past now living her
days imprisoned by a convent as if it were a concentration camp. The other too old
and too damaged to forget. Ida is bleak, compassionate and on times a brilliant
homage to a time in history that cinema often forgets, reminding those
fortunate enough to see it what it really means to be human.
Monday, 6 October 2014
10 Essential Woody Allen Films You Need To Watch
There is no beating around the bush when it comes to Woody Allen. Director, actor, screenwriter, playwright and four time Academy Award Winner, he’s done it all. And with his 49th film, Magic in the Moonlight, gracing our screens later this year, it is impossible to ignore a man who has spearheaded American cinema for almost 60 years. But what is it that makes a Woody Allen film just so great?
Failing film school at New York University in 1953 it is hard to imagine the legacy that Allen would go onto establish. Yet it was his contribution to comedy-drama during the 1970’s with the likes of Annie Hall and Manhattan, that not only cemented Allen’s position as a credible and consistent auteur, but introduced a new level of sophistication and grandiose to cinema, definitive only to Allen himself but replicated by many since.
Allen’s strength not only lies with his ability to tell an engaging story – be it rooted in comedy, drama or fantasy – but to successfully and authentically encapsulate the human desire to love and to want to be loved in return. Allen is the quintessential master of visually portraying through films the joys and torments of human relationships.
Throughout his films he has consistently created identifiable characters that not only do we understand, but that we all individually recognize within ourselves. Allen’s ability to create the most natural of atmospheres on screen has earned him the credibility to direct some of the most talented actors of our era. His dry and self-reflective wit expressed both in his acting and writing, his effortless dialogue, and natural but adaptable style has made Allen a celluloid mastermind. And so this essential list to Woody Allen looks at his ten most important works to date, reflecting the many faces of one of America’s finest directors.
Woody Allen’s futuristic comedy about a nerdish health-food storeowner named Miles Monroe awakens from a coma after being cryogenically frozen for 200 years only to discover that he is at the hands of an oppressive Police State in 22nd Century America. Comically played by Allen himself, Miles Monroe is awoken by anti-government radicals in a bid to use Monroe as a spy to overthrow the governments plans to bring the “Aries Project” into effect.
The scientists who revived the ‘alien’ are captured and killed, leaving Monroe left to his own devices in the unfamiliar world of tomorrow’s future. As he tries to locate the ‘rebels’ he must help, Monroe stumbles upon the ignorant socialite Luna Schlosser, played by Diane Keaton, who in spite of her shallow but coy idiocy, aids Monroe is his attempts to defeat the oppressors and save America from itself.
Sleeper is a comical, self-indulgent, and playfully silly essential Woody Allen that offers a light-hearted commentary to a time in American history when the greatest fear was the infiltration of ‘spies and aliens’ into America. In this case, Allen joyfully points the finger at those who feared the worst. Skilfully adopting a classic sense of comedy with its blend of Buster Keaton meets Charlie Chaplin humour, set in the modern world of tomorrow, Sleeper bridges the gap between Allen’s love of the old and his anticipation for the new. With its comical attack on religion, politics, science and bizarre perceptions of the future, Sleeper is a genuinely different take on a Woody Allen classic, saturated with slapstick comedy, crude one-liners and tomfoolery.
9) Radio Days (1987)
A realist comedy, Radio Days is Allen’s personal homage to family life during the Golden Ages of Radio. Narrated by Allen playing a Jewish man named Joe reflecting on his first real love, the radio. Set during the 1930’s, Joe reminisces on the profound memories of his youth and how his love for the ‘talking box’ was very much shared by his dysfunctional but ultimately loving family members alike.
As they live their everyday lives struggling during the midst of the Great Depression, the radio and its glamorous stars are what bounds the family together. On the other hand the rags to riches story of Sally White, an aspiring radio star fantastically played by Mia Farrow, makes for a wonderful contrast of lifestyle during a time where the division between rich and poor was ever prominent in a city forever thriving for the American dream.
Resting heavily on nostalgia and the contrast of the modest lifestyles of the suffering working class, to the glitzy romps of the forgotten celebrities of yesterday, Radio Days pays a sweet reminder to the faded glamour of an era that paved the way for entertainment today. Rather than having a strong character focus, the multiple characters allow for a simple, charming and altogether gentle example of Woody Allen as a director and writer. It is evident that Radio Days factors more as a personal project, more so a film for Allen himself to watch and reminisce rather than for anybody else. A diary entry, crafted with nostalgia and an appreciation for a definitive era in entertainment history.
8) Vicky Cristina Barcelona (2008)
Arguably one of Woody Allen’s more seductive contributions is Vicky Cristina Barcelona. The story centres around two girlfriends and one city: Vicky, the soon to be wed, academic young woman played by Rebecca Hall with a masters in Catalonian culture, and the sexually adventurous, open minded Cristina played by Scarlett Johansson. Barcelona is the final member of the ménage-a-trios with its arts, culture, cuisine and cobbled streets so beautifully captured as if a shot on instagram. Vicky and Cristina decide to spend their summer vacation in the Catalonian capital where a series of events leads them both to meet and separately pursue romantic relations with the charming but aloof artist Juan Antonia, played by Javier Bardem.
As a complicated love triangle ensues between the two friends and the artist, situations are dramatically heightened when Juan Antonia’s mentally and emotionally unstable ex-wife, María Elena, agonisingly played by Penélope Cruz, returns to Barcelona and is forever present and forever in love with Antonia, as he is with her.
Vicky Cristina Barcelona is a fine example of Allen’s portrayal of the complexities of human relationships and how so very often emotions, lust and infatuation override any human ability to reason and use logic. What makes this Woody Allen film particularly interesting is it’s unexpected but fantastic cast, most notably the fluid and some what genius acting from Penélope Cruz and Javier Bardem, whose transition from Spanish to English dialogue during numerous scenes, works so well, allowing a new appreciation for not only the actors, but for Allen’s capability to capture the seemingly difficult; two opposing cultures simultaneously and beautifully running adjacent to one another.
An off-the-wall mockumentary about a man named Leonard Zelig, played by Allen, who suffers with a nondescript condition and a burning desire to fit in and be liked, is able to physically and mentally adapt to the mental characteristics and the physical being of strong personalities around him. The documentary follows Zelig as he receives therapy and treatment from Dr Eudora Fletcher, played by Mia Farrow, right through to the intense years where Zelig developed mass celebrity status, incorporating interviews with academics and friends of Zelig, bringing this remarkable character to life.
Narrated as if a 1920’s newsreel with a tinny voice narration, Zelig is arguably one of Allen’s strangest pictures with its believable historical encounters and the use of archive footage very carefully manipulated to coincide and complement the story of Leonard Zelig. It is clear that much deliberated thought went into the craftsmanship of Zelig, and Allen plays the troubled character with such fragile but genius conviction that it is important to regard Zelig as an essential Woody Allen film. Like nothing seen before, it is a daring and humorous picture, one that is often forgotten.
6) Manhattan (1978)
As Jean Luc Goddard captures Paris so beautifully in A Bout De Soufflé, Allen offers a similar homage to New York City in Manhattan. An undulating conversation runs throughout Manhattan, with Allen once again pouring his own frustrations into the script, his anxieties towards women being a focal point of his character. Isaac, also played by Allen, is a forty-something-year-old man tormented by women. Having a fairly open affair with an underage 17 year old whilst simultaneously struggling to co-exist with his ex-wife, played by Meryl Streep, now in a lesbian relationship and about to publish a book about her disastrous failed marriage to Isaac.
To further complicate Isaac’s anxieties and situation he then meets and falls in love with the prim and somewhat hedonistic Mary, as played by the familiar Diane Keaton, who happens to be the mistress of Isaac’s best friend. A tangled state of affairs, self-righteousness and confusion ensues Isaac as he struggles to break through his mid-life crisis and realise what it is he really want’s from life.
It is very clear to see why so many regard Manhattan as one of Allen’s best films. Aesthetically it is exceptionally attractive, gorgeously shot in black-and-white, showing off the city of dreams. Narratively it’s deceitful, charming, witty, and on times a little neurotic. It is perhaps one of Woody Allen’s most identifiable pictures with his familiar musky jazz composition and sharp narration.
One call for question is Allen’s ease and comfort in portraying a middle-aged man openly engaging in a relationship with a young girl. In Allen’s personal life it has been somewhat of a public matter his relations with younger girls, but what Manhattan achieves today is a reminder of a time when certain topics were simply ignored or brushed under the rug, and further accentuates how far we have advanced since 1978 with a growing sense of equality amongst both sexes.
Hannah and Her Sisters is one of Allen’s most successful and notable comedy-dramas, which recounts the interconnected stories of one family over a two-year period, both beginning and ending with a family Thanksgiving dinner. Hannah, played by Mia Farrow, is a successful actress, a beautiful woman, a caring mother, a loving wife, and the lynchpin to her family. On face value everything is perfect, but beneath the surface situations are far more complicated.
Hannah’s husband, Eliot, played by Michael Caine, is deeply in love with her sister Lee, played by Barbara Hershey, whilst Hannah’s other sister Holly, wonderfully depicted by Dianne Waist, is grossly jealous of Hannah’s successes. Meanwhile Hannah’s ex-husband, Mickey, played by Allen himself, is a hypochondriac convinced he is dying of a brain tumour. With all these individuals selfishly existing around her, Hannah is forced to reassess her life. Will she continue to bury her head in the sand or will she discover a new strand of independence?
Hannah and Her Sisters is perhaps Allen’s best example of a strong and full narrative, heavily driven by believable characters, and acted by an ensemble of the crème de la crème of actors. What keeps Hannah and Her Sisters so well grounded and so identifiable is its depiction of a dysfunctional family that radiates a timeless and fairly accurate representation of families internationally. With it’s steady pace and calm contemplative tone, not only do we grow to understand the hardships and mistreatment against one woman, we begin to understand and empathise with the actions of those who perpetrate her, reminding us that we are ‘only human’ after all.
4) Midnight In Paris (2011)
With its semi-surrealist narrative, calm sense of humour and illustrious cast, Midnight in Paris leans towards Allen’s more creative and fantastical works. Owen Wilson is Gil Pender, a successful but frustrated American screenwriter attempting to write his first novel. Whilst on holiday in Paris with his materialistic fiancée, Inez, and her unpleasant parents, Gil decides to escape one evening; he takes a midnight stroll through the cobbled streets of Montmartre. Lost, Gil is approached by a mysterious 1920’s vehicle from out of nowhere, and as if by magic he is hurled back in time to a Paris that Gil fantasises over.
A Paris where he is introduced to the smoky underground jazz bars of the 1920’s, in which he meets the likes of F. Scott Fitzgerald and Hemingway, literary masters who have influenced Gil’s very own work. Daylight breaks and Gil is awoken, dazed and confused back in the Paris of today. Unsure whether it was all just a lucid dream, Gil curiously returns to the streets of Montmartre the following night with a heavy sense of hope that the 1920’s vehicle will come and kidnap him once more.
As a concept, the idea of Midnight in Paris is so identifiably a Woody Allen creation that it’s impossible to imagine what the outcome would have been if another director had attempted to take its reigns. The charming and light narrative and dialogue along with Owen Wilson’s frail but cool characterisation of Gil the Californian scriptwriter is a reminder of Allen’s more sensitive and somewhat wacky streak both as a writer and director. With a heavy emphasis on modernism, fantasy and nostalgia, Allen’s message is clear: The grass really is always greener.
3) Annie Hall (1977)
Without question regarded by so many as the quintessential Woody Allen film and his best to date, Annie Hall won 4 major Academy Awards in 1978 including Best Film, Best Screenplay, Best Actor and Best Actress. With its slick stylisation and off beat dialogue, it is the Woody Allen film that so many films have attempted to replicate since. Alvy Singer, played by Woody Allen, is a neurotic comedian living in New York. A year since his break-up from Annie Hall, played by Diane Keaton, Alvy forces himself to relive and revisit the demise of his relationship form its blissful beginnings through to its bitter end, as he desperately tries to discover the reasons why he and Annie ended.
What makes Annie Hall so superb apart from being Allen’s most identifiable film both narratively and stylistically is its attempt to think a little outside the box with moments within the film where Allen speaks directly into the camera as if talking to his audience, entering other peoples stories, even using animation. These little quirks add a sense of narrative magical-realism that work so well and create such a strong sense of personality that like a fine wine, Annie Hall has grown tastier with age and is as relevant now as it was back in 1977.
2) Blue Jasmine (2013)
Allen’s most recent triumph tells the story of a rich and delusional Manhattan socialite, played by Cate Blanchett, whose fall from grace leads to an unbearable state of affairs. Arriving in San Francisco looking every bit the movie star with her designer luggage and clothes to match, Jasmine’s affluent image is nothing but a façade. Bankrupt, widowed, jobless and homeless Jasmine has nowhere or nobody to turn too other than Ginger, her scantly clad adopted sister who lives in a shabby two-bedroomed apartment in San Francisco.
Narratively split between present day and flashbacks of the years, months and days leading up to Jasmines destitution, we grow to understand the reasons for Jasmine’s instability; a cheating husband, step children who hate her, a corrupt business. Jasmine is nothing but a victim. A victim of class. A victim of wealth. A victim of her own judgement. As she desperately tries to cling to a life that once was in a city where nobody knows her shameful past, Jasmine builds a new life built on lies and deceit. But with all lies, the truth eventually unveils.
This almost too painful to watch depiction of the mental and social demise of a troubled woman has become regarded as one of Allen’s finest achievements. With Cate Blanchett winning the Academy Award for Best Actress at this years Oscar’s it is only fair to say that Jasmine will, if not already has become one of the most unforgettable screen characters of all time, and not only a highlight in Blanchett’s career but a reminder of Allen’s ability to create the most puzzling and insufferable characters on screen. Jasmine is a story about the demise of the human psyche and the efforts one goes to create the illusion to those around us that everything is ‘okay’. Although it is not an easy watch, Blue Jasmine is a reminder of how brilliant a director Allen is 60 years on.
1) The Purple Rose of Cairo (1985)
In the shadows of many other great Woody Allen films hides a forgotten classic, The Purple Rose of Cairo. Once again set in New York during the midst of the Great Depression, Mia Farrow plays the frail Cecelia, a struggling waitress with an abusive, cheating husband. The only solace Cecelia has to distract her from her dreary life is the local cinema where she often goes alone to briefly absolve herself from her worries.
As she repeatedly goes to watch the latest film to screen at the cinema, The Purple Rose of Cairo, Cecelia gradually grows madly in love with the onscreen character and hero Tom Baxter, played by Jeff Daniels. Matters take a turn for the bizarre when in return the onscreen character Tom Baxter notices Cecelia amongst the audience, falls in love with her, and steps out of the screen and into the auditorium to join her in the real world. A chase then ensues with both officials and Gil Shepard, the actor who invented the character Tom Baxter, also played by Jeff Daniels, desperately try to locate the fantasy fugitive and his maiden.
The Purple Rose of Cairo is packed with an old-time sense of adventure and romance with a heart-breaking homage paid to the imagination. What works so brilliantly with The Purple Rose of Cairo is Allen’s ability to manipulate his audience into believing and expecting one outcome, but dishing out something entirely unforeseen.
Although this is a somewhat light and easy watch, the tribulations of a seemingly weak and desperately unhappy woman are made all the more treacherous when it is suggested throughout the course of the picture that a happy ending will suffice. Yet, like many Allen films this simply is not the case. The Purple Rose of Cairo stands as one of Allen’s silent but greatest films due to its ability to evoke so many conflicting emotions, from glee to sorrow, and still leave its audience with a dumbfounded sense of wonderment.
http://www.tasteofcinema.com/2014/10-essential-woody-allen-films-you-need-to-watch/#yV4qo47VlDFGlpgU.99
Friday, 8 March 2013
The Knife: A Tooth For An Eye - Official video
Well guys and gals, best brace yourselves for the same bodily reactions and stuff your undies with copious amounts of Kleenex tissues as The Knife have finally dished out the goods with the release of the official video for A Tooth For An Eye. Watch! Enjoy! Drizzle!
Saturday, 2 February 2013
The Anti Radio1 Sounds of 2013
So this years Radio 1's sounds of 2013 is as about as obvious as Kerry Katona's cocaine addiction. And so I offer you Red Light Fever's Anti Radio 1 Sounds of 2013 as an appropriate alternative...
SOLANGE
Perhaps the most overdue success story in music history. After two attempts already at breaking the industry(2003's Solo Star and 2008's Sol-Angel)2013 will finally be the year Solange leaves her skid marks all over the world.I guess it would be pretty shit to have Beyonce as your older sister, but fuck B, because Solange has got her man Dev Hynes (Blood Orange) producing this shit. Preach!
FIDLAR
With a sound filthier than Katie Prices bed sheets and an image more rancid than Tara Palmer Tomkinsons unbrushed teeth after heavy weekend, I give you FIDLAR.
FLUME
So the story goes that sweet 21 year old Harely Streten from Australia knocked 1 Direction from the Australian download top spot, shitting all over the brainwashed minds of girls who can count the amount of pubic hair they have on one hand. How this hasn't sent aural shockwaves world wide I don't know, but what I do know is that when this can of Flume gets popping, there will be no stopping. Australasia's alternative to James Blake dare I say...
SYRON
Grimes meets Miley Cyrus = 19 year old Daisy 'Syron' Russell. Enough said!
MØ
So first there was Mo Molan,then came Big Mo closely followed by Little Mo and now I grace you with MØ (Karen Marie Ørsted). Denmark sure has had its fair share of embarrassments with the likes of Alphabeat and Aqua representing the countries musical abilities, but alas they have something to be exceptionally proud of. The Guardian have touted MØ as the Scandinavian Grimes with a voice reminiscent of Lana Del Rey. Yet comparisons are void here. MØ is a babe in her own rights!
Big things await...
Thursday, 3 January 2013
The top five of 2012
A number of lessons have been learned in the year of 2012. Firstly it was proved that music and political activism go hand in hand especially when your band name entails vaginal vulgarities. Here, here Pussy Riot! Similarly, the much less vaginally orientated campaign of Obama saw him cushioning between the likes of Jay Z and Queen Be which undoubtedly helped him thrash Romney – proving it’s not what you know, it’s who you know. Romney’s efforts in celebrity campaigning were however much more questionable. A Bumbling Clint Eastwood struggled to validate any Republican ideologies proving that the Republicans just ain’t down with the kiddies, which is more than could be said for the likes of Jimmy Saville and Ian Watkins. Apologies to America are due this year as Britain well and truly sodomized American popular culture with those pretty One Direction and Wanted boys, leaving skid marks and sperm stains all over the states. Soz! 2012 also sadly saw the very saddening death of Ninja Tune protégé Offshore (Ewan Roberston) for whom this entry is dedicated too. 2012 has been somewhat of a troublesome year where war has festered, children abused, towns flooded, EL James actually achieving publiction, Hulk Hogan’s sex tape surfacing, and Nick Grimshore’s ever vile presence on Radio 1. Yes, an awful year indeed. However in music we find salvation. So here is Red Light Fever’s 2012 album rundown.
2012 saw the growth of Zef culture as founded by South Africa’s sketty duo Die Antwoord. Zef culture being an amalgamation of vulgarity, crassness and ignorance brewed together in a broth of happy hardcore, Dutch noise. Imagine The knife meets Scooter and you’re half way there to understanding DA’s Ten$ion. Watkins Tudor Jones and Ulanda bumped a few youtube views this year after rejecting GaGa’s invitation to support her Monster tour. This followed with a response video from DA for tune Fatty Boom Boom where a male GaGa impersonator gives birth to an insect. Freeky! That Yolandi sure is a sweet looking girl too. Sort of a Thumbelina meets Lindsay
Lohan.
4 First Aid Kit - The Lions Roar
When you consider that these babes found their fame in the same fashion as Justin Bieber via YouTube and at a similar age, it’s incomprehensible to think it’s taken them almost double the amount of time to become universally recognized, considering that these girls ACTUALLY have talent. In spite of their young age, Klara and Johanna’s self-assured confidence accompanied with their lyrical maturity has made for a one hell of a follow-up second album, full of edge and with some utterly simple but deeply effecting country tunes. Wonderful.
3 Perfume Genius - Put Your Back N 2 It
Mike Hadreas aka Perfume Genius may sound like he’s cupping his balls with one hand and fingering his A with the other, but the boy could even make the likes of Putin shed a soulful tear – voice of a gay-ngel. The boy has been through some troubles in his time as revealed in Put Your Back N 2 it; torture, heartache, molestation, suicide, just to name a few minor topics. You can’t help but feel for the lad, however his musical output is so sugar coated that on times it’s impossible to even hear lyrics such as "The hands of God were bigger than grandpa's eyes/ But still he broke the elastic on your waist" (Dark Parts), especially when the composition sounds so ethereal, like a dolphin farting in blissful solitude. The boy is just so dreamy he makes Enya comparable to Slipknot.
2 iamamiwhoami- Kin
A Swedish friend once told me that Swedes are notoriously known from their over sexed persona's. They love sex! Verification of such a generalization can be found in iamamiwhoami’s audio-visual project/album Kin. Front woman Joanna Lee has no qualms in floundering her fanny about the place, and all to a wonderful electronic, tranquil hum. For that reason iamamwhoami is Red Light Fever’s third best album of 2012.
1 Lana Del Rey - Born To Die
The question of Lana Del Rey is a puzzling one. Multi-talented musical extraordinaire or daughter of a multimillionaire who can afford to buy her talent? Fuck the latter! She’s the Laura Palmer of the 2000’s. If you actually take the time to really verse yourself in Born To Die, you will understand the sheer devotion and dedication of LDR fans. It’s the kind of record that when you listen to it you can’t help but seduce your room with scarcely scattered candles, comfortably lay on your bed and wap out your foof or little Albert, and either fantasize about being her or being in her. Although to many Born To Die may be nothing more than an over produced, synthetic homage to the Hollywood glamor of yesterday dusted with a thin and hollow trip-hop undertone, it does it does in many respects offer music lovers an escape from the drivel that has become popular music today. The girl may not have the strongest voice nor are her lyrics that intelligible, but she is enigma people can't quite seem to understand. This leaves RLF with only one thing left to say for 2012. Lana, sit on my face, let me guess your weight.
Sunday, 23 December 2012
Rehobothi Orphanage Finale: Hurts - Stay
So as Red Light Fever's Tanzanian encounter
has drawn to a regrettable end, so has the Rehobothi Orphanage Chorus. After five months
of Heaven, Caro, Bea, Queeny, Irene, Olympia, Oliver, Cathbert, Vincent, Brian,
Jeremia & Nickson, paying homage to some of musics greatest talents, the
time has come to bid farewell. Although Red Light Fever would have gone to any length to Stay in Tanzania a little longer exploring the musical wonders of the Rehobothi babes, unfortunately the hole in our pockets have become so disgustingly big it even makes Katie Price's vagina look like a cats anus. And so our return to the West is inevitable. Thus never was there a more appropriate swansong for the babes to
sing their little hearts too than Hurts 'Stay'. And with Hurts announcing
earlier this month the release date of their anticipated second
album Exile (11.3.2013), what better way to end the year. Until next time...
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