The Statue of David – The Statue of David EP (review)

The Statue of David

Available to buy from iTunes 

Review: Christening your music project with the name of a universally renowned work of art may seem like textbook blog-baiting, but we are in an age where the Louvre happily flog flip-flops emblazoned with the face of the Mona Lisa in their gift shop, so we’re hardly in a position to clutch pearls.

If Lady Gaga’s convoluted Artpop manifesto hemorrhaged potential supporters by constantly looking forward to a future determined not by her audience but a bourgeois collective of artists including Jeff Koons, Marina Abramovic et al, then New York-based musicians Paul Alfonso & Cristopher Rodriguez’s appropriation of Michelangelo’s iconic, and arguably entry-level, masterwork offers the duo a certain degree of approachability – and that’s before you’ve heard even a note of their self-titled EP.

The Original Renaissance Man actually works as an unexpectedly credible statement of intent. The Statue of David produce music that is clean, toned and occasionally non-descript in its sentiments. They usurp another classic on their opening number, repackaging “House of the Rising Sun” as a fuzz-laden sprint through dystopia’s nightlife. Although driven by synths, cyber-punk flourishes and a 4/4 beat, the band retain the standard’s bluesy quality through the inclusion of real instruments and guest vocalist Anna Aversing’s cloudy delivery. Her howl is occasionally distorted into a blunt drone, sitting atop the mix like oil on water.

The rest of this three-tracker puts a breezier spin on their grungy dance-rock aesthetic. “Hawaiian Girls” mashes Beach Boys-style whimsy with the glittering testosterone of a Soulwax record. Riding waves of chintzy keyboard strokes, swirling electronica and a winking vocal performance from Alfonso, the band’s full time vocalist, it’s a blast from start to finish, with snapping drums grounding what could have been a fun but throwaway cut.

There’s a doe-eyed innocence to the drunken shout-along “Daddy’s Little Girl” that negates the slightly queasy implications of a lyric such as “I go to work while she’s at school / and we’ve got everybody fooled / It doesn’t matter what they say”. Bring out the pitchforks if you must. In allowing crass expressions of lust to stand as starkly naked as their namesake, The Statue of David are taking the necessary steps towards proving themselves worthy of it.

8.0/10

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[Movies] Eraserhead (review)

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Director: David Lynch // Screenplay by: David Lynch // Distributor: Libra Films International // Release Date: March 19th, 1977 // Starring: Jack Nance, Charlotte Stewart, Allen Joseph, and Jeanne Bates. 

Review: Early in Eraserhead, Henry Spencer (Jack Nance) holds a mirror to the audience’s inevitable bemusement. As he tells his boorish father-in-law, Henry, rather like the viewer, “doesn’t know much of anything” – but that’s OK. Knowledge rarely equals power in the world of David Lynch.

His first feature-length picture comes with a fresh-out-film-school verve that is at once immersive and uncomfortable, with its black and white aesthetic serving as a perversely cosy frame for some nightmarish images of DIY body-horror. The imagery is so blatantly sexual that a Freudian analysis would almost be as redundant as an elaboration of the plot. Henry’s arc revolves around his mounting obsession with a swollen-cheeked chanteuse credited as the Lady in the Radiator, who offers him reprieve from his malformed child; a sperm-shaped humanoid with snake-like qualities that may very well have been a prototype of the chestburster from Alien.

Much of the film’s horror is derived from its hideously bleak set design, with the gloomy cinematography and paranoid soundscapes colliding for a sombre viewing experience. But Eraserhead is more than just a mood piece. The intermittent presence of Henry’s darkly seductive neighbour lends the film a noirish feel, while Henry’s shocking response to the duties he’s been burdened with is a highly unnerving set-piece.

Lynch found mainstream success with slightly more conventional works since, but the taciturn Eraserhead is still essential viewing. If the plot seems underfed on paper, then open your mind, press play and let it devour you.

8.5/10

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