Archive for Death Proof


Posted in Americana, Movies, Review with tags , , , , on April 11, 2008 by Spike Marshall

Even the name has me at a disadvantage. My nationality and my age conspired against me to make the term Grindhouse almost meaningless. Certainly I had heard of the term, it would be bandied around in the occasional message board discussion and review, but it never particularly had context. The assumption I always held was that it was short hand for extreme cinema. Certainly to me talk of Grindhouse would bring to mind the pervasive violence of Japanese samurai films, the exploitation of Italian horror, and the paradigm shifting of films like Shaft. Whilst the term is used to describe those sorts of films it is also used to describe bad films sold entirely on their risqué elements and that is where the confusion comes into play. Is the film I’m reviewing homage to pervasive cinema on the cusps of acceptability or homage to a marketing gimmick?

Perhaps it is a little of both, perhaps it is just an excuse for two directors to get a little puerility of their system. I think the most adequate answer is that each director is attempting to get something different from the experiment. Grindhouse is a modern double feature, one film from Robert Rodriguez and one film from Quentin Tarantino, designed to invoke the feel of watching a film in a 42nd Street theatre. The term Grindhouse would be birthed on that street and for a long time it would be the only place you’d be able to watch films on the periphery of popular culture. The films once shown at these cinemas are now available to the general populace. If you want to see a Kenneth Anger film you put an order into and wait three days for delivery. You want to see Cannibal Holocaust you can catch the entirety of the film in bite sized snippets on YouTube.


Now I’m starting to talk in circles but I hope I have at least shed some light on my viewpoint. The key thing is that in 2007 Rodriguez and Tarantino teamed up to make a three hour love letter to a type of cinema so niche that even people familiar with films had trouble categorising it. Distributed by those ever lovable Weinstein scamps the film kind of bombed spectacularly forcing the two movies to be split into separate features. Grindhouse would become Planet Terror and Death Proof the original intention of a double bill lost almost immediately. Grindhouse would have a limited run in the United States but at least it was a run, the film not getting a release anywhere else. In fact after the opening fortnight the only place to see the original cut of the film, and the fake trailers placed in-between the two features, would be by importing the ludicrously expensive Japanese DVD.

For whatever reason, maybe somebody sacrificed a goat, Grindhouse made it to the United Kingdom almost a year after its American debut. We had had the two separate, and extended, films since last November but the whole package had never made it to these shores. It was not a full run, more of a touring show, playing two nights at selected cinemas across the country throughout late March and April. I was lucky enough to see the film at its second showing in this country. I had already seen the extended Planet Terror but was going into the fake trailers and Tarantino’s Death Proof completely fresh. Rather aptly the film played across midnight, starting at 11pm and finishing at around 2 the following morning. The cinema would be half deserted, the few people there already well versed in the films being shown, but the effect would be rapturous none the less.

Planet Terror

Listen to the Planet Terror OST

I first saw Planet Terror in early November on the opening night of the Leeds International Film Festival. The cinema was packed and the two previous films shown had created a palpable sense of excitement. In short my first encounter with Planet Terror was aided by a truly, truly, great audience. Planet Terror is a film designed to play to crowds, a gooey, funny, gory, gross, over the top party film. Robert Rodriguez would take his zombie apocalypse story and turn it into a truly crowd pleasing affair. I will make this clear now; I am not a particular fan of the director Robert Rodriguez has become. I legitimately love Desperado and From Dusk Till Dawn and find The Faculty to be an enjoyable diversion whenever I find it on the television. Of these films only one of them seems to be an actual Rodriguez feature. From Dusk Till Dawn feels like more of a collaboration that anything else and The Faculty seemed to showcase a Rodriguez reined in by the studios.

As such Desperado would be the only true Rodriguez film I would come to appreciate and part of this appreciation was the focus the limited budget gave the film. All of Rodriguez’s films would be ultimately hollow, but Desperado would be the only one to be at least viscerally thrilling.

His further forays into action cinema would be far too messy and unfocused to have the same impact the neat and confined Desperado had. Once Upon A Time In Mexico capped off the El Mariachi trilogy and upped the scope from a battle over a town to a war over a country. This increase in scope would be the films ultimate undoing, the grand canvas allowing Rodriguez access to too many elements and not enough resolutions. His collaboration with Frank Miller on Sin City would once again showcase the faults in his fast and loose shooting style. Whilst the film visually matched Miller’s comic book its action sequences were edited so roughly and portrayed with so little weight that they almost became superfluous. Throughout these films Rodriguez would never develop intellectually either, his focus on technique and spectacle above tone making his films seem increasingly juvenile.

It is telling that Rodriguez’s most accomplished films would be those aimed at children, his Spy Kids trilogy maintaining a consistency that most of his other films couldn’t match. Rodriguez’s talents lay in being a showman, in delivering fun and spectacle and his attempts to move beyond that would, for me, be abject failures. Which is why, after failing to produce a film I’d liked in nearly a decade, my appreciation of Rodriguez’s Planet Terror was so surprising.

The Survivors

The material and the director would be perfectly suited, the master showman equipping himself with a plot that was essentially justification for jokes, set pieces and gross effects. Whereas Tarantino would deliver a pitch perfect assimilation of a Grindhouse film Rodriguez would create an over the top action spectacle and then retrograde the whole thing with digital print damage and missing loops. In doing so he would fail to capture the spirit of Grindhouse but would instead find the formula that had apparently eluded him since 1998.

Muldoon\'s EvolutionThe first film that crossed my mind when I was watching Planet Terror was Chuck Russell’s criminally underappreciated 1980s remake of The Blob. Whilst Planet Terror’s aesthetic would owe more to Carpenter and Italian horror masters, the core of the film was decidedly 1950s and as such Russell’s previous fusion of eighties gore and fifties plotting seemed an obvious comparison. Certainly Planet Terror would be a funner film than The Blob, becoming a piece of entertainment designed to wink at the audience more than anything else, but I couldn’t get that initial thought out of my head whilst watching the film.

Like The Blob the film revels in its very gory and very practical effects, lovingly framed shots of dissolving limbs, broken bones and degenerating humans littering the film. But whereas The Blob asked us to at least attempt to pity the characters involved, Planet Terror would actively encourage audience complicity in the death and destruction. There is a sense of ridiculousness to the film which makes it hard to view the film as anything other than general spectacle; this is especially true when combined with the constant digital film damage which is an almost constant reminder that what you are watching is completely fake.

The ShitThe cast do a great job with what they are given, each of them pretty much a cipher in a very elaborate spoof. Rose McGowan, Josh Brolin, Jeff Fahey and Bruce Willis all seem to understand that the film is silly enough and play their roles as straight as possible to even greater effect. In particular a short speech made by Muldoon (Willis) about the execution of Osama Bin Laden is delivered with so much fervour and gravitas that it becomes inexplicably (and intentionally) hilarious. Brolin does such a good job as Doc. Block that his sudden descent into outright villainy is a complete curveball for the audience, his initial moments of screentime setting his character up as a potential hero. McGowan is given the unenviable task of being the emotional core of the film and does an adequate job although she seems far more at ease when she just has to be pithy. It is impossible to really judge acting in a film like this, a good barometer for McGowan is the fact that she gives the ludicrous finale at least a hint of gravitas.

Gun Leg

McGowan’s character Cherry Darling loses her leg about a quarter of the way into the film. The finale of the film is built around one key visual joke, Cherry’s stump being fitted with a high powered machine gun. As a quick visual gag it is fantastic, but then it is used as the major resolution to the movie and we are subjected to the same joke for about five minutes. If that was not bad enough it is also a gag ruined in the trailer for the film and most of the films advertising material. Still McGowan manages to get her Linda Hamilton on and actually deliver a thrilling and energetic action performance, transmogrifying from pitiful go-go dancer to saviour of the world in the space of one reel. She achieves all of this despite looking inherently ridiculous and having to work with choreography which eschews the logic and physics of the rest of the film.

The rest of the cast are largely variable, Michael Biehn seems happy to be working, Naveen Andrews plays his part perhaps a little too campy, Tom Savini seems like he is just waiting for his inevitable gory death, Marley Shelton is a little all over the place and Freddy Rodriguez as the film’s second lead is unfortunately a black hole of charisma. Playing the enigmatic El Wray Rodriguez seems more interested in the action set pieces than anything else and doesn’t have the kind of fun you’d imagine a more seasoned actor would have with the character.

Tarantino Going back to what I wrote earlier one of my main quandaries about the film is exactly how it is representative of Grindhouse. Surprisingly for a Rodriguez film there is far too much gloss on show. The film, despite scratches in the print and cameras in shot now and then, looks pristine and its action sequences are staged in a way that would have been beyond most directors working on Grindhouse films. Even the score can’t help but sound polished, the quaint electronica of the soundtrack giving way to forceful, pounding, well produced rock music as soon as anything interesting happens. As such it is a film that often feels in conflict with itself, adopting the aesthetic of Grindhouse but failing to meaningfully recreate the experience.


So if Planet Terror isn’t really a Grindhouse film what is it? It is largely a comedy, a fun film which takes the action horror genre and reveals it for its innate ridiculousness. It is a film that has a character that carries two daggers specifically designed to remove testicles, a high speed chase on a miniature motorbike, Fergie from the Black Eyed Peas getting her brain ripped out of her cranium, inexplicably exploding vehicles, Tarantino’s cock melting off and a missing reel which banks on the fact that audiences know exactly what is going to happen to the characters. It is this moment that secures Planet Terror as a fantastic parody, a sudden cut from a steamy sex scene to a point about thirty minutes later in the film. What is great about this cut is that we know what is going to happen in the second act, we know everything is going to go to shit and that the outcast loner is going to redeem himself somehow. By excising a chunk of this second act it critiques the genre whilst being a hilarious joke in of itself.

Dakota BlockBut whilst Planet Terror may be a wry spoof it is also a demonstration of Rodriguez at his most vibrant and skilful. Planet Terror is a putridly beautiful film, Rodriguez’s work on Sin City giving him an eye for design and composition he had never had before. Despite his attempts at degrading the look of the film it is visually striking, a point brought forth by the iconic marketing material. The image of Dakota Block, mascara smeared down her pearly face, was one of the marketing focal points and it is this kind of iconography that the film gets just right. Matching this visual style is writing from Rodriguez that is uncommonly sharp, his understanding of the genre allowing him to play around with audience expectations. Lines like ‘Where’s the shit’ and ‘Go Go, not Cry Cry’ are all puerile and infantile but work in setting up the tone of the film.

Death Proof

Listen to the Death Proof OST

Whereas Rodriguez would make a film that looked like an old Grindhouse movie, in terms of film damage, Tarantino would make a film that replicated the feel of an old Grindhouse movie. Whereas Planet Terror has the non-stop thrills of a big budget action movie Death Proof is constructed around two action sequences and a whole lot of talking in-between. The fact that Tarantino makes this talking almost as interesting as the automotive mayhem is a feat in of itself. Then again Tarantino has come from a background of talky films, only his fourth film containing anything you could describe as an action sequence.

Of course that fourth film was the kind of action spectacle that even cast a pall over the Matrix sequels and Rodriguez’s tale of Mariachi inspired Mexican revolution. What Kill Bill would showcase was Tarantino’s ability to absorb cinema, replicate technique and add his own twist. It seemed that by simply watching old Shaw Brothers and Chambara films he learnt how to stage and shoot action sequences which would have been legitimately impressive for any director. Yet Tarantino, despite having a start that was more theatre than film, carried it off effortlessly. The same thing happens in Death Proof, his two moments of vehicular chaos shot with the kind of precision and skill that would suggest he’d been filming chase movies for years.

Stunt Man Mike

The central conceit of Death Proof is as such, there is a man known as Stuntman Mike. He is a stuntman who used to specialise in vehicular stunts and now finds himself past his prime. With a specially ‘death proofed’ car he commits vehicular homicide by staging brutal traffic accidents. The film follows his interactions with two very different groups of girls. I will get back to Mike later, but I will warn any reader now that this review is going to be particularly spoiler ridden from this point on. Spoilers aren’t really important in a film like this, there is no real twist and the ending is as you would expect but I felt it fair to give some warning.

Death Proof opens to the car revs of Jack Nitzche’s The Last Race, the shot drifting from an inside view of a car to the inside of an apartment. Even this first shot sets up a lot of things about the film, particularly the tone and self awareness the film will have. Even the fact that the film lingers on the feet of its female stars (a noted Tarantino fascination) sets up that this is a film acutely aware of its audience knowledge base. Grindhouse is pretty much a fetish film, designed for a very particular and very insular group of cinema fans and moments like that show that Death Proof is very aware of who its audience is and what they expect from the film.

Arlene and JuliaThe girls of the film are split into two categories; the first group are the victims of the piece, their deaths avenged in a way by the actions of the second group. More screentime is given to the first set of girls who are essentially a group of young party girls. Jungle Julia is Austin’s local DJ, a miniature celebrity on the cusp of apparent greatness, Shana seems to be your archetypal rich girl (to be honest we are not given much information about or reason to care for her) and Arlene is an out of towner visiting friends. We spend a good fifty minutes in the company of these girls and the one thing that becomes abundantly clear is that Tarantino’s trademark dialogue needs exactly the right kind of context and cadence to work correctly.

Tarantino’s dialogue sounds fine when being spouted by Samuel L Jackson, or John Travolta, or Michael Parks, or even Uma Thurman. They can approach the material from the angle it needs to be approached from and give life and reality to what is very unreal writing. The “royale with cheese” exchange in Pulp Fiction works because of the way Jackson and Travolta deliver it; there is a conversational vibe which transforms it from being overly wordy into being perfectly natural. Similarly the “Like A Virgin” conversation which kicks off Reservoir Dogs has an ascribed reality due to the performances involved. The problem with Death Proof is that Tarantino seems unsure of how to write dialogue for these girls and as such he cuts back on his trademark chit chat. The result is that for fifty minutes we are forced to listen to Tarantino’s approximation of girl talk, imbued with some bizarre pop culture references every now and then. There are flourishes of humanity (oddly they are all but excised from the original cut, the actual fun conversations only appearing in the extended edition) but too often the dialogue is just nebulous and forced.


As such the three characters are reduced to simple archetypes. Shana doesn’t like being called Shauna and has a father rich enough to own a lake house, Jungle Julia is on the cusp of fame, is trying to screw somebody rich and famous, is a world class bitch, and takes umbrage at being relied upon to score weed and Arlene is the timid survivor girl of the trio. Despite attempts to liven up the girls with references to Zatoichi films and 70s rock bands they never serve any purpose other than to be disposable victims. Of course that is kind of the point; the first half of the film seems to be establishing the legend of Stuntman Mike.

Stuntman Mike CarStuntman Mike is of course the villain of the piece but in the first half he is also perhaps the more magnetic character in the film. Part of this is the performance from Kurt Russell who seems to be genuinely relishing his presence in the film. He gives Mike a wounded sort of pride and his previous roles kind of make you sympathetic towards him from the off. Russell is ostensibly a good guy; I think I’ve seen him play one slightly villainous role in his entire career, so we approach the character with a degree of baggage. For me in particular Kurt Russell was a childhood hero, a matinee showing of The Computer Wore Tennis Shoes was one of the first films I ever saw at a cinema and my teenage years would be made all the better by films like Escape from New York, The Thing and Big Trouble In Little China. Hell at one point I even had a soft spot for Stargate and Tango and Cash.

As such I was pretty much rapt by Stuntman Mike during my first viewing; particularly in the first half he plays the role of the pervasive, all knowing threat exceptionally well. Mike is an odd character in that he is on one hand quite charismatic and on one hand obviously wounded and quite pitiful. He is insightful but also cut off from people, his discussion of his stunt working failing to have any impact but his analysis of Arlene allowing him to get what he wants. He is a classic misanthrope, but a misanthrope with pretence of charm. What is interesting is the way the film views the character. Just before he kills the first set of girls his character stares at the screen and gives the viewer a cheesy grin. It is a moment, like the wink in Funny Games, which makes the audience complicit in what is about to happen.

By this point the audience are waiting for something, anything, to break the tedium. Taken in isolation the opening of Death Proof is still a lot of fun by its own merits, spotting references and some exuberant performances making the time fly by, but after the adrenaline burst of Planet Terror we’re left jonesing for something exciting to happen. Rather oddly the first victim doesn’t fall into line the way you would expect.

Rose McGowan appears in Death Proof as a completely different character, despite Death Proof and Planet Terror occurring in the same universe and apparently same city, and delivers a performance that is quietly charming. Playing a girl dumped by her boyfriend at the bar where Mike is stalking his victims she has the bad luck to accept a lift home from him. Her fate doesn’t fit into the adrenaline charged spectacle of what follows, her character is actually likeable enough and her fate vicious enough to be a sort of jolt of consciousness. What happens to her is truly horrific and yet the film continues on in its stride setting up its big car crash with great gusto and excitement.

After the mild horror of McGowan’s death Tarantino seems to falter for a moment, giving us a moment of quiet before he really amps things up. If we were meant to feel sympathy at all for Rose then surely the following scene in which four more girls are brutally killed should be just as horrific. But Tarantino doesn’t play that way, he sets the scene up for us to savour, he creates iconography and in one instant creates a focal point for the movie. As the girls drive home, all drunk and stoned and all but one of them without a seat belt, they actually put on the pop rock anthem which will make their death so iconic.

Preempt to Death

The thudding beat of Dave Dee, Dozy, Beaky, Mich and Tich’s Hold Tight is supplied by Jungle Julia and we’re even offered a quick introduction to the song that will underscore their death. As the base loops in, the girls having a right old time rocking out, Mike passes their car in his souped up death proofed vehicle. His handbrake turn synchs with the music perfectly, the head on collision crescendoing with the music itself. We are then shown the crash from four different angles to highlight the individual fates of the four occupants of the car. Shana is propelled through the windscreen, the driver gets knackered by the steering column, Julia has her leg sliced off at the hip and Arlene in a cruel twist is given the worst fate. The shot of her wearing a seatbelt suggests that she is going to survive, she has already been set up as the survivor girl by her interactions with Mike and the focus the film has given her. As such when the wheel of Mike’s car literally caves in her face it comes as something of a shock.


The film makes a quick stop off in Planet Terror (with Earl McGraw and Dakota Block speculating on what happened) before the film jumps forward 18 months to a new set of girls. This is where the film takes its biggest diversions and actually becomes a tad more cerebral than the first half would lead you to believe. For starters the film stops using its box of Grindhouse tricks. Audio is no longer looped, the film is no longer scratched, and the image quality is comparable to Tarantino’s usual oeuvre. Whereas the first group of girls were destined to be victims, the second group seem destined to be antagonists. For starters the second group of girls are allowed to have conversations without the film breaking them off mid sentence. The girls are all part of the film world, Zoë and Kim are stuntwomen (Zoë Bell is essentially playing herself), whilst Abernathy and Lee are a make up girl and actress respectively.

Zoe car

If nothing else the second half of Death Proof is a love letter to Zoë Bell, a stunt woman who had worked with Tarantino on Kill Bill. Despite fudging some of her lines and seeming a little out of her depth acting wise Bell is almost as magnetic as Russell and provides the only real counterpoint to Mike’s rampant charisma. Rosario Dawn is cute and charming as Abernathy, whilst Lee’s only purpose in the film seems to be the victim of a particularly unsettling joke. Tracie Thom got a lot of stick when the film was released and it is easy to see why, her character is probably a little too extreme for the movie being presented.

Her constant stream of swearing and use of the word nigger makes the film almost uncomfortable at times. In fact her characters constant use of racial slurs brought to mind Denzel Washington’s famous stand off with Tarantino on the set of Crimson Tide. Washington would call Tarantino on his use of the word on set and in the script and its excessive use in Death Proof brought that to mind. Despite some sex talk, apparently Tarantino’s default dialogue for girls is about ‘the thing’, and a story about Zoë and Abernathy in the Far East the characters are defined less by what they say and more by what they do.


The majority of Death Proof’s second half is taken up by a car chase between Mike and three of the girls. Originally starting off with Mike as the pursuer, harassing the girls as they attempt a foolish and ridiculously dangerous stunt, the tone of the film completely changes when the girls start to pursue the Stuntman. Both using amped up muscle cars the chase is fast, furious and frantic and once again shows Tarantino as being a master assimilator. Certainly one of the important elements to the chase is the reality of actually having two cars driving around at insane speeds and at point having Zoë Bell actually clutched onto the bonnet of a Dodge going at full pelt.

Death ProofedOf course the most important aspect of the second half is the reaction Mike has to women who he can’t easily overwhelm. His change from hunter to hunted is done perfectly with Mike revealing himself to be a shrieking, gutless, coward. His pleading for mercy and shrill cries of pain completely changes the tone of the film. What Death Proof, in my mind, seeks to do is deconstruct the idea of the pervasive male aggressor. Mike is a stand in for an audience who watch horror films to rejoice in the slaughter, who root for Jason and Freddy and Michael Myers. Of course he is a movie character so his traits are obviously enhanced, but is easy to draw parallels to his social stunted misogyny and the social stunted misogyny of posters on AICNs talkbacks who wished that he had ‘killed those bitches’.

Bye Bye Mike

The tragedy of course is that this will be lost on many people, it is a subtle point made in a film that is often not subtle at all. A further tragedy is that Kurt Russell’s excellent portrayal of the character is probably going to get overlooked by a lot of people because of this tonal shift. To take this iconic character and then show him at his most pitiful is an incredibly brave thing to do and Russell carries it off perfectly. Originally Mickey Rourke was meant to take the role of Stuntman Mike and to be honest I don’t see how that could possible have worked. Rourke wouldn’t be able to play Mike as the coward he truly is. The sudden descent into Russ Meyer’s territory is what makes Death Proof so smart and funny. It is a film that embraces the violence inherent in the genre and then asks us to question our enjoyment of the carnage.



Spike’s Top Tracks: 23rd March – 30th March

Posted in Music, Spike's Top Tracks with tags , , , , on March 30, 2008 by Spike Marshall


Hold Tight by Dave Dee, Dozy, Beaky, Mick & Tich

“Hold tight…count of three…gotta stay close by me”

death_proof.jpgQuentin Tarantino is probably one of my favourite directors. I’ve yet to see a film by him I didn’t adore and the reason for this has nothing to do with his writing or his ever evolving directorial skills, it is about the reverent tone he adopts when approaching his material. Tarantino is a director who is just in love with the stuff he likes and wants everyone else to know about it. He is a director who is desperate to share experience and it makes his films almost odes music, cinema and literature. His latest film Death Proof continues this tradition but I have plans to talk about Grindhouse in the near future so I will try to not prattle on too much here.

The point I will make is that Death Proof is a film in love with music, with radios and jukeboxes maintaining a constant stream of classics as the films soundtrack. Tarantino has the power to make songs iconic, to give them a context beyond their original purpose. Reservoir Dogs gave Stuck In The Middle With You a deadly implication, Pulp Fiction made You Can Never Tell  a piece of pop culture, even Kill Bill brought Tomoyasu Hotei and his Battle Without Honor Or Humanity into the public consciousness. In the same way his films revitalised the careers of actors by recontextualising them, his films gave new life to songs that had been lost in the ether.

As stated before Death Proof has a constant stream of music for the first half of its runtime, but the song which has the potential to become iconic is Hold Tight. Not only does the song score one of the key moments of the film, a brutal car crash which the audience has been willing to happen for forty minutes, but it is also offered an introduction by one of the characters. We are told that they are contemporaries of The Who and that Pete Townsend was considering was joining them, and then we’re left to listen as the action takes over. The song itself is a fantastic piece of work, the Death Proof version slightly retooled for the purpose of the film, but its use when building up to the car crash is just inspired. There is an almost hypnotic side to the song, the regimented beat and strong looping bass kind of lulling the viewer into the cadence of the song.

Plans by Grizzly Bear

“such a strange predicament….we find ourselves in”

x_grizzly-bear.jpgA few weeks back I wrote about the Beirut song Cliquot. Almost an hour after posting someone who read what I wrote, yes people do actually read this site surprisingly, sent me a link to a performance of Cliquot. This video featured Beirut’s large ensemble of session musicians and Edward Droste taking the place of Owen Pallett on lead vocals. Droste is the founding member of four piece band Grizzly Bear which was originally a solo project that expanded in size and scope over several albums.

The defining aspect of Grizzly Bear is Droste’s voice which carries an unusual kind of plaintive power. His voice is striking enough to pierce the swell and mess of the orchestration, whilst being gentle enough to completely dominate any of the tracks.

Plans is so far one of my favourite tracks by Grizzly Bear, despite it sounding radically different to anything else I’ve got by them. It is really quite hard to explain the fundamentals of the song without making it sound utterly horrid. Dirge is the word that comes to mind, but the negative connotations of that term don’t do justice to a song that is at once both luminous and gloomy, swells of emotions working within the context of the song and maintaining a singular mood.

White Rabbit by Jefferson Airplane

“Go ask Alice, when she’s ten feet tall”

Here is the deal with White Rabbit; I’m not going to bother describing the song. The reason is that even if you’re not familiar with Jefferson Airplane you’ll know this song. It is a piece of pop culture now, a song turned into a meme through its use in media. Essentially if you’ve seen a scene of drug taking in a movie you’ve heard this song. As such the song itself is a cliché, even the Simpsons using the song for its ‘drug related freak out’ moments.


The reason I’ve included the song on this list is for a very simple and very geeky reason. The trailer for the videogame Lost Odyssey would use White Rabbit as its score, the minute long TV spot given a sudden surge of intensity and adrenaline by the song. In the same way that Tarantino recontexutalised songs for the masses, this trailer suddenly made me reassess a song I had never paid much heed to. I had always been put off the song by the elements which I viewed as being antiquated, particularly the overt drug referencing and Lewis Carroll iconography. Placed within the context of this trailer my attention was distracted by the detail of the song and instead I became rapt by the sheer scale and grandeur that was achieved.

What is amazing about the song is that I’d never heard more than the opening forty seconds of the track. As such I was only aware of this introduction, assuming the entire song had this same pared down sound. So when the song started to pick up intensity as it progressed, more and more elements being brought to the forefront as the vocals became more urgent, I was taken by surprise. What I assumed was a languid piece of music actually had a lot of power to it. Of course I still have a problem if I pay attention to the lyrics, but as a piece of music I sort of started to love White Rabbit.

The Taming Of The Hands That Came Back To Life by Sunset Rubdown

“now do you think the second movement has too many violins?”

I have an immediate disadvantage when it comes to Sunset Rubdown, the disadvantage being that I know absolutely nothing about the group. Well that is a lie; I know that it is a product of Spencer Krug who was a head honcho in Wolf Parade. But aside from that I’ve maintained an information blackout on this band. This is largely because I was so awe struck by the album I obtained Random Spirit Lover that I deemed it necessary to try and not ruin my enjoyment by delving too deep into the artists involved. As such they are one of the few bands I listen to where I don’t have at least a little knowledge of their history and recording career.

I picked up the album after some people who I held in great esteem started to talk openly about their love for it. Certainly when a person you respect greatly is saying that an album is the best of 2007 you tend to take notice, this is something that happened with The National as well.


On first listen to the album I was almost overwhelmed by the sound of it, the intensity and lunacy of early tracks like Up On Your Leopard, Upon The End Of Your Feral Days. As I listened to the album more and more I’d gravitate towards different tracks, but one constant song that I loved was The Taming Of The Hands. This track about the passion of making music at the exclusion of all others would sort of take root in my brain and never ever leave. Little asides in the song like ‘Enough About Me’ and “I Know, Can I Use That Too?” would ruminate constantly; in short it was a song that enraptured me.

The key factor in the song for me is the sense of controlled mania; earlier pieces on the album were just breathtaking in their intensity but got to the point where the tracks were almost exhausting in their madness. Taming Of The Hands has that same sense of chaos but binds it to a more regimented sound, the stoic music framing the fevered lyrics almost perfectly. It really is quite hard to describe my thoughts on the song coherently; even listening to it now just kind of makes me giddy, its disparate elements bringing to mind, for some obscure reason, the original Wicker Man soundtrack by Paul Giovanni. There is a similar energy to it, a similar sort of playful darkness, although Taming Of The Hands is far more accomplished than most things off of the Wicker Man soundtrack.

Paper Planes by M.I.A.

“Yeah, I got more records than the K.G.B.”

mia_kala_release.jpgM.I.A.’s debut album Arular would be one of the more pleasant surprises of 2005, a vibrant and brilliant piece of British music. The follow up Kala would become one of my favourite albums of 2007, expanding the cacophony of sounds found in Arular with various collaborations.

Kala would be a global sounding record with musical sources from Africa, India, Australia, the Far East and collaborations with American Producer Timbaland. With songs that homage Bollywood, incorporates Aboriginal singing, and use various types of unusual percussion it seems kind of silly to favour a track as conventional as Paper Planes.

Most of Kala’s samples are cribbed from all over the world, some even recorded during M.I.A.’s global tour. Paper Planes however takes it sample from a mainstay of British music, The Clash. The roaring circular riff which serves as the backbone of the song is straight from their song ‘Straight To Hell’. M.I.A. uses this sample and then completely takes ownership of it, distorting the original sample to make it almost ethereal in a song that is alarmingly brash.

What is most striking about the song is of course the chorus. Children’s singing cut off by the sound effects of gunshots and a till opening. A large element of this song seems, to me at least, to be about young children who’ve been forced onto the corner lifestyle of drug running and robbery. Lyrics like ‘catch me on my burner, pre paid wireless’ bring to mind shows like The Wire, in which drug runners would use special burner mobile phones which were discarded after a few days, whilst the chorus brings to mind robbery. Of course that is just the observation of a white, middle class guy, so take it with a grain of salt. It is kind of amusing to see trailers using the song and actually synching up gunshots with the gunshots on the record though.