If I’m honest, I padded into the theatre secretly dreading the promise of dead men, women and space folk. The Avengers 3: Infinity War has been shrouded in an admirable web of promotional abstraction that planted a long line of red herrings, from Hulk’s participation in the final battle to Tony Stark’s ever-so-obvious [not] demise. This obsession with mortality scared me, but its only on reflection that I realise it was the work of a fanbase, not the artists behind Infinity War. They toyed with a legion of loyal followers desperate to go on information, rather than meaningful character interaction, to pave the way for something morbidly miraculous in the modern Marvel universe: An honest to god, full-blooded film.
Thursday, 26 April 2018
I spent the last week and a half painstakingly working my way through the Marvel Cinematic Universea with my friends. The only film that was new to me was Dr. Strange, the others were either well-trodden or sparsley visited entries I usually got a lot more from on this mini-marathon. Let's count them down.
Friday, 6 April 2018
The 2003-released debut of El Paso proggers The Mars Volta- reputedly a true-to-life tale bent into fairyland, De-Loused in the Comatorium is a concept album that sits in the company of Cerpin Taxt, a man who has plunged himself into a seven-day coma OD'ing on Rat Poison and Morphine. This psycadellic cocktail elevated by brief moments of clarity like the rippling tonal tide of songs like 'Televators' is a fantastic story on paper, given that the limitation of being trapped in a cold hospital examination chamber for the best part of a week and that space being blown wide open by the unconcious influence of drugs leaves it ripe for multi-stranded storytelling. As for all the potential The Mars Volta actually make use of on this album, it might as well be fifteen minutes long.