on Thursday, October 30, 2014
Words: Saam Das

The recent announcement that the BBC was re-scoring Nicolas Winding Refn's 2011 critically acclaimed 'Drive' was met with much consternation, and while we'll see the results tonight on BBC Three from 10pm, the new single from Norwegian duo Shy For Shore wouldn't seem out of place on the new soundtrack. Listen to 'Steal My Car' below.
on Tuesday, October 28, 2014
Words: Jordan Andrew


Since the end of 'Skins' last year there have been no real British dramas on E4 to bring us sex, drugs and murder. Until 'Glue' came along, that is - a 'Broadchurch' but for the younger generation.
on Monday, October 27, 2014
Wprds: Saam Das

Rae Morris continues her rise from precocious talent to maturing songstress, following 'Do You Even Know?' with her recently released 'Closer' EP. While title track 'Closer' went for more of a bombastic R&B tinge, we prefer the soothing 'My God'. Listen to both tracks below.
58th BFI London Film Festival (8-19 Oct '14) // Words: Saam Das

The 58th BFI London Film Festival came to end recently, with its closing gala of David Ayer's WWII drama 'Fury'. While the festival arguably didn't have the big hitters of last year (although matching the combined might of '12 Years A Slave' and 'Gravity' was always going to be a challenge), there were nonetheless several impressive films on offer amid the 200+ film programme.
on Sunday, October 26, 2014
Words: Saam Das

Readers of this website are likely to be familiar with London-based Communion Records, the folk-led club night and label that propelled the early careers of the likes of Laura Marling and Daughter. Documentary 'Austin To Boston' follows the journey of four acts from the Communion roster on their unique tour of America, which saw them cover three thousand miles in five vintage VW camper vans.
on Saturday, October 25, 2014
Words: Maxamillian John

'No Man’s Land'

The producers of 'No Man’s Land' openly noise about the film’s Wild West roots and its 'Mad Max' visuals, but thankfully it’s a lot more fun than that. Design aside, Ning Hao’s movie runs more like a French farce, with events of increasing coincidence and physicality bringing a character to their knees.

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