I STILL WANT TO BELIEVE: The promising return of The X-Files...

The spoilers are out there...

After it's two night, two episode "event" comes to a close, what is left until the rest of the season unfolds is only promising.

This of course comes as no surprise to myself at the very least, as I was one to enjoy The X-Files when it was arguably at its worst, in the depths of its ninth season. However, what makes this stand out from that past series is the modernisation to the characters and the world surrounding: Mulder and Scully left in a state of disdain for one another as their relationship crumbled from their past appearance in the 2008 mixed bag "I Want to Believe", in addition to the leaps and bounds technology has made and its impact on society since then. In the realm of technology, eight years might as well be a life time.

That's what upheld my interest through the struggle that is "My Struggle", the pilot episode for the new miniseries. Whilst still enjoyable and not devoid of merit by any means, certainly better than what The X-Files can present at its worst, it suffered from its own breakneck pace. There is no brakes on this train, you're moving from plot point to plot point with almost no time to take it all in, and there's a lot to take in considering this new-found mythology has essentially scrapped everything that was established by the entire franchise thus far. Yes, it does retain some elements from the past, but it ultimately starts anew with a new mythology arc to entice a new audience that simply does not and even if they did, would not catch up on 201 episodes of TV. 

The on-off now former FBI agents are called upon when a hotshot host Tad O'Malley calls upon Mulder to investigate the government conspiracy once more with the revelation of the character Sveta, a woman who, just like Scully contains elements of alien DNA, orchestrated by who else but said government. And, just when it kicks off and Mulder makes his leap to break through and expose the truth via Mr. O'Malley, the forces that be stop them before they get the chance and Mulder goes back to square one, O'Malley nowhere to be seen and Sveta presumed abducted... again.

When I put it like that, it makes it seem like I really didn't enjoy it, but the thing is - I did. It might just be that burst of nostalgia seeing these characters interact once more, but that can't be the case for someone, such as myself, who has only just watched the series and films prior. The conspiracy, whilst at a rushed pace to compensate for less episodes and somewhat frustratingly yet understandably working from a now blank slate, is intriguing. The thing is... the next episode "Founder's Mutation" really blows it out the water. Sorry, Chris. You'll have your next shot soon.

The meat of where The X-Files has arguably always lied is in the standalone "Monster of the Week" formula episodes, but this does something clever to maintain interest in the show's overall arc: interweaving the related mythology into the case at hand. Visions of Mulder and Scully together with their estranged son William is almost heartbreaking, a bizarre contrast from the unexpected amounts of gore placed on screen throughout this episode. It also has a comedic element, whilst not the focus of the episode, is much more present than that of the past episode, with some of the aspects of the humour surprisingly below the belt. It just is a strong, solid entry from a writer/film maker that has always provided great material for the show alongside his other regulars Glen and Darin Morgan.

With the immediate correction of its course before stumbling over a still noteworthy episode, I don't see why I wouldn't continue watching the show as it airs, and so should you. X-Files fan or not, it's still worth a try.

MORE THAN JUST A COMPILATION: A look at Elbow's "dead in the boot"...

It's been too long since I last wrote a post for this dark corner of the web, and its a good time to experiment with something just a little bit different...

Esteemed British alternative rock band Elbow have had a long string of successes from their début, the equally stylised "asleep in the back", and in 2012 before their sprawling and more theatrical release with "The Take Off and Landing of Everything" that was first kicked into gear with "The Seldom Seen Kid", the group had one last look back at their roots with what is seen here: "dead in the boot". A hearty reference to the previously mentioned début, this compilation is most definitely a callback to its reference not only in title but in its tone - an obvious occurrence due to these songs' original release window, released alongside their bigger counterparts to be mostly overlooked as b-sides.

Introduction aside, what is it that makes this compilation so special? To be known as a compilation often indicates that its a throwaway to pass the time for the next big thing or to reflect on a band's former glory, the effect doubled when its associated as a b-side, the "b" not being the best that a band can indeed be. The answer is, listening through the tracks, taking them down one by one, its overarching downtrodden feeling that follows through from start to finish makes it feel like more than just some b-sides. It's not thrown together in chronological order of release, but in a manner that works from track to track, the songs are ordered in such a way that when you've heard what seems to be repetitious, a sudden jolt of life comes along in the form of a track with such urgency as the late bloomer "mcgreggor", featuring [the lead vocalist] Guy Garvey at his most potent and striking in both lyrics and vocal range. It comes as a great surprise after the soothing tenderness of the one-word verses and reflective piano melody in "lullaby", crashing down with the tale of a recently deceased lonely landlord, his "father figures and mother fuckers", before harshly asking: "who knew the man?" A prime example of the album's strength in the element of surprise.

The greatest charm that this album possesses is not only in its actual content but in its presentation, its cover, its choice to ignore any form of grammar in both song and album title, it should come off as a silly gimmick but it feels like something more. A case in particular, listening to the track immediately following "mcgreggor", "buffalo ghosts": sitting there, staring at the album cover and feeling a deep sense of nostalgia for the most inexplicable of reasons, its lyrics and tone matching perfectly with the imagery of silhouettes scattered across a sunset. In addition to this, it feels like one last hurrah to Elbow's past musical era as they move onto their now mastered craft which as previously mentioned was created in "The Seldom Seen Kid" and cemented with their most recent album, "The Take Off and Landing of Everything". A more theatrical and almost orchestral feel is prominent in their most recent work, which is just one more reason to admire Elbow - but you've got to pay respect to your roots, and this is that respect. To those like me, this is more of what you asked for and an opportunity to witness some of their more overlooked tracks in their illustrious back catalogue. For those who have came upon Elbow anew, its a great stepping stone before moving onto what's next in their discography. But then again, what isn't?