HELLO FRIEND: "Mr. Robot" Season 1 review and recap...

With season 2 very much underway and all of its twists and turns yet to be unravelled, a recap of the now hugely popular "Mr. Robot" or an introduction to those who haven't started the phenomenon would perhaps be appreciated. No need to worry as this is certainly spoiler-free! Just a plain and simple look at "Mr. Robot": what it is, its unique quirks and ultimately what has boosted it into success.

Welcome to New York City, the home of one Elliot Alderson and you, the viewer, are his new friend. That's not in a figurative sense either, you serve as a passive force in the story as it unfolds with Elliot giving a nod to your viewership every once in a while. The fourth wall isn't just broken; it was never there. A simple yet contradictory immersion into the story. As simply put, this direct point usually serves as a form of parody or a form of comedic effect and to take you out of the experience, but this does the opposite. It breaks the fourth wall but in a sense that makes sense within the character's frame of mind, and as you can imagine, a person with an imaginary friend is in this case not exactly the most stable as you will come to find.

It starts straightforward enough, but as the season takes its toll, you're gonna have to learn that at some points, what is on screen and what is actually happening with the characters are two different things. In a manner quite akin to "The X-Files": trust no one. As the subversion kicks in, good luck putting it down. If you're anything like me and this hooks you, this season will be done within a matter of a week or less depending on how avid you are in terms of binge watching. It culminates into a wonderfully self-aware commentary on society and how the team behind fSociety decide to try and take it on head first with their attempts to end one of the world's largest conglomerates, E Corp. (Or Evil Corp as Elliot loves to put it from his perspective, another slight detail that is only perceived in scenes with his presence.) 

When you hear the title and the premise of hackers attempting to break down society, it does sound awfully cliche. You see, that's where I and presumably you are wrong. It's not that, in fact its far from that. There are some issues present, albeit those are predominantly in regards to spoiler territory, but overall with its premise and most importantly execution there is very little to go wrong with "Mr. Robot". Perfectly cast and acted, most notably by the lead Rami Malek with his dry humour and incredibly expressive eyes, which in some scenarios, do all talking that needs to be done. Christian Slater also as the titular character is also to be commended, with his first notable role in years, proving he's still got some oomph left in him. The style involved is peerless for a TV show, with exceptional presentation, cinematography and use of licensed tracks to set the scene, my favourite track used being "Sound & Color" by the Alabama Shakes. Sam Esmail should be proud.

There's just so many areas that this show can be praised for and whilst certainly it is understandable for some to dislike it, there is at least some aspects on offer for anyone to enjoy or appreciate. While the show doesn't revolve around it so much as the character of Elliot, the hacking process involved in the show is unlike any other fictional programme or film I've seen with one exception. Instead of dumbed down processes seen in shows like "CSI", (you know exactly what I mean) it is as close to the real thing as you can get whilst still remaining accessible to viewers who are unwitting to such uses of technology. It isn't treated with utmost importance either and being toted as a major selling point in the exception of Michael Mann's "Blackhat" in which it decides to juggle realistic elements with almost ludicrous plot points and action sequences. It is just there and present as a tool for the characters to utilise. The show can come across as indulgent or potentially pretentious as some points, with itself being aware of that, but the use of hacking and technology certainly isn't.

And with that, what are you waiting for? There's plenty to catch up on and plenty more in store for "Mr. Robot", and if you don't at least give it a try, you're missing out on what could be your next favourite TV show.

LIFE BEFORE THE ROAD: Ricky Gervais' "The Office" and the art of the mockumentary...

Hugely successful and brutally deadpan, "The Office" when it was first released made its mark, commenting on the often awkward nature of social interactions between employees in what can only be described as a dreary workplace, shifting paper to the highest bidder in Wernham Hogg.

Now before everyone's favourite David Brent moves onto life on the road, it's a good time to take a look back at the show that collectively launched the careers of both Ricky Gervais and Stephen Merchant as well as being regarded as one of the best British sitcoms of all time. The latter of which I'd be inclined to agree with. It begins as something unassuming but by the time I hit the third episode and Tim is given a certain inflatable birthday present I honestly couldn't stop laughing, bizarrely what could be considered the most immature joke of the series is what made it click.

You start by squirming in your seat as you're presented by these clumsy social scenarios but as you become accustomed to the humour on offer, it's the gift that keeps on giving, it's short length allowing it to maintain its freshness and never loses steam which is ultimately funny in itself given the situation that these characters find themselves placed in. A dead-end job in the paper industry with a desire for something more, ranging from psychology and illustration to the certainly more ambitious reunion of Foregone Conclusion. The mockumentary style that it is presented in works not only in the manner that it certainly saves a few quid but also in accentuating what it strives to be. The people who you see are their characters and this is just their way of life, showing further insight into what they're thinking with a straightforward interview format to justify their actions and make it so a certain Brent isn't completely detestable.

Whilst there's no question as to whether or not you should give this a watch, you'll certainly find out quickly if it is indeed your thing, "The Office" is not the first of its kind, at least in style. Ranging all the way back into the '60s with the Beatles' "A Hard Day's Night" to the modern vampire undertaking seen in "What We Do in the Shadows" the mockumentary has been staple in both film and television for decades with its often absurd nature, especially in the latter film. It's potential for parody is immense and can often be used to shine a light on certain issues or topics that it may feel relevant to discuss from the perspective of characters who may unwittingly be apart of the issue present. A prominent example of this would be in "The Office", whilst the show does not center around this, the character of Gareth is hardly a gentleman, let's say.

A short and unsuspecting series about office workers proves to be a hilarious romp with an interesting angle to back it up, leaving me waiting for the return of Brent, coming sooner rather than later thankfully. As the former Wernham Hogg boss rather optimistically posed: "Live fast, die old."

(JOSH LISTENS TO) CAR SEAT HEADREST (BUT SAYS THIS ISN'T A PROBLEM): "Teens of Denial" album review and sampling discussion...

The albums that you weren't anticipating are always what end up being your favourites. This is the case with the new album from Will Toledo's project Car Seat Headrest, as it caught me off-guard with its release back in May and I have been steadily listening to it ever since. It simply has me coming back with its lo-fi charm, incredibly catchy guitar hooks and meaningful lyrics.

Once you get the past the absurd name and get onto the first track, (eventually coming to understand that his vocals were recorded in Mr. Toledo's car with his earlier releases) it just reels you in. "Fill in the Blank" is a perfect starter, giving you a taste of what is to come with its quirky opening vocal snippet, punchy guitars and angsty-ridden vocals. This is beyond cemented with the line; "If I were split in two I would just take my fists, so I could beat up the rest of me." No further explanation needed. It's a quick and dirty opener featuring a riff so upbeat and attention-grabbing that it initially distracts you from the darker side the lyrics present. It brings up a comparison to the garage rock tinge of The Strokes, but given their material post-"Is This It" that would be more of an insult than anything anywhere near positive. Its ultimately irrelevant, but the music video has to get bonus points for its clever premise:

What follows next is the album's lead single "Vincent", throwing a curve ball with a slow and gradually building twang before delivering an almost funky flavour, utilising saxophones and trombones for certain sections, serving as a memorable counter to the more straightforward tone that just preceded it. The trend continues throughout the rest of the album, delivering familiar yet inventive lo-fi thrills that the project has become known for since their most notable release "Twin Fantasy" back in 2012. The delightfully titled "(Joes Gets Kicked Out of School for Using) Drugs With Friends (But Says This Isn't a Problem)" is a psychedelic comedown that climaxes with a meaningful and catchy refrain that nods to conformity and the repetitive alienation that drug use eventually entails, cycling between whether drugs or friends are better than one another. 

The discussion of sampling comes into play with the following track, formerly known as "Just What I Wanted/Not Just What I Needed" and now known as "Not What I Needed" after a sample failed to clear in the previous variant. As the title alludes, it utilised an unauthorised sample from one of The Cars' most famous hits "Just What I Needed", leading to a recall of all copies of the original as the sample was thought to have cleared but bounced due to their front man Ric Ocasek disagreeing with the usage of samples. Whilst it is certainly within his rights to do so, as it is his own original material, to not even consider the context of its use is certainly debatable as Toledo states: "I don’t think that Ric ever listened to the album or the song, which is the only part that really bothers me." The lack of an open mind in the homage that only ever had good intentions is boggling, with the entire conversation that this issue sparked revolved around the legalities and not the artistic merit that the sample entailed. Naivety aside, that is obviously not the case when it comes to an individual's copyright ownership. A great shame nonetheless, as having heard both versions, it continued the theme of familiarity but with a twist before the song subverts your expectation and does its own thing. A tribute put to bed by a last minute technicality. What we ended up with is of equal strength however, with Toledo's desperate squeal: "I know when I'm being catered to!" ingrained into my brain for many days even after hearing it initially.

Yet another notable moment on this album comes with the track "Drunk Drivers/Killer Whales", an anthem for all the drunk drivers out there. Don't. "It doesn't have to be like this," heard prominently on its way out, lending itself both to its obvious message against drunk driving but to life as a whole. Shed the self-loathing and get on with it, not in captivity, much a reference to its alternate title. As the line is proclaimed, it ties it all together, delivering a satisfying climax that is riveting.

What is ultimately my favourite track is the epic 11-minute behemoth that is "The Ballad of the Costa Concordia", posing life as if it were, as optimistically as ever, a sinking ship, it's disastrous namesake. A slow build that comes to an intense spoken-word breakdown that shows its just sometimes too much to handle. It in the case of its thematic and its real life basis, it certainly was an expensive mistake. How the hell was he supposed to steer his ship? The dour tone in his voice as the guitar heightens and the tempo builds accelerates the feeling of helplessness whilst still remaining accessible and simply a joy to listen to. That's all only by the time the track reaches its mid-point, the track that keeps on giving, throwing so many ideas at you with its lyrics it almost becomes overwhelming, much like the scenario that the song places itself in. This track alone feels like a long journey that's come to a bittersweet end, the pressure gradually builds, you breakdown, and then you give up.

The album as a whole is what it is: it's guitar-driven indie rock with an incredibly sharp wit and ambition that backs it up, it's personal in nature, proving to you and me that this could only have come from Will Toledo, it's unique to him. It just so happens that what he has to say is enthralling. It's lengthy and is borderline indulgent, but stick with it. Humour it. It pulls you in with catchy hooks and keeps you coming back with its vulnerable insight into the man himself, with so many memorable lyrics and quirks to pick from. How was I supposed to know how great this album truly is?