The Verve
'Urban Hymns'

Reviewed by
David Rutherford Jnr

Even before opening up the cover of 'Urban Hymns', I was curious as to how the name of the album came about. After much pondering, I came to the conclusion that 'Urban Hymns' can be defined as relaxing, 'free your soul' sounds, no matter what suburban disturbances are around you. This album is truly one which has messages hidden within, lyrics as well as music should be worth listening too. This definition truly reflects the music of 'Urban Hymns'. Tracks such as 'Catching the Butterfly', 'New Wilderness' and 'Sonnet' really show us that Richard Ashcroft (vocals and mastermind behind the lyrics), uses his music as a passage to escape the everyday dramas and inflictions of an urban lifestyle. The crystal clear cords of the bass and lead guitar and the welcomed keyboard prove that The Verve really have created a special album.
The Verve are a five piece Indy Pop band who grew up in and spawned all their music from Manchester, England. 'Urban Hymns', their fifth album really took the British rock scene to new heights. The top three albums of 1997, as voted by Rolling Stone magazine, were all Brit Pop bands, The Verve's 'Urban Hymns' was rated the second best album of the year.
"...it's just a change in me something in my liberty..."
"...child within has healing ways it sees me through my darkest days..."
These deep lyrics tell you that no matter how bad it can get, there is a way out, a way to find happiness within yourself.
I guess 'Urban Hymns' is the sort of album that talks about looking at the world in realistic terms. It's about overcoming the difficult, being positive and surviving!
I recommend kicking back and taking in the lyrics, I'm sure most music lovers and ponderers alike, can relate a little of their lives to the music of 'Urban Hymns'.

Madam Butterfly

OK you opera buffs get out there
and catch this one as it flutters by

Co*Opera's new production of Puccini's most-loved opera emphasises the work's most engaging qualities; passionate music and a poignant storyline.
The beauty of solos like One Fine Day and the voluptuousness of the love duet which finishes Act 1, transport the listener to a realm of unsurpassed vocal and harmonic splendour. Neither before nor since have composers charged their music for the opera stage with such richness of passionate expression.
The music lends special emphasis to the unfolding story, bringing to life the magical optimism of Butterfly's love for Pinkerton and then tenderly, anxiously turning the emotional tide at the end.
Co*Opera's production is visually most beautiful, making innovative use of masks, puppets, exotic costumes and stylised gestural technique to emphasise the ethnic qualities fundamental to the opera's themes.
Madam Butterfly may have a teary ending, but Butterfly herself is an immensely joyful and optimistic person - you'll want to sing all the way home!

KISS OR KILL

Review by Tony Jefferies

Kiss or kill is a young lovers on the run movie in the classic True Romance/ Wild At Heart style. Only these young lovers are Aussies - but the movie is no worse for that. Nikki (Frances O'Connor) and Al (Matt Day) are two misfits, lower feeders on the criminal food chain. Their go is for spunky Nikki to chat up a mark at the bar, whizz him back to his hotel room and slip him a mickey finn - at which point enter Al to help go through the wallet, etc. Only this time something goes horribly awry: the mark succumbs to his mickey-finn - permanently, and the only haul from the operation is one very incriminating video of local football ledge, Zipper Doyle, who has a penchant for very young boys. Nasty. Hence, not two fat English ladies, but two slim Aussie lovers - on the run.
Nikki and Al aren't particularly long-suited in the grey matter department so their flight across the Nullabor leaves a trail wide enough, apparently, for Stevie Wonder to follow. Everyone cuts to the chase - police, vengeful Zipper and canny Aboriginal tracker, Possum Harry. Meanwhile our two bunglers are bringing mayhem in their wake: wherever they go someone ends up mysteriously murdered. Finally things get desperate; the police are closing in, Zipper Doyle's closing in; Possum Harry's closing in, and - worst of all - they've run out of cigarettes.
All in all a fun movie, shot in a modestly original, jerky, style and, despite the obligatory mannerisms, quite understated. The bacon scene ("I just don't dig on swine") between the two cops is an amusing take on Pulp Fiction and the happy ever after epilogue pure Tarantino a la True Romance. Four and a half stars.