Music

2:54: 2:54

2:54 is a promising debut that blends shoe-gazing shimmer with elements of metal, punk and alt rock.


2:54

2:54

Label: Fat Possum
US Release Date: 2012-05-29
UK Release Date: 2012-05-28
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UK sister duo 2:54 explore a strange synergy between the churning sludge rock of bands like Kyuss and early Queens of the Stone Age and the kind of retro shoe-gazing shimmer that colors a range of contemporary indie acts. The name 2:54 derives from a climactic juncture in a Melvins' song, and while their hazy, ruddy-eyed compositions never quite explode with the fury of their namesake's distorted dirges, they definitely pack more grungy punch than many of their likeminded peers. 2:54 is produced by Rob Ellis (PJ Harvey) and mixed by Alan Moulder (Smashing Pumpkins, Nine Inch Nails), two studio legends of the ‘90s alt rock era, and though there are hints of nostalgia here for a time when indie truly rocked, these songs sound right at home alongside the work of current buzz-worthy acts such as Frankie Rose and Chromatics.

Collette and Hannah Thurlow split songwriting duties with Hannah composing all of the instrumental parts and Collette writing the vocals. Hannah’s arrangements are built from dense layers of fuzzy, reverberating guitars, propelled by quaking drums and thick, driving bass. Her melodic guitar refrains are never too flashy, but their perfectly placed notes really work their way inside your head on song after song. Collette’s vocals recall early PJ Harvey’s deep and confident delivery, mixed with her own distinctive R&B flourishes and languid way with words.

Album opener "Revolving" builds towards a slow burning climax with a choir of trembling guitars that would feel right at home on a Smiths' record until they burst into overdrive at the chorus, saturated with howling synths and Collette’s chanting, dramatic vocals. Then on "You’re Early", drums and guitars weave intricate rhythmic patterns that flow over into a crescendo of thicker and thicker distortion, only to pull it all out from under you just when you think they’re going to really start rocking out. This tendency to build suspense through unresolved tension carries throughout the album in ways that often defy listener expectations, but could at times benefit from digging in a little heavier. The first half of the album blends together into a haze of blissfully sedated stoner rock that feels kind of like catching a mild buzz when you really just want to get ripped.

Fortunately, "Scarlet" comes along at mid point and cranks things up a few notches both in terms of the heavy factor with sections of cavernous, buzzing guitars, pummeling drums and Collette’s suddenly soulful vocals add a refreshing dimension of pop accessibility. Then on "Sugar" things get downright danceable with a crunchy, undulating bass line, snaking disco punk guitars and an uptempo four on the floor beat. Other highlights include the feedback laden power chord tumult that closes out "Circuitry", and the final track "Creeping" with its incessantly spiraling lead guitars and Collette’s subtle, oscillating melody.

2:54 is a promising debut that blends a range of trending contemporary reference points with guitar based elements of metal, punk and alt rock, providing the music with a welcome rough edge that is missing from many of today’s shoe-gazing up-and-comers. These songs could benefit at times from a bit more variation, but there are plenty of inspired moments on this album that make 2:54 an emerging band to watch as they further develop their sound.

6

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If The Prince of Nothingwood will popularly be remembered for celebrating the creative spirit of its star Salim Shaheen, it is equally an important communication on Afghanistan, it's culture and its people.

"Now I am just more tired and poor. So no, I haven't changed. I'm just older and more tired," says French radio journalist and documentarian Sonia Kronlund, as she looks back on the experience of making The Prince of Nothingwood (2017).

Joining Salim Shaheen, the most popular and prolific actor-director-producer in Afghanistan on his 111th no budget feature, Kronlund documents the week-long shoot and the events surrounding it. She crafts an insight into a larger than life persona, yet amidst the comedy and theatricality of Shaheen and his troupe of collaborators, she uncovers the heavier tones of the everyday reality of war and patriarchal oppression. If The Prince of Nothingwood will popularly be remembered for celebrating the creative spirit of its star, it is equally an important communication on Afghanistan, it's culture and its people. Alongside the awareness of the country cultivated by mainstream media news outlets, Kronlund's film offers an insight into a country that can humanise the prejudice and xenophobic tendencies of a western perspective towards Afghanistan.

In October of this year at the UK premiere at the BFI London Film Festival, Kronlund spoke with PopMatters about being driven by questions rather than inspiration. She also reflected on the subjective nature of documentary filmmaking, the necessary artistic compromises of filming in Afghanistan, and feeling a satisfaction with imperfections.

Why filmmaking as a means of expression? Was there an inspirational or defining moment?

Not really, no. I have always done documentary. I used to write scripts and TV series but I only make documentaries myself for radio and television. For this story, I figured out after a while that it deserved a bigger ambition and a bigger screen and that's why I don't very much believe in inspiration. To be honest, I made this film because I had to do something. I didn't have a big project where I thought: I want to make this. I went there and I found a little money and at the end the ambition and the inspiration came along the way. But there was not an urgent necessity to make this film. It fits with a lot of things that I'm interested in, like popular culture -- What does art stand for and why do we go to the cinema? What is the purpose? This is a question I'm interested in, but inspiration, not so much.

Has The Prince of Nothingwood provided you with the answers to those questions?

It has, and I hope it helps people to think about this question. It tells you that there is an urgent need to make images, to make films, even during war,and even if you don't have the money. And even if the films are not very good, they will find somebody who will like them. So something is going to happen, and I think that's very touching. I don't like Shaheen's films, I hardly watched them -- I paid somebody to watch them. But I'm very moved by all these people that do like his films, and it makes you think about the value of art and the purpose of why we make cinema. I used to study aesthetics in London, so it was one of the questions I had and while the film is lighter than this, that's what was in mind.

The film uses Shaheen as a doorway, beginning as a story about one man which becomes a story about Afghanistan, its people and culture.

Yeah, but it's not so much about Afghanistan and it's not my purpose is to say things about the country. There's one guy like him in Iran who makes cowboy movies in the Iranian desert and there's also a guy like that in Tunisia. I mean you have this person with an urgent need to film whatever they have under their hand and since it's war, then it tells you something about the war. But it's not so much interested in him.

There was a lot of editing, 148 hours that you haven't seen [laughs]. Making a documentary is really telling a story and I don't have any idea of objectivity -- it is my point of view on Shaheen. Some people say to me that they would like to show his films, that they really want to see his films, and I say: "You don't see how much I have edited. I show you the very nice parts of his films." People think he's a great filmmaker and that's the story I wanted to tell -- but I could have told another story.

To my mind, objectivity is a human construct, a falsity that does not exist.

Except mathematics maybe, and sometimes physics.

The purist opinion of documentary as objective is therein built on a faulty premise. From the subjective choices of the filmmakers that bleed into the film to the subjectivity of the subjects, it's not purely objective. Hence, it calls into question the traditional dividing line of the objectivity of documentary and the subjectivity of narrative fiction.

Totally! It's the editing, and why you chose this guy, how you film it and what you show, or what you don't show. It's not only subjectivity, it's storytelling. Not many people ask me about this, they take it for granted that it's the real Shaheen. But I'm not lying, I'm not saying things that aren't true, but I am telling a story, a fictional story out of what I filmed. I took scenes that happened one day and I put them with another story that happened three months later and that's why we had seven months of editing with three editors. So it was a lot of work.

One of the striking aspects of the film are the light and comedic moments offset by a darker and heavier sensibility, which include moments when, for example, Shaheen talks about arranged marriages.

We made 70rough cuts and there was one version we tested and you couldn't believe you were in Afghanistan. People would say: "Oh this is too funny. You don't see Afghanistan, it's just a bunch of crazy guys." I then said: "Let's put in a little more darkness." You then have to strike a balance and to me, if it's not perfect, I'm happy.

Shooting the film in a dangerous and volatile part of the world, was the approach that once you had enough footage you then looked to shaping the film in the edit?

It's not when you feel you have enough, it's finding a balance between security and artistic concerns. That's it. You have a plan and you have an agenda. There are things you want to do, but it has to be balanced with security concerns. The real story I was going to tell about Shaheen I found in the editing room and in the end, I only kept five days of the shoot. The whole film takes place in Bamyan (Province), nothing in Kabul, although I had weeks and weeks of footage there that I had to take away.

There's a moment when Shaheen asks if you are scared, which sees him verbalise our silent recognition of your boldness and courage to bring this story to the screen.

It's very difficult and it's not like you are walking in the street and there's a bomb. This is not what's difficult. The difficulty is to cope with your fear and to have rules and to follow or to not follow those rules. There are many foreign people that never go out at all in Kabul -- it is forbidden. You have British diplomats who do not even drive their car from the airport to the embassy -- they will take an helicopter that costs £2,000 each way. Then you have foreign people who walk in the street without a scarf -- these girls get kidnapped.

In between these you have Shaheen, who is telling me all the time that I'm too scared, because it's a man's value to be brave and he's a brave guy, there's no question about that. He was in an attack two weeks ago. There was a bomb in a Shia Mosque and he helped to carry out the bodies. So there's no kidding about the fact that he's a brave guy and he has to be because he's been fighting to make his films. But you are in the middle of this and I'm not a brave person at all and I don't think being brave is a very important question. It is, but I'm not brave, I'm very scared and so in the middle of all of this stress it's enough just to manage to not go crazy, or to not drink too much [laughs].

Salim Shaheen and Sonia Kronlund (courtesy of Pyramide Films)

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