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Film as Film is an informative piece of literature and an intriguing read for anyone interested in an intellectual look at film theory, criticism and history. Perkins delves into the historical origins of film and its, at first, reluctant acceptance as an art form. He also details the critical advancements in technology and the affect this had on the development of motion pictures and the audience who viewed them. As titled Understanding and Judging Movies is a concept that Perkins refuses to abandon as he provides a barrage of useful evidence from other credited film theorists who in turn argue the concepts that Perkins is discussing, leaving him able to both establish and conclude his own arguments in front of the reader's eyes.
In the opening few chapters of the book Perkins discusses how the birth of the motion picture was viewed by both the public and theorists of the time. Constructing an overview from the most feasible arguments of other theorists he quickly conveys to the reader the apparent struggle that was separating cinema from other established art forms such as theatre. Perkins also provides a detailed summary of the technological developments that lead up to the first projected film screenings and eventually the coming of sound to the motion picture. Perkins is excellent at deconstructing theories and arguments in a way which makes them more digestible for a reader. However there are a few points when his writing becomes a little too specialist and wrapped up in his own views, and it is at these points where readers who are not necessarily experts on film theory can be lost and even confused by some of the points Perkins is trying to make.
With the first edition of this book being published in 1972 it is fair to say that some of the films Perkins references are very old and probably only recognisable to older adults or true film buffs. For this reason Film as Film struggles to stay relevant as Perkins seems to pride himself on leaving the 'sins' of the film pioneers behind, yet now in the 2010 so much has changed technology wise to the point where film has left behind many of the concepts that Perkins is arguing for. For example Perkins discusses the failure of the integration of 3D into cinema, debating its actual contribution to the art form on the whole. Now that the technology has once more come into the spotlight however we realise that 3D might very well be one of the key factors in keeping the actual cinema experience alive, what with technology developing to such an extent whereby members of the public can actually create their own home cinemas.
What Perkins does very well is employ the use of only the most significant evidence. As a reader I never felt as if he was digressing from the realms of film itself. As a British film critic himself he clearly has an appreciation for classics, such as Eisenstein's Battleship Potemkin (1925), yet he is never afraid to question their artistic integrity and deconstruct them in ways which can take away from their perceived perfection. There is no film or theorist he is not willing to question and this is the factor that makes his arguments so intriguing.
Overall Perkins Film as Film is an interesting look into the depths of film history and the progression of how film was looked at and criticised by both film theorists and the general public. What the book has lost with the passing of time, it makes up for in its solid execution and great accumulation of a vast amount of information. At times Perkins can take longer than necessary when proving a point, but for the most part this is too drive his conclusions home to the reader, which he does very well. As an introductory look into film theory this book offers a great starting point be it to a film student, enthusiast or historian and also provides a great look back at how motion pictures came to be accepted as an established art.
Following his previous effort Mission to Mars (2000), a less than spectacular space exploration thriller, Brian De Palma fans were left understandably disheartened and let down by a director who has undoubtedbly delivered greatness in the past. This is why when De Palma's next film Femme Fatale (2002) was announced fans were less then eager to part with their hard earned cash and sadly the movie was a box office bomb. However if history has taught us anything it is that just because a movie does not make a lot of money doesn't automatically make it a bad piece of filmmaking.
Femme Fatale translates in English to mean 'Deadly woman' and throughout the many years of cinema Femme Fatales have often been the dark, deceptive and attractive woman found in film noir pictures, often in the shadowed corner of some seedy bar. De Palma however took the character of a Femme Fatale and put her into a modern environment with some quite entertaining results. Although it sometimes feels as if De Palma is taking the tag of 'erotic thriller' a little too literally the main idea of the narrative is strong enough to stop the film from being tagged as a bit too smutty.
Cast in the lead role of Laure, the Femme Fatale, is Rebecca Romijn a no doubt astonishingly beautiful actress perhaps most memorable for her role as the naked, scalely blue mutant, mystique, in X-men (2000) above else all. Romijn nevertheless provides a capable, if a little over dramatic, performance of this modernised temptress and very much vamps up the role of a traditional femme fatale into a believable present day siren. There a few moments however when De Palma will just let Romijn act, without bloating her dialogue with overly expressive sexual innuendo.
The less that can be said about Antonio Banderas role in the film the better, as he struggles to keep up the hardened brute image when the script calls for a particularly perplexing scene in a hotel room when Banderas changes from what seemed to be a normal down to earth and compassionate character, temporarily into an effeminate and overly camp man, in order to blag his way inside. For me his performance never quite recovered after this and the character as a whole seem some what damaged as the unnecessarily humorous scene detracted away from the seriousness of the subject matter at hand.
Character flaws aside, the first two thirds of the film are gripping enough to provoke interest in how the story will end. However it is the movies conclusion that is very perplexing indeed. Our main character is killed off only to wake up once more in lilies house just as before, implying that the last hour or so of the film was just a dream taking place in Laure's mind. We are then provided with a fairy tale happy ending where the baddies chasing Laure are killed off, Lily starts a new life with Watts and Laure strolls of into the sunset with Bardo. De Palma's motivation in including an ending which potentially damages and discredits the rest of his movie is quite puzzling but maybe it was quite an artistic touch that flew over my head, who knows?
Femme Fatale is an interesting take on bringing a traditionally film noir based character into a modernised setting. It is not without its flaws but I think it would be hard to argue against how finely shot and beautifully stylized the piece is on the whole. Not De Palma's best but a well needed return to form after a few years of walking in the wilderness.
Following his controversial antics concerning Taylor Swift at the 2009 MTV VMA's (Video Music Awards), West became somewhat of a human punching bag for members of the press and public alike. His egotistical personna had been digging his own showbiz grave for quite a while and with his last offering, 2008s 808's and Heartbreak, being met with lukewarm reviews from hip hop fans and critics, it seemed the world was all but ready to hammer the last nail into West's coffin and bury him in under the failed careers of rappers past. However just as the hammer was about to fall, West threw from his casket a silver disc that glimmered so brightly as to distract our attention as he fled from our clutches to rap another day. The disc in question, My Beautiful Dark Twisted Fantasy, West's latest, and in my view greatest, studio album. Containing 12 full tracks of utter brilliance this is no doubt one of the most classic hip hop albums of the past review years, here is my track by track review.
The first track of the album is essentially the title track, albeit in paraphrase. Produced by West himself along with Wu Tangs RZA among others, the song is a combination of intricate and clever verses by west coupled with a sample of In High Places by Mike Oldfield, an interesting but fitting choice which creates a layed back and chilled sound fitting with the albums mellow tone.
9/10 - The strongest opening track of any West album to date, a perfect way to open the album.
Following a great opener Goregeous, featuring singer/rapper Kid Cudi, raises the bar even higher. Over a melodic beat, reminiscent of late 60s vietnam soundtrack, West once again takes the helm as producer. Combining elements You Showed Me by Gene Clark and Roger Mcguinn, West, along with Cudi's short but poetic hook create fluent a linguistic song with themes of redemption and loyalty.
8/10 - An uplifting and strong collaboration with an interesting and unique sound.
The first single from the album is more up beat and club ready than the first two tracks, it is nevertheless a brilliant track and no doubt West's strongest single since Graduation's Stronger. Produced majoritively by S1, with some input from West, we launch straight into a tribal sounding beat mixed with medolic intermissions of chanting. West raps with venom in his voice as he attacks everything from former president Bush and the war on terror to Saturday Night Live.
9/10 - A perfect single choice and could very well become a club anthem in time.
All of the Lights
Two singles in a row with All of the Lights, featuring rihanna, following Power of the line with and epic and emotional beat from, yet again, West himself. Definately one of the more mainstream offerings from the album, aiming more for fans of Rihanna, who more than holds her own between West's fast flowing verses with an enchanting and beautifully sung chorus.
7/10 - One of the weaker songs in terms of the album, but still better than anything West's previous album had to offer.
Three singles now back to back as Kanye teams up with friend and mentor Jay-Z along with Rick ross, Nicki Minaj and interestingly Bon Iver to create the first posse joint of the album. I should probaly stop crediting Kanye as producer but yet again he takes to the studio to create a rather intense beat to which the four take turns to spit out their verse in an attempt to upstage their predecessor. For the most part it is hard to say who comes out on top, but Jay-Z certainly struggles to keep flow as his younger contemporaries rap circles around him.
6/10 - Still not a bad song but at times it becomes a bit cluttered and the differing styles of the artists make it struggle for a definative sound.
Back in business with another, and the strongest, posse cut from the album. Jay-Z returns once more with the likes of RZA, Swiz Beatz and Pusha-T to create an utterly immersive and emotional cut which in turn covers the themes of fame and the current declining state of the hiphop industry. This one really does speak for itself.
10/10 - Perfection in my opinion, everyone brings their A game and with no weak links this song is a flawless piece of art.
Devil in a new dress
Another layed back almost trance orientated piece, for once on this album, not produced by west but an unknown to me Bink. West raps in his more common swagger and bigging up style and eventually hands off to Rick Ross who, to be honest, in this one fails to fit his deep raspy voice in harmoniously with the smooth and melodic beat.
6/10 - A little tiresome in places and very little replay value.
The final and best single from the album. Starting with the simple sound of a piano key sounding slowly, soon a flurry of sound erupts through your speakers creating a simply transfixing sound to the song. West demonstrates some of his keenest and well thought out word play from the album in his verses and delivers a catchy and rhythmic hook which only adds to cosmic tone of the piece.
9/10 - The best single without a doubt, West at his best.
Hell of a life
This is what i would consider a comedic track, and definately one of the more light hearted cuts from the album. Again over a West composed beat, containing obvious sampling of Sabbath's Ironman, he raps 'pussy and religon is all i need', even if he isn't always the greatest speaker, at least he's honest.
8/10 - Simple and fun, nothing spectacular but contains some memorable one liners.
Another sad song about an unfaithful woman of West's past. Featuring John legend who sings an utterly heartwrenching chorus, this is definately the closest thing we get to a ballad from Kanye this time around. The song itself is not that long but their is an interesting skit involving Chris Rock that is worth a listen in the closing minutes of the track.
9/10 - Another well done emotional piece from a man said of having no heart (Subliminal: Taylor Swift Sucks ;P).
Lost in the World
And finally the last full track of the album featuring once again Bon Iver. Sampling the latters song Woods, West create an enticing and beautiful final track. He raps smoothly yet frantically over Bon Iver's high pitched delivery, harmoniously creating an almost operetic sound.
9/10 - A great end to a great album.
One of the best Hiphop/ Rap albums i have heard in a very long time.
Harold and Maude (1971) is a black comedy which was directed by Hal Ashby. The film tells the story of a troubled boy, Harold, who is quite clearly obsessed with death. Unable to connect with his quite oblivious mother, Harold soon meets an elderly eccentric lady named Maude, with whom he develops a loving friendship. The extract in question shows how Harold came to meet Maude and the events leading up to this important moment.
We begin with a scene set at a swimming pool, which we presume is on the grounds of Harold's house somewhere. The scene is dimly lit with the sun being obscured by the rather tall trees which stand at the back of the shot, casting shadow over most of the pool. The few sun rays that pass through the trees hit the beautifully ocean blue coloured pool, making some of the surface water glisten. The setting in itself combined with the great weather makes for a pleasant, almost picturesque scene, spoilt only by the quite disturbing sight of Harold floating face down within the water, attempting to drown himself. Ashby may have lit and coloured the scene in such a beautiful way in order to make the suicide attempt by Harold seem all the more shocking in contrast with the picturesque beauty the setting initially provokes in the viewer.
This particular scene is shot in quite a linear yet effective way. When the scene begins we are given a medium close up shot of Mrs.Chasen looking content as she removes her robe in preparation for her swim, taking in the atmosphere of the beautiful scenery, just as the viewer is. Next we cut to a long shot taken from the other end of the pool to where Mrs.Chasen is standing. This shot is composed in a way in which the pool is central and covering the bottom of the shot, so the perspective of the camera is as if we were standing on the far side of the pool with Mrs.Chasen swimming towards us. As Mrs.Chasen starts her swim instead of tracking backwards or changing angle to reveal the floating Harold, the camera simply performs a slight tilt down to reveal the end of the pool and Harold, it does not use a dramatic cut as you would expect of a death in another genre of film, such as horror. It is only after Harold has been revealed to the audience that we cut to an under water view of Harold staring dismally into the lens of the camera. I believe that the most significant part of camerawork within this scene is the longer shot in which the cameras only movement is a slight tilt, because the duration of this piece adds to the idea of Mrs.Chasen not really caring about what Harold is actually doing, it therefore adds to the humour of the scene.
Sound also plays a very important role in the pool scene, particularly the score that was used throughout. From when Mrs.Chasen prepares for her swim to when she completes her length even after seeing Harold, a tranquil, uplifting piece of music is playing, adding to the beauty of the environment once more. It is only when we cut to Harold under water that the score drops into a less harmonious monotone as Harold stares out at us with a pale face, dressed in a dull black suit. It is also significant to note how powerful this scene is at conveying its message without the aid of dialogue. In fact, I feel as if the addition of dialogue would have taken more away from this quite dramatic, humorous yet dark scene.
After the swimming pool scene we cut to one of what are many trips to the physiatrist for Harold. These scenes are often relatively short and are generally quite comical. They seem to have been used as a way of interlinking more significant scenes and also sometimes as almost an outlet in which we actually get to hear Harold speak his mind.
The layout of the physiatrist's office is very interesting to look at even if at first glance it looks rather plain. The walls are white and have little hanging off them, except for the far wall which appears to have some sort of degree, probably the physiatrists, and then two indistinguishable black and white pictures hanging from it. The carpet is a boring beige green colour whilst the two chairs and sofa are a dark brown. Even the green tropical plant in the corner looks dull and lifeless. The use of colour in the room is rather bland and uninteresting; the room is also dully lit, nothing sparkles or shines. The room is actually conventional of what some one would expect a physiatrist's office to be, a room of little distraction.
Although the office itself is rather bland the use of props and costumes are rather interesting. You don't need to look too carefully to notice that Harold and the Doctor are wearing the exact same clothes as each other, a black suit with a grey shirt and a stripy tie. It can also be seen that both characters mirror each other in the way they sit and for that matter they sit in identical chairs which are set at identical angles. The symmetry of the scene can be interpreted in different ways. Maybe the physiatrist is trying to relate to Harold, as a man of his profession would, or possibly Harold looks up to the physiatrist as his line of work involves understanding people with problems like his, or maybe it was simply a stylistic choice made to generate humour.
Again the way in which this scene is shot is very interesting indeed. Unlike the pool scene this scene does contain a reasonable amount of dialogue and we would expect to see the characters expressions every time they speak. When the scene begins however we see only the back of the chairs in which Harold and the Doctor sit, and their legs and head protruding from the top and side of the chairs. We do not see their mouths we can only hear what they are saying. This shot was probably put in so that the viewer could take in the environment Harold is now in and also draw our attention to the use of symmetry and mirrored body language between the two characters. One thing that can be said of Ashby is that he always finds way of creating interesting images out of things we would not usually find interesting at all. As they begin to converse more the camera cuts to close up shots of both Harold and the Doctor as they take it in turns to talk, here we see their identical costumes in much more detail and can actually look at their facial expressions as they converse, the camerawork in this par of the scene is much more consistent with how we are used to seeing people talk in films today.
The dialogue in this scene is rather comical and yet also quite revealing as this is the first time we really see Harold address the suicide attempts he has been performing. When asked for a 'rough estimate' on how many suicides he has performed, he replies 'fifteen' with a self satisfied smirk on his face. His seems to like being asked about these things as the only other real person in his life at the moment is his mother, who seems to have become desensitised to her sons many dramatic and disturbing attempts to get her attention. The comic element here however really comes from the Physiatrists quite calm reactions to what he is hearing. Even after hearing of the fifteen suicides he does not ask Harold why he is doing these things to himself; he is in fact more concerned as where Harold's mother stands in all this. Viewing many of Harold's encounters with other people the audience can begin to see that Harold is perhaps one of the more normal characters in an ignorant world.
The next scene takes place in what looks to be a sitting room in Harold's house. The use of props, lighting and colour in this room is again very interesting and we can see some similarities with the physiatrist's office we have just left. Once again the room is set out in a symmetrical way. Harold and Mrs.Chasen sit in similar chairs that face each other both with a tall lamp at their side. Between the two and in the background of the scene we have a fireplace and upon it mantle there are two candles either side with a statue of a gentleman's head and shoulders in between. The significance of these sets that contain so much symmetry still remains unclear. However if these symmetrical sets are simply a stylistic choice then they do add almost a theatrical element to the film because they almost look like sets you would see on a stage at the theatre. The use of lighting in this scene is rather strange as the room is very dully lit indeed. Even though there are so many possible light sources, such as the lamps, candles and fire place that are not being used. Some light does shine through the window but it does little to light up the dull atmosphere of the room.
Performance and dialogue in this scene focuses almost entirely on Mrs.Chasen as she gives a speech to Harold about him having to leave his past behind and get married. She is very well spoken and articulate but this does not hide the fact that she seems greatly ignorant to the world around her, especially to the thoughts and actions of Harold. Harold himself in this scene is mute however once more as in the Physiatrists office he mirrors the actions of his mother as she sit and stands.
The next scene is one of the most important scenes of the movie, Harold's first encounter with Maude. Earlier in the film, in one of Harold's previous visits to his Physiatrists, we learn the Harold enjoys, bizarrely, to attend funerals of people he doesn't even know. The scene begins as we track backwards from a magnificently coloured, circular stain glass window to reveal a church not even half full with mourners. Harold is sat furthest to the back, until that is we track further and just see the figure of Maude as the camera cuts. Her first appearance is almost subliminal, as if she has appeared out of nowhere. The camera cuts to a shot from behind the priest who is delivering the service. We can see clearly all the way to the church doors and can clearly see Maude on one side and Harold slightly further forward on the other.
From the moment we meet Maude we can see her vibrant and energetic personality straight away, we know exactly what type of character she is. This could not be more different from Harold who could not be more closed off. In the church she tries to get Harold's attention by making a loud 'psst' noise. She moves from pew to pew trying to get his attention, not even thinking or worrying about disturbing the service. As she tries to engage Harold in conversation he is passive at first and tries to avoid responding to her. Maude is very much the driving force in creating their friendship; she carries a conversation with Harold even though he is reluctant to say anything at all. That being said we soon learn that Harold and Maude are similar in just as many ways that they are different. They are both at a funeral of which they have no personal connection and they are both alone.
I think that the music in this scene is representative of Maude's arrival into Harold's life. As they leave the church walking beside each other. Suddenly a marching band parades past playing an uplifting song as the mourners are lifting the coffin into the hearse. Meeting a new friend at a funeral isn't exactly what many people would expect when they arrived, and the idea of a marching band going by as a dead man is being carried away seems almost metaphoric of an eccentric old lady like Maude showing up at a random persons funeral. Whether this was Ashby's intention is open to interpretation.
Harold and Maude is an engaging, humorous and sad film. In places it could be deemed insensitive, like the many attempted suicides such as the pool scene at the start of the selected extract. However the skilful use of camerawork and scenery combined with charismatic, realistic and funny performances creates an uplifting story of a glorious friendship. The loveable characters and to the point method of storytelling are what make this movie so engaging and watchable. Although not always realistic many people can relate to the idea of losing our loved ones, as death is a part of life we all have to face at some point.
I got brought the Acer Aspire two years ago as a birthday present and it has been a faithful friend ever since. Not once has it broken, internally or externally, and thats saying a lot considering the amount of times i've dropped it or knocked it off my desk. Its a compact and durable piece of kit with no flimbsy of breakable add ons.
It comes pre set up with the Windows 7 operating system so there is no need for any sort of installation from the get go, and it runs smooth as anything. The keyboard is as standard, the keys made of a strong plastic to withstand the force of anything below a hammer hitting it, and the mouse pad is sensitive without being too hard to control, as it is with other laptops.
Unfortunately the Aspire has a poor battery life, an hour tops, and can be pretty unreliable without the cable plugged in, so be warned when typing any important documents to save regularly. Also there are not really any built in extras such as a webcam or bluetooth which can be a bit of an annoyance at times. The built in speakers are small and really have to be on full volume to get a satisfactory sound from them.
Essentially the aspire is everything you need in a laptop and although it is missing a few modern innovations that some people may like or require, it is nevertheless and all round good buy.
I don't why they don't make games like this anymore. I'm aware of, and have played, all the sequels to Metal Gear Solid but for the post part have been disappointed. What this game had was a unique balance between gameplay and storytelling that has not been matched elsewhere.
For those not familiar with the series i shall lay down the basic premise. You play and see through the eyes of the character Solid Snake, a badass mercenary, whom has been sent into a nuclear compound which has been taking over my terrorists who seek to take over the world. Snakes job, to stop the terrorists before they can do so. All is not as it seems however and it soon becomes apparent that snake is trapped within a conspiracy which he will have to solve in order to uncover the truth and stop the terrorists.
I realise from my summary its sounds like every bond film ever made but it really isn't. At its heart it is really a mystery games coupled with intense boss fights and action sequences. There is something for everyone, plenty of mysteries to solve for the interllectuals among us and plenty of action and killing the sadists ;P. It's really up to you how you play the game. You can be a sneaky guy and make your way through the puzzle barely firing a shot, or you go out guns blazing and leave no one alive.
The characters are memorable and really for the most part very likeable, even the villains! With the game truly playing like you are in a filmic environment. Even with it being a PS1 game it as aged incredibly well and is the single reason as to why i will never ever bin my Playstation!
I've never been a big phone person because generally i'm careless with my possessions. I needed a phone with the basics and by purhcasing the Nokia 5320 XpressMusic thats exactly what i got.
The phone comes complete with a set of decent nokia headphones, but these can be replaced with different ones due to the standard jack at the top of the phone. It stores and plays musci very simply and with out headphones the speaker is still pretty decent.
The camera is pretty bog standard, nothing special, but fine for taking pictures of friends, buildings, walls, doors, chairs etc :). There are actually two camera on the front and back of this phone, the one on the front presumably for taking pictures of yourself and conversing through video calls (if anyone does that on their mobile :S).
Everything else is pretty much the standard things you get nowadays. Bluetooth, calculator, money converter etc.
A simple phone but reliable and extremely durable!
Its been over 10 years now since the Slim Shady LP and the first collaboration of Eminem and Royce Da 59, from which the two would eventually name themselfes after, 'Bad Meets Evil'. Now here we are 10 years later, after much anticipation and patience, with the two reuniting for a full EP of new material, including two bonus tracks. Heres my track by track rundown of Hell: The Sequel.
Welcome 2 Hell - We open with a demonic beat, courtesy of Mobb Deeps Havoc, as Royce and Eminem interchange between verses in fast flows reminescent of both artists earlier, and more acclaimed work. This track is more a demonstration of what we can expect from the EP, an introduction that demonstrates both rappers talents.
Fast Lane - The first single from the Ep with a powerful beat produced my Supa Dups and Eminem himself. with comedic elements to both Royce and Eminems verses, along with a powerfully chanted hook from Sly, an artist reminescent of the late Nate Dogg, this single signals the return of Bad Meets Evil.
The Reunion - Produced by Eminem The Reunion, in my opinion the best track on the album, relies heavily on the demonic and psychotic voice of Slim Shady, Eminems alter ego, and a much more less understanding side of Royce, in order to create a story of murder and spousal abuse. Not for the easily offended.
Above the Law - The first of many tracks on the album to be produced by D12 member Mr.Porter. The Hook sung by relatively new female singer Claret Jai. Eminem and Royce spar with sharp witty and fast verses.
I'm on Everything - Again produced by Mr. Porter and featuring Mike Epps on the hook. This is a strange one to listen to and takes a while to get into, but again is rather comedic on eminems part , while royce opts for a more surreal styler of rapping. Don't dismiss it straight away as it is slowly grown on me to become one of my favourites.
A Kiss - Produced by, an uknown to me, Mr.Bangledesh. This is definately one of the faster paced joints on the album, as Royce and Eminem literally spar off against one an other in an intricate and amusing way. Another one demonstrating the talents of these two MC's.
Lighters - Ok this one confused me. Produced by Eminem and featuring, of all people, Bruno Mars on the hook! I may be biased because of my disdain for Mars but this track truly feels out of place on an album involving the subject matters of murder and rape that have been played with jokingly in previous tracks. Clearly this will be used as a second single and im sure it will do well. Its not for me but give it a listen anyway, especially if your a Bruno Mars fan.
Take from me - Mr. porter production again and Claret Jai with another emotional hook. One of the stronger tracks on the EP, and thats saying something. Royce particularly shines in this effort with his first verse dispatching a lot of emotion.
Loud Noises - Yet again a Mr. porter production, this time featuring the rap supergroup, of which Royce is also a member, Slaughterhouse. This one speaks for itself with all for members of the group as well as Eminem going in hard, creating what will literally be one of the best rap group joints of this year, maybe even next.
Living Proof and Echo are the two bonus tracks which leaked some time prior to the release of the EP, both tracks are worth a listen but in my opinion do not reach the quality of the actual EP.
After becoming tired of using the same standard earphones that come with most ipods and mp3 players nowadays, i decided to purchase a pair of proper high quality headphones. Not being the most patient person in the world i pretty much chose the first pair i saw on Amazon retailing at around £20.00. These were of course the Sennheiser HD 202 ll.
On recieving the headphones days later i inspected them for the first time, finding them to be a lot more sleek and compact in design then i had initially expected. With easily adjustable ear pieces, via a slide and click mechanism, and an included small plastic piece used for gathering up unwanted slack in the wire, which itself is over a metre in length, it is safe to say that these headphones could fit in any small bag of satchel, should the user not want to wear them rounf their neck.
As for comfort, both ear pieces have a realatively thick layer of soft spongy padding around their circumference and there is also a layer of the same material which rests upon the users head. I have had moments where, be it not for the music playing into my ears, i would forget i was even wearing them as they ares so light and loose in feel.
When it comes to sound quality i'm no DJ, but i found my music to be very clear and crisp in sound, no matter what the volume. For songs with more bass at times the sound can become a little distorted, however i generally found for the most part this not to be the case.
All in all for those of you who are looking for a pair of cheap, good quality and practical headphones i would look little further than the Sennheiser HD 202 ll.