Bitten: Book vs. Series

In January, new TV series Bitten was introduced based on Kelley Armstrong's Women of the Otherworld series (more specifically, her first book of the same title).  Having read the first two books in the series (review of Bitten coming soon), then discovering the TV adaptation, I decided to give it a go - after all, nothing says procrastination like catching up on an entire series in a matter of days, right? Having read a minor synopsis of the TV version, I gathered that the first series at least was only based on the first book in Armstrong's series, so I'll be briefly comparing the series to the novel.

Plot

The first episode opens very much like the book; we are introduced to Elena - played by Laura Vandervoot - undergoing a change in Toronto. So far, so good. In fact, the series maintains a closeness to the plot of the novel, but this can also be bad because it's not exactly the same. First of all (plot spoiler here for anyone who hasn't read the novel) Logan is very much alive and features in a lot of the episodes. Rather than being a voice on the phone, he is firmly in Toronto and in Elena's life. Instead of killing him off, Antonio is killed off later in the series, and the Mutt situation gets way more out of hand than the events in the novel.

Casting

As far as casting goes, it was never going to be exactly how I imagined it - after all, everyone imagines the characters differently. In my opinion, all the characters are fairly accurate to their descriptions in the book, with a few very minor exceptions (like Clay's hair not being as blonde as it should. Like I say, we are talking very minor). Their choice of Greg Bryk as Jeremy Danvers is, in my opinion, perfect. All the actors are clearly talented and take on the roles brilliantly - you get a clear sense of the emotion intended in the script. Which brings me to my next part...

Characters

As a standalone series, Bitten is really great. But in comparison to the book? So e of the characters seem a little off. My main qualm is their portrayal of Clay. Don't get me wrong, Greyston Holt plays the part brilliantly, but the Clay scripted in the series lacks some of the key traits as the Clay in the novel. Rather than being the almost primal being he is in the novel, failing to engage with human emotions simply because he doesn't want to, he is portrayed in the series as a lost romantic hero who wants to change to win back Elena. This is fine, if you've not read the book. If you have, not so good. There are a few other minor details as well - Jeremy doesn't seem nearly as level-headed as he does in the novel, and Elena only seems to get ballsy around the fifth episode - again, works well as a standalone series just not if you've read the book. Nick, however, is a perfect match on his book character, however I'm worried he may change now that they have killed Antonio.

Final Thoughts

As a series by itself, Bitten is absolutely fine for anyone who likes supernatural dramas. If you've read the novels and don't like the idea of them being changed, don't watch the series. That's not to say anyone who has read the novels shouldn't watch the series, but it's important to keep an open mind and see them a separate from each other. Otherwise, if you're as pedantic as me, it'll drive you crazy. Perhaps I'm too picky, but these are my thoughts. And I will probably continue to watch the series.

What's in a name?

   A lot, as it happens. Recently, after departing from label Fueled By Ramen, Sierra Kay and Blake Harnage (formerly of VersaEmerge) embarked upon a new journey under the name VERSA. Obviously, there is a clear connection between the two names - after all it's still the same people behind them - but are they really the same band?

   VersaEmerge were an alternative band, and many people consider VERSA just to be a regeneration of this. However, VERSA's music is entirely different. Listening to songs such as 'The Authors' alongside 'Neon' show a complete musical progression and change. It would be wrong to say 'VERSA formerly known as VersaEmerge' because they are a different band. If you wikipedia VERSA (such a reliable source of information, I know, but do try to bear with me) you still get directed to VersaEmerge's page. But how can this be right, if VERSA are an entirely new band? 

   Kay and Harnage's decision to begin a new project under the name VERSA is still referred to as another form of VersaEmerge. However, it is wrong to say 'I like their old stuff better' because VERSA have no 'old' stuff. Harnage recently confirmed in an interview on tumblr that VERSA is an entirely new project for himself and Kay, and so it's clear that the comparisons between the two bands are misguided. They both have different musical styles and are entirely different bands. There is no 'old VERSA', because they've only just started out, and if the Neon EP is anything to go by they're certainly worth a listen.

One song can make a moment

   No matter where we go, we are never far from music. Whether it's someone with headphones in, or a radio in a car or shop, or just birds tweeting each other, it's always close. The most curious thing about music is how it can change things.

   Music is used most effectively in films. A soundtrack can make or break a movie - use the wrong track at the wrong time and a whole scene could fall apart. Some of the best soundtracks usually tend to be instrumental; Harry Potter and Lord of the Rings have some of the most iconic and effective soundtracks. However, other songs are associated with certain films, too. Hear AC/DC? Think Iron Man. Hear 'Love is All Around'? Think Bill Nighy in Love Actually. 

   Music affects us in ways we don't even realise at the time. When we are in a self-pitying mood, some people seem to deliberately gravitate towards sad music. After a few club hits, all I want to do is go out. Music can change our mood regardless of how we think we're feeling. For example, Christmas Eve I found myself walking home in the dark, through my 'nothing-ever-happens-here' village, down the same roads I've walked since I can remember. Even in the dark, I've felt particularly threatened or edgy about the walk. But this time was different. This time, I put my headphones in and listened to VersaEmerge 'Lost Tree'. I came across no other people or cars, as you'd expect at 11pm, yet for the first time it felt eerie. I found myself speeding up, and after the build up in the middle, I found myself running home. All because of the music.

   I often wonder how people can not care for music - it's such a part of everyday life. If you don't think it can change you, I recommend taking a familiar route at night with 'Lost Tree' playing.

There's nothing like a new set of strings

   Admittedly, my old guitar strings have been on old Val since I bought her 2 years ago, mostly because I was so scared of changing them, but today I bit the proverbial bullet and it's wonderful!

   After much google-ing, I settled on D'Addario EJ16 Phosphor Bronze strings. I use light gauge because Val's an electro-acoustic APX500, and they're much easier on my fingers.  Many reviews say that the phosphor bronze lasts longer than standard bronze or steel strings, and with my phobia I sure hope they're right. The strings themselves are colour coded - which I'm sure isn't the case with all brands - so it was easy to change them. They look beautiful too: it's only once you have new strings that you realise how dull the old ones were getting.

   Once I'd changed them, it was time for a sound test. If anything describes 'music to my ears' best, it's new strings. They sound very bright, and unplugged compliment the acoustic vibe perfectly. Until now, I hadn't realised just how sad my old strings sounded. The sound is far more rounded and she sounds every bit as new as when I first got her. I'd highly recommend these strings to anyone with an electro-acoustic, and they only cost £5.10 for a single set off amazon.
  
   I don't play my instrument that often as it's a hobby for when I have the time, so although some people may be horrified at how long I left it to change my strings it really isn't too bad when compared to usage. The only thing I can say is I understand why musicians change them more frequently. Val sounds glorious!

Top songs to get you in the mood for Christmas

   It is, once again, that most wonderful time of year...or so we're told. Not feeling it? How about 5 of my favourite Christmas songs to get you in the mood, because there's nothing like good music to put a smile on anyone's face!

1. Kids in Glass Houses - Secret Santa. 
   Certainly a must for anyone looking for a bit of festive cheer verging on the utterly daft. It has all the characteristics of the standard Christmas songs - bells throughout, overuse of the word 'baby' (but not quite to the extent of Justin Bieber) - with the added bonus of almost sarcastic lyrics (such as 'Now you're stumbling into the tree/ 'Cos this time of year you're drunk by three') and an equally funny video to go with it. It's upbeat, littered with tongue-in-cheek, strangely true references to Christmas and a sly dig at other Christmas songs, 'Do you promise you'll try,/ Try to feed the whole world,' and best of all it's a completely original song! Guaranteed to put a smile on anyone's face.
   
2. No Doubt - Oi To The World.
   Originally The Vandals song, 'Oi To The World' brings punk to Christmas, with no bells but a whole lot of trumpets in this version. In the least Christmassy video to accompany a Christmas song, this is certainly for all the scrooges. Or people who are indeed to cool for Christmas cheer. Grungey guitar riffs and a catchy chorus are enough to make anyone listen up, and Gwen Stefani's voice suits the song perfectly. Definitely a must-listen for anyone who wants a Christmas song without he Christmas!
   
3. Slade - Merry Christmas Everybody.
   No Christmas would be complete without hearing Noddy Holder shout 'It's Christmas' at least once, so this is a must listen and a dead certain as far as Christmas spirit goes. Following on from No Doubt, it's more rock than most standard Christmas songs which is probably why it's so popular even 40 years after its original release. Although you hit a few cheesy lines along the way, it will always be played every Christmas and is possibly one of the only explicitly Christmassy songs that won't make you wish it was January after hearing it for the 50th time.
   
4. The Pogues feat. Kirsty MacColl - Fairytale of New York.
   Even if Spider Stacey's voice isn't to your taste, no-one can deny this is another fantastic Christmas song. Well, the lyrics aren't exactly optimistic in the usual 'I wish it could be Christmas every day' way, but it's still played every year. No cover of this song will ever match up to the original - Kirsty MacColl's raw vocals mixed with Stacey's own create an entirely individual duet that could never be replaced, which is what makes the song so special.
   
5. VersaEmerge - Santa Baby.
   You are guaranteed to find no other cover of this song that sounds so vastly different from the original. Rather than adopt the cheery, upbeat attitude adapted by the majority of artists who cover this song, VersaEmerge have taken a more...creepy attitude. The electronic vibes are a far cry from Eartha Kitt's bouncey original, and the video adds to the atmosphere VersaEmerge create (more like that of Halloween than Christmas). Definitely a song for anyone who wants to hear a Christmas song that sounds nothing like a Christmas song, and the best part is you can listen to it all year long (that is, if you want to).  

REVIEW: Panic! at the Disco - Too Weird to Live, Too Rare to Die!

  Following their 2011 release, Vices and Virtues, Panic! return with a Vegas inspired record - and a new member.

   After releasing Vices and Virtues as a two-piece, Panic! have released a brand new album citing touring member, Dallon Weekes (previously front-man of The Brobecks), as a now official member. The change in the band is evident from the first track, recently released single 'Miss Jackson'; the bands new music seems to echo that of the first album but more mature as they've gained experience.

   To say that no two tracks sound the same would be a colossal understatement, yet the whole album follows the same musical tone created by Panic!. Songs like 'Girl that You Love' and 'Far Too Young to Die' entice the listener with a more electronic sound - a running theme as the band incorporate what could be referred to as 'alternative' music with an almost theatrical take on electropop.

   As Brendon Urie (vocals) has stated in many interviews, the inspiration for the record was Las Vegas - his hometown. This is also clear to anyone who has read the novel Fear and Loathing in Las Vegas (or, indeed, seen the film) whereby the album's title comes from. The varied music style presented in the album does echo the vibrancy of Vegas, with the much slower, closing track 'The End of all Things' showing perhaps a different side to the tourist attraction those who have never lived in Vegas see. 

   The only thing left to hope for now is that Panic! at the Disco's stage shows match the energy the music in this record emits. The lyrics, never to disappoint, give us a personal insight into Urie's thoughts, almost. A top 10 album waiting to happen at the very least.

REVIEW: Paramore, LG Arena Birmingham, 23/09/2013

   Three years on and the Tennessee Trio return to Birmingham on their sixteen date European tour.

  The last time Paramore graced the LG Arena's stage was November 2010 as a five piece. Tonight, you wouldn't even realise they'd been away. Opening with the energetic 'Grow Up', the band have the entire audience moving before the first chorus; the choice of intro song seems very apt as it's clear to everyone how far the band have come since Brand New Eyes. 

   Front woman Hayley Williams soon takes to the front of the stage and begins a chant which the audience gladly repeat back, soon to turn into the familiar 'whoa' in 'That's What You Get'. Although the touring members remain planted towards the back of the stage, Jeremy Davis (bass) and Taylor York (lead guitar) waste no time in making use of the space, bouncing from end to end. It's clear the whole band is enjoying themselves, a feeling taken in by the crowd as they jump up and down to the beat.

   Despite the constant movement, there's never a wrong note sung; Williams hits every high perfectly. There's also no lack of audience participation - the whole band are thoroughly engaging, and every time the yellow mic is turned in the crowd's direction the reaction is deafening. Halfway through the set, a keyboard is placed center stage as the band break into 'When It Rains' (probably a welcome sit down for Williams, who looks just as sweaty as those in the center of the pit). All three look equally overwhelmed to hear 'Last Hope' being sung back to them, the meaning of which Williams made in a speech before starting the song. 

   As they move through their 21 song set, Davis and York seem to only gain in energy, putting their all into the performance. Following 'Ain't It Fun', Davis goes into a solo, showing his competence as a bassist that may have previously been overlooked. Later during 'Pressure' - an old favourite and the only song on the set from first album All We Know is Falling - all eyes are on Davis and York as they set up for the very well-known 'pressure flip' among fans which they pull off effortlessly, much to the delight of the crowd. 

   Like all their shows, just before hitting the bridge of crowd-pleaser 'Misery Business', the band go into an extended instrumental whereby Williams picks one thrilled looking audience member to take to the stage and sing the bridge. Though the jealousy of those not picked is evident, the goodwill of the fans wins out and the girl chosen today is greeted by cheers and chants as she and Williams complete the song. 
   
   At the end of the song the band leave the stage, and it's only when chants of 'paramore' are at their height do they return for a three song encore. They close the show with recent chart hit 'Still Into You', which is accompanied by a large flurry of orange confetti raining down on a cheering and very pleased audience.

   It's clear Paramore have come a long way in three years. The absence of the Farro brothers seemed barely noticeable as the remaining members filled whatever hole they left both in the band and for the fans. A thoroughly enjoyable, energetic show which left everyone with a smile on their face.