A Hot Chocolate with Max Meadows

First Published via HUB Magazine when I was Culture Editor.

Date Published: 10th March 2023.

While Max Meadows has more disdain for the title of Indie Rock than coffee, he is as unfortunate as it is an Indie Rock Musician. 

If one were to meet him in person, the words whimsical, somewhat chaotic, and full of laughter come to mind. Not only is he talented at the piano, but he is also talented at erupting into laughter, so much so that you can hear him across the UWE Campus. He plays both the piano and the guitar, quite exceptionally, I may add.

Though he remarks that he does not take inspiration from other artists, I would describe his music close to The Smiths if they had more childlike wonder. While he can be seen as full of life at times, his music is much more relaxed and dreamlike, if I may use one of my favourite words: melancholy.

If you cannot tell from his music, Max Meadows is passionate about all aspects of art, whether fashion design, art itself or music. Before going into music, he considered a career in fashion, and maybe one day he will return to it. He designed the cover of his EP and “Sleepy Sally” while doodling in his notebook. If you can believe it, the cover is a drawing of Max Meadows himself before he had a moustache. Fun fact, he originally grew out the moustache as a joke for an 80s party, and has kept it ever since.

Not only is Max Meadows a songwriter, but he is also a poet. However, he has only shown me one Haiku, so the jury is still out on that. It is extraordinary and beautiful that his creativity clearly drives him when he writes a poem, rather than having a strategic plan before going into it, even though sometimes he doesn’t know if it will become a song. While some songs may originate from poetry, others come from wandering about the riverbanks and seeing a boat called “Lady Chloe”.

It is to be said that his interests are leaning towards film and away from poetry at the moment. When asked about possible future music videos, he vaguely replies that maybe after he has remastered his EP. Like anyone with a strong passion for art, he has an idea for music videos, but he has yet to determine how he will execute them. He is determined to one day reproduce his old EP now that he has learnt more about music production. He is driven to produce music videos for his EP once he learns more about camera work.

One day Max Meadows would also like to dip his toes into the genre of Jazz. He will probably have to learn more instruments first. Though he is a grade six alto saxophone player too. 

My favourite from Max Meadows’ “Candy Tide” EP is “My Lonely World”. It feels like being transcended into a dream. I will honestly be surprised if this does not make it into my Spotify wrapped. The melody feels like a warm or perhaps even a hot chocolate with Max Meadows. This song radiates the same warmth as the singer himself. The mixture between the soft sounds on the guitar, the playful sound of the piano, and the enchanting singing, along with the echoing effect of the voice on the track. The chorus makes the song relaxing, creating the feeling of home and safety.

Although, if you want a groovier vibe, may I suggest either “Candy Tide”, the EP’s namesake, “In a Dream” or “Nocturnal Love”. Stanley Ward on the drums makes “Nocturnal Love” very different from the rest of the EP, and it is beginning to be one of my favourites. Both “Lady Chloe” and “Lucy” mimic each other by the repetitive nature of the continuous singing of the names.

The most beautiful and perhaps, the best song on the album belongs to “Sleepy Sally”. It is a breathtakingly beautiful, yet a heart-aching song and the chorus will get stuck in your head for hours. Ironically the chorus keeps me up at night with it playing in my mind. 

Max Meadows’ “Candy Tide” is an EP that I would recommend as you stare at the ceiling with some dim lights on and just allow the music to flow through you.  

A Gig with Wild Horse

First Published via HUB Magazine when I was Culture Editor.

Date Published: 19th May 2023.

Wild Horse consists of two brothers Jack and Henry Baldwin and their best friend Ed Barnes from a primary school in East Sussex. Since 2018, they have released four albums: ‘When The Pool Is Occupied’ (2021), “WE ARE IN AN IDENTITY CRISIS…BUT WE LOVE IT’ (2020), DANCE!! Like An Animal’ (2019), and ‘Sings About Last Night’ (2018).

Henry Baldwin and Ed Barnes started a band together during secondary school until Jack Baldwin was convinced by his brother to join while still in primary school. Jack was beginning to learn guitar, so it seemed like perfect timing. Jack jokingly claims he only learnt guitar, as his brother got all the attention at family parties, as he would play songs for the family. However, it all works in the end. Jack enjoys ‘being the centre of attention’, which is apparent in his stage presence when performing gigs. He is lively and joyful, and gets the crowd going.

While it is a cliché to say it’s better live, I mean that for this band, the lead singer Jack Baldwin puts on a performance to Matty Healy’s chaos and energy. Jack comments in his interview that ‘the 1975 are a guilty pleasure’.

‘When The Pool Is Occupied’ (2021)

The 2021 album ‘When The Pool Is Occupied’ is coherent and must be listened to from start to finish. The album’s ending resembles The Beatles’ Abbey Road’, the brilliance of ending an album with a short closing song, ‘Thank you (It’s Gonna Be Alright)’, but with a twist, they also begin the album this way, ‘Happy Love Songs’.

The album is introduced through a very raw song that is heavy on the keys. It perfectly follows into ‘Freaky Together’ until the drums are introduced into the song, which increases the song’s groove and picks up the beat. Jack belts out the vocals with a rougher undertone in their performance, and the music is catchy.

In comparison, ‘Pornstar Martini’ starts with a more classic rock vibe, and the singing is much softer. At the same time, ‘W.A.N.T’ is heavy on the guitar.

One of my favourites from the album is ‘Coffee In The Morning’, which feels like an authentic and raw song concept. It starts softly, with the keys and strong vocals. While most songs have the music at the forefront, the singing and lyrics take the spotlight for this song. Especially the way Jack belts out the lyrics, ‘I don’t know you, but I want to feel your skin on mine, welcome to the autumn time’.

Jack engaged heavily with the audience during the introduction of ‘Feel’.

Another one of my favourites is ‘Anxiety’, and the backing vocals throughout bring the song to life. The best part of the song is the electric guitar song, about 2 minutes and 20 seconds. The use of the guitar song without the lyrics over the top is almost what anxiety itself is like. Though the lyrics aren’t present, you can still hear them like an echo in your mind, almost like worrying thoughts.

Ed’s use of drummers throughout ‘Symphony of Broken Hearts’ creates an almost anxious feeling. The buildup of drums is an outstanding part of the song. The drums feel like a representation of a broken heartbeat combined with the use of keys, making a beautiful and painful heartbreak song.

‘Playin’ On My Mind’ and ‘Pray ’89’ feel like summery indie pop songs. Something great to blast on in the car on the way to the beach.

‘Confidence’ reminds me of a very 2000s aesthetic song. Perfect for getting ready to go clubbing or getting prepared to see Wild Horse at a gig.

‘Record Collection’ is currently on repeat for me, between this and ‘Joy Ride’. When playing this song, you can’t help but dance along. It’s the catchiest of the entire album. The outro with the guitar and the drums is pop perfection.

The album highlights the musical range of the band and the singing range of Jack Baldwin.

‘Cougar‘ got the most significant reaction from the audience. It also has the best beat drop of the singles.

Joy Ride’ was the best performance of the night from Wild Horse. It is undoubtedly my most played from the band. The melody scratches an itch in my mind, especially one minute in with the way Jack sings, ‘I can’t keep it together oooo’. All the instruments work together smoothly, while also keeping the sound interesting. With this song playing in the car or at a party, it would be hard to resist dancing to the groovy tune. The song begins slowly to ease you, then grows into a charming pop song. When choosing which song should be the next single, Jack replies that it’s a ‘gut feeling’ that he will look at some songs and ‘just know’.

Their new single, ‘Tangled‘, will be released on the 12th of May.

Lead vocalist Jack Baldwin writes most of the songs for Wild Horse. However, songwriting is only one of his many talents. He can also play guitar and keyboard, and is self-taught learning the saxophone. Jack tends to write demos for Ed and Henry to listen to; this helps the band choose songs to produce and record. Usually, the idea for songs comes from the guitar, but most recently, for Jack, it has come from ‘messing about on the keys.’

While drummer for most songs, Ed Barnes can also play the guitar. He plays the guitar on the song ‘Just About Enough’ from the album ‘When the Pool is Occupied’. He is a self-taught drummer who works out the drums for the song by working with Jack to play the guitar. Ed helps put the rock in the rock ‘n roll aspect of the music.

Henry Baldwin, the bass guitarist, learnt to play the guitar in year three and was one of the youngest in his school to learn an instrument. As the band progressed and the songs changed, Jack began singing a lot more, so Henry decided to step up as bass guitarist for the band. He also wrote many keys for the new single ‘Tangled’.

Half the reason for the band’s name is, of course, a reference to The Rolling Stones; all the band members would choose The Rolling Stones over The Beatles. The other reason is after Neil Diamond’s band ‘Crazy Horse’. They came up with the idea at eleven years old after a gig in the car.

When asked what songwriters inspired Jack Baldwin, he lists the typical ‘The Beatles… Noel Gallagher’, before finishing with ‘One thing I think Taylor Swift is a really good songwriter, I have a lot of respect for her… I love Taylor Swift’. Jack describes songwriting as an outlet, while Henry describes it as a sense of expression.

The most controversial question and the most subjective:

‘What genre would you describe your music as?’

Jack: ‘We fit somewhere between like indie pop, indie funk maybe.’

Henry: ‘But then we got a lot of classic rock elements in there… blues is in there as well.’

Ed: ‘I think we have a bit of a phobia of repeating the same thing more than once.’

The Reversal of the Love Story: (500) Days of Summer (2009)

First Published via HUB Magazine when I was Culture Editor.

Date Published: 24th March 2023.

From the director who simultaneously directed both the best Spider-Man and the worst Spider-Man film comes the rom-com of the decade, Marc Webb’s (500) Days of Summer. The film is non-chronological, so the audience watches the love story knowing it ends badly and cuts in between the present and the past. Hopeless Romantic Tom (Joseph Gordan-Levitt) meets non-commitment, manic pixie dream girl Summer (Zooey Deschanel) and believes she is The One he has been searching for.

(500) Days of Summer is a cautionary tale about the idea of finding the one. The whole concept is a selfish way of thinking, and it can only lead to disappointment. While the film implies that it is Summer’s fault the relationship didn’t work, it is the intense pressure Tom puts upon himself and Summer to be the one.

As no result of her own, Summer falls into the category of a manic pixie girl. She is seen in many films with a male protagonist. Examples include Scott Pilgrim vs the World (Edgar Wright), Her (Spike Jonze) and Paper Towns (Jake Schreier). The manic pixie girl is a reductive delusion created by the male fantasy of childlike playfulness, somewhat tomboyish but hot. If he likes cars, she is Megan Fox in Transformers. If he is uptight, she’s Jennifer Aniston in Along Came Polly, and if he wants The Smiths, she’s Zooey Deschanel.

The choice of The Smith songs is interesting, using both ‘Please, Please, Please, Let Me Get What I want’ and ‘There is a Light That Never Goes Out’. The use of these songs sets up Tom as a hopeless, yet very needy romantic. It always mirrors the way Tom feels about Summer. Even though she clearly states she does not want a relationship, he doesn’t care, and he has placed her on a pedestal that she is now his home and reason for living.

The film’s colour palette also symbolises the failing relationship between Tom and Summer. In most of Tom’s scenes, he wears brown, which blends with his surroundings, whereas Summer predominately wears blue throughout, whether in a full skirt or just blue accessories.

Furthermore, 32 minutes after they have slept together, Tom has a dance number, and almost all the background dancers have some variation of blue. This could suggest Tom is both in Summer’s world, but as he still wears brown and beige, he does not belong in her world. This colour palette difference is most apparent at 47 minutes when they struggle to sleep. The warm tones of Tom clash with the cool blue tones of Summer. The expectations vs reality scene also uses the colour palette, and the expectations have more reds and browns in the background, as it is Tom’s fantasy.

The most phenomenal scene from this entire film is at 1:07:53 when ‘Hero’ by Regina Spektor begins playing, and the screen is split between expectations and reality shots. Using the song ‘Hero’ shows Tom believes he is the hero of this story, and that Summer is the villain by being engaged. Though the audience already knows that Tom is a hopeless romantic, this scene brings it hard to understand how much he has shaped Summer into being someone she isn’t, from small details of the expectations of an intimate dinner with red wine to the reality of a rooftop party with beer to the different people at the party. This infers that he doesn’t know all of Summer’s friends, as that doesn’t matter in his fantasy, and the red wine connotes a romantic side to Summer he has made up. Even the tiniest details in 1:09:32, the expectations have a shot of blurred lilies in the forefront, and the reality has roses. The moment the shot moves from expectations vs reality is when Tom sees the engagement ring. Marc Webb beautifully panels the camera from his face to circle around to his back to show Summer showing off her ring.

Similar to the expectations vs reality scene, there is a parallel at 13:45 and 57:46 where everything he loves about Summer turns into everything he hates about Summer. This implies Tom can easily change how he views things. Therefore, how he sees everything that happened with Summer is unreliable.

The directorial style reminds me of Wes Anderson (The Grand Budapest Hotel, 2014) in using old Hollywood film reel shots, two parallel shots, and characters breaking the fourth wall with a particular use of black and white film shots. This directorial style can symbolise Tom’s mindset of hopeless romanticism due to romance and old films. The repeated shots at 1:10:00 are also very Wes Anderson style. Obviously, this film came before this mentioned Wes Anderson film.

The question the audience asks at the end when the Autumn count begins is whether Tom learnt his lesson. My theory is based on the first two minutes of the film. The narrator mentions Tom misread the ending of The Graduate by Mike Nichols (1967) and that he will also misread the ending with Summer. Instead of seeing his mistake of trying to find the one through shared interests, he sees it as misplacing the wrong girl as the wrong. If you haven’t seen The Graduate, in the last scene, Ben (Dustin Hoffman) and Elaine (Katharine Ross) escape Elaine’s wedding and are on the bus. Their facial expressions quickly change from happiness to melancholy as the doubts settle in.

In conclusion, (500) Days of Summer is a must-watch for all rom-com fans and hopeless romantics to rebalance themselves.

References-

Anderson, Wes. The Grand Budapest Hotel. Fox Searchlight Pictures, 2014. 

Bay, Michael. Transformers. DreamWorks Pictures, 2007. 

Hamburg, John. Along Came Polly. Jersey Films, 2004. 

Jonze, Spike. Her. Warner Bros. Pictures, 2013. 

Schreier, Jake. Paper Towns. Fox 2000 Pictures, 2015. 

Nichols, Mike. The Graduate. Lawrence Turman Films, 1967. 

Webb, Marc. (500) Days of Summer. Fox Searchlight Pictures, 2009. 

Webb, Marc. The Amazing Spider-Man. Columbia Pictures, 2012. 

Webb, Marc. The Amazing Spider-Man 2. Columbia Pictures, 2014. 

Wright, Edgar. Scott Pilgrim vs. The World. Universal Pictures, 2010.