Wednesday, July 21, 2010

Updates and inspirations: Frock Paper Scissors

QUT is affording me another 'real world' experience (oh dear) as I am now a part of the Frock Paper Scissors 2010 project. I'm not sure what place I'll have within the team yet, but this is quite an amazing magazine, and a pretty exciting opportunity to get my hands dirty. More as it all comes together.

Wednesday, July 14, 2010

Review: 'Night Work' by Scissor Sisters for Tom Magazine

 For TOM Magazine.
Night Work (Universal)


 Scissor Sisters danced onto the scene in 2004 and won the world over (aside from the US, their home country) with their unashamedly camp disco-pop sensibilities, and overt sexuality. Their third release has a lot to live up to, and it delivers, leaving a big, pink lipstick kiss on the ass cheek of those who didn’t think they could make something even catchier. The cover art says everything you need to know to decide if this is the album for you  -  and trust me, it is. Sex? Check. Obligatory retro vibe? Check. Camp and over the top? Check. Night Work is a little bit glam rock, a little bit modern electronic, but very much Scissor Sisters.

Friday, July 9, 2010

Feature: 'Ink Nation(alism)' for Voiceworks

Voiceworks Issue 81 - Birthmark has just come out, with a column by me commenting on Australian identity through tattooing.

Wednesday, July 7, 2010

Review: Eclipse for Tom Magazine

The Twilight Saga: EclipseDirector: David Slade.
Starring: Robert Pattinson, Kristen Stewart, Taylor Lautner.
Reviewed by Anna Angel.

I am in two minds about the third film instalment of the widely criticised, and secretly (often fanatically) cherished world of the Twilight Saga. It is the best adaption of the franchise, surpassing the dead-in-the-water New Moon by far, but the film’s premise is ridiculous, often unbelievable and stunted. It is not the film’s or the actor’s fault that Stephanie Meyer did a job on her characters in the latter parts of her saga, pushing the believability of their choices to the limit and providing little in the way of action. Eclipse is saved by increasingly winning characterisation, shirtlessness that makes grown women squeal in embarrassing pitches, and gooey moments that don’t feel as forced as in the first film.