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Foo Fighters Medication at Midnight review: Boom

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Foo Fighters Medicine at Midnight review: BOOM
L

ocked down like anyone else about the past yr, Dave Grohl and the Foo Fighters hardly ever went away. Grohl begun sharing tall tales of his rock and roll daily life online as @davestruestories and presented some of the most joyful moments of 2020 by tough Ipswich 10-yr-outdated Nandi Bushell to drum battles on YouTube. Meanwhile, his band’s 2003 one Occasions Like These built a strong scenario for remaining the tune of the instant, hitting selection a single in the Uk in May possibly in a new guise as a Band Aid-fashion charity protect variation, then increasing to prominence once more as a important section of the soundtrack to Joe Biden’s inauguration ceremony.

It is tricky to resist the song’s promise of “a new working day rising”, and heartwarming to see that, getting discovered fame in a band steeped in misery, Grohl’s put up-Nirvana profession has been so substantially entertaining. The past Foo Fighters earth tour, throughout 2017 and 2018, noticed the frontman screaming his head off in front of wide crowds for nicely over two several hours every night.

Past yr they would have experienced every rationale to rejoice – this album, Drugs at Midnight, is their landmark tenth and was thanks to be released in 2020 for the 25th anniversary of the band – but there is nowhere to party. That will have to frustrate a person who life for the phase. Nevertheless, you wouldn’t know it from the 9 music line-up in this article. The headline he’s been featuring in interviews is that this is their “dance record”, which isn’t promptly obvious amid the twister of guitars, but it is consistently amazing enjoyment.

As with the preceding album Concrete and Gold, Adele producer Greg Kurstin is at the controls, encouraging poppier touches this sort of as the massed female backing vocals that start the opening monitor Earning a Hearth, and a galloping guitar line reminiscent of Queen’s Hold Yourself Alive on Love Dies Youthful. They also come across room for a defeat that would qualify as funky on Cloudspotter and recall quieter Beatles times on the softly drifting ballad Chasing Birds – a rare spell of tranquil.

No Son of Mine is a Motörhead-inspired monster, a headbanging blast of crashing drums and furious riffing. Waiting on a War sounds like it could be a live performance centrepiece, with its journey from acoustic beginnings to a 2nd half that feels like the band have been shot out of a cannon. The only disappointment is that these tunes will not be heard in a stadium any time shortly.

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Channel 4’s Max Clifford doc is relentlessly unnerving viewing

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Channel 4’s Max Clifford doc is relentlessly unnerving viewing

Publicist, promoter, keeper of the flame of reality.” That is how Terry Wogan introduces Max Clifford in an old interview clip that is performed a handful of situations in Channel 4’s enlightening and unnerving documentary about the increase and slide of the ‘King of kiss and tell.’

That last descriptor appears to be to prompt an ironic narrowing of the eyes from Wogan that’s still perceptible via the slight fuzziness of the retro video clip tape, but what quite promptly will become apparent in Max Clifford: The Drop of a Tabloid King is that the publicist saw himself as an arbiter of suitable and incorrect – and that this stomach-churning hypocrisy performed a section in his eventual unmasking.

The 90-moment film dispenses with any early biographical aspects and as an alternative commences as Clifford’s energy about the tabloids reaches its apex in the Eighties and Nineties, the days when, as one previous Fleet Road staffer places it, the kind of salacious “big unique extra” that the PR gentleman was infamous for pushing, could change “an further 100,000 copies.”

Quite a few of all those headlines, of training course, were being ‘post-truth’ fabrications deserving of Donald Trump’s push workplace (‘Freddie Starr ate my hamster’ is just a single unforgettable instance) but Clifford could see, as one more conversing head explains, see “that celeb was the new currency”. This revelation was very worthwhile, and served him place the red tops in a chokehold, which means that lots of looked the other way when his disturbing behaviour grew to become obvious.

When investigative reporter Nick Fielding was questioned to look into allegations that Clifford had primarily incited two youthful ladies to trade sexual intercourse for Fairness cards, he reveals, his report was by no means published just after the publicist manufactured phone calls to mates in significant sites. Had it produced the paper, he provides, “he could have been stopped in his tracks.”

The documentary kicks off in the Eighties, at the peak of Clifford’s ability

/ Andrew Testa/Shutterstock/Channel 4

All over 100 hours of tapes recorded by Clifford’s biographer Angela Levin underpin the documentary,  with the author detailing how, just about as before long as she pressed history, her job interview subject matter was keen to proudly brag about infidelities, intercourse parties, voyeurism and other proclivities. She notes that she was anticipating at least some of the revelations from the guide to prompt outcry when it was released in 2005, but none of them did, which absolutely speaks all over again to Clifford’s tabloid energy, but also to the drastically distinctive superstar landscape pre-Yewtree and #MeToo.

Disturbing depth just after disturbing detail piles up. We listen to from ‘Kate,’ who met Clifford as a teenager on a spouse and children holiday break to Torremolinos in the late Seventies. He confident her relatives she “could be the UK’s version of Jodie Foster,” then proceeded to groom and sexually abuse her. Her testimony is harrowing – and is echoed by other gals who also bravely share their stories of abuse, their faces off digital camera.

In the stop, ‘Kate’ points out, it was Clifford’s sheer hypocrisy that drove her to make contact with the law enforcement, immediately after he spearheaded the media campaign versus paedophile Gary Glitter, arranging interviews for the accusers and decrying Glitter’s ilk as “dirty, filthy people today corrupting [young girls]… destroying their innocence.” Clifford could not see the irony, it looks, but she could, noting that she had been a related age to Glitter’s victims.

Even right after his arrest as section of Procedure Yewtree, Clifford still tried using to pull the media strings. Video clip footage captured exterior the court, displaying him leering over a reporter’s shoulder and mimicking his actions during the reside broadcast, varieties a disturbing coda. Appropriate to the end, it appears, he thought he was untouchable.

The unrelenting grimness of its issue issue in a natural way can make The Drop of a Tabloid King a challenging observe, full of shudder-inducing aspects that pile up like grime, but rightfully it is the victim’s stories that are given priority. It is their dignity and bravery that will continue to be with you.

Max Clifford: The Drop of a Tabloid King is on Channel 4 at 9pm, March 1 and is out there to stream on All4.

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