The Chemical Brothers. Undoubtedly one of the most pivotal dance duos in the mid-nineties, creating a genre and a decade in the process, awash with triple-A singles and beats. As far as the dance music of Britain goes they are unrivaled pioneers in their genre, and perhaps untouchable in that area too, at least when it comes to the singles and the subsequent impact they've made. But with their last handful of albums, faith has begun to waver and doubt has become a common problem amongst fans. Thankfully however, 2007 and the release of their newie "We Are the Night", marks their return to success, as well as the glory days of the nineties.

With the lead single "Do It Again" raising eyebrows (and frustration) as well as gaining significant airplay the last few months, the duo couldn't have picked a more challenging single to represent the album and indeed their comeback, but over repeated listens the song is certainly not without it's charm and suspicious appeal. Love it or hate it, it's still no real indication of what to expect on the rest of the album, but burrowed within the tracklisting it still feels ever so in place, a complete opposite of some of the other tracks included on the album, most notably Das Spiegel and the "is this for real?" "The Salmon Dance", the two of them combining comic sound effects into something largely out of place and unlistenable, stealing the record of it's otherwise excellent pacing. But before the mid-album problems, early on in the record as well as after there's some real gems, very representative of what the 'Brothers are about.

Title track "We Are The Night" is an epic neo-psychedelic dance into the unknown, largely instrumental and devoid of any real vocal structure, which works to its favour completely. It's familar territory, and very reminiscent of the instrumental stylings of their "The Test" collaboration with Richard Ashcroft, but sprinkled with space-rock, a recurring theme throughout the rest of the album. The slow-paced but equally epic "Burst Generator" is further reinforcement of this idea with grinding guitar and astral electronics, all on top of a killer beat throughout. Again, the track is, for the majority pure instrumental, and clocking in at six minutes fifty-two seconds, it is absolute anthemic bliss.

Along with the incredibly simple "Saturate" this idea of neo-psychedelic groove, the notion of specialist space rock is very much at large and completely shapes the album in it's overall sound. To some extent yes there is a rock-sounding focus to this album with it's focussed cymbal percussion and afore-mentioned guitar, and it makes for an interesting listen, that while accessible, is completely different from what you'd expect. "Harpoons" stretches this idea even further by adding distorte4d guitar to the mix in a formula of ambient chill-out bliss, similar to moments of Zero7. That's not to say that there's not unfamiliarity as "A Modern Midnight Conversation" is instantly recognisable as a Chem Bros track.

A returning familiarity also is the inclusion of guest vocals on many of the tracks, the ultimate (and best) example of this being the third track on the album, "All Rights Reversed" featuring recent mainstream darlings, The Klaxons. But it's more than just a quick-collaboration and is easily one of the other major highlights of this album, combining the driving neo-apocalyptic vocals of the Klaxons with the beats and grooves (and sound effects) of the chemicals, in surely what's one of the best musical collaboration this decade, and hopefully the next single to be released from the album.

As mentioned, while We Are The Night is an absolute return to form in some places, rather unfortunately, it sucks in others with it's light-hearted take on dance music and rhyme. Certainly a lot of the tracks present are major attractions, all with varying effects naturally, but that irksome "The Salmon Song" half way in ruins the album of what it could've been, and turns the whole experience into a wasted one. Regardless, FWD TRACK exists for that very reason, and We Are the Night is not only a reason to get excited about the Chemical Brothers, but also, the dance music genre in general.

Alongside a certain trilogy-ending FPS, the fourth Grand Theft Auto due for release on the 19th of October is easily looking to be a contender for game of the year onthe X360, unless developers Rockstar North make a complete balls up sometime between now and then.

With the release of the first promo back in March I was pretty much neutral towards the whole release, helped of course by the complete overload of "sand-box" games we've received these past few months. But the new promo unveiled today has helped hype me up a little bit, though, as expected by everyone the world over, it's still just a trailer that fails to give much away.

What is interesting is the inclusion of a Just Cause-esque action moveset, allowing the main character (whose name escapes me) to cling on to vehicles as they try to escape, including, most satisfyingly, helicopters. Like the recent "spin-off" sequels of the series however such as GTA San Andreas, it's very probable that this is going to be another game that's devoid of revolution or innovation, but for pure out random videogaming action, GTA IV, hopefully, will be a winner from the outset.

Following the ruling that Manhunt 2 be banned from release that age-old question of art once again decides to rear it's ugly head and plague thought.

The answer is of course they are, as anyone who's played (and enjoyed) Ico will agree thoroughly, presumably shaking their head frantically in the process. But that's not to say all videogames should be classified as art, something that's partly ensured as a result of the masses of dull dreary First-Person-Shooters. But then there's that ongoing mini-debate and disillusion that art is in the eye of the beholder, opening up the ground and ruining any past foundation as to the answer and meaning of art, and what it is and isn't. As a visual experience predominantly, of course videogames should at least be considered as being art, but the emotions and feelings that some evoke, like that of any "proper art" is perhaps reinforcement if any was needed that they are indeed an artform.

But there's more to it than that, because it's hard to determine what art is and isn't in the here and now present day. The impact of something creative can only be measured and observed across time, seeing likewise how it's moved and affected other individuals, as well as the impact it's had on the rest of it's peers. Already this is something that takes place in the videogame industry with one new conceptual movement leading way to a dozen hundreds utilising similar notions, but here they shouldn't be regarded as art, at least the subsequent titles, because they're based on founding ideas and creation, and not unique in the slightest. Essentially, they're someone else's idea, and this is perhaps the reason why the FPS genre can never be art, because it's all the same idea, just with different execution. But then, going back to entire art-movements, unfortunately this argument doesn't and shouldn't work.

Again to Ico, the same can be said here as it is a very standard platformer 3D adventure. But the argument for it being classified art as already mentioned, is the impact it leaves on each individual player, and the things they take away from that playthrough. But execution of that tried and tested idea, a twenty-first century equivelent to painting is where the argument lies, and the steps the creative forces have taken to build this particular title and experience. Again, time dictates how much of an effect it will have on generations to come, as well as on the industry itself, and perhaps, only then, we can look back and define something as being truly artistic, something invariably happening a lot nowadays with modern art and it's numerous states of confusion. As a loose example, Damien Hirst doesn't appeal to everyone at the moment, but already his art has created an impact on the art industry, and indeed, added further considerations into that age-old question of what art is, something that's happened hundreds of times before throughout history.

EDGE declared outright that videogames could be art, with choices contrasting with my own as to what art was and what defined it, but art as a whole should be an individual experience of emotion and wonder rather than endless lists of yes/no categories. It depends on your emotions, background, ideas and thoughts yes, but simply put, art is what you make it, and what you make is art.

Just got back from the cinema where I saw Shrek The Third, or, as i'd imagine the majority of the population are calling it, Shrek 3. I suppose "the third film in the Shrek series" is a popular term too, but hey, you get the point.

In a movie world awash with a CG animated feature film every month, the Shrek series continues to prove it's dominance in the "lets go as a family and laugh at different jokes" film industry, so it's a little unfortunate that the third incarnation of everyone's favourite green-ogre feature film doesn't live up entirely to expectations.

From the outset, the film feels...different. The opening scenes are an example of this with their epic and swooping action and sound, even if they are in spoof-format, but throughout the film there's a real sense of scenes feeling a little out of place, something that goes hand in hand with the overall plot. The inclusion of Justin Timberlake alone is just one such incident, but he reasons for this are numerous. The main problem is that since it's early beginnings, Shrek has never felt like a series. Always self-contained and wrapped up fully after two hours, the story of the Third feels weak and feeble, and a last ditch attempt to utilise characters from the previous film in a massive hotch-potch plot scenario, with little on-screen recognition of the films previous to this. Kids have short-attention spans, perhaps the same can be said for the creative forces behind this title?

Regardless, the third film is funny -albeit not on par with those previous films- continuing to twist fairytale tradition and lore into something wickedly popular and modern. To some extent this is achieved more with this film than it's predecessors in that even more new characters are introduced and given supporting roles, including Snow White and Captain Hook. As new characters their presence is limited, presumably something that future films will rectify with additional character-development. While the presence of these characters are perhaps underused to the whole overall plot (incidentally like every character in the film generally), they do prove to be welcoming forces in a series named after one character full of voices we've heard plenty of these last five years, and hey, if you're going to get a joke or two out of them then why not?


Shrek The Third as a sequel, ticks all the appropriate boxes, building on characters introduced in previous films and developing them accordingly against the backdrop of a new-fangled plot bearing little resemblance or reference to events of previous films. As noted it does have it's moments of humour, but generally the film is a lot less funny than series traditions, opting instead for a film that, despite the weak plot, is purely interested in character-driven story and adventure, littering the proceedings with pop-culture references that do feel out of place now, and perhaps overused in the series as a whole. Certainly it's an enjoyable film all the same, but as is the case with all film series, go and watch the first one.

The opening film of the obligatory series is always the best.

Deciding what camera I wanted for my birthday was the easy part.

Deciding on the bag to carry it and the lenses around in, no, that's where all the difficulty lies.

I'd like to think i've got something of an open mind when it comes to the opinions of others. Well, okay, maybe not, but the news recently that the Vatican has issued "driving commandments" is complete and utter lunacy, that fails to be taken seriously no matter how you look at it.

Via BBC News-

The "Guidelines for the Pastoral Care of the Road" call on drivers to respect speed limits, refrain from drinking before driving and avoid cursing.

Roman Catholics are also urged to make the sign of the cross before setting off on a journey.

Oh, but don't worry, the story continues, and believe me, it gets a lot crazier.

Thou shalt not drive and drink", "thou shalt not make rude gestures behind the steering wheel" and "help accident victims" are among the 10 recommendations for motorists.

The document also warns that driving can bring out "primitive" behaviour in motorists, including "cursing, blasphemy, loss of sense of responsibility".

A quick glance at the calendar implies that it is indeed the 20th of June rather than that oh-so hilarious day at the beginning of April, but yet, this is one story that would definitely seem more fitting on the latter.

The worst thing however is that a lot of this should really be common sense, sans the cross symbol before taking off of course. Refraining from drinking and driving, that's required by law now and the majority know that- why does the church have to reinforce it? An attempt at self-chanting perhaps, or merely just another attempt to be the centre of media attention, yet again?

Being an atheist never felt better...

Sounds nice, looks good, fingers crossed it will be the licensed toy to wipe the floor with all others.

But what about the other movie licenses that should exist? Like Pirates of the Caribbean, Lord of the Rings, and more continuation of the severely under-developed Spider-Man line released earlier this decade...?

Harry Potter, Spongebob, Batman, hopefully this time the license can truly appeal to all ages and fans of Lego.

Calvin Harris is one of those common occurrences nowadays in the music industry, seemingly coming from nowhere and riding on the back of hype, before that debut album is released and opinions can truly be formed. Signing a record deal with EMI only last year following on from that other recent music industry standard, being discovered on MySpace. But these irrelevant backstories shouldn't be held against him, as the recently-released debut "I Created Disco" shows only too well.

Ignoring the unexplained sentiment of the title, what I Created Disco is however, is a fifty minute journey into the low-fi and experimental stylings of the man himself, with occasional sprinklings of rock but throughout, a huge focus on heavy synth and electroclash from a decade long since passed. And that's the best thing about the album and the artist himself, as you'd be hard pushed to find a similar-sounding act in the mainstream today, making the album all the more enticing and interesting when that first listen comes about, as such, making it pretty challenging, depending on your current musical interests.

The album opens with the simple by-the-numbers affair "Merry Making At My Place", before things get a little more obscure in "Neon Rocks" and "Certified" with out-there structure, pacing, and electro-backing. Unfortunately the album isn't as inviting and accessible as the singles and opening song suggest, with a real lack of pop throughout the proceedings sans a couple of sound-effects and the incredible offering "Vegas"-half way into the record- which is for the most part pure instrumental and fueled with a rock-beat and sound. Lyrically it's very minimal both in content and structure, but something which perhaps makes the track seem all the more enticing, given the bear-bones singing elsewhere on the record.

For the most part the album follows this archetype sound with a heavy focus on synthesizers and dark gritty baselines, breaking only for a fast tempo and quirky minimalist lyrics. There are surprises of course with the curiously sounding and undoubted out-of-place "Love Souvenir", turning things all downtempo and funk, with it's R&B pacing and sounds of groove, completely devoid of lyrics, but all the same, not as successful as other instrumentals on the album. It's a baffling inclusion on the album and seems out of place during every listen, but like all the other track offerings, it's not without it's own charm and appeal, just not in regards to the pacing and content of the album as a whole

Calvin Harris is this year's big thing, where after countless hype and a couple of big-hitting singles, the album is empty, uninspired, and not as enticing as previously expected. That's not to say it's complete pap of course, as the tracks on offer here are fantastically unique, however, only if to listen to alone, as in regards to the album as a whole, there is a lot of sameyness and blurring in sound. Regardless, in today's "we can do Kaiser Chiefs indie too!" mentality surrounding the mainstream, Harris should be applauded, not only for attempting to create something new (and brilliant in small doses) but for going against the grain in general and creating something he wants to hear, rather than the industry itself.

My copy of The Art of Videogames by UK publication EDGE arrived through the mailbox today. As ever the question of "what is art?" is an ongoing dilemma, but what the two hundred and sixty pages consist of however, are CG renders, preliminary sketches,character designs and promos for the games in question, and it's all so lovingly produced.

Understandably what the edition does include is sketches and artworks from many art-prolific games including the recent Okami and Killer 7 titles, while also outlining the art and concepts behind many future titles, including the ever inspiring Assasin's Creed due for release later this year, and a look into the fourth installment of Metal Gear Solid, as well as the series in general. In no regards is the compendium complete (the word impossible comes to mind), but there are notable absences from the publication, including, shockingly, Final Fantasy.

There's a real absence of older titles too from the 32 bit generation and even earlier, but this is perhaps reflective of the new-found focus of videogame art in general from developers rather than lazy work from the magazine publishers. However there's also some bizarre choices featured in the magazine too, including many a dull generic FPS and Racing series, though, again, this is perhaps due of the traits of art itself rather than editorial decision. Thankfully, no Fifa Football games are included in the installment.

The Art of Videogames as mentioned is nowhere near complete or even concise, but regardless is interesting in regards to the aesthetic pleasures on display, and presumably a magazine any stylish coffee table would be eager to sit under. As non-gamers, many are likely to grasp at the appeal or the concept itself, but for a better-suited gaming readership, The Art of Videogames is an interesting two-hundred-odd page jaunt through fantastical eye-candy and joy though the choices can be baffling at times, and a little lacking in written content.

bestuff.com is one of those ever so frequent websites to be found nowadays, consisting simply of everyone's current favourite buzz word combination, "Web 2.0" and "social-networking". That it is without a doubt, as it's a site that, as expected, allows for a greater focus on user-created-content and information, much like the Wikipedia technology. But technobabble aside, it's the concept that's the most enticing aspect of the site.

As the name suggests, the site is a compendium of all the best thing that makes life and living great, be it TV shows, cheese, colours, feelings or experiences, all of which can be added to your profile where presumably, "the social-networking" aspect comes into play. From here people find you and the stalking process can begin with the usual lark of private-messages and such, but once again, the best thing about the site, as is always the case, is the original idea rather than all the bells and whistles (and morons it's soon to attract). As a site it allows you to list all the things that you think are fantastically great under your profile and comment on them, in what is, for now, the most "no ranting allowed" site there is out there. It's all about the love, the passion, and the positive emotions and feelings evoked from these things, again, as wide a selection like Nikon D40s to walking on walls as a kid, and hey, even Anne Hathaway, with the ability to add pages yourself you find something that makes you happy missing.

The whole process can become surprisingly addictive and certainly a lot of fun, but lasting appeal can be pretty minimal. For now, that's the main problem with the site in that beyond the web 2.0 experience it's not something that's going to remain fun forever, admittedly a lot like many of it's peers. Regardless, and for the time being however, this is pure romanticism in an unusually unwelcome place, the internet, and if there's something you love, it's time to tell the world all about it.

*the best stuff in the world