Sometimes, TV Is Really Shit

Most shit TV is made for teenagers. Teen Cribs, My Super Sweet 16, anything on BBC 3, the consensus among TV executives appears to be "They don't know any better! Give them platter of shit and they'll eat it up like it's a bucket of ecstasy pills." What they don't seem to realise is that some youngsters grew up watching good TV, and their tastes are more refined. Not content with the egregious listings of today, they'll search out the best in classic and contemporary television on the internet, a far more accessible and comprehensive library for good television than the television ever was. But TV doesn't so itself any favours.

Take Skins. Now in its fifth series, Skins has steadily been declining in quality since the end of its first run. The original set of characters were fairly annoying, but they at least had moments of normality; genuine human camaraderie with some humour sprinkled on top. But since then, it has decided to take itself far too seriously, each storyline being more ludicrous than the last, the characters becoming crass stereotypes of their supposed real life mirrors. This came to a head recently, in the latest series, where Skins represented a metal head in the most insulting way I think I have ever seen.

I like metal. I don't listen to is as much as I used to, but I still enjoy it. Some of my friends were into it as well, we'd often discuss who was good, who was wank, as you do, but it was a music we enjoyed, and that was all. The metal head character portrayed in Skins is the most insipid, ungrateful, mopey fucking idiot I have ever witnessed. Someone so ignorantly steeped in the ethos of 'Metal' that when his kindly father tells him he loves him, he replies by calling him by his first name and basically telling him to fuck off. Someone so horrifically bland and uninspiring that everything they utter is basically an ode to how metal they are, and how they'll 'Never compromise!'

He comes into contact with one of the more popular girls, Grace, who has been assigned the task of teaching him how to talk to the equally awful metal bird who works in the Library. This culminates Grace trying to learn the ways of the metal warrior, by dressing in a quintessentially metal fashion. She has done some homework on metal (claiming she likes Industrial but 'Trent Reznor can suck my cock', apparently...) and the ensuing conversation ends up in what I consider, with no hyperbole, no exaggeration, the most cringe worthy scene I have ever witnessed on television. After becoming agitated at Dr. Metal Tits' general demeanour, she stands on a table and starts triumphantly singing Rage Against the Machine's 'Killing In The Name', specifically the 'Fuck you I won't do what you tell me' bit. My toes curled into my foot sole, and my head was firmly glued to my hands. This is what it has come to. This is what they think we want to watch. This. Is. Fucking. Shit.

By comparison, an exceptional program began on Sky's new channel Sky Atlantic. Boardwalk Empire, from the off, was encapsulating and visually stunning. It follows Enoch 'Nucky' Thompson, a corrupt and powerful political figure in Atlantic City, New Jersey. Nucky, played impeccably by Steve Buscemi, who has a fascinating face, is a charming and wise man, who is pained by the death of his young wife. Supporting performances also stick out, especially Kelly MacDonald as Margaret Schroeder, an unassuming but strong and clever woman, who Nucky warms to. The pilot was directed by Martin Scorsese, and is reportedly the most expensive TV pilot ever made, and it looks it. The sets are incredible, antiquated advertisements and amusements align the boardwalk, and the interior furnishings are typically grand.

Maybe it's the money, Skins fifth series was rumoured to be cancelled due to budget restraints, but the gulf of quality between the two shows is astounding. A patronising and sickly pseudo insight to teenage life versus a sublime and well executed American period drama: the victor here is clear.

James Blake - 'James Blake'

Since James Blake started making moves a couple of years ago, he has earned a bizarrely amorous following. Both men and women I've spoken to love him dearly, with reports of girls full out swooning as he walks by. His special brand of eerie and beautiful soundscapes struck a huge chord with fans of - the early incarnation of - dubstep. Ranking number two behind Jessie J on the BBC's Sound of 2011 list, it was clear that people expected big things from his self titled debut album, and while it delivers in most respects, it falters in others.

Always minimal, the album is very pretty; natural and earthy sounds are cleverly mixed with traditional synth. It is in these moments, when the music is both haunting and vibrant, that the record excels. This is especially prevalent on Wilhelms Scream, muted guitars and crashing wave chords, and I Never Learnt To Share with its grand church-style organ.

While the majority of songs create levels of atmosphere, some are too minimal to muster presence. Both Lindesfarne I and II fail to capture the same energy as the other songs, and are noticeably hollow by comparison.

But these feelings are almost immediately assuaged when Limit To Your Love begins, or rather the pulsing and warm bass, which is brilliantly executed.

Listening to this album is a pleasure, but the knowledge that it could be more, have more body, is frustrating. Nonetheless, it firmly cements James Blake into the music lovers conciousness, and it is likely he will be lodged there for a while to come.

Gil Scott-Heron and Jamie xx - 'I'll Take Care Of U'

'I'll Take Care Of U' is the second track released from the remix album 'We're New Here' by the xx's Jamie (did you guess by the name?) and hobo voiced soul legend Gil Scott Heron. We first got a taste of this record late last year when first single 'NY Is Killing Me' was debuted, and promised an intriguing blend of pained vocal work and ultra modern electronic music. 'I'll Take Care Of U' doesn't disappoint in this respect, or any respect for that matter. Beginning with Gil's toothless laments on love, on top of smooth piano chords and understated hi hats, segueing into a calming Explosions In The Sky-ish melody. The track continues in this vein, building up with 80's style party synth, the crescendo blending the two. This is a fantastically groovy track and, like the single before it, sets this remix album up to be a great piece of work.