The film, shot by photojournalist Danfung Dennis while embedded deep behind enemy lines with Echo Company, 2nd Battalion, 8th Marines (2/8) in 2009, is an astonishing piece of work which will leave you exhausted and feeling like you’ve been to Hell and back again yourself upon its conclusion.

As regular readers of Light+Shade will know, this is a project I’ve been following from its beginnings. I first blogged on the film in October 2009, then under the working title of The Battle For Hearts And Minds. I was fascinated by the technical nature of the shoot, achieved entirely on a Canon 5D MkII. A subsequent post in February last year again mentioned Dennis in the context of DSLRs increasingly being the weapon of choice for video journalists in conflict zones, whether covering the Arab Spring or other trouble spots around the globe.

Having now seen Dennis’s movie, I wanted to make clear how brilliant it is. Without having seen the other documentaries nominated, I can’t imagine there is a more meaningful film in this list. It’s simply breathtaking, literally at times, and he should be enormously proud not only of his film making efforts, but the message this work carries.

When I first got wind that the movie was being made back in 2009, Dennis had his footage of life on the ground with the company. What I didn’t know then was how events in the latter stages of that embed would change the focus of the film. It was during the unit’s penultimate mission that one of its number, Sgt Nathan Harris, would be shot in a chaotic firefight and suffer a serious leg injury. Dennis decided to follow his rehabilitation and adjustment to civilian life upon their return, and so the movie’s main message was created – adjustment to such life for a US Marine and those around him is difficult at best, and in a sense entirely impossible.

The editing by Fiona Otway, nominated twice previously for Academy Awards, is pure genius. There are moments when Sgt Harris freezes, goes quiet, and battles what can only be the most gruesome memories of war. During these moments, the viewer is catapulted back to Dennis’s footage from the war zone, which relates directly back to his present day nightmares. Locations, simple actions like opening a door, are all treated in similar fashion. You feel at times you’re in his mind, and it’s tough but compelling viewing.

A number of things have stuck with me since watching the film. In particular, the hopeless nature of life in Afghanistan is all too clear. Marines in the unit do their best to help the locals remain clear of the Taliban and their brutal regime. But it’s the very presence of US forces that causes the Taliban uprisings in these remote areas, putting families directly in the line of fire. They fear for their children, who easily become sick through lack of food, which is damaged in spot fights that occur often, and their homes become too dangerous to inhabit as Marines order them clear when it becomes too dangerous to be there.

The Afghanis would rather the Marines left so the fighting stops, but at the same time welcome their deployment in the hope it relieves them of life under Taliban rule. It’s the classic Catch 22 for all concerned. Others hide Taliban fighters and refuse to impart information on injured escapees to the Marines hoping it puts them off and brings an end to the fighting, while still understanding their capture would be the better option. But the desire for a quick resolution and disappearance of the US forces is bizarrely more attractive.

The other remarkable thing is the illustration of Sgt Harris’s young wife, Ashley.

True love ... Sgt Nathan Harris and his wife Ashley.

The couple are in their mid-20s and have so many challenges as a result of the war. Sgt Harris is severely disabled and mentally scarred beyond belief, but he shows a bravery and humility in dealing with life after battle that makes clear how exceptional a soldier in battle he must have been. It’s no surprise he is in Echo Company, a unit that fought in World War II’s Battle of Guadalcanal and Battle of Okinawa, as well as reinforcing Guantamo Bay during the Cuban Missile Crisi of 1962.

He remains philosophical about his predicament to the point where it’s unbelievable at times. Despite the pain, the nightmares, the pressure on his marriage, he still wants to return to the job. Even knowing those days are now over, he rarely lets his frustrations get the better of him.

By the same token, Ashley must be among one of the strongest women on Earth. Her patience in the most trying of circumstances is equal to any saint. Without her, you can only wonder what fate might befall Sgt Harris. The love between the two of them is incredibly inspiring given the impossible circumstances of the life they now lead. It’s touching and beautiful, and all the more powerful when juxtaposed against the brutality of Sgt Harris’s experiences of war by Dennis. All the time I was watching them, I couldn’t help but think this is just story from one soldier from a war that has killed and wounded many thousands of others. The amount of families left to deal with the same or worse is so difficult to comprehend. The impact of the crisis is abundantly clear and frighteningly stark as the movie’s closing credits roll.

I must recommend that if you’re reading this post, you should find Hell And Back Again immediately and give it your full attention. But I warn you, it’s not for the faint-hearted. You won’t laugh, you’ll likely cry, but I guarantee it will change your views on many things, not least the merits of war.

Any work that highlights the catastrophic consequences of going to war in such an intimate and harrowing way can only be a good thing. I commend Dennis for his commitment to this story, his bravery and vision, and sympathetic shooting of a life so torn apart by war. And I wish Sgt Harris and Ashley all the best for a speedy return to some semblance of normality in their life, as I do to all those others suffering from the cruel fate conflict deals, wherever they are in the world.

PS – Happy new year

No.1 Gotye
Sydney Opera House, Sydney, 20 August 2011

Remarkable shows, truly remarkable ones, are hard to find. I’ve seen a few back in history, mostly big-name bands in small venues, like Phoenix at The Factory Theatre, Death Cab For Cutie at The Annandale (Sydney) or Ozzy Osbourne at the Town And Country Club (London). But Gotye was the opposite experience in a way, a lesser-known artist at the magnificent Sydney Opera House. Wouter “Wally” De Backer by day, Gotye is someone I’d seen before in 2007 at the Metro Theatre, one of Sydney’s smaller venues. He was impressive then, but with a new album full of lush songs, I held high hopes for this latest show, not least because I knew his talent for multi-instrumentation and to see it in action at the Opera House was sure to impress. He’s admitted since this performance that he has never prepared more thoroughly for a show than he did for this one. It showed.

Gotye performs the Opera House :: photo - Luke Eaton

I could not have dreamed what Gotye presented on the night. His 10-piece band consisted of himself on many instruments, mostly of his favourite percussive variety, a drummer, a percussionist, a guitarist, a bass player, a midi-control musician, a keyboard player and three backing singers, who also played brass at times. The sound was breathtaking, his voice stunning, but the arrangements and performances of everybody involved, including Kimbra, who appeared to round out the duet Somebody That I Used To Know, were utterly faultless. The renditions of the husky Smoke And Mirrors, triumphant I Feel Better and the beautifully written Save Me in particular, all from the most recent Making Mirrors album, were among some of the finest live performances I’ve ever seen or heard. Older hits like Heart’s A Mess and Learnalilgivinanlovin, which closed the show to huge applause and spontaneous dancing, were equally accomplished. At times I honestly could have cried with the sheer joy of it all.

You could not have made this show better. The crowd, the sound, the man himself all gelled in what was a nirvana of sound and vision. I’d pay to see the exact same show again and again, such was its appeal to me, and I will never forget it. Here he is performing State Of The Art during the show.

Set List
Making Mirrors
Eyes Wide Open
Smoke And Mirrors
State Of The Art
I Feel Better
Easy Way Out
Don’t Worry, We’ll Be Watching You
Somebody That I Used To Know
Heart’s A Mess
Save Me
Bronte
In Your Light
Learnalilgivinanlovin

No.2 Portishead
Parramatta Park, Sydney, 13 November 2011

The inaugural Harvest Festival ended up being the best festival I’ve attended to date. The line-up included some huge acts, of which I saw TV On The Radio, Bright Eyes, Mogwai, The National, Kormac’s Big Band and Portishead, back Down Under after an Australian hiatus of 13 years.

Beth Gibbons at Harvest :: photo - Mix It Up

Portishead is one of those bands everybody knows. Most of my friends have a story from their lives attached to a Portishead song somewhere in their timeline. For me, it was listening to Dummy over and over, usually in an alcohol-infused in a haze at college in Chester back when I was spreading my musical wings. It’s also a band I’d longed to see live for many years without ever having the opportunity. So there I was among close friends on a balmy Sunday evening awaiting something amazing. And sure enough I got it. From the moment Beth Gibbons opened her mouth and sang, we were in awe. I’d never seen an audience silenced quite so spectacularly, one and all completely transfixed by what they heard.

Everything was perfect, not least the sound which for an outdoor festival was outstanding. I have no idea who was behind the desk, but he or she deserves the highest accolade imaginable for the work they did that night. When Sour Times echoed through the park, we collectively sighed in admiration. Glory Box prompted gasps among some, and tears among others. Even songs we all thought we hated from the album Third sounded like they’d been born again, not least Threads, which was so haunting it was almost scary. Gibbons used every sinew available and sank into the songs so beautifully it was something else to behold.

As we left, I kind of wished I’d seen Portishead at an earlier time in their history. But then I quickly remembered what I’d just witnessed – possibly the best set they’ve ever performed, certainly in Australia. They certainly made me proud to be British that day.

Set List
Silence
Mysterons
The Rip
Sour Times
Magic Doors
Wandering Star
Machine Gun
Over
Glory Box
Chase the Tear
Cowboys
Threads
Roads
We Carry On

No.3 The Jezebels
The Forum Theatre, Melbourne, 28 October 2011

I first heard The Jezabels some years ago at Troy Horse Studios, their rehearsal spot in Sydney which they shared with my bands. I’d often stop momentarily to cup my ear against their door and marvel at the sound being produced. For a four-piece band, without a bass player, The Jezabels certainly know how create an impressive wall of sound.

Hayley Mary at The Forum :: photo - The AU Review

My first experience of them live was at Oxford Art Factory last year, when a friend and I broke into their show via a back door having been told by bouncers it was “too full”. They were terrific, and soon after embarked on an overseas tour, playing a stack of shows through Europe showcasing their first LP Prisoner.

Seeing them at Melbourne’s magnificent Forum Theatre, the positive effect that long run on the road had on their skills was clear to see. The trip to Melbourne was a birthday present for my girlfriend, a surprise of sorts after we’d missed out on tickets to the show when we were in the city earlier in the year. It turned out to be one of the best decisions I’ve ever made. From the opener Prisoner, performed in shadows behind a huge net curtain that covered the stage, to older favourites like Dark Storm, their proficiency was astounding. Hayley Mary’s vocals were flawless, powerful and heartfelt as she strutted about the stage like a front woman of many more years’ experience. Heather Shannon’s keyboards washed stunning sounds over the room while opposite her, Sam Lockwood diligently played his guitar, putting the effects board to full and impressive use.

But for me, the star of the night was drummer Nik Kaloper. His unusual, pounding rhythms were the driving force of the night, and shook the venue deliciously. He’s the foundation of everything that is good about this band. To see them at this venue with my best friend in the whole world, my one and only, made this a night I’ll never forget.

Set List
Prisoner
Endless Summer
Easy To Love
City Girl
Mace Spray
Trycolour
Long Highway
Sahara Mahala
Hurt Me
A Little Piece
Dark Storm
Deep Wide Ocean
Disco Biscuit Love

No.4 Stornoway
The Annandale Hotel, Sydney, 8 February 2011

My not-yet girlfriend suggested I accompany her and a friend to this show at The Annandale Hotel, a little venue in the inner west of Sydney my own bands have played at the past. I knew nothing about Stornoway at the time, but thanks to this night, I’m now a huge fan. Playing a selection of their folk tunes largely from the Beachcombers Windowsill record, the Oxford lads filled the place with cheers from a largely English ex-pat audience.

The show began with a wonderful violin solo from band member Rahul Satija before the rest of the band joined him for The Coldharbour Road. It was a terrific opener, and frontman Brian Briggs was immediately taken with the reaction of the crowd, who sang every word of every song. The energy was superb, not least when they finished with a completely unplugged rendition of We Are The Battery Human, which was like some sort of super-charged campfire singalong. “Gen-er-ation!!!” we all roared as the chorus jogged along. If you know the song, you’ll know what I’m on about.

I don’t think any of us that night wanted the show to end. For my little posse, it didn’t. We sneaked out back to have a cigarette and chew over the show when we bumped into some members of the band, including drummer Rob Steadman and Briggs himself, who was heading back to the band’s hotel with his wife and new-born kid. But not before having a polite chat with the three of us. Steadman, meanwhile, was asking us where he should go out drinking. After tossing him a few suggestions, we almost joined him. In fact I don’t quite know why we didn’t. But anyway, our little meeting was the perfect end to a perfect night, even if we did get thrown out for smoking and chatting where we weren’t supposed to be. Oops.

Set List unavailable

No.5 Afro Celt Sound System
Sydney Opera House, Sydney, 14 March 2011

All I knew about Afro Celt Sound System before this show I could write on the back of a small child’s hand. But having seen them live, I’m converted for life. A collective of musicians from various parts of the UK and Africa, this band fuses traditional Celtic, Asian and African sounds with electronic dance beats to create a unique musical genre of its own. And from a front-row seat at the Sydney Opera House, it was a delight to behold.

N'Faly Kouyate and his kora :: photo - Sheryl Sarkoezy

Dhol drummer Johnny Kalsi is brilliant. He stands and delivers unimaginable rhythms through the skins of his drum, all theatre and attitude in his Indian dress, until he speaks and his London accent softens the illusion. But the true star of this band, founded by guitarist Simon Emmerson and loudly endorsed by one Peter Gabriel, who publishes their music on his own label, is N’Faly Kouyate. This Guinean giant plays the kora with such dexterity it’s almost impossible to describe. The instrument is huge, rested on his hips while he plucks its giant strings to the beats and sounds behind him. He plays like no other musician I’ve ever seen, a beaming smile across his face throughout, occasionally giggling at the joy of it all. A happier musician you’d do well to find.

After an atmospheric opening of haunting Celtic vocals, Kouyate entered the stage with a couple of dancers and proceeded to fill the audience with wonder, passing his happy energy through each of us until we were up and dancing like wild things in the aisles, a rare sight at the Opera House, where most audiences appreciate things from the seated position. It was a stunning display.

Set List unavailable

Honourable mentions – a chronology

Kristian Jackson – The Basement, Sydney, 31 January 2011
This was an album launch for Kristian in which I played drums, but that’s not why I mention it. The best thing about the night was seeing the pleasure on his face as a life’s labour leapt from the stage on to an expectant crowd. Priceless.

Wellington International Ukelele Orchestra – Oxford Art Factory, Sydney, 25 February 2011
An evening of terrific singalong covers performed by 14 ukulele-toting Kiwis with nothing but fun on their minds. An excellent night dancing and singing as if we’d landed on a beach in Hawaii.

Joanna Newsom – City Recital Hall, Sydney, 9 March 2011
Surely Joanna Newsom will be playing at the gates of Heaven if I make it there. This night was pure beauty, her voice, her harp, and a first kiss afterwards with the woman who made this year so astonishing and my life now perfect.

The Besnard Lakes – Manning Bar, Sydney, 10 March 2011
Canada has got it so good with this band, who bring 70s inspired psychedelic rock into the 21st Century effortlessly. A cracker of a night.

The Go! Team – Metro Theatre, Sydney, 4 May 2011
Packing more energy than one billion Duracell bunnies, Brighton’s The Go! Team will be sorely missed if rumours of them ceasing to tour are true. Frontwoman Ninja is unstoppable, and the whole band leaps about like mad things for the duration. If it wasn’t for an unenthusiastic Metro crowd, this could have hit the top five.

Elbow – Enmore Theatre, Sydney, 29 July 2011
My third visit to see one of Britain’s great bands, and undoubtedly the best. Guy Garvey is a master of his craft, and Richard Jupp is always an inspiring drummer to watch. “Throw those curtains wide … ” Fabulous.

DJ Shadow – Hordern Pavilion, Sydney, 30 July 2011
An aural and visual overload. My senses were assaulted here, and I was left feeling almost post-orgasmic. The Shadowsphere, from within which the tunes are played, is a masterpiece of video visual technology.

Also seen in 2011
Los Lobos – The Domain, Sydney, 15 January 2011
The Naked And Famous – Oxford Art Factory, Sydney, 1-2 February 2011 (I was photographing the second show)
Good Vibes (Erykah Badu, Nas and Damian Marley, Fat Freddy’s Drop, Faithless, Phoenix) – Centennial Parklands, Sydney, 12 February 2011
The Seabellies – The Gaelic, Sydney, 17 March 2011
Peanut Butter Wolf – The Basement, Sydney, 26 March 2011
Seekae – Manning Bar, Sydney, 16 April 2011
Washington / Lissie – Metro Theatre, Sydney, 6 May 2011
UNKLE – Sydney Opera House, Sydney, 9 May 2011
Lissie – Oxford Art Factory, Sydney, 17 March 2011
Architecture In Helsinki – Sydney Opera House, Sydney, 29 May 2011
Chris Cunningham – Sydney Opera House, Sydney, 5 June 2011
Modest Mouse – Metro Theatre, Sydney, 25 July 2011
Gomez – Metro Theatre, Sydney, 1 August 2011
Cloud Control – Scala, London, 12 October 211
Tallest Man On Earth – Factory Theatre, Sydney, 20 October 2011
Harvest Festival (TV On The Radio, Bright Eyes, Mogwai, The National, Kormac’s Big Band, Portishead) – Parramatta Park, Sydney, 13 November 2011
Pretty Lights – Oxford Art Factory, Sydney, 1 December 2011

Locked in for 2012
Beirut, Flying Lotus, Manu Chao, Death Cab For Cutie, Elbow and more to come …

11/11/11 ... taken around 11pm.

Taken on 11/11/11 … at roughly 11pm. My gorgeous girlfriend and I decided to spent this moment at our favourite cafe, sipping red wine. Strangely, we began our amazing romance on 17/3. If you add 1 and 7 and 3, guess what you get? And 11 has always been my lucky number. I was born on the 29th (2+9) and as a young rugby player, I always wore 11 on my back. My father was born on the 11th, as was my cousin. And my name begins with T, a letter that when dismantled makes two lines, the very structure of 11. Add to that the fact that 2011 has thus far been the most wonderful year of my life. Coincidence? Who knows?

Inni, if you haven’t heard, is another Sigur Ros movie, filmed in 2008 at London’s Alexandra Palace before the band went on hiatus.

It’s described as “the definitive Sigur Ros live experience”, and having seen it, I have to say it was pretty immersive. Directed by Vincent Morisset, it’s shot beautifully and post-produced (I think) with 16mm effects provided by Karl Lemieux. Cinematography is provided by Rob Hardy. The movie looks fantastic, and the grainy black and white treatment strangely makes it feel more alive than it might in colour. The use of negative space in the shot selections was nothing short of breathtaking, and gave me a stack of ideas as a stills photographer, too.

Inni ... a lesson in the use of negative space.

I particularly enjoyed the interstitials between the live tracks, some of them depicting the band off stage, but others on stage in their early years, playing a tiny venue sometime back in the late Nineties. Those edits provide a barometer of how far the band has come over the years while also illustrating that it was always completely oblivious to any musical trends, choosing instead to create its own unique sound, which to this day remains like nothing else I have ever heard.

I was lucky enough to see Sigur Ros live in Sydney a few years ago, and it was an almost spiritual experience. Jon Thor Birgisson, a.k.a. Jonsi, is like no performer on Earth, and that is clearly on show in the movie. The other members of the band go quietly about their business behind him and together, the wall of sound they create is nothing short of epic. It’s an overused word in this Internet age, but in this case it’s the only appropriate word in the English language to use.

While the movie could never hope to match my Sydney experience, it went close, which is no mean feat. I’ve probably watched a thousand live concerts on VHS or DVD over the years, but I’ve never felt quite like I was part of the show that had been filmed. After Inni, I sort of did, and it was an effort not to jump up and cheer after every track.

Inni is not going to be everybody’s cup of tea. But if you’re in the right frame of mind, there is every chance this movie could leave you stunned in the most blissful way. Every Sigur Ros fan should certainly give it their full attention.

You can view the trailer at the start of this post, if you haven’t already. I’ve also linked to the first disc of live tracks, available via SoundCloud. (Thanks to my friend Graeme for the heads up on that one.)