The Parkers admit to Rae that they were forced to leave Coonaburra to escape the attention. When Matthew found out, he beat up McPherson, earning a restraining order. After further investigation, Rae learns that one of Lily's Coonaburra teachers, Neil McPherson, had sex with her. Catherine and Matthew reluctantly reveal that she merely disappeared for a few days, they panicked and reported, but she soon turned up at a friend's house. While taking their report, Detective David Rae finds that Lily has once before been reported missing. Against his wishes, Catherine contacts several people and finally the police. Matthew discourages her from contacting anyone, as he does not wish the family's business to once again become public knowledge. When the school calls to report that Tom and Lily have not been attending, she once again becomes worried, as a dust storm is forecast to hit the town. He reassures her that they must have gone to school before she woke up. Next morning Catherine oversleeps, and when she cannot find the kids, calls Matthew at work. Half asleep, he says nothing and goes back to sleep. One night, Matthew sees Tom leave the house, followed by Lily. When he can't sleep, Tom sometimes walks around the neighbourhood at night, an activity his parents discourage. Although the family is unhappy with the move, Matthew and Tom blame Lily for forcing them to leave the larger town of Coonaburra. Plot Ĭatherine and Matthew Parker move with their children Lily and Tom to the remote Australian desert town of Nathgari. The film did not have a theatrical release in its native Australia, but did receive a limited release in cinemas in the United States on 10 July 2015 by Alchemy. The film premiered at the Sundance Film Festival on 23 January 2015. The film stars Nicole Kidman, Joseph Fiennes, and Hugo Weaving. Strangerland is a 2015 drama suspense film directed by Kim Farrant in her directorial debut, and written by Michael Kinirons and Fiona Seres. But in its place Keane have crafted another accomplished, warm, and welcoming record, one whose open-hearted generosity of spirit ultimately proves hard to resist. Some listeners will doubtless lament the absence of strangeness on Strangeland (a record whose oddest conceit is to relegate its title track to the album’s Deluxe Edition). The second half of the record is less impressive, but the album reaches a fine finale on the spectral “Sea Fog”, one of the sparest and most haunting moments here. ![]() And “The Starting Line” quivers and shimmers before swooning into the album’s most alluring chorus. “On the Road” is a chunky, rollicking stomp, and entirely infectious. ![]() “Sovereign Light Café” is a nostalgia-drenched paean to the band’s formative years, complete with “sha-la-las”. Yorke-aping moment aside, Chaplin’s vocals remain as distinctive, robust, and appealing as ever, and he manages to give even the most clichéd of the album’s lyrics the commanding fervor of conviction.Īfter a solid start with the chugging “Disconnected” and the elegantly textured, Ron Sexsmith-ish ballad “Watch How You Go”, the album hits its stride at the mid-point with its three most satisfying songs. That Strangeland emerges as engaging and enjoyable as it does despite all of this, is down to the sense of warmth in the band’s interplay and the inviting tone that producer Dan Grech-Marguerat sustains across the record. The musical approach is sometimes derivative too: both the opening track “You Are Young” and the first single “Silenced by the Night” wear their U2-ish leanings firmly on their sleeves, while “Black Rain” is a reverent Radiohead pastiche boasting Tom Chaplin’s very best Thom Yorke impersonation. Although serviceable in context, Tim Rice-Oxley’s lyrics are too reliant upon such generic statements of empowerment here. Those adverse to anthemic uplift would be well-advised to steer clear of Strangeland, which consistently trades in buoyant melodies and lyrical exhortations of the “have faith in brighter days” and “we’re gonna rise again” variety. Heralded by the exhilarating whoops and “woohs” of its first single “Spiralling”, Perfect Symmetry drew – for the most part dynamically - on ’80s synth-pop, adding some fresh textures and an exciting sense of experimentation to the band’s material, sometimes dismissed as worthy-but-dull indie pop/rock in the Coldplay mould.įrom this perspective, the band’s new release Strangeland might seem like a backwards step, since it very much returns the group to the mode of chiming, mid-tempo piano rock established on Hopes and Fears (2004) and Under the Iron Sea (2006). A stylistic step sideways was taken by Keane on 2008’s Perfect Symmetry, their last full-length album.
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