Imogen Clark has just announced tour dates and released her new single and video ‘Your Anything At All’. Taken from her forthcoming sophomore album Collide, releasing on Friday April 27th, 2018.

‘Your Anything At All’ was written as a confident, defiant rebuke to ‘a recently ended, almost relationship.’ Pushing heartbroken subject matter aside, director Jeremy Dylan – collaborator on all of Imogen’s music video releases to date – has delivered an infectious, quirky narrative. Capturing Imogen at her most playful and engaging, we see the singer-songwriter and a love interest depicted in a variety of television show scenes; a tongue-in-cheek take on some of popular culture’s most well-known TV series.

Imogen says of the new single, “I wrote Your Anything At All in my head while on stage at one of my gigs. The song covers defiance and confidence in the face of self-doubt, and rebelling with strength against someone who’s made you feel worthless. There’s vulnerability but also sass in the song.”

Collide is produced by Australian music legend Mark Lizotte (Diesel) and Imogen tells, “I’ve largely been working in the alternative country scene up until now, so on this record I wanted to work with someone who understood that genre, but also had knowledge in plenty of other areas. Mark was the perfect person to help me achieve this broad, cross-over record which reflected the multitude of my musical influences. We captured everything I love to play and listen to, from country to folk and rock, and as such the album really represents the sort of singer/songwriter I want to be. It was a pleasure working with such a legend.”

Carrying on the tradition of the travelling troubadour songwriter, Imogen has spent the last five years touring tirelessly, both nationally and internationally. Supporting and playing alongside highly respected artists such as Diesel, Ian Moss, Daryl Braithwaite and Shane Nicholson, Imogen has quickly earned her place as “a mainstay in the Australian live scene”. She has also earned an abundance of songwriting and studio work credits, having cowritten two songs on Kasey Chambers’ #1 ARIA Award Winning album Dragonfly, and recording backing vocals on Shane Nicholson’s Love & Blood record.

Her debut album Love & Lovely Lies (2016) charted #15 on the iTunes Singer/Songwriter Chart and #15 on the ARIA Chart for Australian Country Albums with the album’s singles, ‘You’ll Only Break My Heart’, ‘Drawing Hearts’ and ‘Take Me For A Ride’ all enjoying success on the CMC Chart, Official Australian Country Airplay Chart and iTunes Country Chart.  

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A quick summary of the action / thriller Collide, which tells the story of Casey, a guy that quits his job working in the drug industry because the girl he likes, Juliette, won’t go out with him otherwise. Jumping forward, Juliette gets sick and there’s no way to pay for her treatment so Casey gets back in the crime business.

Big names Nicholas Holt (the X-Men franchise), Felicity Huffman (Rogue One), Ben Kingsley and Anthony Hopkins take the reins but even they can’t manage to keep Collide afloat. Time and time again do I question the role of a big star in a low budget film. Is it because the director/writer needs a big star to pull in the audience, perhaps because the actor can’t get any work or maybe the actor just wants something a little bit more ‘low key’ (though in the case of an action-packed film, I doubt this can be the case).

Why does Ben Kingsley always seem to be popping up in typecast roles? To be more specific, the bad guy with a foreign accent, fur clothing, bling jewelry or sunglasses and women surrounding him. As someone who is a fan of Marvel, I found the role of ‘Geran’ very Iron Man 3-esque.

Collide was one of those movies that could easily have been a short film and would probably have worked better as one. The pacing and narrative could have been cut down to a 10-minute short film (give or take) and in turn would have been a bit easier to accept the narrative arc.

It’s an odd thing to discuss about a film, but Nicholas Holt’s bright blue eyes aren’t as bright as the film would like them to be; they’ve been altered by a colourist. The main reason I talk about it is because the focus was on them a little too much and more specifically, unnaturally. I get that actors and actresses need to look their better selves even if they’re covered in splatters of blood and grim, but there should be a degree of realism so I couldn’t help but notice those subtle details that really should have stayed subtle.

Unfortunately, there aren’t any positive things to say about Collide. Its faults are too strong and despite my need for an enjoyable action thriller, I couldn’t find it in Collide.

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