S.T.A.L.K.E.R / Thomas Turgoose / Janelle Monae
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Features.Short Fuse. Fuse Musings The Fuse team’s thoughts
Fuse wishes...That all websites could be as good as www.thebestdinosaur. com. Remember how awesome dinosaurs seemed when you were 10? Well, now you can relive that childish excitement all over again by staring at a cartoon stegosaurus for as long as necessary.
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Friday May 7 2010
Fuse adores...The Wild Hunt. The new album from Swedish artist The Tallest Man on Earth. Basicaly, imagine if Bob Dylan could sing properly and then mix in the most incredible finger picking guitar; the result is an hour of folksy bliss that goes perfectly with warm summer evenings. He is coming to the UK in June so anyone who doesn’t have an exam the next day, can head on down to London to check out the best thing that Sweden has ever done for the world.
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Fuse thinks...spoken word poetry has found a new champion. The young American, George Watsky, eschews the seriousness that so often permeates through the poetry world and instead takes the piss out of his subtle lisp or his lack of girl action through high school. The resemblance to Michael Cera is slightly uncanny and recent forays into the world of hip hop are a little bit dodgy but can be forgiven because everything else is so brilliant.
Is there still life in the Dead? InHindsight Dawn of the Dead Director: George A. Romero
Like them or not, zombies have probably been the biggest draw for the cult horror market since the early eighties. Zombie films span genres and oceans, from Italian exploitation flicks like the Zombie Flesh Eaters series to home-grown affectionate parodies such as Shaun of the Dead, and typically have enough gore to make even Hannibal Lecter a little queasy (I challenge anyone not to squirm at the famous splintermeetseyeball scene i n Zombi 2 ) . But what kicked the craze o f f ? George A. Romero’s Dawn of the Dead is widely accepted as the codifier of the zombie brand, creating all the tropes you can still see used, and abused, to this day. However, in a world where CGI rules and explosions are given precedent over emotion, does the film hold up? Or has it dated worse than its hairstyles? Dawn of the Dead
opens with the pandemic already in full swing and follows four survivors (two journalists and two SWAT officers) playing house in an abandoned shopping mall. Unlike contemporary slasher films, the focus was on the human drama, the interplay of the survivors as they tried to adapt and their realisation that they’ve stumbled upon a consumer’s haven. Before anything else, Dawn is a social satire; Romero’s damnation of capitalism
It still has a pang of truth in today’s consumer society manifesting as the mall morphes from a material paradise into a prison beset by covetous enemies on both sides of human and zombie. It’s a criticism with a Cold War mentality, but it still has a pang of truth in today’s consumerist society. Perhaps one of Romero’s b i g g e s t revolutions came in his treatment of the zombie. It sounds odd, but he humanised them. Before this film, they were two-dimensional monsters existing only as threat and fodder. Romero invited our sympathies as well as our repulsion. We learn they act out of instinct, not malice like some humans who are shown to kill gleefully for sport. Romero’s zombies were transcendent, acting as metaphors in his greater social critique. It’s a technique oft copied, but rarely emulated. The film’s look
Poem
Clubbers’Guide
Sylvia Kruiniger Oh, Julie
Mod4it DQ
Hell’s bells, why did it have to be me At the end of the night stuck in the loos with Jules all alone? She must have vommed the volume of a small sea! The others are still watching Mr. Scruff shuffle that trombone. I mean really… what did she eat that was purple? Oh! Hello again Tesco Value cheese! I can’t help but feel this night’s come full circle. Ah alcohol, our nation’s favourite disease. She drank tonight because for Simon she’d stripped naked Whilst lying about how much she loved Daft Punk, Sadly he thought the sight not so sacred And told her he’s becoming a monk. For this, her black bile shoots out like an arrow And I look at my new shoes with sorrow.
Name Mod4it Who runs it? Matt Cottrill When is it on? The night is monthly and is on the first Friday of every month 11pm-4am. Where? Upstairs at DQ, Fitzwilliam Street What music do you play? ’60s Soul & Motown, British Beat Northern Soul & Ska. Beatles, Kinks, Jam, Stones, Marvin Gaye, Specials, Weller, Ocean Colour Scene Ticket Price? £5 Standard Attire/Uniform? No hard and fast rules but skinny ties & jeans, Fred Perry’s, button down Ben Sherman’s and Converse are timeless.
hasn’t dated well; you can plainly tell its age and modest budget. Whilst the costumes aren’t entirely convincing (one bit-part soldier’s helmet is obviously plastic), the gore is bright pink and the zombie makeup is variable at best, the acting is undeniably solid with each of the leads making their respective character grounded and believable. Ken Foree, who played Peter, did more with his face in this film than many actors do with their entire bodies. You only need look to the scene where he has to dispose of two child zombies: he says nothing, but you can see the disgust and self-loathing in his eyes and suddenly, the film doesn’t look so cheap anymore.
even Zack Snyder’s 2004 remake as this was not a film that relied on the cheap gimmickry of schlock horror. Here, the terror is a plodding anxiety that mimics the shuffling of the zombies; it’s a creeping dread that only comes when well-developed and likeable characters (a true rarity for horror films) are placed in increasingly precarious situations. Though it may have aged about as well as Marlon Brando, it’s not hard to see how massively influential Dawn of the Dead was and still is. Simply put, this film irrevocably changed horror cinema and without it, well... I’d rather be a zombie. Tom Wardark
Suddenly, the film doesn’t look so cheap anymore Gore hounds would be better off hunting down Romero’s follow-up Day of the Dead wherein the spectacle pioneered here by effects whiz Tom Savini is honed to bloody perfection. Those wanting leap-out-your seat, adrenaline pumping panic should try [REC] or
Ethos/Motto? Every new generation rediscovers Mod. It’s never going away. General Info: We want the whole night to have a look a feel of a house party taking place in a 1960s living room. Who’s played in the past? Neville Staple from The Specials
Who’s lined up for the future? Jimmy from Quadrophenia Any recommendations for a similar night? The West End Bar, 2nd Saturday of the month FREE entry. Next event will be Friday 7th May & Bank Holiday Sunday special 30th May.
Features.Short Fuse.
Rough and ready DJs
Clubbers’Guide Rough Disko The Harley Name of the night Rough Disko Who runs it? There’s two of us, and as well as being the resident DJs we do pretty much everything else between us. When is it on and how often is it? The first Friday of every month. Where is it? The Harley, although we’ve used a lot of different venues in the past What music do you play? House, techno, garage, UK funky, tropical, future dubstep, baile funk Ticket Price? £3 Standard attire/Uniform Wear whatever you like Who’s it for? Anyone who wants to come, really. We usually get a
good balance between students and Sheffielders. Ethos/Motto? We just want to put on the kind of nights we like going to, with DJs that we’re into. General Info about the night? We started it in 2004, and since then we’ve done monthly parties and occasional warehouse bashes in venues across Sheffield. We try to book DJs who haven’t played here before and who we’re excited about, whatever the genre.
Who’s lined up for the future? On 7th May, we’ve got Scratcha DVA (Hyperdub/Rinse FM) and Martin Kemp (Blunted Robots), with Greena (Applepips) and Monkey Steak DJing on 4th June
Catch Scratcha DVA is in action at Rough Disko (The Harley) on May 7.
InHindsight Almost Famous Director: Cameron Crowe
Kate Hudson charms as the enigmatic Penny Lane.
her performance as the wild, enigmatic Penny Lane. Leader of the Band Aids, Lane insists she is more than a glorified groupie, and manages through her charm and attitude to cause infatuation in anyone
who spends more than five minutes in her presence. The underlying themes running through the film are found more commonly in coming-of-age dramas – Miller loses his virginity, experiences an orgy, and finds someone after they’ve taken a near-fatal overdose. However, while these are all shown as defining events, none of them are emphasised in a way that is seen as negative; rather, Miller takes them all in his stride and together they
Miller falls in love, has his heartbroken and meets his heroes, and in doing so has to face reality. But, true to the message of the film, he manages to come out smiling and satisfied against all the odds.
The overall atmosphere of a summer to remember Crowe’s fourth directorial effort, Almost Famous was by far his swan song. Although he followed it up with both Elizabethtown and Vanilla Sky, neither had the both the charm and direction of his earlier films, and appeared almost vapid. Crowe always walks a fine line between naïvety and ignorance, and Almost Famous managed to err on the correct side of that, with drugs and sex down-played just enough to provide a slightly harder edge without taking over the entirety of the film. “Just make us look cool,” says Russell Hammond. Ten years later, and Crowe still manages to do that. Ace Carroll
Fuse wonders why...there are so many more weirdos on this year’s Britain’s Got Talent. We thought the show had reached a peak with Susan Boyle but they somehow managed to get even more surreal. It is probably wrong to laugh at people as they are ridiculed in front of the whole country, but when they wander on with the conviction that their rendition of a beloved song is actually good, it’s hard not to have a little chuckle. The female duo Different Dreams epitomise this with their whiny vocals and their combined charisma of a wooden spoon.
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“Just make us look cool,” says Russell Hammond
form the overall atmosphere and feeling of a summer to remember. It makes the viewer want to forget everything and go on tour, to form a rock band or be a Band Aid or just listen to music and dance with wild abandon. A must for anyone who’s ever listened to music, Almost Famous is Crowe’s love letter to rock ‘n’ roll. Strongly autobiographical in its parallels to Crowe’s life, Miller’s journey with Stillwater incorporates elements of Crowe’s own time on tour with the Allman Brothers, Lynard Skynard, the Eagles and Led Zeppelin, to mention but a few. At fifteen, Crowe was eager to interview bands that older, more experienced journalists thought themselves ‘too cool’ for, and Crowe seized every opportunity that he could. The film failed to break even at the box office, but quickly became a cult classic. Nostalgic without being overly-sentimental, one criticism of Almost Famous is that it’s almost too self-indulgent. The film seems to continue endlessly with no discernible driving force, no main conflict. But what these critics fail to understand is that the movie isn’t about where the tour takes you, it’s about the journey getting there.
Fuse has... wasted valuable revision hours watching incredible short films on the YouTube channel Future Shorts. One of our favourites includes t.o.m., an animation about a young boy who takes his clothes off before going to school. Tilt-shift time-lapse or “fake miniatures” is the next big thing in animation, and the Sydney-based photographer Keith Loutit is the master of it. Using a variety of techniques, his short film Bath Tub IV hopes to encourage you to take a second look at places that were once familiar.
Friday May 7 2010
Until you realise that its first showing at the Toronto Film Festival in the year 2000 was, in fact, a decade ago, Almost Famous seems surprisingly recent. Nevertheless, the film can at times seem even older as it takes place in the ’70s – the awkward era of transition between the Woodstockdefined ’60s and the onset of the obnoxious, irreverent time of punk. William Miller (Patrick Fugit), the baby-faced teenage journalist, would almost be seen as the epitome of the time that Crowe is trying to share with the audience. Naïve – at times painfully so – he never becomes jaded or cynical, instead remaining earnest and simply happy to be experiencing life. On tour with the quintessential rock band of Stillwater, Miller struggles to get a critical interview with Russell Hammond (Billy Crudup), the painfully cool lead guitarist who is aware at all times of his image and how he comes across to the fans. However, Kate Hudson steals the film with
The Fuse team’s thoughts Fuse loves...the 22 strong choral riot grrrl band that is Gaggle. They have a unique vibe which sounds like Songs of Praise on crack with dubstep infused electronic backing beats. And whilst they simultaneously sport matching technicolour cloaks, it all means you’ll probably never see or hear a band more surreal, sexy or scary in your life.
Who’s played in the past? Cooly G, Ben UFO, Toddla T, Mowgli, Jackmaster, Zombie Disco Squad, Bok Bok, Crystal Castles, Isa GT
Any recommendations for other similar nights? For us, the most exciting nights at the moment are Wee Bit Mean, No Uniform, Liquid Steel Sessions, Squelch & Clap, Krooked and Club Gore/Bad Taste.
Fuse Musings
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Feature.Platform Festival.
Giving students a platform The first student festival dedicated to performing arts in Sheffield made its debut recently. Kristi Genovese spoke to venues coordinator, Clare Colbourne.
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Friday May 7 2010
P
eople say money makes the world go round but the Platform Festival was all about creativity over commercialism. The wide variety of acts showed how all fresh and original ideas were welcomed with open arms. Venues coordinator Clare Colbourne said: “After the success of the student comedy festival we thought it would be really nice to do one dedicated to performing arts. “We thought it should be a weekend where anyone could put on what they wanted. We wanted lots of student written stuff that you wouldn’t normally see if it was a commercial thing.” The money raised will go to charity, specifically Cavendish Cancer Care and the Halifax based Actor’s Workshop. The events themselves were funded by £650 raised at an auction at Vodka Revolution in March. The idea was to get as many people from Sheffield involved, from people who had never written theatre pieces before to people who aren’t students at the University of Sheffield. Many of the talented actors that took part are already involved with Sheffield University Theatre Company (SUTCO) and the Performing Arts Society but the festival also welcomed newcomers. “The guy who played Jack in The Importance Of Being Earnest works in the Union box office. He had never done anything like this before and he’s the leader next year.” So how did a group of students organise a festival at the busiest time of the academic year? “We’ve had a committee where we’ve all had different roles in things like the publicity and the technical side. It was Selina Thompson’s brain child and she has driven it through from the very beginning. “But essentially everyone has worked together and been involved in ushering and carrying crap from venue to venue.” The festival had a DIY spirit to it and was very open and welcoming for people to put forward their ideas. Colbourne said: “It was really difficult to choose
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what acts we would put on. Sean who is in charge of content had the job of sifting through everyone’s ideas and we really wanted to give new people the opportunity to go ahead and do it. “Where possible we’ve just gone ‘Well, if you want to do it in the garden you can’ so we tried to be flexible.” While having fun was one of the main priorities for the team, they also managed to deal with thought-provoking issues based on student’s experiences. Colbourne said: “Stumped was a project to increase mental health in students. “A group of students asked people with mental health problems to write about them, and they took the documents and made a performance out of it. “It was really interesting and cleverly done and it focused on bulimia and depression.” The acts took place in venues surrounding the Union and the idea was to open up the venues to the Sheffield community. “The most interesting venue has actually been the Arts Tower which at first I thought would be a nightmare because it’s under construction. “But the guy that wanted to do it thought he would never get the opportunity again, so the festival’s about following what you want to do really.” Many students without performing experience took part and having fun was still at t h e t o p of the agenda. But the
But it hasn’t all been plain sailing for the first Platform Festival. At one point the Union porters didn’t know who the team were when they tried to get into a venue, which nearly put the events on hold. But with that being the only issue, the festival was a great success.
The maximum time spent rehearsing for each show was 12 hours. It was more like 6! “More people came than we expected! We were a bit worried because everyone we know who is into theatre was in o n e of the
acts, so we wasn’t sure who would actually watch it. “But we’ve had really strong audiences and a lot of people came that we didn’t know were coming.” The festival may have only been a brand new idea but the production team involved wanted to set their ambition high from the start. Colbourne said: “We had some big plans to do some outside theatre but insurance policy got in the way which was quite upsetting.” But with the first festival going so well, it looks like we’ll be seeing Platform blossom in the future. Colbourne said: “I think it will definitely happen again with a new group of people. It started off as a SutCo person’s idea but we tried to really branch it out to other societies and get as many others involved as we can.” If you would like to get involved with Platform Festival next year, email drama.festival@shef.ac.uk
professional standard and talent shone through, so it was quite surprising that they didn’t spend too long rehearsing. Colbourne said: “The maximum time spent rehearsing for each show was 12 hours. It was more like 6! “Everyone involved is quite talented and we didn’t want it to be a massive stress. We wanted everyone to come along and have fun.” Photo: Mohammed Alkahtani
Interview.Janelle Monae
We’re not in Kansas anymore Kansas-born Janelle Monae is causing a stir with her other-worldly and eccentric ethos. Natasha Parker finds out what makes her tick.
A
merica has spawned a new star in the form of Janelle Monae. This is woman who wants control. She wants a world with no genres, no discrimination and no boundaries. Lady GaGa may just have met her match. Your debut album Metropolis follows android Cindi Mayweather on the run after she breaks one of rules within the city of Metropolis. It was commonly held as ‘conceptual’ amongst critics. Do you think that this is a fair claim or is it a label you would rather stay away from? I don’t believe in categories and genres because the genres, categories and labels don’t do the music any justice. I don’t allow others to define what it is that I’m doing. It diminishes the art and the artist when you sum things up sometimes. It can be a bit boring. So yeah, I just create the art and let everybody else figure out what to call it. I’m not offended by it. It all means well, but this album, this project and what I do is genre-less. So now you’ve returned with your sophomore album The ArchAndroid, has the story continued here?
‘This project and what I do is genreless’ Yeah, it deals with the ArchAndroid – which is Cindi Mayweather. The ArchAndroid is said to be the mediator between the have and have-nots - the android community being the have-nots and the haves being the good people of Metropolis. There’s a curse on the androids, and they’ve been discriminated against. For them, the ArchAndroid means the world, she’ll restore balance and oneness and she’ll erase all the evil and discrimination that they’ve gone through. It’s a continuation, where it speaks about the Arch Android. Cindi isn’t running anymore. She’s living up to her responsibilities, she’s realised her superpowers and the things that make her unique. There’s an element of theatricality to your music which is noticeable by the storyline alone, is this your
love of theatre coming out through your music? Yeah sure. I’m a musical theatre lover by heart. I went to school in New York to study musical theatre at the American Musical and Dramatic Academy and I just wanted to do it on my own terms. I’m a director and a writer so I wanted to create a world where I could experiment and bring forth the characters that I thought were important. So I’m doing that right now with The ArchAndroid. We’re on tour and we’re getting into the world, the stage design and the characters and all that. It’s just something t h a t ’ s naturally in me. Doing things your way and on your terms is something that is very important to you, and you co-founded the Wondaland Arts Society, what does this mean to you? The Wondaland Arts Society is a collective of artists, from visual artists to performance artists, screen writers to recording artists and graphic novelists. You name it.
We’re not allowing our gender or our race to be a barrier between us accomplishing our goals. We want to help preserve art. We wear black and white, we believe we have a right to our imaginations and music is our weapon. Being signed to Sean ‘P.Diddy’ Combs’ label and working with Outkast’s Big Boi on your single ‘Tightrope’ has put you in good company. Have they given you any words of wisdom?
Just really to stay balanced in it all. This works with ‘Tightrope’ which is why Big Boi’s on the song, because both of us believe that having balance is the key to staying sane. Also in staying connected to the people. That’s my goal too. That’s why I wear a uniform of black and white. I represent the have-nots, the people that don’t have a voice to speak out. One of my parents was a janitor and the other drove a trash truck around and so I connect with individuals who are making nothing into something. Sean Combs is just a huge supporter. It’s a partnership and a very unique one because creatively we control ever ything within the Wondaland Arts Society.
Words such as ‘imaginative’, ‘innovative’ and ‘visionary’ have been used to describe you and your music, do you feel under pressure to live up to these standards? No, this is the beginning of my career. I’ll make some mistakes and do some great things, but the only pressure that I have is the pressure that I’ll put on myself. Again, I like to stay balanced. I don’t get too high over praise or accolades and I don’t get too low over opinions and critics. I stay very balanced. I’m not always seeking validation and putting myself under pressure based on any human being’s thoughts about what I’m doing. Given your background and passion for Broadway, do you think you’ll ever venture back into theatre and make a musical? Like I said, it’s in my blood, I’m doing this with my album. I’m doing everything that I love to do. I would love to take The ArchAndroid on Broadway, but in terms of ‘do I feel like I’m missing out?’ No, I’m the writer, the producer and the director and I’m doing everything on my own terms.
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Reviews.Music.
Requiem for a dream Album LCD Soundsystem This Is Happening
Three years on from the phenomenal critical success of Sound of Silver, James Murphy, returns with what is in his own words, may be the final album under the LCD Soundsystem moniker. The album begins with the nine minute slow-burner, ‘Dance Yrself Clean,’ all low key vocals and minimal synths, until a third of the way in when everything is let loose. The synths become crunching and heavy, the vocals a wail, and of course there’s cowbell. Murphy has always been willing to reference the bands and artists that
Album
The fifth full length release from the Montpellier born songstress places itself very much at the heart of maverick electronica. More songs are in English than on previous offerings, indicating Simon’s keenness to break into the mainstream outside France. In some respects The Big Machine is a pleasing creation. As a holder of a musicology degree from The Sorbonne, she evidently has full control of the programming and composition of her music, something borne out in the cohesiveness of this concept album about New York. ‘Rainbow’ begins proceedings with a fusion of euphoric brass sounds interspersed with mellower keys, documenting the uncertainty of relocating from Paris to New York. Confusion and disorientation are also intelligently articulated on other tracks such as ‘Ballad of the Big Machine.’ ‘Dreamland’ goes on to depict a city so surreal that
Fuse.
Friday May 7 2010
Emilie Simon The Big Machine
Singles
Kaci Battaglia ‘Crazy Possessive’
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“Call my man again and I’ll muck you up”. No, that isn‘t a joke. Harvesting all the creative zest of a fifteen -year-old ASBO bearer, Battaglia reassures us that should we desire the happy medium between a rejected Vengaboys B-side and a
escapism and safety can only be reached by immersion in its otherworldliness. Similarities between the voices of Simon and that of Kate Bush are often uncanny. This can be both a plus point and a big musical turn-off. On a positive note, Simon possesses the big vocal range and melodrama of Bush, lending itself to the theatre and emotion of The Big Machine. Unfortunately the two also share a penchant for high pitched and near incoherent wailing, which is a shame as it makes ‘Fools Like Us’ a lot less accessible. An interesting concept it may be, but Simon’s take on the inorganic sound too often makes one think of game boy music. One cannot help but feel there is only room for one La Roux. Besides, Hot Chip do it better. Alex Burgess
Album Bear in Heaven Beast Rest Forth Mouth
The hypnotic Bear in Heaven’s second album,
Monday morning wheelie bin collection, we need look Tom Fletcher
Eighties Matchbox B-Line Disaster ‘LoveTurns to Hate’ The song flirts with their typical sound but straight away there’s ‘whoas’ and chanting that you don’t expect from the garage punk rockers.
Beast Rest Forth Mouth manages to immerse and engross the listener with a series of mesmerizing, and sometimes confusing, tracks. The Brooklyn-based four-piece are intriguingly individual; an attribute which has brought them to the attention of the alternative music media such as the conceitedly opinionated Pitchfork, who placed this record on their list of the year’s best albums. The band has a talent for cramming epic sounds into short spaces which is seen right from the opening track ‘Beast in Peace.’ Its foreboding, tribal drum march builds to a frenzy, joined with frontman Jon Philpot’s eerie vocals, delayed guitar and bright synths before settling back down to a slow, comfortable pace. Beast Rest Forth Mouth finds its stride with ‘Lovesick Teenagers’, an evocative blend of flashing synth melodies, ambient effects and gentle vocal tones which shows them at their best and captures their characteristic sound. ‘Deafening love’ fades from a Bloc Party-esque intro to a Flaming Lips style experimentation with nods towards Pink Floyd. This vast spectrum of influences gives Bear in Heaven a distinctively unique, psych-
At its best, the first single since 2004 sounds like the drum beats and guitar riffs having a gut spilling fight. However, the repetitive chorus soon loses its appeal. Kristi Genovese
Ellie Goulding ‘Guns and Horses’ The third single from Brit Award-winning Ellie Goulding has been produced expertly to hold on
prog sound. The album only falters when the band gets too ambitious. There are times when their need to fill every song with enormous sounds results in a few minutes of confusing noise, like in the tedious ‘Dust Cloud’. ‘Fake Out’ and ‘Casual Goodbye’ are a striking way to close the LP. Two of the stronger tracks on the record bring Beast Rest Forth Mouth to an immense climax with a combination of haunting vocals and unwavering, polyrhythmic drums. Instantly impressive, it’s a fantastically crafted album and despite occasional trips, the band’s musicality shines though. Sam Bolton
Album KlakTik Must We Find A WInner
have influenced his career. Whether it’s reeling off his record collection in his first single ‘Losing My Edge,’ or using a photo of it as the cover art, as he did with Introns. Again he makes no disguise of the influences on show throughout This is Happening. ‘Drunk Girls,’ the album’s only obvious single, is three and a half minutes of no nonsense dance-punk, and bares more than a fleeting resemblance to the Velvet Underground’s ‘White Light/ White Heat.’ The guitar hook from David Bowie’s classic ‘Heroes’ is replicated in ‘All I Want.’ And it takes more than a double take to realise it’s not Iggy Pop’s ‘Nightclubbing’ you’re listening to, on first hearing of ‘Somebody’s Calling Me,’ which is a further nod to David Bowie and Brian Eno’s Berlin period.
There is enough recognition of artists past, and even his own previous work – the building, layered repetition and call and response chants throughout ‘One Touch,’ is reminiscent of Sound of Silver’s ‘Us v Them’ suggesting that the new album is a summary of the entire LCD Soundsystem project. If This is Happening does turn out to be the final LCD Soundsystem release, then ‘Home’ is a more than worthy final song. The closing lines, “If you’re afraid of what you need / Look around you, you’re surrounded / It won’t get any better” is perhaps a self-realisation, that the LCD Soundsystem vehicle has been taken as far as it can go. It’s reached the peak, so must burn out rather than fade away.
a Winner, our host charms us down a path of classical, orchestral folklore, crammed to the rafters with melancholic ballads and harmonious lullabies. Any album this mellow and intensely self reflective will probably intimidate your average Radio One listener back into their Scouting for Girls hidey holes, and an audience looking for a quick fix may find themselves fidgeting before the 55 minutes are up. But this is music for people who appreciate music as an art, not a commodity. Where the album sticks to its classic folk roots and lets our maestro off his leash, it ascends. ‘The 2nd Wave is Sometimes Bigger’ is a buoyant waltz establishing Bonke’s lyrical imagination. ‘Catholic Suicide,’ with a nice controversial title, flaunts a delicate flourish of perfectly
placed harmonies and a horn inspired crescendo; guaranteed to leave you satisfied. With a voice as deliciously soothing as a hefty spoonful of Calpol, Bonke sends us into a dreamland of vivid imagery and soul exploration. The oriental drums and psychedelic violins of seven minute epic ‘Tomme Domme,’ render the song a gorgeously creative trip down sensory lane. Perhaps this record’s most lovable factor is the manner of its composition. By spending a summer in their own converted house/ studio, Klak Tik were able to explore, experiment, and generally bugger about to their hearts’ content. The result is a brilliant début radiating with nonconformity, relaxation and musical majesty.
Jordan Tandy
Tom Fletcher
Given multi-instrumentalist Soren Bonke’s impressive CV, Klak Tik, had a massive burden from the word go, known commonly as hype. The Danish wizard is no stranger to bending genre barriers, but with Klak Tik’s debut, Must We Find to her mainstream market, but may not capture new fans. A far better demonstration of Goulding’s vocal talents, ‘Guns and Horses’ is distinctly more imbued with meaning than previous single ‘Starry Eyed’ but sadly still features that annoying synthesized reverberation effect. Leaving the jury out on the claims of ‘Electro-FunkPop’ as a genre. Patrick Williamson
Chiddy Bang ‘Opposite of Adults’ Chiddy Bang, the new masters of hipster-hop, have already gathered some sterling street cred with their debut single ‘Opposite of Adults.’ With more than 100,000 copies sold, the duo strike back with ‘Truth’, a Passion Pit-inspired party anthem that should make even the most die-hard indie posers bounce in bliss. Stephen Lloyd
Reviews.Music.
Yorkshire’s got talent while his aesthetic owes much to our American cousins, his song writing is authentically rooted in the experience of the Yorkshire everyman. It is a shame that more have arrived in time to see Oblong, the second band of the evening, at whom this criticism may be levelled. Their grunge influenced rock is played out with a great deal of enthusiasm, but makes little impression. They do improve as the set goes on however, particularly by closer ‘Disappointment’. The Crookes are a perfect antidote however, with their sprightly, nostalgic pop sensibilities crafted to a point where one might question if one has gone back in time to somewhere much, much happier. The lads clearly enjoy themselves on stage, particularly exuberant this evening. In keeping with their twee image, front man George Waite tells us they
Live South by South Yorkshire Academy 28/04/2010 A showcase of the county’s hotly tipped young talent, South by South Yorkshire promised to be an evening of great value, at only £2 for 5 bands as part of the Sensoria Festival. Nevertheless, opener Serious Sam Barratt puts in a performance worthy of a much bigger audience. Wearing a T-shirt emblazoned with ‘Texas’ across it, a trucker cap and playing his intricately fingerpicked rootsy folk with his eyes glued shut throughout, you’d be forgiven for thinking the young man has travelled across the pond to join us. However, tracks such as ‘White Rose’ reveal that
Live Chew Lips Academy 26/04/2010
Listening to Chew Lips’ album, Unicorn, is one of those times when it feels like a clearly talented band is just falling short of their potential. Despite some truly excellent vocals and lyrics, the London three-piece are not totally convincing on the musical side, with a fairly limited approach to song writing that apparently rarely elevates beyond pop pleasantries. Live, by comparison, Chew Lips are revelatory. The main difference comes from multi--instrumentalist
Dan Phillips
Live The Jessie RoseTrip The Forum 28/04/2010 Twenty-one year old Jessie Rose is certainly a colourful sight to behold. It is hard to decide precisely which part of her commands the most attention; her flaming red hair, eccentric dress or the endless bouquets of flowers, bows and glitter which adorn both the artist and the stage. That is, until, she begins to sing. Rose’s powerful, soulful voice is something special, and her jazzinfused songs are ablaze with life and energy. Upon the arrival of Jessie Rose, who bounds onto the stage wielding a guitar and a lipsticked smile, the room seems to be instilled with energy once again. In her charming, Mancunian drawl she proclaims that “this isn’t
the type of music for table sitting”. Rose is expertly backed by a strong three-piece band including trumpet player Johnny “Tiger” Thomson, who at one delightful point breaks out into a stirring rendition of George Gershwin’s ‘Summertime’ in one of his solo breaks. Rose’s repertoire is currently quite limited and conforms wholeheartedly to the pop/soul genre of artists such as Duffy. However, this style allows her to showcase her powerful voice, and experiment with different instrumentation including keyboard, trumpet and ukulele. Riddled with ska rhythms, ‘I Heard You Love Me’ sounds just like how a long hot summer weekend at a festival should sound. She will undoubtedly grow very tired of this comparison eventually, but Jessie Rose has the potential and the voice to be the next Amy, without the wine box. Or the crack pipe.
jesting with the sizeable crowd that he “does have a sensitive side.” Following the pretty opener was a jaw dropping set filled with the good, the better and the gloriously weird. As the set progressed, King Charles demonstrated the broadness of his vocal abilities. From melodic numbers, to rapping and rallying cries, it wouldn’t have been a total shocker had he cracked out ‘Nessun Dorma’ for shits and giggles. There’s no question, he and his band are natural and diverse performers. The man is also a wizard on the guitar; you name it, he played it. From the five minute Zeppelin-esque guitar solos to complex country finger picking, air
tapping and shredding, it was all there, and nothing seemed out of place. There was reggae, rock, there was even a jaunty piano led Scissor Sisters sound-alike, and it was all completely natural and ridiculously entertaining. Despite everything though, the closer took first prize. Being joined by the support acts on stage he thundered into an excellent cover of Billy Joel’s ‘We Didn’t Start the Fire’, one met with rapturous reception and mass sing along from the audience. A show full of musical twists, turns and surprises failed to disappoint on a night that no one would be forgetting anytime soon. Tom Fletcher
Lizzie Palmer
Live King Charles The Harley 28/04/2010
Sometimes there‘s something in the air, sometimes it‘s just a gut instinct, but sometimes there’s sure fire evidence that it‘s going to be one hell of a memorable night. As King Charles took to the stage sporting the extravagant attire a haircut worthy of Prince, The Harley was bracing itself for a treat. Guitar in hand, he kicked things off with a melancholic solo lullaby,
Fuse.
La Roux and her trademark quiff at the Academy on Monday night. Photo: Karthik Sundaram
performance on Unicorn; barely distinguishable from the rich production and long, powerful held notes, or that Tiggs is the one making those sounds at all. She’s tiny, elfin and almost childlike on stage. Even in the cramped quarters of the Academy’s second room she looks lost in the middle of the stage. She makes up for it though, with dance moves and timing cues that are most reminiscent of girls singing karaoke in to a hairbrush in their bedrooms. It’s a naïve enthusiasm that permeates Chew Lips’ whole live show.
Kyle Rice
Friday May 7 2010
Gig Gallery
and lead songwriter James Watkins. Infused with funk and rock sensibilities, the bass lines throughout the set were punchy, powerful and kick-ass. It makes every song they play a dozen times more interesting and highlights the smart rock and post punk influences behind Chew Lips’ style. Front woman Tiggs is straight up bloody brilliant. With an untrained, naturally rich voice that could be classic soul under different circumstances, Tiggs fills the room a distinctive and unique style that is genuinely amazing to hear. Her lyrics, too, are emotive and snappy, conveying feeling and a knack for a classic refrain. Live, it’s hard to work out which is more incredible: that her vocals are so close to their standout
The Crookes Photo: Paula Goodale
are going a ‘bit doolally’ in their apparently tired state. Rather. Unfortunately, more people bear witness to them than headliners Grammatics, which is perhaps inevitable when they aren’t to take to the stage until past midnight on a weekday. Shame on those that left early; they treat those remaining with a set ranging from out and out bombast to slow burning, hypnotic brood and manages to be catchy at both ends of the spectrum. Yes, this is pop Jim, but not as we know it: underpinned by the unconventional use of cello, distorted guitars and synths, they manage to create a mix of sounds that is utterly compelling in a live setting. Yorkshire certainly has talent, so it seems, it’s just a shame a few more of its residents didn’t come to be aware of it this evening.
King Charles takes to the stage at The Harley. Photo: Graeme Benson
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Reviews.Media.
Your dose of anti-Mail Radio Profile
question “what would Clement Atlee do?”
What does your last text message say?
The Sunday Snews Current Affairs
Who presents the show?
Pick that out the net! Diegoooooooo.
Matt and Jon. Describe yourself in three words.
Name of the show The Sunday Snews.
Sexy Himalayanus
When is it on? Sunday afternoons, 1.30 ‘til 3.00pm.
Tell us a random fact about one of the presenters.
What type of music do you play? Chilled out indie, soul and electro with a little bit of funk mixed in.
What is your strangest talent?
Describe your show in a few (several) words. Quality news analysis, chilled out tunes, technical inadequacy.
‘Jon’s Funky Time’ – a time for funk.
Matt didn’t write this, but now he wishes he did.
Editing images on paint so they look scarily real.
The Sunday Snews: Sexy Marmota Himalayanus. – finding the best/most outrageously idiotic news story/comment from the day’s Daily Mail
Who, or what, would be your ideal guest for the show (can be dead or alive)?
Biggest on-air gaffe?
Harriet Harman, we’d love to play Monopoly with her. Though it would be quite awkward when she doesn’t pick the iron.
‘Gulls News’ – Reporting on all the action affecting the football league’s 66th best team.
Playing Michael Buble.
‘Daily Mail Magic Moment’
Not enough.
How much prep do you do before you go on air?
If your show was an animal what would it be and why?
Thin. A Himalayan marmot. Herodotus once called us gold digging ants too. Though we’d hoard his gold dust any day. Finish this sentence in no more than 20 words: students should listen to our show because... .... in times like these you have to ask yourself the
Can you lick your elbow? Can you touch your nose with your tongue? Did you just try both/either of these things? Nope. Nope. Yes, in the middle of the silent study on level 5 of the IC.
Forge Radio schedule
Friday May 7 2010
“O, tis a precious apothegmatical pedant, who will find matter enough to dilate a whole day of the first invention of Fy, fa, fum, I smell the blood of an English-man.” - John Nashe, famous ladstronaut from Ladistan.
What are you wearing?
Do you have any features?
Listen online at www.forgeradio.com, in the Union or at The Edge
Mon
Tue
Wed
Thurs
Fri
Sat
Sun
8 - 9am The Monday Breakfast Show
8 - 9am The Tuesday Breakfast Show
8 - 9am The Wednesday Breakfast Show
8 - 9am The Thursday Breakfast Show
8 - 9am The Friday Breakfast Show
9 - 10.30am Heal Your Hangover
12.15 - 1.30pm 3 Girls Multiple Laughs
9 - 10.30am The Amy and Polly Show
9 - 10.30am Bizarre
9 - 10.30am Georgie and Charlie Gatecrash
9 - 10.30am Dale Wetter
9 - 10.30am The James and Tom Show
10.30am - 12pm Happy Monday Show
10.30am - 12pm What a Wonderful World
12 - 1.30pm The Noble Morton Sessions 1.30 - 3pm Gus and Sam’s Hour of Power (and 30 minutes) 3 - 4.30pm Harry Horton
Fuse.
4.30 - 5pm The News Session 5 - 6.30pm Eve 6.30 - 8pm Monday Like This 8 - 9.30pm Sports Desk 9.30 - 11pm Morgi Music
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Marmota
Finish this sentence in a unique way: Phi Fi Fo Thumb...
11pm - 1am Gutter Radio
10.30am - 12pm Unplugged
10.30am - 12pm The Matt and Sam Show
12 - 1.30pm The Pid and Imo World
12 - 1.30pm 100 RPM
1.30 - 3pm A Little Bit of What You Fancy
1.30 - 3pm Giulia and the Journos
12 - 1.30pm Something for the Week
3 - 4.30pm Film Unit Round Table 4.30 - 5pm Cricklewood 5 - 6.30pm Jed and Jen
3 - 4.30pm Fuse 4.30 - 5pm Blue Like an Orange 5 - 6.30pm PG Tips
6.30 - 8pm Forge Loves
6.30 - 8pm The Chris Conway Show
8 - 9.30pm Trance-4-Nation
8 - 9.30pm Chris’s Chillout Session
9.30 - 11pm Beats and Pieces 11pm - 1am Tom Bowles
9.30 - 11pm Dubstep Forward 2-Step Backward 11pm - 1am Ready Steady Crunk
10.30am - 12pm That Friday Show 12 - 1.30pm The Mandy Show
1.30 - 3pm Ed and Guy
1.30 - 3pm Ready for the Weekend
3 - 4.30pm Walk Talk
3 - 4.30pm Taut Ladies
4.30 - 5pm The News Debate Show
4.30 - 5pm Your Sport
5 - 6.30pm Don’t Upset The Rhythm 6.30 - 8pm Brewing Up Trouble 8 - 9.30pm Kristi Genovese 9.30 - 11pm Off The Beaten Track 11pm - 1am Musical Meanderings
10:30 - 12.00am The Punchline 12 - 1.30pm The Saturday Meltdown
5 - 6.30pm Schubert Lemon
3 - 4.30pm Owen in Rock
6.30 - 8pm 1337
4.30pm-5pm Mike and Ed’s IntraMural Round-up
8 - 10pm Liam White
5 - 6.30pm The Globetrotter 6.30 - 8pm Soon I Will Be Invincible
6.30 - 8pm Straight Outta Crookesmoor
8 - 9.30pm The Shrimps present...
9.30 - 11pm The Soundclash 11pm - 1am Bedrock
3 - 5pm SRA Chart Show
1.30 - 3pm The Cultural Implosion
5 - 6.30pm The Melting Pot
8 - 9.30pm The ‘Lovely’ Show
1.30 - 3pm Sunday Snews
9.30 - 11pm Keyboard Cats 11pm - 1am Under The Bed
Reviews.Screen.
An explosive comedy
Film Four Lions Out Now
Despite an obscure and troubling subject matter, Four Lions is an intelligent film which deserves admiration for a fearless attitude to dark comedy. Set in Sheffield, the film follows four useless suicide bombers and their attempts to fulfil their Jihad. The leader Omar (Riz Ahmed), is disillusioned with the treatment of Muslims around the world and wants change. His three compatriots agree and vow to fight for their cause. The problem is each member is pretty dire at their job. Fessal (Adeel Akhtar) is too busy making innovative bombs to be committed to the cause. Barry (Nigel Lindsay) is a psychotic white Muslim who suggests they blow up their own mosque. And Waj (Kayvan Novak) is simply an idiot. There is no denying this is all in pretty bad taste. But writer and director Chris
Film Iron Man 2 Out Now
round slimeball, Justin Hammer (Sam Rockwell), is doing the best he can to undermine Iron Man by trying to develop rival technology. After multiple setbacks, he gets the help he needs from a sinister Russian exphysicist turned criminal, Ivan Vanko (Mickey Rourke), who is driven by a personal vendetta against Stark. As in the first film, Stark’s exasperated PA, Pepper Potts (Gwyneth Paltrow), tries her best to keep him under control, particularly when he takes an inappropriate shine to new staff member, Natalie Rushman (Scarlett Johansson). The highlight of the film is without doubt Downey Junior’s performance, making the screen come alive every time he appears. Stark’s witticisms and
idiosyncrasies, as well as his arrogance and narcissism, are acted to perfection. It is this performance which further cements his place as the best of the Marvel superheroes to date. The clever dialogue also helps this film, showing Iron Man 2 to possess a level of depth which other comic book movies do not have. Rather than being a mass marketed blockbuster, the film feels as if it has been made by a team that have the project close to their hearts, which is rare in such a big release. However, the film is not without some major faults. Unfortunately what the film provides with script, it takes away with largely underwhelming set pieces and special effects. Mickey Rourke’s laconic approach to the bad guy is adequate. But the face-offs
every performance successfully mocks and mimics the stereotypes surrounding young suicide bombers. However the film does not live up to the satirical nature of Morris’ previous works.
between him and Ironman were predictable and clunky. The first face-off at the Monaco Grand Prix circuit does not live up to the ambitious setting and the final show down really is not as good as it should be. Overall the film conveys a sense of missed opportunity, losing the chance to reinforce the Iron Man franchise as the best of the Marvel films. It is a passably enjoyable movie. But with the faults it is just all round average. Charles Dennett
DVD WhereTheWild Things Are Coming Soon
Fuse.
Adapted from Maurice Sendak’s classic picturebook, Spike Jonze’s Where the Wild Things Are tells of a young boy’s journey to a mysterious inhabited land. We are first introduced to Max (Max Records) and his difficult relationship with his mother and sister. It’s here we see a rather shocking yet comical scene where Max, dressed from head to toe in a wolf-suit, bites his mother. Following this he runs away to the land of the Wild Things. It is once Max has his
Max (Max Records) and his 10 foot tall wild friend. initial encounter with the ever appear truly happy. 10 foot tall creatures that They seem to border on the film takes a turn for the depression - perhaps a worse. subject that a younger Transposing such a short person cannot understand. story to screen was always The overall look of the film going to be a difficult task. is impressive and the Wild But the empty plot does Things are highly detailed in not maintain any curiosity their movement . or interest. Perhaps this The DVD release comes film only appeals to a with four short behind-theyoung target audience, scenes features, but they but other children’s films are not worth while. can entertain far wider Despite solid acting and audiences. a polished feel, the chronic Even more disappointing bleak thoughts and lack of is the melancholic feel plot mean the film fails to throughout the film; neither stir any emotion. the Wild Things nor Max Adam Saunders
Friday May 7 2010
Iron Man, arguably the most successful of Marvel’s onscreen endeavours, is back. But the sequel is by no means the film that the first one was. With the world now familiar to Iron Man and Tony Stark (Robert Downey Jr.) being one and the same, Stark is now under pressure from the US government to hand over the Iron Man ‘weapon’. Stark insists it is a peace keeping tool and would be safer with him. Meanwhile, whilst Stark’s celebrity status is growing, his business rival and all
An unhappy Hassan (Arsher Ali) in his upside-down clown suit. Morris has never been shy topic hits a raw nerve, the dazzling. Switches between of controvers – previous film is not offensive per se. amateur and professional works like Brass Eye and What Morris cleverly does camera work means the Nathan Barley have proved is mock the stereotypes film can merge attributes that. that society holds towards of a Hollywood movie with But it is this bold, sardonic Muslims. the rugged feel of a British attitude which makes the Like the plot itself, the comedy. film a success. Though the production is raw yet With regards to acting,
Morris is famed for taking dark humour to new depths, often skirting the borders of what can be broadcast. While this may win him fans, this is not a recommended long term strategy. Four Lions seems toneddown to avoid the same scenario and the picture suffers from this selfcensorship. This is not to say the film is a watered down, average comedy. The jokes are frequent and consistently on target, but it could have been better had it taken a little less care about who it offends. Another problem is that the first half of the film is so humour intensive, that the slower character development of the second half disrupts an otherwise seamless comedy. The slow-down in momentum is just long enough to cause a momentary lapse of interest. However these flaws are miniscule and do not warrant intense scrutiny. The dark subject matter, satirical generalisations and overall polished feel assure Four Lions is an intelligent comedy which amuses at every turn. Ashley Scrace
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Reviews.Games.
Fisher at the end of the line
Multiplatform Splinter Cell: Conviction PC and 360
Splinter Cell is recognised as one of the most successful stealth orientated games franchises; often known for kitting its lead protagonist Sam Fisher being kitted out in numerous gadgets as well as a pretty patriotic attitude, this is a Tom Clancy franchise after all. This time however things are a little different, Fisher’s daughter, also known as his ‘only reason for living’, is dead, as well as this the organisation he previously worked for has betrayed him. This all means that this time round Fisher is not exactly working with a big budget, in the first few levels you will be using a broken car wing mirror to look under doors. It also means that he is really angry; to sum up
the new gritty, off the radar and slightly insane Fisher think Jason Bourne meets Batman. Conviction brings in some new and really interesting ideas. For example rather than pop up or pause menus telling you what your next objective is, the words are projected directly onto the environment. This gives a really good sense of immersion and is often used to great cinematic effect; you may see your deceased daughters name projected onto one wall only to turn around and see the a looped video of her killer projected onto another. Visual tricks like these really put you into Fisher’s head, which makes you feel a little uneasy about his current state of sanity, and this of course makes it a lot more exciting. There are totally new gameplay additions that really add a new dimension to combat; for example if you are spotted by an enemy it is no longer game over, instead your last known position to the enemies is
shown as a white hollow shadow of yourself. This means that you can use this position as bait in a trap and take an investigating goon out from behind, the flanks or even above; more adventurous players will get spotted on purpose to create scenarios where they can command the action. Another good feature is ‘Mark and Execute’, a move that allows you to mark enemies and with the pull of a trigger to instantly execute them; obviously this makes you a total badass. This ability is only gained after you have completed a melee kill, while this does seem a bit gamey, especially in contrast to the realism and immersion that the game seems to aim for but it does bring a good balance to how powerful you are and also forces you to use a more varied range of approaches to become an effective killer. Features like these mean that a stealthy approach no longer makes you feel frail but completely empowers you; Fisher isn’t hiding in the
Never let your eyes wander at the urinal when standing next to Sam Fisher shadows because he has all require you to play the fire fights with an impressive to, he’s shooting out lights game slightly differently; range of guns or slip and creating distractions so there is also an extremely through the shadows using that he can strike fear into enjoyable coop story mode, your cunning to overcome those who have pissed him if you can find a friend to obstacles and enemies in off before deciding whether plan out the action with this clever and terrifying ways. to sneak past or create a can get really interesting. This game has a really corpse. Some of the characters sleek presentation and Multiplayer makes a really and narrative can seem numerous visual tricks to good appearance in this a little forgettable, which keep you entertained while game. While the multiplayer is a shame because the combat is as complex or menus themselves seem story is presented in such simple as you want it to be somewhat out of date and a striking and original way; making this departure from generally confusing there is gameplay however is really a fairly linear series really a good variety of co-op and good, giving you the option enjoyable. versus game modes which to engage in near constant Daniel Rowbotham
Freeware
Kick-Ass has made violent little girls en vogue about. Ridiculous haircuts, irritatingly needless dialogue and swords the size of kitchen tables, Blazblue:Calamity we’ve seen it all before. So where’s this freshness? Trigger this title is promoted PC, 360, PS3, PSP and asWell, a much more beginner Arcade friendly fighter. Even the most inept gamer will feel like a spiky haired cartoon ninja within the first fifteen button mashing minutes. Fighting games have The controls are slick and definitely taken a nosedive simple whilst maintaining a since the glory years; smooth reliable connection Tekken, Soul Calibur and with the player. Complete Mortal Kombat have had control is assured. Whereas very few challengers to the many fighting titles beat-‘em-up throne since perhaps suffer from over the turn of the millennium. complicatedness, BlazBlue BlazBlue though, despite strips it all back. a horrendously daft name, This isn‘t a completely supposedly offers an positive factor though. Sure alternative to the formula it’s nice for your seven year that we’ve seen time and old brother to string together time again. In terms of a ludicrous combo on his breaking ground though, second go, but where’s there is very little to boast the reward for the loyalty
Multiplatform
Fuse.
Friday May 7 2010
Warning Forever tinyurl.com/clxqv
14
and effort that a hardcore gamer will put in? The learning curve is very brief and often unrewarding. The standard annoyances of fighting titles are also still present for experienced gamers. For example: there’s little punishment for someone who simply mashes the crotch kick button over and over until you’re left twitching on the ground in a puddle of tears. An experienced Tekken player would have you against the wall in no time whatsoever. As innovative as it may sound, an RPG story mode isn‘t half as worthwhile as you‘d think. Nobody really cares about the geezer with massive hair and his half baked personal issues with some Japanese super villain. Put simply, stick to the arcade fighting and multiplayer modes.
The infectious ease and relaxed nature to the short term gameplay will have you hooked. Beware, experienced fighting gamers though, the simplification and short term punch of BlazBlue may well leave you dissatisfied in the long run, in fact you‘ll probably clear the arcade mode on your first attempt if you‘ve played fighting games before. However, for a casual gamer this hugely entertaining stuff. If you can tolerate brain melting music and a sense of nostalgia for just about every Japanese fantasy title ever created, BlazBlue is a solid, enjoyable newcomer onto the beat ‘em up scene. Tom Fletcher
Everyone knows the only really interesting parts of any SHUMP (shoot ‘em up) are the boss battles. hulking enemies which dwarf the player and fire a billion projectiles at you in the time it takes to blink. Hikoza T Ohkubo understands this better than most and in the name of fun and efficiency has stripped all the superfluous stuff like power ups and other enemies away. The result of this brave step is Warning Forever. This freeware game pits you and your tiny ship against the same boss again and again. Each time he dies, he evolves to counter the player, becoming
increasingly difficult to dispatch. These evolutions are in fact directly influenced by the manner in which you previously defeated him. Areas which were targeted first expand and grow into, gaining new layers which you have to penetrate through to reach the delicious weak point centre. If your ship spends most of its time up close, the boss may evolve to incorporate moveable arms to swat it out the sky. If you keep your distance, giant lasers may be added to blast you to pieces. As the game progresses the simplistic gameplay becomes more frantic. You’ll find yourself constantly dodging to and fro to get close enough to eliminate a particularly deadly arm at its root or even just to stay alive. The real draw of Warning Forever however is the replay value. You may find yourself loading it up when you should be finishing your dissertation just to try and see what new shapes and forms you can force the boss to take on. As you begin to understand the mechanics of his evolution the game turns into some sort of abstract bonsai tree simulator. A snip here, a bit of blaster fire there and you can make something unique. Which will then most likely proceed to destroy you. Ohkubo has more innovative and more importantly free titles in the same vein on his website, nearly all of which are highly recommended. Brendan Allitt
Reviews.Arts.
The waiting game Gallery Writers of Influence: Shakespeare to J.K. Rowling Graves Gallery
Writers of Influence: Shakespeare to J.K Rowling could be the one of the most successful exhibitions in the past few years at the Graves Gallery, bringing portraits of great writers, all of which can normally be found at the National Portrait Gallery. The exhibition is not the only noteworthy aspect, as the retrospective is a collaboration between Museums Sheffield and its Young Curators, a group of Sheffield’s 15 to 19-yearolds who have picked the pieces, developed the themes and written the captions. They were assisted by youths from partner galleries in Southampton, Plymouth and Sunderland showing that even the more technical aspects of the exposition helped form a creative community. What is intriguing with Writers of Influence is its willingness to tackle the political and social issues raised by the authors’ work
or lives. Post colonialism and the advent of the first African American president is alluded to in Zadie Smith’s photographic portrait, the empty white backdrop representing the dominant whiteness in western literature. The beginnings of African American literature and the history of slavery are represented by an engraving of Olaudah Equiano. Other stigmatised, isolated, artists are also depicted. Elliot Fry’s portrait of Oscar Wilde sits alongside an iconic image of Ian Curtis by Kevin Cummins, capturing his tormenting depression. The struggle of feminist authors is discernable in the moving picture of Angela Carter. In Virginia Woolf’s portrait by her sister Vanessa Bell, the warm colours and sweeping brush strokes mirror the author’s preoccupation with scratching the surface of domestic life. In A Room of One’s Own, Woolf asked ‘What would have happened had Shakespeare had a wonderfully gifted sister?’. And the Bard crops up here too, in John Taylor’s Chandos Portrait, often regarded as the most accurate likeness of Shakespeare. Taylor has caught the realism and humility of Shakespeare’s expression, as the beauty of this centre piece lies in the
John Taylor’s portrait of the Bard. chiaroscuro, the golden earring contrasting with the overwhelming darkness, emphasising the writer’s StillWaiting masculinity. Elsewhere, visitors can Drama Studio see images of celebrated poet Ted Hughes, as captured by the equally acclaimed Henri- Cartier Bresson, while the perfectionist aestheticism of Few lives are stranger than Aldous Huxley’s Brave New fiction. So finding a creative World is felt in Man Ray’s hook amongst the tedium of being a snoring, stinking, symmetrical composition. This is an unmissable stropping human isn’t easy. exhibition, which evokes For this play’s writer-director, Huxley’s words: ‘If you say the burden is even heavier, absolutely everything, it as Dominic Gee-Burch pays all tends to cancel out into tribute to his grandparents nothing. Which is why no by painting a moving portrait explicit philosophy can be of their struggle through the Second World War. dug out of Shakespeare.’ This is a story with great Iris Provias ambition. Its timeline spans
Theatre
The Comedy of Change Lyceum
The Importance Of Being Earnest SU Auditorium
Last issue we brought you a preview of the Rambert Company’s Comedy of Change, where one of the show’s science consultants revealed the inspirations from the animal kingdom which guided the choreography. The Comedy set a brooding tone after the first piece. The two-tone black and white jumpsuits donned by the dancers for the first phrases were designed to represent the different characteristics of organisms and their ability to blend in or stand out against nature. Their slow, deliberate early movements were particularly apt phrases for representing bodies testing themselves reflexively against their environment and each other, concealing and revealing themselves against the eerie backdrop of the stage, a heavy black canopy bathed alternately in green and golden light. This prevailing darkness, and the chitinous white cocoons from which each dancer first breaks free, evokes a deep and primordial emptiness,
The Importance Of Being Earnest may have been written over a century ago but the Platform Festival managed to inject a fresh and lively approach. The cast was a mixture of experienced MA theatre students to people who had never acted before in their life. Every actor dived into character and immersed themselves in roles that showed off genuine talent. The set was very minimal but this allowed the acting and brilliant script to shine through. The basic synopsis of the plot is that characters adopt a fictional identity so that they can escape from social obligations, while at the same time playing on the pun of the name Ernest. The Platform version follows the same plot and chooses the best of Oscar Wilde’s witticisms that caused the crowd to burst into laughter. Algernon and Jack are best friends who soon find out that each of them make up the names Bunbury and Ernest, respectively, when
The Rambert Company portray evolution in dance. nature in its obscure and interactions of the dancers precarious beginnings. The became more individual, dancers mould their bodies though they still danced into outlandish but symbiotic in imitation of each other. shapes, create pyramids With their faces masked, and linked movements, the dancers at once seemed becoming ever more fluid, something closer to human complex and nuanced. but also more unsettling, The visual metaphor more predatory - in fact I for evolution is deft and was convinced I had found a strangely mesmerising, and candidate for a new Doctor we could even see the logic Who monster race. of the animal mating rituals Watching contemporary discussed at the preview dance can be difficult if at work. Each phrase was you’re not a devotee - it a cycle of synchronisation, requires a dedication variation, imitation and of attention. However rejection. it’s impossible not to be Later, the males adopted impressed by the poise and full white suits and the control on display, and if let female black. Possibly this yourself become absorbed was intended to represent every single move is open to the emergence of bigger, a world of interpretation. differentiated species, and Richard Scott
they fancy a little break. Two women, Cecily and Gwendolen, fall in love with the men believing that they both have the most desirable name of Ernest. Cecily is most impressed by Algernon while Gwendolen falls for Jack. But when the two women meet each other and both speak of marrying somebody called Ernest, a storm soon erupts when they initially think it is the same man. Ciara Wood and Rosie Bunsell portrayed this friction very comically. Cecily asks Gwendolen if she would like some tea and when her reply is “sugar is no longer fashionable” Cecily decides to put as much in the tea as she possibly can. She also throws a piece of cake at Gwendolen when she snubs her offer. Lady Bracknell, Gwendolen’s controlling upper class mother who enjoys a sip from her hip flask, was played brilliantly by Clare Colbourne, with apt and believable facial expressions. Wood, as Cecily, swiftly assumed the role of a pretty and desirable young woman, while leading men Matt Mitchell and Peter Grady had a chemistry that evoked everything well-off bachelors should. The play soon has its twists and turns when it emerges that Miss Prism, the governess of Cecily, has been keeping secrets with implications for the whole
cast. The play ends with profound and spectacular irony, summed up in the line “I’ve now realized for the first time in my life the vital importance of being earnest.” While this may not sound like the easiest story to follow, the actors pulled it off with such great success, so that this was an amusing piece of theatre, overflowing with talent. Kristi Genovese
Fuse.
Theatre
is slightly troubling, as the narrative comes to a natural conclusion at the end of the first. However, Act Two narrowly avoids redundancy by refocusing the storyline, and honing the play’s themes. One of the braveries of Still Waiting is its portrayal of Chaplin, the friendly Nazi prison guard. This in itself is a compelling concept, which reminds the audience that many Germans were forced into the war just as much as the Brits were. But while the play removes blame from the rank and file troops, it fails to refocus that blame on any tangible source of evil, and comes too close to ignoring the fundamental fact of Nazi complicity in the war’s greatest atrocities. As a tribute to the writer’s loved ones however, Still Waiting is a slightly oversentimental success. The story engages, with a large cast of characters who are each neatly woven into the narrative. Particular praise goes to Todd Baker who, as the charismatic life-ofthe-camp Wilkie, makes a uniquely sincere connection with the audience. In a sense, the same can be said of the play in general. It might not add much to our understanding of WWII, but it forges a link between conflict and thinking, feeling, caring humanity. Robert Cooke
Friday May 7 2010
Dance
decades, dipping in and out of enemy territory to follow Harold, trapped in a Polish prisoner of war camp, and Joan, back home in Blighty. But despite these grand aspirations, Still Waiting begins with a little too much caution. As Harold and his fellow soldiers Phillip and Simon are captured and tortured, the performers seem a little too focused on sounding scared without seeming genuinely gripped with fear. This clashes clumsily with Stephen Hall’s German radical, who is more Bond villain than ruthless renegade. Simon, played by Sean Gannon never quite escapes this routine. Throughout the play he screams and shouts with a ferocity that flirts with psychosis, but which lacks the conviction to seem threatening. Similarly Jono Wells as Jim, plays the token daft northerner with a self-awareness that seems all too conscious of the frustrating cliché his character perpetuates. This risks distracting from Rob O’Connor’s powerful performance as Harold. He works his stage presence with such subtlety that he is a natural focal point rather than a suggested one. The second act in particular gives O’Connor the space to speak movingly and powerfully, adding precise depth to Harold’s character. The second act in itself
Gwendolen and Jack.
15
Fuse.listings Friday May 7 - Thursday May 20 2010
email: listings@forgetoday.com
Fri 7
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Mon 10
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Wed 12
Thur 13
Ensemble 360 & Peter Cropper @ Studio Theatre; £2; 7.45pm Kicking off the Music in the Round May Festival 2010, Ensemble 360 and Peter Cropper will perform a program that covers Mozart, Beethoven and Schubert.
Sheffield Sci-fi, Comic and Card Fair @ Showroom; Free; 12.00pm If you know your Alan Moore from your Astroboy, you might be interested in the range of comics, graphic novels, manga, original artwork and film and TV memorabilia available here.
Repo Men @ Cineworld; £4.90; 11.15pm A dark comic sci-fi thriller with a great concept. In a utopian future where bodily organs can be bought on credit, the film follows the men tasked with repossessing the hearts and kidneys of their unwilling debtors. Jude Law stars, fresh from the success of Sherlock Holmes.
Jace Everett @ Boardwalk ; £12; 7.30pm The American country singer, whose song ‘Bad Things’ features in the opening credits of True Blood.
Roleplay @ Library; £7; 7.15pm The Tudor Players present Alan Ayckbourn’s comedy about the meeting of a couple’s respective parents over dinner, featuring alcohol, bigotry, a former lapdancer and a gun-toting minder.
Annie @ City Hall; £7; 7.15pm The long-running Broadway musical starring an eleven-yearold orphan comes to City Hall. The show features classic songs including ‘Tomorrow’ and ‘It’s the Hard-Knock Life’.
Humbug! Celebrating 200 Years of PT Barnum @ Western Bank Library; Free
Bat Walk @ The Beighton/Drakehouse Lane Supertram Stop; Free; 8.00pm For a different kind of evening wildlife experience to that offered on West Street, take the Bat Walk along Ochre Dike - but don’t forget to bring a torch! Last Laugh Comedy Club @ City Hall; £16; 8.00pm This week, Last Laugh Comedy Club is headed by energetic Geordie funnyman Richard Morton, winner of the Time Out Comedy Award and writer of hilarious comedy songs.
Monster O’Rock @ Corporation; £14; 3.30pm Corporation hosts a day of dubiously named but diligently hard-rocking tribute acts including Guns N Roses Conspiracy, Temallica, The Dirt and PanteraPlan.
Westlife @ Sheffield Arena; £38; 7.30pm The eternally fresh-faced boy band to end all boy bands bring their live show to Sheffield, with visuals orchestrated by Kylie and Bjork collaborator William Baker.
Stornoway @ Fusion; £8; 7.00pm This Oxford troupe, having wandering into public consciousness through the banjoshaped hole created by Fleet Foxes and Mumford and Sons, promise to provide a rather lovely evening of folk-pop.
The Café Band in Vienna @ Firth Hall; £8; 7.30pm The Café players are an ensemble mostly made up of members of the Orchestra of Opera North and inspired by the live music of Viennese coffee houses at the beginning of the nineteenth century. The Cheek @ 02 Academy; £6; 7.00pm
Sheffield Skeptics in the Pub @ The Lescar Hotel; Free; 7.30pm Self-proclaimed “campaigner against nonsense” Simon Perry will give an informal talk entitled ‘Skeptical Activism and the Quacklash’. The talk will explain the methods by which he has exposed dangerous scams and dodgy sales.
Indie-pop madness from the band formerly known as Cheeky Cheeky and the Nosebleeds. The show is part of a short headline tour wedged between support slots for The View and this summer’s festivals.
The Australian Pink Floyd @ Sheffield Arena; £33.21; 8.00pm In the absence of the real deal, The Australian Pink Floyd show returns to Sheffield Arena to provide us with a memorable dose of classic prog, extended intros and projected iconography. The Happy Dabblers Art Exhibition @ Coterie Gallery; Free The North Sheffield Monteney Art Group is exhibiting a new body of work, featuring 24 local “mature” artists in a variety of different genres and mediums. Original art can be purchased.
An exhibition on the life and legacy of PT Barnum, displaying rare memorabilia, the work of local sculptor Anthony Bennett and a series of banners by BAFTAwinning artist Mark Copeland depicting key moments in Barnum’s career. Sheffield Farmers’ Market @ Sheffield City Centre; 9.00am An opportunity to sample the produce of Sheffield’s farming community, including home-made jams, pickles and chutneys as well as fruit, veg and meats.
Peter Green & Friends @ O2 Academy; £20.00; 6.30pm Blues master and Fleetwood Mack cofounder Peter Green follows his 2009 return to live shows with a new UK tour, featuring a new band.
Eyes Front @ Lantern Theatre; £8; 7.30pm A production from singer and broadcaster Isla St Clair and film maker Patrick King. Made up of storytelling and film clips, the show looks at the role of music in war time.
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Mon 17
Tue 18
Wed 19
Thur 20
Charlie Don’t Surf! @ The Broadfield Hotel; Free; 9.30pm Most of the members of this Apocalypse Nowinspired troupe have been playing in and around Sheffield in some form or other for the past thirty years; catch them at The Broadfield for some experienced rocking out.
Toilet Tango @ City Centre; Free; 12.00pm Rodrigo Pardo is converting an empty Sheffield window space - belonging to CTP St James’ in St Pauls Place near the Winter Garden - into a one metre bathroom for his ten-minute drama-filled dance, performed by Pardo and new partner Claudia Jakobsen.
The Vortex @ Fusion; £8; 7.30pm
Diana Vickers @ Leadmill; £12; 7.30pm The X Factor runner-up and creator of the Diana Vickers Claw is touring in support of her longawaited number one single, ‘Once’.
Jamie Cullum @ City Hall; £40.87; 7.30pm Jazz-pop king Cullum - whose ‘Gran Torino’ recently claimed Golden Globe for Best Original Song - continues on a string of successful live shows across the world.
The Billy Walton Band @ The Boardwalk; £10; 7.30pm From New Jersey come The Billy Walton Band, whose mix of classic rock and blues recalls Jimi Hendrix and Eric Clapton.
Paloma Faith @ 02 Academy; £13.50; 7.00pm The singer, songwriter and sometimes actress Paloma Faith is embarking on her first ever headline tour after the success of her debut album, Do You Want the Truth or Something Beautiful?
Jonathan Bratoeff Quartet @ Polish Cathedral Centre; £10; 8.30pm A UK appearance for this New York-based group, whose contemporary style incorporates African, rock and Latin music as well as jazz tradition. True West @ Crucible; £1 - £19; 7.30pm
A story of sibling rivalry and Hollywood hypocrisy, set in the heat of the California suburbs. Nigel Harman and John Light star as screenwriter Austin and small-time crook Lee.
Chiddy Bang @ Foundry; £7; 7.00pm The Philly force behind the MGMT-sampling ‘The Opposite of Adults’ comes to the Union, doubtless bringing numerous great indie and electronica beats with them. Mr Hudson @ Plug; £12.50; 7.30pm Having recently toured and conquered America on the back of his The Blueprint 3 guest spot, Mr Hudson returns to Sheffield with support from TInie Tempah.
Ex-Oasis guitarist Bonehead - sideman during the band’s early classic period - will be coming to Sheffield accompanied by his new band. C.W. Stoneking + Gemma Ray @ Stockroom; £8; 7.30pm C.W. Stoneking, aka King Hokum, and his band The Primitive Horn Orchestra stop off at The Stockroom on their lengthy European tour; also appearing will be the Jimmy Pageendorsed Gemma Ray.
IDAHO @ Peace Gardens; Free; 5.30pm The International Day Against Homophobia and Transphobia will be represented by a number of key speakers. The theme this year is ‘Sheffield - In The Pink’ and you are invited to bring pink flags and streamers or wear an item of pink clothing to the event.
Walk Sheffield 2010: Water Walk @ Tinsley Canal; Free; 1.15pm Walk Sheffield is a festival of free organized walks aiming to encourage locals to explore the city. This trip alongside Tinsley Canal aims to improve your knowledge of its history and wildlife.
Eighty Eight @ Crucible; Free; 1.00pm Part of the Forge festival of new works, this effort directed by Dan Coleman follows a young man in a halfway house for excluded youth. As his sanity begins to slip away, he seeks vengeance on the outside world.
Blessed By A Broken Heart @ Corporation; £10; 7.00pm The Montreal Christian metalcore outfit are to play alongside LovehateHero, The First and The Morning After before the release of their third album later this year.
The Science and Arts of Memory in Cultural History and Psychiatry @ Jessop West Exhibition Hall; Free; 5.30pm Martin Conway and Philip Davies will speak about the parallels between personal and collective, or cultural memory, and the connections between human memory and a sense of identity.
Atticus Black Tour @ 02 Academy; £5; 7.00pm The Mark Hoppus and Tom DeLonge clothing label-sponsored gig will feature Ten Second Epic, Blitz Kids and Cars On Fire.
Francis Rossi @ City Hall; £19.50; 7.30pm This intriguing tour sees the Status Quo front man and habitual world-rocker perform tracks from his debut solo album, One Step At A Time. He will plays the songs, deemed “not right for Quo”, alongside an eight-piece band. Gerry Cottle’s Circus @ Endcliffe Park; £12; 4.45pm This acclaimed international circus show reportedly features heart-stopping aerial performances, breathtaking gymnastics, clowns, jugglers and much more. The show marks 50 years since Cottle ran away from home to join the circus.
Inside The Smiths @ Fusion; £7; 8.00pm Former Smiths drummer Mike Joyce will be doing a Q + A session alongside a screening of his 2007 band documentary, which he will follow with a DJ set in Fusion.
Cabaret Twilight @ Studio Theatre; £12; 7.00pm In The Boat Theatre Company, consisting of artists with and without disabilities, presents a show inviting you to a place in the imagination, situated between fantasy and reality.