Fuse Issue 48 by Forge Press

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New generations of nostalgia Lyric festival Tramlines festival Doc/Fest

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Celebrating the Turn-off Prize

ere’s a little experiment for you to try. Name this year’s nominees for the Turner Prize. Difficult, isn’t it? Can you even name one of them? And more importantly, do you even care? That, in a nutshell, is the problem with art: somehow, despite its diversity and its widespread popularity among certain circles, it’s never made the leap to the mainstream. Sure, everyone knows what the Mona Lisa looks like, but it takes a special kind of connoisseur to go into much more detail than that. So what’s the reason? Why don’t we talk about Grayson Perry and Tracey Emin the same way we talk about Martin Scorsese and Frank Coppola, or the Beatles and the Rolling Stones? Of course, the easy solution is

to say that art isn’t popular with the mainstream because it’s pretentious bollocks. And there is a point to that: you probably do need a degree in Psychology from Cambridge to figure out the point of cutting a shark in half and dipping it in formaldehyde. Frankly, I’m not even sure Damien Hirst knows. But films and music are both perfectly capable of being seen as pretentious and esoteric; it’s a common reaction to films like The Godfather, or the albums of Pink Floyd, and yet I’m sure almost everyone has at least heard of those. The problem isn’t that we exclude art from mainstream culture; it excludes itself. You can sit in a packed cinema and watch a movie, at a gig you can get close enough to the band to touch them, and you don’t get a more interactive art form than a video

game. Museums, on the other hand, are completely different; everything’s behind glass, or behind a rope, surrounded by burly security guards and huge signs saying “DO NOT TOUCH”. We live in a world where anyone with a camera can be the next Tarantino, and anyone with a guitar can be the next Keith Richards – all it takes is patience and ambition. But art still mostly exists in a world that’s far more competitive, and relies on qualifications and education. The Turner Prize nominees who no-one can name have probably been studying art for decades, because they could afford to. And so art becomes something created by the rich, and more importantly for the rich. Phil Bayles

Calm down Cameron

Super Smash Woes

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o Avengers Assemble did really well in its first week at the box office. After all, where else can you watch the Hulk and Thor scrap it out in an invisible, airborne military base? In the videogame industry Nintendo’s Super Smash Bros series is hugely popular for this very reason. Nintendo collated their most recognisable cast of characters and pitted them against each other in a battle royale style fighting game. For example, Mario can fight Donkey Kong in a level that resembles Hyrule. When you take multiple phenomenally successful franchises and combine them you’re likely to spawn another successful franchise, both the Avengers and Super Smash Bros are evidence to this; as are chicken and bacon sandwiches and Creme Egg McFlurrys. Sony have noticed this trend and had an absolute brain fart. They’ve decided to create a Super Smash Bros clone that re-

places all the recognisable Nintendo icons with unknown third tier imposters from their own catalogue of unspectacular titles. Playstation All Stars: Battle Royale is perhaps the most baffling gaming concoction since Mario and Sonic went to the fucking olympics. Except this time around you don’t even have recognisable characters to fall back on; you’re left with Fat Princess, star of a downloadable title that was coincidentally downloaded by about eight people, and Radec, an entirely forgettable villain from the wholly unmemorable Killzone 2. Picture the two of these jostling around in some Patapon inspired nightmare. Two times two does indeed equal four, but one times one does not equal two. In this case, mediocrity breeds mediocrity. During a time when Sony need to focus on a single corporate strategy just to avoid bankruptcy, making an omelette with rotten eggs seems like an odd course of action. Arnold Bennett

avid Cameron recently managed to speak out on a subject about which he knows even less than how to run a country. The British film industry should support “commercially successful pictures”, he announced, with all the expertise of a piece of chewed gum. It’s no surprise that we can add ‘artistic integrity’ to the list of stuff that David Cameron doesn’t care about, between ‘poor people’ and ‘women’. Robert Redford responded, calling Cameron’s a “narrow” view, proving that Robert Redford should probably be Prime Minister. Cameron’s comments came in the wake of the release of The Iron Lady, from director Phyllida Lloyd of Mamma Mia! fame. Her ‘film’ about Margaret Thatcher includes a scene in which Meryl Streep’s Thatcher describes Cameron as “quite a smoothie”; I’ve seen some truly disgusting things on screen, but that moment made me want to vomit up my insides and send them to Phyllida Lloyd in a flimsy envelope. Cameron is up to something more than mere money-grabbing; British films that are commercially successful tend to cel-

ebrate certain aspects of Britain which appeal to his conservatism; The King’s Speech, Shakespeare in Love, The Queen… they all reinforce visions of Britain which are outdated, archaic, and really ought to be left behind. Cameron wants the British film industry to keep churning out triumphant glorifications of conservative institutions like the monarchy, at the expense of genuinely exciting, new British filmmakers. The British film industry should be supporting people like Andrea Arnold and Lynne Ramsey, whose films are actually interesting and fresh, rather than the same old export-friendly load of boring that Cameron wants to see. If he has his way, impressive British films like Kill List, Submarine, Tyrannosaur and Senna would never make it on to our screens, and instead we’d be faced with Phyllida Lloyd’s Princess Dianna, The Musical! That’s why, when it comes to film (and let’s face it, everything else), we shouldn’t listen to the opinion of a man who finds it funny to quote Michael Winner car insurance adverts at women. Dan Meier

Editorial

It’s the final issue of the year, and we don’t know about you, but summer could not come sooner for us. Some of you will be graduating and stepping into the big wide world. Others will be finishing their first year and realising that, next year, you actually have to do work. Wherever you are in life, we hope you don’t get too stressed out about the future. We know it can be scary (one of us is actually graduating in a couple of months!) but try to enjoy yourself. Remember, life is a journey and all that cliché bollocks. If you’re sticking around in Sheffield for a bit longer, don’t forget to check out Tramlines Festival in July. You can read our interview with festival director Sarah Nulty on pages 8-9. We’ve also got interviews with Doc/Fest film programmer Hussain Currimbhoy and poet Simon Armitage, as well as reviews of Dark Shadows, Ladyhawke live and Prototype 2 within the pages of Fuse. Don’t forget, there are always ways to get involved with Forge Press. We might be done with printing the newspaper until September, but we’ll be carrying on with content online, so if you fancy writing something for us, feel free to drop us a line: fuse@forgetoday.com And above all else, have a wonderful lovely summer! Coral Williamson Arnold Bennett

This issue’s front cover was designed by the very lovely Sam Bolton. He’s pretty nice.

Ahead of his DJ set at Plug next month, Fuse cornered Take That’s Howard Donald for a chat about his musical background, and what to expect. How did you originally get into DJing? I was actually DJing before I became part of Take That so it’s been a part of my life for a really long time, and like most DJs it developed from a love of music and the need to make others listen and dance. How do you balance your DJ work with Take That? It’s always difficult to balance DJing not just with the band but with my hectic schedule full stop, I manage it like everything else but only by doing a small amount of select bookings. How different is it performing as a DJ, to being a member of a world famous pop group? Are the audiences different? DJing is a much more personal experience, because the people are there especially for the DJ and it’s something that isn’t rehearsed because I feel as a DJ you have to react to your crowd, so I never play a rehearsed set. The audience is normally split, obviously there is a proportion of people there that are fans but there are also a growing number of people that come to see me play because they heard me play before and actually like what I do. The only frustrating thing is that there is a proportion of people that come and just stand around taking pictures instead of actually enjoying themselves, which is a shame because I am sure if they did they would have a better night. What can we expect from your DJ set at Plug? Lots of cool electro beats.

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Q&A : HOWARD DONALD

What’s your favourite kind of music to play?

I play electro, but also really like techno. I just don’t get that much of an opportunity to play this as it’s quite an underground sound. Do you have any memorable stories about any DJ sets you’ve done?

Not really, as there have been so many, but a couple of years ago I was playing Judgement in Mallorca and the party was going crazy…I ended up playing ‘back2back2back’ with Micky Slim and Jules, it was fantastic.

Wikipedia (I know, I know, I’m a terrible journalist) tells me you have a ‘fan base’ in Germany. Care to expand on that? I have been DJing in Germany for many years building my profile as a credible house DJ. In fact they accepted me as a house DJ before the UK or anywhere else. What’s your least favourite music to play as a DJ? I like all kinds of music but I guess RnB would have to be a bad choice for me. Can we expect any new releases from you, as a solo artist?

I did a rework of ‘Kidz’ last year with Micky Slim but other than that to be honest it’s difficult to make time to produce house music. Finally, do you have any words of advice for anyone who wants to work in the music industry? Work hard, play hard and don’t compromise on who you want to be. Coral Williamson Catch Howard Donald on Saturday June 2 at Plug’s Shuffle night. Doors are 10.30pm and tickets are £6 with NUS cards. For more info see www.the-plug.com

Fuse was incredibly sad... to hear about the deaths of Beastie Boys co-founder Adam Yauch and Where The Wild Things Are author Maurice Sendak in the last fortnight. To lose two luminaries of their respective fields in such a short space of time is devastating.

Fuse is still nursing a hangover... after the Forge Awards on Tuesday. Much fun was had and much alcohol was enjoyed. How we’ve managed to successfully put a paper together this fortnight is beyond us. We hope all departmental balls were equally fun.

Fuse cannot get over... the unbelievable cuteness of the Kitten Cam on Livestream. Seriously, check it out. There are kittens, and they are cute. Really fucking cute. We love kittens.

Fuse really hates... exams. And essays. And deadlines. And overcrowded libraries. And just life, in general. Because at heart we’re still bratty teenagers who hate having to do anything we don’t want to.

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Fuse has been fuelled this issue... by free pretzel samples from the pretzel place in Meadowhall. As we’ve learned, you can keep walking past it during a shopping trip and not need to go to the food court all day. We may have hidden in a nearby shop at one point to wait for delicious fresh samples to come out. Worth it.

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Fuse Musings

GAMES

Feature. NEW GENERATIONS OF NOSTALGIA Kaz Scattergood takes a look at modern remakes of two old-school classics, with Sonic Generations and Rayman Origins.

ate 2011 saw the release of Sonic Generations and Rayman Origins; two games that brought back the joys of the 90s and threw them into the 21st century. Rayman fans saw him take somewhat of a backseat to his Raving Rabbids, and Sonic fans have endured years of mediocre sequels featuring plenty of the hedgehog’s irritating woodland friends.

“It brings back the joys of the 90s and throws them into 21st century gaming”

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However, these games are different; they encourage a heart-warming sense of nostalgia in any player who enjoyed the games before. Sonic Generations is an appreciative tribute to the little blue hedgehog, speeding through iconic moments of past games, and re-

living memories of the franchise throughout. The game strikes a balance between 2D platforming, playing just like the originals (with the occasional play around with perspect i v e

and seemingly 3D elements), and the modern race-track feel of the newer, 3D Sonic. For a Sonic fan, amongst the old-school soundtrack and lovable characters, the game is a fast and addictive zoom back to fond childhood days, whilst providing the aesthetic beauty and innovative

levels of 21st century gaming. Rayman Origins is another game to have excited the 90s generatio n; providing a modernised update of classic platform fun. The graphics are beautiful, with loud colours and stunning environments

enhancing this exciting new platform game. Similarly to the classic levels of Sonic Generations, the gameplay takes you way back, and feels like a classic game; with the undeniable pleasure of updated visuals and smoother play. Both of these games have been critically acclaimed and are a successful use of an old franchise, bringing joy to fans. However, how exactly do these new games match up alongside the gritty realism of this century’s popular games? Does all of their fun lie in nostalgia, with their audience limited to big kids reliving their childhood? Whilst classics may seem unbeatable to those enjoying them ‘back in the day’, what do the kids these days think? Will they gain the same satisfaction we did from Sonic’s signature ring-collecting ping, as they

“What do the kids these days think?” do shooting prostitutes in the head from a stolen car? Gaming has clearly somewhat deteriorated in terms of innocence, and the whimsical feel of classic games seems somewhat

limited to either the very young, or the nostalgic older gamer. And for said gamer, what’s so great about these 21st century attempts? Is it not just as enjoyable, if not more so, to grab a copy of your favourite 90s game

“Not simply a remake of something once loved, but completely new games in their own right” and play that to your heart’s content? Old Sonic games are easily available to download as Xbox arcade games, or even at retail in the form of the Sega Megadrive Collection; so the promises of new releases have a lot to answer to. In the case of Sonic Generations and Rayman Origins, it appears they did well. These games are not simply a straightforward remake of something once loved, but rather they are completely new games in their own right. By building on characters and gameplay that was previously successful, and, especially in Sonic’s case; learning from the mistakes of flopped sequels since. Although their appeal to new gamers is questionable, games like this certainly provide hope in an industry where war dominates simple, whimsical fun.

ARTS

Feature. SIMON ARMITAGE & LYRIC FESTIVAL 2012

Interview: Simon Armitage Fuse met with the University of Sheffield’s professor of poetry, Simon Armitage, to find out his views on Lyric Festival 2012... How are you finding Sheffield? Great! I’ve been here just over a year now, I’m really enjoying it. I’d been at Manchester Met for about ten years before, teaching Creative Writing on their MA course.

“You can’t be a writer unless you’re a reader” Do you find you have less time to write due to teaching?

LYRIC FESTIVAL 2012

St. George’s Lecture Theatre 8/10

I’m its co-founder and co-organizer. This is its second year and it’s ‘the festival of the written and spoken word’. So it’s really a celebration of language; a platform for people who are working within language in all kinds of exciting ways, from music lyrics, spoken word, to literary poetry. It’s only over three days, so it’s very intense - it’s the white heat of language.

“I think all influence ultimately comes from other people’s writing”

Do you get lots of inspiration from events like these, or is it more from personal influences? I think all influence ultimately comes from other people’s writing. When I sit down to teach people, I always begin by saying the key thing is reading; you can’t be a writer unless you’re a reader. Some people get anxious about influence - they don’t want to plagiarise or copy, or be

My argument is you might as well be influenced by the good stuff - otherwise you’re going to be influenced by journalism or advertising or the list of ingredients on the back of a Coke can. It’s not just useful but necessary to read and listen to other poets, if only to discover things you don’t like, and to form your own versions of the things you’re astonished by. Getting to hear poets read in a live environment is very much part of this.

Firth Court and St George’s Lecture Theatre this week. On Wednesday May 9, the festivities began with a climatic foray into the intriguing and disturbing life of Peter Redgrove, acclaimed British poet and writer of the 20th and 21st Centuries. As we were guided through his life by biographer Neil Roberts, it was both shocking and fascinating to hear how the effects of institutionalisation and experimental psychological treatments not only had a profound effect on his writing, but also the course of his life and career. However, it was equally an opportunity to see the woman behind the poet, as his second wife and former partner Penelope Shuttle spoke of her husband, and read some

of her own magnificent work. From one modern poet troubled with the foreboding menace of asylums, we visited another, who will undoubtedly be familiar to all those that have ever studied secondary school English. Ivor Gurney, known to most as a war poet, was reborn through his work performed in both music and poetry. With renditions from musicians of the University’s Department of Music, mixed in with a guest lecture from Dr. Kate Kennedy, the evening shed new light for many on an indelible genius. The highlight of the second and penultimate evening of the festival was by far the combined yet contrasting poetry of Jackie Kay and John Agard. The former, a vibrant and comic character, per-

Another venture you’re involved in is Poetry Parnassus can you tell us about that? It’s a harebrained scheme of mine to bring a poet from every participating Olympic country to a week of readings and events at the South Bank in London, where I’m an ‘artist in residence’. There are 204 Olympic countries and we’ve got 180 poets at the moment, but we’re still trying to identify some, like from Monaco and Brunei. With all their aspirations, anxieties and different languages, it’s an enormous artistic and organizational undertaking. When is it? It’s the last week in June - some of the events are ticked but there are about 100 free events. We’ve got big names in poetry, like Nobel laureate Seamus Heaney, and some lesser names, some who aren’t even well known within their own countries, due to exile. formed some of her dialect-based and comedic poetry and had the crowd in stitches with her Maw Broon’s vagina monologue. The latter kept the audience gripped with his dramatic personification of the deadly sin Sloth and his expert knowledge of varieties of palm trees. A combination of vivacity, tenacity and hilarity, it was a hugely successful evening. From bee-keepers and antibubbles, to poignant political poetics, the last evening of the event was by no means the least. It began at 7pm with poetry from Jo Shappcott and John Burnside, intricately exploring the potential of English verse. However, finishing at 10pm with a legend among poets, and a man whose dress sense was as loud as his poetic

Does it just involve readings? There are some big extravaganza events as well. We’re dropping 100,000 poems from a helicopter onto Jubilee Gardens.

“If I’ve been at home for three days writing, I’m tearing my hair out” It’s with a Chilean organization called Casa Grande and they do this event in cities in the world that have a history of being bombed. So 100,000 poems will be falling from the sky as bookmarks, unless it’s raining and they’ll come down in a big soggy mess! Hannah McCulloch voice, St George’s was without question the place to be that evening. Although all three of the poets are renowned in their field, the last, Linton Kwesi Johnson, is the esteemed creator of reggae poetry, and the right choice to close such a fantastic three days of lyric. Overall, the festival was a true spectacle. For those that didn’t get the opportunity to see any of it this year, I strongly advise that you sample what it has to offer in the years to come. You won’t be disappointed. Benjamin Brunton

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celebration of both the written and the spoken word and its animated presence in our culture, music and poetry, Lyric Festival 2012 was undeniably a resounding success. Organised by the University of Sheffield’s very own Professor of poetry Simon Armitage and Dr Joanna Gavins, the festival spread over three consecutive evenings, hosting some massive names in poetry in two of the University’s most iconic buildings. For a festival still in its relative infancy, it provided a buzzing atmosphere in both

drawn towards someone else’s style.

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I think it’s just about trying to get the balance right, and you always feel as if you’re getting it wrong. If I’ve been at home for three days writing, I’m tearing my hair out. But then if I’ve been travelling around, giving readings or teaching, I get frustrated that I’m not doing my writing. You’re reading at Lyric Festival

next week, can you tell us a bit about that?

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Interview. DOC/FEST

With just over a month to go before the opening of Doc/Fest, Sheffield’s international documentary festival, Fuse talks to Film Programmer Hussain Currimbhoy about David Cameron, Big Fat Gypsy Weddings and the virtues of audiences in the Steel City. Words: Phil Bayles

ussian Currimbhoy certainly seems like a man who works well under pressure. At the time of writing there are just over 30 days left until the start of Doc/Fest, the world-renowned international documentary festival based right here in Sheffield.

“People in Sheffield audiences don’t just take what’s given to them... They will ask you hard questions” Friday May 18 2012

In fact, tomorrow he’s set to travel down to London for the official unveiling of the festival programme. But rather than the bag of neuroses I expect to find, he’s affable, direct, and even cracking jokes. “I wish the clock would just stop,” he laughs with a hearty Canadian twang. “It said 150 days, like, two minutes ago!”

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This isn’t Hussain’s first rodeo, though; Film Programmer for Doc/Fest since 2008, he’s previously worked for Australian film festivals in Melbourne, Adelaide and Brisbane, before arriving in England in 2007; what was originally a four month contract turned into five years working in Sheffield. But what is it about the city of steel that Hussain fell in love with?

Hussain Currimbhoy, Doc/Fest Film Programmer

“People in Sheffield don’t just take what’s given to them. They’re interested, they’re engaged, and they do things on their own terms. That’s what makes Sheffield audiences so great; you’re always guaranteed a great Q&A. They will ask you hard questions. I just remember thinking ‘these are my people!’”

Having a city with two universities full of students, and great venues like the Showroom Cinema and the Crucible, can’t hurt either. But of course, the setting is only half the story. Every year since it began in 1994, Doc/Fest screens 120 different documentaries and short films, submitted from over 20 countries all around the world, and as Film Programmer it’s Hussain’s job to choose those from the thousands and thousands of entries that are sent in. When I ask Hussain how he goes about such a difficult task, he makes a sound like the air being let out of a balloon. “It is a tough job,” he admits. “Basically we have everything as a rule, and then break the rule! It becomes really difficult, so we have to cut films if they’re too long, too short, if we don’t think they’ll bring in a particularly good audience.

“Doc/Fest is about telling folks that the industry is changing” “There’s a story about a Russian filmmaker who looked at a camera and said, ‘We should use this to document life – like we would a microscope’. We’re looking to create a cross-section of the world of film now, today. “We want things that are undiscovered. There are films about everything – music, sports, art, politics, LGBT issues – but all we’re looking for is well-made films that tell a great story.” This, it seems, is the reason for Doc/Fest’s 18 years of continued success. Rather than focusing on the big names, the festival actively encourages the development of new talent; people who often film completely on their own, on a shoestring budget. To that effect, the festival also

“You don’t lie in bed at night thinking about plots and scripts and actors because you want to make a million dollars” “People come to the festival, and they meet other filmmakers, and they think ‘I can do that too’. It’s about telling folks that the industry is changing, and that you aren’t all by yourself.” In this respect Doc/Fest, like Robert Redford and the UK Sundance Festival, is flying in the face of Prime Minister David Cameron, who recently made a statement that the British film industry should focus on projects that are more “commercially successful”. Needless to say, Hussain feels very strongly about the subject. “To be honest, I’m not really surprised,” he sighs. “But by saying that, he’s undermining an entire nation of artists, over 100 years worth of film history, and the whole idea of changing minds. “How the hell do you define what’s commercially viable? There’s more than one way to make money, and often the greatest films are the ones that are commercially dead. Look at Easy Rider, look at Citizen Kane. “You don’t lie in bed at night thinking about plots, and scripts, and actors because you want to make a million dollars. But if you’re good at what you do, and if you’re

smart, you can always make money.” Hussain certainly seems proud to be a part of this industry; in fact in an interview in 2010 he described the age we live in as a “very exciting and groundbreaking time for the documentary”. But is there a dark side to it all? Certain documentaries, such as the Extraordinary People series on Channel 5, have been criticised for being little more than modern day freak shows that belittle the plights of those they portray. “It’s a fine line between giving someone a voice and exploiting somebody for the gain. There are so many things that just don’t work, and you can tell when someone is just filming for his own sick pleasure.” The key, in Hussain’s opinion, is respect. “You’re not going to do your subjects justice if you just treat them like animals in the zoo... you end up hurting them as opposed to helping them. If you’re not going to make sure you don’t cross a line, you don’t have a film.” That said, Doc/Fest isn’t afraid to screen controversial material. Documentaries like Big Fat Gypsy Weddings may divide opinion, but they do incredibly well at the festival.

“It’s a fine line between giving somebody a voice and exploiting somebody for the gain” As we run out of time, I ask Hussain which up and coming filmmakers he’s most excited about, which causes him to stop and think for a few moments. “The future isn’t written... I can’t tell you how many times I’ve put money on a film and it’s gone nowhere!” Nevertheless, he drops a few names, including Jesse Bile and Mike Grigsby; the latter’s film, We Went to

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holds an event called MeetMarket, where filmmakers are allowed to discuss their art with each other and even potentially acquire funding from interested parties.

War, is an exploration of traumatised soldiers returning home from war that Hussain describes as “very slow, very understated, personal and beautiful”. “Documentary making has almost come into vogue again,” he tells me just before we say goodbye, “and it’s imperative that we see these films and talk about them.” Sheffield Doc/Fest is running across Sheffield, from June 13-17. For more information go to and to register go to sheffdocfest.com, and to purchase tickets visit showroomworkstation.org.uk/docloverspass Doc/Fest 2012 at a Glance

We’ve trawled (well, skimmed) through the programme for Doc/ Fest, and these are some of the films that caught our eye: Fans of the Who should catch Quadrophenia: Can You See the Real Me? and those interested in Sheffield’s arts scene should watch Evidently... John Cooper Clarke, which features live footage from the Leadmill.

Meanwhile, those looking for more political films should seek out Brian Knappenberger’s We Are Legion: The Story of Hacktivists, or Tim Poole’s Occupy Wall Street: Livestream This! Alternatively, if you want something that comes with a seal of approval, watch The House I Live In, winner of the Sundance Festival’s Grand Jury Award.

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Photo: Sheffield Doc/Fest

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Interview. TRAMLINES FESTIVAL

Summer of Sheffield Fuse caught up with festival director Sarah Nulty to discuss this year’s highly anticipated Tramlines, Toddla T’s takeover of the University (we wish) and reasons to love Sheffield.

t’s Friday afternoon in the Harley. The smell of burgers wafts through the air and the music is incredibly chilled, it’s easy to feel like you’ve just gone out for coffee with a friend when really you’re chatting to Sarah Nulty, director of the Harley and one of the main organisers for Tramlines Festival. Tramlines is a huge, free event that takes over Sheffield city centre for a weekend in July and brings so many people to the city for music, exhibitions and most importantly, the food. With festival prices rising and more and more having to be cancelled, it’s amazing that a free festival like Tramlines can do so well and only grow in strength every year. Sarah’s involvement in Tramlines came after she became manager of the Harley over six years ago, where Tramlines was born in 2009. Listening in awe as she describes the perfect job, you can’t help but be envious about how much fun her 9-5 must be. The question we’re all dying to know is how the decisions are made for who to put on the bill for Tramlines. “Mainly how much money we have!”, laughs Sarah. “Kate is our head booker for Tramlines and the Harley Live and she knows the markets of bands, how much people cost and things, so she works out in an ideal world what kind of artists we can have. Then we approach the agents and get rejected because our offer is way off.”

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“This year’s line up includes We Are Scientists and Ms Dynamite”

The Tramlines budget for artists is small compared to other festivals and it’s remarkable that they can get as big names as they do such as this year’s line up including We Are Scientists and Ms Dynamite. One of the great things about Tramlines is showing the wealth of talent the city has to offer. “Local artists are amazing as a lot of them play for free and without them we

wouldn’t have so much diversity and without us they wouldn’t have as much exposure. It’s a good opportunity for them to perform in front of such a large crowd which they might not be able to attract on a normal night. We do try to get as many local artists as possible and then obviously the local artists that have done really well, we try and get them involved in a bigger way.” Here, Sarah is referring to Toddla T, a local grime artist who has achieved much success, not just in Sheffield but all over the country and has now even got a permanent weekly spot on Radio One. He curates the Dance World at the Octagon which has become so popular, including four hour queues outside last July, that this year it has been extended into Foundry & Fusion.

“It shows the amount of great music that is coming out of Sheffield” Along with Toddla T’s Dance World is Rolo Tomassi, a Sheffield band who curate the Sunday on the main stage, including the epic 65daysofstatic on this year’s line up. “It gives them a lot of national profile; there are a lot of Sheffield bands that are gaining national profile, such as Wet Nuns and Hey Sholay that you’ll find on most decent festival line ups, Bestival, Camden Crawl, places like that. So if we didn’t have them on it would be crazy.“ It really shows the amount of great music that is coming out of Sheffield. Ever since Tramlines began, its individuality comes from the fact it is free and it always has been. Because of the pressure on festivals recently due to the vast offering and the rise in prices, it’s becoming more and more difficult for festivals to go ahead. Closures this year include big names like Sonisphere and the Big Chill that it makes it hard to believe that Tramlines will be able to remain free forev-

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er. “Free-er’ is our campaign this year. What we’re trying to do is find other ways of making money that don’t involve selling a ticket.” An example of this type of fundraiser is the People’s Choice Band event at the Leadmill on May 18. Eight local acts compete to gain the opportunity to open the main stage on the Saturday. We chatted with Sarah about one of the bands performing at People’s Choice, Polkadoge and their impact on social networking. “They’re all over social media; they’ve been really going for it. I hadn’t heard about them before but every time I look online, they’re there.” It shows how great Tramlines is for the city and the opportunities it brings with it. But the support for the event is necessary for Tramlines to carry on. “With events like this, we’re trying to say if you want to keep the main event free, you have to support us. There has to be some way for us making money because it’s expensive to put on a festival; we do have sponsors and council funding but it goes down every year so we need to look at different ways of fundraising.” Hallam FM recently ended their sponsorship of the main stage on the Saturday night. This is due to issues of safety for festival go-ers as a result of the big names that Hallam FM brought in and

“Tramlines creates lots of opportunities for the city”

Words by Lianne Williams & Amelia Heathman Photo by Patrick Handley

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Tramlines takes place July 20 to July 22.

Friday May 18 2012

the implications it had for safety on Devonshire Green. “We can’t put any bigger artists on the green as it can only hold over a certain amount which will never change. With Tramlines becoming more popular and more people coming, we have to think about these things and it’s a compromise that Hallam FM couldn’t make.” And the thing is, Tramlines is free. It’s not like paying £30 for a festival and being like ‘I don’t like the acts.’ “We like it being in the city centre; we don’t want to have to move out of Devonshire Green.” Working for a festival appears

less like getting drunk and hanging out with bands and a lot more like hard work. “People go along because it’s free and listen to music they’ve never heard before. You should be walking round, and going into all the venues and not really knowing who it is and coming out going ‘Oh my god, did you love that band?’. Because that is the great thing about a festival.” Places like Camden Crawl aren’t on the same level as Tramlines. The fact it incorporates all of Sheffield’s different communities; it has national appeal for the headliners because “It’s like a giant community”; there’s the Blues & Ale trial a folk forest, street theatre section, and local artist exhibitions. This year, Tramlines is showcasing local talent in Sheffield which will draw people in from all over to understand what goes on in the city all year. “Last year we conducted a survey and asked people ‘Would you come again?’ and ‘Would you bring someone?’. If everyone that came last year brought someone with them, it would get a lot busier! That’s why we have to change the programming, opening up more venues so it becomes bigger and better than it originally was.” Plug is one of the latest venues to be added to Tramlines and are hosting a grime night on the Friday which we at Fuse are especially excited about. We finish up our interview by asking Sarah who she is most excited for at Tramlines this year. “Personally, I’m excited for Roots Manuva and Ms Dynamite. I saw Ms Dynamite last year at Toddla’s show but I think essentially she was one act of the show but this time it will be her performing her full material which I think will be amazing”. She explains to us the downsides of working at a festival and how it can sometimes not be all it’s cracked up to be. “I always try and say there are two bands that no one is allowed to contact me during this time and I think Roots Manuva will be one of them.” Finally we ask who would Sarah most like to play at Tramlines in an ideal world. She replies “The Roots, definitely. Or Prince. Or Daft Punk! There’s too many to choose from.” We agree Sarah, we agree.

GAMES

Reviews. PROTOTYPE 2 XBOX 360/PS3

6/10

arnage is the name of the game in Activision’s Prototype 2. Set 14 months after the original, New York City is in a bad way. A virus has taken hold of the streets rendering its occupants crazed and deformed, and elite government troops have declared marshal law. Malice and hysteria are the order of the day, and the key to uncovering the truth. Amongst this chaos players assume the role of James Heller, a soldier turned superhuman after an encounter with Alex Mercer; protagonist of the original and villain of its sequel. The game’s protracted prologue introduces its lead, presenting his years of military service and time as a devoted husband and father before the virus robbed him of his family and all reason to live; except for revenge of course. Cue hours of entertaining, if forgettable fun. The story is passable, albeit ultimately disappointing, in the wake of an advertising campaign that painted Heller as an engaging family man let down by a government he trusted and burdened with the task of revenge. What should have been the tale of a relatable

Retro Corner. HITMAN: bLOOD MONEY

Fuse.

Friday May 18 2012

ilence is a word many would associate with the Hitman series. The game rewards those who complete their missions without raising the alarm with a “Silent Assassin” rating. But it is also a game that few people will shout out about because of what the game revolves around: cold-blooded murder. At a glance Hitman is one of the most psychopathic franchises ever made and is certainly not a title one would use to defend gaming from its mainstream critics. Players have the

protagonist seeking to avenge his fallen family becomes instead an enjoyable though shallow action game. Neither the gratuitous swearing that punctuates every sentence nor a lack of genuine interaction with another character do anything to make Heller endearing; a big ask in itself given his consumption of innocent bystanders as a means of regaining health. The title’s tag line of ‘murder your maker’ does little to help proceedings. Though Alex Mercer, star of Prototype 1 is not a nice guy, neither is James Heller, and whether we ought to root for a character of equally questionable morality to dish out vengeance is up for dispute. Moral compass aside however, Prototype 2 plays exceptionally well. Whether impaling, carving or decapitating his opponents, Heller does so in style. All that made its prequel so popular is carried over to Prototype 2 and complimented by still further

and excessively gory attacks. For those unfamiliar with the franchise, the game provides Heller with the means to morph his ar m s into

option of strangling victims to death, blowing their brains out or simply feeding them to alligators. It also features one of the most sinister protagonists in gaming Agent 47; a suited, hairless clone with a bar-code on the back of his head and a strict policy of ‘no witnesses’ (innocent postmen, dogs, priests and journalists will receive no mercy). However it undoubtedly provides one of the most satisfying experiences in gaming. I can assure you this has nothing to do with how the victim is executed and much more to do with how a strategy is. Level design is the essence of Blood Money’s brilliance, with colourful and exotic environments such as an opera house, a steamboat and Mardi Gras parades. These complex locations involve a lot of AI activity and a maze

of rooms, corridors and streets which 47 must navigate through in order to fulfil his objective. This provides the game’s thrills; observing AI movements so you can slip by or incapacitate them so as not to arouse suspicion. This builds the tension that will form the basis for satisfaction once you complete the mission. Hitman isn’t exactly welcoming to new players, who will probably have to witness a few shoot-outs and bad scores before getting that feeling of achievement. Observance and patience are the virtues Hitman seeks to reward, so to any newcomers - stick at it! This gives Hitman an enduring appeal that appease the dated graphics and animations (47’s death scenes are something that won’t fail to frustrate). Hitman: Absolution will appear later this year, an announcement that has stimulated both anticipation and concern. Current trailers and demos allude to a sequel that is more action-packed, linear and story driven (the dreaded word “cinematic” has been mentioned by developers). Such factors have been of secondary importance so far in the series, and hopes are that they stay so. Hitman is something that only makes sense in a gaming universe, which is why its transfer to cinema was instantly forgettable. Hopefully these signs are just developer IO Interactives’ venture to entice a new audience, not an attempt to accommodate them with a simpler game. Despite this, the franchise had only improved with age.

title whose emphasis is continually upon growing stronger and expanding an already jaw dropping array of superpowers. It’s in this respect that Prototype 2 excels. Collectibles litter the three zones into which New York City is divided and with each gathered players see Heller’s powers intensify and the level of destruction of which you are capable, amplify still further. All of this is assisted by a measurable degree of progression. Enemies which once necessitated caution become satisfying cannon fodder, and by the game’s conclusion, neither helicopters nor tanks warrant pause for breath. Heller’s advance toward an inevitable super powered encounter with

journey an array of weapons, project tendrils and leap the height of a building in a single bound. Oh, and he can fly too. Missions see you putting this arsenal to deadly affect. Assuming the form of hostile soldiers and sneaking around enemy bases provide a brief change of pace in an otherwise action packed

Adam Page

PS3

9/10

he debate about whether video games are art has been raging on ever since a small yellow blob decided to wander around a maze eating pellets and chasing multi-coloured ghosts. But now Thatgamecompany, the creative minds behind flOw and Flower, look set to win it once and for all with their astoundingly beautiful new game, Journey. The premise is simple and ingenious. You play a pilgrim in the desert, and your goal is to reach the summit of a far-off mountain that looms into view as you reach the top of the first dune. There’s no mention of why you have to do it, and the identity of your little pilgrim is never made clear – the mountain is presented to you and, despite yourself, you wind up drawn to it like a moth to a flame. There are tiny hints of what has happened, revealed through stylised little 2D cutscenes, but they reveal very little and leave the vast majority of the plot to the player’s imagination. As a result, you can’t help but feel an emotional connection to the pilgrim; you’re both as confused as each other. Like the story, the gameplay is minimalistic, but works perfectly. You can move, jump and ‘speak’, and that’s it. The latter turns out to be the most important; by ‘speaking’ you can interact with pieces of sentient cloth that inhabit the world, and in turn they will add length to your scarf, which allows you to jump and fly for longer. It seems almost too basic to work properly but in fact, it makes for an amazing experience. The genius stroke, however, has to be the multiplayer. Occasionally, if you’re lucky, you’ll come across another robed figure wandering through the desert – that’s another actual player, randomly connected to you. There’s no headset option to talk to them, so you’re forced to use non-verbal communication (and occasionally The Force)

Mercer is paved with moments of incredible brutality and the sense of empowerment achieved is unparalleled. It’s a shame therefore that Prototype 2 should still feel underwhelming. Even without mention of the story, poor graphics, sloppy animations and two dimensional, stereotyped villains overshadowed only by a wholly un-engaging protagonist mar the experience. Prototype 2 is certainly a more brutal game than its predecessor, yet for all its slaughter, it falls prey to all the same problems. The world into which the player enters is one in which the heroes have an insatiable appetite for hapless civilians and the villains die in showers of gore. It’s not complicated and the story is shallow, but if nonstop action appeals in anyway, this is the game for you. Alex Drake to make yourself understood. It provides a brilliant shift in tone, and even though you don’t know the other traveller, you’ll cling to them like a limpet. After all, it’s the only other person in the world. And then there is the presentation, which is in a league of its own. The huge, lonely desert is reminiscent of Shadow of the Colossus, but somehow manages to pulse with life despite being emptier and more desolate. The sand glitters and shines in the sunlight, and shifts constantly under the weight of your feet. The music is perfect; full of haunting string harmonies which go from being light and playful to sombre and muted, it’s amazing how much it pulls at your heartstrings as you play. Considering Journey can be completed in one two-hour sitting, it has to be said that you don’t get a lot of game for your money. But you should buy it anyway. Journey is a sublime, beautiful and unforgettable game that has to be experienced first-hand. It’ll almost certainly divide opinions, but it deserves to be played just for the experience. Phil Bayles

PETER PAN

Drama Studio 8/10

‘I

do believe in fairies, I do, I do!’ Serving as a spellbinding adventure as well as an incredibly well-presented performance, SUTCO’s Peter Pan conveyed all of the magic I believe J.M. Barrie intended on when writing it. Through a combination of flawless choreography, incredible individual performances and an indefinable energy that the cast possessed, the story of the boy who never grew up was truly brought to life. Firstly, it would be impossible not to credit Tom Dixon’s performance as Peter, as his personification of innocence had even the more mature members of the audience believing that he really could stay young forever. His portrayal of naivety was both charming and convincing, and had the audience erupting into laughter as well as reminiscing about their childhood. At times I even found myself wishing to step through the window in centre stage and back to the carefree times that were being acted out in front of me, though the casts’ ability to convey child-like innocence certainly did not prevent their ability as actors to shine through. Indeed, the well-oiled sword fight between Pan and his nemesis Captain Hook (Paul

DOCTOR IN THE HOUSE Lyceum Theatre 5/10

ollowing the success of Richard Gordon’s 1957 novel and film of the same name, Ian Talbot’s stage production of Doctor In The House features a strong cast led by Robert Powell and Joe Pasquale. The latter of these two is probably more familiar due to his victory in the 2004 series of I’m A Celebrity Get Me Out Of Here. The play is staged within a training school for doctors, in which Simon Sparrow (Phillip Langhorne) takes up residence in a shared house with three other trainee doctors. The two hours and twenty minutes of stage

Hilliar) was pleasantly surprising, and it was evident that a great deal of time had been put into perfecting the choreography. One downside, however, was the somewhat stunted portrayal of Tinkerbell (Kate Butler) – though clearly not lacking in acting skill, the potential for her character could have been explored further. As a mute in the play, this left plenty of opportunity for comic translations of her actions by Dixon, but more participation in the play from Tinkerbell herself could have only enhanced the production further. In regards to what was lacking, the only let-down was the set for Neverland; although it provided a contrast to the Darling children’s bedroom, it could certainly have been expanded further in order to support the whimsical nature of the characters and the plot. However, the absence of props only willed the audience (myself included) to exercise our imaginations the way the Lost Boys did, in order to visualise the scene. Paul Hilliar performed excellently in both of his roles, and yet again had the audience reverting to a child-like state as he struck fear into our hearts as Captain Hook. As Mr Darling, he and the rest of the Darlings gave a convincing insight into family life. Undoubtedly, the most lovable member of the family was Nana (James Travers), the bumbling dog in charge of the children’s well-being. Travers’s portrayal was part of an all time consists of Carry-On-esque innuendos and ever-predictable scenarios that serve to keep the audience fully engaged with the show’s farcical nature. Langhorne, however, makes a stand-out performance in his portrayal of the socially awkward character of Simon, from his inevitably painful encounters with girls, to his involuntary engagement to the daughter of the school’s formidable Matron. Likewise, Pasquale’s calling as a comedian is clearly demonstrated in his out-of-character asides, interacting with the audience in an approachable and occasionally entirely improvised way. However, any individuals sitting in the front row ran the risk of audience participation being imposed upon them. Unfortunately, it quickly

Lyceum Theatre 8/10

Charlotte Elmore

magic worlds

Weston Park Museum 7/10

e’ve all grown up listening to fairy tales, been amazed by magic tricks, or perhaps gotten far too excited by the release of the latest Harry Potter book. These experiences are all captured within Magic Worlds, the latest exhibition at Weston Park museum. Showcasing a collection of pieces on loan from the V&A and the Museum of Childhood in London, objects such as paintings, marionettes, books, costumes and magic props are on display, ranging from the age of Shakespeare to the present day. The exhibition conjures up our own memories of interaction with toys and well-known fairy stories such as Hansel and Gretel and Cinderella, as well as looking at how these childhood experiences have changed and developed over time. Where the exhibition excels is in its ability to draw in visitors of all

ages. The information given not only provides a description that is suitable for children, but also for adults, allowing them to read about the gory fairy stories of the Brothers Grimm, for instance. However, it can also be difficult to admire the objects with so much going on around you. Magic shows were being played on the TV screens, whilst the noises of the forest were rattling into your ears. Perhaps it would have been better if sound effects were contained within areas that were best suited to the different themes. On the other hand, for a place that prides itself in being a peoples’ museum, showcasing the collective histories of the people of Sheffield, the exhibition fits very nicely into Weston Park museum, making the experience a lot more personal for visitors. Indeed, you’ll be surprised by amount of toys that are on display that you might have owned at some point in your life. Seeing hand puppets of Sooty, Sweep and Soo might pull a few heartstrings as you

becomes apparent that the play is intended for the slightly older viewers, to whom the silly, easy viewing escapism is clearly directed. Indeed, I found myself in the small minority of individuals below retirement, which was noted in the 50 and 60s-style music that was being hummed along to by my fellow theatregoers. Perhaps it is this generation gap that causes one to tire quickly of the slapstick humour that is reiterated time and time again throughout the play. Either way, for a younger viewer, it will probably be difficult to summon any real enthusiasm for the play. In spite of this, Doctor In The House fully entertained the vast majority of the theatre, meaning that even if you aren’t exactly the play’s target audience, this doesn’t detract from the

enthusiasm of the talented cast. In fact, the frequent moments of genuine hysterical laughter that the actors inspire forces one to recognise that the play is in fact quite successful in doing exactly what it sets about to do; to produce laughter.

that at times you didn’t know where to look first, the cast proved the words of the show’s very first song right – interesting people definitely do live on Christopher Street. Despite previous problems with her voice, Connie Fisher excelled as Ruth Sherwood. Fisher’s brilliant portrayal of the headstrong heroine, determined to become a newspaper writer, showcased her ability as both an actor and singer. Her voice may not have been as strong in places as that of her co-star Lucy Van Gasse, yet she still managed to fill the auditorium with her pitch-perfect notes. There were times, however, when the acting and presence of the rest of the ensemble flagged, giving the leading actors room to fill the stage. There felt the need for director Braham

Murray to add more meat to the bones of the characters, to make the scenes they shared with the leads more believable. That being said however, the ensemble performances in some parts could not have been better: who doesn’t love a musical number with a dozen Irish policemen serenading a beautiful blonde jailbird? Andrew Wright’s choreography was sleek and sassy, perfectly capturing the essence of the 1950s as the cast swayed and conga-lined their way through some very imaginative dance numbers. It was such a treat for the eye that you almost didn’t want to blink in case you missed a step. With Simon Higlett’s bright set and costume design adding a splash of colour, those high-kicking, skirt-flipping

reminisce about putting on puppet shows for friends and family many years ago. It’s at this point that you realise just how well the exhibit brings people’s personal memories into the museum, making you appreciate that you are part of history. This very unique exhibition is well worth a look, and just goes to prove that you don’t need to travel to London to view a world-class museum exhibit. You can crawl through the oven in the witch’s house, dress up like a wizard, or even have a tea party dressed like the Mad Hatter if you want to! Best let the younger kids have a go first though… Rhiannon Pickin

DOT COM

Read more reviews, interviews and features online at ForgeToday.com

Sarah Hayes

scenes captured the fun, lighthearted nature of the show. Wonderful Town gave the audience an evening of unforgettable entertainment, ensuring that everyone left with a huge grin on their faces and a show tune or two stuck in their heads for weeks to come. Rhiannon Pickin

Fuse.

he lights dimmed, the band broke out wave after wave of vibrant jazz notes and the setting for Wonderful Town was in place. 1950s New York, Greenwich Village: home of artists, writers, actors and singers desperately trying to make their big break. Ruth and Eileen Sherwood arrive from Ohio to seek their fame and fortune, but after being pushed into a poky basement apartment and with no luck finding work, the two find themselves down and out, struggling to find love and employment. Bursting at the seams with characters so rich and varied

round excellent performance, and the fits of giggles from the children sitting behind me spoke volumes in terms of just how enchanting it truly was. Sutco’s Peter Pan appeals to all ages, and shows that there is a part in all of us, however big or small, that really doesn’t ever grow up.

Friday May 18 2012

wonderful town

ARTS

Reviews.

SCREEN

Reviews. Dark Shadows Dir: Tim Burton 5/10

im Burton’s latest movie Dark Shadows has all the ingredients you would expect; the customary gothic mansion, the dark and magical characters, and of course, Johnny Depp. However, there is unfortunately no denying that this once perfect combination has become a little tired in Burton’s recent work, and Dark Shadows is no exception. Based on the hit TV show, the story chronicles the life of Barnabus Collins (Johnny Depp), a wealthy and handsome playboy who loses everything after romantically rejecting a witch named Angelique (Eva Green). The ultimate jilted lover, Angelique curses the Collins family, turns Barnabus into a vampire, and buries him alive for nearly two hundred years before he is inadvertently released in 1972. Rising from the grave, Barnabus returns to his former home, Collinwood Manor, to find it radically changed by the modern age, and his family’s fishing business failing. He becomes determined to restore the family name to its former glory, whilst struggling against the schemes of Angelique, who is not best pleased to hear that Barnabus is back in town. The film is a bit of a mixed bag in terms of its entertainment factor. Shot in typical Tim Burton style, Collinswood is reminiscent of the castle found in his earlier work Edward Scissorhands, and just as beautiful. Burton also successfully portrays the 70s culture through close attention to detail regarding fashion and soundtrack, giving the film an authentic feel. As usual, Johnny Depp is also excellent in his role, perfectly capturing the sense that Barnabus is a total fish-out-

How i Spent my summer vacation

ursting onto the screen in a high octane display of drug-fuelled Mexican mayhem, Mel Gibson could only be described as the right man for the part of Driver in How I Spent My Summer Vacation. From the offset it would appear that this is in fact no ordinary summer holiday. Taking a break from the allegations of anti-semitism and racism, the former Lethal Weapon star grips the audience in an hour and a half of vibrant, heart-pounding carnage. The film’s action kicks off with the unlikely scene of two clowns - yes, clowns - in a high speed chase to the Mexican border. With Border Control in hot pursuit, the relaxed sonorous

Fuse.

Friday May 18 2012

Dir: Adrian Grunberg 7/10

of-water in 1972. There are subsequently many hilarious moments in the film, as we watch Barnabus mistake a passing car for the Devil, and appear bemused by modern day inventions such as lava lamps and the McDonalds sign. Likewise, Eva Green shines in her role as the malevolent witch, oozing with both charisma and sex appeal. However, not every member of the cast is such a

pleasure to watch. In particular, it is nearly impossible to understand the diction of the family’s enduringly drunk butler Willie, (Jackie Earle Haley), something which grows increasingly frustrating as the film progresses. However, both plot and dialogue are ploddingly slow at times, and the storyline occasionally unsound. Despite Barnabus constantly pushing

narration of Driver, and the artistic shots of blood spewing from the second clown’s face, this riotous introduction is but a taste of things to come. Although, sadly not for Clown Number Two, who bites the dust on top of a small fortune of stolen money. The focal point of the action itself is known as, ‘El Pueblito’: it’s here where Driver ends up after his unfortunate encounter with the corrupt Mexican police force, and the conveniently large amount of money he’s in possession of. In a walled world of smack dens, brothels and mindless generic violence, the only way out is up. Fortunately, Mexican prisons are a piece of cake for Driver. He blasts himself to the top and then some, as he faces some truly formidable foes. One key feature of this film is the simplicity of the plot. There are no stomach-wrenching romantic entanglements, no questioning the nature of time and existence,

and more importantly, no horrifically suave, teenage heartthrob vampires. It falls neatly into the category of man overcoming evil. Or rather in this case, man overcoming angry, armed Mexicans. Moreover, in spite of the sporadic gun battles, the intermittent explosions, and a man having three of his toes chopped off, the film is more funny than gory. The full-on action is not always so full-on, and with scenes including hairy US diplomats having their backs waxed by prostitutes it’s quite amusing to say the least. In a musical medley of mariachi music, sweat, blood and tears, this is a fun, fast-paced, film. Amongst many of the possible negatives though, however small, is the dismissive regard to detail that comes with the pace. In one of the final scenes an entire transplant team goes from mid-operation (rudely

the moral that “family is the only wealth”, the audience are left a little unclear on how he and the inhabitants of Collinswood were even related; the fact that Barnabus himself was buried underground and his parents and his lover were killed doesn’t exactly make for ideal procreation, after all. The worst point of the film, however, is its climactic battle scene, which is tacky and over-

interrupted by Driver) to being tied up on the floor in the next shot. All the same, it could be that this is simply an elaborate circus trick. If fast-paced showdowns, car chases, explosions, and shooting are your thing, then you’re in for a treat. If your tastes are usually confined to the apparently incessant stream of new romantic comedies, then How I Spent My Summer Vacation is not the film for you. Ben Brunton

DOT COM

the-top. One of the characters even bizarrely turns into a werewolf, provoking a palpable “Huh?!” from the audience. It’s simply a big, confusing mess. As the film closes, Burton optimistically leaves it open for a sequel. The trouble is, after this, I’m not sure anyone will be rushing to see it. Olivia Middleton

Dir: John Gulager 2/10

he follow-up to the 2010 piranharama that was the unambitiously titled Piranha 3D, Piranha 3DD (pronounced “three double D” - you know, like a bra size) transplants the watery gorefest from its original lake setting to the world’s smuttiest water park, where inevitably chaos ensues. It couldn’t have been more direct if it was called Fish ‘N’ Tits, but at least it serves as a warning for what is to come. Piranha 3DD is formulaic, and the formula is this: Jaws, plus tits, minus everything that was good about Jaws. The underwater

Jeff, Who lives at home Dir: Jay Duplass 8/10

eff, Who Lives at Home is a sweet indie comedy, that refreshingly stands out from the momentous rubbish that is thrown at us on a regular basis. This is a welcome break from the work of massive production companies and whoever has the wacky idea of putting Jennifer Aniston in another rom-com. Jason Segel, of How I Met Your Mother fame, plays Jeff, an endearing 30-year-old stoner, still living in his mother’s basement somewhere in a small town in middle America. The film spans a day in Jeff’s

camera shots pioneered by Spielberg to give an ominous sense of approaching danger are here deployed to get close ups of women’s bare lower halves. Piranha 3DD is to Jaws what Batman and Robin is to The Dark Knight. It’s so predictable you can even guess when and where the next piranha is coming from, ridding the film of any suspense or tension. And that’s without the inevitable jock vs. underdog romantic subplot, which has about as much life to it as a dead sock puppet. Well-known talent show judge David Hasselhoff makes an appearance as himself, making a celebrity appearance at the water park, which adds little to the film other than helping

it reach its mercifully short 83 minute running time and providing yet more slow motion breast movement, albeit in the form of 59-year-old Hasselhoff’s jiggling moobs. Unsurprisingly, the characters are the usual whiney, shrill, shallow, vacuous teens that embody everything that’s wrong with the world. The only exception is the eternally badass Ving Rhames (Pulp Fiction), who reprises his role from the original film to provide some light, disability-related comic relief. As in the original, the CGI piranhas look ridiculous and over the top, but subtlety was never going to be this film’s strong point. Piranha 3DD is very much an ‘in-your-face’ film, which lends itself well to 3D, as the filmmakers

exploit the technology for inyour-face gore, in-your-face fish, in-your-face boobs and in-yourface projectile vomiting. Films like this justify themselves with a veil of irony, but this doesn’t hide the fact that Piranha 3DD would have to aim six inches higher just to reach the lowest common denominator, going right the way through ‘so bad it’s good’ to ‘so bad it’s unbearable’. As Hasselhoff arrives at the park for his celebrity appearance he murmurs, “welcome to rock bottom”. Never has a film been summed up so well.

life and shows you what your life would be like if you don’t get a decent job after university; being called up by your mother constantly in the day to carry out inane activities and trying to find meaning in anything in order to prove your life is worth something. Jason Segel’s performance is a far cry from the train wrecks that were Bad Teacher and Forgetting Sarah Marshall. You understand his mother’s frustration with his slacker lifestyle, but he’s so damn loveable that you forgive him anyway. The film also follows Jeff’s brother, Pat (Ed Helms), who is currently going through marital issues; partly due to his insistence on buying a Porsche

that he and his wife can’t afford. His wife, Linda, is cleverly portrayed by Judy Greer, who shows that she can play more than just the bitchy best friend as she does in 13 Going on 30 and 27 Dresses. The audience sympathises with her (why can’t her husband stop being such an idiot?) and she brilliantly captures the

desperation of a wife just wanting some attention. If anything, the wide appeal of Jeff, Who Lives at Home is in its simplicity. The film doesn’t try to offend or preach a message; it simply shows that, sometimes, shit happens. Families break up, people don’t become successful and occasionally adults fight in relationships. As in Little Miss Sunshine, the dysfunctional family makes you feel better about your own. Despite the potentially delicate subject matter, it’s also the type of film you could watch with anyone and not feel embarrassed about its content, which is always promising. The soundtrack alone is reason enough to see

Alex Chafey

Cult Corner. Le Diner de Cons Dir: Francis Veber 1998

F Episodes

Friday, 10pm BBC 2

triangle believably brought to life by Mangan, Greig and LeBlanc, and remains gently amusing, if not hilarious, throughout. Beverly’s accumulated frustration that worked so well in series one has only been increased by her failing marriage, and constant irritation at Matt. LeBlanc shows that he’s more than just Joey, and should be commended for his approach to the comedy, much of which is at his own expense, and for fans of amusing facial expressions there’s a brief but welcome return from Myra (Daisy Haggard), who was a comedy highlight of series one. Altogether, Episodes is a likeable, funny addition to Friday night scheduling. Alex Chafey

Amelia Heathman

models out of matchsticks. What follows is a 90 minute comedy of errors involving a bad back, a nymphomaniac and several awkward phone calls. It’s fast-paced, it’s hilarious, and it’s brilliantly performed by Lermitte and Villeret as the two leads – the scene in which the latter pretends to be Belgian is a particular highlight. Admittedly, this film does reinforce a few stereotypes. Pierre Brochant is, for want of a better word, an arse, and a lot of the characters are having affairs. On the other hand, they aren’t completely two-dimensional, and by the end they do become somewhat likeable. There was an American rehash called Dinner for Schmucks, featuring the comedic ‘talent’ of Steve Carell, but just pretend it doesn’t exist. This is one foreign language film that will leave you hungry (sorry) for more. Phil Bayles

Fuse.

pisodes, the 2011 joint US/ UK venture, is back for a second season. Last year, we saw married British sitcom writers Shaun (Stephen Mangan) and Beverly (Tamsin Greig) attempt to transplant their popular British show to the US, facing the micromanaging whims of TV boss Merc (John Pankow) at every turn. The last straw came when the studio shoehorned Joey from Friends, Matt LeBlanc playing a hopefully exaggerated version of himself, onto the show as the lead. The opening episode of series two takes place four months

after Beverly’s fling with Matt. Beverly and Shaun are now living apart and trying to salvage a working relationship following the commissioning of an entire series of their sitcom. It’s pretty much the second series of Extras, complete with a sitcom within a sitcom, but with only one celebrity guest and the additional twist of seeing two downtrodden Brits try to find their feet in Hollywood. The show’s synthetic look is like a catalogue come to life and drives home the show’s somewhat overplayed message about the shallow, image-obsessed, moneydriven world of Hollywood. It’s a theme that’s been done before, but the show is charming enough to make it work. Much like the first series, Episodes continues to benefit from its well-written central love

orget Amélie; if you only watch one French film in your entire life, make sure it’s this one. Le Dîner de Cons (Dinner for Cretins), adapted for the screen by Francis Veber from his own stage play, is a deliciously (sorry) funny comedy that deserves to be watched. Pierre Brochant (Thierry Lermitte) is a publisher in Paris who, every Wednesday night, takes part in a dinner party with a twist: every guest has to bring an ‘idiot’ to the party, and whoever brings the biggest wins (what they win is never established, it’s more of an ego thing). One week, Brochant finds a world-class entry in the form of François Pignon (Jacques Villeret), a tax auditor who makes

this film. Composed by Michael Andrews, who also scored films such as Bridesmaids and Donnie Darko, it delicately matched the simplicity of the film and was perfect in portraying the mood behind scenes. One highlight was the light, sweet music that is used when Sharon (Susan Sarandon), Jeff and Pat’s mother, receives an instant message from an admirer whilst at work. Jeff, Who Lives at Home is a film with something a little different to the monotonous offerings that are normally played out and leaves you with a happiness that many films fail to achieve.

Friday 2011 FridayOctober May 1872012

Small Screen.

SCREEN

Piranha 3dd

MUSIC

Reviews.RELEASES GAZ COOMBES

Here Come The Bombs Hot Fruit Recordings/EMI 6/10

ere Come The Bombs is completely different from anything that you might have expected from ex-Supergrass frontman Gaz Coombes. After writing six albums with the band, Coombes has finally followed in the footsteps of most middle-aged frontmen and gone solo. And it’s not that Coombes has forgotten his Supergrass roots; most fans will relish the fact that the frontman’s signature britpop voice and fastpaced riffs are still a prominent feature of Coombes’ work, just injected with a little more electro. The difference in musical direction is quite astonishing considering its electro influences and ethereal sounds, but Coombes himself refuses to

market this album as a welcome break from a Supergrass rut or a creative rebirth; he insists the album is just his newest, most ‘focused sound’. ‘Bombs’ is a track that could have quite possibly been written and recorded by Radiohead, with dreamy and futuristic lyrical, synth and keyboard contributions. ‘Sleeping Giant’ and ‘Fanfare’ are similarly sublime, using vocals that are not melody- based and futuristic drumbeats to create songs that could be on a soundtrack to videos about outer space. These contributions to the album can definitely be seen as a ‘new musical direction’, if any, that Coombes is taking with Here Come The Bombs. However, it would be a complete mistake to label the whole of Coombes’ new musical direction as otherworldly and dreamy, because amongst tracks that would send even an insomniac to sleep are ones that are equally fast paced and pounding. ‘Hot Fruit’, the track that is the

first to be released as a single, is a pounding of drums and catchy choruses. ‘Universal Cinema’ combines a slam of synth, guitar and layers that sound like choir vocals to create a rock infused soundscape and ‘Simulator’ incorporates a slam of guitars and drums to create a catchy rock tune. The stripped down guitar sound of ‘White Noise’ means that the album is far from being merely easy listening, despite the fact that most of the tracks strongly feature synth and harmonised vocals. This album is daring enough to satisfy anyone wanting a taste of anything dreamy or otherworldly, whilst remaining true to Coombes’ rock roots to please any old fans. Amy Woodyatt

ZEBRA AND SNAKE Healing Music 100% Records 4/10

he unimaginative title of the band is indicative of the record, a mediocre affair full of overblown synths and annoying vocals. This is Zebra and Snake’s debut album, yet it lacks any kind of vitality expected from a new and upcoming band. The central problem with the album is that it can’t decide whether it wants to be played in a night club or a stadium venue. The compromise between the two styles results in a meandering electro-pop which culminates in the vocalist’s over-wrought and frankly irritating style. ‘The Colours’ is a perfect example of the album’s flaws. It starts off with a David Guetta style

Ps i love you

he second studio album of Canadian rock duo, Death Dreams, PS I Love You does not differ greatly from the band’s previous work but the quality of their sound has improved drastically; sounding as though they have been going for years. It is just a shame that they can’t keep it simpler. Everything is so loud and sometimes the emphasis on heavy distorted guitars is too much, unfortunately making

Fuse.

Friday May 18 2012

Death Dreams Paper Bag Records 5/10

other aspects of the music suffer. PS I Love You are clearly very talented musicians but at times it all becomes a bit too self-indulgent and so noisy that you can hardly hear the vocals and anything other than the raging guitars is unremarkable. Despite this there are parts of this album that really shine, most notably the instrumental tracks ‘Death Dreams’ and ‘Death Dreams II’ which allow the band to play to their strengths, creating experimental indie rock without trying to do too much. It is when they try to incorporate many different instruments and sounds all at once that it can be headache inducing. The more relaxed and slow-

paced ‘Saskatoon’ is a high point of Death Dreams as it is a much needed change from the frantic and overbearing sound of most of the album. The final track ‘First Contact’ is excellent, easily the most enjoyable and leaves you feeling that if the whole album was as good as this then they’d really be onto something. Frontman Paul Saulnier’s vocals are so unusual but very powerful and he only starts to use them to their full potential towards the end. Death Dreams has its merits but is not as strong as what we expect from PS I Love You. Lianne Williams

beat which is repeated throughout the song, whilst the frontman sings lyrics about death. The record tries to be serious and dramatic, but in attempting to do this it comes across as contrived. It seems as if it is a trend amongst indie bands at the moment to add synths to try and sound more interesting. Zebra and Snake appear to be going for a similar sonic aesthetic as the Horrors, who brought out the synths on their recent album Skying. Both albums have similar structural patterns to the songs, but this album lacks the creativity which made Skying such an interesting listen. Zebra and Snake’s album completely bypasses the exciting innovations in electronic music and instead regurgitates a stale formula of verse, chorus, verse, chorus which is then embellished with unimaginative electronic synths.

Now Playing

ith the abundance of new releases each week it can be difficult to sift through the shit in search of the gold so Fuse has handpicked some of the musical highlights for you. First of all we are really excited about Passion Pit’s comeback single ‘Take a Walk’ which is the first single to be taken from their new album Gossamer, out July 23. If you love electropop then this track is a musthear and fans of Passion Pit will not be disappointed. Animal Collective are back as well with two brand new tracks which follow on nicely from their highly acclaimed 2009 album Merriweather Post Pavillion. The A-side ‘Honeycomb is particularly good but the darker sounding B-side ‘Gotham’ is still definitely worth a listen. Twin Shadow caught our attention last week with the release from his new album

‘Foolish Heart’ displays a more interesting sonic landscape with electronic sounds jumping around throughout the song. However, the atmosphere is undermined by the lead singer’s whiny vocals and mundane lyrics. The repetitive chorus of the track ‘Now and Forever’, perhaps encapsulates the whole album; ‘We don’t belong to anyone, we just start and we go.’ It appears as if Zebra and Snake are using electronic music as a sort of launchpad for getting famous. They seem to lack any genuine passion for this type of music and are simply jumping on the bandwagon. Avoid this album, and find some genuinely exciting electropop such as New Order, the Horrors or the really experimental Brian Eno. Ciaran Davis

Confess. ‘Five Seconds’ is an energetic and theatrical, 80s inspired track which can be downloaded for free by joining their mailing list. Spector have just released their latest video for the new single ‘Celestine’ which is out May 21. The video shows the band performing in the desert and is worth watching just for a close up of front man Fred Mcphearson’s incredible glasses. Kids of 88 have also unveiled their new video this week for single ‘Tucan’. This is a brilliant track from the Kiwielectronic duo and is taken from their eagerly anticipated second album Modern Love. You might be able to notice guest vocals from The Naked and Famous’ Alisa Xayalith as well. And if none of these tracks float your boat then maybe ‘Hot Problems’ by Double Take is more of your cup of tea. Worth listening to solely for the comical value. LW and AH

wwmaterial is strong enough on first

LADYHAWKE The Leadmill Friday May 4

Ladyhawke: Mark McKay

tribes

The Leadmill

Monday May 7

ribes storm their way onto the Leadmill stage, pleasing the already raucous crowd who are soon surfing their way to the front. Opening with ‘Walking in the Street’, the band’s energy is delectable. The opening act, the Brute Chorus certainly add to the atmosphere of the gig with their overwhelmingly energetic performance. Their remarkable and extensive use of musical instruments is an interesting sight. The rockabilly style band is followed by the punk-influenced Sharks. The fact that they are

both merely support acts doesn’t restrain the exertion that they put into their performance. Instead, each act own the stage. Tribes don’t let the fact that they only have one album to their name hold them back. They blaze through each song to the enthusiastically responding crowd. The band power through the playlist like a machine on speed; there isn’t a dull moment. The highlight of the night is ‘When My Day Comes’, the vivacious, liberating look at the future that removes all social boundaries within the crowd. The vibe is so contagious that even the heavily made up posers at the back can be seen cavorting, whilst the front row is a tight cram of perspiration and ecstacy. Lloyd steps away from the mic

adyhawke, or Pip Brown as she is also known, played a central part in last decade’s electro-pop revival. ‘My Delirium’ and ‘Paris is Burning’ helped her to carve out an image that radiated hipster cool. Then, at some point in 2009, she disappeared almost as quickly as she emerged. But tonight she is back and reminding everyone why she is such a big deal. The lights go out. Ladyhawke strides on stage and launches into three tracks, ‘Blue Eyes, ‘Girls Like Me’ and ‘Anxiety’, from her forthcoming sophomore album Anxiety. It was a brave move. Although the crowd couldn’t join in, they still seem to enjoy it and the new

impression. But then come the better known ‘Professional Suicide’ and ‘Paris is Burning’. The crowd become more receptive as she basks on stage in a dreamy aura created by the lights and smoke. Apart from a cursory “it’s nice to be here”, Ladyhawke offers little in the way of interaction with the audience. This has little to do with her being an arrogant rock star, because she isn’t, but more to do with an irrepressible shyness and apparent modesty. But anyone in the audience who wanted ‘banter’ and cocky rock and roll showmanship has come to the wrong gig. This is just not her style. The show is about Ladyhawke showcasing her new material and treating us to an electro-pop trip down memory lane which she does very impressively. It was only ever going to be

Sinead Graham Tribes: Sinead Graham

Alkaline Trio: Dan Cox/Flickr

alkaline trio The Leadmill

Wednesday May 2

n their heyday, Alkaline Trio had a following of angry teenagers, who have since all grown up. The Leadmill was packed with a surprising amount of older fans tonight, highlighting the pertinence of the 15th anniversary of the band. This show was supposed to have taken place back in November but was cancelled after frontman Matt Skiba broke his foot, making the excitement and expectation in the air tangible. First on stage is emo/poppunk band the Dear and Departed. Fronted by Dan Smith, tattooist of LA Ink fame, they are unfortunately less than inspiring. Smith’s voice, which isn’t amazing, does not come across well live, and their mix of non descripted music and bland atmosphere will not have lost or gained them any fans. No doubt we’ll see a similar

line up again, as they’ve shared a stage with Alkaline Trio previously. Their disappointing performance makes the crowd even more eager to see the headline act take to the stage. Next up is Dave Hause, singer of punk band the Loved Ones, to play an acoustic set. While this at first may seem odd, it comes after 2011’s Revival tour, which featured Dan Andriano of Trio, Hause, Hot Water Music’s Chuck Ragan and Gaslight Anthem’s Brian Fallon. With his brilliant voice and banter, Hause goes down a storm, especially when his set produces the first of many sound problems to come, which he incorporates into his lyrics with style. By the time he finishes everyone is pumped for the big finale. Hitting the stage with ‘We’ve Had Enough’ from 2003’s album Good Mourning is the perfect way for Alkaline Trio to begin, following with the classic single ‘Time to Waste’. Skiba in his bright pink shirt and gothic make up seems just a little worse for wear, but what-

ever been doing with himself backstage does nothing to hinder his but whatever he has been doing with himself backstage does nothing to hinder hisbut whatever he has been doing with himself backstage does nothing to hinder his performance. The mix of old and new is a perfect way to celebrate the band’s longevity, a highlight being one of their biggest hits “Private Eye”. Newer fans may have been disappointed by the large backlog of earlier tracks, but this isn’t just a show for new fans. The sound may not have been the best, and Skiba may freak people out with his behaviour, but it is still a brilliant show and a great nostalgia trip. Holly Kiernan More reviews online Read more reviews online at: www.forgetoday. com

DOT COM

Fuse.

Jake Bugg, whose Bob Dylanesque sound has had his music being referred to as a very modern folk tale. Unfortunately, the amazing Reverend and the Makers had to postpone their gig last Friday due to an injury, but that is moving to May 25th at the Leadmill so you can still catch your favourite band. Blow away those revision blues and take a night off on Saturday May 26 to see Alt-J at the Harley. The duo met at the University of Leeds and are touring in promotion of their new album, out May 28. Back to the Harley again, on June 5, is Subpop’s hip-hop duo THEESatisfaction. After releasing their debut album Awe Naturale in March, THEESatisfaction have had some serious coverage and their single ‘Don’t Funk With my Groove’ is all you’ve ever wanted. LW and AH

Mark Mckay

Friday May 18 2012

heffield has a brilliant music scene and you could pretty much go to a different gig every night. In order to guide you to the best gigs the city has to offer, here are the upcoming highlights of Sheffield music for the next two weeks. Tomorrow night, Saturday May 19, is the Tramline’s People’s Choice Band Event at the Leadmill to choose a local band to play on the main stage on Devonshire Green on Saturday July 21. There are eight local bands playing the showcase along with Wet Nuns and Dead Sons as headliners, which should be a brilliant night and put you in the mood for what will be an excellent Tramlines 2012. The BBC Sound of 2010 winner, Michael Kiwanuka is gracing the stages of Sheffield with a performance at the Leadmill on May 21. He’s also being support by the wonderful, Nottingham-born

about the music, and in that respect Brown did not disappoint. Musically, her performance was captivating throughout and tonight she showcases what an incredible live performer she is. We are treated to 18 tracks in a little over an hour and a half, highly commendable seeing as she has been away for so long. New singles ‘Black, White and Blue’ and ‘Sunday Drive’ sit well alongside the likes of ‘Love Don’t Live Here’ and ‘Better Than Sunday’. The highlight, inevitably, is ‘My Delirium’, the last of a three track encore played to an ecstatic crowd. As she disappears offstage we know there is no danger of her being abandoned to the annals last decade’s electro-pop resurgence. Ladyhawke has made her mark and 2012 can be her year.

for Jim Cratchley’s (bass and vocals) rendition of ‘Alone or With Friends’. This showcases the softer side of the band, whilst allowing the crowd a moment to catch their breath back. The penultimate song ‘We Were Children’ is addictively ecstatic. Lloyd leans into the literally jumping crowd in an effort enough to make the faint hearted collapse. The encore ‘Coming of Age’ enforces how far the band have come since their first single ‘We Were Children’, just over a year ago. And by the performance they put on tonight, they plan to go a lot further.

Alt J: Magnus Aske Blikeng/Flickr

Now Touring

MUSIC

Reviews. LIVE

LISTINGS

GIAG: Liverpool

amous as the birthplace of the Beatles and the home of Liverpool FC and Everton, the city has a wealth of attractions for you to explore. The Albert Dock complex is Liverpool’s pride and joy; these restored warehouses are now home to a collection of cafes, shops and attractions – including the Beatles story museum and Tate Liverpool gallery. Back in the city centre, look out for more Beatles landmarks like the Cavern Club, visit galleries, museums or just shop till you drop in the new and impressive Liverpool One.

Film Unit

Friday May 18: Hugo: 3.30pm, 7.30pm

H Saturday May 26 outside Bar One, £14; 9am ‘til 5.30pm

ugo (Asa Butterfield), is an orphan boy living in the walls of a train station in 1930s Paris. Hugo’s late father left him an automaton which Hugo believes possesses an important secret, however the robot requires a key which Hugo does not have. On his adventures, he meets with a shopkeeper, George Melies, who works in the train station. Hugo finds that they have a surprising connection to his father and the automaton, and he discovers it unlocks some memories the old man has buried inside regarding his past.

Tickets: £2.50

Available from the SU box office

Saturday May 19: Extremely Loud and Incredibly Close: 3.30pm, 7.30pm

troubled young boy, Oskar (Thomas Horn), is trying to cope with the loss of his father who died in the 9/11 attacks. He discovers a mysterious key in his father’s belongings and embarks on a scavenger hunt to find the matching lock, just as he used to when his father was alive. The film was directed by University of Sheffield alumni Stephen Daldry and is an adaptation of the bestselling novel by the same name. It was also nominated for two Oscars, including the Best Motion Picture Award.

Fuse’s Four for the Fortnight (and beyond) Alt . Com . Cab: May 21 @ The Harley, 8pm; £3 entry

Tramlines People’s Choice Show feat: Dead Sons and Wet Nuns: May 19 @ Leadmill; £5; 6:30pm

ramlines, the UK’s Best Metropolitan Festival, is back in 2012. This year, local musicians are being given a chance to kick off the show as the people’s choice. For the first time ever, Tramlines is opening up the floor to its festival-goers to pick a local act to appear on two of the festival’s largest stages. Two winning acts will be selected, with a band/solo artist playing the opening slot on Devonshire Green’s main stage and a DJ/producer playing at the Dance Arena’s massive Saturday night event. Sarah Nulty, Festival Director at Tramlines said: “When we started Tramlines four years ago we always put showcasing new talent at the heart of the event. This year we want to give unsigned artists a

Fuse. Fuse.

Friday Friday May September 18 2012 16 2011

heffield Doc/ Fest brings the international documentary family together to celebrate the art and business of documentary making for five intense days in June. Sheffield is fast becoming known as one of the top places in the world for people from the documentary and digital industries to get together - to meet, to screen their work, share knowledge, do business, make new contacts and discuss innovations and challenges they are facing in the ever changing media landscape. Over the past four years Sheffield Doc/Fest has massively expanded its marketplace activity, as well as its cross platform, interactive and digital

f you’re tired of endless hours spent procrastinating in the IC then why not head just down the road to the Harley for a night of alternative comedy cabaret. Promising to raise your spirits , Alt.Com.Cab describe themselves as “an alternative comedy night held in Sheffield at the Harley (w w w.t he harley. co.uk) every third Monday of the month. As well as being an independent production company that will put on comedy e v e n t s literally anywhere.”

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Sheffield Doc/Fest: June 13-17 @ All around Sheffield; £100 + VAT with UCard; register online @ sheffdocfest.com

chance to open up the show.” Now the votes are in and the eight finalists will be announced tonight. But for now, we leave you with the notion that the double headline will come from Dead Sons and Wet Nuns. Tickets are

£5 each and that money will be put back into the festival to help Tramlines stay truly free for all. Look out for Fuse’s favourite act Polkadodge, featuring former Screen editor, Tom Fletcher.

programme. These developments and the stunning film programme and often controversial conference sessions are what attract over 2,000 delegates from around the globe and thousands of general public. Sheffield Doc/Fest is famous for its fabulous parties and endless networking opportunities. The festival programme includes

120 films from dozens of countries, 300 speakers from the digital and docs sector and over 150 buyers and decision makers from 20 countries participate in the marketplace. Millions of pounds of deals are done during the festival. Doc/Fest also supports the development of emerging talent, providing educational and networking opportunities, outreach training schemes and a structured internship and volunteer programmes all year. The festival itself is a brilliant forum for new talent to meet established filmmakers and producers and buyers. If you work in the documentary film, factual TV or digital industries you can’t afford to miss Sheffield Doc/Fest.

The View: June 16 @ Leadmill; £14; Doors open at 7:30pm

fter their disappointing third album Bread and Circuses, the View are back with their fourth album Cheeky For a Reason. The album is currently being recorded at Liverpool’s Motor Museum Studios with producer Mike Crossey (Arctic Monkeys, Razorlight, Foals). Early track titles that are vying for inclusion on the album include ’Bunker’, ‘The Clock Has No Sympathy’, ’Anfield Row’, ‘How Long’, and ‘AB’. When asked to describe the album, lead singer/ guitarist Kyle Falconer said “it’s Fleetwood Mac’s Rumours done by the Clash”. Cheeky For A Reason will be released by the bands new label Cooking Vinyl on Monday July 2.