Fuse.
Best Bond themes S.L.U.G.S Michael McIntyre
SHORT FUSE
Sparks.
Editorial
Who run the world? Some girls
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hen asked about the lack of people from ethnic minorities in HBO series Girls, Caitlin Moran tweeted: “I literally couldn’t give a shit”. And with that, yet another celebrity made the fatal error of not reading their tweet back before sending and thinking, “Is this really what I want to say to the world?” Needless to say, Twitter kicked off. Moran was accused, at one point or another, of being ignorant, flippant, over-privileged and racist. I’ll start by saying that Caitlin Moran isn’t a racist – at least, I’m 99.9 per cent sure she’s not. Her style of humour is naturally controversial and carefree and she made the mistake (albeit quite a big one) of transferring that to a serious issue. Moran is a proud, self-proclaimed feminist who writes (very well written) articles about the need for gender equality. Unfortunately, in a moment of celebrating a victory for one oppressed group, she forgot to
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care about another. "My feminism will be intersectional or it will be bullshit,” wrote Flavia Dzodan. And she’s absolutely right – we cannot truly say we are campaigning for equal rights for women if we’re only talking about white middle class women. There is a real danger of feminists getting trapped in a bubble of ‘17 per cent pay gap’ and ‘patriarchal system’, and to failing to see feminism in the context of a wider egalitarian ideal. High-profile feminist figures like Moran ought to be careful not to let the side down for the sake of wanting to appear to be ‘a bit of a maverick’ on a social media site. So let’s present a united front. To me, there’s no such thing as ‘white feminism’ or ‘middle class feminism’. Embrace the true spirit of the feminist movement: equal rights for all people, regardless of gender – or any other superficial factor for that matter.
ello readers. We hope you had a nice Halloween. Anybody who scoffed at that last line and said something about how much they’re looking forward to Christmas, please put the paper down now. It’s barely November, you cretins. Save your Bublé CDs for another month. Now we’ve got those pleasantries out of the way, shall we tell you what’s in our fanastic issue this fortnight? We’ve gone a bit Bond-crazy in the office lately; we’re one step away from sneaking some booze in and concocting some martinis, shaken not stirred. Or is it okay to just drink Heineken now? Either way, the boys and girls of Music and Screen have teamed up and looked at some of the iconic theme tunes that have accompanied 007 on his filmic soujourns. Elsewhere, Games have chatted to gaming society S.L.U.G.S, and Arts have taken a look at Michael McIntyre, that floppyhaired bobblehead.
Lauren Archer
Zombies plus guns equals Crapcom
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Friday November 2 2012
ey, Capcom. Call me. We can fix Resident Evil. Together. That is a recent tweet from the now unemployed design director and Gears of War creator Cliff Bleszinski, referring to how Capcom have turned the Resident Evil franchise from genre defining, award winning triumph to uninspired, bloated failure in three iterations and seven years of regression. When Resident Evil 4 released it didn’t resemble much else on the market; designed by Shinji Mikami, it aimed to define survival horror and developed a set
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of mechanics to best achieve that goal. It won over critics and audiences because it was unique, yet brilliant. Resident Evil 6, by stark contrast, is a convoluted attempt to deviate from the survival horror genre completely by borrowing heavily from other games with varying design goals and ideas, which results in a wildly inconsistent mishmash of shite, embodied elegantly by the game’s decision to give the zombies guns. Resident Evil is a shining beacon of what can happen when a series forgets what made it great in the first place, and looks
to take ideas solely from other booming genres to compensate for its own lack of imagination. Worryingly, and as a huge Halo fan, I’m nervous that the same criticism might be applicable to Halo 4 when it releases in a few days. It’s massively worrying that a recent, 13 minute expose of the game’s multiplayer component essentially boiled down to a list of features pulled straight from Call of Duty and given a Halo themed spin. Perks are now called ‘armour mods’, kill streaks are un-inspiringly dubbed ‘ordinance’, and
Coral Williamson Arnold Bennett games are no longer played for the benefit of the team (as is traditional for Halo), but instead yet another Call of Duty-inspired, carrot-on-the-stick style experience system that allows individuals to unlock weapons, visual perks, and persistent attribute buffs. If we use Resident Evil as a case study, the fourth major sequel to Halo: Combat Evolved could spark the beginning of a slow descent into insignificance. Arnold Bennett
Fuse.
Best Bond themes S.L.U.G.S Michael McIntyre
The Fuse cover this issue was designed by Manuel Andres Fuentes Zepeda. He’s a genius.
Lucas feels the force of Disney’s wallet
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he biggest twist so far in the Star Wars tale was revealed yesterday when Disney felt a disturbance in its bank account and said “LucasFilm, I am your father”. This came as Star Wars creator, developer and subsequent ruiner George Lucas sold his namesake production company to Disney along with all Star Wars properties. It may surprise some that Lucas has sold his life’s work, but the billionaire director would probably sell his own mother to Jabba the Hutt for $4.05 billion. Some fans of the saga may be concerned about the future of the franchise, but not any who’ve seen the prequels, who will be
glad to see it released from the Lucas force choke. Many blame the critical failure of the prequels on all the annoying, cartoony, kid’s characters, but the fact is that George Lucas had one good idea ages ago and has been dining out on it ever since. Kinda’ like Tim Berners-Lee. Disney have already announced plans for Star Wars Episode VII: Return of the Investment in 2015, but what can we expect from the new film? Maybe they’ll get Christopher Nolan to direct a dark reboot, with the offspring of the original characters undergoing gruelling training in the Jedi ways. Then it turns out it was all a dream. Or maybe all our
questions will be answered, and we’ll finally get to find out what happened to Jar Jar Binks and the Gungans. Hard to see, the future of Star Wars is. The franchise is already damaged goods, so it could go either way, but without Lucas at the helm there’s a chance of recapturing some of what made the original trilogy great, with a script written by someone who’s heard how people talk. Whatever the result, it will be hard for Disney to go as far wrong as the prequels, a fact which should give Star Wars fans across the galaxy a new hope. Alex Chafey
After his whirlwind success this year, Coral Williamson cornered Eugene McGuinness to find out what he’s up to. How was France? We heard you made friends with Eric Cantona. Paris was wonderful, I did a couple of TV shows and a sold out show, so it's bent my head a bit. And yeah, I saw Cantona in a bar round the corner from when he played. Kingly would be an understatement.
like I go looking for inspiration, I’m just always eager to write. I love it. As well as being a solo artist, you’ve also been in Eugene + the Lizards and worked with Miles Kane. Are you going to stay solo now or do you have other projects lined up? I'm staying solo, it's the only project I care about and there's so much I need to do with it. The songs are flying out so making a bunch of records is the plan.
Do you think audiences vary that much from country to country?
Your tour is kicking off in Liverpool – do you have a special fondness for the city?
Yeah, they vary from city to city more. Here or abroad, a few miles in any direction it's always different. As long as people are enjoying themselves.
Yeah I adore it, I lived there for a couple of years and I’ve missed Liverpool ever since I moved back to London. There's nowhere in the country like it and the place is sort of engrained in me, which is a mad sort of thing for a Londoner to experience. That show will be amazing.
What’s your highlight of the year been? You’ve been pretty busy. Sold out shows in London and Paris and maybe the release of ‘Shotgun’ earlier this year. There have been some other great gigs in Liverpool and Manchester, but really the whole year's just flown by, that always happens when you're busy and I’ve been loving every second of it. So your next single is ‘Sugarplum’. Can you talk us through what the song’s about? It's quite a romantic song, but I suppose it'd be about seizing your moment and not letting the humdrum grind you down. What usually inspires your music? I'm not really sure, I just potter about all day doing other things until an idea comes out of the blue and then things get written really quickly. It's not
You’re also coming back to Sheffield, after playing the Main Stage at Tramlines Festival earlier this year. How was that? Tramlines was great, it was a blitzing hot day when I played there in the city centre. It felt massive for me, I loved it, but I'm looking forward to the Leadmill. I love that venue. Finally, what’s in store for the rest of the year, and the future in general? A few more trips to Paris, A video for ‘Sugarplum’ and prepare for the start of the next year. Loads more shows, more songs, more hair… Eugene McGuinness will play the Leadmill on Monday November 12. His next single, ‘Sugarplum’, is out December 10.
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Monday November 5: The Good, The Bad and The Ugly: 7:30pm
Sunday November 4: Sports Hall of the Goodwin Sports Centre, £1 entry, 1pm ‘til 3pm
Saturday November 10: Men in Black 3: 3:30pm, 7:30pm
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fter 10 years, numerous script rewrites, directorial conflicts and deadline changes, the Men in Black are finally back to protect the world in another laugh out loud comedy-drama. Of course Agent J (Will Smith) and Agent K (Tommy Lee Jones) return, but due to a time travelling alien who wishes to kill K in the past, Agent J has to also travel back and meet the young K (Josh Brolin) and try and save him and save the world.
Saturday November 11: Anna Karenina: 3:30pm, 7:30pm
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irector Joe Wright is accustomed to successfully adapting major novels, creating much-loved versions of Pride & Prejudice and Atonement. Here he adapts the 1877 Tolstoy classic for the big screen with predictably stunning results. Anna (Keira Knightley) looks for a way out of her loveless marriage with Alexei (Jude Law) and enters into an affair with Count Vronsky (Aaron Taylor-Johnson). This is sure to impress.
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he king of the spaghetti western genre Sergio Leone delivers a masterpiece. The plot is simple yet intricate as we follow Clint Eastwood, Lee Van Cleef and Eli Wallach as they desperately search for buried gold. Leone provides us with likeable, interesting characters and beautiful imagery set to an iconic score written by legendary composer Ennio Morricone. This is widely regarded as the best western ever created.
Tickets: £2.50
Available from the SU box office
Friday November 2 2012
GIAG: No Strings Film Unit Badminton o strings badminton is all about fun, friends & fitness. Sport Sheffield & No strings want to make life simple – providing a new badminton initiative that makes it extremely easy for you to grab a racket, rally around friends and head on court for action. Wear trainers, tight underpants, and bring a bottle of water. Please pay for the session at the Goodwin Sports Centre Reception (where your receipt will act as your ticket). Tickets are NOT available online or at the Students’ Union Box Office. If you don’t really care much about badminton, this is the badminton for you.
Q&A.
SHORT FUSE
EUGENE MCGUINNESS
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Friday November 2 2012
ADVERT
Olivia Middleton reviews Michael McIntyre’s latest side-splitting routine, Showtime.
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ontinual skipping across the stage, impressions of the Queen hula-hooping, and an attack by an ‘attention-seeking bastard’ of a fly. And that’s just a taste of what was in store for the audience of Michael McIntyre’s latest stand-up routine Showtime at Sheffield’s Motorpoint Arena last week. Upon entering the arena, there wasn’t an empty seat in sight, and McIntyre immediately reminded us just why that was, as clips from his previous tours Live & Laughing and Hello Wembley were played via colossal screens as an introduction to the evening. Unsurprisingly, this managed to get the audience warmed up far better than an opening act ever could have managed, as we were reminded of much loved-jokes such as his young son’s inability to express words other than ‘no’ and ‘juice’. Needless to say, the atmosphere was already electric. The staging itself was understated but striking nonetheless, containing nothing but huge lettering spelling out the name of the show, and of course McIntyre’s own name too. A clever gap between these giant representations of his forename and surname enabled him to enter onto the stage to much applause and excitement, and the performance was set in motion. Showtime opened with some interaction between McIntyre and his audience, during which he apologised for releasing tickets for the tour over a year previously, and joked about the prospect of particularly enthusiastic fans having waited in the arena ever since the day they purchased them.
“McIntyre wasn’t about to be upstaged by a fly, even one with incredible comic timing”
“He recalled entering his son’s name for his password, only to be told it was ‘weak’” Particularly famous for his observational humour, the show was of course rife with examples of McIntyre’s shrewd surveillance of everyday life as well. Some of these included the registration process for online websites, where he recalled entering his child’s name for his password only to be told it was ‘weak’, as well as the bizarre booking system of English cinemas, where he noted how one has to fill out their hometown as if they are genuinely going to be travelling from ‘Uzbekistan’ to catch the latest Bond film. Audiences can also expect far more family based sketches in this tour, which at first might appear slightly irrelevant to younger members of the audience. However, McIntyre’s carefully calculated impressions of his wife putting on her tights allowed him to turn an unremarkable family occurrence into a memorable anecdote. Able to rely on his comical mannerisms, McIntyre wiggled and minced his way across the stage with great panache. Quite simply, the man knows he’s funny, and rightly so. McIntyre openly laughs at his own jokes, and is so infectious in doing so that you cannot help but laugh along with him. It’s yet another reason that his DVDs, both of which I own and have watched a hundred times over, will never cease to be funny. What’s also so appealing about McIntyre’s particular style of performing is that he provides simple, inoffensive comedy. So if Frankie Boylestyle humour which makes you feel guilty for laughing isn’t exactly your cup of tea, this man is the perfect solution. And the best part about it? You simply cannot resent McIntyre’s extreme success. The man is the true embodiment of the rags-to-riches story, as just a few years ago he was in £40,000 worth of debt. However, since his first major appearance on the Royal Variety Show in 2006, he has skyrocketed to comedic super-stardom, with his Live & Laughing DVD becoming the fastest-selling by a debut comedian in history. And he’s so darn likeable you just can’t begrudge him any of it. The only real criticism I can make regarding the show is that, as it contains all-new material, the jokes are a little less polished than those showcased in his previous DVDs. However, this can certainly be put down to the distractions McIntyre encountered during the performance, which he dealt with admirably. The opening movie, a feature typical of McIntyre’s shows, was also not quite as humorous as usual, but the audience appeared to be too keyed up for the show to commence to care.
All in all, McIntyre successfully proved why he is one of the nation’s most popular comedians at the moment; the show was every bit as brilliant as I always anticipated it would be, and well worth the wait. Showtime will be released on DVD and Blu-Ray on November 12, and Michael McIntyre will be touring until December 3, so try to catch a performance in your area – I can guarantee it will be one of the funniest evenings you’ll have this year.
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“The man is the true embodiment of the rags-to-riches story”
Friday November 2 2012
He then proceeded to make some of his typically masterful observations about the arena itself, pointing out the ridiculous fact that the seating numbers were marked underneath each seat, making it nearly impossible to decipher where your own was. This could have been quite problematic if a Scotsman happened to be sitting in your chair, as McIntyre pointed out, as one might innocently mistake the number ‘6’ for the number ‘600’ instead. This silly little quip gained McIntyre his first laugh, and a strong rapport with his audience was instantly struck up. As mentioned previously, McIntyre was unfortunately plagued by a persistent fly during the opening of the show, which miraculously landed on him during a joke about his wife’s fake tan staining the bedsheets brown and making it appear as if she had had an unfortunate accident during the night. But McIntyre wasn’t about to be upstaged by a fly, albeit one with impeccable comic timing. Indeed, even though McIntyre already had his usual tight routine of hysterical sketches lined up, he used this chance encounter with the pesky critter to demonstrate his commendable improvisational skills as well. Amazed, he pointed out, “I just have to mention shit and the flies come rushing!”, and using this hilarious coincidence, leapt into a fantastic impression of the overexcited fly. Although the insect was evidently becoming a distraction for him, he managed to slip seamlessly back into the flow of his joke, a very impressive feat. A further example of this knack for improvisation arose later on during the performance, when McIntyre engaged a member of the audience in some banter. After asking the man where he was from, to which he replied, ‘Barnsley’ in an incredibly gruff voice, the comedian spotted an unexpected opportunity for a gag. Continuing to play off this exchange for the duration of the night, McIntyre would hold his stomach as if about to be sick, and then exclaim “Barnsley!” at random intervals between jokes. Why this was quite so hilarious was inexplicable to both the audience
and McIntyre himself; indeed, he even admitted that he might try to introduce the gag in his next performance, but that it would probably go down like a lead balloon. Sometimes, you cannot help but recognise that jokes which rely on appearing natural have actually been rehearsed and performed a million times over. However, these ad-libbed moments of Showtime made for a truly unique performance.
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MICHAEL MCINTYRE
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GAMES
Feature. SHEFFIELD UNIVERSITY’S GAMING SOCIETY
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ARE YOU AFRAID OF
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GAMES
Kaz Scattergood infiltrates one of Sheffield’s nerdiest societies, S.L.U.G.S
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he University of Sheffield’s gaming society has a very simple aim- to make gaming a social activity. The society’s roots proudly lie within LAN gaming. LAN literally means ‘local area network’, so a LAN event consists of a group of computers connected together in one room. This forms the basis for S.L.U.G.S’ main events – in which the committee members, society members and others join together for a long, game-packed day. I had the pleasure of attending one of these events, LAN 32, to check out what goes on. The LAN took place in a stifling room of steamy hot equipment, from 10am until around 8pm, with about eight different games played throughout the day – including an organised tournament with an impressive prize.
“We’ve got to broaden our scope a bit, we need to spread out” I had a chat with the S.L.U.G.S president, James Walley, who had plenty to say about the society and their goals. I asked James how ‘hardcore’ a player you have to be to join in with them. He told me S.L.U.G.S cater for a range of gamers,
from the casual to the hardcore. “We try to be as broadly appealing as possible, but also cater to those who want to take it a lot further.” He himself claimed to be a “casual gamer”, along with many other people at the LAN. S.L.U.G.S, as one of the “nerdier” of our university’s societies, can be seen as a fairly intimidating one to join. With a well established routine and a fairly niche interest, it is understandably daunting to an outsider to join in and attend a LAN. I talked to James about how “intimidating” he feels the society is, and he understood the fear involved with trying something new. “We’ve fallen into the trap of being quite cliquey in the past, we’re trying to be a lot more welcoming.” By putting effort into expanding their society by advertising, James hopes to open up the society to more members. Although their roots lie heavily in LAN gaming, and this is the current main appeal of their society, James talks about the possibility of expanding their appeal. “We’ve recently changed our name from a LAN society to just a gaming society, so now we’ve got to broaden our scope a bit. LANs are something we can do, and it’s actually about going ‘okay, we need to spread out’.” This ‘need to spread out’ has perhaps been inspired by other gaming societies around the country, who have a much larger
following of console gamers. James said he’s spoken to presidents of other gaming societies, who hold console events and are much more consolegame focused.
“LANs are the main appeal and are what we run most frequently” However, there is often a logistical advantage depending on the particular university. “A lot of the ex-polys and universities that do videogame design courses do [run console events], because they’ve got rooms full of games consoles and they can go there whenever
whether just playing for a giggle whilst having a pizza, or competing in a prize tournament. They’ve even partnered up with the other ‘nerd’ societies (The Assassins’ Guild, Minecraft, Quasar and Compsci) for a joint Halloween social, and having Left 4 Dead playable in the Activities Zone on Halloween for anyone to join in. Having more of a public presence in the University, along with liaising with other societies, is all part of S.L.U.G.S rebranding as a more open, accessible group of people. S.L.U.G.S LANs are evidently a fun place to be, and are a great opportunity for gamers to get together in one room and play their favourite games. James may be talking of their expansion to console gamers, but I can see why the heart of their society lies in their LANs.
“S.L.U.G.S LAN events are an unmissable experience for any gamer at our university”
To find out more about S.L.U.G.S. go to slugs.union.shef.ac.uk
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“This is the main appeal and this is what we run most frequently, and it’s what people want.” Joining S.L.U.G.S as a console gamer should be an increasingly beneficial membership as their society develops, but getting involved in their LAN events is definitely an unmissable experience for a S.L.U.G.S member, and indeed, any keen gamer at our University. “Our history is in LAN gaming. It’s what we’ve always done and what we’ve done well, but we can also do better.”
Friday November 2 2012
they want and hold an event. It’s a little different for us, we don’t have TVs at our disposal or a projector.” This disadvantage means it’s often been simply easier for S.L.U.G.S to hold LAN events in which people bring their own equipment to set up together in one room. Despite this, James is keen for their society to expand beyond their current LAN-based comfort zone. Knowing that being a ‘gaming society’ means opening up their scope to Xbox and Playstation 3 users, S.L.U.G.S have a console officer on their committee this year, and will try to encourage console users to join in. “We need to broaden our appeal, maybe make it more than just this, and more about gaming in general. We’re trying to do that this year.” “We’ve just got a server in the Union, so people can play from home, and play all our games on our network, and it makes more of an appeal of maybe less LAN, more playing from home, playing together, in a community kind of sense. More what console gamers are used to. We’re trying to build that.” James explained how a LAN set-up can be particularly unfamiliar to console gamers, which may put them off joining S.L.U.G.S. “A PC gamer knows that if they go to a LAN, they take their PC, their screen, all of their peripherals, whereas a console gamer might turn up with their Xbox and expect a TV. It’s difficult to manage expectations.” By having an easily accessible network to play from home, this is more suited to a wider spectrum of gamers, hopefully allowing their community to grow. Their efforts to be friendly are easily noticed. Everyone at the LAN is welcoming and fun,
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SCREEN & MUSIC
Feature. THE BEST BOND THEMES Casino Royale (2006) You Know My Name - Chris Cornell
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aniel Craig’s first Bond film, Casino Royale, was a reboot for the franchise. It took it away from the camp stupidity of the Brosnan era – with its bloody invisible cars – and gave us a grittier, more mature Bond for the 21st century. And Chris Cornell’s theme song, ‘You Know My Name’, realises this perfectly. It’s a brilliantly written song about losing one’s naïveté, about protecting yourself from betrayal even at the hands of those you love the most. Cornell – who incidentally was also the first male American to sing a Bond theme – has been a member of bands like Audioslave and Soundgarden, and the song works brilliantly as a rock anthem. But there’s also something brilliantly old-school about it, backed by a proper, full-bodied orchestra. The gambling-themed credits sequence is terrific too, and also has the distinction of being the first one without naked ladies all over the show. PB
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Licence To Kill (1989) Licence To Kill - Gladys Knight
his was the final 80s Bond; the film was released in 1989 with a certain beautiful Timothy Dalton in the title role. It may be one of the most superb of all the 80s Bond title tracks; what could be better than Gladys Knight’s striking tones and the slow-rhythmic drumming/ clicking combination in the background. It’s a very sensual song and as Knight proclaims that she has a “licence to kill / anyone that tries to tear us apart” there’s a certain passion in her voice that makes you very sure she would stop at nothing less. It’s also particularly relevant to the film. Licence to Kill surrounds Bond trying to track down a drug baron who has left one of his best friends, Felix Leiter. MI6 don’t approve this mission and strip Bond of his ‘license to kill’ so it could appear that the passion and feeling reflected in this song relates to the struggle Bond goes through to try and avenge his friend despite the obstacles in his war. AH
Every great James great theme song, a for Skyfall has reciev The Screen and their heads togethe favourite Jame
Goldfinger (1964) Goldfinger - Shirley Bassey
istening to the sumptuous trumpets lead by the wonderful John Barry in the introduction to this song, even before Shirley Bassey comes in, it is apparent that this is the best Bond song. Ever. Sorry Adele, it’s just never going to happen. “It’s the kiss of death / from Mr Goldfinger”, the worldfamous lyrics relate very well to the 1964 title poster that declares Bond is back and ‘Everything he touches turns to excitement’ so instead of gold, it proclaims Bond’s very own Midas touch. As this was only the third Bond film to be released, the iconic film poster of the golden girl and the impressive title track make it the most monumentaL This song is easily not only the best, but also one of the most famous Bond songs. It oozes 60s glamour and the orchestral movement behind Bassey’s incredibly vocals only add to the sheer excellence of the overall track. It is the epitome of all that is brilliant about Bond.
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A View To A Kill (1985) A View To A Kill - Duran Duran
ontrary to popular belief, there’s a lot to love about A View to a Kill; Christopher Walken’s insane villain, the climactic fight on the Golden Gate Bridge, but best of all, Duran Duran’s theme song. The story goes that bassist John Taylor drunkenly approached producer Cubby Broccoli at a party and asked: “When are you going to get someone decent to do one of your theme songs?” The result was Duran Duran, John Barry and a 60-piece orchestra. From that first big, 80s stab, we’re immediately back in a Bond film, the driving drums and strong vocals making this one of the all time best Bond themes. They even manage to get round the problem that ‘A View to a Kill’ is a rubbish name, opting instead for the far catchier refrain: “Dance into the fire!” which, it should be pointed out for health and safety purposes, is terrible advice. DM
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The James Bond Theme John Barry
he original James Bond Theme by John Barry and his orchestra is one of the most recognisable pieces of music ever to be composed and has been used in every Bond since Dr No. It has caused much stir over the years due to controversy about who actually wrote it. For a long time it was thought that composer Monty Norman created it, however it is often speculated that the uncredited John Barry, who went on to compose 11 James Bond themes afterwards, was actually the genius behind the notable piece. Whatever the truth is, that Mr Norman is a very rich man now. The instantly recognisable guitar riff gives you a strange feeling of nervousness and anticipation all at the same time. The theme has not dated in the slightest over the years and fits each new Bond film just as well as the last; destined to be an instant classic as soon as it was composed. The arrangement is so well thought out and was always going to hold its place as the signature theme. It’s effortlessly cool and oozes sophistication and sexiness; just like Bond himself. LW
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ou might say we’re cheating here, by including an entire film, but shut up, because both the opening theme and ‘We Have All the Time in the World’ deserve their place amongst the greatest pieces of Bond music. John Barry’s ‘On Her Majesty’s Secret Service’ theme’s descending chords and foreboding horns are Bond through and through, thankfully instrumental presumably due to the cumbersome title; after all, what rhymes with “service”? It perfectly accompanies the action just as ‘We Have All The Time In The World’ does the drama; Louis Armstrong’s beautiful love theme, also composed by Barry, lends Bond a truly rare emotional resonance. If it fails to move you then you must be secretly working for SPECTRE. On Her Majesty’s Secret Service remains criminally underrated as a movie, worth a second look if purely for a soundtrack that stays with you long after George Lazenby has faded from memory. DM
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s Bond film needs a and Adele’s title tune eved critical acclaim. Music editors put her and picked their mes Bond songs.
On Her Majesty’s Secret Service (1969)
The Spy Who Loved Me (1977) Nobody Does It Better - Carly Simon
he famous theme from The Spy Who Loved Me, ‘Nobody Does It Better’, has got to be one of the most iconic Bond themes to date. Incredibly succesful, it gained an Academy Award nomination for Best Song and was the longest charting hit of Carly Simon’s career. From the stunning piano intro, to the epic crescendo where the percussion kicks in; ‘Nobody Does It Better’ has all the qualities needed to make it a classic Bond theme. Carly Simon’s vocals are outstanding and her smouldering tone, along with the romanticised lyrics blend perfectly together creating what has got to be the sexiest theme song of all time. The track was the first theme since Dr No not to be called the same as the film, although it still gives homage to Bond with the sensual lyric: “the spy who loved me, is keepin’ all my secrets safe tonight”. It has been covered countless times and has been featured on many non-Bond films since, proving that it is not just one of the best Bond themes but also stands out in its own right. LW
Fuse.
he first Bond theme to be nominated for an Academy Award for Best Original Song, ‘Live and Let Die’ has probably become more popular than the movie it’s featured in. While the movie got a somewhat mixed reception, probably due in no small part to the somewhat dodgy racial undertones (the whole thing is basically Blaxploitation at its cheesiest), the theme song has only gone from strength to strength, and it’s easy to see why. Paul McCartney and his wife Linda teamed up with George Martin, the former producer of the Beatles, to create a song that’s unbelievably catchy. The John Barry-esque orchestral section (which you’re all humming right now, don’t deny it) brilliantly contrasts that reggae-ish bit in the middle. Almost 40 years on, it remains a karaoke favourite the world over, and Macca himself can’t resist using it as an encore – it’s probably the best song Wings ever made. PB
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Live and Let Die (1973) Live and Let Die - Wings
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GAMES
Reviews. ASSASSIN’S CREED III
Xbox 360/PS3/PC 8/10
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he Assassin’s Creed series has become sort of stale over the years, the stealthy-stealthy, stabbystabby, free-running action was amazing at first, but by the time elderly Ezio Auditore and even the blank potato that is Desmond Miles were capable of such feats, the novelty has sort of worn off. Needless to say, the franchise was in desperate need of renewal. The fifth entry in the Assassin’s Creed franchise picks up where Assassin’s Creed: Revelations left off with Desmond, under the supervision of his condescending assassin contemporaries, searching for ‘those who came before’
and a way to prevent the impending apocalypse. Once again, Desmond uses the Animus to witness the life story of his ancestors, beginning in the 18th century with Haytham Kenway’s travel to America, the events that lead to the birth of, and the life story of the story’s real hero, Ratonhnaké:ton, otherwise known as Connor.
“The overhaul the franchise has been begging for over the past two years has arrived”
The overhaul the franchise has been begging for over the past two years has evidently arrived. The combat and movement systems seem more fluid and less repetitive; the slaughter is vastly bloodier as well, splattering the game with a brutal realism characteristic of the era. The combat is also a more rewarding experience, with tomahawks, bows and arrows, dual pistols, swords and bayoneted rifles thrown into the mix to make the bloodbath all that more entertaining. The vast landscapes and beautiful architecture aren’t only easy on the eye, but can now be fully enjoyed without having to partake in Ubisoft’s bizarre obsession with flag-collecting. The environment isn’t only gorgeous, but the atmosphere, whether it is alone in the forests of the frontier or in the bustling
town of Boston harbour, is really rather astounding. The towns seem alive; NPCs seem to go about doing their own thing rather than shouting inane comments at the mysterious hooded man. Assassin’s Creed III continues the development team’s obsession with historical accuracy, whether it is the brief summary of every important building and assassination target, or the lewd remarks of Benjamin Franklin, it is all there. No matter how hard you try, you’ll have to learn something while playing this game. One of the genuine concerns about this game pre-release, mostly by non-Americans but especially by us Brits, is that the story would essentially be a patriotic glorification of the liberty of the American spirit and a demonisation of the evil British redcoats. Fortunately (despite the fact that the most arrogant, irritating character in the series, Shaun, just so happens to be British) this isn’t really the case and focuses more heavily on the TemplarAssassin conflict, both of which have Americans and British in their ranks. The online multiplayer, which garnered plenty of critical acclaim for the past two entries in the franchise, has a few new additions, including statistics of your previous games. Otherwise, it isn’t vastly altered. It does, however, take full advantage of the new engine and is entertaining
and infuriating in equal measure. However, the game isn’t perfect. While the development team may boast that they built the combat and movement mechanisms purely from scratch, they are eerily similar yet slightly simplified and dumbed down.
Cult Corner.
sequent sibling Mario Kart Wii outclasses it in terms of kart control, and its precedent cousin Mario Kart 64 pioneered the use of 3D. Yet, with these factors considered, Double Dash is hands down the most enjoyable of the bunch. Unlike the Wii edition, Double Dash is significantly more rewarding. Until mastered, attaining the lead in this game is difficult – though not impossible – whilst maintaining it requires skill, not potluck. The overall vibe is of enjoyment, and unnerving addiction. Where Mario Kart Wii assuredly reduces the player to screaming profanities – usually directed towards Peach – Double Dash encourages them to playfully rue an ill-timed boost launch; especially when playing multiplayer. Double Dash introduces a multiplayer element that remains popular today; two players to a kart. With one player controlling
the kart and the other facilitating weapons and box prizes, timing and communication is crucial. An ill-judged shell here and a wasteful boost there and soon enough you’re in last place. When in sync, though, that first place result is entirely more gratifying; offering a sense of camaraderie that videogames just don’t bring to the table anymore. Matthew Hawker
MARIO KART: DOUBLE DASH Nintendo Gamecube
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adies and Gentlemen, presenting Rocksmith, a game, a teaching method and an impressive bit of tech all in one. Say goodbye to plastic guitars, star power and ‘Through the Fire and the Flames’ on expert mode, Ubisoft’s Rocksmith is here to make things much more interesting. The gaming interface is very similar to the Guitar Hero games, with blocks of colour descending down the screen waiting to be hit at the bottom. However there is one crucial difference between Rocksmith and all other guitar-based rhythm games – this time it is an actual guitar. Using the patented Real Tone cable, connect your guitar to the cable via the quarter inch jack and then plug in the other end to the USB on your console and play away. No seriously, it really is that simple. There are some tedious tutorials to begin with, which if you
Fuse.
Friday November 2 2012
Xbox 360/PS3 8/10
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already play either instrument you will just find a waste of time. What’s more, the game menus are highly confusing initally, though after you have had suitbale time to digest this, the overall look and feel of the game is stunning. It has already been accredited by some critics as the best piece of teaching software for guitar and bass on the market, and with that said it is also great fun. The song selection has a quite a few less well known tracks, but with the likes of ‘Plug in Baby’ (Muse) and ‘Sweet Home Alabama’ (Lynyrd Skynyrd) everyone is guaranteed a few favourites. Quite apart from simply playing songs, there is also the Guitar-cade, a section of mini games devoted to improving skills, and the ability to turn your TV into an amp and tuner. Rocksmith is truly the way forward for all aspiring guitarists/bassists and the rhythm game genre in general. Lewis Colson
ast your minds back to the years that predate graphic superiority; to when videogames were catered towards arcade junkies; when they were a weekly social occasion, not a daily routine. Forget the glamorous image of the modern day videogame and harken back to a time when simplicity and entertainment ruled. Amongst the ranks of this era are age-old classics Doom, Tetris, Ocarina of Time, Street Fighter and many more. There is another videogame, however, situated in the midst of its counterparts, that has truly earned itself pride of place in the cult corner: Mario Kart: Double Dash. Certainly, its sub-
“The online multiplayer is entertaining and infuriating in equal measure”
There is a sense that, especially when climbing and jumping, the game is doing a lot of the work for you. On a similar note, while many improvements have been made, most missions end up being climb this, fetch that, brutally murder that chap over there; the repetitive nature that has been endemic of the series is here to stay. If you are a fan of the series, Assassin’s Creed III is an absolute must, even if you skipped the previous two yearly instalments, if you have never enjoyed historical parkour, however, your mind will most likely remain unchanged. Alex Titcomb
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Can’t stand up for falling down Lantern Theatre 8/10
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ichard Cameron’s Can’t Stand Up For Falling Down is an amalgamation of interwoven and intensely moving monologues. Three women tell their personal stories, unaware that they are linked by the mistreatment and abuse of one man, Royce Boland. The audience watches helplessly as the stories begin to overlap and then finally collide at the play’s end. Set in South Yorkshire in the 1980s, the story begins with the characters’ youth. Lynette is a 15-year-old girl listening for an ambulance siren and hoping
it’s not for her mother. Ruby is 18 and has just discovered she is pregnant. Jodie is a 10-yearold who is in love with Al, a child in a man’s body. The influence of Royce is introduced and the audience witnesses their inability to escape his cruelty. For this powerful play to succeed, an outstanding trio of actresses is paramount. Fortunately, Laura Hobson, Carla Harrison-Hodge and Samantha Robinson capture the spirit of these resilient young women brilliantly, with Hobson giving an exceptional performance as the thick-skinned single mum, Ruby. As the debut professional performance for two of the three actresses, the play has a rawness that can’t be matched by a more established cast. Other elements of production
are cleverly incorporated to increase tension. The set is simply made up of three swings that remain the backdrop for the entire play. The lighting and music also add to the play atmospherically, with the spotlight working to intensify the trauma of the individual characters and the dramatic music altering the ambiance of the auditorium. Above all, Can’t Stand Up For Falling Down manipulates the emotions of its audience. It is impossible not to be sucked into this gripping production. Despite its serious themes, the play is definitely worth seeing due to the conviction of the cast and believability of the characters. Lizzie Hyland
Therian’s Dream
A Taste Of Honey
Cupola Gallery 7/10
Crucible Theatre 7/10
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he Crucible’s production of A Taste of Honey, by Shelagh Delaney, was an interesting take on this naturalistic play. Set in northern England in the 1950s, Jo (Katie West) and her promiscuous mother Helen (Eva Pope) move into a dodgy neighbourhood where Jo is left alone as Helen heads off for Christmas with Peter, played by Andrew Knott. Jo has a brief romance with a black sailor Jimmie (David Judge) which leaves her pregnant. Jo’s potentially homosexual friend Geoff (Christopher Hancock) becomes a surrogate father while Jo struggles with the idea of motherhood, stemming from her own tenuous relationship with her mother. The costume transported you to the 50s with swing dresses and oversized trench coats and the rock and swing music utilised was equally apt for the era. The saxophonist Joann Kerrigan was particularly impressive and. She provided the audience a soft pause from the harsh northern accents of the actors. The only anomaly with the music was the rift from ‘Favour-
ite Things’ from The Sound of Music which was completely out of place, marring the overall delightful experience of sound within the play. The set was designed to bea grotty flat in typical 50s décor, with horrid patterns and musty camel colouring. On the whole it was very convincing, utilising the thrust stage of the Crucible excellently. Veering from the naturalistic, the production included a rotating stage. This was highly effective as it created a sense of moving forward in time, so that when Jo entered with her huge pregnant belly, it wasn’t massively sudden. The stand out performance had to be Eva Pope as Helen.
Soldiering through a couple of line slip ups, she was extremely consistent in her character, landing comic lines very well. This specific performance was notable for its comedy which provided moments of relief from the rather depressing story-line. Katie West assisted, bringing a huge amount of energy to the performance.However, this energy sometimes became over consuming and made Jo seem like a ten year old child rather than an 18-year-old young lady thinking about sex and marriage. This was definitely toned down in the second half of the play which made her performance less tiring to watch. Laura Kolka
ince the earliest forms of art, man has been obsessed with the depiction of animals. This obsession has transcended history, from the colourful to the dull, the exotic to the mundane. In her latest exhibition Therians Dream, Los Angeles based French artist Valerie Daval continues this age-old tradition. Drawing on the beliefs of Therianthropy (a belief system suggesting all humans to be in some way spiritually linked to a non-human animal), she sets out to explore this animalistic part of the human psyche. Through a range of styles and techniques, her paintings provoke both amusement and thought. Daval’s pieces take on a variety of styles. Some, such as a series of smaller paintings whose titles all include the word “accomplice”, are cartoon-like, and unrecognisable as people but for the piercingly human eyes that stare out through their animal masks. Others use graffitistyle techniques, such as the series of six images entitled ‘Wolf Transformation’, in which a boy’s face slowly morphs into that of a sinister-looking wolf to simple
The Coming Storm Lyceum Theatre 8/10
Lyceum Theatre 5/10
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experiences of women raped in warzones. These were delivered sensitively, but the tone was instantly switched back to penis jokes, and what could have been important moments for thought and reflection were lost. Billed as ‘the ultimate girls’ night out’, this was certainly a good laugh. However it is a play of two halves, and without attention to the more serious moments much of its key message is lost. Lizzie Palmer
CJ Leffler bag on his head tries ineptly to hang himself, a piano is swung around on the end of a rope. It’s quite surreal, and seems random in a lot of respects, but this is to be expected from artistic director Tim Etchells. Drama unfolds as people relate personal stories – the last time he saw his mother alive, wearing an eyepatch, screamed at for going too far. This struck a chord with many in the audience, and not a happy one. The production appeared to be comprised of segements oddly bolted together. It shouldn’t have worked, but somehow, it did. If you’re looking for a narrative, or a plot, or for characters, look elsewhere. What you get is comical, tragic, musical, physical, surreal, unexpected. It’s not traditional or normal, but it’s very much worth seeing.
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help of psychological therapy. Entwistle’s deadpan delivery and comic timing ensured the most laughs of the evening, as she effortlessly moved between the serious and light-hearted subjects covered in each story. The monologues telling the stories of younger women were delivered by Clare Buckfield and Hayley Tamaddon. The play as a whole was very much delivered as a riotous comedy, but two serious monologues are included which recount the
ith a theatre company called Forced Entertainment and a production called The Coming Storm, you would be forgiven for expecting pretension, inaccessibility, and the dreaded physical theatre. The production begins with six people walking onstage. One of them then picks up a microphone and begins a list of elements that a good story has. Soon people are interrupting and plunging into accounts of seemingly irrelecant and banal events. In fact, nobody ever manages to finish a story. Background events develop as time passes, and allow segments to merge seamlessly together. Comedy emerges from behind whoever’s talking: a man with a
yet dramatic effect. Most successful, however, are those that adopt a classical approach. In some Daval pokes fun at the ancient art of portraiture, depicting a mottled grey and brown cat gazing out from above an Elizabethan ruff in ‘Moka’ and a stern looking grey rabbit, glaring businesslike and proud out of a Victorian coat in ‘William the Rabbit’. Others play on famous paintings by the Impressionist Manet; in ‘Deer Olympia’, Daval replaces the head of Manet’s muse with that of an elegant white doe, whilst in ‘Picnic on the Grass’, the heads of two of the happy diners are replaced with those of a graceful white cow and a sternlooking brown bull. Whilst these paintings are intentionally amusing, it is impossible not to identify the human qualities in the animals captured, and Daval uses this human desire to connect with animalkind to great effect. Throughout her works, Daval demonstrates a skill and flexibility that mark her out as a competent and creative contemporary artist. Animals are an often overdone theme in art, yet Daval’s approach is delightfully fresh and relatable, leaving the viewer enthralled.
Friday November 2 2012
The vagina monologues ritten to shock, “my vagina is angry” is the opening of one of the most outlandish of the monologues which come together to create Eve Ensler’s hit play. The monologues are based on a series of interviews conducted by Ensler, during which she spoke to women all over the world about sex, orgasms and what their vagina would say if it could speak. Vicky Entwistle, better known as Coronation Street’s Janice Battersby, brought no-nonsense northern grit to proceedings with her delivery of the monologues based on the experiences of the older women. This included an American woman who had her first orgasm in her 70s with the
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Tim Norwood
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Reviews. RELEASES
Stiches In The Flag Ship Wreckords 8/10
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he Cornish folk-punk Crowns release their album to much anticipation due to their performances with acts such as The Pogues and Mystery Jets, surrounding them with much attention and excitement. The album kicks off with the title track, ‘Stitches in the Flag’. It hints at the alterations the band are set to make in the music industry and outlines the influence that Cornwall and Cornish traditions have on their music. Mixing old and new styles, they maintain Cornish customs throughout the album. In ‘Boscastle Breakdown’, the band tells of the Cornish tradition of dancing on gravestones. Don’t assume that this gruesome custom depresses the song as they manage to remain buoyant throughout. The album concludes the same way that they
Gin WIGMORE Gravel & Wine Universal 7/10
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is a golden ticket to Bon Temps. Wigmore’s crooning voice is capable of fragility and tenacity at the same time; a perfect complement to the album’s theme of infidelity and unrequited love. This doesn’t mean the album is full of sad heartbreak, rather the opposite: each track is bolstered by strong instrumentation and booming vocals. Honky-tonk piano, blues inspired steel guitar, organ and the occasional trumpet all evoke that 1930s Americana aesthetic. Wigmore is strongest when throwing out her gutsy, rollicking songs. Highlights include ‘Dirty Love’ and ‘Black Sheep’, whose driving beats and strong melodies allow her to use her gravelly voice on full blast. These songs bristle with hip twitching energy and attitude; vocals on ‘Black Sheep’ declare Wigmore’s sassy renegade sta-
end their shows, with their rendition of ‘Little Eyes’. The traditional American song has become a local hit in Cornwall. The punkiest moment comes with ‘Four Walls’, reinforcing the modern tinge to the band’s traditional Cornish folk. There is almost a chanting quality to Bill Jefferson’s belting vocals. But the folk essence prevails and the two genres combine in the distinctive style of the band. ‘My London’ adopts a slower tone, to reminisce and praise the city that their album was recorded in. Jefferson’s vocal chords pull at the heartstrings. It is beautifully and satisfyingly melancholic. It’s not only the vocals that are admirable. The instrumental ‘Windmill Hill’ provides both a respite from the lively music and a showcase for their instrumental talents. Despite the upbeat vibe provided by the mandolin and guitar, there is still some genuine heartfelt moments such as in ‘Parting in the Porch’. It recounts
moments of maturation and is something every listener can appreciate. The style of the band is a breath of fresh after the considerable amount of indie-folk that has recently been assaulting the airwaves. Their twist on the folk genre exhibits their originality. It is certainly an album to buy if you enjoy fast tempo upbeat music to dance around like a maniac to. Sinead Graham
Now Playing
nal version. Unlike a lot of remixes, the song doesn’t sound completely different, it’s just a lot more fun, upbeat and you can imagine dancing to it in a club. You can download the track for free from Gigamesh’s SoundCloud. The Fresh & Onlys have done a cover of ‘All Tomorrows Parties’ by The Velvet Underground and it is definitely worth a listen. Their version doesn’t stray much from the original but it works. Tim Cohen’s vocals are deep, dark and are remarkably similar to Lou Reed’s. You can download the cover free from pastemagazine.com. Local band Blessa have released their first track in around 18 months. ‘Open Fields’ is a stunning release with echoing guitars, mesmerising vocals and excellent use of percussion. The long, drawn out introduction is quite captivating and vocalist Olivia uses her voice in very clever ways, changing her tone throughout until her voice suddenly fades away.
The STAVES
Dead & Born & Grown Atlantic Records 9/10
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he Staves’ debut album, Dead & Born & Grown, is eagerly awaited after the success of their first three EPs. The Staveley sisters’ eloquent folk music is excellently written and thought provoking, demonstrated perfectly by this album. They have recently finished a US tour with Bon Iver, and are scheduled to continue touring with them in Europe. Only a few techniques are used to create their unique sound. Folky acoustic guitars reminiscent of Laura Marling
alongside a rich harmony of three female voices are the most obvious, which leaves the bulk of the talent in making this album in the song and lyric writing process rather than the performance. This gives the album a simple, minimalistic style which hits the ear well. The flow from song to song is seamless, which makes the album as a whole very listenable. The album begins with ‘Wisely & Slow’. This song starts with the three singing in harmony with each other without much use of instruments. Towards the end of the song, instruments are eased into the next track gently. This sets the album’s minimalist tone brilliantly. ‘Facing West’ makes use of the ukulele which diversifies the
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tus: “I’m not here to please”, she sings defiantly. ‘Sweet Hell’, a duet with Butch Walker, offers a twisted, minor key alternative to Johnny Cash and June Carter’s ‘Jackson’, peppered with mariachi style horns and complementing vocals. Gravel & Wine is a dramatic and evocative album, full of stomping, dance floor-ready tunes. Occasionally the lyrics get lost in amongst the music and attitude and seem a bit contrived, but this is saved by sincere ballads and tempered by Wigmore’s vocals. Gravel & Wine gives a good first impression, and you’ll definitely want to meet it again. Rachel Smith
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Friday November 2 2012
in Wigmore has been doing the rounds recently on British TV, sound-tracking the Heineken and James Bond advert with her track ‘Man Like That’. With lyrics like “Girl you better wake up / Girl you better run”, the song recounts the familiar story of a womaniser, set along-side rolling drums and handclaps. From the outset Gravel & Wine takes a specific path. Inspired by a trip to America, tracks like ‘Poison’ and ‘Kill of the Night’ are crying out for a place on the True Blood soundtrack; the latter’s stomping chorus “I wanna taste the way that you bleed”
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folksy atmosphere they generate. They balance the change well, because while it diversifies the tone it also fits in with the rest of the album and doesn’t mess up the flow. They finish with ‘Eagle Song’, which is an uplifting, happy folk song. This ends the album with an upbeat, positive vibe. Dead & Born & Gone reveals the very real potential The Staves have. They have clearly put a lot of thought into the composition and the lyrics of this album. This, along with their past successes demonstrates the talent that these women have. Jack Crisfield
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. We could hardly contain our excitement when we heard that Local Natives are finally releasing a new single and we are definitely not disappointed. The track ‘Breakers’ still has that trademark sound that we love, but is slightly more mature and refined. It’s the sound of a band who have really come a long way in the last few years. The simple but dynamic chorus, gets stuck inside your head and you can’t help but feel uplifted. Their second album Hummingbird is out on January 28 and we can’t wait. This week we stumbled across a remix of the Citizens! track ‘True Romance’ by Gigamesh and we reckon it’s an actual slight improvement on the origi-
LW & AH
Reviews.
MUSIC
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Spector: Kasper1954/flickr
spector
Thursday October18 The Leadmill
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his is the fourth time that Spector have graced Sheff-bizzle with their presence in the past 12 months and it seems that whenever they perform, Sheffield’s infatuation with the East London boys only increases. Support comes in the form of Swim Deep and Splashh, in what appears to be a dream team of a tour, with Swim Deep promising to prank Splashh every day and various Instagram photos on Twitter of their mishaps. Swim Deep play tie-dye summer music and deliver a certain warmth to a shivering, drenched Leadmill crowd. Alcohol is yet to fuel these bones though and the crowd appreciate the band to a certain extent. This may not have been the best choice of venue for Swim Deep and it’s clear that in a more intimate setting, the atmosphere with these guys would be electric.
Splashh too fail to excite the crowd. This may be because they’re desperately waiting for Spector? Maybe, but there is nothing more dull than watching a band who look completely bored on stage. Splashh’s menancing indie rock style is decent but the band offer nothing else except flouncing hair. Fred Macphearson and his pals take to the stage and launch straight into ‘Twenty Nothing’. Macphearson instantly takes on the persona of performer; it’s strange to imagine him comfortable in any other setting. He holds the microphone out to the audience to sing along and basks in the adoration, before exclaiming “All this screaming, it’s like a Mcfly gig!” Spector tell us their tour stories, including the loss of their bassist’s libido and how much better the Leadmill audience is compared with Liverpool and Preston. This is another reason why Spector are brilliant performers. Nothing phases them and they chat with the crowd as though it is a simple conversation between
two people. The band race through their set with fierce energy playing hits from their debut, Enjoy it While it Lasts, such as ‘Friday Night, Don’t Ever Let It End’ and ‘Celestine’. An interesting moment brings the set to halfway point when Fred declares he is helping a fan out with something and invites her on to the stage. The woman then proposes to her boyfriend on stage with the crowd in raptures. He says yes to the delight of the entire Leadmill, before Spector launch into ‘Chevy Thunder’ in the couple’s honour. It’s easy to understand Sheffield’s crush on Spector. From accommodating a proposal to down-right flattery, and teaching the audience how to sing along to their songs, this is a band that though they may not necessarily be ‘cool’ to like, are 100 per cent impossible not to love. Amelia Heathman
Delilah: stevehuntphoto/flickr
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Edith Hancock
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Saturday October 20 The Leadmill
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ust like her music, the audience that Lianne La Havas has drawn to Sheffield’s award-winning musical venue is eclectic. The young alternatives and the old soul fans mingle at the bar in eager anticipation of the events that are about to unfold. Although a recent Mercury Prize nomination has far from harmed her reputation, a little eavesdropping will reveal that most of the audience are already true La Havas devotees. The success and wide appeal of Lianne La Havas’ debut, Is Your Love Big Enough, ensures this. The enthusiasm reaches its height as the restless hosts gather around the stage. La Havas’ handpicked support comes in the form of Rae Morris. The young singer/songwriter from Blackpool opens the show with an incredible set of songs that are both delicate and powerful. After a short and humble goodbye she disappears off the stage leaving the audience feeling emotionally charged. The release comes when La Havas takes to the stage. She is met by rapturous applause. The respect that she commands
is extraordinary. The excitable crowd fall silent as she recounts ‘No Room For Doubt’; the tale of love and loss echoes around the venue. Each effortless lyric is like a whispered secret, each note from the guitar as tender as the message it conveys. It is sparse, beautiful and truly captivating. After this magnificent opener La Havas is joined on stage by her band and they give the performance a massive lift. Together, La Havas and the band effortlessly segue between the gentle melodies of songs like ‘Lost and Found’, to the powerful jazz infused pop found in ‘Is Your Love Big Enough’. La Havas repays the audience its generosity, “I think I love you, Sheffield,” she beams at her fans. Lianne has shown just how open the boundaries of her sound really are. The live show encapsulates the varied nature of her record, and expands on it. It is an emotive journey through every poignant moment of her life. Leadmill was truly graced on that cold Saturday night and the honoured audience were privy to something spectacular indeed. Conor Stephenson
Fuse.
atie B once invited Amy Winehouse over to talk through some relationship trouble. They had a glass of red then they wrote an album. And Delilah was born. Sound good yet? Well it was, so pay attention. Delilah’s October tour started at Leicester’s O2 on Friday 20 before coming to Plug last Friday, bringing with her fellow South-Londoner Josh Kumra - the vocals for Wretch 32’s ‘Don’t Go’. Although his set is only half an hour, it is time enough for Kumra to make his striking soul-tone present. Look forward to hearing him being played endlessly on Radio 1 soon. Enter Delilah: What is most likeable about her is that she
for those who look for more variation. There is little between the drum machine and the piano. In some parts the shift does feel like a gear change, but overall the performance is coherent, consistent and damn good fun. She seems to actually like her audience too, which is always a bonus. Delilah invites the crowd up on stage to dance with her and makes everyone feel involved. Overall the performance is stunning, but maybe slightly too laid-back for Plug on a Thursday.
Lianne le havas
Friday November 2 2012
Thursday October 25 Plug
actually has a good voice there is no pussyfooting around awkward notes. In fact, her voice is so good and her music so thought-out that samples she takes from dance classics such as ‘Two People’ and ‘Ain’t Nobody Love Me Better’, rather than seeming like ordinary backings or covers, are converted by Delilah’s chilled bass style. There is no question about what is being performed. Her show is very much her own creation. Her range is impressive, including Drum and Bass sounds in ‘Never Be Another’ and ‘Go’, the chilled-out ‘Shades of Grey’ (nothing to do with the books, sadly) and even a bit of laidback jazziness in ‘Tabitha, Mummy and Me’. Delilah strikes pretty close to the order of her album From the Roots Up, opening with the first track. This is good for those who like continuity, though maybe dull
Splashh: facebook.com/splashh.band
Lianne Le Havas: www.liannelehavas.com
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Reviews. Skyfall
Dir: Sam Mendes 9/10
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ometimes the old ways are the best. Take Christopher Nolan, the man responsible for redefining the term ‘reboot’. If not for Nolan’s Dark Knight trilogy, then we would have a totally different Bond film on our hands this autumn. But as it stands, director Martin Campbell did take notice, and 007 was stripped bare. With a fresh Daniel Craig taking the helm of this dark re-imagination, 2005’s Casino Royale reminded us what Bond was really about. Sadly its sequel, Quantum of Solace, never quite lived up to its predecessor, and audiences were left nostalgic for a dose of warmth and classic Bond. And, of course, exploding pens. Enter Skyfall. Award-winning American Beauty director Sam Mendes has previously impressed audiences with his dark re-inventions, such as the iconic stage musicals Cabaret and Ol-
gINGER AND ROSA Dir: Sally Potter 6/10
Chakravyuh Dir: Prakash Jha 5/10
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he new film by the multiaward winning master of political thrillers in Bollywood, Prakash Jha, Chakravyuh (Labyrinth) is another brave attempt to bring forward a sensitive yet important issue. This time Jha tries to dig out the truth behind the evolution of Maoist Naxalites in India, in a plot based on true stories broadcast and published in news
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Friday November 2 2012
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et against the backdrop of the Cold War, Ginger and Rosa follows the relationship of two teenage girls (Elle Fanning and Alice Englert) trying to find their way through the turmoil of adolescence and cope with the ever-nearing threat of nuclear annihilation in the politically-charged 1960s. The title of this film is actually misleading, as the relationship between the two titular characters is not particularly well developed, and the film focuses for the most part on Ginger and her family, with Rosa taking a back seat much of the time.
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iver! With some help from cinematographer Roger Deakins, who delivers some visually stunning set pieces, this is an exquisitely realised reboot of a reboot. The plot is simple. During a mission in Istanbul to retrieve a stolen list of undercover agents operating in terrorist organisations, MI6 agent James Bond is shot, and presumed dead. And thus, the first haunting notes of Adele’s beautifully orchestrated theme can be heard. The motif of the film is resurrection, and this is a theme which resonates with each lingering word of the song. With gorgeous crescendos which are bound to leave audiences longingly remembering Shirley Bassey, this is a definitive Bond ballad. Craig is, again, brilliant. This is an actor who looks at ease in his role, and his p o r t r a ya l of a broken but unyielding 007 isn’t for a second upstaged by Javier B a r d e m ’ s performance as the chilling Raoul Silva, a villain who stands shoulder to shoulder
with such Bond giants as Goldfinger and Blofeld. With entertaining turns also from Ben Whishaw as a young Q, and a pleasant (albeit unnecessary) distraction from Naomie Harris, this is a cast who appear to be enjoying every minute of their screen time. However, it is Judi Dench who utterly shines as M, who is at last granted the centre-stage she deserves. The back and forth repartee between Dench and Craig showcases some of the best character chemistry seen on the big screen, and gives credence to the emotional undertow throughout the film. In the wake of a monumental year for British patriotism, it’s fitting that M describes Bond as “an exemplar of British fortitude”. This 50th anniversary of the legendary franchise is an all-round British affair, and quite possibly James Bond’s finest hour. This is quintessential Bond, and then some. Unless, of course, you were expecting exploding pens.
The film’s first half feels sluggish making it difficult to invest in immediately. Its slow beginnings arguably pay off in the final act as it builds to a hysterical and gripping, if slightly implausible, conclusion. It improves enormously towards the end when the drama begins properly, but whether or not you’re still with it after the slow beginning will depend on your commitment. While the film generally benefits from strong performances, Ginger’s frequent emotional outbursts at the prospect of nuclear war become increasingly tiresome. Her constant fear is overplayed to the point of annoyance, reducing the impact of the genuinely serious and at times moving drama of her family life, and the actual problems
she faces. The girls’ friendship is established quickly in a few opening scenes, but it’s never fully explained or explored which further lessens the impact of the drama they inevitably go through. This isn’t helped by the fact that, in spite of brilliant moments, there remains something unconvincing about Elle Fanning’s performance. Add to this the general underdevelopment of Ginger’s character and the film is deprived of a much-needed relatable character and emotional anchor. Ginger and Rosa is at its most effective when it focuses on the juxtaposition of global conflict with emotional domestic drama, succeeding in showing the importance of both. It’s also nicely
filmed, and efficiently political, criticising global politics with truly emotional moments. But what’s more interesting than the girls’ teenage traumas is the actions of the more mature characters, such as Ginger’s depressed mother (Christina Hendricks), her narcissistic father (Alessandro Nivola) and their group of liberal if sometimes misguided friends, which may have been a better focal point for the movie. Once it gets going, Ginger and Rosa can be engaging, compelling and gripping but suffers from its slow start and weakness in the portrayal of the girls, which leave it short of expectations.
reports over the last few years. It’s a politically and emotionally complex story revolving around two best friends - Adil Khan (Arjun Rampal); an honest Indian Police Service officer, and his friend Kabir (Abhay Deol);
a free-spirited and hot-headed man. The story begins with Khan arresting an old Naxal named Govind Suryavanshi (Om Puri) but his main target is Rajan (Manoj Bajpayee) an extremist who chops the ears off those who dare to become police informants. Kabir convinces Khan to send him as an informant to infiltrate the Naxal group. Initially everything goes according to plan, but
later Kabir starts developing a soft spot for Naxalites. Chakyravyuh’s first half follows in the footsteps of earlier Bollywood films like Footpath (2003) and Don (1978), where a cop sends a secret informer to infiltrate a gang; however, it ends on a very different note. The second half brings some good moments, but Sameera Reddy’s muchhyped song ‘Kunda Khol’ (‘Keep the Door Open For Me’) breaks the story’s continuity. It ends with a strong message, with shocking facts and figures pertaining to the Indian economy, which leaves the audience
Graham Wardle
Alex Chafey wondering who is immoral and who is not. There are some good performances by Rampal, Deol, Puri and Bajpayee, and Jha’s choice of locations in Indian forests is impeccable. The cinematography, however, is average and the special effects and soundtrack are little better. Overall Chakravyuh is a fine depiction of a red-hot issue, and succeeds in delivering its message, but it lacks entertainment value. Ranjeet Parmar
SCREEN
Reviews.
Beasts of the Southern Wild Dir: Benh Zeitlin 9/10
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t is very rare that you leave the cinema feeling utterly transformed. But give Beasts of the Southern Wild an hour and a half of your time and it will deliver just that. This Oscar frontrunner is a rampage of gritty genius: a brutal exploration of the lives of forgotten people, stripped to the bewilderingly beautiful core. We are introduced to Hushpuppy (Quvenzhané Wallis) and her father Wink (Dwight Henry)
Cult Corner. Another Earth Dir: Mike Cahill 2011
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However, the sci-fi is merely a lens through which the film is viewed; Earth 2 is little more than an excuse for some stunning skylines. There are too many ‘profound’ scenes of Marling walking below a beautiful sky filled with Earth 2 – but, of course, this is an indie film and you have to expect some pretentiousness. The writing is serviceable, and Marling’s acting is suitably under-stated. The opening sequence of images of Jupiter is actually one of the most memorable scenes of the film, thanks to Marling’s mesmerising voiceover and the haunting sounds of Fall On Your Sword. The planetary plot reappears in the final scene, providing a pleasing, though not unexpected, twist. It’s unfortunate that the film is little-known outside of the indie sphere, most likely because Lars von Trier’s Melancholia was released two months before; thanks to its Hollywood cast and enfant terrible director, that film will have eclipsed Another Earth in the public’s consciousness. Adam Rajah
ent brings a new, raw dimension to the film, with both main roles played by newcomers.
“Beasts is a rampage of gritty genius”
Nine-year-old Wallis, dubbed a “miniature force of nature” by critics, makes a stunning debut – with every onscreen moment as compelling as the last. She’s allegedly the favourite for Best Actress at the Oscars – not bad for a first-timer. Despite their tumultuous re-
Small Screen. Girls
Monday, 10pm Sky Atlantic
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ways. Scenes, characters and dialogue race around your head for days after the credits roll. After all, it’s not often that a low-budget indie flick is given such a warm reception by both critics and the box office, and Beasts of the Southern Wild’s surprising success should be taken as a testament to its outstanding quality and resonance.
and neurotic Shoshanna (Zosia Mamet) - are also along for the ride, and all the girls have their own issues and insecurities to deal with. The first episode is really an introduction to the world of these young ladies and it does not disappoint.
conversation about the lowest form of communication is a particular highlight, while Hannah’s drug-addled meeting with her parents is just as amusing as it sounds. Girls is realistic in a way that Sex and the City never could be. No one who watched that show bought Jimmy Choos once a week. Girls, on the other hand, is relatable: the four protagonists work crap jobs or don’t work at all. The sex in the show is awkward and funny, if quite graphic, and the conversations feel real and worthy of our time. You might think a guy isn’t qualified to understand a show about four girls, but this really is another good comedy from HBO.
“Girls is realistic in a way Sex and the City could never be” We are thrown in headfirst as Hannah is told off for talking whilst having sex, Marnie argues with her clingy boyfriend and Jessa and Shoshanna throw Hannah a dinner party that descends into an opium-fuelled jaunt. The writing on the show is the standout feature, as Dunham has created a world that is witty yet poignant at all times. The dialogue is great and cracks with sharp lines, and the
Lauren Archer
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Fuse.
drama/comedy about four girls in New York sounds fairly familiar. However, all comparisons to Sex and the City end there, as we are introduced to four 20-year-olds trying to discover life and love in post-creditcrunch New York. Lena Dunham directs, writes and stars as Hannah, a wannabe writer who interns at a crappy company. Hannah finds herself jobless whilst pursuing the American dream, or as she puts it, trying to become “the voice of a generation”. Things don’t all go well as Hannah finds herself cut off from her parents and forced to confront the real world. Her three friends - uptight Marnie (Allison Williams), freespirited Jessa (Jemima Kirk)
lationship, Hushpuppy and her father are fiercely protective of one another and their palpable onscreen chemistry brings this complexity to life. In an interview, Wallis describes meeting Henry for the first time and exclaiming to the production team: “He’s the one!” The cinematography is gorgeous, with explosions of light and colour juxtaposed with sparse, monochromatic landscapes. The perfect backdrop is set for a film that helps you find beauty in the most desolate and desperate situations. This winner of the Sundance Festival’s Grand Jury Prize is utterly haunting in all the right
Friday November 2 2012
rit Marling plays 17-yearold Rhoda Williams, who has just been accepted into MIT. She is driving home after celebrating, trying to spot the newly discovered ‘Earth 2’ in the night sky, when she crashes into another car and kills John Burroughs’ (William Mapother) wife and child. When Rhoda is released from prison four years later, she visits John disguised as a maid from a cleaning service. Trapped in her lie, Rhoda comes back week after week to clean his house. Rhoda and John draw steadily closer, just as Earth 2 draws closer to Earth, making it more and more difficult for Rhoda to come clean. Another Earth is a great film with big ideas, but suffers from some misleading trailers. Most will have gone into the theatre with the understanding that they’re going to be watching a science fiction film similar to Invasion of the Body Snatchers.
who live together in the ‘Bathtub’, an American bayou community surrounded by rising water. Wink’s dwindling health prematurely plunges Hushpuppy headfirst into a pool of independence. In an age of Hollywood explosions and erotica, it’s refreshing to watch a film that just tells you a story – and tells it brilliantly. Based on Lucy Alibar’s one-act play Juicy and Delicious, she and writer/director Benh Zeitlin create a narrative with power and elegance in its simplicity. We are overwhelmed by a sense of love and loss, cohesion and chaos and eventually by an acceptance of life in its messiest, most wonderful form. Zeitlin’s use of untapped tal-
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