INTERVIEW: WOLF ALICE // THE BEST PIGS IN FILMS // EGX 2015 // CELEBRITIES AND THEATRE
FREE ISSUE 87
“AS FAR AS FRONTWOMEN GO, SHE’S THE LEADER OF THE PACK”
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Friday 9 October 2015
INSIDE
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ARTS
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A Curious Incident at the Crucible Theatre (p.11)
GAMES
Fifa 16 - now with female players! (p.10)
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SCREEN
Music review Lana Del Rey’s new album Honeymoon (p.13)
Matt Damon is lost in space in The Martian (p.14)
MUSIC FEATURE 8-9 Music Editor Tara Hodgson interviews Wolf Alice
ARTS FEATURE 5 Celebrities and the theatre
REVIEWS AND LISTINGS 10-16
EDITORIAL In four years I’ve had some amazing experiences with Fuse. I’ve covered festivals, been to press junkets to meet the likes of Tim Burton, and written enough words to fill several books. Most importantly, though, I’ve met some of the best people I’ve ever known - great journalists and writers who I’m privileged to call my friends. I’m unbearably sad to be leaving, but I can’t think of a better pair of hands to leave the magazine in than Joss Woodend’s. She’s one of the best editors I’ve seen in all my time working for Forge Press, and though I’ve only known the rest of the Fuse team for a short while, I know that this is going to be one hell of a year for them. It’s also one hell of an issue that you’re holding right now. We’ve got an interview with the amazing Wolf Alice, and exclusive coverage of the European Games Expo in Birmingham. Our lone Screen editor Rhys has decided to put together an issue celebrating some of the greatest
MUSIC
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SCREEN FEATURE 6-7 A selection of the best pigs in cinema
GAMES FEATURE 4 Fuse goes to the European Games Expo
his is a particularly difficult editorial for me to write. Sadly, it will be my last. As it turns out, trying to edit a fortnightly magazine and do an intense MA course at the same time is really bloody difficult. It’s become clear to me in the short time since term started that there just aren’t enough hours in the day for me to continue working on Fuse to the standard that it deserves, and so I am stepping down as Fuse editor. I’ve been a part of Forge Press for almost as long as I’ve been a student at the University of Sheffield. I started writing film reviews, enticed by the offer of free cinema tickets, and before long I was hooked. I don’t remember much about the first film I watched - a mediocre action thriller with Helen Mirren - but the rush I got from seeing my byline in print for the first time never went away. When one of the outgoing Screen editors suggested running for a position on the team I leapt at it, and I’ve been part of the team ever since.
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porcine stars of the screen. We like pigs. Pigs are nice. Finally, our Arts editors ask an important question about the recent spate of theatre productions using big name stars to draw a crowd. Getting bums on seats is one thing, but are we depriving lesser-known actors the chance to show off their skills? I had no idea I wanted to be a writer when I started working for Forge Press. Now I’m doing an MA in journalism. This is without doubt the greatest thing I have ever been a part of, and it’s utterly changed my life. PHIL W. BAYLES
FUSE EDITORS Phil W. Bayles Joss Woodend ARTS EDITORS Jo Gallacher Joshua Hackett GAMES EDITORS Ash Emritte Moya O’Rourke MUSIC EDITORS Tara Hodgson Charlotte Pick SCREEN EDITOR Rhys Handley FRONT COVER/BACK COVER
Dan West
CONTRIBUTORS Matthew Blomefield Chloe Coleman Charlotte Cripps Harry Gold Arne Dumez Giorgia Guantario Alexander Hamilton Jamie Hughes Madeleina Kay Michael Kind Charles Macdonald-Jones Matthew Mills Laura Mulvey Alex Noonan Anthony Phillips Sam Ralphs Matthew Reynolds Hannah Smith Mariam Tariq Valeria Vigilante Lewis Wiley Polly Winn
Want to write for us? Email us over at fuse@forgetoday.com or come along to one of our contributor meetings!
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SHORT FUSE
BURKA AVENGER: A HERO FOR THE AGES
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ickelodeon Pakistan has launched a new cartoon - Burka Avenger. Created and directed by Pakistani rock star and social activist Aaron Haroon Rashid, it has gained media attention for its story of a young woman named Jiya. By day she is known as an inspirational school teacher, but at the first sign of evil she takes on the mantle of the Burka Avenger. The Burka is her disguise, preventing the locals from knowing her true self only her father knows the truth. Jiya fights corrupt politicians and vengeful mercenaries who attempt to shut down girls’ schools, using “Takht Kabadi”, a martial art that
involves throwing books and pens. Together with children ‘Ashu’, ‘Immu’ and ‘Mooli’, the Burka Avenger fights the evil magician ‘Baba Bandook’, his henchmen and corrupt politician ‘Vadero Pajero’. As a western, white woman, my experience of the burka is somewhat limited. From the perspective I’m restricted to, however, it feels extremely refreshing to have a female superhero who is not scantily clad or overtly objectified and sexualised in the way of some other female superheroes. Furthermore, with the education of women being so disgustingly targeted by the Taliban, Burka Avenger becomes mightily important
in Pakistan, educating children in an accessible way about the vital political corruption and issues in the place they live.
“It’s refreshing to have a female superhero who is not overtly objectified”
crimes against women and girls, among other social problems within her town. All in all, Burka Avengers seems to be a fantastically positive cartoon for young people. Teaching children about social injustice is just so worthwhile. CHLOE COLEMAN
Despite the political significance and conversation around the Burka, the story lines of Burka Avenger are extremely empowering. Jiya fights
VIRTUAL REALITY IS VIRTUALLY UPON US
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p until now, virtual reality hardware such as the Oculus Rift headset has existed on a border between the mainstream and obscurity, drawing in fans of the idea while leaving core gamers viewing it as little more than a gimmick. This is possibly due in part to its infancy, with few developers deciding to embrace the technology and bring new experiences to gamers. Making a prominent appearance at EGX this year was nDreams, one of the few companies which have taken up the challenge. Their new game, The Assembly, is set to be one of the first full length releases to be
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controlled entirely by the Oculus. The demo they showed was confirmation of the power of the medium. Over the course of just five minutes I was convinced that I was in the game, remaining fully immersed despite some early resolution issues with the headset. On top of this, they gave an excellent Q&A presentation on the challenges of developing for VR, and were open and approachable throughout. Keeping up the momentum started by nDreams were HTC, who were displaying their new Vive hardware at the Nvidia booth. On display were a clever selection of demos that did well to compliment
the technology. What HTC had provided here was a broad range of experiences that went beyond that of simple gimmicks; a gimmick is something that may look cool but lack substance, whereas what I had experienced was defined by the immersion and was not simply tacked on.
“Virtual reality is so alive”
Running on Valve’s Steam VR system, the Vive is possibly the best example of full body control, coming packaged with two handheld peripherals that can be mapped to perform various functions by
developers, allowing gamers to be dropped into environments that are fully interactive. Last of all was Sony, and it was disappointing that the PlayStation VR was on such limited display, lacking a public demonstration. Perhaps in an area of technology that deserves to escape the label of ‘gimmick’, PlayStation’s lack of approachability is unhelpful when it comes to convincing the skeptical that virtual reality is so alive and so virtually real. MATTHEW MILLS For more of Matthew’s coverage of EGX, go to p.4
LET SLEEPING MUSICIANS LIE
my Winehouse’s father Mitch is right when he lambasts the recent Channel 5 documentary about the death of his daughter as ‘exploitative’, but that’s not to say that the inevitable attention surrounding celebrity death is necessarily always a bad thing. Montage of Heck, for instance, does a lot of good in its depiction of Kurt Cobain. The differences between both aren’t whole or absolute, but the film does a valuable job of debasing the romanticised notion of Cobain as a heroic, voice of a generationtype figure, instead showing the
sometimes volatile complexities of a person suffering from mental illness, whereas the latest edition of Autopsy opts for sensationalism over genuine care or insight.
“There is a fine line between loving admiration and condescending sensationalism” To its credit, Autopsy does at least discuss in relative detail Winehouse’s battle with bulimia,
often overlooked in favour of the more headline-grabbing substance addiction. But it uses the information only as a means of technical explanation as opposed to emotional exploration, passing up the opportunity to provide unique insight into Winehouse’s perspective. Instead it simply reinforces lazy stereotypes of a junkie’s self-destruction. The show deals with her death with clinical sterility, whereas Montage of Heck excels in delving into the mindset of Cobain. The film includes no direct reference to his death, but we’re able to understand it better simply through
a heightened understanding of his life. Montage of Heck’s home video segments do feel intrusive and in bad taste, but come nowhere near the levels of crassness displayed by Autopsy’s disturbing actor reconstructions of Winehouse’s corpse. Both are uncomfortable viewing experiences, but the difference of impact between enriching and nauseating comes in the difference of sentiment between loving admiration and condescending sensationalism. JAMIE HUGHES
LIKING 70MM DOESN’T MAKE YOU A HIPSTER
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n some eyes, streaming has become the death-knell for conventional film delivery methods, meaning that DVDs and videos have become a relic of the past. With it being so simple to load Netflix and instantly stream in high definition, even Blu-rays seem somewhat obsolete. Enter Quentin Tarantino, a staunch advocate of film and a more traditional cinematic experience. Stating that the digitalisation of film will be “the death of cinema”, Tarantino shows that there is still some objection to streaming online, including some big-name
supporters. His new film, The Hateful Eight, will be filmed using 70mm film, meaning that Tarantino personally selected fifty cinemas to have 70mm projectors fitted for the Christmas Day showing (before the later digital showing). However, is Tarantino being deliberately awkward? Is he being disobliging purely to prove an invalid point? No, I don’t believe he is. He may be stepping back in time to the 50s and 60s when 70mm film was commonly used, but it is his choice medium to use as an artist. He will still create incredibly popular films and people will
always flock to the cinema to soak up the experience.
“Streaming is not the way forward but it is an indispensable tool to re-watch films” I don’t believe streaming is the way forward for filming – no sound bar or home speaker can beat the genuine cinematic experience - but it is an indispensable tool to rewatch films.
For some (like myself) having a DVD collection is great; having a tangible object beats spending endless hours scrolling through Netflix. But streaming will happen, whether Tarantino or others like it or not. Some may choose to embrace this, like Darren Aronofsky (director of Black Swan) but it is the director’s choice how their art will be shown. LEWIS WILEY
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FEATURE
Matthew Mills reports back from his weekend at the European Games Expo in Birmingham
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onsidering that EGX is the UK’s largest gaming event, expectations were high. On all of my expectations the event delivered, with Birmingham’s NEC faithfully housing all corners of the gaming community, showcasing the latest and greatest from big brands and indie developers alike. However, it is in this kind of environment that surprises are almost expected, and it was the domination of virtual reality that really stood out to define this years showcase. The quality of the VR presentations was amplified against a backdrop of AAA line ups that, whilst definitely enjoyable, were hardly ambitious in nature, leaving the stage open for participants to be thrilled by something different. EA’s presence at the event made me briefly question if I’d remained in virtual reality, as despite falling foul of public opinion in recent years, their showcase was confident and assured, plus their staff were very accommodating to the press and public, if a bit unsure of the ins and outs of the games on occasion. EA had some big boots to fill, and the upcoming reboot of Star Wars Battlefront was placed on the front
lines as a champion to meet fans head on. Over the course of my time at EGX I managed to try out both the online combat and the local multiplayer modes; the latter of which greeted me like an old forgotten friend with whom I instantly reconnected. It struck me that the game’s biggest seller was actually something that used to be standard, and, although co-op shouldn’t be revolutionary, it was great to see it back. In terms of gameplay, it was very polished and enjoyable, although it didn’t manage to escape the trap of feeling like another Battlefield game in space. This was largely due to the absence of space battles and vehicles (beyond a few AT-AT’s) which made the original games stand out, and there wasn’t even a chance to play as a Jedi. So for all intents and purposes it felt like little more than a graphically competent shooter, although there were nice features like quick online respawns and detailed character sets. A game that surpassed my expectation was Mirror’s Edge Catalyst, which took the core gameplay from the original and
“Despite falling foul of public opinion in recent years, EA’s showcase was confident and assured”
ran with it (pardon the pun), with the parkour seeming tighter when traversing environments that were more open than in its predecessor. The combat has also been overhauled in such a way that it doesn’t break the flow of the game whenever you encounter an enemy, allowing you to dispatch them with a single well timed “flow attack”. The combat was largely seen as the biggest issue with the last effort, and with these features the sequel is set to really improve upon a formula that was very innovative at release, if under-appreciated in sales. The strength of Mirror’s Edge was complemented by the showing of Need for Speed, which hinted at a return for customisation on level with earlier games in the series like Underground 2 and the original Most Wanted, despite being very short. For the kids, there was Plants Vs Zombies: Garden Warfare 2, which seemed fairly similar to the original. However, whilst their display was strong, it also highlighted the biggest issue with the industry and also why VR did so well to capture gamers: all of these games are sequels or reboots, and as good as they may be, they don’t really show much in the way of creativity or new ideas. It’s been a while since a game has featured something entirely new, and this leaves the field open for more focus on VR and related technology in the future. Playstation and Xbox failed to make waves on the same level, with their efforts seeming like drops in a small puddle as oppose to the tsunami you’d expect from
“Maybe they forgot where they were, because I’m fairly sure I was at a gaming event” AAA companies. My playthrough of Assassins Creed Syndicate was marred by immediate sound issues made worse by the fact that this was at 10am on day one of the event. They didn’t really give gamers anything to be excited about aside from the VR, which most did not get to experience. Combined with Xbox’s lazy display of sequels (Forza 6, Rise of the Tomb Raider, Halo 5) it almost felt as if they thought they didn’t have to try. Queues were consistently massive for Halo and Tomb Raider, although when I got to play the latter there was not much that made it stand out from the first game. Luckily, remaining a torch bearer for quality big budget titles was Square Enix’s Just Cause 3, which, although another sequel, seems to have topped the last game. These efforts include a larger map, new game mechanics and an all new wing suit that basically turns protagonist Rico Rodriguez into some form of flying, chaos fuelled God. Players got to experience 20 minutes of free roam gameplay, and also take part in a tournament mode that gave out prizes to the highest scorer of the event, as well as providing variation in what was on display. In some ways it was almost over-
presented, with players having to listen to a speech and watch a video before playing, but the quality of the game made up for this. Especially considering that Square Enix’s demonstrations for their games Hitman and Deus Ex: Mankind Divided were made up of far too much talking and only a little gameplay footage. Maybe they forgot where they were, because I’m fairly sure I was at a gaming event, and not at a lecture on programming Parisian architecture. Amongst all of this, the largely overlooked indie games did well to create a fun atmosphere, allowing players to just sit at a free table and try something new, such as the stellar Unbox (a quirky take on the racing game) and Penarium (a 2D multiplayer platformer in which you have to compete with a friend to press buttons whilst avoiding an array of death traps). EGX 2015 was an event made brilliant due to a vast selection of excellent parts, with a sense of excitement overcoming some of the more uninspired rosters, and the quality of the Virtual Reality demos really starting to show the possibilities for future gaming.
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here’s no denying that celebrity castings in theatre, such as Benedict Cumberbatch’s eponymous role in the recent National Theatre production of Hamlet (above), or Glenn Close in Sunset Boulevard (below), draw in a crowd. There does seem to be a point, however, when the benefits of this to the world of theatre become questionable. People have parted with over £1,000 for second-hand tickets for the aforementioned performances, attending such star-studded productions with the straightforward aim of getting to see their idol in person. This is unquestionably demeaning to the original nature of theatre, as tickets to a production of one of Shakespeare’s plays in the Globe would, at the time, have cost a mere sixpence. To give a sense of perspective, one penny was enough to buy a loaf of bread. Today, by contrast, with the same money a second hand ticket to see Cumberbatch as Shakespeare’s Hamlet could buy you, well, an awful lot of bread. There is, however, another side to the coin. Cumberbatch was in fact performing in theatre years before his television-acting career took off. With this in mind, to deny him a role in a stage production merely because of his fame and
fortune would be completely illogical, not to mention counterintuitive from the theatre’s point of view. David Tennant, another household name, shares a similar story. Before his breakthrough role as the star of Doctor Who, Tennant was already a member of the Royal Shakespeare Company, having joined nearly 10 years earlier. More recently, Tennant has starred in several theatre productions, Much Ado About Nothing, Richard II and Hamlet to name a few. His turn as the Dane, opposite fellow theatre-turned-screen actor Patrick Stewart, was widely lauded as one of the best things to come out of the RSC for years. Fame, of course, doesn’t equal poor acting ability. Cumberbatch himself demonstrated that he values a good show over the mere recognition of him and his fame, after politely addressing the crowd during the interval of Hamlet. “I can see cameras, I can see red lights in the auditorium”, he said, describing the distraction as “mortifying”. Performing on stage for these actors, free from the constraints of fame, would appear by all accounts to be a liberating experience. Liberation from the claustrophobic surroundings of the television studio, not having to endlessly re-do takes of the same
scene, and instead performing the play as a whole. The problem, then, is not the actors appearing in the productions themselves. The problem is that it is an unashamed attempt from theatres to draw in the public, and that the public are unashamedly drawn in, not by a love of theatre, but by a love of celebrity.
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FEATURE
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T’S A WELL KNOWN FACT IN THE FILM INDUSTRY THAT ANY FILM FEATURING PIGS IS GUARANTEED TO HIT A WINNING STREAK.
BEST PORK
SCREEN CONTRIBUTOR ALEXANDER HAMILTON HAS A PORK AROUND THE FINEST CHOPS OF HOLLYWOOD’S BEST KEPT SECRET. BUT HE’S STILL ONLY SCRATCHING THE SURFACE...
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he beginning of a new academic year is, of course, an opportune moment to applaud the wonderful work that pigs have done for the film industry. It’s a sad fact that Hollywood continually forgets to acknowledge the brilliant and profound contributions of our porcine friends. Pigs, both real and animated, have played heroes that we’ve loved and villains that we’ve loved to hate. They have featured in films as funny and adorable piglets, but we’ve also seen pig dictators and greedy gluttonous porkers. No matter which roles they play, these farm animals provide guaranteed entertainment - and a constant reminder that a full English breakfast is delicious. When you ask someone to think about a cute piglet, the chances are they have an image of Babe (voiced by Christine Cavanaugh) in their head. Chris Noonan and George Miller (director of Mad Max)’s 1995 adaption of Dick King-Smith’s 1983 novel, The Sheep-Pig, is one of those movies that can make anyone smile. A tragic yet charming story of an orphaned pig turned sheep-herder, Babe received critical acclaim after its release. From the opening scene to the closing credits, the audience rides an emotional rollercoaster as Babe comes close to headlining the farm’s Christmas dinner and competes in a fierce sheepherding competition. With seven Academy Award nominations, Babe is a
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figurehead for those pigs who inspire and amaze on the big screen. In the same year, one movie from Pixar raised the bar for animation. Naturally, a pig played a starring role. “You heard of Kung Fu? Well get ready for pork chop” - Hamm (John Ratzenberger), the walking talking piggy-bank of Pixar’s classic, Toy Story, is simply a gold mine of humour. This “uncultured swine” and his comedy partners Mr Potato Head (Don Rickles) and Rex (Wallace Shawn) provide a constant stream of wit across the whole world-dominating franchise. In the third film, a quest to rescue toy cowboy Woody (Tom Hanks), the carnage of toddler day care and a close shave with a garbage incinerator provide a brilliant backdrop for laugh-outloud humour as well as some heartthrobbing farewells. The final scene can turn even the hardest individuals into emotional wrecks. It’s been 20 years since the series first came to our screens but Toy Story remains Pixar’s best work (although Monsters, Inc. is a very close second). Toy Story 3 was the first ever animation to gross over $1 billion and the contribution of an harmonica-playing pig should be noted. Dreamworks’ fairytale parody Shrek, another animation, introduced the funniest representation of the Three Little Pigs (Cody Cameron) ever seen. After the fantasy-hating despot
Lord Farquaad (John Lithgow) huffs and puffs and signs “an eviction notice”, the Three Little Pigs build an unlikely friendship with the world’s favourite ogre. As Shrek (Mike Myers) and his “noble steed” Donkey (Eddie Murphy) find out, it’s always good to have friends available for house-sitting and prison breaks. The Pigs, along with Pinocchio, the Gingerbread Man and the
the Soviet Union portrays pigs at their worst. Quickly taking power after the downfall of Mr. Jones, these pigs become hated villains, forcing their inferiors to “work harder and eat less.” It is hard to imagine that Napoleon, Orwell’s satirical representation of Stalin, comes from the same species as Babe. The greed and callousness of the suit-wearing swine in the 1954
“It’s a sad fact that Hollywood continually forgets to acknowledge the brilliant and profound contributions of our porcine friends” Big Bad Wolf (Cody Cameron, Conrad Vernon and Aron Warner respectively), make great secondary characters; when you’re not laughing at Donkey (Eddie Murphy), you’re laughing at them. Like Toy Story for Pixar, Shrek is one of Dreamworks’ best, which begs the questions: is it the pigs? Unfortunately, pigs can’t always play the good guys. Nor would we want them to. “All animals are equal, but some animals are more equal than others.” Animal Farm, George Orwell’s allegory for the rise of
adaptation is just infuriating. On the bright side, the film makes a bacon sandwich just a little more satisfying. When the yellow of Parental Guidance turns red pigs tend not to be cute and adorable anymore. They don’t even have voices (imagine). Instead, pigs become associated with the movies that keep people up at night. Depending on your personality, you’ll think the endless Saw franchise is either horrifying, slighting disturbing or hilarious - preferably not the latter. That weird and creepy pig mask
donned by that equally weird and creepy sadist is bound to have made you shudder. Helpful tip: if a figure resembling an minotaur sprints towards you waving an axe it’s advisable to run. Even if it’s a slow carefree stroll you probably should still scarper. Regrettably, sinister masks aren’t the only thing pigs have been involved in. In Breaking Bad they use hydrofluoric acid to get rid of the bodies but in Snatch a pig farm is the preferred method. Brick Top (Alan Ford) the infamous crime boss doesn’t need a Halloween mask to spook his victims, he just describes what happens when they’re gone and reflects on the meaning of the phrase “as greedy as a pig.” A disgusting notion, but a great film again. Whether they’ve been heroes or villains the pigs have been fun to watch. There are so many more films that could have been discussed such as Charlotte’s Webb, Spirited Away and The Muppets. The blonde diva Miss Piggy (Frank Oz) has even made it onto the American TV Guide’s list of the greatest TV stars of all time. Pigs have certainly made their mark. ART: ARNE DUMEZ (LEFT) AND MADELEINA KAY (ABOVE)
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FEATURE
“Wolf Alice had been on the radar for years, clawing at the edges of people’s peripheral vision”
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PHOTOGRAPHY: DAN WEST
ack on June 22, a north London quartet released their debut album, and shook the foundations of British guitar music. From their early, grungy releases back in 2013, Wolf Alice had been on the radar for years, clawing at the edges of people’s peripheral vision. However, the release of their first LP, My Love is Cool, finally grounded them as the ‘next big thing’. Why the prolonged wait for the record? “I don’t know if pressure is the right word’, says Joff Oddie, guitarist and founding member of the band, when asked if the hype around the band had caused them to delay. “Because me and Ellie had been doing it for so long, just the two of us.” For years, Wolf Alice as we know it was a two-man show under a different name, as Joff and frontwoman Ellie Rowsell performed at open mic nights with a more acoustic, mellow vibe. It was only with the ascension of bassist Theo Ellis and drummer Joel Avery, that Wolf Alice formed. And stayed for good. “When people did start to notice us, there was more excitement than nerves or pressure”, Joff continues, reminiscing on the band’s rise into the limelight. “I think we’re maybe starting to feel more pressure now with playing these bigger shows, and
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The Year of the Wolf
North London band Wolf Alice have had quite a year. Music editor Tara Hodgson caught up with the quartet ahead of playing Sheffield’s Plug, during their biggest UK tour to date.
having that kind of responsibility to the people who attend.” It’s true that since the release of the album, Wolf Alice have become a bit of a must-see as far as the gig circuit is concerned. From their stage antics at recent festivals (a lot of crowd surfing is involved), to singer Ellie’s transformation into a fully-fledged frontwoman, Wolf Alice are firmly establishing themselves as one of the country’s most exciting live acts. They’ve been touring pretty much solidly for the past year and a half in order to ‘build their fanbase’, yet this is the first time the quartet are getting to air songs from the new album. For those who have been following the band since their early days, it’s not only the band who have developed, but their music too. Moving away from their grungeheavy early releases, to producing an incredibly eclectic album, Wolf Alice have somewhat gone against the expectations for a 12 track album of Nirvana-esque offerings. “I think that kind of diversity came fairly naturally to us”, says Joff, on the range of genres present on the album. “We always say that we grew up in the internet generation, and the way we digested music was to be able to download anything at any time, and money not really being a restraint where music’s concerned. Our generation
suddenly had everything at their finger-tips, so you didn’t have to just be a punk-kid, and only buy punk albums, if you didn’t want to.”
My Love is Cool ranges from being darkly seductive and cloaked in mystery (‘Silk’), to being shimmering celebrations of childhood
“My Love is Cool ranges from being darkly seductive and cloaked in mystery, to being shimmering celebrations of childhood friendships”
friendships (‘Bros’), to growling over chugging guitars (‘Giant Peach’). No two songs sound alike. For a debut, that’s pretty impressive. Saying this, Wolf Alice don’t seem to have entirely moved away from their grunge influences, most recently evidenced by their video for latest single ‘You’re A Germ’. In the video, the quartet fight off the zombie apocalypse, an axe-murderer and a clown with a chainsaw. Where did the inspiration for that come from? “It would have been easy to take the lyrics fairly literally and build a narrative around a dude who rides a motorbike and is a bit of a dickhead, but we all thought ‘we don’t really wanna do that’. So we listened to the music and thought what would go well with it visually. I think the original idea was zombies, and then Chris Grieder, who directed it, said ‘we can do zombies, but let’s do this and this and this as well.’” The mini spoof horror was the result. This all-or-nothing approach also applies to the band’s attitude to playing live, where a lot of the songs are amped up, padded out, and played “a touch heavier” to how they sound on record. This creates that energy that is such a staple of a Wolf Alice gig. For a band who can now boast of having a proper following of dedicated fans, the room to do this mixing up
is free to them. In addition, the band have the mighty Drenge as their support act on the tour, making these gigs even more of a showcase of how to do massive songs in a massive way. Wolf Alice and Drenge have always had a mutual respect for one another, as highlighted by Eoin Loveless, frontman of Drenge. “We’ve been quite close friends for about two years now”, says Eoin, when asked about his band’s releationship with Wolf Alice. “They’ve always been great people to talk about music with and they’re just a lot of fun to hang out with. There was never a point in the diary where touring with them ever seemed like it was going to work or be feasible or whatever because… life and stuff, but then we had a hole in our diary and we wanted to go to the States, so I texted Theo and asked if we could support them in America. That’s the first time I’ve ever gone to a band and asked for a support slot or anything which I wouldn’t do anyway, unless I really liked and respected that band.” As for the future, Wolf Alice are going to be touring My Love is Cool for at least another year before putting together a new record, so there’ll be plenty more opportunities to see the band live. You’d be a fool to miss them.
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REVIEWS
FIFA 16
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he latest annual installment of the hugely popular EA Sports Fifa series has brought a number of exciting and fresh updates to make sure that this continues to be the most authentic football game on any console. The biggest difference between this and last year’s addition is clearly felt in the gameplay, with the issue of players’ pace being clearly improved. Playing as Per
CULT CORNER
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ACT OF AGGRESSION
ugen Systems’ latest effort presented itself proudly upon release as a confident continuation of the real-time strategy genre, calling back to classic games such as Command and Conquer. But it also stands as evidence that the genre is still very much an exclusive club that, despite their bold steps, is not made any easier to join. The biggest issue with Act of Aggression is one made instantly noticeable in the lack of any form of tutorial. Starting a career, you are thrown straight into combat without so much as a polite notice to inform you as to how to go about looking for cover. Maybe the developers assumed such things are as natural as breathing oxygen to many gamers, but RTS it is never as simple as that, and unless you are someone who is comfortable with the genre you may be easily baffled by the
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Mertesacker, you felt like the 6ft 6in German defender could outrun Usain Bolt. This year, the developers slowed down the overall pace of the game and this has been hugely successful. Passing has also seen significant differences with players now finding it harder to control through balls and lob and keep possession. The defence has seen slight improvements as well, with the slide tackle no longer being the last ditch option when the opposition is through on goal but a well used tool for a defender. Unlike last year’s version, creating
chances and scoring against the AI feels like an accomplishment while trying to hold on to your lead is a challenge most will embrace. In terms of overall presentation, Fifa 16 wins all the awards. The graphics are excellent and the game menus are slick, colourful and easy to navigate. One of the biggest changes to this year’s Fifa comes in its most popular mode: Ultimate Team. Draft Mode is a new addition wherein you are given a random collection of players in which to assemble a team. This adds another dose of realism to online play, as you agonise over the
chemistry system. However, Draft Mode loses any coolness it may have had when you realise it costs Fifa Points to enter and with few awards on offer for those who decide to play it, many players will no doubt continue to play the old Ultimate Team mode. Saving the biggest change for last, this year Fifa marked the introduction of female players. In total 12 international women’s teams are available to play, but it is a limited mode with players only being allowed to play friendlies and an offline tournament as women. One positive for the women is that
the female players feel and move like their real life counterparts. However, once the novelty wears off you realise the women’s section is extremely limited with players unable to play in career mode or in Ultimate Team as women. It feels like EA decided to add women into the game at the last minute. In conclusion, Fifa 16 has had a number of fresh updates that increase realism and separating it from the previous year’s issue.
mechanics. There is a useful feature in the skirmishes that allows you to change the difficulty of the AI or turn them off altogether, allowing for some much needed headroom to learn the ropes. It was often easier just to find videos on YouTube. The environments are interactive and the maps are nicely detailed and varied. On top of this, the online integration is simple and non-intrusive, with a seemingly supportive community behind the game. However, the voice acting is frankly terrible, taking apparent inspiration from an infant paying with toy soldiers in a nursery. So while Act of Aggression is indeed a competent call back to classic RTS games, this simultaneously erects a barrier in terms of attracting new fans to the genre. It is an easy recommendation for those already in the club, but Eugen could have done so much more to make it more accessible, with minimal extra effort.
SOMA
afraid to make them doubt their beliefs and preconceptions. It is SOMA’s story that elevates an otherwise competent horror game to a truly unique and memorable experience.
with the rising scream of tortured mechanical parts, instilling a deep sense of panic and dread. Instead of scripted jump scares, SOMA uses its discordant audio-visual design to deliver an atmosphere thick with fear. The studio that brought us Amnesia: The Dark Descent certainly hasn’t forgotten how to terrify us. SOMA is at once intelligent and visceral, contemplative and thrilling. This dichotomy between the thought provoking and panic inducing is what makes this game one of the best of its kind. With an outstanding story and the capacity to chill players to the bone, SOMA breathes new life into the horror genre.
MATTHEW MILLS
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eeply unnerving and darkly contemplative, SOMA is a horror game like no other. Unlike many games in the horror genre, this title is not packed full of cheap jump scares and gratuitous gore. Instead, SOMA actually has something to say. Set deep under the sea in a scientific research unit plagued with shambling constructs of flesh and steel, SOMA’s story is both dark and philosophical. By tackling questions such as the importance of self and what it means to be human, Frictional Games have succeeded in making their audience think as well as shiver. A terrifying encounter with a biomechanical monster is often followed by a chillingly quiet and thoughtful sequence, adding another dimension to an otherwise solid first person horror game. This game asks challenging questions of its players, and isn’t
“Deeply unnerving and darkly contemplative, SOMA is a horror game like no other” The game’s visual and sound design also serve to complement its plot by creating a world that can be beautiful and serene in one moment, yet disturbing to the point of being sickening in the next. Electronic glitches appear as the player comes close to a monster, and their ears are filled
ANTHONY PHILLIPS Read more on Fifa 16 in Sport (p. 29)
MATTHEW REYNOLDS
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REVIEWS
“Their scenes together stir up memories of everyone’s awkward first romance”
ROMEO AND JULIET
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he world’s most famous love story is nothing if not cinematic in scope. It’s interesting then that the first local production of Romeo and Juliet in over two decades is small and intimate; seeking to dispense with the sensationalist trappings that have become closely tied to Shakespeare’s most well-known tragedy. The set and costumes are
charmingly retro, taking inspiration in equal measure from seventies chic and small-town America. It’s a bold aesthetic choice; all oversized shirts and corrugated steel cladding. The fateful party where the eponymous lovers clap eyes on each other is downright psychedelic, packed with disco balls and vintage streamers. Freddie Fox excels at conveying the wild-eyed, rash overconfidence that the character of Romeo is simply crying out for, while Morfydd Clark lends her considerable talents to a Juliet wise beyond her years. Their scenes together stir up memories of everyone’s awkward first romance.
Their staccato farewells during the balcony scene conjure up memories of overlong “no you hang up” phone calls from youth. Middlesbrough native Michael Hodgson is well-used as an unpredictable, potentially psychotic Capulet. The patriarch’s power over his daughter and family is viscerally believable, and his internal conflict equally so. The swordfights dotting the play are brief and unremarkable. In fact, you often find yourself trying to figure out which stroke was supposed to have made the kill. This could well be a deliberate
attempt to move away from elaborately choreographed fight scenes immortalised in adaptations such as Baz Luhrmann’s 1996 extravaganza. It’s a good fit with this production’s down-to-earth values. With a story this widely adapted, it’s hard to cast aside all assumptions and appreciate a stage production of Romeo and Juliet for what it is. We’ve all been conditioned to see this story as something spectacular and fantastical, so it’s initially difficult to accept that it doesn’t have to be. In many ways, this is a very safe
production. But then, a play doesn’t need to be reinvented with every production in order to remain relevant. That’s especially true here, given the remarkable timelessness of Romeo and Juliet. There’s no need to reinvent the wheel. Through dispensing with spectacle, we strip away the many disguises of the play until we’re left with the simple, personal tragedy of Juliet and her Romeo. In conveying this tragedy in all its tenderness, the production is certainly victorious. JOSHUA HACKETT
BOOK CORNER THE END OF ABSENCE
A THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME
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story as ingenious as The Curious Incident of the Dog in the Night-Time doesn’t call out for adaptation. Hearing that a story like this one had been translated to the stage may even ring alarm bells. But with five Tony awards and seven Olivier awards, it turns out there was very little cause for concern. The beauty of the original story is its understatement, and an overproduced performance would have only detracted from that. But as soon as the audience are settled into their seats, it becomes obvious that this play was written and staged to respect everything that The Curious Incident of the Dog in the Night-Time is. Geometric solid shapes decorate
the set. Characters are confined to one huge grey cube. The protagonist, Christopher Boone, uses these big grey walls to write things and communicate with himself and with the audience. The walls are a clever representation of what is within Christopher’s mind and the way he thinks. The most powerful thing about this play is that which is left unsaid. Silence is used beautifully between characters to portray a depth of feeling that the reader is left to discover on their own. Stuart Laing uses this best in his portrayal of Christopher’s father, Ed Boone. The staging is a massive help. What Christopher does not say is communicated through the set, through the music or through the incredible ensemble. The ensemble act as props within the play to help move the story from one place to another, sometimes physically carrying the characters. The rhythm and synchronicity with which they
move is incredible, and adds to the faultless flow of the play. Chris Ashby’s portrayal of Christopher is believable, flawless and wonderfully oblivious. He acts as if he is outside of the action, reflecting the role of Christopher as an outsider. It’s incredible how well the show allows the audience to climb inside Christopher’s mind, seeing simple everyday things like catching a tube in London made completely terrifying.
“An incredible example of modern theatre”
Some scenes are particularly powerful, which is directly down to the energy that every single member of the cast puts into the play; they throw themselves into it, not leaving character for a second. At the conclusion, it’s almost surreal to see Chris Ashby as himself, such is
the shift in his body language. The only criticism is when the audience engagement goes a step too far, and Christopher and Siobhan actively communicate with the audience. This detracts from the way we’ve become accustomed to engaging with Christopher’s thoughts, pushing the play a little too close to pantomime. Otherwise, the play is faultless. It is amazing how this production tugs so fiercely on your heart strings without any obviously emotional scenes – the play is acted as Christopher views the story, without deep emotional understanding or empathy, yet it is still rooted there. The play addresses so many immensely moving themes, family, love, betrayal, while still maintaining humour. The Curious Incident of the Dog in the Night-Time is an incredible example of modern theatre. POLLY WINN
By MICHAEL HARRIS
lthough at times slightly preachy, The End of Absence makes a great point that we have lost the ability to be alone. Of course, physically, we all have times when we are alone. However, mentally and emotionally, we never have the chance to be truly lonely, to be bored, to let our minds wander, there is always something to keep us occupied. Catch-ups with friends we haven’t seen in months become pointless, there is nothing to catch up on, we can get all the information we need about our friends’ love lives, holidays and work life from social media. Harris conducts an interesting experiment in the book, he spends a month without internet and reaches an underwhelming conclusion, that he had no major epiphanies during this period. We live in a constantly changing world and technology is a great part of that. Social media is a great tool for keeping in touch with friends, near and far. Our generation does not need to morph into luddites, but perhaps we should be aware when we are tuning in to the digital world more than reality. On your walk home from university I dare you to notice how many people are attached to their phones, their headphones putting the outside world on to mute, their eyes glued to the screens to avoid awkward eye contact with strangers. HANNAH SMITH
Friday 9 October 2015
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REVIEWS
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“This is a band that shines in the intimate venues of UK nightclubs”
WOLF ALICE @ PLUG
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pening with the delicate ‘My Love is Cool’, you’d be forgiven for thinking you were in for a night of gentle, acoustic ballads, if you didn’t know what kind of band Wolf Alice are. Frontwoman Ellie Rowsell’s tiny frame doesn’t look strong enough to hold the voice that blasts out the opening harmonies to the following
LONELADY @ ABBEYDALE PICTURE HOUSE
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here’s something truly fitting about The Abbeydale Picture House as a venue for Manchester-based post-punk sensation Lonelady. The lofty ceiling arcs impressively over the crowd, giving way to empty balconies marked by intricate carvings. The floor, flecked with floodlights and shuddering with the bass, hold two seemingly forgotten rows of original picture-house seats – remnants of a more decadent era. It’s a scene of urban decay mixed with artistry that perfectly complements Lonelady’s unique sound. Her Mancunian roots remain at the heart of her performance, from her thoughtful lyrics to her gaffer-taped guitar, giving her fans a raw and authentic concert experience. Blending impressive musicianship with a distinctively pure voice, Julie Ann Campbell, otherwise known as Lonelady, knows exactly how to captivate her audience. Even her outfit, a dark tracksuit emblazoned simply with the words ‘INCREDIBLE BEAT’, signposted exactly what she’s about. She and her threepiece band were watertight – every beat droped with precision and the audience was never still. Campbell’s energy is contagious and her passion was clear to see. The music was driven by her remarkable guitar riffs, backed up perfectly with catchy synth beats and impeccable drumming. This layering was particularly effective
song, ‘Your Loves Whore’; a climactic track whose layers of sound build up gradually, showcasing Rowsell’s incredible vocal range. Her voice never falters during the entire set, and shines from both the fragile ‘Blush’, to the angry, fan-favourite ‘You’re A Germ’, which sees Rowsell scream out an endless barrage of profanities. As far as frontwomen go, she’s the leader of the pack. This is the first time Wolf Alice have toured their new album, also titled My Love is Cool, and the set is mainly built up of tracks from the record. There are only a few nods to the EPs that got them in ‘Bunkerpop’, a haunting yet upbeat piece which demonstrated the full range of Lonelady’s artistic ability. Her striking voice is amplified above the flawless beats of the band for a compelling overall sound. The audience, an eclectic mix of ages and styles, responded enthusiastically. The atmosphere was carried throughout the tour of Lonelady’s work, which built to its climax with the irrepressibly funky ‘Groove It Out’, followed by the title song of her new album, ‘Hinterland’. This final song exemplified Lonelady’s unique style; a swinging beat, distinctive bassline and stunning vocals which transported the audience on a nostalgic journey through memories of a simpler time. Campbell’s on-stage presence was decidedly focused as well as spirited. She was fully immersed in the music, and it’s easy to see how her dedication and talent have earned her a loyal following. Softly-spoken and extremely approachable, she let her music wow the audience, and the result is an incredibly empowered performance. Lonelady is definitely an artist to look out for if you want an outstanding live experience. Her funky basslines and unforgettable vocals are universally enjoyable, and will encourage even the most reluctant dancer out of their shell. With such a fantastic sound, her success is sure to grow. LAURA MULVEY
noticed initially, which may have disappointed some of the long-term fans of the band. However, while some of these album tracks proved to be pleasant enough on record, hearing them played live is a whole other ball game. ‘Lisbon’, a mellow, lilting track recorded, becomes a sparkling wash of noise, enhanced by the golden light and facial glitter of the band’s set design. This is a band that shines in the intimate venues of UK nightclubs. Throughout the entire set, the reaction from the crowd is electric. No matter what the band play, slow
THE STRYPES @ PLUG
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or a band with such a reputation for electric live sets, the Strypes started a little slowly, walking on to the Pogues’ ‘Dirty Old Town’ in a bluesy homage to McGowan and their Irish roots. They seemed to take time settling into their set, not saying a word to the crowd until a good 20 minutes in. Instead, the youthful foursome just played their music, almost rushing through songs, seemingly without acknowledging the crowd in front of them. They didn’t seem entirely suited to one another - guitarist apart in his t shirt and snapback vs the suited blues influenced style of the other three. They have a brilliant sound and exceptional talent, yet
or fast, light or heavy, the audience drink in every word. Tracks like ‘Giant Peach’ and ‘Storms’ see endless mosh pits form, while ‘Swallowtail’ and ‘Turn to Dust’ create seas of waving arms. For a band to have such a following a matter of months after the release of their debut album is quite an achievement. Halfway through the set, the songs are interrupted to make way for a rendition of ‘Happy Birthday’, as a cake is brought onstage for drummer Joel Amey’s birthday, introduced by bassist Theo Ellis as ‘the best drummer in the world,
other than Rory from Drenge’ (the band’s support act for the tour). The crowd readily indulge in the festivities with the band on stage. Closing with the raucous ‘Giant Peach’, as the band exit the stage, they leave a blistering wake behind them. If you needed further proof that Wolf Alice are the band of 2015, this gig was the evidence. A stellar set from a stellar band, Wolf Alice are here to stay.
they are lacking in stage presence. An acknowledgement to the insatiable attempts of the group at the front of the crowd, who spent the first portion of the gig attempting, almost entirely unsuccessfully, to relive the mosh pits of Reading & Leeds in the half empty club, and was the turning point that transformed the Strypes’ live show. They begun to inject interaction, genuine displays of enjoyment bass guitarist O’Hanlon ditched his suit jacket and entered an almost crazed state - eyes wide dancing frantically about. Guitarist McClorey added intricacy and flamboyance, and drummer Walsh beat away furiously behind the vocals of the still suited frontman Farrelly. Yet Farrelly’s presence didn’t quite fit, again jarring the near perfection of their sound. His occasional half smile and mic swinging didn’t seem
his own - a mixture of influences yet to mature into a distinct frontman identity. Moments emerge where he and the band seem themselves - an apparent signature head banging action in which bassist and frontman almost headbutted one another mid chorus, a guttural opening note to ‘Scumbag City’ and of course interjections of harmonica which typify the Strypes’ bluesy elements. Yet, it’s the utter gem of stagemanship that indicates the great potential of the band, as Farrelly ends his final note for ‘You Can’t Judge a Book by the Cover’, and simply walks off stage, leaving the rest of the band to finish in spectacular energy and raucous noise. For the first and only time, Farrelly and the band truly earned their Strypes.
TARA HODGSON
SAM RALPHS
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REVIEWS
“Del Rey has produced a piece of unrivalled contemporary musical art”
LANA DEL REY: HONEYMOON
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oneymoon is inexplicably, hauntingly beautiful - a thought-provoking record, created with absolute artistic mastery. This inexorably fascinating record boasts the most mature, passionate lyrics and sound that Del Rey has offered us to date. Honeymoon may be comparable in tempo to its predecessor, Ultraviolence, but the tone and
feeling it emanates are utterly incomparable, with Honeymoon suggesting a more begrudging, melancholic acceptance of the true nature of time and the pain of lost or unrequited loves. The themes of regretful longing and lustful desire that we encountered in Ultraviolence have changed too, to heartbroken acceptance, passionate reminiscence, melancholic nostalgia and hopeful infatuation. Honeymoon is markedly different and offers many tracks certain to become Del Rey classics. Poignant and thought-provokingly
reminiscent, Honeymoon transcends the realm of the contemporary vintage-inspired records to which we’ve recently become accustomed. Del Rey cleverly incorporates overt references to her musical inspirations into this body of work. The inclusion of these inter-textual references has become almost a signature of hers. In ‘Terrence Loves You’ we hear references to David Bowie’s ‘Space Oddity’, mentions of the Eagles’ ‘Hotel California’ in ‘God Knows I Tried’, and references to one of her most cited inspirations, Billie Holiday, in ‘The Blackest Day’. Del Rey also
cleverly chooses to finish the album with a cover of Nina Simone’s ‘Don’t Let Me Be Misunderstood’, making Honeymoon her second consecutive album to finish with a Simone cover. The only downside of Honeymoon, is that it seems to just trail off a bit at the end, with the last couple of songs being a little less memorable than those that started the album off so impeccably. However, ‘Salvatore’, track ten, is a very tough act to follow, so these final, softer, slower tracks, ‘The Blackest Day’ and ‘Swan Song’, the slightly more upbeat, ‘24’ and ‘Don’t Let Me Be Misunderstood’,
CHARLOTTE PICK
CULT CORNER
SINGLES SAM SMITH - ‘WRITING’S ON THE WALL’
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A
s one of the hottest male solo artists around, it comes as no surprise to hear Sam Smith is taking on the task of creating the new Bond soundtrack. The In the Lonely Hour singer has strived to create a powerful ballad that aims to capture the audience with mesmerising vocals and lyrics mired with emotion. But whether his new song ‘Writing’s On the Wall’ will be as well received and successful as its predecessor ‘Skyfall’, is yet to be decided. The single begins with the usual sleekness of a Bond soundtrack; the swooping harmony of the orchestra instantly grabs your attention and smoothly transcends into the first verse. Smith’s intense and controlled vocals can’t be disputed throughout the track, with some arguing it being one of his best vocals to date. Although slow and surprisingly restrained at times, the orchestra flourishes and gradually builds. You’d expect the song to progress and grow until the chorus is a crescendo of show-stopping power and emotion. Sadly, the song withdraws and fades into something almost fragile; a contrast from the usual excitement of an adrenalinerushed Bond movie. After 53 years and 23 official Bond themes, Smith struggles to execute a song which boasts originality. CHARLOTTE CRIPPS
may just seem less impressive due to their unfortunate place in the track-listings - placing them in the metaphorical ‘musical shadow’ of ‘Salvatore’. Overall, Honeymoon is an intelligent, impeccably well-written, captivating album. Del Rey, in creating Honeymoon, has produced a piece of unrivalled contemporary musical art.
CHVRCHES: EVERY OPEN EYE
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t has only been two years since Chvrches released their debut album The Bones of What You Believe, but things have already changed. With Every Open Eye, Chvrches release their follow-up album into a landscape awash with new imitators inspired by Chvrches’ sound. Throughout the record, Chvrches display an assuredness which shows that despite the new competition, the Scottish band are more than up to the task. This is found immediately in the opening track ‘Never Ending Circles’. The jagged synth and beat of the verse makes way for a shimmering singalong chorus that immediately draws a smile upon first listen. The album only builds in stature as it progresses towards its midpoint: ‘Make Them Gold’ adds even more gloss to Chvrches’ signature sound, a giddy euphoria reminiscent of Robyn’s ‘Dancing On My Own’. The chorus itself seemingly references Chvrches’ refined songcraft, as
singer Laura Mayberry declares “we will take the best parts of ourselves and make them gold.” ‘High Enough To Carry You Over’ gives vocal responsibilities to Martin Doherty. The song itself works well at a slower tempo with a funky bassline and another catchy chorus hook, but the choice to give Doherty lead vocal duties is perplexing. His voice lacks the power of Mayberry’s, causing the song to lag in the final refrain.
“A shimmering singalong chorus that immediately draws a smile upon first listen”
Mayberry’s voice returns immediately at the beginning of ‘Empty Threats’, which highlights just how important her vocals are to these songs. The band slow things down again for the brooding ‘Down Side of Me’,
but Chvrches really find their stride with their more energetic numbers. It seems impossible to write about album highlight ‘Clearest Blue’, as the song bursts into life at its midpoint without mentioning the homage to ‘Just Can’t Get Enough’ by Depeche Mode, a band Mayberry spoke of her admiration for after Chvrches supported them on their last European tour. Writing for the Scotsman, Mayberry asserted that Depeche Mode are “unafraid to foreground melody and imbue music with emotion in a way few other songwriters can.” With Mayberry’s voice and a keen ear for melody, Chvrches’ sophomore effort proves that they are closer to reaching that level than most. CHARLES MACDONALD-JONES
FLEETWOOD MAC: RUMOURS
n 1977, after 10 years together and 10 albums to their name, British/American rockers Fleetwood Mac found phenomenal mainstream success with the release of their 11th album, Rumours. From the record’s iconic album cover, featuring co-founder and drummer Mick Fleetwood and newly-recruited vocalist Stevie Nicks, to the multiple, influential, classic rock hits it included - ‘The Chain’, ‘Dreams’ and ‘Go Your Own Way’ - Rumours is undoubtedly one of the most widely-recognised, significant albums in rock history. There are countless reasons why Rumours is timelessly popular, being one of the best-selling albums in the world. Whether that be the flawless guitar riffs, especially that at the end of ‘The Chain’, or the ever-memorable, thought-provoking lyrics of that same song, “Chain, keep us together”. Stevie Nicks’ captivating, powerful vocals on ‘Dreams’ and yet again the lyrics, (“Have you any dreams you’d like to sell?”) or Christine McVie’s beautiful vocals on ‘You Make Loving Fun’. Rumours, the band’s biggest success, perfectly captures their 70s soft rock sound. It’s been almost 40 years since its release, yet Rumours’ popularity still remains strong. This classic, enduring record will continue to inspire and entertain for years to come. CHARLOTTE PICK
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SCREEN
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“Matt Damon shines with powerful determination, exuding constant vitality and humanity”
him in multiple scenes as mission director Mitch Henderson, but it is always clear that the two men, and everyone around them, is trying to do what they feel is best. There are no particularly villainous characters, the real adversary here is the harsh conditions every character faces. Another important aspect of the ensemble is Watney’s crew (featuring Jessica Chastain and Michael Peña), who add important depth to Watney’s struggle. Although sharing very few scenes, every time they are on screen together an undeniable camaraderie is ever-present, and
without Watney, there seems to be void no one else can fill. The Martian’s key fault however is the absence of any friends or family of Watney’s back on Earth. Other sci-fi films such as Apollo 13 achieved powerful emotional connections with their audiences due to this sort of emotional bond, and this is clearly missing here. This means that while The Martian is an entertaining film with a real human depth, it’s not quite a sci-fi classic.
CULT CORNER
SMALL SCREEN
ERASERHEAD (1977)
DOCTOR WHO: SERIES 9, EPISODES 1 & 2 ‘THE MAGICIAN’S APPRENTICE’/’THE WITCH’S FAMILIAR’
Twelfth Doctor has undergone something of a transformation:. Gone is the grumpy protagonist of last year, replaced by a longer haired, guitar-playing punk clad in a hoodie and plaid trousers. A good deal of the second episode is devoted to interactions between him and Davros (Bleach), and they both excel, breathing new life into a relationship that has existed on screen for 40 years. Coleman returns for her third and final series and is as assured as ever in her portrayal of Clara, who throws herself into adventure with a reckless abandon. Gomez truly shines in the role of Missy, the Master’s latest incarnation. Having such a villain team up with the heroes could have undermined the character, but writer Steven Moffat ensures that you can never truly pin down her allegiance. Delivering a powerful, witty and emotionally charged script, Moffat takes advantage of the two-part format to ask some deep questions about morality and the Doctor’s character, reinvigorating the Daleks in the process (as well as throwing in a cracking cliffhanger for good measure). This is Doctor Who at its most bombastic, delivering a season premiere that could just as well be a finale, and an extremely strong tale that feels fresh and exciting. Hopefully the rest of the series will keep the character focus but will lower the pace, for risk of burning out before we reach the end. And I’m sure I’m not the only one who wishes to see the back of the ‘sonic sunglasses’, either.
THE MARTIAN
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fter a storm wreaks havoc on the Ares 3 mission base on Mars, Mark Watney (Matt Damon) is left for dead by his team. But Watney is in fact alive, and so begins an epic tale, focusing on celebrating the human spirit in the face of an overwhelming situation, as Watney prepares to survive for four years on 31 days’ worth of supplies. Damon shines with powerful
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ci-fi horror Eraserhead is not an easy watch, yet it is utterly mesmerising. David Lynch’s debut feature has become a notorious and pervasive cult classic and a seminal example of Lynchian aesthetic. It’s not a typical horror, but it is deeply discomforting, unsettling and disturbing. Henry Spencer lives in a nameless, mechanical megalopolis resembling a diabolical, post-apocalyptic hellscape when his deranged girlfriend leaves him to look after an ill mutant baby by himself. It’s a plot that could only be imagined on hallucinogens. Eraserhead has been interpreted in many ways - a sicksubversion of the American Dream, a reflection of the fears of responsibility of fatherhood, a depiction of fear and the subconscious, a critique of the government, urban lifestyle, anticapitalism or total freedoms like sexual and drug experimentation. Presented in eerie black and white cinematography, the dystopian wasteland creates an atmosphere which is inescapable, all-consuming and suffocatingly oppressive. Both Orwellian and Kafkaesque and possessing enough indelicate sexual imagery for a Freudian field day, Eraserhead’s ambiguity is both unorthodox and fascinating, making it a wonderful introduction to independent cinema. MARIAM TARIQ
determination here as Watney finds himself alone on a planet roughly 50 million miles from Earth and resolves not to die. Mostly, Damon talks to himself or a video log, explaining or reacting to his experiences. This could become tedious quickly, but a fast-paced script and Damon’s ability to exude constant vitality and humanity ensure the audience is with Watney the whole time against the odds he faces. Ridley Scott’s expert direction, characterised by wide expansive shots of both space and the Martian landscape, along with Dariusz Wolski’s stunning cinematography,
makes the audience feel as if these events really are taking place on an alien planet. Scott has the ability to make audiences feel a sense of real danger too, through exhilarating sequences both on and off Mars. An adept ensemble based on Earth show, behind this one man’s struggle, the multitude of problems to overcome. Jeff Bridges does well as Teddy Sanders, the Head of NASA, who wrestles with his own personal dilemma of wanting to bring Watney home, but at the same time against the very possibility of losing any more members of the crew. Sean Bean locks horns with
O
nce again, Doctor Who bursts back onto our TV screens in dramatic fashion for its ninth series with this two-part opener. The story opens with the Doctor (Peter Capaldi) arriving amidst the carnage of a Thousand Year War, trying to save the life of an abandoned child, revealed to be a young Davros – the creator of the infamous Daleks. This frightens the Doctor into vanishing.
“This is Doctor Who at its most bombastic, delivering a season premiere that could just as well be a finale” With his best friend Clara Oswald (Jenna Coleman) and fellow Time Lord Missy (Michelle Gomez) uniting to try and find him, they fall into a trap laid by the older Davros, who remembers just who abandoned him all those years ago. At the core of this story lies four phenomenal performances: Capaldi, Coleman, Gomez and Julian Bleach as Davros. After spending his first series wondering whether he was a good man, the
MATTHEW BLOMEFIELD
ALEX NOONAN
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Friday 9 October 2015 /ForgePressFuse
B-MOVIE: LUST AND SOUND IN WEST BERLIN
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frantic documentary, B-Movie explores West Berlin’s music scene in the 1980s using largely unreleased original film and home video footage and tells the story of Mark Reeder - a music-obsessed Mancunian who moves to Berlin to explore the city of his musical heroes. Reeder’s immersion into the scene introduces cult figures like Nick Cave, Blixa Bargeld and Gudrun
MACBETH
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dapting Shakespeare is always tricky. Justin Kurzel succeeds in making an artistic version of Macbeth despite a weak script and some overly erudite recalls. Michael Fassbender is terrific as the Scottish anti-hero, giving new energy to the character, as the centre around whom the entire movie revolves. Used to complex and challenging roles, Fassbender adds here another noteworthy performance to his incredible filmography, suggesting that he may have a major role in the next award season. Fassbender manages to communicate Macbeth’s slow mental breakdown well - the contrast of his piercing greenblue eyes with the dark makeup, particularly during the battlefield scenes, is powerful and dramatic. Unfortunately, the same praise cannot be allowed to Marion
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Gut, and Reeder’s close involvement with them leaves the viewer watching events unfold as if a part of the scene themselves. Interviews with Bargeld and Gut highlighting both the creative freedom and liberation that defined the era. A soundtrack made up of Berlin acts like Westbam and Malaria gives the documentary an added authenticity. B-Movie is at its strongest in its intoxicating portrayal of a unique period of time. While West Berlin was still in post-war ruin with frequent police and state brutality, one can’t help but be attracted to this ‘utopian island’, as Reeder assesses it.
A montage to Westbam’s ‘You Need a Drug’ highlights the uninhibited expression of West Berlin at the time; detailing hedonism, artistic and sexual freedom.
Cotillard. Her Lady Macbeth is not as convincing, purely because of some poor directorial choices. The character doesn’t seem quite as manipulative as she is known to be, which can be confusing even if you don’t know the play. Still, Cotillard’s performance is remarkable and powerful, despite Kurzel failing to utilise her full potential. In its overall look, Macbeth is highly evocative. The ambitious and aesthetically pleasing choice of using coloured filters in the key scenes pays off throughout - the opening scene, the climax of the king’s murder and mostly in the last ten minutes. The predominant colours are a bright red, symbolising blood and madness at the end and an icy grey-blue at the beginning. A most striking aspect of the movie is its contrasting use of the black in the first half – Macbeth and his army have their faces painted of black, the women, including the three witches, wear only dark dresses – against the bright colour palette in the second half, from the coronation on when
the real drama begins, where there are bright colours. Macbeth wears red and golden clothes, as a king should do, and his Lady a pearl white and light sky-blue make up. However it’s in this choice that we see the movie’s main weakness: it’s much too symbolic, requiring you to watch carefully and have an encyclopaedic knowledge of theatre. Obscure in some points, the script takes for granted your knowledge of the play and leaves you confused. Notably, Macbeth doesn’t function as a straightforward adaptation of the original Shakespeare. It’s a compelling movie that uses all the tools cinema has to empower the character’s dramatic potential. The result is an artistic and original film that doesn’t let down a keen theatre lover, though it may be inaccessible to the casual viewer.
“Intoxicating” This proves a cathartic experience, posing a number of questions for our own societies - Are we comfortable with the extreme liberation of West Berlin? If not, why not? If so, how can we facilitate this in our own communities? Where B-Movie struggles
VALERIA VIGILANTE
press.screen@forgetoday.com
SCREEN
somewhat is in its fleeting nods to the politics of West Berlin. There are brief mentions of anarchism and squatting, the Red Army Faction and the Berlin Wall, but these don’t really fit into the overall narrative of the film. As this is a music documentary it would be unfair to expect a detailed political assessment, but given that Reeder temporarily lives in a squat and that much of the scene had anarchist tendencies brief mentions to their politics leaves the viewer somewhat disappointed. The liberated music scene of West Berlin is difficult to fully comprehend without a
comprehension of its politics. But even with this in mind, B-Movie is an excellent documentary: its use of unreleased footage and its other-worldly set of characters who appear as the best advert for West Berlin at the time. A scene showing Blixa Bargeld and his band recording a song literally inside a motorway sticks out as a vivid example of the creativity and social liberation in West Berlin at the time – but there are many more to choose from.
MIA MADRE
Unlike Paolo Sorrentino’s La Grande Bellezza (The Great Beauty), where Rome is a flamboyant and surreal city, Mia Madre leaves it in the background, favouring the journey of the characters. The film does not need picturesque shots of Rome - their absence makes the main theme, life, so much more striking in its own simplicity. While a clear and relatable observation on life, death and parenthood, the film also deals with Italy’s current social problems, such as strikes and unemployment, by making them the subject of Margherita’s own film. Because of this stylistic choice, Moretti’s interest in social issues is neatly acknowledged, then put to one side. Mia Madre is a real turning point in Moretti’s career. Typically both creator and creation in his movies, he takes a step back for the first time in Mia Madre and lets a marvellous Margherita Buy become the lead of his most real, beautiful and sympathetic film yet.
T
here are two things to know before watching a Nanni Moretti movie: it’s likely that he plays the main character, and equally that it will be a politicallydriven film. However, there is only one thing to know before watching the Italian director’s latest movie, Mia Madre: neither of those two things apply, and the result could not have been better. Moretti tells the story of filmmaker Margherita (Margherita Buy), as she struggles to balance the demands of her mother (Giulia Lazzarini) dying in the hospital with completing her latest movie. Margherita’s present is alternated with flashbacks, dreams and fantasies. Her incapability to relate to others is clear throughout the movie, as is her reluctance to accept her mother’s condition, and reality in general. Every scene revolves around her losing control while her mother’s health gets worse.
MICHAEL KIND
GIORGIA GUANTARIO
LISTINGS ARTS
GAMES
MUSIC
WHO’S AFRAID OF VIRGINIA WOOLF?
SID MEIER’S CIVILIZATION: BEYOND EARTH - RISING TIDE
SWIM DEEP
14-17 October University Drama Studio
9 October PC
George and Martha, an aging couple, invite the attractive and youthful Nick and Honey to their home for an evening of alcohol-fueled fun and games which descends into bitterness, anguish, and the breakdown of their relationships in this SuTCo production of Edward Albee’s classic American drama.
Rising Tide extends Beyond Earth to new frontiers on the planet’s surface and beneath its seas, adding even more choices and diplomatic options as you continue to build “just one more turn” towards a new vision for the future of humanity.
DANIEL SLOSS
UNCHARTED: THE NATHAN DRAKE COLLECTION
14 October Crucible Studio
Daniel Sloss has had his own BBC show, co-created online sitcom M.U.F.F, given a ‘Tedx’ Talk, has toured extensively throughout UK, Australia, USA, Europe, won a few awards, released a live DVD and is currently working on his pilot for Warner Brothers Studios… He’s also totally sick of people calling his comedy ‘dark’.
SPEAK YOUR MIND
16 October 8:00PM The Raynor Lounge, Bar One The Poetry Society and the Open Space Society have organised a night of great spoken-word and musical acts. All tickets are £3, and all proceeds are going to Sheffield Mind, a provider of mental health services across the city.
MISS NIGHTINGALE: THE MUSICAL 20-24 October The Library Theatre
In times of war people will do anything to survive and the biggest battle is to remain true to your heart. The aristocracy rub shoulders with black market spivs, songwriters take to the streets and working class Northern girls want to change the world. But bootleg booze, blackmail and bombshells are a dangerous cocktail. Some secrets are more explosive than the Blitz.
1984
20-24 October The Lyceum Northern Ballet returns to Sheffield with this re-imagining of George Orwell’s classic work of dystopian fiction, featuring a brand new score from Tonynominated composer Alex Baranowski.
HAY FEVER
21-24 October University Drama Studio The Midland Players bring Noel Coward’s play about an unconventional high society family to life. When each family member invites a weekend guest, with amorous intent, the unsuspecting visitors are thrown into a living melodrama.
9 October PS4
Gaming’s other great treasure hunter is coming to PS4 this year, so now is the perfect time to replay Drake’s Fortune, Among Thieves and Drake’s Deception all of which have been lovingly remastered for the current console generation.
MINECRAFT STORY MODE EPISODE 1: THE ORDER OF THE STONE 13 October PC, PS3, PS4, Xbox 360, Xbox One
Adventure game experts Telltale turn their hand to one of the biggest videogames of all time, with actors like Patton Oswalt and Ashley Johnson (The Last of Us) lending their vocal talents.
CORPSE PARTY: BLOOD DRIVE 13 October PS Vita
Corpse Party: Blood Drive is the final chapter of the Heavenly Host Elementary School saga. It’s the sequel to the survival horror adventure game, Corpse Party: Book of Shadows as revealed at the end of the eighth and final episode: prologue, Blood Drive.
GUITAR HERO LIVE 23 October PS3, PS4, WiiU, Xbox 360, Xbox One
You know how it is; you wait for ages for another music game using plastic peripherals and then two turn up at one. Hot on the heels of Rock Band 4 comes Guitar Hero Live, with a whole new controller and a soundtrack with bands from Anthrax to ZZ Top.
ASSASSINS’ CREED: SYNDICATE 23 October PS4
Set during the midst of the Industrial Revolution, London 1868, the latest Assassins’ Creed introduces new assassin Jacob Frye, and his twin sister Evie, to the mix. Here’s an opportunity to change the virtual lives of many.
SCREEN NT LIVE: HAMLET
10 October Leadmill
15 October, 7:00PM The Showroom Cinema
Indie-pop band Swim Deep hit the Leadmill this month. After playing their biggest gig to date at the Camden Roundhouse, the Birmingham lads will present new album Mothers to the city of Sheffield.
As if the opportunity to see one of Shakespeare’s greatest plays on the big screen wasn’t reason enough, director Lyndsey Turner has only gone and cast Benedict Bloody Cumberbatch in the lead role. To go, or not to go... No question.
YEARS & YEARS 13 October O2 Academy
2015 has seen Olly, Emre and Mikey burst into the spotlight as one of the year’s most exciting acts. Their debut album Communion precedes their biggest UK tour to date this autumn.
FRANK CARTER AND THE RATTLESNAKES 21 October Leadmill
Originally the lead singer of band the Gallows, Frank Carter brings his new record to town. He’s been described by NME as the “greatest punk frontman of the last decade”, and is sure to put on an ace show.
ANTI-FLAG 22 October Corporation
Hailing from Pittsburgh, PA, Anti-Flag will bring their punk rock sound to the city. They’re described on Corp’s website as a band who “burst through the concrete wall of apathy like a proverbial desert flower”. If that doesn’t excite you, then we’re not sure what will.
ALBUM RELEASES 9 October Faithless - Faithless 2.0 Hurts - Surrender John Grant - Grey Tickles, Black Pressure The Enemy - It’s Automatic 16 October Coheed and Cambria - The Color Before The Sun Jamie Lawson - Jamie Lawson John Newman - Revolve Nothing But Thieves - Nothing But Thieves 23 October Bryan Adams - Get Up Joanna Newsom - Divers Mogwai - Central Belters
ENO: THE BARBER OF SEVILLE 16 October, 7:15PM Curzon Cinema
Filled with fun and farce, this sunny adventure follows the escapades of the barber Figaro as he assists Count Almaviva to prise the beautiful yet feisty Rosina away from her lecherous guardian Dr Bartolo.
BACK TO THE FUTURE PART II 21 October, 6:30PM The Showroom Cinema
Marty McFly is due to turn up in his DeLorean any day now, but while we wait why not check out this screening of Back to the Future Part II? Followed by talks from Dr Matthew Malek, Dr Michael Szollosy and Dr Simon Goodwin of the University of Sheffield, and Dr Anders Sandberg of Oxford University.
FILM UNIT
Nelson Mandela Auditorium Sheffield’s student-run cinema offers a range of new and classic films every weekend for just £2.50 a ticket. For more info or to volunteer go to filmunit.org.uk 9/10 - The Room 10/10 - John Wick 11/10 - Pitch Perfect 2 16/10 - The Look of Silence 17/10 - Jurassic World 18/10 - The Falling
NETFLIX RELEASES 9 October Winter on Fire Robert Kelly: Live at the Village Underground 10 October What We Do in the Shadows The Pirates! In An Adventure With Scientists 12 October Homeland Season 4 16 October Anthony Jeselnik: Thoughts and Prayers Beasts of No Nation 23 October Hemlock Grove Season 3