Intertainment Issue Four

ISSUE 4 // JAN 2017

That’s...

New year, new beginnings, all the usual cliche statements you’ll be expecting to see here.

We’re off to a bang this issue with our cover star Jeffrey Everett’s Rockets are Red giving us an insight into the world of creating the art that’s become part of the identity of some of the most iconic bands, films and TV shows around. He was even nice enough to donate some of his work for a prize giveaway which you can check out on our Facebook page and read the details for below the second page of contents. I know right, we’re on two pages on contents now.

We’ve also interviewed Steve Dobbs from hard rock and metal band The Hyena Kill, and have a live review of Cage the Elephant at Albert Hall to satisfy your music needs.

As always we’ve reviewed all the biggest releases in music, TV, film and video games including critic favourite La La Land, T2: Trainspotting and the XX’s new album I See You, as well as a ton of others.

It’s a packed issue that’s going to lead into a packed year. Stay tuned folks.

- Jack Holmes Editor-in-Chief Intertainmentmagazine@hotmail.com

Facebook.com/intertainmentmagazine

@IntertainmentM

New Stuff We’ve got our first prize giveaway of limited edition Rockets are Red posters launching this month so make sure you check that out if you’re in need of some amazing art to don your bedroom/office/cave.

Editor-in-Chief: Jack Holmes Editors: Corey Davies Writers: Aaron Brady, Charlie Jordin, Corey Davies, George Haigh, Jack Holmes, Jayna Patel, Joe Croft, Kieran Askew, Kieran Bowie and Zac Gardiner Design and Page Layout: Jack Holmes and Katina Petrou Photography: Rockets are Red and Georgia Osborn © All Rights Reserved. All Material in Intertainment Magazine may not be reproduced or transmitted in any form without the written consent of the magazines ownership. Intertainment Magazine cannot accept any liability for reader discontent arising from our features. Intertainment Magazine reserves the right to accept or reject any article or material supplied for publication or to edit this material prior to publishing. The opinions expressed or recomendations given in the magazine are the views of the individual author and do not necessarily represent the views of Intertainment Magazine. We accept no liability for any misprints or mistakes and no responsibility can be taken for the content on these pages.

A Series of Unfortunate Events

Uncle Season Three

Charlie Brooker’s Screenwipe 2016

Take the 10

The Dark Side of Hollywood’s Film Industry

Rockets are Red’s Jeffrey Everett Interview

Flame in the Flood Assassins Creed

La La Land

Split

T2: Trainspotting 2 Premier and Q&A

Our most anticipated games of 2017

T.S.O.L. The Trigger Complex

The XX I See You

Sundara Karma - Youth is Only ever Fun in Retrospect

New Music for 2017

Grandaddy Evermore

Cage the Elephant @ The Albert Hall

Interview with The Hyena Kill’s Steve Dobbs

First Place:

Three poster set of Frank Turner’s Lost Evenings tour posters

Second Place:

A Lost Evenings tour poster // 2000th show poster

Third Place:

The remaining poster

ISSUE #5 OUT NOW

By Students. For Students.

Humanity Hallows is Manchester Metropolitan University’s official student magazine. Pick up your copy on campus or read online at www.humanityhallows.co.uk Get Involved We are looking for writers, illustrators, filmmakers and photographers on an ongoing basis to help make Humanity Hallows an informed, inspiring, witty and opinionated collection of student voices and talents that make our city brilliant. Register interest and apply online at www.humanityhallows.co.uk/work-with-us @HumanityHallows

By Corey Davies The last time we saw ‘A Series of Unfortunate Events’ on screen was in the 2004 film; receiving a mixed reception, with 68 on IMDB and 72% on Rotten Tomatoes. It was however, utterly forgettable. So in preparation for the series’ return via Netflix I sat down to watch it to figure out why, it only took me ten minutes. The entire thing tries to be too realistic and grim, this might seem an odd complaint about something called ‘A Series of Unfortunate Events’, but Daniel Handlers (alias, Lemony Snicket) work always stood out because it was full of the surreal, making it more ‘real’ took the staying power of his work away; coupled with the way it rushed through three books in less than two hours, the film wasn’t able to be anything special. These aren’t mistakes the new series makes, each of the four books that comprise this first series is given over an hour of surreal fun to shine and each character that comes up is an absurd caricature (with the exception of two of the children).

The surrealist leanings of the show feel jarring and may put some viewers off (as it very nearly did me), but it grows on you over time as you adjust. This is one of the great strengths of the series that’s so close to working against it, it is so radically different in its presentation that it’s almost off-putting at first. The dialogue is ripped straight out of the books, and is the wonderful blend of dry wit, farce, and occasional insightful comment that leave them standing out. But it’s a far cry from natural speech and is certainly strange to hear. Alongside the over-the-top silly mannerisms that every character adopts, and plays perfectly straight, it becomes almost enough to get confused into thinking the series is full of horrible acting from something with a B-movie script. Really it’s anything but; the series is closer to the ‘Airplane’ than it is to ‘Manos: Hand of Fate’.

Stand out performances from Neil Patrick Harris as Count Olaf, and Usman Ally as Hook-Handed Man that epitomise the series’ dedication to the surreal appear in every episode, as Olaf hunts for the Baudelaire children and their fortune. I’m a sucker for everything with Harris in it, and giving him musical numbers (three throughout the series if you include the tune during the opening credits) and a chance to perform in drag only sweetens the deal, and as usual he doesn’t disappoint. Also appearing in every episode is K. Todd Freeman as Mr. Poe: the overly optimistic and utterly oblivious banker who fully embodies the ‘adults never listen to children’ trope, allowing the plot to keep

flailing from one unfortunate event to the next.

Patrick Warburton appears multiple times in every episode as Lemony Snicket as part of cut away scenes, or in the foreground to provide narration. Warburton is a delight here, channeling Rod Sterling’s narrator from ‘The Twilight Zone’ and being put into scenes with green screens in the same caliber as a weatherman, the obvious post-effect only adding to the surreal nature of the show. Warburton is one of many self-aware ‘winks’ at the audience, which also include an amazing riff in the second episode about the strength of long form television versus movies, and some fourth wall breaking by various characters. Other less substantial parts are played by some instantly recognisable actors, Will Arnett, Cobie Smulders, and Rhys Darby, as well as others, all make appearances, which speaks volumes about the pull of Netflix and the series.

My only complaint: we need more NPH musical numbers.

The Baudelaire children are the main characters of the series; the youngest (Presley Smith) is yet another strange character, her baby noises are subtitled so we can understand, she can play poker, and eat rocks; the two eldest Baudelaire children: Violet (Malina Weissman) and Kalus (Louis Hynes), are the only characters that we might be in danger of taking seriously. If you’ll forgive the meta-analysis of the series for a second, this is because the series is from their point of view. The distortions are because that’s how a child would see the world in that situation. Of course the banker who puts them in the care of an abusive madman is oblivious, they know exactly how bad Olaf is, so it’d take an idiot to miss it; it’s much easier to deal with parents dying because of a secret society than it is an accidental fire and so on. Each and every character’s quirks can be explained as a child’s interpretation of adults around them.

Of course, this is just the basis for the story and you’ll find no ‘it was all happening in their heads’ at the end of this, but this realization did give me an appreciation for the skill with which Handlers wrote the books.

The writers of this series show no less skill, throughout the series delivering a number of running jokes that never get stale in any of the eight-episode run: “we know what [word] means”, people using phrases in foreign languages wrong, and grammar jokes to name just a few. There is also excellent use of visual comedy, such as Mr Poe’s office being in front of a bank vault surrounded by safety deposit boxes, or Justice Strauss (Joan Cusack) constantly being dressed as a judge. The use of different forms of comedy in the specific way that the show blends them really helps this series stand out and claim a visual and comedic style all of its own. There is enough material in the books for about two more series of this show, I truly hope it gets its renewal and doesn’t fade out of memory like its silver screen predecessor.

Uncle Season Three – Episode One Studio: BBC

By Corey Davies Earlier this month, Bernardo Bertolucci sparked anger when a clip emerged from an interview in which he revealed the rape scene in his controversial film ‘Last Tango in Paris’ was not consensual. The scene involved a character played by Marlon Brando raping a character played by actress Maria Schneider, with a stick of butter as a lubricant, the butter a detail Schneider was apparently not told about and therefore could not consent to. The distraught look on Scheider’s face, therefore, is apparently genuine.

Bertolucci explained that he planned the scene with Brando without telling Schneider because he “wanted her reaction as a girl, not as an actress.” This subsequently left a mental and physical scar on Schneider and her career, the actress later developing a drug addiction and falling into depression. She confirmed that although the rape scene was simulated, it left her humiliated and feeling as if she were ‘a little raped’. Brando even alleged that Bertolucci wanted the two actors, a 48-year-old man and a 19-year-old girl, to have real sex.

Directors abusing their power on set is nothing new. Tippi Hedren recently came forward about her abusive relationship with Alfred Hitchcock, claiming that he sexually assaulted her in his limousine, constructed a secret door between his office and her dressing room, and vowed to ruin her career when she rejected his advances. Hitchcock would allegedly erupt into a rage if he saw her talking to men on set and Hedren claims that the scene in which she is attacked by birds was punishment for rebuffing him. In other scenes in The Birds, mechanical birds were used, but in this scene, live birds were thrown at her and tied to her. The shoot took five days and she remembers breaking down in tears when she was almost pecked in the eye by one of the birds. Hitchcock was allegedly obsessed with Hedren, constructing a replication of her face into a mask for himself and refusing to let her work with other directors. Hitchcock’s powerful influence in the film industry, unfortunately, exceeded Hedren’s, and her career never recovered from his smear tactics. However Hitchcock, as an auteur and as a man, is still highly revered and respected in cinema’s history.

Whilst perhaps some of the worst cases of directors abusing their power on set are mostly in the past, it is still a contentious topic today. Thandie Newton says she was sexually harassed on a casting couch when the director put a camera up her skirt and showed the footage to friends. Chloe Sevigny opened up about sexual harassment in Hollywood earlier this year, claiming directors frequently made her feel uncomfortable with their behaviour and that she turned down roles to avoid sexual advances.

When Megan Fox spoke in an open letter about her experiences with director Michael Bay and her creepy audition for Transformers, which apparently involved Bay filming her as she washed his Ferrari, she claimed that she was verbally abused by crew members. They called her ‘dumb,’ ‘trailer trash’ and said she was better suited for porn. Co-star Shia LeBeouf explained that Fox she “had a hard time accepting” the overtly sexual scenes in the franchise and that the fast-paced nature of filming meant that there was no time for “fluffy talk” to support her emotionally with filming. Whilst Bay is far from ever being considered an auteur, he is one of the most commercially successful directors working today. The franchise also has a huge following of impressionable young people who may learn that a man’s career is more important than a woman’s well-being.

Many film directors have also been involved in or accused of serious crimes. Acclaimed director Roman Polanski raped a 13-year-old girl in 1977. He served just 42 days in prison and won numerous awards afterwards, including a lifetime achievement award. Woody Allen is still making films today despite being accused of sexual abuse by his daughter. Nate Parker was accused of rape whilst he was at college and the news that the alleged victim committed suicide years later sparked debate on whether we can, or should, separate art from the artist. Though the director is not the only person on the set, his or her role is undoubtedly the

most important and comes with the most power. This makes it harder for the audience to separate the two, especially when themes in the film permeate into the director’s personal life.

A common trope in Woody Allen’s films is that of romance between young women and much older men, some played by himself.

It is important to remember Schneider’s horrific experience in ‘Last Tango in Paris’ to reevaluate and question the considerable power directors have in cinema. Artistic endeavour is never an excuse for sexual abuse or manipulation and method acting is not a justification for violating fellow actors. It is also important that we realise that this is not a thing of the past; today, film directors who have abused and even raped have sometimes gone on to have successful careers and are well respected in the industry. Whilst it is possible to separate the art and the artist, we should never forget the people who have been abused in the industry.

Charlie Brooker’s Screenwipe 2016 Studio: BBC

By Corey Davies

Nowadays it doesn’t feel like the start of a new year until I’ve sat down and relived the prior one with an hour of ‘Charlie Brooker’s Yearly Wipe’. I was partly expecting the entire show to be Brooker primal screaming intersected with clips from the last twelve months. Brooker isn’t Yoko Ono however, and instead sticks with his style of fast-paced manic exacerbated comedy; opening with a “behind the scenes” look at Brooker talking to a producer, asking if he really has to do it, because it’s “just going to make everyone sad”.

The vaguely melancholic tone continues throughout the hour while Brooker delivers his usual brand of lightning fast insults and feigned ignorance of what’s coming up. As he moves through the year discussing various events of note for the month, starting with the wonderfully innocent footage of people jumping a big puddle, remember that anyone? Over the hour Brooker visits and revisits Brexit and the US election, following the progress and mocking either side as he feels is appropriate at the time. This includes a particularly harrowing scene involving a wordless violin cover of David Bowie’s ‘Life on Mars’ playing over the top of footage from a Trump rally. The two are immaculately paired in hindsight of what’s coming up and made me want to smile and scream at the same time, which seems to be Brooker’s MO for the show.

His reaction to the results of both Brexit and the US election are hilarious, lampooning the ‘liberal arrogance’ that there’s no way what did happen could have happened (a fantastic running gag in this year’s show); his reaction to the US election goes one step further and is hilarious for how close to home it’ll hit for viewers who were as upset with the result as I was.

Also scattered throughout the show making their usual appearances are, Diane Morgan and Al Campbell as ‘Philomena Cunk’ and ‘Barry Shitpeas’, who’re always entertaining in their “thick as two short planks” routine.

They discuss segments of the yearly news that Brooker doesn’t, including a fantastic segment on celebrity deaths (mentioning ‘Prince’ was one of the best David Bowie personas). Morgan gets her usual segment towards the end of the show which is a phenomenal interview with Professor Brian Cox which devolves into a quasi-nihilistic rant on his part, working perfectly with Morgan’s character creating the highlight of the show and a horrifying metaphor for the year.

The show wraps up with Brooker wistfully imagining a year where none of this bullshit has happened, waking up at the beginning of 2016, only to start repeating it all over again, having forgotten the last 365 days in some sort of nightmarish ‘Groundhog Day’.

‘2016 Wipe’ is available on BBC iPlayer and is definitely ‘laugh to keep from crying’ viewing.

Director: Justin Kurzel Starring: Michael Fassbender, Marion Cotillard and Jeremy Irons Studio: 20th Century Fox

By Jayna Patel Phew, you’ve got to feel for ‘Assassin’s Creed’. Like any film based on source material with a fiercely loyal following, whether it be a popular book or hit game series, the pressure the movie adaption was under to please must have been crippling even before Director Justin Kurzel yelled ‘action’. I know that despite being the first big film adaption to be co-produced by a game studio (Ubisoft Motion Pictures), many hardcore gamers have been left deflated by Assassin’s.

It’s understandable that viewers would inevitably compare the film to the game and have high expectations. It’s human nature. But you have to ask yourself did you go to see ‘Assassin’s Creed’ to see a game brought to life on the big screen or did you go for a good bit of filmic escapism and entertainment?

That’s the catch with expectations, as I’m sure many had with the film counterparts of Resident Evil franchise: if the film versions don’t meet your expectations they’re most likely deemed to be a disappointment. But does that necessarily mean the film was bad or are we blinded by our expectations and being too dismissive? As a film-loving none-gamer I can tell you, for a film in its own right and medium, ‘Assassin’’s didn’t go completely down the toilet.

Convicted pimp murderer, Callum Lynch (Michael Fassbender) is officially pronounced dead after being administered lethal injection but it’s anything but pearly gates or fiery depths of hell that await him. He awakens and doesn’t know where he is or how he got there, and more to the scary point, who he is surrounded by.

In actual fact he’s been thrust into the hands of the enigmatic Abstergo Foundation, who use an unstable looking, yet advanced piece of technology known as the Animus to extract memories embedded in his blood to plunge Lynch into a vivid virtual reality where he’s forced to realistically re-live the memories of his ancestor, a formidable fighter and member of an ancient order of assassins during the 1492 Spanish Inquisition era. Why? Because the Abstergo Foundation are hell-bent on procuring the Apple of Eden, a bygone relic said

to be able to control free will itself. Lynch’s ancestor, Aguilar de Nerha is thought to have been the last person to have the artifact in his possession.

Opening in 1492, then jumping to 1986 portraying a tragic scene from Lynch’s childhood, then diving into 2016 leaves viewers will a slew of questions before the film’s intro is even through, which is the case throughout much of the film until the final few acts. For a movie whose narrative revolves much around selfdiscovery and personal history it get’s let down by the fact that Lynch’s character has fairly little substance, given the limited attempt to flesh him out. Not much explanation is given as to how he went from being a tragic teen to aggressive criminal committing acts that warrant the death penalty.

That being said, Fassbender’s outing as Lynch is a powerful one. The mere fact that he plays both lethal assassin Aguilar and frustrated Lynch so well is testament to his stellar acting. He more than convincingly depicts how terrifying it must be, even for the hardened Lynch, to be forcibly shoved into an unknown world where you have no choice but to submit and surrender to a scheming stranger organisation’s control and have no clue where you are or what they want from you.

Marion Cotillard, despite not having a very well-fleshed out character herself, doesn’t do too bad of a job starring as the Animus Project’s head scientist and representing the grey area in the starkly black and white world of the Templars (now Abstergo Foundation) and the Assassin’s Brotherhood who have been bitterly warring in the shadows throughout history. Seeing her confront her father, Abstergo’s CEO (Jeremy Irons) disagreeing about his methods of located the Apple of Eden and fiercely believe that she can cure all violence with it adds a needed dose of humanity and reason to keep the film grounded.

Then again, who goes to the cinema for a ‘grounded’ experience? The sleekly choreographed combat scenes played out in the dangerous background of fifteenth century Spain make ‘Assassin’s’ a mesmerizing watch. Mixing time periods and eras up adds natural spice to any film that does it right and ‘Assassin’s’ treats audiences to gripping and tight action sequences as Aguilar and his fellow `]assassin comrade, Maria, tasked with safeguarding the boy Prince of Granada, encompass both Tarzan’s muse and the forefathers of modern day free-running as they leap daringly from building to building, nimbly taking on Templars, agile and disciplined, making the Spanish cities their playground. Bolstered further by a suspense inducing musical score, action scenes alone make the film impressive.

But the real gems lie in the thought-provoking message- the preciousness of the very thing many of us take for granted: free will and what devastating consequences would ensue if the sheer power of an organisation or person who wields control of it was ever realised.

With the lesson that freedom must be defended at all costs, ‘Assassin’s ‘is worth a watch regardless of whether you’re a game fan. The innate intrigue and allure of an elite and secret organization of bad-ass fighters who, shrouded in mystery, operate on the fringe of society in the shadows is surely a big enough pull-factor…

Director: Starring : Studio: By

Director: Damien Chazelle Starring: Emma Stone, Ryan Gosling and J.K. Simmons Studio: Lionsgate

By George Haigh Having recently picked up seven Golden Globes, been nominated for eleven BAFTA awards, and been the subject of universal critical acclaim, ‘La La Land’ is the film on the tip of everybody’s tongue right now. Oh, and it will probably win Best Picture at the Oscars too. Directed by Damien Chazelle (‘Whiplash’), this is a film that bounces off the screen from its euphoric opening scene on the freeway – instantly silencing doubters of its musical qualities. As great as the scene is – it’s just a taster for even more majestic choreography that follows.

See this one on the biggest screen possible, for the setting of a sun-drenched Los Angeles hasn’t looked this good since ‘Drive’. It’s the perfect blend of substance and style; and make no mistake, this really is the city of stars, something

inhabited by the fantastic two leads.

For Mia (Emma Stone), becoming a star is the dream. An aspiring actress, Mia finds herself fluctuating between disappointing auditions and an equally unsatisfying barista job. It’s when Mia meets jazz pianist Seb (Ryan Gosling), that the film takes its frequently foreshadowed romantic turn, and ‘La La Land’ becomes one of the most absorbing films that Hollywood has churned out in years.

Seb, equally as ambitious as Mia but perhaps more grounded in his approach – wants to open up his own jazz club.

Gosling and Stone have perhaps never been better in these roles; their previous on-screen chemistry in Gangster Squad and Crazy, Stupid, Love simply offered a glimpse to the charming charisma that these two have. Although they may not live up to the legacy of old Hollywood icons in terms of song and dance, the two leads here certainly don’t detriment the film’s many qualities. The scene where Seb and Mia first dance – a beautifully lit Mt Hollywood ‘Drive’, is utterly transfixing, and one of many which display Chazelle’s knack for a musical number.

Chazelle’s tendency to reflect his passion for jazz music through Seb is hard not to admire, and the scenes shot at The Lighthouse Cafe provide a spot for Seb to project this passion. Credit to Gosling too, who despite ‘knowing a few chords’ undertook jazz piano for the film, which he excels at. Much like ‘Whiplash’, the film serves to remind audiences that jazz is simply more than what Mia first dismisses as ‘elevator music’. An early scene with ‘Whiplash’’s JK Simmons feels like a not too friendly familiar face, contrasting Seb’s jazz purism which effectively costs him his job. John Legend also shows up later on in a brilliant supporting role, playing a musician who is a spanner in the works for Seb – both creatively and romantically.

There is a real sense of passion in how the film is meticulously handled, and sense of fluency too. Chazelle’s direction is just exquisite, once again convincing that he is one of the finest young directors working in America today. The story moves through seasonal transitions, but again, like ‘Whiplash’, Chazelle exercises his technical craftsmanship to swiftly move the story forward. When Seb and Mia’s plans to see Rebel Without a Cause are cut short, a subsequent scene at the famous Griffith Observatory creates pure cinematic nirvana. Not just for the audience either, but for Chazelle too, who has crafted a bravura love letter to Old Hollywood. You can’t help but sense an underlying, perhaps faux sense of hope in such scenes, and this reminder of past glories feels somewhat appropriate in such uncertain times.

Although certain narrative arcs occasionally suspend a sense of realism for the audience, there is an inherent sense of magic in the midst of what unfolds.

However, Chazelle is keen to point out that the ambition of the protagonists is both virtuous and problematic in how relationships tend to play out. The films remarkable ending feels fitting, and also a humanistic ending to the 130 minutes of pure pleasure.

Chazelle is clearly infatuated with the Golden Age of Hollywood, and timely visual cues to classics such as ‘Casablanca’ and ‘Singin’ In The Rain’ are well suited to a film which feels completely contemporary. Never the less, the film breathes new life into the musical genre, offering much more than just a nostalgic homage, stylistically and thematically.

It’s more than just a toe-tapper, it’s an absolute delight for the eyes and ears.

It’s a film about song, about dance, but most importantly, about dreams and the consequences that come with them. An absolute masterclass in genre filmmaking, ‘La La Land’ is impossible to take your eyes off, and nearly impossible not to fall in love with.

Director: M. Night Shyamalan Starring: James McAvoy, Anya Taylor-Joy and Betty Buckley Studio: Blinding Edge Pictures & Blumhouse Productions

By Joe Croft There is a scene in the middle of ‘Split’, in which Betty Buckley’s character turns to M. Night Shyamalan (who always makes a cameo appearance in his films) and tells him that he’s getting “kinda soggy ‘round the middle”. To me this scene sums up this film.

‘Split’ confused me. I feel like it didn’t know what it wanted to be, the tone was wildly inconsistent, and it didn’t feel like this was an intentional choice made to embellish the split personalities of James McAvoy’s characters. Pretty early on the film diverges into three principle storylines, the first and key one being that of the three kidnapped girls. In addition to this we have an arc between James McAvoy’s characters and Dr. Karen Fletcher, played wonderfully here by Betty Buckley who manages to make some of the films worst dialogue, which is heavy on exposition and escalatingly ridiculous science sound convincing. Then we come to the third storyline, which was told through a series of flashbacks to one of the kidnapped girls past. This last thread dealt with some very heavy subject matter, which Shyamalan just doesn’t have the writing chops to deal with, particularly in the context it’s dealt with in this particular film.

The performances turned in by the three central cast members, particularly James McAvoy who puts in a very playful performance really hold this film together. They really shone against the minor cast members who turned in performances ranging from forgettable to terrible. The cinematography had a definite style

to it, vaguely resembling the photography of ‘It Follows’, which shared the same cinematographer: Mike Gioulakis.

However whereas the shooting style in that film felt purposeful to put you in the headspace of the film, here it felt purely aesthetic, which just didn’t quite work for me in this case.

After seeing the trailer I really wanted to like this film, hoping it would be a fun, self-aware, slightly trashy sci-fi romp. But despite what others may have said about the film, it just didn’t do it for me. This isn’t Shyamalan’s return to form for as others have stated. In fact I would argue that it was one of his worst offerings, being a synthesis between his early thrillers (‘The Sixth Sense’, ‘Unbreakble’ and ‘Signs’) and his later works, particularly ‘The Happening’. Because it was stuck in this middle ground it was unable to be genuinely good or enjoyably bad, instead it just was. This, in my opinion is probably the worst crime a film can commit.

In conclusion the film read like one of the more ridiculous ‘X-Files’ episode stretched out over two hours and not quite willing to commit 100% to the self-awareness that allowed Mulder and Scully to consistently get away with it (for at least five seasons). Would I recommend it? Well if you’re a James McAvoy fan then yes, because his performance is a true joy, otherwise your money might be better spent on seeing ‘La La Land’ again.

T2: Trainspotting Premier and Q&A at Home Cinemas Manchester Director: Danny Boyle Starring: Ewan McGregor, Ewen Bremner, Jonny Lee Miller and Robert Carlyle Studio: Film 4 and Tristar Pictures

By George Haigh When the tickets went on sale for a screening of ‘T2: Trainspotting’, followed by a Q&A with renowned director Danny Boyle, at HOME, Manchester, the demand was unprecedented. Three separate screenings were planned for the sold out event, with terrific organisation from everybody involved, particularly HOME’s Jason Wood, who hosted the event excellently. A Patron of HOME, Boyle’s return to his Manchester foundations seemed to provide a huge amount of excitement for the anticipated sequel. Renton, Sick Boy, Spud and Begbie return to the big screen, recapturing the energy and bravura of the iconic 1996 film, sharing similar ideas but approaching the characters differently.

20 years after betraying his best mates and ‘choosing life’, Renton (Ewan McGregor) returns to a much-changed Edinburgh, one that he barely recognises. Jason and Danny Boyle were keen to talk about how the film comments on Neo-Conservatism changes such as gentrification and austerity in Edinburgh, an insightful observation to how the city is shot with a keen eye for detail and physicality.

The cinematography from Anthony Dod Mantle maintains a gritty blend of Ken Loach-esque kitchen sink realism and the hedonistic vibrancy of Terry Gilliam. Boyle discussed the “heightened realism” that the characters live in, but was keen to consider how, much like in the first film, there is an authentic sense of friendship and adulthood. Significantly, there is no voiceover from Renton this time around, and the direction the film takes ensures that the story is as much about Sick Boy, Spud and Begbie.

Spud (Ewan Bremner) triumphs as the film’s unsung hero, despite still struggling with his addiction to heroin. Bremner

grasps this role with such affection and charisma, embodying a sort of metafictional Irvine Welsh as the unconventional storyteller of debauchery. Sick Boy (Johnny Lee Miller) is running a sex-tape scandal, wretched with anger at his shortcomings after Renton slipped through the fingers of himself and Begbie (Robert Carlyle). In the Q&A session, Boyle mentioned the “destructiveness” that is rooted in the bond of these characters, and this destruction is embodied no more clearly than in Begbie. Somehow more terrifying than he was 20 years ago, Begbie’s inadequacy is now reflected through his role as a father, which gives the character more emotional depth, glimpsed at through a terrific flashback scene which confirms that the term ‘Trainspotting’ isn’t just some sort of euphemism for recreational drug use.

The flashback scene works perfectly in how it functions not just as a nostalgic throwback to past glory, but how it manoeuvres certain commentary on age, change and the inevitable disappointment of the characters’ mid-life crisis. At the start of the Q&A, Boyle talked about how the script he and John Hodge wrote felt instantly as though it was “about something.” If the first film was about youth and masculinity, then this time around we’re in similar thematic territory, albeit in much more contemporary circumstances.

There are, of course, similarities in ‘T2’ to the original ‘Trainspotting’, some acutely subtle and some quite heavy handed. The call-backs to the opening drums of ‘Trainspotting’ classics such as ‘Lust for Life’ and the resonance of the ‘Perfect Day’ chords are delivered with absolute delicacy. Of course, Danny Boyle was questioned about the film’s iconic soundtrack, but also mentioned the David Bowie reference in Renton’s bedroom scene. There is a clever glimpse at the sleeve of ‘The Man Who Sold the World’ which Boyle talked about with an appreciation of Bowie’s music and status as a film lover. Again, Danny Boyle has showcased his passion for music, opting for more modern sounds of Wolf Alice and The Young Fathers, which are aesthetically pleasing and tonally rewarding.

It’s clear then, that the film succeeds because of how it coexists on its own merit, and as a fitting sequel to the first one. ‘T2’, however, does have its flaws, which become more noticeable as the narrative progresses, particularly through the character of Veronika (Anjela Nedyalkova), who doesn’t serve much more than a plot device with a hardly believable connection to Sick Boy and, then, Renton.

There are other mis-steps in the script too, such as the ‘no more catholics’ sequence which felt overblown, both in its commentary and execution. Although problematic, these issues are easy to look past, and, ultimately, it is great to see the familiar faces on screen, who are given plenty of opportunities to develop. The ending is one of the most distinctive closures to a film in recent memory.

Danny Boyle, who showcased himself as one of Britain’s most honest and pragmatic filmmakers, seemed somewhat hesitant when questioned over the possibility of a ‘Trainspotting 3’, seemingly aware that a new chapter might pose the threat of tarnishing the reputation of the first film – something ‘T2’ successfully avoids doing.

Take the 10 Director: Chester Tam Starring: Carlos Alazraqui, Fred Armisen and Exie Booker Studio: Netflix

By Corey Davies

‘Take the 10’ is the first major directorial work of Chester Tam, but he’s far from new on the scene. Tam has worked on amazing projects in the past, being a staff writer on ‘Blue Mountain State’’s first season and appearing in much of the work from the ‘Lonely Island’, insofar as he’s often considered the fourth member of the group. Starring Josh Peck (of ‘Drake and Josh’) and Tony Revolori (Zero in ‘The Grand Budapest Hotel’), with supporting roles played by a few familiar and talented faces in comedy, including Tam himself, ‘Take the 10’ is a dry and dark comedy that Tam presents in an interesting style.

Told in a series of Tarantino-esque manner of time and perspective jumps ‘Take the 10’ spends around the first hour of its 80 minute run weaving an increasingly tangled web about two supermarket workers (Peck and Revolori), and two days of their lives in the lead up to a gig Peck wants them both to go to and a move to Brazil Revolori is determined to make. The writing (also by Tam) is at its strongest when it’s just the two leads interacting as friends, talking about nothing, their conversations ground the film as it moves through interactions with drive-by shootings, ticket fraud and drug dealers. Various characters make use of Tam’s realistic but funny style of dialogue, turning the interaction towards social commentary but always in an offhanded kind of way that never even comes close to being preachy.

Making a brief appearance was Andy Samberg, who was a delight as ever, playing Peck’s brother who has the tickets to the gig that sets off the whole series of events. The ‘beloved idiot’ is well within Samberg’s wheelhouse at this point and while it’d be nice to see him doing something new, it is without a doubt always funny to watch him act like a huge child. Also appearing to advance the plot is Kevin Corrigan who plays the scummy manager of the supermarket and spends the entire time threatening Revolori, being creepy towards a female employee and getting himself pumped up in a hilarious way. The real stand out character is played by Tam himself, a macho gangster who’s working through some stuff but doesn’t like being put in a box; his short-fused aggression and internal conflict create fantastic comedic foil throughout the film for Revolori, Peck and Corrigan.

Styling the film as a dark and dry comedy was certainly a bold choice by Tam, and it paid off more often than not. This film’s proved without doubt that Tam can work well as a writer, actor, or director so I’m looking forward to whatever he involves himself in next.

‘Take the 10’ is available now on Netflix.

Exploitation, Abuse And Rape: The Dark Side Of Hollywood’s Film Industry

By Charlie Jordin Earlier this month, Bernardo Bertolucci sparked anger when a clip emerged from an interview in which he revealed the rape scene in his controversial film Last Tango in Paris was not consensual. The scene involved a character played by Marlon Brando raping a character played by actress Maria Schneider, with a stick of butter as a lubricant, the butter a detail Schneider was apparently not told about and therefore could not consent to. The distraught look on Scheider’s face, therefore, is apparently genuine.

Bertolucci explained that he planned the scene with Brando without telling Schneider because he “wanted her reaction as a girl, not as an actress.” This subsequently left a mental and physical scar on Schneider and her career, the actress later developing a drug addiction and falling into depression. She confirmed that although the rape scene was simulated, it left her humiliated and feeling as if she were ‘a little raped’. Brando even alleged that Bertolucci wanted the two actors, a 48-year-old man and a 19-year-old girl, to have real sex.

Directors abusing their power on set is nothing new. Tippi Hedren recently came forward about her abusive relationship with Alfred Hitchcock, claiming that he sexually assaulted her in his limousine, constructed a secret door between his office and her dressing room, and vowed to ruin her career when she rejected his advances.

Hitchcock would allegedly erupt into a rage if he saw her talking to men on set and Hedren claims that the scene in which she is attacked by birds was punishment for rebuffing him. In other scenes in ‘The Birds’, mechanical birds were used, but in this scene, live birds were thrown at her and tied to her. The shoot took five days and she remembers breaking down in tears when she was almost pecked in the eye by one of the birds. Hitchcock was allegedly obsessed with Hedren, constructing a replication of her face into a mask for himself and refusing to let her work with other directors. Hitchcock’s powerful influence in the film industry, unfortunately, exceeded Hedren’s, and her career never recovered from his smear tactics. However Hitchcock, as an auteur and as a man, is still highly revered and respected in cinema’s history.

Whilst perhaps some of the worst cases of directors abusing their power on set are mostly in the past, it is still a

contentious topic today. Thandie Newton says she was sexually harassed on a casting couch when the director put a camera up her skirt and showed the footage to friends. Chloe Sevigny opened up about sexual harassment in Hollywood earlier this year, claiming directors frequently made her feel uncomfortable with their behaviour and that she turned down roles to avoid sexual advances.

When Megan Fox spoke in an open letter about her experiences with director Michael Bay and her creepy audition for ‘Transformers’, which apparently involved Bay filming her as she washed his Ferrari, she claimed that she was verbally abused by crew members. They called her ‘dumb,’ ‘trailer trash’ and said she was better suited for porn. co-star Shia LeBeouf explained that Fox “had a hard time accepting” the overtly sexual scenes in the franchise and that the fast-paced nature of filming meant that there was no time for “fluffy talk” to support her emotionally with filming. Whilst Bay is far from ever being considered an auteur, he is one of the most commercially successful directors working today. The franchise also has a huge following of impressionable young people who may learn that a man’s career is more important than a woman’s well-being.

Many film directors have also been involved in or accused of serious crimes. Acclaimed director Roman Polanski raped a 13-year-old girl in 1977. He served just 42 days in prison and won numerous awards afterwards, including a lifetime achievement award. Woody Allen is still making films today despite being accused of sexual abuse by his daughter. Nate Parker was accused of rape whilst he was at college and the news that the alleged victim committed suicide years later sparked debate on whether we can, or should, separate art from the artist.

Though the director is not the only person on the set, his or her role is undoubtedly the most important and comes with the most power. This makes it harder for the audience to separate the two, especially when themes in the film permeate into the director’s personal life. A common trope in Woody Allen’s films is that of romance between young women and much older men, some played by himself.

It is important to remember Schneider’s horrific experience in ‘Last Tango in Paris’ to re-evaluate and question the considerable power directors have in cinema. Artistic endeavour is never an excuse for sexual abuse or manipulation and method acting is not a justification for violating fellow actors. It is also important that we realise that this is not a thing of the past; today, film directors who have abused and even raped have sometimes gone on to have successful careers and are well respected in the industry. Whilst it is possible to separate the art and the artist, we should never forget the people who have been abused in the industry.

Frank Turner Interview

Interview with Rockets are Red’s

By Wes Bowie and Kieran Bowie Jeffrey Everett

By Jack Holmes

We’ve managed to bag ourselves a rare interview with Jeffrey Everett, the man behind the hugely successful Rockets Are Red design agency, formerly known as El Jefe Design.

Founded back in 2005, Everett has created posters for bands and artists including The Foo Fighters, Gaslight Anthem, The Menzingers, Frank Turner, The Raveonettes, Bouncing Souls, and Against Me!, to name just a few. He’s also worked on illustrations for companies such as Sony Entertainment, LiveNation, and Variety, as well as creating gallery pieces featuring imagery from ‘Ferris Bueller’s Day Off’, ‘Doctor Who’, ‘Crimson Peak’, ‘Bob’s Burgers’, and ‘Howl’s Moving Castle’.

He’s been the recipient of awards from The Art Directors Club, AIGA, and the AdClub.

Having had such a successful career for over a decade in the design industry, we wanted to take a peek behind the veil of secrecy that surrounds Rockets Are Red, learn a little about the man behind the agency, and while we’re there we thought we’d better ask about all those Luchador masks he’s included in his work?

What was it that first inspired you to step into the world of graphic design?

Short answer - I love illustration and things like book covers, cd packaging, t-shirt designs, etc… It felt like there was a way to be creative everyday and actually make a living at it. I ended up transferring out of my first college after I was told that going into design was a “sell out.” It seemed that picking a fine art field was a dead end in college. It felt like high school again with the football team being replaced with the fine art club. I just didn’t like playing those games.

Twenty years later, I am still supporting myself and my growing family by my creativity and imagination while a lot of the “artists” who proclaimed design a sell out are doing something else.

We don’t often get to hear about how Rockets are Red create its tour posters. Are all your designs created by you or do you employ other designers as well?

It is all me. I hired two high-end professional screen printing companies - Triple Stamp Press and Grand Palace - to print my work and make it look amazing. These are companies I have used for years and I trust completely.

About three years ago now I tried to bring on a few business people to help me expand and that just didn’t work. One guy was awesome and we remain good friends to this day, though we ended up going out separate ways. I have much respect for him and the work he continues to create with his gallery. The other group… yeah, not so much.

Ever since then, I decided to keep it small and I have changed my approach to the work. Keep it small, keep it lean, and keep kicking out the best work you can. At the end of the day, it all lands on me.

Why did you decide to change your name from El Jefe Design to Rockets are Red back in 2014?

No one could pronounce it or spell it correctly. People thought I was in NOFX. It was a good name for a few years but I found it limiting. I wanted to go back to the name I wanted originally when I was 20 listening to the Girls Against Boys’ song.

There are a number of iconic images that often make their way into your work, from Luchador masks to classic American cars and leather jackets. Are these chosen

to reflect the artist you’re creating a particular poster for or is it something that you bring into your work yourself?

Luchadors and pro-wrestling is something I bring in because they are cool. Those are limited to personal work or my work with professional wrestlers and affiliated companies. Masked Republic is run by quality people who, again, I have become friends with beyond design. Working with them makes me happy. I get my luchador ya-yas out doing covers for their zine, Rudos Can’t Fail, and producing shirts for my favourites wrestler like Pentagon Jr. and Dalton Castle. It is fun seeing Pentagon J. bash someone in the head while wearing a shirt I created for him.

For other images - cars, motorcycles, pin-ups - these are usually images I gravitate through from the lyrics and themes of the songs. They make sense in the world of those bands and their music. I wouldn’t use those images for an EDM band as it wouldn’t fit.

What’s the piece of work that you’re most proud of from your career?

Honestly… the last one I got done in time. I tend to look at all my pieces and see the flaws. I am proud of few pieces as all I see is how I could have made them better.

I am proud of working with people I respect like The Bouncing Souls, The Raveonettes, Laura Jane Grace, Frank Turner, and Gallery 1988.

I do feel good when I see people getting my work framed and hung or tattooed on themselves. I am glad I could make a connection with that person. I have a few tattoos from my favourite artists - Richard Sala, Edward Gorey, my boys - and would like to think they would think that is cool (my boys vary in liking them).

How would you describe the creative process that makes up the creation of one of your posters or other pieces?

I work quite quickly but I have learned to take my time figuring out what to work on. There are videos of Asian calligraphers who stare at the canvas for hours and then do a complete work in minutes. In their mind they are drawing everything and sorting the details before touching brush to paper. I am the same way.

I tend to only show terrible pencil sketches… no details pinned down. And I don’t show more than few sketches either. I want to focus on the concept and making sure this piece works in that bands world. I sketch in pen, then build to a more focused sketch, and then build it out on the computer.

How long would you say it usually takes to create a tour poster?

One week to concept, one week to design, two weeks to print without rush charges… Standard answer to everyone who asks. I am still amazed when people ask for tour posters to be printed and designed overnight.

That happened last month - a pretty large band asked for a poster to be designed in less than 12 hours and were shocked when I said no.

Is there a band you’re still dying to create a poster for?

Oh man - so many; Bruce Springsteen leading that charge. Pearl Jam. Off! Tim Barry, Angelo Badalamenti, Eddie and

The Cruisers (because why not?), Faith No More, Jack White, Kvelertak, Letters to Cleo, Swans, Murder City Devils, Neutral Milk Hotel (if they ever tour again), Queens of the Stone Age, Iggy Pop, etc…

There are a bunch of bands I have done work for I would love to continue telling stories for like Gaslight Anthem, Against Me!, Rancid, Placebo, Frank Turner, Girls Against Boys, Henry Rollins, and Raveonettes. These are bands I love and have reams of ideas for. Maybe in the future.

Do you already have an idea in mind for bands before they commission Rockets are Red or do the ideas come after?

I have a sketch book of ideas filled with ideas. The latest Frank Turner piece has been sitting in a book for about a year until I felt it fit the theme of the tour - Lost Evenings.

But no, I tend to only think about next projects when they come up so I can be fresh and excited. I don’t want to cram a band into my thinking of what they are. I have done that before and it always ends with a bad product.

Instead, if a band I like comes to me I want to discuss what they want to explore and more importantly, what they don’t want to do… And then I take it from there.

Bands like Frank Turner and The Bouncing Souls and Against Me! have exquisitely illustrative lyrics to pull from that I can quite literally pick a quote and get a poster from that. Against Me! had the new album, Shape Shift With Me, with the line “And all the devils you don’t know can all come along for the ride.” and I got an image of a bus being filled with devil business people. It worked perfectly.

Those ended up being a nice set.

Has technology affected the way Rockets are Red creates its pieces?

I think I still do them they way I have for a decade now. I have a way to do it and I keep doing it. I am pretty simple in my approach. With all the tools out there I keep refining my approach and when I feel I finally mastered it I can try something new. Until then, I keep plugging away trying to figure it out.

What do you think of the current working world for designers?

That is a multilayered question. I can talk about how design is pretty disposable now as anyone can be a designer and do proficient work if motivated. There are a LOT of incredible designers out there who are creating killer work and with social media that world is getting smaller and bigger all the time. It is hard for me to keep up and overwhelms me at times. Meanwhile anyone can find you and casually say you suck. I am not the most social of animals so putting myself out there for consumption scares the shit out of me. And I acknowledge that has limited me a lot.

I know a lot of people disrespect the role of designers and think the role is transferable to anyone else with Creative Suites. I have been told a few times that the band name sells the work and then I have seen those bands flounder in mediocre work. It bums me out. The bands, or more specifically - the managers, who get it REALLY GET IT and they are wonderful to work with. The others just want free work they don’t need to pay out of pocket for but lose thousands because no one wants to buy it in the end.

Any advice for any designers just starting out?

It is awesome working with your heroes. Remember that this is a BUSINESS and worth is valued in how you bring in money and how professional you are. Working for free or for EXPOSURE (!) disrespects the design field and will shorten your career. Stick up for yourself. You can’t pay your dues if you can’t pay your bills.

Fucking love what you do. Have it break your heart and have it be rebuilt through passion. Being a designer, especially one in the music industry, will destroy you if you don’t absolutely want to do it. There are bands I don’t listen to anymore because they lied and cheated me. There are also bands I would die for because they mean so much to me.

There are people you meet that make it all worthwhile. Those are the moments that allow me to continue.

Ever considered moving into album cover design? We think you’d be perfectly suited I have done a few! Doing a new one for one of the best DC hardcore bands ever! I have done ones for Gaslight Anthem, Crimes in Stereo, Bouncing Souls, Anti-Flag, and others where my artwork has magically appeared without me being told.

Album art work is hard. It needs to work at vinyl size and then work at the size of iTunes. A lot of times the budget isn’t there and the companies don’t want to pay. Again - band name will sell it!

What are you working on at the moment?

I am finishing up a three poster set for Frank Turner’s Lost Evening US Tour and doing a few group gallery shows with the incredible Gallery 1988. I tend to keep myself busy which surprises me. I keep saying I will take a break but nope, something else exciting comes up.

The Gaslight Anthem, among others, have commissioned you on multiple occasions to create tour posters for them. What do you think it is that keeps bringing them back?

Well, with TGA that relationship has ended.

In cases of The Bouncing Souls, Frank Turner, and Against Me! I think there is a level of trust and respect between us. I have been doing this for awhile and proven my worth. I hit my deadlines, I understand the audience, I try not to pester them too much, and I earn them money.

Jovka, Turner’s merch manager, is an amazing person who I trust and respect. I listen to her advice and want to make her life easier. I want to produce my best work for her because she is such a rad person. Frank’s fans have been very supportive of me and I deeply appreciate that trust.

I spoke briefly to Laura Jane Grace at a book signing and mentioned the song ‘Black Me Out’ being a theme for the last few years of my life. I think she had the same people in mind… It takes a lot to keep doing this.

That said, I am extremely lucky I get to work with bands that I love and I get to be picky. I think frankly, the passion I have for these bands produces good work. I have done “paycheck” gigs and never liked the results.

You can buy prints of all of Jeffrey’s work from the Rockets Are Red website here, give them a follow on their Facebook page here and their Instagram here.

Also make sure you check out the competition we’re running to win his prints here

Studio - The Molasses Flood

By Jack Holmes

‘The Flame in the Flood’ was entirely funded by a Kickstarter campaign that aimed for $150,000 and recieved over $250,000. It’s a pretty apt metaphor for ‘The Flame in the Flood’, an indie title which goes above and beyond considering you can pick up ‘The Complete Edition’ from this month on Ps4 and Xbox One for under £10.

It takes place in a post apocalyptic South America that’s as original as it is addictive. Players take on the role of a young girl named Scout and choose one of two faithful dog companions, Aesop or Daisy. The two of you are tasked with finding out just what happened to humanity, and the game teases clues as to the events that unfolded to result in the abondoned churches, overgrown cabins and desolate wastelands that the player will come across in their travels.

The means of said travel is one of ‘The Flame in the Flood’s biggest draws. Players are washed along by a near endless river, navigating debris, islands and the remenants of civilisation as they go, all the while deciding whether to stop and search for supplies at a range of randomly generated points of interest as they go.

These on foot areas, and the river itself are defined by the games distinct art style, lonesome storyline and the music of the hugely talented Chuck Ragan, who provides the soundtrack to the game. His soundtrack kicks in as the player hits certain milestones on the river and feel almost like narration to the otherwise speechless tale of post apocalyptia.

Best described as a travelling surivival game, aspects of ‘The Flame in the Flood’ will remind veterans of the survival genre of classics such as the ‘Don’t Starve’ series, which also makes use of a distinct art style and lonely tones. Where ‘Don’t Starve’ focuses on building up bases to whether to the constant threats of the world, ‘The Flame in the Flood’ has you take a much more active approach in it’s gameplay. The river especially, is quick paced, and rather than based on your stats, is most often based on your skill and judgement at steering you and your wooden raft out of harms way and towards sites of potential resources such as clean water, food and various medicines.

It’s only gameplay downside is one that’s commonplace in titles that feature randomly generated content. Although no two areas will appear, or play the same, there can be instances where surviving feels impossible, simply down to some bad luck with the games random supply offerings. One minute you’ll be showered with supplies, the next you’ll find yourself begging the video game gods for a specific item, whether it be a bandage to help you heal from a wound, a cure for a poison, or just any kind of food that will help you stave off the relentless hunger and thirst that will often spell the players demise.

All in all ‘The Flame in the Flood’ manages to stand out with a wealth of outside of the box thinking, from it’s unique view of the post apocalyptic South, to it’s distinct imagery of rolling rivers and combination of wilderness and post apocalyptia. All wrapped up in Chuck Ragan’s country soundtrack, ‘The Flame in the Flood’ offers an experience that few games are able to, it offers something unique and genuinely memorable. Seriously, for under a tenner, why wouldn’t you pick it up?

Most Anticipated Games of 2017

By Aaron Brady 2016 had its fair share of amazing games, and 2017 is looking to be no different. With that said, I picked my top five of the very long list of great games to be released this year. In no particular order:

Halo Wars 2

We are finally getting a sequel to 2009’s ‘Halo Wars’, developed by Creative Assembly, known for their ‘Total War’ game series. ‘Halo Wars 2’ is definitely looking promising, as CA are looking to expand upon the original game in every way. Set 28 years after the original game, we return to Captain James Cutter awakening at the Ark and faced with a new enemy, Atriox, a Brute General of his own army known as “The Banished”.

Though Gameplay is largely similar, with the option to play as either the UNSC or the Covenant, The Multiplayer has included extra game modes. First of which is Blitz, which incorporates the use of decks to make an army, and Strongholds, where players must capture the most control points before time expires.

Deathmatch and Domination also see a return, where players must build bases to expand their army and achieve victory. CA have also added more units and hero abilities, adding extra layers of depth “Rock, Paper, Scissors” Combat Gameplay of ‘Halo Wars’.

‘Halo Wars 2’ will be releasing February 21st for Xbox One and Windows 10.

Mass Effect: Andromeda

Set 600 years after ‘Mass Effect 3’, ‘Mass Effect: Andromeda’ is coming over the horizon with a new ship, new abilities, and a completely new Galaxy to explore.

Designated as a pathfinder, you have been tasked with discovering new planets for humanity to colonise.

As such, the game will have a larger focus on the exploration into the unknown with your trusted Nomad, similar to in ‘Mass Effect 1’, where you will have to explore new planets, find new materials and also fight new creatures on these planets.

The combat system has also been changed to be much more mobile. Using Biotics to boost around the battlefield and holding a shield in front of you to block enemy fire makes firefights feel much more action packed.

We’re expecting it to come with everything we love about the ‘Mass Effect’ series, with a compelling story, dialogue options to choose your own paths, and loyalty missions for your crew.

‘Mass Effect: Andromeda’ is sure to be an amazing game, and will release for PC, Xbox One, and PS4 March 23rd.

Red Dead Redemption 2

It’s finally coming, a sequel to the Universally-loved ‘Red Dead Redemption 2’! That said, not a lot is known about this game as of yet, though it’s likely to be following John Marston’s son, Jack Marston.

That’s all that can be really said for ‘Red Dead Redemption 2’ at the moment, other than that it’s still an open world game set in the Southern States of America combined with North Mexico. However, with ‘Red Dead Redemption’, Rockstar have set the bar very high for this sequel. But Rockstar does have a history of setting new standards and I’m sure this game will be no exception.

‘Red Dead Redemption 2’ will be released late 2017 for the PS4 and Xbox One, and I look forward to hearing more about this game as the year goes on.

Legend of Zelda: Breath of the Wild

As ‘The Legend of Zelda’ series enters its 31st Anniversary, the first core ‘Zelda’ title since ‘Skyward Sword’ will be released for Wii U and Nintendo’s newest console, the Nintendo Switch. Looking to be unique from other ‘Zelda’ games and expansive, ‘Breath of the Wild’ not only offers a much bigger world than any previous ‘Legend of Zelda’ game but also a completely new arsenal of weapons. From a standard longsword to a skeleton’s arm and even a flaming wand with balls of fire as an attack, alongside staples of the series such as the bow, arrows and bombs. Additionally included are a whole range of new mechanics, such as weather dynamics, and other options to make this ‘Zelda’ very unique from other titles.

No exact release date has been given for ‘Breath of the Wild’, with conflicting reports suggest the latest it is expected is to be up to 6 months past the launch of the Nintendo Switch.

Sea of Thieves

Developed by Rare, ‘Sea of Thieves’ is a team-focused adventure game, though a lot of the game is currently still under wraps.

What we do know so far, however, is this: Together, you and your crew set out to find hidden treasure, having to find the correct island using maps, use landmarks to find the treasure, and take it back to an outpost. Along the way, you will run into enemy crews, where you’ll either fight on land, take to the seas for naval combat or board enemy ships. Or, you and your crew can just sit and drink on your ship.

It sounds simple, but the amount of compelling and immersive cooperative mechanics this game gives you is why I’m looking forward to this game. Co-op is an aspect of games I really enjoy, and this game will really have you working together, as communication will be vital to succeed in naval combat and to find treasure.

‘Sea of Thieves’ is due for release on Xbox One and PC sometime in late 2017.

T.S.O.L. - The Trigger Complex Genre: Oldschool Punk with a Modern Catchy Edge

By Jack Holmes Short for ‘True Sounds of Liberty’ T.S.O.L have been a presence on the punk and rock scenes since their first EP was released in the early 80’s, with their debut LP ‘Dance With Me’ released in 1981. To put that into perspective, they released their first album over a decade before I was born and were featured in the soundtrack to the cult classic horror movie ‘Return of the Living Dead’ released in 1985. ‘The Trigger Complex’ is their eleventh album, and by some divine intervention, T.S.O.L, although sounding vastly different from their 80’s sound, continue to pump out solid, entertaining pop punk tracks, with just a hint of hard rock occasionally entering the mix.

The secret to T.S.O.L’s longevity undoubtedly seems to be their tight-knit sound and their musicianship. Naturally in their 35+ years as a band there have been changes in their lineup, but ‘The Trigger Complex’ was clearly created by a band who know exactly the kind of music they want to make, and it works.

Where other punk bands who have attempted to maintain a relevant sound decades after they originally surface struggle to find a balance between their original sound, and the progressions that music has been through in the following years, T.S.O.L have managed to merge their early, funkier punk sounds heard on albums like 1984’s ‘Change Today?’ with harder hitting, more riff focused sounds.

Tracks include anthemic rock tracks like ‘Strange World’, which sounds a little like some of Spycatchers work, another group spawned from classic punk roots, in their case the equally iconic Gallows. ‘Give Me More’ is a definite highlight, boasting a no holds barred blend of rock riffs and punk tempo that focuses on the areas where ‘The Trigger Complex’ excels.

Some tracks feel a little forgettable but they’re never lacklustre, ‘Why Can’t We Do It Again’ for example lacks enough energy to make it a hit, though will undoubtedly go down well when sung at live shows with an audience joining in its various chants.

“It’s a great time to be making music; to have a voice that can be heard,” says frontman Jack Grisham. “I’m glad that things look bleak.

Political turmoil breeds strength as well as strife. This record allows us to remind people that they aren’t alone. We’re here.” Although ‘The Trigger Complex’‘s political content is never overt it’s great to hear a well-known voice in punk add their name to the wave of defiant voices we’ve been hearing lately from the genres artists. It offers some hope that one good thing might come from the torrent of terrible that’s been gracing our news lately. A new wave of punk to help fight the oncoming right wing rises across the world? We’re glad to see a genre veteran like T.S.O.L stepping up the task.

‘The Trigger Complex’ is available now through their new record label Rise Records

The XX - I See You Genre: Indie Synth

By Zac Gardiner The XX’s blend of dream pop, indie rock, and electronica is the product of Londoners Romy Madely Croft, Jamie ‘XX’ Smith, and Oliver Sim. They formed in 2005 and released their first LP ‘XX’ in 2009; it was incredibly successful, earning them a Mercury Prize in 2010. In 2012 they released their second album, ‘Coexist’, and have spent the next four years working on their latest full release ‘I See You’, along with side projects such as Jamie XX’s solo album ‘In Colour’.

I See You released its first single, ‘On Hold’, in November of 2016 with relative success. Peaking at 38 on the UK singles chart and number three on the UK indie songs chart made it their second highest-ranking song, behind Islands released from their first album.

The second single, ‘Say Something Loving’, released earlier this month on January 2nd ahead of the album’s final release on January 13th.

Jamie XX has stated that his solo work has heavily influenced the sounds in this album, stating that it is a complete departure from their previous two albums and a completely different concept in of itself. It is obvious the band has tried to create a much more open and experimental record due to the variety of styles on this album; tracks such as ‘Dangerous’ stand out for this reason with its clear club sound influence.

‘A Violent Noise’ and ‘Performance’ are two tracks that are incredibly reminiscent of older XX tracks, containing minimalistic instrumentals and dissonant, desperate sounding vocals. ‘A Violent Noise’ progressively becomes more complex as the track goes on due to arpeggios of notes which surge at points in the song creating a really interesting rise in the melody and feel of the song. ‘Performance’ too has a very minimal instrumentation with just a guitar, a synth, and strings, the vocals sing of putting on a persona and performing while feeling dead inside. It’s a track that shows how the band have evolved from their first album, presenting their classic ethereal tones in a new, more produced light. The strings rise and fall in intensity, the guitar picks up every so often but eventually falls again, Madely’s vocals are full of loss and create an intensely personal mood that the band became known for in their first few years together.

Whilst the album is a step forward for the band, it still manages maintain the feeling of an older XX record due to the distant feeling to the album, the passionate yet harrowingly calm vocals from both Jamie and Madely and the simplicity of a number of its tracks. ‘I See You’ is an album that will not be forgotten, whilst not as amazing and beautiful as their debut album, it is very experimental with its stylistic and diverse sound and themes and should be praised for pushing the trio’s signature sound where their second album ‘Coexist’, largely failed to. Not every track is amazing alone, but the album as a whole is somewhat of an interesting listening experience and I definitely recommend it for anyone who has an interest in the XX’s iconic dreamlike indie, now with added club inspirations.

Sundara Karma - Youth is Only Ever Fun in Retrospect Genre:

By Kieran Bowie Sundara Karma’s debut album, ‘Youth Is Only Ever Fun in Retrospect’, is a strong jumping off point for a band that it is clear have a vast amount of potential. Sundara Karma are another band who have decided to take the approach of making a name for themselves out on the touring circuit before releasing a full album, an approach that has paid off for them as they built up a fan base who will form a solid foundation for the band going forward.

The biggest praise that I can give Sundara Karma, is that there isn’t a single song on ‘Youth Is Only Ever Fun in Retrospect’ that can be considered an album filler. Each song is well written and performed well on the album, showcasing that Sundara Karma have the ability to forge themselves a successful career in the music industry. This ability has already taken them the success of selling out Manchester’s Albert Hall, for which tickets went on sale before the album’ release.

One song that is a highlight on ‘Youth Is Only Ever Fun in Retrospect ‘is ‘She Said’, which is a brilliant Indie anthem with the potential to be a dancefloor filler. Arguably however, the best song on the album is ‘Flame’. ‘Flame’ is a song with powerful choruses which is a quintessential FIFA song, so don’t be surprised if it appears on a future instalment of the game series.

If I were to look for a criticism of Sundara Karma’s work here, it could be argued that while there isn’t a song that isn’t an album filler, the album does tend to fade towards the end of a full listen through. This may be due to the fact that the album doesn’t differ drastically from song to song, or from a lot of other Indie that is available at the moment. However, whilst Sundara Karma may not reinvent the so-called ‘wheel’ that is Indie music, they do a brilliant job of helping to keep it in motion.

Indie music is going through a purple patch at the moment, especially in the North West of England and with ‘Youth Is Only Ever Fun in Retrospect’, Sundara Karma have managed to earn themselves a place within the group of talented bands responsible for this resurgence. I would argue that Indie music is at its strongest period in the UK since the mid-noughties thanks to bands like Catfish and the Bottlemen being international successes, as well as a successful revival from The Stone Roses, one of the biggest bands from Indie’s most successful era. With the release of ‘Youth Is Only Ever Fun in Retrospect’, Sundara Karma look well positioned to be a success within this resurgent genre.

Cage the Elephant, Declan Mckenna and Spring King @ Albert Hall Manchester Date: 19th January

By Kieran Bowie Images by Georgia Osborn Kentucky band Cage the Elephant are no strangers to the UK, with the band first making it as a chart success in the UK as opposed to their home country, the USA. This familiarity Cage the Elephant has with the UK and its crowds was evident at Manchester’s Albert Hall, with the band pulling off a confident performance.

Supporting Cage the Elephant on this leg of their UK tour was Declan McKenna, an 18-year-old making big strides within the music industry, providing support for bands such as Blossoms as well as Cage. The other supporting band was Spring King, a four-piece from Macclesfield who have just been announced as the support for Ratboy’s upcoming dates in Manchester and London.

Throughout the gig, watching the band on stage was captivating, in particular the sibling duo of Matt Shultz, the vocalist and his brother Brad on guitar. Lead singer Matt has the best stage presence of any front man I have seen live, reminiscent of a young Mick Jagger. Guitarist Brad spends nearly the entirety of the gig engaging with the crowd, acting as a sort of hype man, even joining in with a rendition of ‘Manchester na na na’. The band’s stage presence is a crucial part of their appeal and makes going to see them live worthwhile even for someone unfamiliar with their songs.

Fans of the game Borderlands will however be familiar with the song ‘Ain’t No Rest for the Wicked’, which acted as the ultimate crowd pleaser. This song came fairly early in the setlist which could have been to get members of the crowd who aren’t familiar with their full back catalogue settled in early, but also shows a band that is more than happy to play their biggest hit early on as they know the rest of the set can hold its own towards the end. Songs such as ‘Trouble’, ‘Come a Little Closer’ and ‘In One Ear’ stood out as highlights within what was a very strong setlist in total. There wasn’t a time throughout the gig in which I was waiting to find out what the next song would be due which is testament to the band’s musicianship.

One minor criticism would be that the setlist seemed relatively short. For a band with four studio albums worth of material to go off, I would have expected a longer set. However, the quality of the songs used more than made up for this. Cage the Elephant are definitely a band that need to be seen live in order to fully appreciate just how good they are. Admittedly, whilst Cage the Elephant are very much a band I like, I wouldn’t place them amongst my favourite bands of all time. However, in terms of live performances, they are up there with the best live concerts I have ever seen. The band is certainly an example of one in which their albums do not capture the impact that the live shows have, which is very much a compliment to their live shows as opposed to a criticism of their albums.

Interview with The Hyena Kills’s Steven Dobbs

By Jack Holmes We sat down with lead singer and guitarist of Mancunian hard rock and metal duo The Hyena Kill’s, Steve Dobbs.

Your new single and video ‘Tongue Tied’ from your first album has just released Yes the video premiered on Upset magazine a few days ago. It’s quite a cool little magazine, I’d not heard of it really but it does some really good features.

It’s been quite a while since you released your debut album ‘Atomised’, what made you want to release a single now and why this one?

It’s the second single off the album, the video was filmed last year but we wanted to start the year still writing so this is the last push of that campaign because we’re writing the second album now.

How’s that going?

We’ve just demoed two new tracks, really fucking happy. There’s going to be a lot more progression from how the first album sounded, we’ve learned a lot more about our songwriting and how we want to present the songs. I think we’ve written about ten tracks and we’re hoping to double that and then whittle it down. The first album was more “we’ve got these songs and we’ve just recorded them”, I think we want to be more conscious with this album about how it’s presented, we want to make a great sounding record overall and we just want more tracks so we can say “that doesn’t work, that’s shit” and find a set of songs that work really well together.

You said your songwriting has progressed a lot since your first album, in what way would you say it’s evolved?

We wrote some songs on the first album that we never really played live. When we put them on the album we were a bit nervous, they didn’t really fit, but it turned out great and the response was really good so we’re going to explore that mellower side. Turns out they were my favourite tracks, that more spacey stuff, experimenting with newer sounds so it’s not all just in your face riffage. As much as we like that, it’s nice to experiment a bit more, add more layers, you’re limited with what you can do as a two piece so it’s fun to get around that limitation.

Being a two piece has forced you to think outside the box then?

It definitely did from the off. You’re just like “shit! How are we gonna do this?” You have to step up, you have to fill the hole left by the bass, just makes you a better player overall. Like, he left, and we had gigs booked so… Lorna went from being just a drummer into a real key part of the band, her drumming just went next level. Instead of being in the back keeping the beats she just became this ultimate expressive drummer.

How’s the relationship between the two of you when you’re writing?

Part of Lorna stepping up was that she became more involved with the songwriting. If I come up

with a song idea or a riff, she’s good at arranging it. She’s good at saying no that’s just shit, she just won’t play it, deep down I know it’s probably crap if she says that. She’s good at knowing when to switch or change a song so I just go with her, we usually take an idea and jam it for hours. Lorna’s good at taking it where it needs to go.

With you already demoing when can we expect to start hearing content from the new album?

Well we’re going into the studio in April, just for a couple of days to see whether we want to make the record there. It’s a beautiful studio in Leeds called The Nave, we went to visit it recently and we’re going to do a session there with the idea being recording the album there.

[We’ll] probably end up recording the album over Summer, all being well.

We spotted you’ve been running a sale on the vinyl copies of the album, how difficult was it getting that first album on vinyl?

It was difficult but it had to be done. The artworks stunning and for the record it deserves to be on something better than a CD, something bigger, something you can hold and really look at the artwork. The record was out for a few months before we could afford it and once we had it, it was the closest thing I’m ever going to have to having kids.

Would you place yourself in the group of people that think vinyl sounds better?

I think it’s not just about the audio, it’s about the whole process of picking it up, putting it on, it’s like a ceremony, as opposed to clicking a mouse. There’s something better about holding one than a CD. Cool as fuck.

Is the second album going to be self-funded?

I mean we did a pledge campaign for that first album so there’s a good chance we’ll do that again for the second album. See where we’re at when we come to record it.

Does that funding change the way you create the album?

No, not at all. I really enjoy the studio and I think when you pick the right studio even if it costs a lot. Go with a good engineer and get a quality sound, if you’re going to spend that money just make sure it’s worth it.

What was touring like with the first album?

We toured in March and then we’re back out in the Summer, then again in October. Used up all my holidays, was like working unpaid, I was just dead skint.

Did that put you off touring?

No, no, just more and more. That’s the main thing, I love writing, I love recording but playings the best. Every show getting better and better, it’s all I want to do.

You opened up for Max and Igor Cavelera (Sepultura) recently that must have been insane?

They did the album in full (‘Roots’) which was fucking wild. It was the most fun and difficult gig we’ve ever done, it was the biggest gig we’ve ever done as well. It was the only UK date they were doing and it’s their seminal album, every metalhead knows it. It was like we were something to fill the time, we’re by no means as heavy as them but we just had to go on. We loved it, but it was difficult crowd to turn around but I just didn’t care. I love Sepultura so I thought fuck it I’m just going to go out and do it.

What do you imagine the touring is going to look like for the second album?

We’ve got two dates in April but everything is focused on writing now, first couple of months we want to make sure what we’re writing isn’t rushed. Once that’s done we’ll be back out, we may add a few support dates later on but there’s nothing confirmed yet.

If it could be anyone, who would you pick?

Deftones, or Queens of the Stone Age, now I would be shitting myself there.

What about who you’d like to take on tour supporting you?

We love another two piece from down in London called The Pearl Hearts, they’re fantastic, our friends False Advertising. If you don’t know of them you will soon, too many awesome bands out there.

The Hyena Kill have upcoming tour dates at Bristol on the 30th March, Liverpool Wrong Fest on April 22nd, Nottingham Bodega on April 29th and Manchester Academy 3 on April 30th which you can find out more about on their website here.

New Music for 2017

By Jack Holmes There were a number of rising stars in 2016 who seem destined to make it big in the next twelve months. I’ve picked a handful of my favourites to share with you and hopefully you’ll find something to obsess over. In no particular order: Dream Wife The Riot Grrrl movement lives on in Dream Wife. Handpicked to model for Vivienne Westwood (we hear she’s a rather big name) and coming off a supporting slot on Black Honey’s recent tour, they’re playing dates across the UK throughout this month that are surely the start of their rise through the ranks.

Aathens Distorted and jerky guitars along with heavy drums, Aathens may well be London’s answer to the Canadian Metz, PUP and Greys. Having recorded their debut EP in one go in an empty rehearsal space and the finished product sounding this good, their debut album is expected to melt some faces in true post punk fashion.

Goat Girl First we had Palma Violets, then Fat White Family, Goat Girl appear to be the next grungey talent to emerge from London. Touring with Girl Band this month, Goat Girl project wave after wave of noise often intercut or broken down to reveal a fine picked winding guitar riffs that give their tracks a ‘spaced out’ feel.

The Amazons The Reading fourpiece have an instant appeal. They’ve been writing huge rock tracks for years but with tracks like ‘In My Mind’ and ‘Little Something’ both releasing in 2016, they’ve pushed things up a notch. It’s going to be exciting to see just how far The Amazons can push their hard rock sound.

She Drew The Gun If any track on this list is going to stop you in your tracks it’s She Drew the Gun’s ‘Poem’.

It’s been theorized that the worse British life gets the more impressive its protest anthems will become. ‘Poem’ may well be the first of a new wave of thought-provoking indie soul tracks.

Why haven’t you heard them already? We blame the capitalists, but here’s your chance to get into them on the ground floor.

Bad Nerves Bad Nerves are about as underground as you can get while still causing a stir. Their self-released singles ‘Can’t Be Mine’ and ‘Wasted Days’ sound like a broodier, rougher Circa Waves, presenting a surf punk sound that’s undoubtedly going to explode sooner or later. Our bets are on that being in 2017.

July Talk July Talk are a mash up of so many levels and styles of sound we’re amazed it works, but oh boy does it. The gruff vocals of Peter Dreimanis are circled and matched by the floating ethereal voice of Leah Fay, all wrapped up in a hard rock funk that’s as rich, catchy and for want of another phrase, ballsy as hell.

Slotface The lighter side to the feminist revolution that’s inspired so many female fronted punk bands in recent years. Formerly named Slutface, were sadly forced into a name change bu the joys of internet censorship, the four piece have never the less continued to conjure up track after track of pop punk fun. Have a I said they’re fun enough times for you to get it? Seriously, they’re fun, go listen.

Inheaven 90’s rock with just a hint of grunge, dragged screaming into 2017. They’ve been praised by both Jamie T and Blossoms and have toured with both in 2016.They’re now working with Strokes frontman’s Julian Casablancas Cult Records label so expect them to be an established name by December.

Rag’n’Bone Man Bagging himself a Brits Critics’ Choice Awards last year, Rag’n’Bone Man is likely to be the first artist on this list to make his way into the mainstream. His first single ‘Human’ was released through Columbia Records back in July and with his debut album due to release in March, expect to hear more of his soul and R&B mix of styles in 2017.

Harlea Two self-released singles into her career and Harlea is already causing a stir. The 22-year-olds hard indie rock has been compared to the likes of Wolf Alice, Arctic Monkey’s and Catfish and the Bottlemen and if there’s a full album of more material like her first two singles it’s going to be a huge.

Estrons There was a wealth of talented empowering female fronted punk bands that dominated 2016, come 2017 we’re expecting Estrons to rise to a similar rank to that of Wolf Alice and Honeyblood. Featuring a sharp riffs, lyrics and hooks, Estrons hit hard and fast and if we’re lucky, their debut will be with us before the year is out. Fingers crossed.

Bad Sounds Classic indie with a twist. With all the catchy attraction of an all out electronic artist like the Holy Fuck, Bad Sounds have merged their beats with old school indie rock to delightful effect. A number of bands in their genre tend to have a one hit wonder and fade away, so far Bad Sounds seem to have released nothing but hits and now we’ve developed a taste for it.

Intertainment Magazine is a brand new, independent, online magazine and blog that focuses on: new music, film, TV, video games, comic book releases, and events.

Since our launch we’ve arranged interviews with the likes of Frank Turner; covered live gigs, including Catfish and the Bottlemen, Blossoms, The Courteeners and the Lakes Comic Art festival.

We already have opportunities for live gig photography, interviews with musicians, directors and artists and much more in store for 2017.

So if you’re a passionate writer / photographer / videographer / graphic designer looking for opportunities to work with a team of students and recent graduates set on kick-starting a brand new independent publication get in touch.

ngle Review

Grandaddy - Evermore

By Zac Gardiner Grandaddy are absolutely my favorite band, I’ve known them since I was quite young thanks to my Dad introducing me to them by playing them in the car so much when I was little. Even back then they amazed me and probably shaped my music taste to the eclectic mess it is today. They’ve recently released a few fantastic tracks from their first album in just under a decade, titled ‘Last Place’, and it’s all been brilliant so far. ‘Way We Won’t’ was my favorite single to come out of 2016, ‘A Lost Machine’ was a lovely track that actually very nearly brought me to tears and now they’ve released their latest single ‘Evermore’.

‘Evermore’ opens with a very punchy synth line that continues throughout the track which causes the song to flow incredibly well. Next, all at once, the rest of the instrumentation and vocals kick in with singer, Jason Lytle, singing the name of the song ‘Evermore’ in his tremendous, soft, melancholy way. The song itself is distinctively a Grandaddy track, from the heavy bass in the background to the tumbling synth line that plays in the chorus to the haunting, ghostly synth that glides over the top of it causing it to be very

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much reminiscent of tracks off their earlier albums such as ‘The Go In The Go For It’ from their 2003 album ‘Sumday’ or their most recognisable song ‘AM180’ from their first album ‘Under the Western Freeway’.

The lyrics of the song talk of trees rotting on a road side and trash being tossed from a plane, Lytle admitted to NPR that he has “No idea what the song is about” but that he really likes “the imagery of sad dirty trees that live by the freeway and throwing stuff out of commercial airlines”. He then went on to say that he also likes the line “when remembering is what forgetting’s for” which I’d say most listeners will agree, is a pretty great lyric.

He also spoke about how he’d been fascinated with the idea of creating a song that revolved around a repeating sound since he was a small child, he’d apparently had the synth line for ‘Evermore’ for years before he wrote this track but decided to keep it until he was creating a new Grandaddy album.

‘Evermore’ has ramped up our excitement for ‘Last Place’’s eventual release.

All tracks released so far have been absolutely sublime and I can only imagine what is yet to come.

‘Last Place’ will be released on March 3rd on Danger Mouse’s 30th Century Records.

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