Scene Issue 212 by Jaime Riley

Frightened Rabbit

esban and the witch

SCENE

Tuesday January 25, 2011 Issue 212

MUSIC SPOTLIGHT FILM TV

GAMES

BOOKS

CULTURE NIGHTLIFE LISTINGS

N O I S I TELEV

aracters ch e m a ec b , ty si er iv n U rk Yo Imagine if we, the students of andal, library books... NICOLA sc in our own TV shows. Drama, ld be like with a twist. wou CHAPMAN wonders what TV

icture the scene: it's Sunday night and your essay deadline is just 20 hours away. You've come downstairs for your standard hourly five minute break and decide to peruse the Freeview channels for that quick fix of someone else's misery, in some other miserable place. But what if roles were reversed? What if it was you that some poor, slightly cheesy smelling student was watching to escape the dullness that is Sunday minus the SNG? What would happen if we became the characters of the shows that give us 5 minutes of allconsuming joy? Let us see... The Only Way is York University Vajazzaling doesn’t seem such a good idea under those thick jeans that have been a firm favourite since 2004. But whatever! Sha-up! Everyone’s just jeal innit?! The cameras are here to get a first hand look at what it’s like to be a student at York, all the drama, all the scandal, all the glamour. Erm, no. Hmm, which bag to use today? The Gucci? The Mulberry? No, none of the above. It’s got to be the old faithful, the rucksack that has faced three years of hard labour. And there’s no time for the cameras to follow you to your teeth whitening appointment. No no, you’re off to university to ask the Librarian why you’ve got a fine for a book you were sure you gave back last week. God, she’s just jeal riiiight?? But no biggy, you’ve got a night out to plan. All the beautiful people are heading to the beautiful places. Chinawhite? Nope, it’s Ziggy's. All that sweat from the wall better not ruin the Prada. And as the Cristal flows (as in, orange K2s) we get a sneak peek at what is on next week’s episode: the whole fine drama is on-going and the cameras follow you on a shopping trip. To Morrisons. Sun(?) Sex and Suspicious Parents...

on Campus

the highest level.

Our parents get to see what we really get up to - nothing. After packing up their little one and settling them into their (awful) new home, the parents are invited to see their child’s life unfold over the first year of University. After the debacle of Freshers' Week: tutus, drag, traffic cones, bruises, a Willow stamp that just won’t wash off, Efes and a mild case of scurvy, it sets a precedence of how the year will be! But reality is, it ain’t so wild. The parents expect the worst: flaming sambucas on a party boat cruising on the lake or vomiting through the nose after downing a litre of vodka through the eye? Er, no. Their son/daughter is slogging away over a 3,000 word essay which will soon see the onset of a quarter-life crisis. No naked bungee jumping, just exhaustion and the joy of getting the last lemon pepper baguette in Vanbrugh. C.R.A.Z.Y. And as the parents make their big reveal, it’s not anger you feel, just the slow flow of tears as your Mum promises to make you your favourite lasagne.

Come Dine with Me...on a budget

Grimefighters

Just one more thing.. Let's all give a big cheer to the return of Glee! All that high-kicking and high-note reaching really does bring joy to a student's life. We've already seen The Britney Episode (not as good as Madonna's) and Finn's had his top off a bit, so it's off to a good start. There have been so many rumours about which celebs will feature this series, from Gwenyth to Kim Kardashian (?), but whoever appears, no doubt this will be pure viewing gold. Oh and lastly.. Television joy has come to our doors in the form of Big Fat Gypsy Weddings (C4). So long Salvation, hello Tuesday nights in with a face like a heavily botoxed old lady. This insight into the marital proceedings of travellers is truly compelling viewing, and I will be watching it until the very end.

Getting down and dirty in a student's kitchen. Not for the faint hearted. The Grime-fighting team make their way around the filth-stricken homes of York’s students and what a challenge they have on their hands. One house has decided that it would be fun to keep every pizza box they’ve ever had as an ‘art project’. The Grimefighters aren’t impressed, and neither will their parents be when they come to visit next week. And don’t even start on that hob. Bakedon soup and beans? The Grime-fighters haven’t seen muck like this since that house where the owner threw out NOTHING. But there’s another house in disarray. The students don’t know their recycling day, so the garage is full of cans and paper. What a travesty. This is grime at

Would it be wrong to spend the budget on a nice treat for yourself ? And get every guest a ready meal from Netto? Of course not! Five students from York have been selected to participate in the greatest cookery show this side of the Millennium (nothing will beat Can’t Cook, Won’t Cook – Ainsley FTW). And of course it’s on a budget. Macaroni cheese goes with baked beans right? And a flake yoghurt is quite a posh dessert, actually. An Iceland prawn ring is a starter (just remember to defrost it), special tinned beans and sausages with little bread triangles for mains, and a can of Ambrosia’s finest rice pudding for dessert. Bon appétit! Then on to the Mellow Bird and some old Christmas chocolates to finish. Lark Rise to Heslington It's all kicking off at Natwest, they've run out of those precious fivers.

SPORT COMINGS

David Elliott

niversity has raped my body. Despite a concerted week-long effort in 2nd year, my previously lean, fit (read: weedy) bod hasn’t managed to escape the effects of 7 terms of treble vodkas and ill-judged Vikings, and I’m now the proud owner of a doughy little tyre. I dodge the guilt and shame of this defeat by blaming others: Mr Oki, Costcutter half price pizzas and organized religion, etc etc. Most importantly, I blame the BBC, for the way its insipid sports coverage completely fails to inspire me to get on my feet and be the Ryan Reynolds I know I can be. Okay, so the one sport I actually watch is the ever-so-slight sedentary game of snooker, and by 'watch it,' I mean I watch the Masters, and by 'watch the Masters,' I mean I watch some of it. But the point stands, probably. The BBC have done well in having seemingly every major player of the past fifteen years installed on their chintzy sofas, punditing away like their careers depended on it (which they clearly do...) But, honestly, I couldn’t give two half-hearted shits, because as a team of commentators they have the combined charisma of a packet of soggy prawn cocktail crisps. The problem begins with the ‘raffish’ Steve Davis, eight-times World Champion and utter douchebag, whose relentless personal anecdotes can make the most exhilarating 11th frame feel like a never-ending conversation with that one uncle with pretensions to one day featuring on TrueLad. The contagion then spreads to Hazel Irvine, in-jokey comedian par excellence, who has a rather unhealthy obsession with the INTERNET and EMAILS (they apparently revolutionized her life last week). The others fare little better. Stephen Hendry – pops his collar, prefers to say nothing. Ken Doherty – token Irishman, bit of a creep. John Parrott – improbably bad hair. What snooker needs is a John Motson, or a Brian Moore, or some other famous commentator in some other sport I don’t care about. It needs a real personality, an insightful and inspiring go-getter who makes up for the crippling lack of star power shown by its players (witness: Mark Allen, who may one day kill my children). More importantly, it needs to inspire me to get my ass in gear, because my student loan pays for the BBC, and I’ll be dammed if I ever let this column end on anything but a self-obsessed note.

Remotes at the ready - My tv picks for the week

er est of iPlay

Sun, Sex and nts are Suspicious P

Every teen's worst nightmare. Picture this: it's your first holiday without your parents and you're going to have it, LARGE. Then they turn up whilst you're in a compromising position with a Spanish waiter. Wizard. That's your pocket money stopped for the forseeable future. Do not miss this gem.

Tuesday, 9pm, BBC3

A programme that everyone adores: The Biggest Loser is back for its second series. This programme will make you want to put down that bag of Doritos and do starjumps till you're sick. Or join the gym. Get it on.

Watch this week

The Biggest Loser

Monday, ITV1, 9pm

TV mystery of the week...

What on earth does the term 'gift of the gammon' mean? Apparently this is what traveller boys have to get the girl... Big Fat Gypsy Weddings, Tuesday. 9pm, C4

MUSIC SPOTLIGHT FILM TV

GAMES

BOOKS CULTURE NIGHTLIFE LISTINGS

Year of The Rabbit: Gaming Regret Predictions for 2011

Having trained and meditated for many years by playing Tetris Attack in a trance-like state, Nathan Blades has finally achieved clairvoyance. These are his entirely accurate and foolproof predictions for games releases and news in 2011.

n a poor decision by Activision, the marketing department pressures developers Treyarch to release Call of Duty: Pink Ops; a less serious, vibrantly fluorescent addition to the series. Upon being questioned, Activision's spokesperson will say "We are trying to reinvision this series to attract a new demographic: girlfriends who have lost their Significant Others to our games." On its initial press release, there will be an immense backlash decrying how sexist the game's premise is; but on release, critics will give it surprisingly positive reviews for just how well it avoids being another generic First Person Shooter, and how engrossing the unicornriding segments are.

ony will release their newest Handheld, the PSP Go: Minimalist in August. In a bid to keep up with the Apple Aesthetic, The Go: Minimalist has a simplified control scheme, no UMD disc reader, and an operating system where nearly any function beyond turning it on needs to be downloaded from the Sony Playstation Store. The platform will become surprisingly popular with homebrew games designers and software pirates - the Go: Minimalist's piracy protection is an optional downloadable extra, letting users essentially do whatever they want to the handheld. Despite the simple interface, this will make the Go Minimalist a surprise hit, and it will find a use in teaching programming languages in many high school Computer Science classes.

esperate for releases for the new 3DS; Nintendo finally gives in to quality standards and allows low-quality budget developers to produce games for the much-anticipated platform. Within weeks the Nintendo section in every games and electronics shop will be inundated with Baby Raising Simulator 3D and Cute Fluffy Animal Adventure 3D. Games critics will weep, and the entire platform will be decried as a toy for preteen girls. In response to this, big name publisher EA will start a campaign to produce more 'mature' games to revive the 'over 16' audience - but due to a lack of practice in releasing original IPs; a rhythm-action game titled Large-Breasted Poledancers 3D will be announced.

An In-Depth Critique and Analysis of 'Peppa Pig: Fun and Games' (NDS)

uring my winter holiday, instead of escaping the university, taking the first train home and spending Christmas with my friends and family (as most normal, sensible people are in the habit of doing), I spent it working at my local video game retail store. When my sanity was questioned by friends, the line of logic I gave was my unbridled enthusiasm for my hobby; but it mostly came down to the pressing need to pay my rent. While I worked there, I noticed a strange trend in the games we sold. New, big name releases weren't selling in the numbers we expected, and what was flying off the shelves were the low-budget games aimed at young children. In hindsight, I can think of a few good reasons why no one was buying Medal of Honor, but let's focus on the surprising sales of these terrible budget titles. The Nintendo DS is absolutely plagued with games of this kind - to my chagrin - but one game stood out from the rest: Peppa Pig: Fun and Games. This title was an absolute tremendous hit; parent after parent marched in demanding copies, demonstrating various levels of frustration and anguish if we told them we'd run out. Initially these parents had babies and small children in tow, to no one's surprise. But over time, I began to notice that they'd queue up with older children; and eventually no kids at all. Businessmen in finely-pressed suits came up to the counter and requested Peppa Pig with no

Intense, Searing Hatred?

sign of embarrassment. This baffled me. My knowledge of the television show the game was based on was limited, but I was certain that it was aimed at preschoolers; what could this game possibly offer to older kids - let alone adults? I shook the possibility that the parents buying it for their children just didn't know any better - there had to be a deeper, more profound explanation. Through shady methods that I'm not at liberty to divulge; I finally obtained a copy of Peppa Pig. I would get to the bottom of this mystery. The results were somewhat surprising, to say the least. The initial impression was what I expected bright colours, low-quality sound, and almost no text. Appropriate for an audience not old enough to read. The meat of the game was a collection of 10 different mini games, and it was playing these that I discovered what I now call "The Zen of Peppa." None of the minigames come with written instructions. All of the tasks that you can perform are summed up in a single still image, reminiscent of a flat-pack book-

shelf instruction manual - if it consisted of only 2 or 3 parts. The games themselves involved simple tasks - popping balloons, watering flowers, feeding the ducks. They're all impossible to fail, and as soon as you complete one, the game wrests control from you as it resets. All during which, inane 5-second music loops bore into your skull, and a calm-voiced narrator offers instructions and congratulations as you expertly fling your 100th lump of bread into a duck's awaiting maw. And then I realised - Peppa Pig: Fun and Games was in reality a beautiful metaphor for the futility of indulging in hobbies. All of the tasks are so repetitive and joyless - with no way to complete them until you shut off your DS or brain failure sets in; it echoes the qualities many describe in fast food, retail, and manufacturing professions. Peppa Pig: Fun and Games so expertly avoids the inclusion of Fun or Games, I can't help but remain in awe at its postmodern mastery. Best title of 2010. Nathan Blades

Comments? Criticism? Love to hear it! Contact us at games@yorkvision.co.uk

MUSIC SPOTLIGHT FILM TV GAMES

News... BOB DYLAN

BOB Dylan has signed a deal with publishing company Simon & Schuster to write six more books. Two of these books are set to be autobiographies to follow Dylan's critically acclaimed memoir of his early years, Chronicles: Volume One, which was published in 2004. One of the oth-

er books is said to be a collection of Dylan's musings from the Theme Time Radio Hour, a show he presents on the Sirius XM satellite channel, a syndicated of BBC 6 Music. Chronicles: Volume One received praise for intimacy and eloquence. Critics went so far as to compare the book to discovering the lost diaries of Shakes p e a re. Fans will, without a doubt, have high hopes for Dylan's next literary ventures. So no pressure.

BOOKS

CULTURE NIGHTLIFE LISTINGS

Want to contribute? Contact us at books@yorkvision.co.uk

TEJA PISK investigates the latest scoops from the publishing industry

SHER-LOTS OF MONEY

WILL AND KATE

IN order to further saturate the bestseller's chart with yet more Will and Kate related material, plans have been announced for a comic book. The author of this innovative memoir is Rich Johnston, a cartoonist for the controversial Westminster blogger Guido Fawkes and founder of the comics website Bleeding Cool Kate and William: A Very Public Love Story will appear in two issues this April, with one

focusing on Will (William Windsor: A Very Public Prince) and the other on Kate (Kate Middleton: A Very Private Princess) and will depict their lives from childhood to the current day. Johnston describes the comic as a modern-day romance and admits that "There is a kitschness to it. But I love doing things that sound ridiculously kitsch, then surprising the audience with something deeper."

COPYING the cash flow generating move of having Sebastein Faulks pen a new James Bond novel, the Conan Doyle estate has commissioned Anthony Horowitz to write a new Sherlock Holmes novel for adult readers. Horowitz has stated that he aims to produce "a first-rate mystery for a modern audience while remaining absolutely true to the spirit of the original." Orion publisher Jon Wood has expressed his faith in Horowitz's ability, promising that his "passion for Holmes and his consummate narrative trickery will ensure that this new story will not only blow away

Conan Doyle aficionados but also bring the sleuth to a whole new audience." The new Holmes book will be out in September, with details being kept closely under wraps.

THE SEX FACTOR SIMON Cowell's fabulous A-list life is primed to get the satirical treatment in a story of sudden downfall by writer Bill Coles, a former political correspondent of the Sun. Simon Cowell: The Sex Factor, a cheeky "spovel," or spoof novel, sees Cowell attacked by a crazed fan at a

party for the world's richest people. He wakes in a hospital morgue, with the world believing him dead, and then – penniless, and shunned by his celebrity friends – heads off on a pilgrimage to Tibet in a search for meaning. The book promises to take Cowell "on a quest for love; a quest for money; and a quest to get back his elusive mojo."

On The Street or On The Web?

George Osborne investigates where we choose to buy our books - if at all...

s the end of this financial year looms it has become clear that a lot of big businesses are still losing money, with a sizeable amount being forced to make further cuts. Though the fire of the recession has seemingly cooled, some companies still can’t take the heat and, in conjunction with the austerity of the new government, they are not prepared to completely emerge from the shells they enclosed themselves in during 2008. However the state of one niche in the market particularly caught my attention which is that of the high street bookseller. Figures released at the beginning of January last year saw high street book sales in the UK drop by a noticeable 7 per cent. from the previous year to £968 million – the first time it has been below the £1 billion mark since 2003. There were

signs of decline prior to this research, for example the UK branch of Borders going into administration in November 2009. And the signs show that this year doesn’t look to show a reverse –Waterstone’s announced earlier this month that they planned to close 20 of their 312 UK outlets. So what are the reasons for this possible drop? Any decline in sales is easy to blame on the recession, however research suggests that a large contributing factor may be that people are simply shopping elsewhere for cheaper deals (which I concede could be labelled an indirect cause of the recession). For example, supermarkets stock ‘bestseller’ novels and autobiographies for much cheaper prices than the book’s RRP, and as opposed to high street booksellers often have multi-buy deals. Both Tesco and Asda reported impressive sales last year, with their Christmas sales in particular up 24.8 per cent. week-on-week. And between 2001 and 2005 supermarkets’ market shares in the book market as a whole grew by a massive 90 per

cent. Yet this is nothing compared to an increased market share of a staggering 183 per cent, which was unsurprisingly the amount of growth for internet sales. The internet is quick, easy, convenient, and cheap. And these are all reasons why the ratio of high street to internet book sales is now only 55:45, with market experts predicting that the internet will overpower the high street in less than three years. But does the internet take away from the pleasure of browsing? Whereas in a book store we can read through a couple of pages, and maybe examine the cover, on Amazon.co.uk we’re presented with the blurb, a small scan of the cover, and publication details – hardly something that can be described as pleasurable. I may just be nostalgic but the internet appears to have turned reading books into a formal process rather than an enjoyable experience. However I should at least be thankful that I’m still writing an article about physical book sales, regardless of where they’re purchased – Amazon announced that over Christmas its Am-

azon Kindle (an e-book reader for those who are as technologically backwards as myself) had become its most purchased product ever – beating Harry Potter and The Deathly Hallows into second place. Who knows, if you were to try and access this article in a decade’s time it may not even be available to read on paper, as you hopefully are now. A scary thought.

MUSIC SPOTLIGHT FILM TV GAMES

BOOKS

CULTURE

NIGHTLIFE LISTINGS

RATED READS I

can honestly say that Shantaram is the best book I have ever read, inspiring me to book flights to India this summer and study contemporary Indian politics as a module. As daunting as the nine hundred page novel may seem it is completely worth it. Set in India in the 1980s, protagonist Lin has escaped high security prison in Australia with a false passport in search of a new existence. Based on the true story of the author, Gregory David Roberts, the reader is taken on his incredible journey. Split into sections, the book begins in Bombay where Lin forges strong friendships, particularly heartfelt with

regards to taxi driver Prabaker who teaches him to speak the native language of Marathi. Lin sets up a clinic treating disease in Bombay’s slums before becoming acquainted with Mafia war lord Khaderbhai, whose fatherly love has enormous effect on our protagonist, causing him to work in the black market creating forged passports and currency. Finally, Lin goes to war to fight in Afghanistan, returning when wounded to Bombay. Of course, there is detail in between; horrific prison in India, adoration for mysterious Karla and tragic death after death. What hit me most was the way Lin describes the characters, their generosity and love for him when they realise he has learned their language and cares for their country as much as they do. Roberts’ story is fascinating, I laughed and cried and when I finished I wanted to read it all over again. KATY ROBERTS

ainting a picture, composing an opera: that's just something you do until you find the next willing piece of ass. The minute something better than sex comes along, you call me. Have me paged." Choke, the 2001 novel by Fight Club author Chuck Palahniuk, is not for those with a weak stomach. Gritty, funny and relentlessly graphic, the story follows Victor Mancini, a medical school drop-out who has devised an unorthodox plan to pay his mother’s hospital bills: pretend to be choking in a restaurant and the person who “saves” you will feel responsible for you for the rest of their lives. Doing this week in, week out, Victor has started to gener-

ate a substantial amount of cash from his rescuers. Victor also works at a Medieval reenactment theme park with his loser friend Denny, cruises sex addiction groups in his spare time, and is wrestling with a dark childhood of foster homes and a mother on the run from the law. Few writers alive today can tug on a reader’s nerve endings like Palahniuk, and Choke represents the best of his work. Written in typically hard-hitting, engaging style, the book confronts readers with scenes involving rape role-play and men stuffing chestnuts up their nether regions, whilst simultaneously commenting on the dark underbelly of contemporary American society in inimitable fashion. On the first page Palahniuk warns the reader, “Save yourself...What happens here is first going to piss you off. After that it just gets worse and worse.” Ignore him, it’s worth it even if you may never want to look at the human body ever again. JOSH MANGHAM

To Marce l Proust

THE BLUFFER'S GUIDE TABI JOY gives you the lowdown on Marcel Proust...

ne of the most significant writers of the 20th Century, and praised by Graham Greene as “the greatest”, Marcel Proust was a French writer involved with the development of Modernism and 'stream-of-consciousness' style, whose significant novel, 'In Search of Lost Time' was published in seven volumes spanning over 3,000 pages. He is frequently remembered as having a rush of involuntary memories after tasting a Madeleine cake dipped in tea, a fragment of a habit from his childhood. Proust's novel deals primarily with the passage of memory and the process of 'creating' oneself through finding occupation. An inhabitant of the upper echelons of pretentiousness, Proust was extremely prolific, able to write in painstaking detail and intriguing beauty about his life and fantasies. Growing up the son of a medical researcher and an heiress, he was also able to move in certain circles, enjoying the company of Parisian celebrities and avoiding employment. Indeed, he only took a job at his father's insistence, and wrangled sick

leave that lasted for years. Fortunately he was able to devote his free time to writing obsessively. He suffered from crippling ill health throughout his life, and lived with his parents until their deaths, yet also spent a year in the armed

"We are healed of a suffering only by experiencing it to the full"

forces and was one of the first writers to directly engage with sexuality in his work. After the deaths of his parents he drew far more into himself and

his work, working throughout the night on his novel and sleeping during the day. In the last years of his life he soundproofed his bedroom with cork and retreated into it, rarely emerged unless necessity demanded it. Proust's work is infused with a clarity and certainty that makes the reader feel almost as though they are bearing witness to the events directly. Characters come in and out of focus, changing as time passes yet remaining recognisable; it is estimated that there are two thousand different characters in 'In Search of Lost Time', an indication of author's perfectionism. At such a length Proust is impossible to quantify, or reduce to his spare parts. But essentially he remains an important contributor to literary development as writers either seek to emulate his work or contradict it. Various writers either spurn or admire his work; Henry James detested it and found it 'boring' and emotionally listless, while Virginia Woolf believed it was everything a novel ought to be. It is certainly difficult enough to read and gauge an opinion, but is an integral aspect of literature that deserves some appreciation.

ine years after The Corrections, Jonathan Franzen has returned with his latest novel, Freedom. Combining epic scope with pinpoint observation in trademark Franzen fashion, it tells the story of the Berglunds, Walter and Patty, as they struggle to live with each other, their children, and their principles in modern suburban America. The novel has attracted attention for its eco-credentials; sub-plots include crusades for population control and a campaign to save an endangered bird

species, making Franzen something of a poster boy for the liberal green movement. However, he’s at his best when describing the dysfunctional family and tortured love triangle at the heart of the book. His descriptions of the trials and travails of Walter and Patty, their children and ever present friend and rival Richard Katz, are pitch perfect. Franzen’s ear for dialogue and his portrayals of emotional breakdown are consistently believable; his observations both familiar and original. It’s no surprise therefore that the book’s weakest moments, Joey’s visit to South America for example, come when Franzen is furthest from his comfort zone, the American middle class family. The pop-culture references, particularly to what seems like every indie band of the last fifteen years, can be wearing, but in general the missteps are few and far between. SAM HOOK

BOOK SHELF PORN! http://bookshelfporn.com

Need a bookshelf ? Need a chair? Why not have both!

MUSIC SPOTLIGHT FILM TV GAMES BOOKS

CULTURE

NIGHTLIFE LISTINGS

CULTURE

Careering Ahead

Louisa McLellan and Hannah Watters show you how to improve your career prospects without leaving campus!

ith arts funding being cut by 30%, jobs in the area are scarce. However, for some of us, our dream job is not something we are willing to give up on, and now one has to be even more competitive to get there. Volunteering and getting involved with campus activities has been an integral part of our lives for the past three years, and now, as we draw to the end of our time at York, we are starting to realise just how important it will be when looking for a job. Vision look through some of the opportunities in York, things we’ve done and things we wished we had done, which might help in the future. If your interest is working in galleries or museums then there are many opportunities both on and off campus. The Norman Rea Gallery is an absolutely incredible venue, putting on around three exhibitions a term, and completely student run. While the York Museum Trust in town often want help in their various projects, see www. yorkmuseumstrust.org.uk for current projects. Culture editor Hannah worked at Barley Hall, part of the Jorvik centre, as well as the Quilt Museum to gain valuable experience in the education departments of museums. They offer shadowing opportunities as well as the chance to help in workshops with the public. Space 109 has been, both of our biggest commitments since being at university, and by far the most helpful and amazing experience. Working with children from less fortunate backgrounds confirmed editor Louisa’s wish to work in the social services, and has been an amazing

point to talk about when applying for jobs, showing just how useful extracurricular activities can be. It has also given us both experience in planning events for children, teaching and understanding how independent charities run. If you're interested in helping out then visit www. space109.org. If you want to work for a charity, then RAG is the perfect first step. Whether through college or campus events. It's definitely possible to get involved a deeper level, though. Louisa’s work with charity has been through the sponsored hitch hike for LCD (Link Community Development), which she participated in two years ago. Now she works closely with the charity and is co-ordinating this year's York hitch. Last year’s Hitch Rep now works for the LCD events team, showing just how immediate the results can be through dedication at university. Campus media is, obviously, an amazing resource for those wishing to go into journalism, television or radio. Gaining experience in these areas can be hard, so having a strong involvement

with campus media is a step in the right direction - and gives you something impressive to write on those tricky applications! The Music and Drama scene at York is also thriving, and a great opportunity to increase your experience in a variety of areas. With the Drama Barn putting on regular productions, not just well known plays or musicals, but also shows written by students. Meanwhile, the productions put on in Central Hall have massive teams working on them, with lots of variety involved. The music department also put on numerous concerts, a lot of which aren't widely publicised, so why not go and have a listen to the variety available to broaden your horizons and perhaps ask about how you can get involved with the various concerts or orchestras. As we near the end of our amazing three years at York, we just wanted to pass on some advice for a new year’s resolution; get involved in something new this term, and who knows? You might just find some-

ITH OUR

STEP INTO SPRING W TOP FIVE!

shers' Fair 1. Join a new society - Fre Two is on its way! eak - book a 2. Plan an Easter city br ewhere new! cheap flight and try som not try the hy w m eu us m a it is V . 3 Castle Museum? ew Year 4. Celebrate Chinese N ar of the February 3 marks the Ye Rabbit! l promise to 5. Walk the walls - we al do it in first year...

YOUR ART

Dress by Serena Dyer:

A reproduction of a Day Dress c.1839, based on a V&A design. Serena is an expert in historic costume making, and can be found online.

MUSIC

SPOTLIGHT FILM TV GAMES

BOOKS CULTURE NIGHTLIFE LISTINGS

E F I L T H NIG

TO PRE DRINK OR NOT TO PRE DRINK?

Bar Review

Evil Eye Lounge 42 Stonegate Shooters: £2.50-£3.50 Cocktails: £4.50-£7.50

food menu, with most main dishes costing around £7. However it’s the seemingly unending array of cocktail permutations that draws the eclectic mix of students, locals and tourists alike. Even on a Monday evening, the extended bar was chock-a-block with punters all vying for one of the few staff’s attention. Getting served often takes a while, and so does waiting to receive any drink which involves ice incidentally. Walk upstairs and you'll find more eastern influenced seating antiques and even a bed for which you can relax on. There is also an interent cafe catering for the tourist trade in the day. The average cocktail will cost between £5-£6, expensive for York but to some extent justified. Despite the

extensive menu, my associate played it safe and went for a strawberry daiquiri, whereas I tried to be interesting in my choice of a "pearhito". I normally find daiquiris oversweet and undrinkable but this one wasn’t. The pearhito was enjoyable too but unfortunately my choice of it led to my sexual orientation being questioned for the remainder of the night. Evil Eye isn’t the place to maximise alcohol unit per pound spent. But the atmosphere beats Vudu Lounge by a country mile, and it is the only bar in York with a bed that I’m aware of, which can only be a good thing. DANIEL GODDARD

FANCY D RESS OF THE WEEK

COCKTAIL OF THE WEEK

VERRI BERRI INGREDIENTS: 2 shots Raspberry Vodka 1 wedge fresh lime (squeezed) Top up with cranberry juice

Photo: ww w.kluens.co .uk

or the uninitiated, you could be forgiven for missing Evil Eye on Stonegate altogether. The front shop bears more resemblance to a central-Prague newsagent than a cocktail bar, especially one that was once supposedly frequented by Johnny Depp. Whether this is true or not, Evil Eye certainly provides an antidote to the quintessential scumfest that can be many drinking establishments in York. Thankfully more gentrified Shoreditch than Mickelgate run. As you enter inside you are greeted with a backfrop of what seems to be every single type of alcohol under the sun, beutifully arranged behind the bar. The inside decor exhibits a heavy south-east Asia influence which also translates to the

efore arriving at university, I never fully appreciated the astounding act of pre-drinking (read: the ability to squeeze as much alcohol as possible into your bloodstream, still make your way into town, enjoy your night without having to spend over £5, all whilst managing to make it home in one piece with a clear image of what had happened throughout the night). A phenomenal art for all who can master it. I, for one, can put my hand up and admit to being unable to master this. The problem is that no one understands the required formula of how to have perfectly weighted pre-drinks. Just because you've bought two bottles of wine from Morrisons for under £5, doesn’t mean you need to drink them... Or that can of beer you borrowed from your housemate... Or the half-bottle of vodka you stole from one of the girls you live with since you know they won’t be able to drink it anyway. That is a recipe for disaster. Don’t get me wrong, I love a big “pre-sesh”, but I don’t like being the person who is looking after their incapacitated mate, since they thought it would a ‘right laugh’ to strawpedo a bottle of 2009 Rose. Nor the friend that you try to sneak into Salvation by propping them up between two of your group members, hoping that the bouncer will not notice the drooling, rolling eyes, or the inability to keep their head straight. Then, once you've managed to deceive the foolish bouncers, you try to get them a glass of water - but why should you be the idiot ordering H2O from the bar when it’s still only 9:30?! Then there’s the dancing... remembering that it is still only 9:45, you’re the only ones in the club, and your drunk mate is dancing, on his own, with the coordination of Anne Widdecombe. Then, of course, they’ve gone and thrown up, so you make your way back from town, obviously stopping for the traditional Subway experience, before coming home when everybody else is just starting to head into town. Pre-drinks are incredible, and the lessons I have learnt from them will probably be more valuable than my degree, but I still have no idea how to perfect them. Judging by SNG, neither does anyone else from this university. What I would love to see happen, and all college chairs should take note, is instead of those fire presentations that we all had at the beginning of our Freshers' week, there should instead be a presentation showing us all how to co-ordinate a perfect pre-drink, with perfect timings, ideal drink combinations and awesome games. This way, York University students will no longer be staggering, drunken messes filling the Gallery bus stop, and with all the money saved from pre-drinking correctly, it could even help us to combat the climbing tuition fees. SAM AGASS

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Michael Collins, one the most accomplished clarinettists of his generation, is accompanied by Irish pianist Michael McHale, winner of the 2009 Terence Judd/ Halle Award.

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SUNDAY 6

YOU SET THE SCENE The Habit Cafe Bar Free

'You Set the Scene' is a Sunday afternoon DJ session at the Habit Cafe in York, where resident DJs Dan Guest and Mike Harrison will be playing a host of 1960's influenced pop, psych and garage tunes. Listen to some DJ history over a beer and some delicious food.

Live from the acclaimed Donmar Warehouse, comes one of the greatest works of Western literature. Exploring the nature of human existence through a story of love, power, duty and loss, Lear asks the immortal question: 'Who is it that can tell me who I am?'

Will Haydon

Film Editors David Elliott Tom Martin Deputy Film Chris Hogg Olivia Waring TV Editor Nicola Chapman Games Editor Nathan Blades Books Editors Tabi Joy Teja Pisk Culture Editors Louisa McLellan Hannah Wattes

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WILL HAYDON reveals all the latest news and gossip from the music industry

Gleeks and roses Ri-diddy-culously FORMER Guns 'N' Roses lead guitarist Slash has attacked US musical drama Glee, describing it as "worse than Grease." He revealed in an interview with Entertainment Weekly that the show had contacted the band about using one of their songs, but they had refused, presumably because of their hatred of all things cute 'n' cuddly. In a long-winded diatribe on musicals, Slash explains that although Grease was "bad enough", it looks like "a brilliant work of art" next to modern-day alternatives such as Glee or High School Musical.

After seeing how the show had rejuvenated the popularity of '80s band Journey with a re-enactment of hit 'Don't Stop Believing,' it must have been a difficult decision for the band, whose 2008 album Chinese Democracy sold poorly and received a mediocre critical response. Glee producers have not yet commented on this obvious affront, and considering Slash's infamous beef with ex-bandmate Axl Rose – sixteen years old and counting – it would be a brave move for the hit show to respond.

Ex-skepta-tional

US business mogul and occasional rapper Diddy has plans to explore the UK Grime scene. Accompanied by new bezzie MC Skepta, he will tour key Grime venues, as well as areas of London in which the scene is really popping. Diddy, who typically opts for the champagne lifestyle, seems to have become disillusioned with materialism, telling Skepta although he could easily receive the VIP treatment at Radio 1, he wants instead to witness first-hand the birthplace of the North London grime scene.

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MC Skepta recently remixed Diddy's polite hit single 'Hello, Good Morning'. He has publicly expressed his appreciation of Grime culture, comparing it to the 'early days of US hip hop'. Diddy recently changed his name from P Diddy because 'the P got between me and the fans.'

predictable pun alert ROB van Winkle – or as you may know him, washed-up rapper Vanilla Ice – has wowed audiences with his first performance on television show Dancing On Ice. Undeterred by public opinion that he was only invited to the show on account of a coincidental similarity of names, and that his appearance is a cheap attempt to bring his career back to its once dizzy heights, and that he really only had that one good song anyway, van Winkle managed to impress the panel with his stage presence and technical skill. His dancing abilities were never in doubt given the exquisite performance he gave in the music video that accompanied hit 'Ice, Ice, Baby', although

some were surprised by his flexibility and dexterity given his old age. The rapper's dance, described as "exciting", "fun" and "great" by the judges, was only bested by ex-Nickelodeon host Laura Hamilton. Although van Winkle has made no official comment, a diss song is expected shortly.

Well... at least It's Not Racist A NEW musical genre has emerged: Death Metal Dubstep anyone? Maybe someone thought that if the two most controversial genres of all time were combined they would make something so powerfully rage-inciting that the universe would collapse in on itself. Far from being groundbreaking, however, the resulting mash-up is horribly familiar, something that would only sound slightly out of place upstairs in Salvation. Just search 'Commissioner - Consume' on YouTube to witness yourself.

"THERE'S A BREAK HAPPENING" Chris Hogg and Chris Craddock interview Scott Hutchison from emotional Scottish indie-rockers, FRIGHTENED RABBIT...

hilst sitting waiting to interview Frightened Rabbit lead singer, we were briefed on what not to ask: “Don’t ask about being in a band with your brother, they always get asked that. Don’t ask about all the Scottish bands knowing one another, and cut the novelty questions,” the tour guy says in a gruff, intimidating Scottish accent. We silently struck three questions on our list feeling somewhat uneasy. The brutal interview preparation wasn’t necessarily unfair. The band were coming to the end of a mammoth tour with their third record, the critically acclaimed Winter of Mixed Drinks an album filled to the brim with catchy, powerful uncompromising indie rock. They deserved respect.

Within 10 seconds however, our fears of interview hell were immediately extinguished. Lead singer Scott Hutchinson was laidback, forthcoming and effortlessly charismatic. One of the most underrated bands around at the moment, Frightened Rabbit's earlier material also deserves a mention as their previous albums Midnight Organ Fight and Sing the Greys were almost flawless pieces of emotional rock. The boys from Glasgow have been together since 2003 and have been working their way slowly up the music industry's food chain trying to reach a position of which their music is worthy. The first time we saw them play live was in the intimacy of Duchess in York and at that gig they had confessedthat the last time they had played in York was in the basement at City Screen. Now Hutchinson is preparing to take to the stage at the Cockpit in Leeds, a much larger venue and one where many bands have gone onto great success and we hope that the band follow in a similar direction. When asked about the band’s latest album he elaborated somewhat philosophically: “The whole thing was written after we’d finished a bit of a monster tour, it was a really hard working year for us after that record. So I was writing a lot about feeling a bit lost, like I wasn’t sure what the point of it was anymore. You know where you get to the point where you do something so much and you forget why you started doing it in the first place? So I think I was writing about that, and loneliness, isolation, trying to regain sanity as well. So the record’s all about

that. What it’s like to be a human adrift.” On the subject of touring, we pressed him on highlights of their most recent tour which had taken them to play everywhere from York’s aforementioned darkened indie basement, Duchess, to Coachella festival. Hutchinson mentions New York, their American tour and Vienna, but it was their imminent homecoming gig in Glasgow which really got the nostalgia flowing; “that’s the venue where I saw most of the concerts growing up. When I was a teenager I saw Green Day and the Foo Fighters in this same venue so it’s sort of one of those pinnacle points. If the whole thing collapses after this weekend, it’ll be fine by me!” He finishes with a self-depreciating charm. From tour experiences we moved to ideal festivals expecting mention of mud-soaked Glastonbury, beer-soaked Reading and Leeds or mediocre-soaked V Festival but instead he immediately flagged up End of the Road. “My ideal festival doesn’t have any sponsorship, doesn’t have any corporate logos anywhere. It’s run by people and it’s about music and fans and stuff so that’s one of my favourite festivals.” Finally we come to the most important question of all - what does 2011 hold for Frightened Rabbit? “There’s a break happening. We’ve been working really hard and it’s time, first of all to stop touring for a little bit, and to get focused on writing the next album. So we’re going to start in earnest in January and really concentrate on the new record.” So all we can do is sit and hope that it won’t be long before those rampant Rabbits are back with new material.

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VISION'S Sound of 2011 Have the BBC got it all wrong? DAN CAVE reveals Vision's alternative list of ones to watch this year...

am inordinately excited. That time of year has come again when the ohso-in-touch BBC tastemakers have chosen the artists whom we will find intolerable in just a few months after inevitable overplaying of their songs on the radio, music channels and on the sweaty club dance floors. Nothing excites me more: not Christmas (and I still believe in Santa), not student loan day, and not the feeling of having just handed in an essay. The BBC Sound of 2011 has been cast down upon us, let us revel in its musical nous. Sarcastic? Me? Well, yes. The problem with the BBC’s shortlist is due to the way it is compiled. The “Sound of...” series is taken from the votes of musical journalists. These journalists wouldn’t want to be seen to make incorrect predictions, so many of the artists, who make it to the final shortlist have already broken through and are signed to large labels with excellent PR. The others are usu-

ally manufactured nonsense, or simply bland, inoffensive pap. By trying to be conformingly eclectic or whatever oxymoronic parameter the BBC claims to distinguish upcoming talent by, the choice every year is either predictable or unrepresentative of the direction British music is taking. The winners of previous shortlists have included manufactured Pop princess, Little Boots; Joss Stone clone, Adele; the man who needs no introduction, Mika; we were originally called Drying Paint but changed our name, Keane; and finally the quintessential voice of English youth, 50 Cent. Already the pattern is emerging; most of the choices fit comfortably into that most beloved of niches, neo-soulfulpoppy-RnB (is that even a genre?!) and most of them manage to squander their undeniable talent by being excruciatingly bland. When the tastemakers attempt to be daring and “controversial”, such as in the case of Mr 50 Cent, it is

usually irrelevant. This year’s winner, Jessie J, may prove in her latest video to be able to writhe appealingly on the floor of abandoned warehouses but she is little more than a paltry British answer to the unstoppable and superior Gaga. That is not to say that all the choices are predictable. Runners-up James Blake and Jamie Woon manage to mix the production of underground dance music with haunting vocals and a pleasingly folkly attitude to fame, embarrassed at the attention they are receiving. This appreciation of somewhat alternative talent is refreshing in a stale shortlist. Like Plan B last year, I wish them luck and predict both will make it big in the mainstream. However, all too often the “Sound of...” series is not representative of new music. In response I select five artists that I believe symbolise the latest in British talent and innovation on the current scene.

Five artists that the BBC somehow managed to overlook... Maverick Sabre Recommended track: 'Sometimes' Imagine early Plan B learns to play blues guitar riffs whilst growing up on a council estate whilst learning rhetoric from the school of Epicurus. Most recognisable for his work on Professor Green’s track “Jungle”; Maverick’s singer-come-rapper style, c arsely truthful, is contrasted enough by catchy verses and upbeat rhythm to make it big. His gritty, philosophical approach is refreshing in a painfully shallow industry.

Dream Mclean Recommended track: 'I Am Music' Grime is a genre that has had a rebirth over the past year with several of its children, Tinchy, Tinie and Pro Green, making it big commercially. A style of music that speaks in such a raw manner to it’s fans has yet to have the chart recognition it so deserves. However with Dream, an Essex lad not even twenty years old, that could all change. He has proven his ability to rap over, not just grime beats but, hip-hop, dubstep and indie. He is versatile, funny, intelligent, well-spoken and sometimes heart-breakingly emotional and Chase and Status have already worked with him. I sense big things for Mr.Mclean in 2011.

The Great Boat Salvage Recommended track: 'Hurricane'

Skream Recommended track: 'Layby'

Little known outside of the Midlands and Yorkshire, mainly because of their tendency to constantly re-invent the band both in line-up and name, the Great Boat Salvage are relevant for three huge reasons. First, they bridge the gap between folk and twee without, curcially, being Mumford and Sons. Secondly, they sound wonderfully like Sigur Ros meeting Fionn Regan. And lastly; they’re alright, y’know? If they can hold down one name, I sense a real growth in recognition and in fanbase.

The year that dubstep made it big; subsequently tiring itself as having any originality, has passed. Famed for being one of the fathers of dubstep, Skream is not confined to a single genre. Working, concurrently, on: The Magnetic Man live-show; collaborations with Example and a self-confessed “addiction” to making music proves that 2011 could be his biggest year yet. Forays into future garage and RnB coupled with his constant supply of free music on the internet, are only expanding his fan base.

Ed Sheeran Recommended track: Cover of 'Way faring Stranger' Sheeran is an anomaly. His ginger hair, nervy disposition and love of corduroy trousers should make him the target of the playground bully. However his disturbingly brilliant voice and relaxed guitar playing style have got some massive names courting him for studio time. His collaborations album, already climbing the iTunes chart, is amazing but it is his solo work that I believe he will finally be recognised this year.

SINGLES HANNAH VOSS reviews the latest releases... Scarlette fevercrash And Burn

here are a lot of negative things that could be said about 'Crash & Burn.' It could be called generic, just another so-so pop song , comparable with, but by no means superior to, many more mainstream female singers. The optimistic lyrics, the emotionless vocals and the muted beat are all well within the comfort zones of conventional pop, so if you're looking for something revolutionary, Fever isn't your artist. However, it's not all bad. The song is catchy and upbeat, the guitar melodies well blended with the vocals and the lyrics so relentlessly positive that you can't help but think that Crash & Burn may yet have a place in the charts.

Adele Rolling In the deep

olling In The Deep' is a dark and emotive bluesy number, stretching the 22 year old singer's voice to its full soulful potential. There is something captivating about the way the song builds up from just vocals and a guitar at the beginning, all the way through to the end where the crashing piano and backing chorus create a powerful track that is a far cry from the generic poppy single we might have expected. Most outstanding is the emotion with which Adele sings. The song is inescapably poignant and bodes well for the release of her second album.

Tinchy Stryder ft. Bridget Kelly Take the world

t sometimes seems as if Tinchy can carry on producing chart topping rap songs indefinitely, and this latest single is no exception. It is (as always) well crafted, with an unfaltering pace and a dramatic contrast between the sung choruses and the rap verses, just the sort of thing that has brought success to the British rapper since 2009. What it does have to offer that sets it apart from the others, however, is backing vocals from fellow Roc Nation singer, Bridget Kelly. The extra dimension that she brings to the track is what sets it apart from its predecessors, and 'Take The World' seems headed straight to the top of the charts.

kesha we r who we r

uspect lyrics, overuse of vocal processing, repetitious riffs... All the classic Kesha trademarks are present in this new single, blended together in the usual dance-pop style. It's the same as always, and the point has to be made that it's all getting a bit old now. Each single that comes out is a little bit less credible, and 'We R Who We R' has got to the point where the American pop star has almost become a caricature of herself. 'Sick and sexified' is surely not how any self-respecting singer would describe themselves. Admittedly, Kesha has never pretended to be anything other than fun and entertaining and as such, the song will undoubtedly be another hit for the 23 year old.

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Albums... ANNA CALVI Anna Calvi

nna Calvi is one of those lithe, immaculately dressed “bright new hopes” that are ubiquitous at this time of year. Not a January seems to go by when the music press isn’t obsessed with finding the “definitive sound” of 2000 and whatever, most of whom have about as much staying power as a New Year’s Resolution. Nonetheless Calvi’s self-titled debut is an intriguing prospect. Part Tarantino heroine with a Nick Cave fetish, part Edith Piaf having a nervous breakdown, Calvi is a polished, glamorous and pleasingly macabre proposition. Opening track ‘Rider To The Sea’ sets the tone brilliantly, a three minute electric guitar lead instrumental which wouldn’t be out of place at the start of an Ennio Morricone western. This gives

way to the wonderfully sultry ‘No More Words’ which begins with a shuffling guitar groove oddly reminiscent of Grizzly Bear’s ‘Southern Point,’ before Calvi’s seductive refrain of “Oh, my love” dissolves into a glorious groaning climax. This is followed by ‘Desire’, slightly more upbeat courtesy of driving syncopated drums, and a little like PJ Harvey singing Arcade Fire, complete with suitably yearning lyrics and beguiling melodic highs that suggest serious anthemic potential. At times Anna Calvi is a little repetitive, a few too many seductive vocal flourishes and angst-ridden religious references perhaps. However, these excesses are far outweighed by the album's many qualities. The wavering melodies of ‘First We Kiss’ and ‘Blackout’ prove irresistible, creeping under the listener’s skin and clinging with addictive fervour. The album is underpinned by a unique guitar technique, meandering ostinatos and wavering flourishes that are more closely associated with the piano, and Calvi’s committed, heartfelt delivery that extorts as much pathos from a whisper as a shriek. All in all a seriously promising debut that should secure Calvi a credible reputation, provided she doesn’t get too pillaged by producers searching for a way to make the next televised sporting event feel edgy (ahem, The xx...) Plus, she does look bloody good in red lipstick.

British Sea Power

Mongk from the excellent Zeus EP for the new album, imaginatively calling it 'Mongk II', which in turn is one of the triumphs of the album. Other stand-out tracks that feature on the album are the atmospheric 'Once More Now' and the anthemic 'We Are Sound' which demonstrate the full spectrum of the British Sea Power's sound. The first single from Valhalla Dancehall is unsurprisingly 'Living Is So Easy', which, whilst retaining its integrity is one of the more commercial songs from the album. Valhalla Dancehall is a good, solid album from a good band and although attention may wane during some of the less distinct tracks, the band have managed to produce an album that stands out from much else on offer and is certainly worth a listen.

Valhalla Dancehall

alhalla Dancehall is the latest offering from the independent rockers, British Sea Power which in their own words "is the most ambitious yet." While they haven't moved too far from their quite distinctive post-punk sound it is certainly a progression from their previous (Mercury nominated) record Do you like Rock Music? with less polish and consequently a more natural sound. The album begins well with the high tempo, rousing 'Who's in Control?', the initial promise is continued for most of the album apart from one or two tracks which lack an identity, the only break in the flow. There is a fairly familiar mix of both high energy, heavier guitar led tracks such as 'Thin Black Sail' and slower, almost ballad-like tracks such as 'Georgie Ray' and 'Cleaning Out The Rooms'. As is to be expected from the band, the lyrics are strong and searching. They deal with both relevant and more abstract subject matter from the unrest on the streets to a local Sussex library. The band have reworked the track

RACHEL PRONGER

STEPHEN BARBAGIANNIS

The Decemberists The king is dead

ere we come to a turning of the season", Meloy's opening lyric on 'The King is Dead' couldn't be more apt. The Portland-based indie/folk band are back with a ten track album more reminiscent of 2005's Picaresque than 2009's more theatrical, rock opera offering, The Hazards of Love. This is not to say that the album's sound is a replica of anything that they have released before. The Hazards of Love could have been difficult to follow on from if they had tried to create something which - somehow - sounded more epic. However, the band's move into a more simple stripped back style for The King is Dead manages to top their previous offering without appearing to try too hard - and this change will probably be welcomed by fans given the mixed reception of its predecessor which came complete with overtures and renaissance storylines. Despite their vast change of style, Meloy still manages to work lyrical magic creating haunting lines filled with nostalgia telling tales of more country-fied Western prairies than forest imps and fairy queens. However, Meloy's lyrical prowess still shines through in his ability to pull off rhyming "bloom", "boom", "maroon" and "living room" on 'June Hymn'. The albums lead single 'Down by

the Water' clearly pays homage to the influence R.E.M has had on their work. The track both features R.E.M's guitarist Peter Buck and also sounds - during the opening at least - like a variation of 'Orange Crush'. This album is perfect for looking forward to sunny afternoons with the mix of acoustic, slowed down ballads and more catchy, playfully upbeat songs featuring fiddles. The introduction of the harmonica to the band's array of instruments cements their departure into a more slowed down and fresh sound. Some of the songs will easily stick in your head, with the choruses of both 'Don't Carry it All' and 'Rox in the Box' being notable examples. The King might be dead, but The Decemberists surely are not, and their ability to evolve and change their style into something more country-festival than Shakespearean theatre suggests that we definitely haven't heard the last of them yet.

JASMINE TARMEY

White Lies Ritual

hen questioned in regard to their apparent strong evolutionary debt to the likes of Joy Division, a sceptical Harry McVeigh, lead singer with London-based indie outfit White Lies, replied "I don't think our music sounds a whole lot like those comparisons, I think we're a lot more euphoric and uplifting." With such emotions gloriously ubiquitous throughout this rather epic second album, McVeigh's theory is undeniably substantiated, whilst Ritual simultaneously serves to bolster the band's much lauded star. One of the most impressive features of this album lies in the way the band have embraced the emotive power of the chorus. In a time when experimental song structures often lead to the sacrifice of melody in favour of 'edge', the anthemic crescendos present in songs such as 'Is Love' and 'Bigger Than Us' are immediately accessible, and endearing. Utilising the contrast between moody, down-stroke based verse and uplifting, spirited chorus, each song, which for the most part border on the five minute mark, takes you on an emotional journey through trial and tribulation. The band have evidently sought to incorporate electronic elements to their sound, with songs such as 'Streetlights' employing the rousing potential of the synthesizer to give extra momentum to

melodies deemed musically significant. Lyrically, the band still haven't emerged from their morbid fixation on finality and heartbreak."And I feel like I'm breaking up, and I wanted to stay/ Headlights on the hillside, don't take me this way". This dark imagery remains a constant throughout the album, with little light shining through. While not necessarily a criticism, there are undeniable debts to Ian Curtis throughout the album. Such blatent comparisons might hinder the bands ascension, although White Lies still have a propensity for creating music that at times sounds intensely optimistic and shows clear individuality. However, it can also be said that this contrast adds to the mysterious beauty of an album that is probably destined for a mixed reception. Despite reservations I, for one, love it.

RICHARD OXLEY

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TURN ON, TUNE IN AND DROP OUT

f you comb the back of your brain searching for past musical clichés you may well stumble upon that oft repeated phrase, ‘turn on, tune in and drop out’. In his last years, American psychologist Timothy Leary, the man who coined this 1960s counter-cultural phrase, proclaimed the PC as the ‘LSD of the 1990s’ and I, for one, believe he was onto something. Computers have also had a dramatic effect on the way we consume music. In the last twenty years, a tornado of shiny innovations in musical technology has swirled rapidly along at the same wild pace as mobile phones and computers, constantly evolving and feeding off other industries. Whilst a perturbed older generation struggle to keep their heads above the water, more and more fresh faced producers are surfing this technological tidal wave and cultivating never-beforeheard sounds in unique ways. Any self respecting hip-hop junkie should know DJ Shadow’s debut Endtroducing…(1996), a prolific album that landed itself a Guinness World Record for being the first album to consist entirely of samples. The instrumental hip-hop album was constructed on a single piece of hardware called an MPC, redefining the rules of what’s really needed to make music. The ‘Shadow’ sound melted ominous vocals to the chime of weathered beats and 1980s American rap, striking

JOSH BRILL looks to the future of electronic music

a chord with some 500,000 people in the first week of release, as well as tugging on the ears of TIME magazine who included Endtroducing… in its ‘Top 100 Greatest Albums of All Time’. Shadow also paved the way for others to follow in his footsteps; as recently as 2009, L.A. based hip-hop producer Exile released Radio, an album made solely from radio samples. This relentless and self-generating growth has forced the industry to up its pace, as one genre intrinsically fastened to technology knows all too well. In the last five years, electronic music has come to resemble a frazzled mother, overwhelmed with the chaos created by over thirty sub-genres, piped in on sugar-coated frequencies. Drum and Bass has brought his girlfriend Liquid back to stay the night, Dubstep is slowly drifting off the straight and narrow, and amongst all this disorder the genre has fallen pregnant with a miracle baby; an angel of the post night-club scene that in the last two years has brought about the most significant change to electronic music since its humble beginnings. Fleeing from the futurist vibe where it all began, and steering away from the digitalised club sound that has dominated the genre since the days of Acid House, artist Mount Kimbie has created a sound so primitive and intimate you‘ll initially be confused as to where it

should be filed. Debut album Crooks and Lovers, released in 2010, was a monumental fusion of organic sounds (samples of radiator clunks, bicycles in tunnels, tongues clicking, feet kicking, and rain) heavily corrupted by digital automation and robotic bass lines. The album’s oozing digitalised humanity has created something genuinely original. What is so fascinating and refreshing about this sound is the way in which it mirrors our own evolutionary development. It has been predicted that in the next thirty years we will be biologically integrated with computers, and what better way to accompany us as we coast down this technological highway than a soundtrack that willingly embraces digital vibrations, but at the same time refuses to ignore the unique potential of human sound, an aesthetic that has so often been neglected in the world of electronic music over the past fifty years? So as ‘turn on, tune in and drop out’ moves to ‘turn on, boot up and jack in’, the future not only of electronic music but also the music industry in general is uncertain. In my own wild imagination, I’d like to believe that in a hundred years a robotic folk group will have manifested itself on Earth striving for the comforting warmth of the human voice, but that might just be me. We will have to wait and see...

Bewitched, Bothered and Bewildered... RACHEL PRONGER talks to indie three-piece Esben and the Witch about goths, James Joyce and "nightmare pop"

sben and the Witch sound very much as you would expect a band named after a Danish fairytale to sound. Their music is slowburning, ethereal and bewitching, with inevitable echoes of Portishead and Kate Bush. Lyrics are literary and dark in the Grimm sense of the word, with singles making unexpected references to James Joyce's depressive daughter in 'Lucia at the Precipice' and the effects of silver oxide poisoning in 'Aygira'. Perhaps not the kind of music that has clear mainstream appeal. Nonetheless over the past year Esben and the Witch have been gaining quiet acclaim from the likes of the Guardian and Q, and were featured on the BBC Sound of 2011... shortlist alongside the considerably poppier likes of Jessie J and Claire Maguire. For this unassuming threepiece such accolades appear to be rather bewildering and when I congratulate them on their recent critical success they seem a little uncomfortable, thanking me but admitting that the attention makes them uneasy: "We feel somewhat surprised to find ourselves on lists like these. Whilst it is flattering it also seems to set up a level of expectation that we

aren’t entirely comfortable with." This discomfort with success is born out by their responses throughout the interview. The band, which consists of singer and percussionist Rachel Davis, guitarist Daniel Copeman and Thomas Fisher who also plays guitar and keyboards, are reserved throughout. Despite admitting to being influenced by gothic architecture and literature, they deny that they are part of the resurgent 'goth' scene saying that they feel their appeal is more to do with the human attraction to darkness than any particular gothic stylings. I wonder where the inspiration comes for their unconventional subject matter. "We feel a certain fascination with the macabre, but these things also contain elements of beauty and some of the songs celebrate that." I wonder how they felt about the intriguing label "nightmare pop", attached to them early on in their career, and they say that although they enjoy the juxtaposition, they feel it is a conceit they have since moved away from. Although it is a neat term, the label seems too simplistic for the broad multi-media approach of the band. Recently the band contributed an eighteen minute soundscape to be

used as part of an installation by the artist Karl Sanders. A fascination with visual as well as musical aesthetics is a running theme in the band's work. When I ask them with who they would most like to collaborate, their admittance that they long to work with a film maker seems logical. "We are fascinated by working on a soundtrack because it frees you from the restrictions of writing conventional songs." They go on, "In general we try and eschew these restrictions anyway, like conventional structure, to try and achieve a more cinematic feel." Despite their high brow approach, the band appear to be on the brink of greater success. Last year they toured with Foals and The xx - an experience they describe as "gruelling and somewhat chaotic at times but always exhilarating." When I ask them about their plans they merely state that they intend to continue writing, recording and developing the live show. Nonetheless I wish them well, if only because there is something brilliantly English about songs that encompass such uncommercial themes as mental illness, modernism and industrial poisoning.

CHRIS CRADDOCK:

BITCH

here is no denying the simple and wonderful truth about Glee: it is unbelievably addictive. Now E4 is showing another season of the all-singing, all-dancing students of McKinley High and I have, once again, become obsessed by what everyone's favourite show choir New Directions will be performing in the upcoming weeks. However, I have also been told when you fall in love with something it will eventually break your heart. This is something I will not, and cannot, accept about a how with such soullifting potential. For this reason I am going to list all of what is wrong with the music of Mr. Schuester’s students, to purge my fevered mind of Glee's (unfortunately multiple) sins. First of all, they are not technically a Glee club at all. Their songs are always accompanied by a band, which seems to be on call 24/7 to meet every need of this demanding club who are likely to burst into song at the drop of a hat. In the first episode of the last season, the kids cracked out an epic version of ‘Don’t Stop Believing’ by Journey to convince Mr. Shu to stay. Since then, very few of their performances have involved as much vocal involvement and usually they are just straight covers of songs, which leaves them looking like a glorified karaoke group at best. Already this season I have struggled to tell the difference, if there is any, between their version of the lyrically awkward and horrendously wealth-orientated ‘Billionaire’ and the flaccid original. As I have mentioned the sensitive issue of the ever-present support band, I may as well continue on this bizarre and frustrating subject. The whole point of Glee club was to give a voice to those who have none and are the lowest of the social order at high school, but it always seems that the only people less represented than the singers of Glee are those who play in their band. I don’t think I have ever seen those poor souls once get credit for playing songs that these melodramatic teens decide at a moment’s notice. If New Directions are a glorified karaoke club then the band is the unnoticed and unappreciated jukebox, whose role is constantly usurped by the lead male Finn’s occasional desire to play drums. Yet these minor quibbles pale in comparison to Glee’s biggest musical sin. There is nothing worse, no musical tic more upsetting or aggravating than when Mr. Shu bursts into rap. I cannot imagine anything more mentally scarring than if my supervisor decided that in order to solve one of my personal problems he should break try out hip-hop. This genre of music is never going to be anything more than uncomfortable on a show like Glee and this is only compounded by Will Schuster’s singing it to prove to us all he is the cool teacher the kids can relate to. Musically, Glee is blessed in so many respects that it truly pains me to have to point out these reservations. However, my enjoyment of this most heartwarming of shows is regularly compromised by the issues that I feel compelled to point out. So basically I am making a heartfelt appeal to the show's producers. Please guys, let's have more original covers, greater recognition of those hardworking band members and definitely LESS RAP! For the sake of all the Gleeks out there and for the good of the show itself, Mr. Shu must realise he is not the white Kanye West, Jay-Z or even Sisqó.

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Lives... I

t seems odd, reviewing a gig where Biffy Clyro’s triumphant set closer was rapturously received, even by the most sardonic fans, (the type that usually strain their voices by shouting over songs from the latest two albums “You know I saw them before Puzzle even existed...” to anyone who'll listen). Of course it only seems odd because the song in question was 'Many of Horror', or thanks to Simon Cowell, Matt Cardle and The X Factor 'When We Collide' as it is now known. Now you can say what you want on this issue, but the truth is that Biffy Clyro are still the best British live band around, and on the strength of tonight I believe they will continue to be so, no matter how many times we have to hear the teeth-clenching key change at the end of Cardle’s cover. So what’s the difference between this show and the countless others that Biffy have played and conquered? The obvious difference is that they are now playing arenas, but the catch is that instead of shying

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Fibbers, York

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I Am Kloot 22/01/11

Duchess, York

Biffy Clyro

Manchester Central 03/12/10 away from it, or worse, moulding and ruining their music to suit it, they have managed to transfer the sweat, quirk and intensity of club shows to the big stage. As frontman Simon Neil said in a recent interview: "We didn’t come to the mainstream, it found us.” Though the band may make use of video screens, holograms and confetti, it is only ever a glossy layer, not in the least masking the raw power of such songs as Saturday Superhouse, Jaggy Snake and Justboy. The set list is a well crafted balance of old and new. Admittedly it was a risky decision coming on with six new songs, but the airing of tracks from every album, including a wonderful rendition of the rarely played 'Diary Of Always' means that the balance never tips, and leaves everyone satisfied. However the best thing about Biffy’s live shows is their value-for-money: they play 25 songs. The cynical may sneer “Quality not quantity,” however when after 25 songs you’re still ready for more, you realise that the quality levels didn’t drop all evening. So arenas conquered – now where do they go from here?

he Duchess, being one of the last venues on I Am Kloot’s latest tour to become a sell out, attracted a wide range of ages. The warm up act, Dan Michaelson and the Coastguards, provided a good performance with deep vocals and steel guitar even if not fully observed by the waiting audience. The smaller scale of the venue provided a potentially very intimate performance, starting with a toast from front man John Bramwell who provided generally well received patter - and even paused to ask someone

whether they were okay after falling over. Songs were drawn largely from the new album with a fewer older classics thrown in. Proof was the most well received song of the night, with much of the audience joining in. It was a strong performance providing a rockier sound than their recorded albums; the one low point to the evening was a portion of the audience choosing that particular venue to have exceedingly loud and endless conversations, rising in volume with the guitars. This somewhat detracted from the evening, especially during some of the more gentle songs on the playlist. Overall a great performance, good venue.

MICHAEL MACEY Turn to Spotlight to read an exclusive interview with I Am Kloot.

GEORGE OSBORNE

Twin Atlantic

itting at the back of an empty Fibbers waiting for Twin Atlantic to finish soundchecking, what’s obvious is that these guys are at the wrong venue. O2 Academy? Wembley Stadium? That should do it. Unfortunately, squeezing their colossal sound (that must be itching for a stadium tour already) into the 150 person capacity of Fibbers feels like someone’s launching a constant wave of alt-rock grenades your way. For those of you who haven’t heard of Twin Atlantic, they’re a Glaswegian four-piece born in 2007, currently sharing the same management team as Kylie Minogue and trendy new hot shot James Blake. So, big things to come from these guys? Well their independent label Red Bull Records seems to think so, sending them out on Wednesday for a tour around the UK and Europe. At about 10pm they grace the stage and are instantly met with a burst of cheers and chants from a bulging crowd shuffling in and amongst inevitable pools of sweat, beer and heavy anticipation. The bar is set high from the first song, ‘Lightspeed’, with a contagious chorus bouncing off the walls as the eye of a circle pit starts to form in the middle of the crowd. Sam McTrusty’s voice holds up well over the booming drums and distorted gui-

Coldplay 20/01/11

tars, though extra credit should be given to that thick accent of his which seems to let his lyrics swim out and linger in even the darkest corners of the venue. As far as stage presence goes, these guys don‘t hold back. Softly spoken in our interview, Craig Kneale (drums) is unrecognisable as their set progresses; exploding on the drum kit with every bellowing chorus. With thunderous rhythms and electrifying guitar riffs, they close the show with ‘Where is Light? Where is Laughter’ and the atmosphere blows up. As the Fibbers walls intimately hug the crowd, there are echoed chants for more. Unfortunately, what comes so alive in Twin Atlantic’s live show falls flat in their recordings. McTrusty’s approach to song writing is quite amateur on record, and the guitar work is fairly ‘humdrum’ at the best of times. I’d say that unless they start committing themselves to developing their songs in more interesting ways that bands like The Subways and Biffy Clyro have done, they’ll be stuck in the underground scene playing these type of shows for the indefinite future.

JOSH BRILL

The Journal Tyne Theatre, Newcastle 20/12/10

hen my phone began to ring at 9am on a cold Sunday morning in December, my only thought was to roll over and ignore its inane beeping. But the caller seemed persistent; leading me to drag myself out of my slumber and force a grumbly, “hello?” They replied, “I’m in the queue to buy Coldplay tickets - they’re playing a secret gig tomorrow. Want one?” And fifty pounds later (all in aid of homeless charity Crisis), I was on my way to one of the most exclusive gigs of the year. The Journal Tyne Theatre is an incredibly intimate venue, with a capacity of just 1,100 across four levels. The night began with all-homeless support act The Choir With No Name, who noticeably moved the audience with their humble versions of classics including 'I'm Still Standing' and ‘Fairytale in New York'. A brief introduction from Ant and Dec followed the choir’s performance, before the stage burst into a wash of bright yellow; the band playing their first ever hit from album Parachutes before launching into ‘Lost!’ from Viva La Vida. Martin’s guitar sounded off but was soon fixed when guitarist Buckland stomped his pedalbox and the guitar tech rushed on stage. The set continued to weave through their back catalogue, with classics such as ‘God Put a Smile Upon Your Face’, ‘Trouble’ and ‘Shiver’ peppering the first half with goodness. Sadly, there was a defi-

nite lull midset. With so many great album tracks to choose from, the choice of ‘Glass of Water’ and ‘Till Kingdom Come’ from their latest release seemed unusual, ineffective and almost out of place at such a euphoric gig. Luckily, the mood soon picked up with renditions of ‘Clocks’ and ‘Fix You’, followed by an exceptional version of crowd favourite ‘Viva la Vida’, which both stole and saved the show. Echoes of “wo-oh-oh-oh-oh” continued long after the song had finished (and Martin had said his fiftieth thank you) and until the band returned for their encore, which featured the appropriately festive ‘Christmas Lights’ to close. All in all, “the best band in the word” didn’t convince me of their title, though the rare opportunity to see stadium-fillers in such an intimate venue proved to be a little special.

JAIME RILEY

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I AM KLOOT JAIME RILEY speaks to one third of the Manchester trio about Mercury nominations, Elbow and ladyboys...

elentlessly touring the country without a sign of major mainstream breakthrough is tough for any band. The unglamorous, sleepless lifestyle and all-too-frequent battles with record producers and labels almost falls into routine. But ten years on, Manchester trio I Am Kloot are far from feeling sick, tired or bitter; instead oozing warmth, friendliness and all in all, a sense of gratitude. Pete Jobson (bass) greets me with familiar North-Eastern tone, as we discuss the coastal lifestyle he left in pursuit of a bustling music scene. “I was a sucker for the reputation for great partying and music. Manchester has an amazing heritage for music, and that’s why I came here.” Jobson relocated when he started college and soon stumbled across Johnny Bramwell (vocals, guitar) and Andy Hargreaves (drums). Far from being a typical band of “Madchester”, the band picked their name to remain flexible and to avoid being tarred with the same brush as other Mancunian acts. “It’s a weird name, there’s no doubt about it. We wanted to do different kinds of things and you could do a lot of different things under the name of Kloot – music for films or events or whatever. If you’re called something like The Strokes, you’re going to be a in a rock and roll band, you’re going to have to play youthful music, the older that you get, you’re going to look like a bit of an arsehole when you’re 40, singing about teenagers. We wanted to do something a bit more interesting rather than we-do-rock-a-rolland-wear-tight-trousers.” The group have also had a little trouble with the name ‘Kloot’ whilst playing abroad. “We played in Holland, and in Flemish, Kloot is a term of abuse... It’s the word for scrotum. Of course we didn’t know that at all, and the first time we were there, we were getting picked up from the airport and there was a guy standing there with a sign. We were about an hour late and everyone was taking the piss out of him for holding up the sign. He explained to us what it meant, and we were like 'for f*ck’s sake! It’s a made up word!' Who knows what people are going to think of the band – some kind of comedy outfit or some crazy punk heads. But Holland’s one of the best places to play, it goes really well – we sell a lot of tshirts.” The band have always fared well in Europe; playing their first gig in Paris to a small crowd where, memorably, one girl fainted due to “low blood sugar levels.” But Jobson warns wannabe musicians about potential dangers. “Touring around various other countries we’ve probably all ended up with what we thought was a woman but actu-

ally turned out to be a man – I don’t know which lads haven’t done that. You’ve gotta be careful.” And careful, the band have been. Releasing their latest album Sky At Night at precisely the right time to be considered for a Mercury Prize nomination proved to be an excellent move. “We released our album in the Summer so it could qualify for the timescale of when the Mercurys were announced, and it was something Garvey would joke about when we were making the record. We kind of tried, but you can never expect to get that kind of recognition. It was a real bonus when it happened and we were buzzing. It really helps your profile amongst people who love music, and also in the Media. They pay a bit more attention to what you’re doing."

"It's like a new day for us.. which is a bit weird after ten years!" Jobson describes the album as moody, romantic, and the "smoothest LP we've ever done." Themes of terestrialism and nightlife runs throughout, with songs such as 'It's Just the Night' and 'The Moon is a Blind Eye'. Sky At Night was produced by Elbow's Guy Garvey and Craig Potter, who are long term friends with the band. “Guy produced our first LP many, many years ago. We’re best buddies really, we have been since we started. Elbow started at the same time as us, we helped

each other out and lent each other money and got through the best we did. We’ve always wanted to record with Guy and Craig ever since we did the first one but unfortunately they were busy doing their music and it never crossed over. They were always recording when we wanted to record! We used to release LPs on the same day.” Luckily, working in such close proximity with friends was a success, and usual producer-band tensions were absent during the recording process. "We’ve had the odd kick-off with producers because they’ve got ideas to something you don’t want to do, but luckily on this, there was none of that - it was like working with your best mates. You know they were very, very talented and so it was the best recording experience we’ve ever had, by miles." The whole process was life changing for I Am Kloot who, prior to recording, were without a manager, label - or much money. Elbow had just finished the promotion of their Mercury award-winning album The Seldom Seen Kid, written about a friend of the band who died suddenly in 2006. "They had a lot of time and they had a studio and a lot of space. Their influence on it was massive. The idea that you’re really comfortable to try any ideas, whoever

had an idea could try it out. Guy did all of the string arrangements, Craig did piano, it was everybody all in. There was a lot of input and it was one of the first times we could try anything we wanted to try. In the past, it just wasn't possible. We had this one producer and he was like, look, I’ve produced the Rolling Stones. And we were like, so f*cking what? He wasn’t really happy about that." When asked what else was different this time around, Jobson expressed the importance of having adequate time to develop and produce songs. "Usually, you tour and gig to make money and you have a couple of months where you need an album’s worth of songs, but under that sort of pressure of time, you write stuff that you just have to use, that with more time you probably wouldn’t. We had about fifteen songs, some didn’t make it, some did. We thought the running order and transitions were very important, it’s a very smooth LP. There were some really upbeat tunes with were quite anthemic really, but they just didn’t fit with the idea. There are a few things knocking around that we’ll probably use later." How does Jobson feel about the band's future? "Brilliant. It's like a new day for us, which is weird after ten years."

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FILM

THERE IS NO TOP SUCH THING FIVE: AS (FILM) SOCIETY... ~ROYAL~

HOGG'S

INDULGENCES Enjoyed The King's Speech? Enjoy THESE, milord... 1. The Queen (2006) – This is a film for anyone who, like me, missed the events of Princess Di’s death through moral indignation that news coverage had replaced morning cartoons. It manages to thaw some of the ice around Liz, casting her as a product of stoic generation against the melodrama of modern media. It was this film that put Michael Sheen on the map and earned Dame Helen Mirren a BAFTA as well as a place in Russell Brand’s bathtime fantasies. 2. The Royal Tenenbaums (2001) – The Tenenbaums may not technically be royalty but they’re almost as dysfunctional as that weird Winsor lot. Arguably Wes Anderson’s greatest film and the one that’s set the mould for his subsequent work (see Daddy Issues, Hipster Soundtracks, Owen Wilson.) Gene Hackman is the cherry on top, somehow making a man who’d lie about having cancer loveable. 3. The Princess Bride (1987) – What do you get if you mix Columbo, that kid from the Wonder Years and fairytale wit from when Shrek was just a wee swamp thing? Movie magic, that’s what! With Evil Kings, giant Greenlanders, vengeful Spanish swordsmen and wisecracking wizard Billy Crystal, The Princess Bride is a fantastic Sunday movie. It’s also quite funny, in a snort-into-your-afternoon-tea sort of way! 4. The Madness of King George (1994) – Based on Alan Bennett’s play ‘The Madness of King George III’, which, according to urban myth had its title changed to prevent American audiences thinking it was a sequel. Ultimately the film is a showcase of the superb acting of Nigel Hawthorne who plays the King, balancing playfulness and emotional depth. 5. Elizabeth I (1998) – This film may be riddled with historical inaccuracies and have brief appearances from a young Lily Allen and a retired Eric Cantona, but we mustn’t hold this against it! Cate Blanchett gives a sterling depiction of the young not-so-Virgin Queen, from her time in the Tower to being thrust to the throne amidst controversy and threat of betrayal. The film is a nice bit of abridged history, with enough famous supporting actors to keep you going “Wait? Is that....?”

THOMAS MARTIN takes an insider's look at the university's Film Soc in a bid to uncover how watching films compares with making them.

o me, Film Soc isn’t really a ‘society’ - that word suggests a group of likeminded people. Imagine you go to the cinema: instead of choosing from a selection of screens showing different titles, there’s only one screen, and the audience has to choose between them what to watch. Behind the silence that humility (man’s greatest gift) bestows, that’s what Film Soc is really like. And of course, that’s exactly how it should be.“As someone interested in practical filmmaking, I’d say I do look at films differently, yes,” admits Jamie Nicholas Arden, Press and Publicity Officer for Film Soc and video director/editor at The Yorker, “I also love spotting movie mistakes - not obsessively, but if you catch one it’s usually pretty funny.” Indeed, this seems to be something of a trend right now, as Robert Webb (of Peep Show and the Cushelle adverts fame) recently hosted Great Movie Mistakes and Great Movie Mistakes 2: The Sequel on BBC3. There’s something about stripping big-budget pictures right down to the cracks in their frame that draws in an audience, it would seem. In fact, guerilla filmmaking - which is showcased exquisitely in Sophia Cappola’s Lost in Translation - owes at least some of its success to the fact that people are clearly interested in what makes a film. Film Soc’s current Chair, Ollie Wiggins, has fueled his own interest with several work experience placements: “I worked on Harry Potter,” he riffs “which was a lot of fun. I got to make tea

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for Ron Weasley and Cedric Diggory, and chat with the director which was great.” Wiggins has also worked on Emmerdale and is currently making a promotional film for Aviva - “It’s going to be [shown] at one of their conferences in London.” Previous Film Soc veteran Vicky Petela went on to study at The National Film School and has produced two big-budget films in the past two years. She has an IMDB profile and everything.

Ollie Wiggins, Jamie Nicholas Arden and fellow Film Soc member, Daniel Gibbons 'on set' in York's Clinical simulation unit. But why should any of this matter to you? Generally, I’d say it’s because if you’re reading this (scratch that: if you’ve gotten this far) then you’re obviously interested in films. Filmmaking is a different avenue, but it’s one worth exploring. What really perturbs me when watching the bonus content on DVDs is the indication from a lot of film crews that they never really

CONTROL Even if our experience of Joy Division is limited to dancing (HALF-HEARTEDLY! IRONICALLY!) to ‘Love Will Tear Us Apart’ in the Duchess, most of us will have probably stumbled across the dirgey output of the seminal 80s post-punks at one point or another. Control, however, isn’t so interested in the band proper - its focus lies in the life, love and addictions of the group’s iconic, laconic drawl, Ian Curtis, played with dignity and understatement by future big shot Sam Riley.

watch the product, once it’s been put together. I think that’s a mistake. I watch my stuff all the time, and I’ve made some real shit. To bring it back, when I think of Film Soc, I don’t really think about ‘society’ (the cheese-puff alternative I’d like to use is ‘community’); instead, it's a place where different ideas can be developed and mutated, sometimes together and sometimes not. Working with cameras but no budget, people but no paychecks, means that your opinion or critique of a concept is the highest currency. “Whether it’s quickly getting a shot from somewhere you probably shouldn’t, or putting a camera tripod on a few chairs to make the shot higher, the result is usually amazing” says Arden. Film Soc’s members have produced two feature films and hundreds of shorts,some of which have been shown at national film festivals. These are the pudding in which hides the proof that filmmaking, arduous and humbling, brings people of vastly different opinions together to make the good stuff. It runs in the vein of student life that our different opinions are championed, diversity applauded etc, but the process of adding to the melting pot in this way is unbelievably edifying.So don’t rule out the idea of filmmaking if you know what makes a good film. Because there’s a group of people who completely disagree, and also want to work with you.

Curtis summed up everything that was ‘post’ about post-punk – disillusionment, but resigned rather than angry; abandon, but tragic rather than firestarting. The momentum of the movie hinges on the viewer’s continued expectation of Curtis’ widely-reported suicide at 23, following a devastating string of personal and romantic sucker punches. The film is, despite a few light-hearted interludes, bound by an almost relentless downward spiral into drug addiction, health problems and self-loathing – to do otherwise would cheapen the final frame. Happily, depression isn’t the only theme explored in depth. Joy Division came to prominence on the crest of the as-yet-youthful Manchester music wave, and the film offers a cautiously optimistic alternative to the pill-popping, acid trance tripping Madchester in movies like Michael Winterbottom’s hectic 24 Hour Party People. Corbijn rarely strays from Curtis, however, which is a shame,

DIR. ANTON CORBIJN REVIEW BY DAVID ELLIOTT as the stories happening on his movie’s fringes are perhaps just as intriguing. Control is by no means a perfect film. While offering a realistic portrait of a marriage in terminal decline, Corbijn gives no reason for why Curtis is such a huge mard. There’s also little explanation for why Corbijn chose to shoot the picture in artsy black and white (I still maintain in the face of all decent criticism that hardcore cheesefest Pleasantvile is the only modern movie legitimately shot in monochrome). The film is constrained by its subject material so its ending is, needless to say, a massive downer. Barrel of laughs Control is not, but it’s a tonic to the usual rise-fall-rise formula of the rock biopic – if you’re in the mood for its scintillating cocktail of epilepsy, suicide and divorce.

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BOOKS CULTURE NIGHTLIFE LISTINGS DIR. DARREN ARONOFSKY

psychological thriller centring on ballet is certainly not the first idea for a film that would spring to the mind of many people, but it’s to the credit of Black Swan director Darren Aronofsky that it did, as it’s created undoubtedly one of the most original and visually stunning films of recent times. The film concerns the fragile and ballet obsessed Nina (Natalie Portman) who, when given the leading role of the Swan Queen by teacher Thomas (Vincent Cassel) for the production of Swan Lake, must learn how to play both parts of the innocent White Swan as well as the seductive Black Swan. However, the arrival of dancer Lily (Mila Kunis) throws Nina’s world into confusion as she becomes convinced that the new ballerina is attempting to replace her, but in turn is enticed by Lily’s close personality fit to the Black Swan. A mere plot description can hardly sum up the true complexity of the film, which deals with several themes that Aronofsky has been toying with for a long time – obsession with an element of art to the point of hysteria, which can be seen in his earlier film The Wrestler, and the idea of the double or dop-

pelganger. Both of these ideas are intertwined perfectly, the film asking us to question how much we can trust Nina’s version of events when she has become so obsessed with the role of the Swan Queen that she frequently hallucinates events with Lily. The misé en scene of Black Swan perfectly inhabits this world of frenzied paranoia and obsession, full of hanging mirrors, grungy backstage corridors and sparse, bare lighting that capture the physical brutality of ballet brilliantly. As Nina’s transformation from White Swan to Black Swan begins to take shape, it is fitting that the magic realism elements of Black Swan too are brought into the fore - is the black masked face of the evil Swan Lake character von Rothbart another hallucination or reality? Are the marks and eventual whole spines of feathers found in Nina’s skin a sign of her delusions or something more? Aronofsky never attempts to give a clear answer, and rightly so. Whilst it is therefore true to a certain extent that the idea of White versus Black is extremely overemphasised, it adds an element of theatricality that works well with the bizarre juxtapositions of real life and fantasy in the film.

Morning Glory

Having very recently won the Golden Globe for Best Actress for her role as Nina, Natalie Portman undoubtedly needs to be mentioned, as her portrayal of a fall from grace to corruption is mesmerising. However, Mila Kunis’ performance should also not be forgotten, giving a much needed edgy counterpoint to Portman’s sad doe-eyed Nina. There are very few faults with Black Swan as it is, but that perhaps is its one true fault in itself – just as Nina becomes so caught up in the world of ballet, so too is the film so obsessed with the idea of parallels and the mania of expression – very little actually happens. Perhaps however that’s the entire idea – to dedicate the viewing time wholly to this mad world of theatrics and drama, not to real time consequences and life. A final word of warning – if you were mildly surprised in Billy Elliot when the young girl said out of nowhere that she could show Billy her naughty bits, be prepared to be flabbergasted by Aronofsky’s deeply sexual and violent thriller. For a film about parallels it is ironically likely to divide most people on its point and its merit, but one thing is for sure, Black Swan is most definitely worth a gander.

nicely. Rachel McAdams is adorable without being nauseating, but Jeff Goldblum’s appearance as McAdams’ pessimistic boss seemed a bit of a waste of his talents. The romantic element of the film was, luckily, not as slushy as I thought it would be. I identified with McAdams’ inability to behave normally around fit men, namely Patrick Wilson, the bit-of-alright for the female audience. Having said that, my flatmate Rachel preferred wrinkly old Harrison Ford - each to their own, I suppose. Morning Glory also pays homage to one of my favourite movies, Groundhog Day, when at the beginning a newsreader on McAdams’ team reports from the groundhog festival. I laughed, a lot, maybe too loudly. The rest of the cinema was a little frightened. Overall, I really enjoyed the film, and did have tears in my eyes at one point (yes, that’s right). Although it did not scale the emotional and philosophical depths of other recent releases, it delivered great gags and was one of the most uplifting films I’ve seen in yonks. I can’t believe I’m about to write this, but go and see it!

dir. Roger Michell

s an individual who takes little pleasure in watching these so-called “rom-com” films, I expected to find Morning Glory highly underwhelming. However, once I had gotten over Rachel McAdams jumping around and screaming like a four-year-old on blue smarties, the film began to charm me most unexpectedly. The story tells of a highly-strung broadcasting producer, Becky Fuller (McAdams), struggling to revive an early morning news programme, Daybreak. After firing the male anchor, she turns to Mike Pomeroy (Harrison Ford) to replace him, but his snobbery and stubbornness begins causing her great problems, as well as his disdain for the co-host played by Diane Keaton. Ford plays the pompous, bitter ex-anchorman with the kind of poisonous regard that kills small animals. He has a lovable deadpan demeanour which clashes with Keaton’s caricature of a bitchy television diva

Olivia Waring

Laura Cress

DIR. MICHEL GONDRY

Sarah Green

eth Rogen (Superbad) plays super-rich, idle, LA playboy Britt Reid in this superhero-action romp. Britt's father, James (Wilkinson), is a media-tycoon and owns the Daily Sentinel, and it is upon his death that Britt takes control of his father's publishing empire. Britt decides to tackle crime in LA, along with his latefathers servant/engineer, Kato (Chou), but more for an egotistical trip than with altruistic intentions. Britt and Kato decide to be "good guys pretending to be bad guys" and thus Britt’s unconventional-superhero 'The Green Hornet' is born (with a very dapper costume). Kato becomes his side-kick and is really the brains and brawn behind their endeavour. They meet their arch-nemesis in LA's criminal-mastermind Chudnofsky (Christoph Waltz) — cue many 'catand-mouse' chases. Only when Britt discovers conspiracy regarding his late father does he really start acting as a super-hero with altruistic intentions. There are many laugh-out-loud scenes in this predictably enjoyable, action-fuelled romp. The star of the film for me is Chou. His turn as Kato is reminiscent of a young, more street Q (Bond). Waltz is also superb, portraying Chudnofsky as an unpredictable, triggerhappy sociopath. Although there are many funny mo-

ments, much of the humour revolves around the same jokes (pronouncing Chudnofsky's name) and there could have been a bit more than a one-dimensional tone to the humour. This film, as is becoming the norm, was released as 2-D and 3-D formats. Don’t waste money on 3-D, it adds nothing to the quality of the film. James Franco turns out a great cameo as wannabe top-dog to the Chudnofsky throne, Danny 'Crystal' Clear, and it's frustrating that this character wasn't used more. Last, but not least, Rogen still seems to be a bit of a one-trick pony and could do with breaking the type-cast characters he plays. One does not expect this film to be ground-breaking, but it is nowhere near on par with geek-superhero Scott Pilgrim's outing. The 2D version of The Green Hornet is worth watching, just save those 3-D glasses for another film.