Issue #4: November 2012 by Spires Magazine

SPIRES o x f o r d c u l t u r e # 0 0 4 N O V E M B ER 2 0 1 2

CONTENTS: Issue #4: November 2012

Music 04 fashion 10

art 14 film 16

18 The front cover of this issue was created by Laura Holliday. Laura's art combines the beautiful simplicity of black and white line drawing with bright watercolour gradients, splashing vibrant life into her work. She also writes poems and sells pretty cushions. Check out her work at:

www.lauraelizabethholliday.co.uk

www.spiresmagazine.com // @spiresmagazine

hello

How cool is President Barrack Obama? Admittedly, my understanding of American politics leaves something to be desired: the most I've seen of the re-elected President is probably in animated GIFS, viral video clips and heartwarming "awh, he's only human" image sequences on Tumblr. And yet, somehow an entire generation has been drawn to this man more than any other political figure in my lifetime. He has a way of communicating the ideals and virtues that we hold dear in a way that makes colloquial sense on a universal scale. In a way that people can spread and adopt into their own ethical codes. And yes, in a way that people can reblog. Mad props, Mr President. Here's to another four years. We're approaching the end of the year, which begs the question: wasn't that apocalypse supposed to happen? I actually thought it was quite an exciting prospect. Personally, I was hoping for an out of control Jurassic Park scenario: if I'm going to leave this world, then via the jaws of a giant prehistoric lizard is one of the more epic exits to choose from. The other option I'd be terrified but willing to accept is the age old zombie apocalypse. Maybe I'm just bitter that I missed out on Hallowe'en this year, or maybe I've been watching too much of The Walking Dead. Either way, taking up camp on the roof of Aldi and picking off brain munchers with a sniper rifle (more likely: paintball gun) as they stumble around the car park like Cowley Road drunkards sounds jolly fun.

What would your ideal end of the world look like? I mean, if it had to, had to happen. Tell me on Twitter @SpiresMagazine. Best answer wins a spot in my nuclear bomb/alien invasion/volcano bunker, or a packet of jaffa cakes. Your choice. The cheeky Mayans may have got it wrong, but there's plenty to be alive and kicking for this month. Oxford's recently played host to an aboveaverage number of awesome gigs, and we've finally gotten our butts in gear and started a regular live music section - you can check it out on pages 6-7. We didn't make it to Oxford Fashion Week this year, but that hasn't stopped us from noticing all you well-dressed, ridiculously, ridiculously good-looking people strutting around town (seriously, stop making the rest of us feel bad about ourselves).There are a higher than average number of cool cats in this city of ours, and you can draw inspiration from fashion blogger Anya Rice, who enjoys photographing the way-cool ensembles of trendy folk in the city centre. Pages 10-13 are where it's at. If you saw the amazing South Park fireworks then you might craving a few more bangers: as luck would have it, they're serving them up by the platter in newly re-opened sausage fest The Big Bang. Suffice to say, it's a blast. If you need convincing, though, read our review on pages 22-23.

Matt Ayres (Spires Editor)

Marina & The Diamonds Primadonna. Teen Idle. Home wrecker. Su-barbie-a. Welcome to the wicked world of Electra Heart... - interview by matt ayres Your album Electra Heart debuted in the charts at number 1 when it came out in April. How did it feel reaching that goal in your career? Marina Diamandis: Looking back now it's really nice and obviously it's a rare thing to get a number 1, but I didn't really stop for that long to think about it! It was like ok, that's what I wanted to achieve, and then I moved on to the next bit. It's been a weird campaign though, because I had a vocal injury in March just before the album came out and that meant I had to postpone a tour. So from June until now I've been touring, and if things go well in America I'll probably have another year of touring to come for this album. On this album you collaborated with various producers and songwriters. How did this compare to your previous work, in which you primarily kept creative duties to yourself? It's hugely different. Although I did co-write with people on the first album I was quite against it, and I didn't think that it equaled purity in regards to my artistry and how I consider art. Then I realised that it was kind of a closed-minded way to be about things. I wanted to push myself to do it because I knew that I didn't want to. I like doing that with myself, with lots of different things in my life, so it made sense for me and I learned a lot from it. These people get different people in every single day, and the way in which they make records is much more formulaic because everything has to

be so honed, so simple and so perfect for it to be consumed on a mass consumption level. Wheras when I was writing my own, I was just writing because I loved writing. Did things change much in the production stage, then? Yes, sometimes. 'Teen Idle' I wrote on my own. It started off as a piano ballad, and then turned into this weird grunge song - I really wanted it to be like that, but it just didn't work at all. So we went back and took it to what it is now, which is a creepy, electronic ballad. Basically, what I'm good at! 'Fear and Loathing' was the same kind of thing, but I was quite quick to decide where its sonic home was once we reached production. What influenced you to write a concept album? It wasn't really a calculated thing in the beginning. I've always been someone who makes up ridiculous names it's usually drag queen names, and so Electra Heart was kind of my drag queen alter-ego! But at the time I'd had this really weird relationship with a boy, and even though it's very normal to talk about heartbreak albums and all this crap, Electra Heart isn't a heartbreak album at all - in fact, it's more like a study of love and how we all react to it, what people do to cope with a relationship. I question a lot of things that interest me, for example the question of whether you're meant to be with someone for the rest of your life what does it mean to be alone, should you be alone? Lots

MUSIC 05

"Everyone puts on a mask, It's not a bad thing"

of questions that I think our generation think about. Asking those questions was how the character Electra Heart was made, and it evolved through this relationship that I had. Within that character, you distinguish four archetypes in your lyrics, and even made a Tumblr blog showing photographs of you posing as each one: the Primadonna, Teen Idle, Homewrecker and Su-barbie-a. Can you talk a bit about what each of these mean? Primadonna is based on the archetype of a star, the leading lady. Someone very high-maintenance, who doesn't need love, very powerful and not needy - no one wants to be needy when it comes to love, at least I don't! So by creating that character and living through it, it's comforting that you can slip into that character and don't have to deal with that part of yourself that you're frightened of. Teen Idle is dark, suicidal, depressing - basically what I thought my youth was like! Homewrecker embodies the femme-fatale,

somebody who never gets hurt in love. Su-barbie-a I just really like the name of; it's more like a world than an archetype, embodying suburban life which is what many teens relate to and grow up in. It explores the ideas of deception and perception, how people are never really what we perceive them to be. Everyone puts on a mask. Every day - you have to, it's not a bad thing. It's so you can protect yourself. I feel really sorry for people who are thirteen right now. By the time they're 25 I wonder how they're going to view relationships and love and friendships, since so many friendships are formed online. Any plans to incorporate elements of these characters into your live performance? Well I suppose that's what Electra Heart is - a comibination of all those characters. Throughout the live show that's kind of lived out. I've got three or four costume changes, and the set design has different parts of it that I can use as a prop to accentuate different characters.

// LIVE REVIEWS MARINA & THE DIAMONDS O2 ACADEMY OXFORD MONDAY 15TH OCTOBER

Strutting across a stage of pink neon in an assortment of flirtateous, eccentric apparel, it's clear that Marina Diamandis has become our country's answer to the modern queens of larger-than-life US dance pop: Katy Perry, Lady Gaga and the like. This young singer-songwriter has all the imagination to bring her character of Electra Heart to the stage of this commercially sized venue, and it's Electra's show that we're treated to tonight: the 'Lonely Hearts tour' resembles a brothel flanked by session musicians, and works well to demonstrate

the provocative themes of Diamandis's recent concept album. No prizes for predicting that the choice of songs stems largely from Electra Heart, then: early highlights that go down well with the mostly pre-teen crowd include the quaintly titled 'Bubblegum Bitch' and sexy hit single 'Primadonna', during which Marina dances around a battery powered poodle in a sultry silicon valley farse. It's all about The Show: catchy, somewhat vapid dancefloor numbers are just the means by which it arrives. Yes, the club-happy nature of newer material

does mean that on many an occasion we're left watching Marina pogo on stage with waving hands whilst the kids at the front copy her every move: it's unfortunate that an icon of this talent isn't producing more original or engaging tracks, regardless of their purportedly clever contextual backgrounds.

The singer's huge voice and impressive range is, however, enough to keep the more sceptical among us periodically interested, especially when the more imaginative piano-pop gem of 'I Am Not A Robot' is pulled out the bag. A dynamic if sometimes predictable performance overall.

empty white circles + jess hall + until the bird modern art oxford saturday 27th october The basement of MAO feels a bit like an anxious sixteen-yearold's birthday party as we descend the stairs this evening - all timely punters are awkwardly distributed between the venue's wall-bound seating, leaving a veritable amphitheater of emptiness in front of the first band. London-based folky three piece Until The Bird are the victims. Whilst their unique, poetic meta-ballads aren't received as rapturously as they might have hoped, they still put an instrumentally impressive show that's suitably quirky for the strange stage arrangement. Jess Hall is next up on tonight's acoustic-driven bill - her incredible voice has no problems in filling the plentiful gaps between audience members, silencing the chattier back seat spectators. It's all a bit safe, though, and after a couple of songs about love and visits to the seaside, there's not a lot else to pick up on about her performance - good singing, yes, but mediocre guitar playing and predictable compositions. Most of the crowd are reluctant to agree, though, happily cheering her back on stage for an unexpected encore. By the time Empty White Circles arrive, the room finally resembles a traditional gig - more people, consumption of

beverages, use of legs etc. Fitting, as they're a more traditional band than their peers: an Americana indie-folk five-piece that fall somewhere between Bright Eyes and Neutral Milk Hotel. Fronted by New England brothers Kevin and Sean Duggan, they quickly demonstrate explosive musical chemistry in their shared DNA: studio-quality harmonies, emotive lyricism and powerful acoustic guitar/mandolin arrangements are at the core of EWC's classic sound, and they pull them off with admirable fervor. Some wild guitar experimentation on the stage-right flank channels another welcome dimension of Conor Oberst influence, but elsewhere the band are let down by an unsuitably loud rhythm section, repeatedly drowning out the sibling genius up front. It's remedied in tonight's big finale: the band unplug and march offstage to play amongst the throng of onlookers with only an acoustic guitar in tow. 'Waking Up' is a perfect slice of lyrical American folk rarely seen in Oxford: the Duggan's have an undeniable grasp of their genre, and will thrive here as long as they continue to proudly share it.

the dreaming spires + the hi & lO + the relationships the bullingdon saturday 10th november Kicking off tonight's bill are Oxford veterans The Relationships. A band who are vocally admired by both their successors, it's no wonder that their old school revival of shoegaze powerpop goes down such a treat with the impressive number of early arrivers - they boast a tightness that comes only with years of local gigging. Following on are The Hi and Lo. They're label mates with tonight's headliners, and waste no time telling us all about it. Less time talking and more time playing would be nice. Between the extended rambles and deadpan remarks are an assorted mix of expertly composed roots tunes, featuring rich harmonies and pedal steel guitar aplenty. Particularly impressive are the multi-instrumental talents of Nick Bott, whose enviable ability to simultaneously hit drums and pluck a banjo should not be overlooked. He puts on a flawless vocal performance, to boot. The main event, of course, is the onstage arrival of Robin and Joe Bennett, beloved local music pioneers and core members of The Dreaming Spires. Their set is, rightly, a live showcase and hometown celebration of their latest release Brothers In Brooklyn, an album packed full of catchy Americana yarns

influenced by their time touring in the US. Certainly, the energetic execution of opening number 'Everything All The Time' is nigh on perfect. This is a nostalgic and hugely likable take on the genre: judging by the crowd's thrilled response to a cover of Springsteen's 'Atlantic City', the Bennetts are sharing their passion for stateside anthems with the right people. The Spires really shine as a unit in more upbeat numbers. It's no more apparent than in set-closer 'Not Every Song From The Sixties Is a Classic', its contagious organ tones and sunny vocal harmonies conjuring a healthy dose of Californian road trip vibes to the well-worn East Oxford venue. Quieter, less inspiring mid-set crooners can be brushed over easily when the real stompers are this good. Lest we forget a deserved encore: it's a triumphant performance of the new album's tom-thumping titular anthem 'Brothers In Brooklyn'. "We've got a message to deliver to the people back home", Robin transmits. He can be sure we're receiving loud and clear - after such relentless touring, this was the perfect reunion.

MUSIC 07

Album Reviews

Matt corby - into the flame // atlantic // This bluesy, growling young folk singer was apparently runner up on Australian Idol - if so, reality TV must be a hell of a lot better down under than it is here. The opening track of Into The Flame, 'Brother'

bear cavalry - puryss // alcopop! // A word of caution: do not enter Puryss expecting the musical equivalent of grizzlies on horseback. Bear Cavalry, whilst terrifyingly named, produce a domesticated brand of clever, multi-timbral guitar pop that's more in line with Everything Everything and Foals than the heavyset growling basement dwellers you might expect. Opener 'The Word 'Canoe'' is catchy from the first snare hit: funky

demonstrates a maturity and a modern take on classic musical tropes, along with a gorgeously rugged, bluesy vocal tone. It's also lyrically bold and recorded with the vigour and tenacity that's gotten Corby the admiring respect of so many live music fanatics - one can well imagine being silenced by such an impassioned delivery, one that remains note perfect even in its most frenetic climbs and descents. 'Souls a'Fire', in contrast, starts out like so many predictable, lonely highway blues numbers: whilst the show stopping voice is still present, it's now rolling off cliches like "raging seas", accompanied by a repetetive, crunchy guitar lick that belongs at a country fair. The halftime drums and rhythmically interesting middle eight redeem things somewhat, but it's hardly as original as the song preceding it. 'Untitled' and 'Big Eyes' both put the focus back in the right place: on the vocalist's phenomenal versatility. Minimal organ chords and steely guitars swell in and out as sweeping falsettos are followed by throaty, gasping verse. However, what's still lacking is the thumping, anthemic gusto that Corby set the standard with in his opener. An impressive set of lungs is all well and good, but such talent demands original, gut-jumping musical backing. Female vocal accompaniement seems almost irrelevant in the last song: it's simply another distraction from the main event. With more hooks and striking dynamic changes, this could be something special, especially in the context of a full length album. Ultimately, though, a lack of structure and unremarkable melodic backing on Into The Flame renders the EP an unfortunate disappointment. guitar licks, chattering hi-hats and rhythmic bass patterns combine to make something that, at first, seems too foottappingly mainstream for the likes of Alcopop! Records - "do these boys listen to Maroon 5?", we wonder. Soon after, we realise what's really going on - chord changes aren't repeated like you might expect, and instead the entire ensemble is tightly wound around a snaking lyrical structure that warbles independent of rhyme patterns or pre-set melodic ideas. Suddenly it clicks: this Gosport foursome have successfully blended the unpredictable noise pop structures of Tubelord and Johnny Foreigner with, well, The Kooks. Or something. Anyway, it's remarkably original, listenable and clever. 'Aubrey Plaza' follows with an impressive piano tinkering middle eight and infectious chorus, before 'Expensive Bracelet' suggests, in its opening lines, that "it's kind of like the wheel of fortune's learning the violin." Sorry, what? Game show surrealism aside, this track is one of the EP's highlights, with effect-laden Johnny Marr-esque guitar lines accenting an enviable performance by the rhythm section and yet another winning singalong chorus. They go all prog on us in their closing number 'Trail Dust and Good Water': the introduction of brass is paired with wandering vintage synths and an octave hopping bassline, sounding a bit like Geddy Lee having a jam with a jazz trumpeter. Somehow, though, it all still makes for accessible listening. So, then, you can forget your middle-of-the-road tertiary song structures. Bear Cavalry have found a new way to make pop music clever. It's complex and catchy as hell, and we can't wait to hear more from them.

Constellation Guide: = BAD //

= AVERAGE // Reviews by: Matt Ayres

= DECENT //

RAINBOW RESERVOIR - LOVE ME // SELF-RELEASED // Angela Space is best-known as a world renowned classical saxophonist from Connecticut who has performed in front of Bill Clinton and thousands of others. Beyond tooting her own horn at a virtuoso level, though, she's decided to

UNTIL THE BIRD - DWELLING EP // META LIMB // Until the Bird of the Soul Takes Flight from the Cage of the Body to Consort with the Nightingales of the Everlasting Garden. That is, honestly, the name of this band, so you'll forgive us for using their shortened moniker for the purpose of this review. Theirs is, for the most part, a warm

= BRILLIANT //

= MASTERPIECE

record an EP under the guise of a New England water source, Rainbow Reservoir. The whimsical title of her project is a fitting metaphor for the music that it signifies: simple, eccentric acoustic-strummed ditties about the "weird little world" Angela lives in. These are accented in suitable candyland fashion by quaint, hammering piano tunes and occasionally the steady thud of a bass-drum - not much more complex than a one man (or lady) band, but then that's sort of the point. 'Normal Girl' is the first track on Love Me, and accompanied by a playful stop motion video featuring lots of colourful beads. Very sweet, and obviously the outlet for Angela's inner child - good for her. However, this is precisely the brand of sickly-sweet sugar pop that gets old fast, so perhaps it's a good thing that her EP is only four tracks long. Indeed, Love Me features just about all the elements of cutesie, awkward-girl-in-a-big-wide-world acoustic pop music you can imagine. At some points she sounds like Zooey Deschanel singing karaoke in (500) Days of Summer, at others (notably in 'Scaredy Cat') it's more like Kimya Dawson's soundtrack to Juno. One thing's always for sure: that the top notes of a piano keyboard and personal confessions dressed up in colloquial imagery are just around the corner. Enchanting to some this no doubt will be, and certainly not without occasional charms. Nonetheless, it's akin to the soundtrack of a shoestring budget indie flick and, as such, polarises its audience with its oh-so-quirky ideals. country house tri-blend of acoustic guitar, violin and accordion, knitted together with the lyrical poetry of vocalist/guitarist David Hawkins. Dwelling EP begins in strands at the introduction of 'From A Welsh Kitchen', each instrument weaving its respective way into the fray as Hawkins begins to spin a yarn of idyllic provincial life, miles away from the band's roots in London. Simple rhyming couplets are charmingly straightforward atop the intermingling strings and bellows, which unify spectacularly in a chorus that could have been written by Robert Frost: "Nature will give us exactly what we require today." Elsewhere, 'Collateral' is some kind of post-apocalyptic wartime romance song (we think): acoustic guitar is replaced by ukulele and accordion by bassy trombone - it's a spindly, skittering, intentionally imperfect cobweb that somehow shimmers as an unlikely but brilliant centerpiece for the EP as a whole. Continuing with the love on doomsday theme is dystopian ballad 'Triage'. Here the instrumentation is scaled back to place focus on intricate fingerpicked arpeggios and some beautiful flourishes by violinist Ruta Vitkauskaite. After the impressive crescendo of 'Category Mistake', 'Taliesin' succinctly returns our focus to Until The Bird's gorgeous grasp of straightforward lyricism: "I was a fish in the stream and then you caught me, I was a bird on the breeze and then you shot me." It's a poetic ending to a very accomplished collection of songs: perfect for snuggly indoor inspiration as the days grow shorter.

MUSIC 09

Street View

Classic style is rarely hard to come by in Oxford, a fact that photographer and fashion blogger Anya Rice knows better than most. Camera in tow, she's snapped some of the city centre's snappiest dressers, documenting the diverse range of trends that our brownstone streets have to offer... Fashion

5 12

4 Trendsetters: Name:

Occupation:

Favourite fashion item:

1. Antoine

Publishing

Hats

2. Daniel

History Professor

Boating jacket

3. Isik

Student/artist

Handbags

4. Tori

Student

Leather bag from godmother

5. Katie & Ellie

Educational advisor & student

Camel hair coat & yellow hoodie

6. Claire

Works for Oxfam

Tortoiseshell heart necklace made by grandad

Photos by Anya Rice. For more inspiring outfits worn by beautiful Oxford residents, check out www.oxfordvintage.co.uk

Fashion

JACK EDEN IMPERFECTION PERFECTED LOWER GALLERIES, MODERN ART OXFORD Jack Edenâ&#x20AC;&#x2122;s work is exhibited as part of the Platform initiative that runs from 29 September - 25 November 2012 at MAO, a scheme that aims to showcase emerging artistic talent in the South East of England. Entering the gallery from the entrance on Pembroke Street, I was greeted with simple sculptures of formed concrete resting precariously but beautifully on plinths that had been left unfinished, rather than painted white like in so many other galleries. They stand out, contrasting with the grey of the concrete. As you walk around these sculptures, you are drawn to the simplicity of the colours and geometric forms that have been executed so well to become concise but still complex.

Jean-Luc Moulène UPPER GALLERIES, MODERN ART OXFORD This mixed media exhibition by French artist Jean-Luc Moulène magnifies the diversity of art and reminds us of the beauty of materials. In the upper gallery you are confronted with an array of glass and bronze sculptures (although the artist prefers the word ‘objects’ himself) that are suspended on top of cast metal stands. They extend throughout the floor of the gallery and you are invited to walk through them, as if you are walking through a regimented crowd. At first glance the objects immediately conjured up connotations of human beings but after a closer look I was intrigued at how these complex forms of seemingly knotted glass and metal were made. This work responds to the space incredibly well and engages people in ways that are just not possible with wall based art. In another separate room that is dimly lit hang four marvellously simple ‘paintings’ that glow and entice you in.

These are no normal paintings, but made using the ink from Bic biros. The ink provides a glossy patterned effect not apparent in conventional paints. The use of blue, black, red and green remind us of the familiarity of the ink we use every day, but it is overwhelming on such a large scale. On the remaining empty wall was a fascinating video of nude women standing and slowly fading away. I personally would have displayed this separately from the Biro paintings, as these are so strong and impactful that they don’t need any distraction. This exhibition is a case of the more times you go back and read into the work, the more rewarding it is. Things are easily overlooked; my advice is to spend time finding out about the background of an art piece, and you will gain more from it. The exhibition ends on 25 November, so make sure you get down before it’s too late!

WORDS: JOE DAVIS

Art 15

" Audiard paradoxically reveals that beauty shines through life's ugliest scenes " 16

WORDS: Matt ayres

Rust and BONE bone RUST Director: Jacques Audiard Cast: marion coTillard, Matthias Schoenaerts, Armand Verdure, Corinne Masiero

Jacques Audiard has previously exceled in portraying the psychological drama that pervades through physical strain (A Prophet, The Beat That My Heart Skipped), and it's promising that in Rust and Bone he continues to explore these themes in the most everyday contexts to common cinema-goers - family, friendship, love and work. Schoenaerts plays Ali, a reluctant father struggling to find work and care for his energetic five-year-old son, Sam (Verdure). Moving in with his sister Anna (Masiero), he manages to make a meagre living by working various shifts in security jobs. Brawny rather than brainy, we soon discover that Ali is a hell of a fighter but an incompetent caregiver. Meanwhile, Cotillard's Stéphanie lives for her working hours: training orca whales and performing with them in elaborate Shamu-style productions. Outside of this, she's a pretty face who's bored of being pushed around by a demanding boyfriend, freqenting seedy nightclubs on her own to procure the attention she craves. It's in one such setting that her path crosses with Ali's, who happens to be the sympathetic doorman when a night on the tiles turns rotten. The two somehow manage to exchange numbers in their turbulent time together, despite a remarkable lack of chemistry ("You look like a whore", Ali offers in one of their first exchanges). Stéphanie's medicore life takes a cataclysmic turn after a fateful accident at work: one of the film's most soul-hammering scenes shows her waking up in a hospital, naïve to the fact that both of her legs have been amputated. It's played out in painfully accurate, slow duration: rarely does a perfomance evoke

such hopeless comiseration in its audience as Cotillard's whilst she lies heavily bandaged, shrieking in terror on the floor. Stéphanie's agonising journey back to normality is only possible after she reaches out to the unlikely Ali. Ironically, his brashness in the face of a sensitive situation is the therapy she craves. Helping her to leave the house for the first time in weeks, brave the sea and swim, the young woman rediscovers something she can still do. In stark contrast to the clinical coldness of her ward, breaking waves at the beach are beautifully feral. Naked and finally alive again, Audiard's heroine paradoxically reveals that a swollen beauty shines through life's ugliest scenes. It's the beginning of a tense but poignant relationship. There are obvious hurdles as well as submerged ones: "is is alright if we don't kiss?", Stéphanie requests as they enter into an emotionally binding sex scene, framed as a pity fuck. Vivid insights into both characters' lives lead us to the conclusion that every bout of conflict is stemmed from Schoenaerts's erratic, selfish male specimen. Ali is only at one with himself in moments of brute physical release, erotic or otherwise. His newfound career as a tooth-spitting, bloody-nosed street fighter is a fitting metaphor for the way that he treats those closest to him, although one of the film's fistbiting final scenes reveals the fragile, misplaced empathy motivating his every action. Rust and Bone is, at its core, a story about mankind's ability to carry on through immense hardship; how one is able to find ultimate solace in even the most flawed relationship. It's also an ode to the remarkable biology of our race, repeatedly demonstrating how the body struggles on and fights for life even when its owner doesn't want it to. Commanding a gritty and bitingly realistic narrative through the channel of two award-worthy actors, Audiard delivers these powerful lessons with colossal grip, and once again affirms his talent as a master filmmaker.

The verdict:

Engagingly constructed, visually jarring and, most of all, a reminder of cinema's rare power to describe the human psyche through extreme circumstance.

FILM 17

Jamie Oliver's Big Feastival UGH... WINTER's here, isn't it? Greg laidler made the most of the harvest season while it lasted. here's his retrospective on one of Oxfordshire's most exciting foodie fests... 18

Just because summer’s been and gone (not entirely sure on the “been” part) it doesn’t mean festival season has to go with it! We kicked off September with a trip down to Alex James’ farm in Kingham, Oxfordshire. The Blur-bassist-turned-cheese-farmer had invited his mate Jamie Oliver round to host their own festival: Jamie Oliver’s Big Feastival. That’s right, FEASTival, instead of your standard festival fare. Rather than serving up soggy burger buns and questionable meat, this was a culinary convention as much as a standard music fest. The first thing that struck me when we arrived on site was how different the layout was to regular music festivals. Instead of a large, long field giving the main stage pride of place while the other stages sat around the periphery, the Feastival had more of a village fete vibe. All around the site were various tents, stalls, pop-up bars and restaurants, the main stage itself nestled between two large bars to one side. It was as if every site was equal, giving a chilled out, welcoming atmosphere with plenty to explore. I haven’t before seen such a family friendly festival, either. There was a huge variety of activities for the kids to get stuck into and the easy going atmosphere seemed to suit family groups to the ground. Without the pressure to run over to the main stage and see who was on we were free to wander at our own pace. Following our noses we managed to catch Alex James himself giving a talk on his cheeses. He gave brief descriptions of his main varieties and spoke passionately about the nuances that made each recipe his own. It was plain to see this was a man who loved his cheese. Opening up to audience questions, Alex spoke with worrying certainty on why you can’t produce cheese from breast milk – “it doesn’t have the right proteins to set properly: babies sick cottage cheese.”

Moving on to the demonstration kitchen we watched Simon Rogan, a winner of 2012’s Great British Menu, knock up some classic English grub sourced largely from the grounds of his own restaurant in Cumbria. Having tickled our tastebuds we headed off in search of food for our first tasting session of the day. Many businesses had their own stalls and some of the larger brands even had their own mini restaurants set up. There were curry stalls, a wood stove pizza van, posh fish and chips, even a butchers where you could buy and then barbecue your own meat – mainstream festivals take note! After resisting the the always tempting Byron Burger stand we investigated the main three restaurants: Jamie’s Italian, Barbacoa (Oliver’s latest restaurant) and Oxfordshire’s own, The Muddy Duck. We browsed each menu and in an act of local solidarity chose to dine from Bicester crew, The Muddy Duck. Their honey and mustard glazed bangers and mash was delicious; a sweet glaze matched the sharp notes from the cider gravy with caramelised onions leaving a delightfully sweet edge on the savoury sausage. We also opted for Barbacoa’s 'Ultimate Frankfurter'. Despite fantastic ingredients and presentation, its jalapeno peppers proved too strong, over powering all other flavours with an almighty heat. Ultimate it was not. Bellies satisfied and beer flowing (I dare you to find a festival offering better quality beer than Feastival’s Morretti! Cold Italian beer on tap sure beats a warm Carling at Readings gone by), we headed over to the mainstage for our first musical act, Ibiza heroes The Cuban Brothers. The Cuban Brothers are famed for their outrageous dancing/comedy shows and it was plain to see lead singer Miguel Mantovani had to mind what he said in front of the family-friendly crowd. This didn’t stop him from stripping to tiny golden hotpants

and whipping the crowd into frenzy with the group’s break dancing skills. Next up we headed back to the demo kitchen to see Mark Hix, winner of the 2010 Time Out Award for London’s Best New Restaurant, Hix Soho, joined by Feastival host Alex James to create some more classic British fare. Together they produced a sophisticated green salad with raspberry vinaigrette and James’ own ciderwashed cheese to accompany hay baked grouse – a recipe hinged on great quality produce cooked simply. Next up on the mainstage was Oxfordian and former Supergrass frontman Gaz Coombes. Having previously seen Supergrass as a whole it’s hard not to feel a little deflated watching Gaz thrash it out on his own; the majority of his set consisted of his solo work, but the old SG favourites slipped in to liven things up. A good set, but I couldn’t help but feel like we were missing the full package. We took another trip to Barbacoa and sampled their “Pit Smoked Pulled Pork Shoulder” dish. A dazzling plate of sweet and smokey barbecue pork set aside vibrant red onion coleslaw that brought extra colour to the plate. While the garnish certainly was an eye catcher, that delicate, juicy pork shoulder was the main event. Time wore on and as the sun began to set we took our final trip to demo kitchen for the last demonstration of the day. It was certainly well attended. Applause erupted as top TV chefs Gennaro Contaldo and Jamie Oliver took to the stage. As any who saw the series “Two Greedy Italians” will know, Contaldo’s

unbridled enthusiasm is infectious; even the personality of supermaket sweetheart Jamie Oliver had to take a backseat for this one. The two had fantastic chemistry and a clear passion for cooking as they threw together an authentic Italian menu. “You need a happy chicken, a nice free range one so it’s had a good life” Contaldo stressed as he produced Pollo Arrabiata, a full flavoured spicy dish with a chilli, parsley, tomato and garlic sauce. The aromas travelled through the cool night air, intoxicating the audience as the pair made mushroom bruchetta and fresh seabass pasta. Tearing ourselves away from the delicious sights and smells we trundled over to the main stage in time to stare in wonder as The Noisettes stole the show. Opening with their 2008 debut single 'Wild Young Hearts', Shingai Shoniwa proved herself a phenomenal frontwoman as she danced across the stage, belting out new single “That Girl” early in the set to make way for crowd pleasers 'Don’t Upset the Rhythm' and 'Always Remember Me'. After a performance like that, I can be sure everyone in the audience surely will! And so we ended our day at the farm. Despite missing headliner Paloma Faith, the Feastival proved an excellent day for the simple pleasures – good food, good music and good company. I will most definitely be attending next year’s Feastival and highly recommend you join me. I may even let you share my barbecue.

Return of the Sausage HANNAH BELZ SAMPLES the CASTLE QUARTER'S MOST EXPLOSIVE NEW addition...

Much of Oxfordshire was saddened by the news that their favourite comfort food themed, independent restaurant had closed with no set date for a return. During its year of closure, The Big Bang returned from time to time as a pop-up restaurant, which I visited and was fantastic. But the people wanted a new venue where they could get their fill of bangers and mash on demand. Now, ladies and gentlemen, the dream is a reality! Like a phoenix rising from the rubble of Jericho, we have the brand, spanking new Big Bang in Oxford’s historic Castle Quarter, and what a welcome sight it is as the ONLY independent restaurant in the complex. The Big Bang sets to bring its famous bangers and mash to the masses for the greater good of Oxford: hurrah!

First Impressions

First impressions were fantastic as ever. You are greeted as a very welcome guest by friendly staff including Max, the ever charismatic owner. Whether you are dining alone, as a couple or with a group, everyone is a VIP. The venue is slightly different to the shabby chic of the Jericho venue but still maintains the same cosy charm with sofas and a coffee table allowing customers a comfortable waiting area. The cutlery, glasses and crockery is mismatched, but there is no apology for this, and there needn’t be. It’s all part of the Big Bang experience and its undeniable charm. You will also see a glass display box which holds a single red brick: an acknowledgement of the past whilst looking to the future.

The Food

All food and drink (where possible) is from within a 20 mile radius of Oxford, making the Big Bang an absolute champion of local produce, from the beer to the lemonade, the sausage to the mash. We started our meal with a selection of sharing plates which included pork crackling, mini sausages, homemade onion rings and spam fritters. These went down very well and were just the

"whether you're dining alone, as a couple or in a group, everyone is a VIP... We went the whole hog and tried everything. Impossible to say what I loved the most" right size for our large group, including six hungry men! As this was the first time I had visited The Big Bang as part of a big group we went the Whole Hog (not an actual whole hog, but a selection of every veggie and meat sausage with mash and gravy, and vegetables for the table). It was great being able to try everything. Impossible to say what I loved the most, but I was really pleasantly surprised with the rose mash (potato and beetroot) and the stilton gravy. Both were incredibly delicious! After this, myself and the group decided to continue our feast and try one of the delicious desserts. I went for the ice cream which was very nice. A couple had the crumble which they enjoyed, and the others shared a plate of local cheese gubbins. Once again, no complaints and big smiles all round.

Final Thoughts

The whole meal, including wine, beer and tips, came to £18 per head for a table of eight. Everyone thoroughly enjoyed the meal and will be back for more. It’s great to see the return of The Big Bang and even better to see it in the historic Castle Quarter! For those who are less partial to sausage, there were a range of British classic dishes of the day. Next time, I must try to branch out from my usual and try one of those. A huge welcome back to The Big Bang. I look forward to visiting again soon!

COCKTAIL

Last month we shared our favourite pubs in Oxford. This time, it's cocktail bars... Sometimes only cocktails will do. Not pubs, not bars: I’m talking cocktail bars. Ladies and gentlemen alike enjoy the occasional splurge on something completely over the top that comes in a glass and has a lifespan of about 15 minutes! I am not ashamed to admit that I am one of those people. There is nothing like a nice, civilised evening out in some of Oxford's finest cocktail bars. If I tested them all out I would more than likely be far too hungover to even attempt to write something, so here is a selection of my favourite cocktail bars in Oxford.

cocktails in Jericho

My friend recently described Jericho as ‘the Soho of Oxford’; I suppose that’s a fairly accurate description, but on a much smaller scale. Everyone knows about Raoul's, known for its flaring barmen, flaming drinks, dark corners and great music.

You can pretty much get any cocktail here in any kind of container, from jam jars to watering cans! The drinks are delicious and the menu regularly changes, so there’s no getting bored here. A favourite of mine is the Indian Summer - delicious. Angels is starting to become my favourite cocktail bar. Small but perfectly formed, the friendly bar staff and interesting yet reasonably priced drinks menu is what keeps me coming back. I would highly recommend the Tiramisu cocktail, particularly after a meal at one of many nearby restaurants. You can’t go to Jericho without a visit to The Duke of Cambridge, a cocktail bar with enviable interior design that’s been around for over 30 years. On pay day weekend the place is packed to the rafters and the atmosphere is electric! Upmarket yet casual, there’s something for everyone with its wide range of beers, wines and spirits. Be sure to check out their happy hour for the chance to grab a real bargain!

CRAWL COCKTAILS ON COWLEY ROAD

Now for the jewel in East Oxford’s crown: the beautifully bohemian Cowley Road. One of my favourite places for a night of cocktails, it's a thriving place with great music, fantastic value and packed out bars. Bar Aroma offers cheap and cheerful cocktails in a great environment with music you just want to dance to. It’s not as posh or as fancy as the bars found in Jericho, but it’s a great place to start your night. Café Tarifa is one of my favourite bars on Cowley Road. Stepping inside is like stepping into the Middle East, with incense burning, seats that are steps covered in rugs and twinkling lights everywhere. The gin's cold, as is the beer, but there's also a range of cocktails on offer which are a must try. As its name suggests, Kazbah is an exotic getaway in the heart of the Cowley Road. They offer a selection of cocktails and can also make a mocktail to your choosing - great for the designated driver. I love the whole atmosphere here; the cocktails are just the icing on the cake. Make sure you sit in the conservatory area where you can watch a suspended guitar go up and down as the door opens.

WORDS: HANNAH BELZ

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