Issue #5: December 2012 by Spires Magazine

SPIRES o x f o r d c u l t u r e # 0 0 5 DECE M B ER 2 0 1 2

CONTENTS: Issue #5: December 2012

Music 04 fashion 14

art 16 film 18

Food 20 the front cover of this issue was provided by Ruth mansley. ruth enjoys "snipping and sticking and scribbling and splattering" to create her own fantastical worlds. Check out her work at

www.remillustration.wordpress.com SPECIAL THANKS TO CHARLOTTE KROL, THIS ISSUE'S TIP TOP MUSIC EDITOR!

www.spiresmagazine.com // @spiresmagazine

hello

Ah, Christmas in Oxford. Images of a snow-capped Bodleian library, brisk walks down the riverside through frosty Christchurch meadow, and warming beverages in a favourite Covered Market cafe are what spring to mind. In reality, so far it's been a flooded Botley Road, postponed FA cup replays and wishing that Justin Bieber had never recorded 'Mistletoe' whilst battling the crowds in the shops on Cornmarket Street. No wonder so many of my friends are getting emotional every time they happen upon the John Lewis advert. Whether you're a miserly Christmas critic or currently have enough lights on your home to be seen from low orbiting satellites, Spires is here as always to brighten up your December with the best of Oxford culture. In local music news, Spring Offensive were announced BBC Oxford's band of the year, and quite right too - they've had a hell of a year, and after a lengthy European tour they came home to a heroes greeting with a gig at East Oxford Conservative Club, of all places. This editor was lucky enough to be there, and you can read a review of one of 2012's most life affirming shows on page 6. Elsewhere, we've been getting kinda caught up in the festivities. Namely, this has meant sitting around with big mugs of tea in Christmas jumpers (become a knitwear enthusiast yourself on pages 15-16) and

looking up the best ways to spend our wintery days off (the answer: gigs a plenty, pages 11-13). If you're STILL not sufficiently hyped, then some tasty, simple Christmas recipes on pages 20-21 will fill your home with tasty baked aromas. Bonus: you get to eat the delicious results. So, chow down on a mince pie and have a read. Do remember, Spires is always on the look out for enthusiastic individuals to get involved with the production of our monthly magazines. Whether you're a budding film or music critic, a passionate foodie, a trendspotting fashion fiend or an art loving gallery hopper, we absolutely love hearing from local writers, and it would be a pleasure to have your work grace our pages. Artists and photographers needn't feel left out, either - you could be seeing your own striking masterpieces in the mag, or even on one of our front covers! Whatever your creative talent, drop me a line via matt@spiresmagazine.com to get involved in 2013. It's gonna be a big year for Spires! All that's left to say, then, is MERRY CHRISTMAS! Have a fantastic one, and we'll see you in the new year.

Matt Ayres (Spires Editor)

TELLISON

Meet ENGLAND'S MOS

There's no stopping Tellison. A variety of dream-busting health hazards have previously threatened their continuation - university, vast distances between members, the arrival and departure of record labels, the inevitably empty bank accounts that come with touring in a loyally loved but moderately obscure pop rock collective. These things might be enough to end the music careers of most guitar-toting clever cloggs', but not these ones. After nine years of playing together, the original Tellison line-up remains in tact, and they continue to play shows nationwide, professing their adoration for small venues and independent music as they go. But with only two albums to show for nine year career, quality over quantity has rarely been taken quite so far. It was only last year that they released their sophomore full length, The Wages of Fear, and lead vocalist/guitarist Stephen Davidson admits that the process of writing and recording a follow-up to their brilliantly raw debut Contact! Contact! was a challenge. "Our second record was a weird one," reflects the songwriter. "It's a very complicated album. Obviously it's a pop rock record, but there's all these weird bits and weird things happening all the way through, because we were concentrating on trying to make it very clever. We got very worried that it was boring. We were just in this room together playing these songs through like ten times, and eventually we were like 'I know how

Interview by matt ayres

ST UNDERRATED ROCK BAND... to do that now. That's boring.' We lost track of what it would be like for someone else to hear it for the first time." Luckily, the band's perfectionist approach paid off. The result was a momentous album that put Tellison back on the map, and The Wages of Fear became one of the most talked about independent releases in the UK. Keen to capitalise on this momentum, they've been touring ever since, whilst simultaneously writing a third album to make up for lost time. 'We want to do it a lot faster, that's the key notion", Davidson explains. "We've taken so long with our past two records, and spending so long on something makes you go a bit mad; you lose sight of any kind of quality control which makes everything take ten times as long because you second guess everything. You end up being like "Is this snare drum ok? Is that snare hit at 58 seconds the snare hit that we want to have associated with us for the rest of our lives?" That shit doesn't matter, so we've been talking about recording in different ways. But we want to do it swifter, we want to make it fun." With rivaled chemistry, it's easy to believe that a band like Tellison could pull off another belter of an album simply by tracking it live, one option that Davidson considers "a definite possibility." Rest assured, the new material will impress: at Truck Festival this year, the band showcased a new song that was bold in its simplicity and shone as a set highlight, even among a host of archive favourites. The lead singer's musical

influences reveal more of what the new stuff's about: "I've been listening to the Weakerthans, Greg MacPherson, Pedro the Lion, David Bazan... I think with this record we want a style of songwriting that's not too highly wrought. We want to state our ideas honestly, straight up. That's exciting for me. "With this record, I'm just interested in writing great pop songs. That's difficult, it's hard. People often stick their noses up at it and decide to write songs in 8/15, write weird time signatures and weird shit just because that's supposedly clever. I'm much more interested in writing songs that are in 4/4. Verse, chorus, verse, chorus, bridge, chorus. But making it great. So many people have done that, and if you can do it well then it's gonna be instinctive; people who are listening to it are gonna feel like they know it already. That's what I want to do." With the demoing process underway, we're expecting big things from Tellison in 2013. For now, you can pay what you like for their cracking Christmas song, 'Good Luck It's Christmas.' It's available from tellison.bandcamp.com (where you can also check out the rest of the band's back catalogue). All proceeds go to CALM (Campaign Against Living Miserably), a charity dedicated to lowering suicide rates among young males in the UK. Have a heart and pay generously - good music + good ethics = good on you.

MUSIC 05

// LIVE REVIEWS

Spring offensive + Among Brothers + Toliesel 62 james street Sunday 18th November 62 James Street is not the likeliest of venues for a hometown celebration of all that Spring Offensive has accomplished in 2012. It's a conservative club. Behind centre stage, a portrait of Queen Elizabeth casts an unshifting stare on band and audience. 'You can't move the Queen', the management protested, and so there she sits, ready for tonight's performance. She's not the only one in for a treat - the gig's a sellout, and the crowd is already sizeable as Toliesel begin ploughing through a collection of rootsy shoegaze tunes. Their big single 'The Light' is undoubtedly their set's biggest highlight, perhaps because it's the only one we really know... elsewhere, though, is ample proof that this is an outfit with enough songwriting savvy to gain momentum in 2013. Cardiff-based Among Brothers mix hook-laden harmonies with introspective lyrics and experimental instrumentation. Their seven-member musical arsenal includes trombone and violin, and these orchestral elements serve as an impressive accent to the central assault of floor-tom bashing, keyboard tinkering, electronic samples and gang vocals. Such an original and engaging style is translated to epic proportions in the live environment, and we hope to see Among Brothers back in Oxford soon - they fit in well here. The main event arrives shortly with the rising murmur of their latest single 'Not Drowning but Waving', signaling the beginning of an unforgettable set. Frontman Lucas Whitworth is mesmerising as he leads the band into a trembling, tense cre-

scendo: "I will be blamed for this one", he tunefully confesses. Whatever his sins, we don't mind when the proclamation is this captivating. Spring Offensive have developed an unnerving talent for writing songs that never quite tip the scales, leaving their listeners in a perpetual state of climax and awe. They're skeletal but lofty anthems, stripped of flowery pretension and left like colossal wintery trees to cast haunting, hypnotic shadows. One can't help but be drawn in to likes of 'Worry, Fill My Heart', '52 Miles' and 'I Found Myself Smiling', led by frank lyrical content and backed up with a unique brand of alternative pop-rock, complex and accessible all at once, faultlessly performed. There's a warmth to this band, too, demonstrated tonight in an acoustic mid-crowd performance of 'Carrier.' Even stripped of their instruments, the band lose no poignancy as they skillfully navigate the rises and falls of an expertly crafted song via admirable a cappella. Despite the strange venue ("Not a political choice," Whitworth assures us), there's no denying an air of electric celebration this evening, especially with the inclusion of two very promising new songs. There'll be an album next year, a whole new reason to get excited about Spring Offensive. We may have to wait a while, but the memory of this homecoming gig will be enough to keep them logged as a perennial Oxford favourite for now. Matt Ayres

Ravens & Chimes + Rainbow Reservoir + Co-Pilgrim + ABRAHAM DAVIES + Ags Connolly modern art oxford saturday 24th November Local PR/promotions collective Pindrop have become Oxford's greatest champions of local talent, showcasing a diverse range of musical acts at increasingly frequent events. Tonight is a prime example. The basement of Modern Art Oxford may not be filled to the brim, but you can be sure that those in attendance are brimming with excitement for a varied evening of eclectic performance. Ags Connolly takes to the floor first with a set of traditional, acoustic-backed country ditties. His style heralds the classics - there's something authentic about the Witney-based songwriter's gravelly, genuine delivery, and events like this give forgotten talent like Ags a worthy pedestal to be recognised from. The early birds were rewarded tonight, and we've been lucky enough to discover Oxford's very own Johhny Cash before we've finished our first drinks.

A second acoustic set comes from Abraham Davies, frontman of Canadians-turned-Oxfordians Reichenbach Falls. Displaying quality songwriting that promises indie-folk awesomeness in its full-band equivalent, the lone Abe isn't quite as memorable as the opening set - it's a quiet, shy and somewhat awkward twenty minutes of music, but still gets us excited for the fact that Oxford has rehomed some talent from the Great White North. Continuing the theme of bands missing members are CoPilgrim - tonight they're minus a bass player, vocalist and drummer, but Michael Gale and Joe Bennett prove that they're still a folky force to be reckoned with as a twosome. Perfect harmonies and the rare treat of a pedal steel guitar are elemental to our enjoyment of another short but sweet performance. We're done with acoustic guitars, now. Instead, we've got

sugary American piano pop in the form of virtuoso musician Angela Space, a.k.a Rainbow Reservoir. It's an unlikely but welcome tangent for the night to take; the quirky Angela races through a collection of succinct keyboard tunes and waxes lyrical about cats and men with beards. Decidedly whacky, but very well received. Top of the bill are Ravens and Chimes, the only band here without a root in Oxford. In fact, they've commuted from New York on their first UK tour, but observing the string of unlikely commonalities between them and their succeeders, it seems they were meant to be here (Reichenbach Falls happens to be the name of their debut album, and the band apparently share

the same Connecticut connections as Rainbow Reservoir ain't the world small?). The only electrified band of the evening make good use of the extra amplification, producing a gargantuan art-pop sound calling to mind elements of Oxford's own Fixers whilst also channelling the lyrical majesty of Bright Eyes. Songwriter Asher Lack makes for a perfectly eccentric frontman, haphazardly swinging on the spot as he leads the band into lofty guitar build-ups, dotted with starry synth experimentation. It all makes for a fiery finale to an assorted exhibition of original music. Matt Ayres

Frank turner + Tim Barry + Jim lockey and the solemn sun O2 academy oxford Monday 26th november Opening tonight’s show is Cheltenham’s Jim Lockey and the Solemn Sun. Think a punkier, faster, less boring Mumford & Sons. Lead singer Jim Lockey wears his acoustic guitar high and strums it like a machine gun. Their timing is faultless and they grip the audience, mixing acoustic and a capella harmonies with fast punk. Every instrument stands out and has its place in each song. A truly exciting new band, catch them in a small venue while you can (they play the Jericho Tavern on 1st February 2013). American singer-songwriter Tim Barry couldn’t be more American, telling tales of illegally riding freight trains across the US, singing songs about his friends in prison and referring to us as ‘y’all’. His set feels like being sat around a campfire, listening to acoustic punk songs. Tim Barry is very entertaining and has an impressive voice, but after half an hour you realise that most of his songs sound the same. Although I have seen Frank Turner countless times, this is my first time seeing him in Oxford. ‘Welcome to show number one thousand two hundred and ninety nine’ Frank proudly announces as he enters the stage. That’s what this tour is all about: playing small shows in every corner of the UK. Frank could easily play three or four arena shows after his sell out Wembley show and performance at the Olympic Opening Cer-

emony, following the protocol of most artists that gain recognition, but he chooses not to. Maybe it’s because I’ve seen Frank play the best show of his life that I felt the opening to this show was a bit dull and not up to his usual standard. Swiftly announcing that he’d been to a funeral that day and was in a ‘shit mood’, I thought this might reflect on his performance. As soon as his long term backing band ‘The Sleeping Souls’ and Frank Turner leapt into a punk version of ‘Long Live the Queen’, though, the crowd erupted and I knew it was going to be a brilliant show. Highlights were a spine tingling solo sing along of the lyrically honest ‘The Real Damage’ and an array of rare older songs, such as ‘Hold Your Tongue’ during which the crowd was silent and fixated on the diversity of Frank’s songs and his spectacular song writing. Oxford is like a second home to Frank Turner, with many of The Sleeping Souls from the surrounding areas. The crowd smiled as the lyrics in ‘Wessex Boy’ were changed to include the Cowley Road and the Bullingdon Arms. Frank played a career spanning 23 song set including all the fan favourites and reworked versions of old songs. A great set closer was the usually acoustic ‘Dan’s Song’, awoken with electric guitars and Frank shouting the lyrics whilst diving into the crowd. Joe Davis

Tellison + My First Tooth Truck store FRIDAY 30TH NOVEMBER It's fitting that My First Tooth should support Tellison at the Truck Store - like the headliners, they put on a hell of a show in the Barn at this year's Truck Festival, and tonight they're even better - glorious boy/girl harmonies atop a brilliantly unpretentious, original indie-folk sound. They're perfect for this quiet, intimate gig, and their new single 'Past Broadcasts' makes us very excited indeed at the prospect of a new album arriving next year. On tonight's agenda for Tellison: revisit the fuzzy, emotive, shouty Get Up Kids-esque rock sound that made us fall in love with them on their seminal debut album Contact! Contact! They're nearly at the end of what must be their 2617th UK tour, but this one's a little different in that it's celebrating the five year anniversary of the aforementioned LP. With it comes an up-to-date, remastered version of C!C!, but Tellison have always been a band to see live, and its a privilege being able to see some of these old favourites live again. The venue is hardly at capacity, and this show is the definition of "intimate"

- we can actually hear lead singer Stephen Davidson as he turns to his bandmates with a dignified, unamplified "Shall we begin?" before diving voice-first into 'Hanover Start Clapping'. 'Reader' is even better, a song that epitomises the scruffy but somehow eloquent writing style of the band, and brilliantly displays the double (occasionally triple) guitar onslaught of honest, intelligent rock that makes them such a refreshingly raw live experience. The album flies by in a whir of awkward smiles and broken strings (props to Davidson for a mid-song guitar swap in 'New York! New York! New York!'), and before we know it they're being cut off for curfew. They choose to finish on a suitably energetic and very early 2000s sounding "Henry Went To Paris". Their new material may be more refined and more technically ambitious, but tonight's nostalgia-fest has proved that Tellison had the chops to be one of Britain's most gutsy rock bands from the very start. Matt Ayres

MUSIC 07

Album Reviews

Feldspar - The Flat and paper sky vol. II // self-Released // The first thing that struck me about Feldspar’s second EP, The Flat and Paper Sky Vol. II, was their ballsy decision to not put any instrumentation in the first track, ‘The Flat And Paper Sky.’ Nonetheless, the London 5 piece open with a simply glorious song – its genius lying in the fact that no instruments are needed to accompany the beautifully intertwining vocals.

Ninetails - Slept and did not sleep // Superstar destroyer // Liverpool four-piece Ninetails have already been hotly tipped by the likes of NME, Vice and Clash. Their experimental, eclectic math-rock has attracted much attention and admiration of late. This, their second EP after last year’s Ghost Ride the Whip, is progressive and definitely

In contrast with the peacefulness of the former track, 'Bright Blue Eyes' picks the pace up with a tight drum part and lingering guitar riffs that perfectly compliment Will Green's vocals. It starts as a slow folk song and builds to a rock song, creating a very full sound and the sense of fervent longing that is characteristic of this record and the last (The Flat and Paper Sky Vol. I). An ace guitar solo also soars above the drums as what can only be described as a striking, indeterminable mass of noise from the rest of the band. 'Foolish Man' is more musically imposing than any other track on this album, sporting a weighty guitar line in the chorus. It has a laid-back feel and yet also threatens to spin out of control. Before it gets too out of hand, however, the instrumentation is reined in and replaced by Green's soft vocals. 'After Hours' slows the record down again; Green's dreamy, balanced vocals welcome the track in and, soon enough, another astounding harmony is formed. The piano gets louder and compliments the desperately melancholy lyrics – “Oh, the bottle is empty and the glasses are gone” – which emits a feeling of emptiness despite the song’s very full sound. ‘After Hours’ also boasts a terrific bluesstyle guitar solo at its close, putting the icing on top of the musical cake. Feldspar have really excelled on The Flat and Paper Sky Vol. II and I sincerely hope that they continue to create such wonderful music in the future. Fans of Dry the River and Fleet Foxes are bound to enjoy it, although anyone in search of mastery of harmony and melody will surely find their match in this record. Franky Sissons pushes the boundaries, whilst still being chilled and very listenable. Its contradictory title nicely reflects the organised chaos that lies within. Slept And Did Not Sleep opens with ‘Maybe We’: all synths, reversed guitars and reverb. It swirls and swoops, taking you along its ethereal journey. Ed Black’s echoing vocals blend in with the music and largely become an extra instrument, but this is certainly no bad thing. It simply adds to the track’s haunting atmospherics. ‘Body Clock’ and ‘Rawdon Fever’ are the two poppier tracks of the EP. ‘Body Clock’, with its idiosyncratic beats and sharp lyrics, is an interesting and exciting listen. ‘Rawdon Fever’ is upbeat and catchy with jangling guitars, and is probably the most accessible track on the EP. The only problem I have with the EP is the track, ‘Boxed In.’ It’s something of an eight minute pretentiousness party, consisting entirely of a monotonous, electronic drone with little else going on. To be brutally honest, it’s far too long and incredibly boring, and pretty much destroys the great vibes that have been building up to this point. On closer, ‘Mama Aniseed’, Ninetails not only manage to restore the record’s former glory, but also demonstrate that they are not incapable of delivering the occasional lyrical pearl of wisdom, too (“we are all someone to someone else”). All in all, Slept And Did Not Sleep shows huge promise and that Ninetails have a bright future. I’m willing to forgive the hiccup that is ‘Boxed In’, owing to the ingenuity and general brilliance of the remaining tracks. Personally, I can’t wait to see what else Ninetails have up their sleeves. Selma Rezgui

Constellation Guide: = BAD //

= AVERAGE //

= DECENT //

The Joy Formidable - wolf's law // atlantic // Wolf’s Law is a pleasingly familiar animal. Plenty has changed for the band following the success of The Big Roar, their debut LP, including the fact that the Welsh three-piece are now nomadic. They sold the tiny attic space where The Big Roar was recorded, and will spend 2013 touring the globe. Amongst all this upheaval, it’s pleasing to find that the band still know how to make big guitar-filled anthems, but

You, Me, & Everyone we know - A Great big Hole EP // selfreleased // It's been a tough ride recently for Ben Liebsch, the lone remaining member of You, Me, & Everyone We Know. After releasing a much anticipated and rapturously received

= BRILLIANT //

= MASTERPIECE

there is some deeper nuance and delicate touches buried beneath the brash euphoria of noise. Much of the record was recorded by the three-piece while staying in a log cabin in the middle of nowhere in Maine during the depths of a cold winter. Opener ‘This Ladder Is Ours’ deceptively begins with a flourish of orchestral swooning before erupting into the kind of noise that makes The Joy Formidable a beast to be reckoned with. ‘Little Blimp’ has a colossal guitar hook that sounds akin to something Muse might have done in their early days. ‘Maw Maw Song’ plays a similar trick to ‘This Ladder Is Ours’ with an orchestral opening, but then turns into the first ever rock song with lyrics for cats. Singer and guitarist Ritzy Bryan keeps the lyrics in English briefly, but then “Maw maw, maw maw maw maw maw, maw maw maw maw maw, maw maw maw maw maw” is wailed out, stalking the guitar lines. It’s a surprise to hear on first listen, but it’s something so gleefully fun and crazy, which is what great rock n’ roll should be. In all seriousness, the band has obviously felt compelled to write about the relationship between humans and animals, as inspired by their surroundings. Lead single from the album, ‘Cholla’, offers up a summary of the path that The Joy Formidable are forging musically. Ritzy proposes: “How do we move on, when nothing is growing?” This record isn’t a wild step in a different direction, but the band has been able to build something bigger and crazier than before. There’s a definite growth there, but most important of all, it’s a widescreen rock record that’s a hugely fun listen. Dave Reynolds

debut album Some Things Don't Wash Out, the band tragically imploded at the height of its hype, with five out of six members vacating the YM&EWK moniker after discovering that their alcoholic singer had been stealing band money to fuel his drinking problem. A poorly produced, mid-crisis solo EP followed, aptly called Things Are Really Weird Right Now. It was predictably shit. Liebsch fights on, though, determined to reignite the flame of potential his band once started. His latest, decidedly succinct effort signals a period of sobriety. 'I'm Alright' is an adrenaline shot of positive pop punk. 'I'm not saying I'm not crazy, I'm not saying I've found God, I'm just saying here and now I'm alright', the singer preaches. He certainly sounds more chipper than when we last heard from him, and this whiplash anthem harks back to the classic sound pioneered on Some Things..., even if it's only a minute long. It's sandwiched between 'A Great Big Hole' and 'Coming Up Short', each lasting a respectable three and a half minutes and showcasing a more reflective side of the singer, admitting his sins but vowing to move on from them. None of these songs are quite as good as the band was at its peak, lacking both the tempo and the musical intellect to warrant extensive replay value. However, Liebsch is back on the rails both lyrically and vocally. If he can surround himself with like-minded, gifted songsmiths, then there's ample hope for progression. Matt Ayres

MUSIC 09

Local Releases reviewing oxford's latest musical offerings...

Rainbow shark - rainbow shark EP // self-released // It’s not often that you come across under-the-radar bands in such a small and communal music scene as Oxford, especially ones that are damn good. Manchester/Oxford pair Rainbow Shark's debut self-titled EP has just been released, but there’s little indication from Facebook pages or music press of its potential reach. This is by no means down to the music, but to a sheer lack of self-promotion (apparently, in part due to the vocalist studying abroad in

Chad Valley - Young Hunger // Loose Lips // This is the first full-length album from Jonquil frontman Hugo Manuel's synth-pop solo project. A departure from the clever, refrained rock of his band, Chad Valley's blazing summer sound is comprised of '80s drum machines, arpeggiated synth and an incredibly confident vocal performance; the singer floats expertly between harmonised choruses and shimmering solo falsettos as he guides us

Rio). So, I’ve decided to be their willing lackey. The first sounds you hear on the EP nicely introduce the band’s blending of acoustics and electronics: an oscillating synth and campfire acoustics burn underneath Jack Levy’s slightly unpolished but deeply alluring vocals. Lightly tapped cajon drums rumble in time with a gorgeous guitar ebow, which together build towards a chorus that swirls around your head for days. A very strong start. Kid A-era glitches open up ‘The Sundown Bears’ and you begin to understand how limitless Rainbow Shark’s sound is. Fickle guitars and synths jostle to find their own rhythms, but somehow meet in the middle at just the right moments. Unexpected, folk-like harmonies dance over the electronics, sounding not unlike the noir-pop inflections of ‘Full Moon’ by The Black Ghosts. When Levy hits the falsetto notes, you can imagine how acts like How To Dress Well have influenced the band. What’s so exciting about the duo, who, according to the limited press coverage online, met at university in Oxford two years ago, is that you’re never quite sure what direction they’re going in. EP closer ‘Killing Sharks’ has it all: part piano ballad, part minimalist, part Balearic house (the latter especially present in Bill Wright’s stunning guitar melody at its close). But the thing is, you still know it’s Rainbow Shark. They don’t get lost in the multifaceted textures, nor allow the quality of their songwriting to dwindle. It’s as if Rainbow Shark have been experimenting in a university laboratory on this EP, too humble to tell their friends about their achievements, just waiting for someone to stumble upon it instead. Well, I think that’s silly. Go and get this EP now. Charlotte Krol through 11 examples of airy, oceanside pop. For music that's been thrown into the 'chill pop' category, 'I Owe You This' is refreshingly direct - the expected misty synth droning introduction one might expect is done away with in favor of an immediate vocal verse. This doesn't stop it from building up to a fantastically sharp synth lead crescendo, before waning back to filtered shuffling beats. Next, 'Tell All Your Friends' ups the tempo and revolves around a gripping choral line that's somewhere between Friendly Fires and The Human League. Female vocals on several tracks add a more delicate dimension to Chad Valley's sound, such as in 'Fall 4 U', a steady boy-girl electro ballad with just the right balance of pop sensibility and whimsical, reverberated minimalism. Sadly, by the time we reach the arpeggiated mid-album interlude, Young Hunger has lost some its initial impact and grows a little tiresome - like being caught in the sun for too long, the album leaves its listener woozy and overexposed to its rich but ultimately unvaried production. This means we aren't quite as impressed with the thumping title track 'Young Hunger' as we should be, and by closer 'Manimals' we're more than ready to head back into the shade. A gorgeous and intelligent retro-meets-modern take on pop music this certainly is, but it's much easier to appreciate this particular breed in smaller doses. Perhaps Manuel has made the leap from EP to LP too quickly - to keep a listener captivated with such laid back electro pop over the course of fourty minutes is no mean feat. However, Chad Valley should still be applauded for giving Oxford a pop act that's straightforward and catchy without being vapid or patronising. Matt Ayres

// CHRISTMAS CONCERTS Drink, dance and be merry at one of Oxford's seasonal shows!

MUSIC 11

Whatever your musical preferences, you'd have to be a real Scrooge not to check out one of musical festivities taking place on Sunday 16th December. Two mini festivals will be occurring within easy reach of the city centre. The Cellar pays host to a glorious union of talented acoustic and folk artists at Irregular Folk. Beginning from 3pm and folkin' about until 9pm, the basement venue shall be treated to the raucous

indie-folk of up and coming Empty White Circles, the delicate melodies of songwriters such as Jess Hall and Steph West, and the uplifting choruses of electroacoustic pop veterans, Alphabet Backwards. Expect many a corny Christmas cover, all the mince pies you can eat and a damn good time. Tickets are super affordable at three quid; you can get them online at WeGotTickets or from the Truck Store.

If folk doesn't do it for you, then a brisk walk down high street will bring you to a more varied musical affair, being held for a very good cause. All proceeds from Pindrop's Midwinter Festival will go to Oxford-based charity The Gatehouse, dedicated to helping the homeless. Good will to all men indeed, and also a brilliant line-up. The Epstein headline, just above fast-rising indie stars Wild Swim and spacey prog-drone experimenters

Flights of Helios. An assorted roster of Pindrop bands and artists will also take to the stage with short acoustic sets. Until The Bird, Matt Sage and Huck are amongst those playing, plus a secret guest - as if Christmas wasn't exciting enough. Tickets for the Midwinter festival are a tenner in advance or ÂŁ12 on the door - again, you can get them from WeGotTickets or Truck Store to save yourself some Christmas cash.

MUSIC 13

Sweater Weather IT WOULDN'T BE CHRISTMAS WITHOUT A COMFY JUMPER! THE HIGH STREET'S GONE CRAZY FOR FESTIVE KNITWEAR. WE'VE PICKED OUT A FEW OF OUR FAVOURITES from Topshop and Topman, BUT YOU MIGHT SIMILARly SNUG threads FOR CHEAPER IN CHARITY SHOPS. BETTER STILL, KNIT YOUR OWN!

TOPMAN

NAVY STATIC PATTERN JUMPER, £42 Green and white beanie, £12 GREEN AND WHITE FAIRISLE GLOVES, £12

TOPshop

knitted dogtooth ski jumper, £42 Cable pom pom scarf £16 cable pom pom hat, £14 Traditional fairisle hand warmers, £10

IMAGES & PRICES FROM TOPSHOP.COm & topman.com

Fashion

images from www.9to5themusical.co.uk

9 to 5

Hannah Belz clocks in for Broadway's latest musical "Local West Oxfordshire at the New Theatre... 9 to 5 is a new musical based on the 1980 Dolly Parton film of the same name. It’s currently touring the UK, and I was fortunate to catch an evening show at Oxford’s New Theatre. Ok, I know what you’re thinking: this could either be an overly cheesy disaster or pure genius. I personally think that 9 to 5 falls into the latter category; an empowering story about three women working (you guessed it, from 9 to 5) who unite against their bigoted boss and win. When you throw in a few hit Dolly Parton records, the experience is taken to a whole different stratosphere. What links this musical to our wonderful city (apart from the fact it was shown here) is that the ensemble includes local West Oxfordshire girl Hayley Ainsley. Hayley is also 2nd understudy to the leading role of Darleen, so keep your eyes peeled for one of our city's rising theatre stars if you go and see it. The singing and dancing is second to none, and the cast includes big names such as Natalie Casey (Two Pints of Lager and a Packet of Crisps star) who plays a very convincing Judy;

girl Hayley Ainsley is 2nd understudy to the leading role. Keep your eyes peeled for one of our city's rising stars."

Bonnie Langford (musical theatre legend) as Roz; and the gorgeous Ben Richards (Holby City) as the chauvinistic boss, Franklin Hart. 9 to 5 is it’s meant to be fun, and it is. Plus, it’s not Christmas unless you go and see a show! I’ll be shocked if you aren’t dancing out of the door and wanting more. 9 to 5 is currently touring the UK. A full list of shows can be found on its website: www.9to5themusical.co.uk

Collision is an exciting exhibition and art sale organised by Oxford's newest creative organisation, Cobalt Collective. Located in the centre of Oxford, the four day event lasts from Friday 14th to Monday 17th December, and will showcase the talents of 24 local up and coming artists, designers, illustrators and photographers. A wide range of work in numerous different mediums will be displayed on the first floor of Java & Co cafe, on the corner of George Street and New Inn Hall Street.

Artists exhibiting: Alice Mannifield, Anisha Muller, Anna Bruce, AzĂŠlie Williams, Cat Hamilton, Charlie Davies, Elizabeth Cox, Greg Swan, Hollie Roberts, Janine Kilroe, Joe Davis, Laura Holliday, Lily Oâ&#x20AC;&#x2122;Neill, Lily Rossiter, Merlin Seller, Milan Abad, Naveen Rao, Oli Smith, Sally Barton, Sally Richardson, Sam Ailey, Samir Koudoua, Timmothy Swan, Victoria Clare.

Art 17

"jumps dramatically between hilarious squad car banter and eye-covering extremity" 18

WORDS: Matt ayres

END OF WATCH Director: david ayer Cast: Jake Gyllenhaal, Michael Pe単a, Natalie Martinez, Anna Kendrick Filmmaker David Ayer is no stranger to movies about bloodthirsty gangsters on the streets of LA, but his latest observes the gritty subject matter from a new perspective: the cops'. We're immediately throw into the action from the dashboard of a LAPD squad car, hurtling through hoods in pursuit of a gunned out criminal getaway. The sequence is accompanied by a memorable introductory voiceover from Gyllenhaal that encompasses the courageous spirit of the police force: "Behind my badge is a heart like yours. I bleed, I think, I love, and yes, I can be killed. And although I am but one man, I have thousands of brothers and sisters who would die for me and I for them." Soon after, we're informally introduced to our young protagonists, partners in crime-prevention Brian (Gyllenhaal) and Mike (Pe単a). The film's shaky cam aesthetic is attributed straight away to a personal documentary project, being undertaken by Brian for a college media project. Although it's an unlikely scenario (busy street cop-cum-Morgan Spurlock), we're

quick to let it pass as we recognise the power of the medium in conjunction with the cast's highly realistic character portrayal - fast, dramatic jumps between hilarous squad car banter and eye-covering extremity play out like a unedited home video, and are integral to the brazen, believable image of the LAPD Ayer projects. We catapult between morning briefs, drug-raids, pranks at HQ, SWAT team encounters, relationship advice between bezzies and harrowing human trafficking discoveries with no more warning than milliseconds of digicam fuzz. By the end of the film, we're left with a lasting image of two policemen and self-proclaimed brothers who, despite their motor-mouthed, arrogant mischief, are limitlessly courageous and selfless representatives of their team. In his refrain, the director avoids cliche and calls to mind other thrilling pseudo-amateur nail-biters, notably The Blair Witch Project, Cloverfield and this year's anti-superhero epic Chronicle. By the end we're reeling from the fates of men we've grown to truly respect, a true testament to both the actors' performances and the unpredictable climaxes of an expertly crafted screenplay.

The verdict: Motion-sickness sufferers who heave at the sight of bulletwounds may wish to look elsewhere for cinematic thrills. For the rest, End of Watch stands to be one of 2012's most riveting dramas.

FILM 19

YULETIDE

Fill your tummy with festive cheer SAUSAGE ROLLS

MINCE pies

This recipe is easy and can impress: why buy sausage rolls when you can make them? A few sneaky little cheats will help you cut corners without compromising on taste.

The ulimate mulled wine accompaniment! No Christmas party is complete without Mince Pies. Luckily, they're super easy to make.

Ingredients - 1 packet readymade, ready rolled short crust pastry - Good quality sausage meat - 1 onion - Fresh rosemary - Fresh sage - Pinch of salt & pepper

Ingredients - 550g sweet pastry - 400g mincemeat - 1 tablespoon brandy (optional) - Icing sugar to dust - Butter - Plain flour

Method Preheat oven to 190 degrees C. Soften onions in some butter. Add in the freshly picked and chopped herbs. Leave to cool. Combine with sausage meat. Roll into a long thick sausage shape and place lengthways in the middle of the pastry. Fold over so pastry covers the meat. Put in the fridge to chill. Take out of fridge. Cut some lines across the top and brush with a beaten egg to create a nice sheen. Put in the oven for around 35 minutes at 190 degrees C or until the pastry is golden and the meat cooked through. Cut into 1 inch slices before cooling.

Method Preheat 180 degrees C. Lightly grease medium sized bun tin. Roll pastry until thin. Cut medium sized pastry circles and line bun tins. Spoon in mincemeat and a drop of brandy (if using). Cut slightly smaller pastry circles and place on top of the mince pies. Make a small hole in the top of each pie. Bind together any leftover pastry and cut into Christmassy shapes. Slightly dampen, then neatly add tops of pies. Place pies in pre-heated oven and bake for 20 minutes. Remove from the oven and allow to cool for a while. Dust with icing sugar. Serve either warm or cold.

YUMMIES

by following these simple recipes! gingerbread bears

Viennese whirls

Everyone knows that gingerbread is one of the tastiest Christmas treats, and these bears look cute enough to eat.

These delicious biscuits are the perfect nibbles to indulge in with a cup of tea or hot chocolate.

Ingredients - 225g butter, cubed - 150g packed brown sugar - 150g molasses - 1 egg, lightly beaten - 1 and 1/2 teaspoons vanilla extract - 900g all-purpose flour - 1 and 1/2 teaspoons ground cinnamon - 1 teaspoon ground ginger - 3/4 teaspoon baking soda - 1/2 teaspoon ground cloves - Decorative sweets and icing

Ingredients - 350g butter, at room temperature - 250g of icing sugar - 250g plain flour, sifted - 50g cornflour - 1 and 1/2 teaspoons vanilla extract - 100g raspberry jam

Method Combine the butter, brown sugar and molasses. Cook over medium heat until sugar is dissolved. Let stand for 10 minutes. Stir in egg and vanilla. Combine flour, cinnamon, ginger, baking soda and cloves; gradually add to butter mixture. Mix well. Cover and refrigerate for 2 hours. Shape dough into balls, Place on foil-lined baking sheets, flatten to 1/2-in. Cut out eight bear shaped biscuits. Bake at 350째 for 10-12 minutes or until set. Leave to cool. Decorate with sweets and icing.

Method Preheat the oven to 200 degrees C. Grease a baking tray and line with grease proof paper. Blend together 250g butter, 250g flour, 50g cornflour and 1 tsp vanilla extract. Put this biscuit mixture into a piping bag and squeeze on to a baking tray in medium sized rosettes of dough. Bake for 12 minutes, or until golden brown. Leave the biscuits to cool on a wire rack. Mix 100g butter with 1/2 a teaspooon of vanilla extract and 200g icing sugar with a fork until full combined. Once biscuits are cooled, dollop some jam to the smooth side of the biscuit, add the butter icing mixture and top with another biscuit. Dust with icing sugar.

Food 21

M E R R Y C H R I S T M AS YA FILTHY ANIMAL

SPIRES MAGAZINE WISHES YOU A WONDERFUL CHRISTMAS AND A HAPPY NEW YEAR... S P F A C T W I S P I

I R E S E B O O K . T T E R . C R E S M A

M A C O M O M / G A Z

SEE YOU IN 2013!

G A / S P S P I I N E

Z I N E . I R E S M A G A R E S M A G A . T U M B L R

O Z I N Z I N . C O

M E E M