The Kaje - Issue 2 (June 2010) by The Kaje

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The Kaje is all about the arts: from the upcoming and underground through to the commercial mainstream. If it has creativity at its core, we want to know all about it.

Gosh - a month ﬂies by doesn’t it! I can’t believe that it is already a month since we launched The Kaje! So we are now already onto issue 2 - which is packed choc-a-bloc full of amazing artistic talent for you to pour your eyes over! Thank you for everyone who took the time to contact us after our debut issue - it was very useful to hear your thoughts. I hope you will be able to see some of your suggestions in this issue and future issues. I have really enjoyed pouring through the suggestions of artistic talent for consideration. There is nothing more enjoyable than discovering someone that you’d never heard of before. From last minute phone calls to check out a band to numerous emails with book recommendations - The Kaje account has been inundated with exciting information. We have some exciting new talent in our contributors team - but we are always on the lookout for more people to add their thoughts and views!

needs

YOU!

We are currently recruiting contributors from diverse geographical locations. Writers, photographers and creatives are all needed! If you woul like to be considered please do send along your details to editor@thekaje.com

We would love to hear your thoughts about this issue. If you like, or even do not like what you ﬁnd, then please do let us know!

Jeremy Williams Editor

Feature and Review suggestions are also welcomed. thekaje@thekaje.com

The Kaje Crew....well, a couple of them anyway!

Arno works mainly in advertising, fashion and portraiture, Arno aims to capture and explore people, their lives and what makes them individual. He has been published in iD, Wallpaper, Marie Clair, Guardian, Harpers and Queen, Mirror Group publications and Cosmopolitan.

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Katie Meehan graduated from the University of Hull with a BA in Drama and English. She has actively pursued her interest in drama through seeing as much theatre and live performance as possible! katie@thekaje.com

Contents... 4. Leo Richardson. “If someone is young and talented then it needs to be nurtured” 6. Polly Mackey & The Pleasure Principle. “Alliteration is always good in a band name.” 8. Someone Who’ll Watch Over Me. “Most of us have felt powerless at some time in our lives.” 10. Phantom Limb. “You get some of the best music from pain.” 12. Jenny Westbrook. “Art is quite often put off by people until the right time.” 16. Lucinda Belle. “Luck is opportunity meets dedication.” 18. Naoko Mori. “I’ve always believed she was treated rather unfairly.” 20. Tim Turner. “I don’t want to write about myself.” 22. Boy & Bear. “It’s like a big inbred kinda family.” 24. Cerith Flinn. “I am starting at the deep end, with a cannibalistic play.” 26. Lachlan Buchanan. “I never plan to grow up, so for now, I’m happy acting.” 28. WIN! WIN! WIN! WIN! WIN! WIN! 30. The Bang Bang Club. “It came to a point where everything in the music industry was a band, but we wanted to be a duo.“

35. Forgotten Gems. Album: The Go-Betweens ‘16 Lovers Lane’ Book: Daphne du Maurier ‘My Cousin Rachel’ Film: Haunted Honeymoon 43. A Word Of Advice. 44. Designer of the Month. Disorder 46. Steal My Style. 47. The Way I Saw It. Athens 48. Reviews. 48. The Kaje Previews. Festivals

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Text: Jeremy Williams Image: Simon Annand

Leo Richardson

Actor/writer Leo Richardson knows how lucky he has been. The Webber Douglas Graduate was already doing well for himself on the acting circuit, but it was when he put pen to paper that life got shifted into ﬁfth gear. “‘Shitmix’ was the ﬁrst play I’d ever written. We workshopped it at the National, so that was lucky. I had been cast for an acting job, then my part got cut so the director asked if there was anything she could do. So I said, “you know what, I’ve written a play.” So she read it and called me back the day after and said she wanted to direct it. Having her to get it into the right hands was an amazing move.” The Kaje

Having never written before, Leo had taken a gamble and put pen to paper, fully unaware of the doors it would open for him. Gone are the days of construction work to ﬁll the acting gaps. Workshopped at the National, performed at Trafalgar Studios, Richardson’s “Shitmix” garnered praise from all corners. “I think with “Shitmix” the typical thing was that critics would say is that it would make a great locale for a sitcom.The characters are like people you know. People just kept telling me to do more with it. So I played around with the story and decided it had to be done.”

“If someone is young and talented then it needs to be nurtured.” However, the transition period from play to television was not as easy as Leo imagined it would be. “”The actual writing of it, from stage to television, was easy, almost effortless. Which is why it felt so right. Before I wrote the TV version and met TV people, was the part I found more discouraging. In Britain it is all about age and experience, but I think if someone is young and talented then it needs to be nurtured”. Far from opening doors instantly, Leo noted that in some cases snobbery existed and he came to the conclusion which follows. “The attitudes in Britain, I ﬁnd can be really uptight. The Americans are very pro young talent. If a young person walks into a television producer’s ofﬁce they are dubious, whereas in America they get excited.“ “I think if you want to do something, you need to just make people listen to you. Just be fearlessly optimistic.” Persistence pays off. Leo was determined to succeed and eventually found a home at the BBC, whom he can do nothing but sing the praises of. “I have to say the BBC have been amazing to me, just so supportive and welcoming.”

acters people will like. They aren’t too cool, they are just real. They aren’t kids who can fly down drainpipes and land safely at the bottom. They are all vulnerable.” A coming of age series devoid of the glorified melodramas, Leo has taken a look at his own youth and those of people around him currently to ensure that rather than simply sensationalising reality his work has an integrity. “People often see me as someone I’m not. They think that I’m a party animal, when the truth is very different.” Realising that perceptions aren’t always reality, Leo wants to capture today’s teenagers as they are and not as the press perceives them, not everyone is a drug taking, knife-wielding hoodie. “There aren’t lots of drugs. There is an incident with canderel, but its mainly booze. That’s what I see 17 year old kids really doing.” Writing with a teenage target audience, Leo firmly believes that his actions have direct consequences. “I think that “Skins” is socially irresponsible on lots of levels. The message they send out can often be wrong. The advertising sequence for the third series was a bunch of people smashing up a pub. That for me is not the right message for young people. I really believe that in television you have to send out the right message to people. “Skins” was a really successful series and I don’t want to put it down or anything. But for me, I think you have to create a world people live in and not one that doesn’t exist.”

“Skins is socially irresponsible on lots of levels.”

The focus on writing has meant that the acting is currently taking a backseat. “I just took my producer’s advice really. It was just that I had never really done this before and I would learn a lot. It would be so much pressure for me to just do the writing, as that is enough pressure as it is. Just so as “I think the BBC need something like this to com- not to cloud my head too much.” But Leo has not pete with E4, who make brilliant shows. They need written off his acting dreams, merely found a dual shows for younger people. I only write stuff that I career. I am in talks with BBC3 about a new series think will entertain people.” Having changed the I have written called “Beautality”, which is someproduction’s title from “Shitmix” to “Stanley Park”, thing I have written and also plan to act in.” in order to align himself with BBC guidelines, Leo knew he had to maintain the honesty at “Shitmix’”’s Be it writing or acting, Leo is not complaining about his workload. Whilst currently “living in limbo, or core to ensure it’s appeal. hell” whilst the BBC decide whether to commission “The characters that I write in “Stanley Park” are a full series of “Stanley Park”, Leo is “just getting kids that live in a world full of consequence. I think on with other things” and creating new opportunithat is the important thing. I have tried to write char- ties for himself on both sides of the big pond. “Stanley Park” airs at 9pm on 10th June (BBC3)

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You started out on the solo trail at just 15, has music always been your driving force? I’d been into music from an early age, I started dabbling with guitar and drums when I was about 9 but started taking it seriously when I was about 14. It was starting to see bands live that really developed my passion for it. Having started out as a solo artist, what prompted your decision to form The Pleasure Principle? I started playing solo gigs when I was 15, I’d have loved to have been in a band but didn’t think that anyone would want to be in a band with a 15 year old girl. About 18 months after my ﬁrst gig, I’d played up and down the country doing about 60 gigs in that space of time. I was frustrated with the sound that only me and a guitar could make and wanted to play live the stuff I was producing on Garageband. So I got in touch with some people and friends that I knew on the local music scene and that’s when it really stepped up a level.

“I think alliteration is always good in a band name.” Why did you settle on the name The Pleasure Principle? I think alliteration is always good in a band name. It also has connections with Gary Numan and Sigmund Freud. What was the process of piecing together the group? I wanted people who were not just proﬁcient on their instrument but quite innovative with the way they play. The guitarist and keyboardist especially are really good at coming up with new noises and textures, which is great. It just so happens that they’re a bunch of good songwriters too, so it’s good for me creatively when I get to do co-writing. You are the frontwoman of an all male line up. Was this a conscious decision? Not really, not at all actually. Just so happens they’re boys! 6

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Words: Jeremy Williams Im

Would you be able to describe your sound for us? I’d say there are a lot of textures, and some of it is quite dark; but there’s parts of it that’s also accessible and pop. Each song is quite different really. Who would you say has inspired your sound? We don’t really sound like any of the bands I’m inspired by. I’m inspired by the way bands perform and their ethos in terms of relating to ourselves. Bands like The Kills, Arcade Fire, Wild Beasts, St Vincent, PJ Harvey. Festival season is upon us again, what is your favourite of all the festivals? We played Benicassim last year, which is obviously great because of the Spanish weather. In terms of British Festivals, I think Leeds/Reading always tends to have a good line-up.

“We want longevity out of this and most of all credibility.” The year has already seen female vocalists Ellie Goulding and Marina & The Diamonds launched in a swathe of hype. Do you hope to receive as much attention? I think hype is a lot of pressure for an artist who may be relatively new to performing and may have been all of a sudden thrust into the limelight. We want longevity out of this and most of all credibility, hype has a reputation to hinder both of those. Do you identify musically with any of the current crop of popular female artists?

www.pollymackey.com

mages: Rebecca Kavanagh

I think the production of Florence & The Machine’s new album is amazing, as she has a great presence live. I love an American artist called St Vincent, she has really interesting song structures and has just collaborated with David Byrne. If you could collaborate with any artist, who would you choose? There’s quite a few…Jamie Hince, Thom Yorke, St Vincent, Dave Sitek. I could go on! www.thekaje.com

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Someone Who’ll Watch Over Me Charles Angiama, John Casy, Sean Brosnan Words: Jeremy Williams Images: Arno

The Englishman, the Irishman and the American is the opener to many a bad joke. Yet in Frank McGuinness’ compassionate, tragic and funny play, the simple setup takes on a whole new depth.“Most of us have felt powerless at some time in our lives so identiﬁcation at that level is not difﬁcult; living with the reality of imprisonment, random beatings, torture and death is not. Keenan’s “An Evil Cradling” is as good a description of his emotional journey as you could have.” Working away in a London rehearsal room, the cast of INDA’s latest production, Frank McGuiness’s “Someone Who’ll Watch Over Me” are having to explore “confrontation and adversity” as they get to grips with the emotional journey of a hostage.

Based upon the real life incarceration of Brian Keenan in Beirut. The Belfast born writer found himself kidnapped by the Islamic Jihad on the morning on th 11th April 1986. Having spent two months in complete isolation, Keenan ended up in a cell alongside John McCarthy and Terry Anderson, a British and American journalist respectively. It would be over four years before Keenan would see the light of day again, not just due to the fact that he was locked up. To add to his ordeal, Keenan found himself blindfolded with his hands and feet in chains for the entirity of his captivity. Upon his release, Keenan published “An Evil Cradling” to detail his experience. Inspired by Keenan’s ordeal, McGuiness penned 8 The TheKaje Kaje 16

“Someone Who’ll Watch Over Me” in 1992. Though based on the true story, McGuinness used creative licence to explore three men’s ﬁght for survival. McGuiness maintains the three men’s true national identities, using them as a device to see how three nationalities cope under constant surveillance with the same goal; to stay sane and leave alive. Formed in 2006, the Irish Network of Dramatic Arts (INDA) is one of the country’s most exciting upcoming theatre companies. Founded by Tom Begley and Susan Cummins, both actors who “want more Irish drama on stage”. “Someone Who’ll Watch Over Me” is the company’s fourth production and was chosen as a simple yet

Over the Rain Dream and vote.” He is joined John Casey as Irishman Edward and Charles Anguiama as American Adam.

moving exploration of three men forming a friendship through adversity. “Although written in 1992 the piece travels well, in that hostage situations are still part of the Middle East’s story. Also, how people deal with the extremes of adversity does not age.” Though the piece was penned as a response to a situation nearly two decades ago, the resonance with today’s society is crystal clear.

Anguiama agrees with Brosnan to a degree that the world today has parallels with the world twenty years ago. Yet for him, there is one fundamental difference, “the internet and the power of web communication. I’m not sure that it has a great bearing on the attitude of the characters. The key point is the attitude of the characters which is speciﬁc to the situation and circumstances. The emotions of a hostage are similar to the emotions of anyone who is forced to deal with reality. The key issue is confrontation and adversity; these two things are the hostages’ greatest adversaries. In the ﬁnal analysis, each of the characters has to conquer himself.” For Casey, the piece has more personal relevance. “Having lived in Ireland and taught in Belfast and having been a parent living away from of a young family help me to identify with my character. In committing to a play like this in a polarised world, I am aware that it will affect its audience, my job is to represent the author and the director’s intentions.”

However, being able to identify current issues as “Someone Who’ll Watch Over Me” runs similar is not the same as having to portray the 14th June – 4th July at The Pleasance Theatre, London emotional journey undertaken by a real victim. www.indauk.com “Unless you have been in the situation yourself you can only guess what emotions the hostages endure. In this production, as in all INDA productions, in rehearsal we take our characters to pieces by hot seating them and probing to delve into the inner being – what really motivates them (an actor’s word, I know) and what effect do outside inﬂuences have upon them? For example, the mood of those with whom we are incarcerated. How much does depression or a manic state affect our own actions or thoughts?” Sean Brosnan, who plays Michael - the Englishman, could also be seen in INDA’s succesful tour of “Sive”. Used to INDA’s rehearsal process, he is ﬁrm believer in the necessity of thought provoking theatre. “I believe an audience should always be asked to think about what they are watching and I do my best to help that to happen. Why go to the theatre if you want sop? You can stay at home and watch TVs I’d Do www.thekaje.com

PHANTOM LIMB Text: Jeremy Williams Image: Lel Burnett (Mute Media)

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Named after guitarist Stew Jackson’s ex-girlfriend’s amputee Dad, Phantom Limb have been recording together since they treated to themselves to studio time as a pre-Christmas present four years ago. Having garnered praise for their high-energy live shows and lead singer Yolanda Quartey’s unforgettable vocal, Phantom Limb appear to be making headway for Country Soul in the UK. The Kaje was lucky enough to have a few minutes of Yolanda’s time to ﬁnd out about their journey so far. How does the group work? Well I’m mostly in charge of lyrics and melody, I suppose but Stew and I write most of the songs. I’ll bounce things off him melody-wise at times. But everyone in the band has written or had a hand in writing a song on the next album. You have already released a studio and a live album – where do you think the band thrive? I think you have to see us live to get the full picture, and we’re recording our next album live to capture what we do. It’s the moments outside of conscious thought that give you the feel and vibe in an album.

“It’s good news when you feel that everything is brand new, it means you still have plenty left in the tank.”

gets hold of it. Do you have a favourite song from your repertoire? No I don’t. I don’t do favourite songs as I can never choose. What has been the highlight of your touring life? We went to South by South West in 2008 and had so much fun I wanted to move there. That was the best time I’ve had and I’m looking forward to playing in America this summer.

“I’m not so interested in featuring on other records as an artist, unless Bob Dylan has a space for me!” Who has inﬂuenced you on a musical level? Mavis Staples really did something to me. I don’t think I’d be doing what I do now if it wasn’t for her. If you could work with any artist, who would you choose to work with? Neil Young, he’s a personal hero. As an artist, do you intend to focus fully on Phantom Limb or are you still open to collaborations with other acts?

You are back in the studio again – how is that going?

Well it depends who they are, I love collaborating as a writer but I’m not so interested in featuring For me, it feels different - new. The process feels on other records as an artist, unless Bob Dylan like I’m able to get inside each track and figure has a space for me! I am selfish at the moment it out instead of depending on lightening bolts of and I want all the best stuff on our album. inspiration. In the business of writing, it’s good news when you feel that everything is brand new, The band are based in Bristol, which has a thriving music scene. What do you think it means you still have plenty left in the tank. makes it such a great breeding ground for Has your sound developed since the first music? record? Musically Bristol in it’s own way has tried to play Yes, I think this record will feel more of a grind. It tricks on every honest musician, it’s a mockery feels sexier, angrier, heartbroken and a little less of a city. The sheer denial of hopelessness is the high brow. We keep saying it’s truck driving mu- source of never ending inspiration. But hey, you sic. I’m just looking forward to what will happen get some of the best music from pain. when Marc Ford (who is producing the album) “Phantom Limb” is out now. www.phantomlimbmusic.com

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Words: Jeremy Williams Images: Jenny Westbrook

Jenny Wtbrook

Having been married and divorced, with two grown up chil“I was always going to take up painting, I dren, Westbrook painted all the time when I was a child but realised the wasn’t really encouraged. It was consid- time had come ered to be something that you didn’t make to take control any money out of, although throughout my of her destiny. life I’ve always drawn. My mother was a reli- As a teenager gious zealot and disapproved of what I did so she had been a I didn’t go the normal route of Art College. I hippy, spending left home early & did a lot of travelling about. a lot of her time My early life was very unsettled so it was only travelling. Her in my 40’s that I really had a chance to start journey to adultpainting; my children had grown up & were hood had been independent.“ inspirational, but she had never taken to the time to educate herself in the manner she had hoped. After so many years out of formal education, she found that “returning to education as a mature student wasn’t as scary as I thought it would be, I was convinced that I would be in a real minority when I first went but it wasn’t like that at all, there were a lot of mature students. Art is quite often put off by people until the time is right, and people of my generation were often discouraged and told to get a proper job. It was difficult and wonderful as well, I was finally trying to fulfil my destiny.” “My images very much represent elements in my life. When my painting was They say that the life of an artist is always one of more figurative I struggle, but as Stroud-born, Gloucester based started painting Jenny Westbrook proves, persistence and de- images of womtermination always reap rewards. Having been en usually in hisunable to fulfill her childhood dream, Westbrook torical costume happily undertook the role of mother before re- from the neck turning to her passion as a mature student. down so that you just saw their fig“Art is quite often put off by people ure with no head, until the time is right, and people of sometimes there my generation were often discour- was a dog, this was just after my aged & told to get a proper job.” mother died, un-

The Kaje

www.jenny-wes

stbrook.com

circumstances. It was obviously a disturbing time, I lived on my own with my dog and I was thinking a lot about death & life, you know – Is this it?” Having learnt from life’s hard lessons, Westbrook is unafraid when it comes to depicting the personal in her paintings. Rather than run away from her experiences, be they happy or sad, Westbrook sees her artwork as her voice. “I used to be scared producing work that was revealing when I was at Art College, in fact sometimes I felt naked, and everyone seemed so ‘knowing’. But now I think who cares? Everyone realises that life is not a breeze and people suffer & we all act like idiots- everyone!, and I believe it is imperative to explore my neurosis, psychology & emotions in my work, what else should I paint?” Early on in her artistic rediscovery she found that some of the Stuckist ideology resounded with her own, ‘’basically, Stuckism is anti-conceptual art and against the ego artist, I’m not against conceptual art I’m just against so much of it having so much dominance, and in my heart I believe in getting up & painting on canvas’.

“I don’t think of painting as therapy or release but I feel mightily unhinged if I don’t do it.” “I think of my work as a place (in my head) where I can invent everything that inhabits it, it doesn’t have to

look like planet Earth. I don’t think of painting as therapy or release but I feel mightily unhinged if I don’t do it. I often get a surge of creative energy late at night and work into the early hours, the time that life is at its most creepy.” With the constant change in her personal life, Westbrook’s art is constantly evolving. Gone are the dark days of historically inspired tragic women, with Westbrook having moved into brighter, more abstract territory. Yet, the lighter movement and joyful colouring are necessarily a sign that Westbrook has

fully come to terms with her difficult past. “Sometimes the work appears to be quite happy & playful, which is fine, but there are tangled threads running through, and some dark areas, if there are butterflies they are black butterflies.” As her confidence has grown, Westbrook has realised more about how best to explore herself as an artist. “I don’t use preliminary sketches, it’s not natural for me as I work intuitively, I don’t usually start off with ideas, it’s an organic process without a plan. It happens on the surface and changes a lot, it’s a bit of a journey – one mark leads to another one, one decision follows another, the picture grows from the abstraction, it has a life of it’s own. Painting is mysterious, and when I’m involved in the process I really don’t know where it’s going. I want my work to be beautiful, inventive, spiritual & poetic rather than clever & slick - that’s what I’m trying to do with all my heart.” www.thekaje.com

The Album - OUT NOW! http://www.myspace.com/blamejack

“softly-strung melancholia with delicate harmoni and romantic-tinged meanderings” - Maverick “Blame Jack’s brand of summer-song folk brightens even the darkt day.” - Zap! Bang!

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Text: Jeremy Williams Image: David Tett

“I had to literally just ask myself a question, “Do you think it’s ok to eat the mould off the bread?” But I don’t know why, I just feel the need for a bit of mould in my life.” It is early-ish Saturday morning and Lucinda Belle is rushing about doing her chores. She has not had time to get to the shops and her bread has gone mouldy, but she needs her once a year dose of Marmite and so what she has will have to do. As Lucinda munches between sips of tea she tells us all about how playing harp for Robbie Williams has lead to her leaving the family launderette.

Lucinda Belle “There was no other question in my life about what I wanted to do.” The Kaje

So, what is to be - the music or the dirty washing? Well basically, the launderette business is up for sale, so I am not ﬁnished with that really. My feeling about the launderette is that I’ll be sad to see it go but I am extremely excited about pursuing my career in music. It is something I have been waiting for all my life. The record deal came about because I was working with Robbie Williams on the Electric Proms. I was playing the harp and backing singing. I was asked to do that through Trevor Horn. It was just one of the most amazing experiences ever. So the story goes, I got spotted by Fearne Cotton and Greg James and they asked me to go on their show. I ended up sort of featuring as a harpist and doing lots of cover versions, like Green Day and Elbow, on the radio. I got spotted by Universal and that’s when it all sort of really took off. But my theory on life is that luck is opportunity meets dedication.

“Luck is opportunity meets dedication.” How do you choose which songs to rework? I don’t really do covers unless I think I can impose who I am onto them. I don’t think there is any point in doing it otherwise. So, how do I pick my covers? I guess what I tend to do is I speak to people who’s opinions I respect. I am always open to ideas when people say how about you cover this or that.. Then I also go into songs that I really like. I am giving you the whole detail here. I download the lyric. I break it down. I listen to the song. Then I just attempt to do them on my own. If I feel I am moving the song away from the original in my direction, then I will go with it. If I don’t and I feel it is too close to the original then I won’t do it. I want to put my stamp on something otherwise I won’t really do it. What has been your favourite so far? The Lady Gaga (‘Telephone’) one is actually my favourite one for two reasons. Firstly I am crazy about Lady Gaga, I just love her. I love all her songs and I just love what we came up with. The version that I did just seemed to work. When I am doing things like that, I am just consumed by it. I do it, then I go back and I think ‘how did I do that?’

Your forthcoming album “My Voice & 45 Strings” also features original compositions. What are your inspirations? Firstly I draw my inspiration from ordinary everyday life experiences. I have to say that I got some of my ideas from sitting in my launderette watching the machines go round. There is a kind of rhythm to that. Other than that, I draw on the emotional kind of thing. The album is about indecision, it’s about love, it’s about loss and about hope. It is basically love in different guises. It is sentimental. It is all of those things and they represent who I am as a person. So I think one could safely assume that I am a bit of a romantic.

”I was trying to run away from who I was.” What made you choose the harp? I clearly have to blame my parents for that, but I will do is give you a big reveal; so far in my interviews I have swapped parents and given them both credit. In my ﬁrst interview I think I gave it to my Mum, then my Dad called me up and got really upset. So in my second interview I gave it to my Dad. The truth is that they suggested playing the harp when I was about six. So I went along to this woman’s house for some lessons and it was amazing. The rest is history. I wanted to be a ballerina, saw the harp and fell in love. When I was in my early twenties I was experimenting with music and got really into r’n’b which was trendy at the time. I was a bit scared to use the harp, because I didn’t see the harp as central to that. I think in a way I was trying to run away from who I was. It was really refreshing when I came back to the harp. It felt really comfortable to suddenly know who I was in life, which is a harpist and a songwriter. Did the identity crisis help you realise you wanted to perform? That was genetic. It was written in the stars when I was born. There was no other question in my life about what I wanted to do. There was never another ambition about what I could do. It’s kind of like playing the harp, which is just a part of who I am.

“My Voice & 45 Strings” is out on May 10th. www.thelbo.com

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Naoko Mori Text: Katie Meehan Image: Gary Moyes

As the ﬁrst Japanese national to star in the leading role of a west-end production of “Miss Saigon” at the tender age of 17, Naoko Mori has gone on to rack up an array of credits, including: playing Saffy’s quirky best-friend in “Asolutely Fabulous, Dr. Sato in Eccleston’s ﬁrst series of “Doctor Who”, a leading role in musical “Avenue Q” and computer expert Toshiko Sato in “Torchwood”. Having proved herself as a talented and versatile actress on stage and screen, Mori is re-united with Christopher Eccelston for her latest role, as Yoko Ono alongside Eccelston’s Lennon for BBC4 drama “Lennon Naked”.

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Can you tell us a little bit more about Lennon Naked? ‘Lennon Naked’ is a one-off drama written by Robert Jones that looks at John Lennon’s life from 1967 – 1971. He went through an intense period of change during these years that led him to shed everything – both creatively and personally. From the sudden unexpected death of Brian Epstein, re-establishing contact with his father, and meeting Yoko Ono - to divorcing his wife Cynthia, the break-up of the Beatles, and him ultimately leaving Britain to start a new life in the US with Yoko. As well as looking at the impact these events had on him, the ﬁlm also looks at the impact of his troubled childhood, and issues of fatherhood.

“I remember thinking how strange she sounded, not understanding and feeling a little scared.” Were you a fan of Yoko Ono before taking on the role? I wouldn’t say I was a fan per se – but I’ve always been curious and fascinated by Yoko Ono, and have been since I was about 5 years old. My brother (who is an artist) was/is a HUGE John Lennon fan – so I grew up listening to the Beatles and John Lennon – and hence, so was I.

The first and foremost was to understand her (truly). As an actor, it’s vital to understand and know the character you’re to play inside and out – but 500% more so with someone like Yoko Ono. After all, you’re ‘portraying’ a real (living) person and a true icon. My first step was to research her extensively and in detail. I watched every archive footage I could find, read virtually everything out there about her, studied her and her works and listened to her songs day and night - trying to decipher and understand her. In order to make sure I portrayed her as truthfully, accurately and fairly as possible, I tried to not to be swayed by what others said/wrote about her (views/opinions) – and tried and get to the real her (truth/fact) – and her as an individual and as a woman. This to me was crucial - as I’ve always believed she was treated rather unfairly during those years, and often misunderstood (or plainly just not understood).

“I’ve always believed she was treated rather unfairly.” Were you able to identify with Yoko’s personality traits?

In my own understanding of her - yes. As a Japanese woman who has also grown up in both cultures from an early age - there were many things The first time I ever heard Yoko Ono sing was in about her that I feel I understood and personally her song ‘Kiss Kiss Kiss’. I was about 5 or 6 at the related to. time, and my older brother was playing the new album loudly at our NJ apartment. I remember think- One of these things was that she was a quite a ing how strange she sounded, not understanding private person too. One who doesn’t necessarily and feeling a little scared. I also remember clearly overtly express one’s feelings and emotions all of the horrified look on my parents’ faces while she the time. This may just be me and my own underrepeatedly shouted ‘daite’ (hug me = f^&k me) standing of her – but it may also be a particularly Japanese trait. We think and feel emotions deeply from the record player. but seldom vocalise it overtly… and this can someThat first impression had always stayed with me times be misconstrued/misunderstood in the west- even as I grew older. I knew she was cool avant- ern cultures. garde artist – but I didn’t quite understand her and her music/art. I was curious to – but she was such It’s something that is inherently in us – perhaps bean enigma, a mystery to me. Almost like this ethe- cause of our culture, beliefs (and our history) – to real woman whom I’d never understand. But hav- be private, to not overtly express (especially priing researched and learned so much about her for vate emotions), to be still and strive for peace. ‘WA’ this project, I understand her much more now. I which is our word for ‘Peace’ – as well as ‘Harreally get her – and her work. I have an enormous mony’ – is an extremely important and cherished amount of new found admiration and respect for word/belief in our culture, represents much of our personality. her; I can definitely say I’m a big fan now. What steps did you take to ensure your characterisation of Yoko was accurate?

“Lennon Naked” is part of BBC4’s Fatherhood Season in June.

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Tim Turner is clearly a man pursuing his passion. As a fan of both blues music and football, though more speciﬁcally Watford FC, in ‘The First Time I Got The Blues’ he has written a highly entertaining novel, incorporating both of these elements. This is embodied in the name of the band in which the main characters play – the Blue Hornets – with the Hornets being Watford fans’ nickname for their club.

Tim Turner

“I don’t want to write about myself” 20

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Text: Jason Newton Image: David Tett

Growing up in the 70s in a small town near Watford, one of Tim’s friends played in a local blues band in a local pub at a time when it was still a relatively new and exciting genre and hadn’t really hit the mainstream. The blues covers the band played led him to listen to the Rolling Stones and the Yardbirds who themselves were playing covers. It was through this route that he came across blues legends such as Muddy Waters and Willie Dixon for the ﬁrst time and this is also how the main characters in the book discover their passion for the blues.

“The more gigs he went to, the more he started thinking about the people in the bands.” As he grew older, he started going to see blues bands more frequently and at that time, there were always bands playing the blues, especially in South London. Over the years, the more gigs he went to, the more he started thinking about the people in the bands. The generally middle-aged and occasionally pony-tailed men playing the same old songs year after year on the circuit. Were they playing for love? Was it their living? Had they previously had musical success, which had since dwindled in an everchanging musical landscape? He wanted to know their story, which evolved into ‘The First Time I Got The Blues’. Perhaps in keeping with his modesty, Tim is not necessarily looking for Martin Amis-like fame or praise for his technical skills as a writer, he writes books because he simply likes telling stories. As a writer, he wants to achieve what he enjoys experiencing as a reader - liking a novel so much that you need to ﬁnd out what happens next. And like many creative people, one of the things he enjoys about his work is that he spends his time making things up in an imaginary world. And yet, there is an absolutely clear method to his creative process.

birth, favourite bands and clothes are all vital elements in this process. He loves how ‘as the story unfolds, it almost feels like it’s not you writing, but some force acting through you.’ “I love having written but the actual act of writing can be quite tortuous.’ Tiim admits to not being a very disciplined writer and how trying to find both time and inspiration simultaneously is one of his greatest challenges in life. With that in mind, he sets himself regular targets such as completing five hundred words per session four times per week to help him maintain creative momentum but it can still take a while to finish. In fact, ‘The First Time I Got The Blues’ took five years in total to complete. This is because Tim’s process includes a number of drafts which are put aside for a while for him to contemplate and then return to at a later date with fresh eyes. After the success of his first critically-acclaimed novel “Grown Up People’ and now, the delightful ‘The First Time I Got The Blues’, Tim has also completed his third novel ‘The Celebrity Next Door’ about an ageing, formerly famous and successful black footballer causing intentional and unintentional social havoc by moving into a quiet, white, middle-class neighbourhood in the 70s and he is already working on his fourth as-yet-untitled book. Celebrating his 40th year as a passionate Watford FC fan and spectator, Tim also spends his spare time pursuing his passion for music including Chicago blues legends such as Muddy Waters and Howlin’ Wolf and travelling the world to see the modern-day New Jersey ‘blues’ of Bruce Springsteen in concert. ‘When you’re up on that stage, nothing can touch you. It’s a paradox. You can’t play the blues and have them at the same time. It’s when you stop playing that your troubles start.’

This last line from his most recent book is Tim’s way of showing people who often associate the Before writing the story, Tim always creates two blues with sad music, tortured guitar solos and slow things – a detailed chapter plan and a CV-style fact mournful blues that the blues can also be good-time, sheet. The chapter plan gives structure to the story feel-good music. And as if to reinforce that message and the emerging characters and it is only once he as we end the interview, Tim’s parting words are: has written these plans, he starts writing the story. The fact sheet is also a vital component as it pro‘The truth is that it’s life that gives you vides information about each character enabling him to almost feel how that character would think the blues, not blues music.’ and act as real people. Details such as full name “The First Time I Got The Blues” (Snowbury Books) including middle name, schools, hair colour, date of is out now. www.thekaje.com 21

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A last minute phonecall, some issues with our laptop and the standard “technical difﬁculties” that nearly always occur when you are rushing, saw The Kaje end up in Australian folksters Boy & Bear’s changing room about 90 minutes before they were due to support Laura Marling at Birmingham’s Alexandra Theatre on a sold out night, to ﬁnd out what they are all about....

Text: Constantinos Kypridemos Images: Jeremy Williams

This is the band’s ﬁrst exposure to the UK music scene. Having ﬁnally broken in their home country, the troupe hope to repeat their chart success on these fair shores. A melange of melodic folk rock, the boys have their own way of describing their unique sound...

How have you found coming over to Europe?

Who said that!? That’s probably a good thing, we get compared to another band a lot more unfortunately. Though if you haven’t found that out for yourselves, we won’t tell you who that is!

“We didn’t expect to get such a great response.”

Everywhere has spoiled us. We didn’t expect such a great response, especially from people who haven’t really heard our music before. When we play back home maybe people have Indie-folk with an electric shock – that’s the only heard one or two songs, and can sort of go “yeah way we could explain it for a while, we still have there’s that point in the set, that’s that band”. But the big drums, dirty guitars and big vocals, but here the ﬁrst time that we played a set, we found indie-folk with an electric shock ﬁts well. that the crowd’s tougher, they tend to appreciate our sound more, and they are a lot quieter than What do you make of the Mumford and Sons we are used. Its kinda nice because it gives you comparisons that you are getting? some space to play into.

How did you get together as a band? Tim, Killian and Dave did the same course at uni – our manager went to uni with them and he played in the same band as Jake. Jon is Tim’s brother and so it’s like a big inbred kinda family. We are all from different bands originally, and we often supported each other at gigs, and then we just starting jamming together and playing together, and ended up helping each other out, ﬁnally then they put a name to it.

“It’s like a big inbred kinda family.” How did John come in this year? Is it “I’ve got this brother…” and just got added in?

So people are there to actually listen to the music than talk over you? Yeah Any tracks going down well on tour? ‘Mexican Mavis’, all the acoustic numbers and generally the songs in the second half of the sets, when the crowd get us more. A lot of the stuff we’ve read online seems to say that we have a unique sound and it takes people a little longer to get into us. What sort of a response have you had since coming over? Our online trafﬁc has gone through the roof, a lot. It’s good, because you expect it but don’t look forward to it, but when you get it that’s good. Do you want to come back to the UK?

Deﬁnitely, hopefully later on in the year, but we Yep! Anything we recorded and couldn’t play live, need to ﬁnd a way to do it. we decided we wanted to be able to and John could do all the keys, mandolins, the b.v’s and it was like why bother looking anywhere else. www.myspace.com/boyandbearmusic

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Text: Jeremy Williams Images: Arno

“It is challenging, I am not going to lie. I didn’t fully appreciate how challenging it was going to be. There is one sexual gay scene which I am ﬁne doing, I am an actor, it’s a job. But I didn’t realise how hard that would be. There are also two nude scenes, but that’s ﬁne as well. We just laugh about it. I am sure by the end of it I will be liberated. I will have to do a completely nude run at some point. But they are challenges I am willing to embrace as they are cruical to the story. Acting is about pushing your boundaries, delving into characters that you’d never come across.”

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When Cerith Flinn got sent the script for Dylan Costello’s new dark comedy “Fresh Meat” he did not ﬂinch. A challenge had landed at his feet and he saw no other option than to rise to the challenge he was presented with. As a recent graduate of the Drama Centre, he knows full well that good acting jobs are hard to come by and he is more than willing to grab any opportunities that come his way with two hands.

pliments in the play, but he just bats them off or doesn’t even realise that they are compliments. He is kind of like me in that way, I can really relate to that in him.” Having found a connection with Lenny allowed Flinn to undertake his dark journey without further hesitation. Whilst Flinn concedes that he has the conﬁdence which Lenny lacks, sharing traits has been beneﬁcial in creating a rounded character.

“I am starting at the deep end, with a cannibalistic play.”

Yet conﬁdence issues aside, Lenny’s compulsive need for death is removed from Flinn’s own driven mindset. Whilst Flinn thrives on life and new challenges, life itself is too great a challenge for Lenny. “He has this chirpy demeanour which contradicts the fact he is deeply lonely and desperate to die. He’s grown up a single, lonely child without any parents. His mother put him in a care home when he was very young, so he grew up without love and affection. He didn’t have any attention from anyone. Without any love, he has been driven to this stage.”

Not that he has need to worry, since his graduation just over a year ago, the Llanelli boy “went straight into theatre, “Under Milk Wood”, which as a Welsh actor made me very proud. Then I did TV, “Hotel Babylon”, a great experience. My goal is to continue to get roles that allow me to grow as a young actor .” Upon speaking to Flinn, a hunger for success is instantly evident, this hunger clearly allows an openness to prevail that many a performer may allow to crush them. He openly admits “I am prepared to take on any challenge, I’d give anything a go. I am starting at the deep end, with a cannibalistic play.” “As soon as I read the script, I knew I had to do it. It is a really great script, Dylan Costello has really done a good job.Even though I knew it would be a challenge I was excited.” Far from being perturbed by “Fresh Meat”’s challenging subject matter, Flinn studied the role he was being asked to play in order to ﬁnd out if the role was worthy of his time. It did not take long before he realised that the desperately lonely Lenny Sharp was really not that far removed from himself. “He is a vulnerable character and the dark comedy aspect of the script appealed to me. It showcases my skills really well, one of those is vulnerability and sensitivity. But even though he doesn’t know it, he also has great comic timing. I just related to that. I like that he is just completely unaware of the personal situations going on. I am just as useless. I am useless with girls, I never know when a girl is attracted to me or anything.” “He is completely naive. He is paid a lot of com-

“I like that he is just completely unaware of the personal situations going on. I am just as useless.” A desire to die as his driving force, Lenny is unable to kill himself. This plot device allows Costello to explore in comedic fashion the dark world of cannibalism. “ He can’t bring himself to commit suicide. People may ask why doesn’t he do it himself, but he just can’t. So he hires a hitman to do it for him. But the hitman falls for him as well, so he can’t kill him. So, he meets a stranger, who offers Lenny another way out, a very alternative way, he offers to eat Lenny. He is a cannibal, he calls it euthanizing. He calls himself a humanitarian. I’d call him a murderer, but he is adamant that he isn’t as if the person didn’t want to die then he wouldn’t do it. In his eyes it is euthanasia. “Fresh Meat” will make you uncomfortable. There are scenes that are in your face, but it is purely a dark comedy. It makes you sit up and notice.” “Fresh Meat” runs 8th June – 4th July The Courtyard Theatre, London www.act1productions.com

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Lachlan Buchanan is a 23 year old Australian born actor. He hit the small screen in 2008 as Charley Prince in Blue Water High, before moving on to film with the recently released surfer drama “Newcastle”. He has now moved out to the US and just finished filming “Arcadia Lost”, with Nick Nolte.

ents when their car flies off a cliff into the ocean. They wake up on the shore, lost and disorientated, until they meet a strange man (Nolte) who takes them on an existential journey through Greek countryside... it’s sort of hard to explain and I honestly don’t know how it’s going to end. I was only in Greece for a few weeks to shoot my scenes, but they were trying, to say the least. I “Newcastle” is out on DVD in the UK. Who is had Tonsilitis the entire time and we were in the middle of nowhere in 40 degree, humid weather the movie for? with terrible food. Haha, having said that, it was also a paradise so I certainly can’t complain. I feel like the idea of “Newcastle” is for audiences of all types and ages to take something away from the film and reflect on their life. Whether And working with Nick Nolte? it’s a memory of childhood days now gone, or a sense of hope and joy for those living in similar The whole cast and crew were great to work with, but Nick is a fascinating human being. He’s one situations. So really the film is for everyone. of those people who’ve been there, done that. You’ve been acting since a young age, and So he has great stories about the industry and you’re also a surf fanatic. Did you always his life, and is also very talented - I learnt a lot watching him on set. hope the two would meet? I can honestly say it never crossed my mind. Combining the two wasn’t something I really saw as realistic, but now that I’ve shot a movie and TV series based around surfing it really has come to life. It’s pretty awesome, not many people can say they are doing the things they love in life, so I feel very privileged. Was it competitive on set?

Do you prefer working in Australia or the USA, and where else in the world would you like to film? I’d love to film EVERYWHERE! Actually I’d really love to do a film in France one day, and put my French linguistics to use. When it comes to Australia and the USA... I don’t have too much of a preference, though for now I’d love to keep it in the States.

The set was not competitive on Newcastle, no. Everyone was very chilled out and respectful of “Newcastle” and “Arcadia Lost” could both be described as ‘coming of age’ movies. one another, and it was a whole heap of fun. What makes a good example of the genre? Were there any accidents?

There are a lot of ‘coming-of age’ movies out Nothing serious, just funny things like the entire there, though one that springs to mind would water crew (jet skis, sound, cameras, various have to be “Billy Elliot”. There are similarities bepeople) drifting into the break-zone on a day with tween it and “Newcastle” for sure. Troubled youth huge swell and not realising, only to be completely figure trying to find his/her place in life, facing the pummelled seconds later. We were pretty lucky trials and tribulations on that journey and coming actually - two weeks after we wrapped shooting, out the other side a different and generally better a huge storm hit Newcastle and pushed a giant person.... coal ship aground right on one of the beaches Are there any moments in your life where you we used to shoot at. That could’ve sucked. feel you ‘came of age’? What can you tell us about “Arcadia Lost”? We wrapped on Arcadia just over a year ago now. The film is centered around a brother and sister who are touring in Greece with their par26 The Kaje 10 The Kaje

Certainly. When I broke up with my ﬁrst serious girlfriend, that changed my outlook on life in many ways. “Newcastle” opened my world up a lot and taught me many lessons in life. The biggest

Words: Tim Macavoy would probably be moving to the USA and really being snapped awake by having to take care and responsibility of my life. So what do you want to be when you grow up? Well I never plan to grow up, so for now, I’m happy acting. “Newcastle: Australia” (Pecca Pics) is out on DVD now.

Lachlan Buchanan “Not many people can say they are doing the things they love in life, so I feel very privileged.”

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27 11

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Signed Temposhark CDS: Graham Spencer, Taragh Bissett, Jodie Green, Sarah Smart, Tim Hughes Signed “Give Me Your Hand” Poster: Mike Brown No Machine T-Shirts & Singles: James Parker, Danni Wright, Dominic Hall, Adrian Lower, Adam Brown Black Sabbath ‘Diorama’ Collection: Sarah Lovell www.thekaje.com

Text: Jeremy Williams

B ANG 30

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A sunny Monday afternoon is already enough of a rarity in the UK to warrant a special status, so being allowed access to London’s most exciting and exclusive new club as the golden rays shine down on my previously pale skin is almost incomprehensible. The club I am about to tell you about is so exclusive that is only has two members. John and David are The Bang Bang Club.

given them a conﬁdence they had not had as 18 year olds. They were no longer afraid to express themselves. When they had ﬁrst met, they had both wanted the same dream and set about creating their opportunity. However, the change in circumstances prompted further thought.

“Two opinions are better to deal with than five. At least if we fight, it is just the two of us.” The an“We first met ten years ago, one day we started swer had been staring them in the face all along, writing and so we put a band together. That was they had just been too inexperienced to explore Protocol. We released some singles and went the terrain previously. But having graduated from on tour. It came to a point where we wanted to Protocol, they were able to take the baby steps strip it back to the two of us and make a record in the new direction. that represented us. It just felt like the right time “Two opinions to do that.” Having had a modicum of success as part are better to deal of the indie rock quintet, with than five. At the founding pair decided least if we fight, to head off in their own diit is just the two rection. “It came to a point of us.” where everything in the music industry was a band, but First off though, the new we wanted to be a duo.“ project would need a name. Given their synthDave explains the transition, pop heavy sound and the “I moved to London when exclusivity of their new lineI was 18. We just started up, The Bang Bang Club Protocol, a five piece. We is seemingly inexplicable. toured and learnt our song“Well the clever answer writing craft. I was thinking would be The Bang Bang I want to be in a band and Club, the war photogramake music. Nobody can tell you how to do that. phers who captured pictures of the apartheid. As a kid I thought I’d move to London and make They won the Pulitzer Prize for their work and music. Protocol was our university. We learnt our ended up killing themselves. They were hedoncraft and the music business. Its more than writistic paparazzi of war. But the real answer is we ing a record, it is having control of your destiny.” really like word bang! In a sort of Warhol Pop-Art “I don’t believe in bad experi- vibe. It started with the word bang and led us to the apartheid! It all started from the Big Bang.”

ences, you make a decision at the time as it is right then.”

Having settled on a name, the hard work was Though Protocol ﬂoundered, the pair were far about to begin. The Bang Bang Club needed to from disillusioned. Having dreamed of careers in grow from a seedling into an act. Having previmusic since they were both little, they knew that ously worked and built a friendship with American producer Jack Daley, the pair decided to ask their creative partnership had life left in it. their friend to help them out. They headed over “I would never say there is such a thing as a bad to the States and just “threw some ideas against experience. I don’t believe in bad experiences, the wall to see which ones stuck.” Insistent that you make a decision at the time as it is right then. they shouldn’t over think their sound, that their Protocol showed us how to make a record, how work should be organic. However, John insists it really works. Going on tour, gave us a hunger. that Dave’s nonchalant account of the process When that ends you decide to try something out.“ wasn’t quite as lackadaisical in approach as it They had found that their constant touring had www.thekaje.com

may sound to the rank outsider. “I think it is easy to over think things and it shows through in your music and images. It is better to just be natural. There is no fear as to where we go with this, in the studio or live. I wouldn’t say we are just throwing things and seeing what sticks, but there is an organic ﬂair to what we do. We are willing to try everything out.” “Our aim on this record was to write a really good pop record. We are primarily melodic songwriters, that lends itself to the pop area. It is kind of dancey, but there is rock ‘n roll on it as well.” Working with their friend allowed the pair to be completely open with the thoughts and opinions. Conceding that on a musical level, their views are more often than not aligned, the record relied upon their mutual gut decisions and shared musical inﬂuences. “I get really turned on by James Murphy, DFA and LCD Soundsystem. He’s a genius. Damon Albarn is an absolute star. Hot Chip are amazing, they push boundaries. They are fresh and clever. Their structural approach to music, the way they can be quite minimal at times is so clever.”

“The Bang Bang Club is about selfacceptance, being anything and everything that you want to naturally be.” “It was really good working with Jack. We have that kind of relationship where we can say its rubbish. As we are all friends there was a personal level. We are able to just experiment with each other, we are comfortable in those ways. We could say if something wasn’t quite right, or if something was really good.” Having created their safe environment for musical experimentation, the pair let loose on a creative level. Determined to fuse their love of the synth, dance and rock ‘n roll in order to produce the perfect pop record with “heart and soul”, the pair drew upon personal experience to allow honesty to shine through at the core of their work. Dave explains that “a lot of the lyrics are drawn out of relationships, as they are so important in people’s lives. I was thinking the other day about being given a platform to have a voice, what would I want to say. The Bang Bang Club is about self-acceptance, being anything and everything that you want to naturally be. It is just not being scared to be that person.” Though John agrees, again he feels there is slightly 32

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more structure to their working process than Dave lets on. “We will set up a rough structure, then I’ll take mic and words just come. It just ﬂows. It is different every time. It can start with a melody or a lyric, but sometimes it is the track. It is a natural thing, it is how it comes out. We are often quite surprised at the end of the day to see how a song turns out. You go in with an idea, a guideline but you are never completely in control. A song has a life of its own. It just takes a shape. There is never a decision to make a certain record, it has to take its own shape. It is painting a beautiful picture of a scenario.”

“There is never a decision to make a certain record, it has to take its own shape. It is painting a beautiful picture of a scenario.” Having faced their fears and reaped the rewards of their working process, the pair needed to decided how best to introduce their work to the public. Coincidentally in the three years since their project started, synth had once again become a current sound. They admit “It is really exciting to see. It is great for us as it makes us more relevant.” ““Chemistry” just really jumped out because it is a good introduction, somewhere to build on. It is our middle ground. We have light and dark on the album. “Chemistry” is one of our poppier moments.” Their debut single “Chemistry” epitomises everything The Bang Bang Club stand for. A perfect slice of credible summer pop, the track has drawn them comparisons with everyone one from Depeche Mode through to Girls Aloud via MGMT and the Pet Shop Boys. Comparisons are inevitable for any new act, but the boys are both thrilled with the depth of variety in comparisons they draw. “We could sit nicely in amongst there. I love there. It means we are sort of universal.” With the album due for release at the end of 2010, the pair are now focusing their efforts on building awareness of their work. The live arena beckons, with a summer full of festival appearances but in the meantime Dave is eloquently steadfast in how he hopes their debut single will be received. “You are putting yourself out there for people to love you, but also for people not to love you. That is human nature. Either one is great. Music has to trigger and emotion or reaction. There is nothing worse than nonchalance.” “Chemistry” is out now. www.myspace.com/thebangbangclubuk

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Sometimes things get forgotten that really deserve to be celebrated. Each month we will be taking a look at an album, a book and a ďŹ lm that warrant a revisit. If you have any recommendations then send them through to thekaje@thekaje.com

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The Go-Betweens are one of those bands who never quite got the attention they deserved. Of the nine studio albums they made, their sixth, “16 Lovers Lane”, stands out as the most beautiful and inﬂuential.

make something as dramatic as it is understated and moving. The two mainstays always shared songwriting and vocal responsibilities and on their albums

As singers, writers and guitarists, Grant McLennan and Robert Forster were not only the heart of the Go-Betweens but also one of the best songwriting duos in pop-rock history. Arguably the best Australian group of all time, the Go-Betweens released their deﬁning album in 1988. Arguably “16 Lovers Lane” is one of the best albums ever made. Having started the band in 1978 in Brisbane, Australia, McLennan and Forster moved to London and got on with recording a succession of critically acclaimed but commercially under-performing albums including “Tallulah”, “Spring Hill Fair” and “Liberty Belle & The Black Diamond Express”.

“As dramatic as it is understated” Opening with ‘Love Goes On’ and the immortal line ‘There’s a cat in the alleyway dreaming of birds that are blue. Sometimes girl when I’m lonely this is how I think about you’, the tone as indicated by the title”16 Lovers Lane” is clearly set – an album of songs about the trials and tribulations of love. And like all the best love songs, they will break your heart every time you hear them. With the introduction of ‘Quiet Heart’ openly inspired by U2’s ‘With Or Without You’, the album evolves delicately with this gently lullaby to lost love and lines like ‘I tried to tell you, I can only say it when we’re apart about this storm inside of me and how I miss your quiet heart’. And yet although, “16 Lovers Lane” does have its many heartbreaking moments, the shimmering elegant acoustic pop of songs like the hugely infectious, sunshine pop gem that is ‘Streets Of Your Town’ and ‘Love Goes On’ more than express the beauty and commercial potential of which they were always capable. “16 Lovers Lane” is one of those albums where everything from the songwriting, production, lyrics, instrumentation and the vocals all come together to 36

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with McLennan’s more gentle, natural and accessible vocals and melodies contrasting with and complementing Forster’s rather spiky, artful songs. Forster never really sang, but spoke melodically in a slightly clipped way.

Although “16 Lovers Lane” is the Forgotten Gem here, I would argue that Go-Betweens themselves are the true Forgotten Gem. as one of the most under-rated bands and writing partnerships of all time. Lennon & McCartney and Jagger & Richards were undoubtedly hugely creative and successful partnerships but for me, Grant McLennan and Robert Forster have written some of the most beautiful songs of all time. “16 Lovers Lane” just shows them at their creative peak.

Text: Jason Newton

Other songs on the album include the sweet and brief ‘Devils Eye’ and the gentle, romantic harmonies of ‘Clouds’, which remind you of how it feels to be with the person you were always destined to be with and that being together forever

After “16 Lovers Lane”, McLennan and Forster decided to take a break from the Go-Betweens and work on solo albums, which they did for 12 years until they were asked to perform at a 10th anniversary party for renowned French music magazine ‘Les Inrockuptibles’. They did and it went so well that they recorded three more critically acclaimed albums over the next six years, although mainstream commercial success still somehow eluded them.

“Deep down I’m lonely and I miss my friend” Sadly, Grant McLennan died of a heart attack in 2006. So there will be no more Go-Betweens albums, although Robert Forster has since released a solo album “The Evangelist”. On ‘Dive For Your Memory’ from 16 Lovers Lane’, Forster sings ‘Deep down I’m lonely and I miss my friend’ and although it was initially written about a relationship break-up, eighteen years later and with McLennan’s sad passing away, this song seems more poignant than ever. A huge inﬂuence on bands like REM, Belle & Sebastian and Franz Ferdinand, the Go-Betweens’s catalogue of albums are full of openly romantic and idealistic lyrics with a gentle undertow of occasionally spiky and naturally melancholy optimism. Perhaps the Go-Betweens were never destined to be loved by the masses (not necessarily a bad thing) but if you have not yet listened to “16 Lovers Lane”, listen to it now. It’s graceful, sublime and truly magniﬁcent. And in your darkest days, can be a wonderful thing. But it’s not all sweetit will give you the hug you need when you need ness and light as in the spiky and aggressive end it most. And that can only be a good thing. of a relationship fable on ‘Was There Anything I Could Do?’ “16 Lovers Lane” is out now.

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Phillip has never had prolonged contact with women. He has known no mother and therefore the arrival of Rachel at his home is the first time he has lived with a women under his roof. This premise allows Daphne Du Maurier to explore how a woman’s emotions influence a man’s, especially when the man has no previous experience of these manipulations. I was engrossed in the mind set that she created in Phillip; in each analysis of the words or actions that Rachel performed and how these actions where analysis by a man unused to a women, sometimes accurately and sometimes not. As a woman it made me analyse things I say and actions that I perform and reflect on how these would be interpreted.

Text: Rachel Jacobs

On my twelfth birthday I was gifted two books from my cousin Rebecca. Wrapped up in wrapping paper were Daphne Du Maurier’s “Rebecca” and My “Cousin Rachel”. Thirteen years later I read “My Cousin Rachel” (and about time too). I love Du Maurier’s work. After reading “Rebecca” when I was fifteen I went on a Du Maurier buying spree. In between reading an additional five books over the years, “My Cousin Rachel” continued to be bypassed until recently when scanning my bookshelves I realised I needed another Du Maurier fix.

“My Cousin Rachel” does not disappoint. It is as formulaic as a Daphne Du Maurier book can be, while still being its own distinctive narrative. She is famous for her ability to create romantic nov- “She understands the power of an enels with sinister overtones. While relationships vironment in determining the character become stronger and characters become more dependent on each other, some other force or and the actions of an individual.” person is enmeshing itself into the relationship to disrupt it in some way. The strange and the unex- A fascinating study of human character, although pected appear in the common place. In this way in an outdated age the emotional trajectory that Phillip follows is reminiscent of the emotional up“My Cousin Rachel” develops. heavals and trials that men and woman have to together even today. Like a lot of her “Every thought and every word uttered negotiate books not a lot happens during the middle, life by them is entirely believable.” slides along with the pages, but they aren’t uninteresting. Her use of language is such that she Phillip’s cousin Ambrose, who raised him, mar- creates her written images in your imagination. ries, while convalescing in Italy, a woman called Rachel. Ambrose unexpectedly dies and Rachel Published in 1951, made into a ﬁlm in 1952, earntravels to England to meet the cousin. Thrown into ing Richard Burton (as Phillip) a Best Supporting this very sedate story line are a couple of letters Actor Oscar nomination, which is ludicrous as written by Ambrose before his death that cast as- Phillip is the protagonist, but I’m not analysing the persions on the character of Rachel, claiming that politics of the Oscar’s here, this book has been her arrival is driven by a desire for an inheritance almost subsequently forgotten. It was remade for from her dead husband, who not having changed television in the 80s but it has not had the perhis will, left her nothing. vading remembrance that “Rebecca” has had on our collective consciousness. Whether this is “My Cousin Rachel” as in most of Du Maurier’s because “Rebecca” was immortalised by Hitchbooks is a study of character. She creates the cock or because it was genuinely a better novel I world and the mind of our narrator so perfectly that hesitate to guess. Of the books I have so far read, every thought and every word uttered by them is neither of these two take the crown which would entirely believable in the make up of the charac- be tossed between “The Scapegoat” and “The ter. But the location, the setting of her story is an Parasites” but that does not mean one should not additional character that cannot be forgotten. The read this book. location, the estate on which Phillip has grown up, is as much a part of the story as the characters It is engaging. It is sinister. It asks questions that are. The land provides the wealth and the living it does not always answer. But above all it makes thereby shaping the characters. This is the beau- you think about the simple manipulations of the ty of Du Maurier’s literature. She understands the human being, in contrast to the complex creapower of an environment in determining the char- tures that we are. acter and the actions of an individual. “My Cousin Rachel” is out now.

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Text: George Mathioudakis

Gene Wilder was a comic genius back in the 80’s, a sort of Steve Carell - Will Ferrell equivalent nowadays. A not so known movie of his was “Haunted Honeymoon”, released in 1986; a horror-comedy spoof with a great cast accompanying him and the haunted house premise to play around with and create a mesmerising story. He succeeded when the movie came out in the late 80’s. Nowadays, if you watch it, it is a bit silly and the gags do not seem as funny as one would expect.

“Funny enough to have a giggle, and scary enough to prove to my friends that I am old enough to watch horror movies without being scared.”

ily are gathered for his wedding. And of course, scary things start happening, and Gene Wilder needs to overcome his fear in order to save his sweetheart and uncover what is going on. And funnily enough, it works. The characters that Gene Wilder has created are unique enough but common at the same time for the viewer to feel immediately drawn to them in their characters own speciﬁc way. By the end, you want the bad guys to lose and the good guys to win. Tackling comedic, sometimes slapstick, elements with classic horror ones (werewolf, ghosts, ghouls etc.), and also creating the family characters as classic stereotypes it creates a great atmosphere where you easily get scared as you are easily laughing.

The stereotypical characters include: the mysteI remember I watched this movie probably two rious magician, the classic film noir femme faor three years after it came out. Back in the VHS tale, the loser cousin - which is usually the one era, the local video-club was a haven of anything that will get killed first, the butler who is loyal to the local retailer would bring and offer the mass- their master, the hysterical maid and the list of es. Horror and comedy were always two of my usual suspects continues. favorite genders, and seeing the cover (Wilder and his wife Gilda Radner, with a drag queen “A Forgotten Gem for all the version of Dom De Luise) it looked funny enough wrong and right reasons.” to have a giggle, and scary enough to prove to my friends that I am old enough to watch hor- The direction is simple enough, and the photogror movies without being scared. After the movie raphy is quite atmospheric. This is not an amazfinished, I realised I had discovered that a movie ing movie of course, but it works in all the levels can be loved and it became the first movie to and does not feel it was put together on the spot. ever be in my Top Ten of all time (It made me re- All actors play their part well, with Dom DeLuise alise I needed to find nine more to make it proper stealing the show as Gene Wilder’s auntie. Yes, - so my quest started). he is in drag, when it was still politically correct to use male actors to camp it up. Despite his on Though a commercial flop at the time of its re- screen charisma, DeLuise’s efforts were rewardlease, only grossing $8,000,000 in America en- ed with the Razzie for Worst Supporting Actor. tering the box office at number 8, then slipping to 14 the following week, “Haunted Honeymoon” For all it’s comedy gold, another reason that is film perfection for all its flaws. Having since “Haunted Honeymoon” warrants celebration has become a cult classic, on revisiting a childhood a more tragic tone. Though unknown at the time, favourite, its charm was once again immediately “Haunted Honeymoon” was to be Gilda Radnevident. er’s final screen appearance, with her premature death in 1989 at the age of just 42. The story: Gene Wilder is getting married to his sweetheart. They both are successful radio ac- Overall, this is a Forgotten Gem for all the wrong tors (the movie was set in the ‘50s) on a very and right reasons. Very old fashioned nowadays, successful horror radio show - the ones with a lot it does not fail to still entertain and to remind this of human made sound effects and cheesy dia- generation why Gene Wilder was a comic genlogue. Wilder’s character is scared of anything ius. It is obvious how the current comedians have spooky, and before he gets married, he needs to learned so much from him. A true inspiration. overcome this so what should he do? Go to the spookiest haunted mansion where all his fam“Haunted Honeymoon” is available on DVD. 40

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11-29 May 2010 www.blueelephanttheatre.co.uk 42

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“Dream as if you’ll live forever. Live as if you’ll die today.” (James Dean)

Perhaps that is a tad melodramatic and romantic in its extremity, however the essential point is very real. Think for a moment if one day you woke up and overnight, a miracle had taken place that would have given you all the time you wanted, what would you choose to do with it?

How much time would you really need? Two hours? Three weeks? Six months? Ten years? And if you had that time, what would you do with it?

Jason Newton jason@thekaje,com Grove Hill Coaching www.grovehillcoaching.com

Climb Mount Everest? Travel the world? Or simply spend more time reading books?

It is perhaps a sad, yet understandable truth that people sometimes wait for a moment of tragedy before they are spurred into action to do something they have always dreamed of doing. What makes us wait until a moment of tragedy happens to feel like we need to truly live our lives? What is holding us back from living now? If it’s important enough to do when a life-changing situation comes to pass such as somebody being taken seriously ill, divorce or losing a business, is it not as important now? If someone were to ask you when the best time of your life was, when would you say? Last month, last year or ﬁve years ago perhaps? Would you consider saying now? Would you be able to say now? And if you couldn’t say now, what could you do to make now the best time of your life? Eleanor Roosevelt said: “The future is literally in our hands to mould as we like. But we cannot wait until tomorrow. Tomorrow is now.” Though I must admit, I prefer the profound, ancient truth of Moloko, who said - ‘Give yourself unto the moment. The time is now.’ So, go out and give yourself unto the moment. Don’t wait for tomorrow. Live the life of your dreams. The time really is now!

Grove Hill Coaching specialises in motivating people to achieve their personal success and to be what they want to be.

Do you really need that time or is there something you could be doing now, this very moment, to move you forward to where you want to be in your life? Is it a fact that you need more time or is it your perception?

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DESIGNER OF THE MONTH

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Text: Thiri Myat-Howard Images: Vincent Li

Disorder’s own in-house menswear brand specialises in contemporary tailoring, it is what they call, ‘fashion forward future classic,’ however, they keep their prices as competitive as possible, even though Disorder is a limited edition high end fashion product manufactured in the UK. The brand is totally unique, it does not pretend to be something it isn’t and its originality disarms people when they ﬁrst see it.

“The brand does not ‘hijack’ the customer, as do so many other labels with their shouting branding.” Once a person discovers the tailored fit, they get hooked on its Italian influenced designer cuts, with a British oriental twist. Their designs are influenced by a strong sense of a need to give justice to their customers with a look and feel that makes them reflect their personality. The brand does not ‘hijack’ the customer, as do so many other labels with their shouting branding, their designs instead, they like to think, become part of the character of the individual. Each design literally starts from an idea, Disorder do not follow fashion, nor do collections as such, or seasons, they just design what they feel like and run it until it runs its own natural course. They are renowned for their range of shirts and jackets, trousers and t-shirts

with graphic art from co-owner Mark Howard’s own sketches and illustrative artwork. As one Disorder customer once said, “Disorder is about art, just as much as it is about fashion…” They love to create an understated, a simply ‘good looking piece of design’ that has subtly broken every rule in the book ‘look.’ Another customer said that the only way he can describe Disorder the menswear brand is that it has a ‘post-modernist,’ feel if there was such a thing…

“Disorder is about art, just as much as it is about fashion...” Disorder already has an underground cult following, although most of their business is through word of mouth. Their customers live all over the world, once people discovers them, they prefer to keep them a secret. The Kaje has decided to let the cat out the bag, shouting to all and sundry just how great Disorder truly are! www.disorder-uk.com/ www.disorderboutique.com

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STEAL MY STYLE: Nikita I am a geology student, but you would more likely catch me dead than wearing The North Face jackets or Timberland shoes. I believe whatever you do, do it fabulously. Coco Chanel once said: ‘A girl should be two things, classy and fabulous’ and that is my motto when it comes to fashion: feminine yet edgy, funky yet classy. I love to mix designers with bargains. I believe a good pair of shoes or a classic handbag will last you forever and instantly glamour up any outﬁt. Outlet shops and sale time are the best time to treat yourself and get good quality high fashion items and eBay is the best place to ﬁnd something nice to wear or experience a new look without breaking your bank. Always be comfortable in your own skin and never be afraid to make mistakes!

Hair: I am growing my hair right now and cut my fringe myself. I

D A Y

think hair is one of the most feminine parts of a girl. I use egg white mixed with olive oil every couple weeks to give mine a pick-me-up.

Neck Scarf: Classic style by Burberry. I bought it from a Burberry outlet shop at half price.

Cardigan: I love short cardigans as they go just above my waist and give me a more deﬁned shape. This one is from Very.co.uk Jacket: This is from a cute brand called ‘Darling’. I like its very girlie design and this colour is great for a dull raining day!

Tights: These are from mythighs.com’s sale. I use colour tights as a way to express my mood and give a twist to a plain outﬁt. Handbag: This is a Chanel bag that belongs to my mother. I absolutely love it. I think it brings a instant classiness to a outﬁt. Boots: By Pinko, the reason I bought these boots is because the soles are purple, I think it is different and bit cheeky. I always pay a lot attention my shoes and bags as they need to have bit character but also can match a lot clothes.

Necklace: This is a present from a very important person to me. Its from Link of London. I tend to wear classy small jewellery for the evening and let my outfit do the talking. T-Shirt: I love simple clothes with a funky twist, this T-shirt from Miu Miu is great. The white part is cotton and the puffy red sleeves are silk, the contact of material made it easy to wear yet sophisticated and the puffy style give it a great modern finish. Skirt: This is my absolute favourite and its from Primark, I’ve had it three years! High waist puff skirts are most flatter on petite or hourglass shape girls. I try to avoid wearing skirts that come just at my kneecap or calf as they can make my legs looking short and wide. Handbag: This bag is Louis Vuitton in patent black. Patent black is the most easy handbag to have and will match almost any clothes. The colour is sophisticated and patent leather makes it look glamorous. I always use a good quality handbag for evenings as they make me feel more ladylike. Shoes: These red peep toes are from Christian Louboutin, I am shoe size UK 1 and only a few brands make shoes my size. I’m lucky Loubi is one of them. Red is my favourite colour and I love red shoes, I think they make a outfit looking more daring and interesting. If you’d like to share your style tips then send two good quality images to thekaje@thekaje.com Make sure you include a breakdown of your items and why you love them!

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N I G H T

THE WAY I SAW IT:

ATHENS

Each issue we take a look at a potential travel destination, by asking you to show us the way you saw it. This month, Alex, a 24 year old accountant from Devon takes us to Athens. If you would like to show us where to go, then just send in four images from your favourite destination to thekaje@thekaje.com

Clockwise From Top Left: Outside the Athens Gate Hotel, Amphitheater on the Acropolis, Ruins of Zeusâ&#x20AC;&#x2122; Temple, View from the Acropolis facing south www.thekaje.com

REVIEWS:ALBUMS Mathew Jonson “Agents Of Time” Wagon Repair 3/5 Canadian born artist Mathew Jonson has engaged in the inﬁnite and experimented in the esoteric with his debut solo album “Agents of Time”. This relatively unknown artist has found success in his previous works, such as ‘Decompression’, ‘Alpine’ and ‘Marionette’, Jonson has released his arguably more experimental creation earlier this year.

Jonson has attempted to expand the realms of techno and jazz, throughout this album, to create a hybrid of styles; from the heavily futuristic inspired feeling of “Love in the Future” to the synthesized trademark tech-fusion of the title piece “Agents of Time”. Despite its range, this album is deﬁned by its slower, more contemplative tone. All the same, it does, at times, veer off into an almost repetitive style. This may be Jonson’s attempt to explore the fa-

Perhaps the most interesting piece on this album is ‘When Love feels like Crying’. This particular piece juxtaposes its crisp harmonious nature with a calm percussive motion. It has a deeply person perspective and thus this approach offers us glimpses into Jonson’s energetic, fragile and seductive vision. “Agents of Time” maroons the listener in a world that is both familiar yet somehow uncanny. We are forced to question who the agents of time Jonson is referring to are. Perhaps we are to see some sort of prophetic undertones to this futuristic album or, is it merely an accolade to his musicianship. Jonson continues to create such thought provoking and enjoyable pieces he will inevitably break into a more commercial market. Alex Wolverson

Singles Of The Month

Kylie Minogue “All The Lovers” Parlophone There is not much to say about this one - other than Kylie is back! As with ever new Kylie record that will be the initial criticism that this is not Kylie at her peak. We say don’t complin - just sit back and enjoy!

Hanson “Shout It Out” Three Car Garage 4/5 Though they may have been consigned to the ‘One-Hit Wonder’ bin after the phenomenal success of their 1997 debut single ‘MMMBop’, the sibling trio have in fact managed to notch up an impressive nine studio albums, alongside various side projects. “Shout It Out” marks a musical return to the pop territory, having based their previous few albums in the bluegrass terrain. It is clear from the infectious opener ‘Waiting For This’ that the brothers mean business. A sureﬁre radio hit, “Waiting For This” will not escape your head for days after just one listen. Lead single “Thinkin’ ‘Bout Somethin’” follows swiftly. Showing a love for apostrophes, the boys are clearly ready for the summer. The harmonies which made their name over a decade

miliar forms and shapes that are the foundations to his musical inspiration. However, it is fair to say that this distracts us from the personal perspective of Jonson’s work.

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Jil Is Lucky “The Wanderer” Roy Music Parisian singer/songwriter Jil Is Lucky has quickly built up a following in France. Given his unique breed of breezy folk, his success deserves repeating on these shores. Upliftingly quirky.

ago are brought to the fore, with subtle echoes of The Blues Brothers demonstrating just how much the boys from Tulsa have grown. But the boys have more to them than the pop hit and are more than determined to show off their talents. This is never more evident than on the emotionally charged ballad ‘Carry You There’. Sang with an honest determination, Hanson balance perfectly the need to uplift and to question. However, the best is saved till last. The delicate ‘Me MySelf And I’ is a heartbreaking tale of love and loss, without pretension, Taylor means every word that leaves his mouth. His soulful vocal accompanied only by the piano and the occasional brother leaves the hairs on your neck standing up straight. Hanson have grown up and display an unquestionable maturity in their musical ability. Jeremy Williams

Lissie “Catching A Tiger” Columbia 4/5 Not so dizzy Lissie. She may be blonde, she may be cute but Lissie Maurus is certainly a woman to be taken seriously. Her debut album “Catching a Tiger” has the potential to be the soundtrack to the summer. Hearing Lissie’s voice is like being given a free road trip around America, the whiskey sipping cowboys, the Cadillac cars, listening to her voice is like watching a sepia drenched 1970’s American film. Her style is very US folk mixed with blues and country, she has been likened to Sheryl Crow and our very own Laura Marling, two artists with whom being compared to will do her no harm. It is apparent through her lyrics and vocal sound that Lissie is highly influenced by her American upbringing, coming from Rock Island Illinois and currently residing in a Californian farmhouse. This all Americana feel is never more apparent than on the track “Oh Mississippi”, which creates a slow and Noblesse Oblige “Malady” Repo Records 3.5/5 Formed in London in 2004, Noblesse Oblige are the critically acclaimed half-French (singer/songwriter Valerie Renay) and halfGerman (songwriter/producer Sebastian Lee Philipp) electro-punk duo. “Malady” marks their third album in six years and is a natural growth from their previous efforts. Renay’s chilling talk-singing is addictively appealing. Her simple delivery often breath taking. Whilst opener ‘Morning Docks’ kicks proceedSophie Hunger “1983” Two Gentlemen 5/5 Swiss born Sophie Hunger spent her youth moving around Europe with her parents, spending periods of her life living in London, Bern and Bonn before finally settling in Zurich. As a result, Hunger’s linguistic skills were always being challenge, with Hunger ending up fluent in English, Swiss Alemannic dialect and German - all of which are evident on “1983”, Hunger’s third solo record. Her father’s passion for jazz clearly rubbed off on the impressionable young Hunger, with “1983” effortlessly fusing her love of jazz with blues, rock, r’n’b and country. Opening with the haunting ‘Leave Me With The Monkeys’, Hunger’s rich writing and soothingly smooth vocal are enough to send chills down the spine. The haunting tone rears its head throughout “1983” but never more so than on

dreamy quality that easily conjures up images of the American terrain and way of life. It is also worth noting her sometimes gravelly voice that has a slight reminiscent air of the late and great Johnny Cash; hardly surprising given the subject matter, her command of the guitar and deep vocal range. I loved this album from start to finish; it really does feel like a physical and emotional journey with a flaxen-haired maiden as the tour guide. The highlights of the journey are “Record Collector” which I could easily listen to again and again. The track’s changing tempo with a building finale really sets the pace for the rest of the album. Another high point is “Worried About” which has a real country vibe to start with until the guitar kicks in and we get a glimpse of Lissie’s rock roots. So regardless of whether we actually get any warm weather this summer: crank the volume up, pour yourself a glass of something cool, Lissie is here and is going to be hot! Clare Coleman ings slowly into gear, the duo get their act together by ‘Back And Call’. Philipp’s harrowing echo builds into a stomp and the frenzy is soon uncontrollable. Equally frenetic is the winsome ‘Zanzibar’. Impossibly irrepressible, ‘Zanzibar’ insists that your toe taps from the get-go and I challenge you to remain still as it infectiously grows. “Malady” will not be to everyone’s taste. However, Renay and Phipp’s provide an exciting collection for anyone that gets excited by the offbeat. Jeremy Williams the tender “Headlights”, which begs unanswered questions. Though Hunger steers clear from the instant radio hit, she doesn’t fully avoid the pop song. Title song ‘1983’ is a bouncy slice of summer pop even with a stirring backdrop. Partnering her pop song with rousing, politically charged lyrics is a clever move and stands Hunger out from the crowds. The piano led “Breaking The Waves” shows a softer side to Hunger’s vocal. Almost airy in quality, Hunger floats out of the stereo and gets the shoulders shaking. “1983” is a consummate collection of charming recollection. Hunger is an artist unafraid to speak her mind. Her musical dexterity shines through from open to close and there is not one track that needs to be skipped. Jeremy Williams

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49 51

REVIEWS:LIVE MUSIC The Radio Dept. Bush Hall, London 4/5 Firstly, if you have never been, Bush Hall is one of the most beautiful gig venues I have seen and as it transpires, the local urban environment of the Uxbridge Road juxtaposed with this historic building provides the perfect environment for The Radio Dept.’s delicately feedback melancholy pop. A curious combination of New Order, Pet Shop Boys and elements of shoegazing, The Radio Dept. are three Swedes who have quietly made three critically acclaimed albums since 2002, the latest of which “Clinging To A Scheme” was released earlier this month. Augmented by another member for this tour, their set pulsed away to a succession of songs including the thumping ‘This Time Around’ from the new album setting the pace. Although perhaps known more for their downbeat songs such as the mournfully lovely “I Wanted You To Feel The Same”, The Radio Dept. also do a nice line in funky Motown soul such as politically aware recent single ‘Heaven’s On Fire’ and even, melancholy reggae-tinged pop on excellent upcoming single ‘Never Follow Suit’, all of which go down Hawksley Workman The Borderline, London 3/5 Hawksley Workman has without doubt a dedicated fanbase. Having never really cracked the UK music scene, the Canadian independent King has the heaving audience eating out of his hand as he arrives on stage. Launching straight into the crowd pleasing ‘Oh You Delicate Heart’. Throughout his simple set Wokrman is attentive to his audience’s requests - managing to balance his back catalogue with the promotion of tracks from his new album “Meat”. However, Workman quickly falls into a rhythm he is unable to escape. Having built up a reputation for fusing genres, his live performance is notably monotone. Only a die-hard fan would be able to distinguish one composition from the next. Whilst many musicians relish the opportunity to strip back their sound, Workman appears restricted by his minimal accompaniment. With just a guitar and keyboard onstage, Workman’s arrangements lose the kick

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well with this enraptured crowd. As is often the case at gigs, the subtleties on the albums including the layered textures and especially, the wistfulness of singer Johan Duncanson’s voice in this case, get a little lost in the mix as the gig evolves. But like the return of a prodigal child, The Radio Dept. are warmly welcomed by an audience who lap up every song including old favourites such as the glorious ‘Pulling Our Weight’ and the feedback drenched ‘Keen On Boys’. Other than the occasional ‘Thanks’, there was little interaction with the crowd and this just adds to the elusive aura that surrounds The Radio Dept as they are not the most prolific of bands, so when they do tour or release an album, the fans come out to inject themselves with what they know will be an all too brief moment of melancholy, electronic pop joy. On record, The Radio Dept. entice you to immerse yourself in their magical, mysterious and dream-like world. The live experience is less so. Until the band returned to play an encore of perhaps their finest moment, the elegiac ‘The Worst Taste In Music’, which was rapturously received by the adoring crowd. And then with a quick ‘Thanks’, they were gone. Alex Borg that can be found on record. Despite these restraints, his screaming fans are more than impressed by his efforts. As one song segues into another, Workman thankfully takes constant talk breaks. Yet soon enough his mumblings grow increasingly in length and often lose relevance, or even train of thought. There are moments of redemption, most notably as the set draws to a close. It is impossible to question the raw beauty of Workman’s vocal, which are tear-inducingly evident on set closer “Don’t Be Crushed’. In breaking from his rock-inspired romp, Workman colours his vocal with emotion. As a recording artist, Workman has more than proved his worth. His eclectic and exciting back catalogue warrants exploration, but on stage Workman appears to have lost some of his spark. A talented individual who has lost the passion for performance, at times it feels like Workman is going through the motions. Yet, there are fleeting moments that make the night worthwhile and show exactly why Workman’s star still shines. Jeremy Williams

Boyz II Men o2 Academy, Birmingham 5/5 It’s Monday night in the Birmingham O2 Academy, and a buzz of anticipation ﬁlls the air. The crowd is poised and ready for the arrival of Boyz II Men, who based on record sales alone hold the title of most successful R and B male vocal group of all time. Armed with this knowledge I had high expectations of what was to be my evening’s entertainment, and they certainly didn’t disappoint. The crowd is teased with a montage of their hits, each snippet eliciting a louder scream from the audience, before the trio appear on stage and launch into “Motownphily” a funky up-tempo number taken form their debut 1991 album “Cooleyhighharmony” The group themselves signed to Motown Records in 1990 and is made up of brothers Nathan and Wanya Morris, and Shaun Stockman. The fourth member Michael McCary left the group in 2003, but they have continued to record and perform as a trio for the last seven years, and are set to celebrate their 20th anniversary in September. Rather bizarrely the celebrations even include a Boyz II Men cruise!? Ingird Michaelson Shepherd’s Bush Empire, London 4/5 Ingrid Michaelson oozes appeal. From the moment she steps out in front of her hungry audience, Michaelson doesn’t let up on the effortlessly entertaining front. Be it her geeky charm, quirky sense of humour or scintillating singing, Michaelson is infectious and addictive. Michaelson wastes no time in ensuring her audience are aware that her show involves audience participation. An element that is lapped up by the packed house and Michaelson teaches a simplistic dance routine to the masses. Later in the show she will insist on responsive singing and raucous shouting. Her charming presence is enough to win over the hearts of many, but Michaelson proves, both with and without band backing, that at her core is a talented singer/songwriter whose able to deliver time and again. This is none the more evident that when she informs her audience of a little known British singer who covered one of her songs. The song in ques-

An hour and twenty minute set treats the audience to a selection of hits from throughout these 20 years. The Motown classic “It’s the same old song/Reach out I’ll be there” shows why comparisons have been made between the boys and The Temptations. They even throw in some funky Motown inspired dance moves for good measure. The audience is then taken back to the 90’s with all the old classics which feature on their “Legacy: Greatest Hits” album. Lucky girls near the front are given roses as they croon “I’ll Make Love to You”, and we are encouraged to phone our moms, so that they can listen to “A Song for Mama”. Their perfect harmonies and song interpretation are further showcased with songs form their latest 2009 covers album “Love”. “Iris” by the Goo Goo Dolls and “Amazed” by Lonestar are two standout performances by the group. With voices they themselves call “their very own musical instruments”, boundless energy and the ability to keep an audience gripped every step of the way, this is one gig I’m glad I got to experience ﬁrsthand! Kim Harrell tion, a little ditty Michaelson wrote with a friend, was performed in its original form. Without any extra special effort on her part, Michaelson proved that ‘Parachutes’ had far more to it than Cheryl Cole could ever bring to it. Nevertheless, Michaelson is happy about the songs fate, given the ‘Kerching’ factor of the celebrity singer. Having had just two rehearsals with her band, the ensemble gels and turns Michaelson’s acoustic mumblings into American College Rock. The new dynamic is intriguing, with Michaelson relishing her new role as lead singer. Yet it is when Michaelson is left alone on the stage that her true star shines. Always aware of her audience, Michaelson never shies away from dialogue and rewards requests with changes in her set. Her role is that of the performer and she is only to aware that her audience needs pleasing. In covering REM’s ‘Nightswimming’ as a close, Michaelson gave an insight into her inspirations. Standing solo on stage, using only a vocal loop as assistance, the rendition left the audience awe inspired and wanting more as they left the building. Jeremy Williams

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REVIEWS:THEATRE Noises Off (Frayn) The Rep, Birmingham 4/5 Michael Frayn’s “Noises Off” is an impressive piece of comedy, capitalising fully on the world of theatre to present the audience with a superb farce. The show begins with the dress rehearsal of Nothing On. Brian Protheroe plays director Lloyd Dallas, frustrated at the niggles remaining in the show so close to opening night. The dialogue between the cast quickly allows their personalities to shine through as misplaced sardines, a missing contact lens and hearing difﬁculties disrupt proceedings. Paul Farnsworth’s set is a credit to him and his team, and its reversal in act II allows the audience an insight (chaotically exaggerated) into the world behind the scenes. The pace quickens, and the tensions between personalities quickly overﬂow from backstage onto the stage itself, with seemingly little chance of resolution.

Signs Of A Star-Shaped Diva (Boublil & Schönberg) The Rep, Birmingham 5/5 Graeae Theatre Company has four key elements to its artistic vision - one of those is “exploring the aesthetics of access to allow all audiences and professionals to experience theatre with equal enjoyment” and “Signs of a Star-Shaped Diva” deﬁnitely fulﬁls that criteria. “Signs of a Star-Shaped Diva” charts the emotions and the events of the rise Sue Graves and her alterego ‘Tammy Frascati’ from her weekly Bingley Bridge diva spot to her ending up in Las Vegas on tour. What Graeae have managed in this production is to pretty seamlessly blend the theatre, British sign language, captioned dialogue and universal appeal in one short play - and the audience responded in kind. Caroline Parker takes on the lead, engaging the audience from the beginning on many levels (not just what they could hear and see like other productions), but the sense of what was about to happen, creating a relation-

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Missed lines, problems with props, issues of timing and a love triangle lead to a rapidly disintegrating performance, with the complex personal lives of the cast obliterating any remaining solidarity. Increasingly forced improvisation provides a thin veil for the hostility between the cast, which presents plenty of opportunity for entertainment. The cast of Noises Off provide energetic and well-timed performances, coordinating the descent into slapstick extremely well. Brigit Forsyth is excellent as harassed housekeeper Dotty, and Djalenga Scott fully capitalises on the camp innuendo of innerplay Nothing On, with mock gasps aplenty; “I’m never going to see Basingstoke again!”. With strong performances all round and laughs aplenty, “Noises Off” makes for a thoroughly enjoyable show. Adam Foster

ship between what was happening on stage and the music, and also the audience’s musical knowledge - at one point there was a spot quiz, “name the artist”. All of this continually engages the audience and brings you closer to Sue & Tammy, feeling their joy and their pain in equal measures. The witty tongue-in-cheek humour runs deep in this production and the special renditions of Eartha Kitt’s ‘Just An Old Fashioned Girl’, Tammy Wynette’s ‘Stand By Your Man’ and Kirsty MacColl’s ‘In These Shoes?’, which takes on an anthemic element and would be reason enough to go see “Signs of a Star-Shaped Diva” all by itself, are just a few of the stand out moments that had the crowd laughing and clapping along. “Signs of a Star Shaped Diva” is a story of changing times and ﬁnding happiness in the face of adversity. The whole piece just “works” from the start to the ﬁnish, and the standing applause/stamping of feet by the audience is enough of a review in itself. Constantinos Kypridemos

Canary (Harvey) Hampstead Theatre, London 4/5 The title “Canary” comes from a quote by gay rights activist Peter Tatchell. He said: “We’re the litmus test of whether a society respects Human Rights. We’re the canaries in the mine.”

and Margaret Thatcher censoring sexual health advice. Margaret runs her pen through a paper prepared by Health secretary Norman Fowler exclaiming “I don’t like anal intercourse”. The truth behind the innuendo is that Fowler tried to disseminate information about how to prevent the spread of HIV, but Thatcher blocked such information on the grounds that it was “rude”.

Jonathan Harvey (Beautiful Thing, Gimme Gimme Gimme) has written a play examining gay rights and culture in three different eras. In the 1960s two closeted lovers must go their separate ways. In the 1980s the Gay Liberation Front ﬁghts bigotry, while others ﬁght HIV/AIDS. And in 2010, despite increased education and equality, ignorance still rears its head.

In 1971, Mary Whitehouse set up the Festival of Light to shine light into moral darkness. This was actually just a front for bigotry, and the Gay Liberation Front staged a wonderful protest to disrupt the speeches. At the opening of “Canary”’s second act we become the audience at that rally as the auditorium erupts with men running through the aisles dressed as nuns, gay couples kissing in the audience, and a banner declaring “Cliff Richard for Queen” is dropped from the circle.

The pace at which LGBT culture has progressed is both fascinating and encouraging. The documentary aspects of “Canary” are very worthy, but it takes some time to realise this as, at first, you have to wade through some quite clunky domestic drama. There was some mumbling and uncomfortable shifting from audience and actors alike in the opening thirty minutes of press night, but as the various plot lines began to tie together, emotion and comedy were allowed to snowball in a more natural and enjoyable manner. Harvey’s writing is at its best when he segues into fantasy, as you may have noticed from his BBC series “Beautiful People”. A mother, distraught at her inability to help her son, takes him on a magic carpet ride, zooming across the stage on wires. She sits atop Mount Ararat, musing on the spiritual implications of her actions, and travels back in time to give herself advice on her wedding day. Other genius surreal touches, in fact, come from real life events, such as the protests at the Festival of Light, Naughty! (Rex) Blue Elephant Theatre, London 3/5 Ever felt like you’re life was being dominated by Facebook, or even the X Factor? I find it difficult to recall a time I didn’t write on a friend’s “wall” to organise a social outing, or even a time when something other than ‘Britain’s Got Talent’ or a similar show was not on a Saturday night? Sebastian Rex’s “Naughty” explores these current trends by looking at how they impact on individuals and society more generally. “Naughty” is actually two short theatrical pieces; “Modern Romance”, a contemporary dance that looks at how social networking sites like Facebook and Twitter have changed social interaction and dating. Although I was able to basically grasp what the piece

Darker moments come from a story strand involving a young man, convicted of indecency in the 1960s and subjected to aversion therapy, which haunts him throughout his life. The total victimisation of this poor man is palpable, although Harvey perhaps goes a step too far when the same person turns persecutor near the end of the play, in a twist reminiscent of a contrived revenge drama. The overall message seems to be an indictment of modern apathy. There is a scene in which a confident young gay man in 2010 mocks someone for contracting HIV, an “old man’s disease”, but at the same time wants to have bareback sex. The older man in question violently strikes the younger for “pissing on the graves of his elders” who fought for the rights he now flouts. In many ways this is Harvey’s voice at its clearest. The LGBT community must appreciate its history, or else risk returning to darker, less liberated times. Tim Macavoy was about, I was left feeling unsure as to what Rex was trying to say. “$ellebrity” was the stronger of the two pieces. The short-play explores celebrity culture by obsessive fan (captivating Kate Chisholm) kidnapping a final 12 X Factor contestant (unconvincing Ido Gonen). Jo Sadler-Lovett completed the trio. Both girls interpretations of obsessive fans taken to a dangerous extreme was both funny and intriguing. Although not without its flaws, Sebastian Rex’s “Naughty” is worth seeing for stand out brilliant performances delivered by Christopher Hall as the Prince in ‘Modern Romance’ and both Chisholm and Sadler-Lovett in ‘$ellebrity’. Katie Meehan

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REVIEWS:DVD Alice In Wonderland (PG) Walt Disney Studios Fox Home Entertainment 4/5 “To see a world in a grain of sand and a heaven in a wild flower” this sentiment applies as much to Blake’s world of imagination and creation as it does to Burton’s vision of a neo-Romantic Wonderland. Tim Burton’s ‘Alice in Wonderland’ endured mixed reviews when it premiered in Leicester square earlier this year; opening to an extravagant $210m in its first weekend. Despite this many film goers were left divided over the reimagining of Lewis Carroll’s famous story. Some traditionalists see Alice as merely a product of a society obsessed with the Hollywood action movie genre. Others look for more favourably on Burton’s creation; the vivid and complex imagery being only surpassed by the stunning performance of Anne Hathaway as the White Queen. Burton’s film sees Alice returning to Wonderland (now known, for some obscure reason, as Underland) and in doing so encounters many of the original characters – such as the Mad Hatter (Johnny Depp) The Red Queen (Helena Bonham Carter) and Alice (Mia Wasikowska). The plot however deviates insanely from the original seeing Alice now 19, having forgotten her previous visit, is empowered (presumably to attract that all important teen market) and thus breaks the Victorian mode in order to create a rather modernist interpretation of Alice. Precious (15) Icon Home Entertainment 5/5 It is very rare for a film to move me to complete silence, but “Precious” did even more than provoke mere silence. The effect from viewing Lee Daniels’ visual interpretation of Sapphire’s novel “Push” was so profound that a state of questioning was instilled upon me for days following. So honest are all the performances, that their rawness seems too real to be simple screen acting. The harrowing, yet somewhat uplifting, tale of Clarisse ‘Precious’ Jones never feels . An obese teenage mother, abused by both her mother and father, bullied at school and tormented generally by misfortune could easily be expected to give up on life so easily. Yet her sheer determination to be one of life’s survivors is truly awe-inspiring. Casting the relatively unknown Gabourey Sidibe was beyond a wise a decision on Daniels’ behalf. Her subtleties encapsulate the hope battling the despair perfectly. Her presence on screen is infectious and Precious is one of the most likeable characters in cinema to date. Far from wallowing in her situation, Precious makes the

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However, Wasikowska really isn’t allowed to demonstrate the dexterity of her acting ability, her aloof performance is perhaps a result of her overly worked character story and design. Anne Hathaway (White Queen) creates an uncanny, sinister, yet benevolent character. Hathaway commented that “my character has sort of a hidden psychosis and is dangerous and is interested in knives and things like that, and is kind of adorable on the outside and has tried very hard to become this good”. It strikes me that her performance is somewhat undervalued; her monotonous tonal range, extravagant costume design and the constant psychotic oscillations result in a harmonious marriage of opposites. The Times’s Kate Muir states that “If you could ask Carroll to choose between Disney’s saccharine Alice in Wonderland cartoon of 1951 and Tim Burton’s new Gothic masterpiece, you feel the author would pick the nightmarish vision over the giant teacup rides in theme parks” I would have to disagree with this, Burton goes vampirically for the throat of imagination and leaves us underwhelmed by the hallucinogenic humour that Burton easily over works. It is an enjoyable watch; however, it is not a stable creation, with weak characterisation and tepid dialogue. Alex Wolverson most of her lot and seeks constant improvement. Star turns Mo’nique, Lenny Kravitz and even Mariah Carey are so far removed from their known personalities, that it is hard to recognise their true identities. Though own fleeting performances from Kravitz and Carey, their honest depictions respond perfectly to Sidibe’s Precious. Arguably Mo’nique deserves as much as praise and attention as her screen daughter Sidibe. Best known for her upbeat comedy, Mo’nique is stripped back and raw. Having been abused in real life, Mo’nique is aware of the need for a true life portrayal of her own situation. Mary is trapped in her sorry situation. She loves a man who has abused her daughter. She has been left alone and lonely, trapped in a world without any care or attention. Refusing to leave her flat, she is the parallel opposite to her vibrant daughter. Yet somehow a love shines through. In the film’s closing moments, it is impossible to remain dry-faced as Mary breaks down in an attempt to redeem her relationship with her daughter. Brutally honest, “Precious” is even better than the hype said it would be. Jeremy Williams

A Single Man (12) Icon Home Entertainment 5/5 For those who may not know, Tom Ford is a hugely successful fashion designer who is most well-known for heading up Gucci and then establishing his own Tom Ford label. This is his first film as director and although you may initially baulk at the huge potential for albeit stylish vacuousness, especially as he paid for it himself, the truth is that ‘A Single Man’ is simply astonishing! Based on Christopher Isherwood’s 1964 novel of the same name, ‘A Single Man’ takes place over one day in Southern California in which English academic expat George Falconer (Colin Firth) accepts he can no longer continue living without Jim (a superb Matthew Goode), his partner of 16 years, who was recently killed in a car crash. George has spent the months since unsuccessfully trying to live in the moment and has made plans to kill himself. Other than finding out that Tom Ford has made an amazing film, the other revelation is leading man Colin Firth. A hugely successful actor over the years, he is perhaps better known for his roles in Bridget Jones’s Diary, Mamma Mia and of course, Pride & Prejudice. However in recent years, he has had roles in more creatively challenging films such as ‘And When Did You Last See Your Father?’ and ‘Genova’ and his performance as George Falconer in this film is fully deserving of his Oscar nomination and the BAFTA he won. The consistently excellent Julianne Moore plays Charlie, George’s only ex-girlfriend and lonely, lush-like best friend and their chemistry is exquisite. Sherlock Holmes (12) Warner Home Video 4/5 The rise of Robert Downey Jr continues with “Sherlock Holmes”. Released this month on DVD, the film is full of humour, twists, action and provides enough for everyone to enjoy. The distinct direction of Guy Ritchie, stands out with the trademark slow motion scenes and his ability to make the streets of 19th century London come alive for the viewer. Both Downey’s interpretation of Holmes and Jude Law’s take on Watson provide the vibrancy in this film. Throw in a plot which twists and turns in a more plausible fashion than some films of late, and you have a pretty decent film. The notable loss of the deerstalker means that Holmes can be charismatic or a total pig, but also that he can take part in a bare knuckle boxing match and then later take on a 7 foot french giant, without blinking an eye. However, you aren’t left scratching your head thinking

One of the most memorable scenes is when George discovers that Jim has died. He takes a phone call expecting Jim and it turns out to be one of Jim’s cousins. The scene seems to last an eternity and next to nothing is said, yet you are so caught up in George’s reaction to the shocking news. In pre-Stonewall 1962, you were not only in the closet but were not even socially permitted to express emotions as a straight man, never mind a gay man. So when George is told ‘the funeral is for family only’, not only has his partner died, but their easy, loving, happy life together has died with him and you really feel the heartbreaking pain of this man forced to be emotionally invisible by an intolerant society. Colin Firth deserved the BAFTA for this scene alone. Perhaps inevitably given Ford’s fashion background, criticisms of ‘A Single Man’ have generally been focused on the question of style over substance. And yes, you can see that every shot has been stylized and framed within an inch of its life in the architecture, furniture and fashion period detail and the roles of student by Nicholas Hoult (‘Skins’ and ‘About A Boy’) and prostitute (model Jon Kortajarena) are clearly fantasy figures and yet, this film is still a feast of sophisticated elegance in which you cannot help but immerse yourself and from which you never wish to leave. ‘A Single Man’ has both style and substance in abundance and is without question one of the most beautifully moving films of the last ten years. Go and watch it. Now. Jason Newton “can he really be that agile in his deerstalker”. The story line is the standard Sir Arthur Conan Doyle affair that unravels itself at it’s own pace, but leaves enough for the inevitable sequel (in this case), and for the rise Professor Moriarity. Given the ever evolving post-production that is in every blockbuster now, comparing this Sherlock Holmes to his predecessors would be troubling for all involved, but there seems to be a balance of special effects and acting which does not violate the story line . A lot can be said about Ritchie’s most recent films, (obviously we wont be saying anything here), but he has redeemed himself with a film that audiences flocked to watch, will probably flock to buy, and all this without tarring the stories of Sherlock Holmes too much. Constantinos Kypridemos

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REVIEWS:BOOKS Death Of An Unsigned Band (Jonathan Cape/Random House) Tim Thornton 3.5/5 Having made his way through a string of unsigned bands, Tim Thornton knows his subjects inside out. Having formed their musical project at school, Russell and Jake never quite cracked the big time before their big bust up. Fast forward a few years and Russell’s new band needs a vocalist. In his absence, his band mates Ash and Karen recruit his old chum tuned nemesis. In his own eyes, Russell is a consummate professional, with Jake, his antithesis, preventing the group from progressing past the small pub circuit. Pursued in documentary style by an occasionally biased journalist, the group’s bumpy journey is explored, including the underhand replacement of Jake with the egotistical Josh. A change in dynamic sees Russell reconsider his own actions, and in turn his future. Outside of music, he discovers love, prompting the all important “What is

Seconds of Pleasure (Faber & Faber) Neil LaBute 2.5/5 This is a book of twenty short stories written by Neil LaBute who is more known for his plays than his prose. In fact this was his ﬁrst book of prose published. His plays are really good. The language is gritty and when he works for screen he works with actors such as Aaron Eckhart. His short stories aren’t so good. Of the twenty there are only three worth mentioning and they’re the ﬁrst three in the book. “Perfect” is a wonderful internal monologue of a man and the difference between his relationship with his wife and his thoughts regarding her. “Maraschino” is just creepy. It has a couple of layers, the obvious and the implied. “Time-Share” has a wonderful twist that unfortunately is used in several of the subsequent stories, thereby effectively ruining half of

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it all about?” question. “Death Of An Unsigned Band” charts the lifespan of wannabes in a charmingly honest fashion. By exploiting the ﬂaws of his central characters, and questioning whether an unsigned band always remains an unsigned band, Thornton builds a connection with his reader. Whilst always destined to fail, he takes his band on a dynamic and inspired journey. However, “Death Of An Unsigned Band” has one fatal ﬂaw. In switching between obersvation and interview, Thornton occasionally removes the reader front the action. Frustratingly Thornton never reveals the true heart of his characters, keeping them as 2-dimensional as any real life pop star.

bored.

Aimed at like minded people, Thornton’s expose is pitched perfectly at anyone who has ever dreamed of indie pop super stardom. However, if you can’t tell your JJ72 from your Subways then you will be easily Jeremy Williams

his twists. The rest of the short stories do not live up to these three that open the book. Aside from using the same trick frequently LaBute is trying for the short stories with the creepy twist, perfected by Roald Dahl but he just does not achieve it. Some of his stories are obscure and some simply boring. A couple more are vaguely interesting. They feature the internal monologue of a male. As a woman it is interesting to see how LaBute constructs the thought process of man, often in relation to women. The title story “A Second of Pleasure” is basically a short play. It is entirely dialogue. This allows the story to be told by the characters and the ‘reveal’ to happen as a natural consequence of conversation. This works except the reveal is anti climatic. So, basically, read his plays or watch his ﬁlms but don’t bother with his short stories. Rachel Jacobs

First Time I Met The Blues (Snowbury Books) Tim Turner 3.5/5 Trevor is a bit of an outsider. He always has been. At school he doesn’t really have many friends, at home he barely connects with his social climbing parents. Determined to change his own fortunes, Trevor promises himself that he will expand his experiences. In doing so he meets Steve and Des, who immediately take the little lad under their wing. Soon enough Trevor has taken up the harmonica and is rehearsing regularly in Steve’s Dad’s garage as the fourth member of The Hornets - partly enticed by Steve’s stunning sister Susie and partly by a sense of belonging. The Hornets broke the mould for Watford. They weren’t interested in the sounds their friends liked, they loved Chicago Blues. Particularly Des, who as band leader and frontman, felt it was his duty to introduce his bandmates to his latest discoveries. Somehow Trev manages to get the boys their first gig - at his school dance. They pour their heart and soul into the performance, yet the audience barely responds. A change of key spells disaster for Trevor and prompts the abandonment of the dream. However, childhood dreams are hard to write off. A I Kill (Constable) Giorgio Faletti 1/5 To quote the back page, “Monte Carlo. A ruthless serial killer stalks the rich and famous. The victims are found horrifically mutilated. Each kill is announced on the city’s most popular radio show”, and that is pretty much the story line. As thrillers go, “I Kill” is palatable, the story line moves at it’s own pace, as the reader is presented with a continuous stream of characters - some relevant, some not to the story. That stream of characters deflects the reader away from the novel, and when Faletti does get into the serial killer’s murders the impact leaves you feeling numb. The whole experience is slightly numbing actually. Where a novel (which is an international bestseller, having sold 5 million copies since it was first published in 2002) like “I Kill” is expected to be fast flowing, with plot twists, and leaves the reader disgusted at

chance meeting in WHSmith prompts a reformation. All older and more accomplished musicians, a new lineup includes Trevor’s class mate Keith on bass. Having found their sound, the quartet start out on the rock road to success. Tim Turner’s retrospective account of a British Blues group is endearingly realistic. Having achieved acclaim, albeit fleeting, the childhood dream’s bubble is burst and real life sets in. The boys who knew nothing about the Blues when they first sang them, had now lived lives worth telling. Though at times “First Time I Met The Blues” is reference heavy, Turner provides enough page turning events to ensure that his readers find it hard to put the book down. Occasionally Turner moves into sensational tabloid territory and loses attention. But when he deals with matters of the heart, relationships and broken dreams, Turner ensures that his characters are fully relateable. “First Time I Met The Blues” is not for those who seek escapism in their reading. Turner moves effortlessly between musical and life lessons. Ensure you are near the internet to look up his many recommendations, but do not allow the findings to dominate your reading experience. Jeremy Williams the violence but intrigued to read on - this novel doesn’t really do that. FBI agent Frank Ottobre is the pin that holds the story line together, the serial killer can be guessed from early on unfortunately which takes some of the fun out of it, Pierrot a.k.a. “Rainboy” feels a little crude as an insertion, and there’s a crazy incestuous American general who prowls around the edges of this novel. All of this is not helped by overly exaggerated scenes, for instance a whole chapter dedicated to blowing up a door. Yes it was a very interesting door leading to a bomb shelter but after 18 pages you will be ready to jump in and press bomb switch. “I Kill” could quite happily be one of those novels that are typified as “travelling books”, a long flight, a boring train ride or a quiet ferry ride would be places you should expect to be reading this novel, but with a low expectation to keep you intrigued. Constantinos Kypridemos

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THE KAJE PREVIEWS: FESTIVALS Glastonbury is celebrating its 40th anniversary this year - a milestone event with U2, Stevie Wonder and Muse topping the bill on the famed Pyramid Stage. But if the price didn’t put you off (nearly £200 for a ticket), then its traditional near-instant sold out status when tickets were on sale meant it was tough even for those who had the cash to spare. The festival scene is experiencing more demand in general too with Bestival and Latitude already sold out - thankfully there’s plenty more festivals to choose from this summer, and you’ll ﬁnd the smaller, niche events dedicated to speciﬁc music genres and cultural styles to offer a far more immersive experience if you choose wisely.

For those who love Scotland

Friday 11th - Sunday 13th June Loch Ness, Inverness Promising a varied mix of indie, rock and dance, RockNess has programmed a festival featuring huge names across the weekend set to a backdrop of the beautiful Loch Ness. Billed as a “monster weekend” (pun very much intended), the chance to see legends such as Ian Brown, Aphex Twin and a returning Leftﬁeld along with The Stokes, Fat Boy Slim, Blondie, Doves and Soulwax with just as many exciting acts inbetween would be hard to turn down. www.rockness.co.uk Worth going because: RockNess have pulled out all the stops this year with experiencing Leftﬁeld and AFX to the backdrop of Loch Ness an unmissable opportunity.

Words: Mike Barnard

Go Classical in August

Thursday 26th - Sunday 29th August The Smedmore Estate, Kimmeridge, Dorset As the first ever classical music festival in the world, Serenata has got novelty on its side, but will the traditionally music hall genre transfer to a potentially muddy field on the August Bank Holiday? The Classical Festival Company hopes yes as it debuts on the Jurassic coast at The Smedmore Estate in Kimmeridge, Dorset. Katherine Jenkins, Russell Watson, Blake, the Bournemouth Philharmonic Orchestra and Faryl Smith will perform while a pop-up art gallery will showcase artists who will create new pieces for the event. www.serenatafestival.com Worth going because: as the first festival of its kind, this is for real classical enthusiasts who love to camp and it’ll be full of people sharing in the excitement of the potential this festival has.

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For the Mad Hatters out there

Thursday 22nd - Sunday 25th July Near Huntington, Cambridgeshire It might be kept a secret from most people, but the presence of the Gorillaz Sound System - a multi-sense experience featuring the music of the fictional band mixed and remixed by DJ Kofi with a full visual display by VJ Roland - means it’s got more people talking about this year’s party than usual. They’ll be joined by Marina & The Diamonds, Mercury Rev, The Whip and pre-eminent new, established and leftfield artists from across genres and disciplines. The Garden will also explore reality by considering the theories, fantasies, mysteries, legends, visions and illusions that have created a rich world between fact and fiction. www.secretgardenparty.com Worth going because: it’s the festival you’ll always hear others talking about as though it’s part of a secret society.

The small festival big on atmosphere

Friday 2nd - Sunday 4th July Bradley Farm, Hampshire Take a trip to Bradley Farm for this small but perfectly formed event won the 2007 award for Best Small Festival at the UK Festival Awards. Blissfields has an intimate capacity of 1,250 people, but cuts no corners by offering four stages of music, chill out areas, cafes and art installations as well as excellent camping facilities, camp-fires and late night DJing. This year’s headliners will be the Stereo MCs - pioneers of British hip-hop. www.blissfields.co.uk Worth going because: you won’t find a camping festival as intimate and calming at Blissfields – it’s even a tonic for post-Glastonbury revellers who want a getaway after the hectic five days on Worthy Farm.

To see what Mean Fiddler’s founder is up to now

For the people who love food as much as music

Friday 9th - Sunday 11th July Merton Farm in Canterbury, Kent Named “Best Festival for Foodies” by The Guardian in 2008 and winner of Best Line-up at the UK Festival Awards 2009, Lounge on the Farm celebrates its ﬁfth anniversary this year with an eye on proving quality not quantity counts. Motown giants Martha Reeves & The Vandellas will be joined by reggae greats Toots & The Maytals deck-master DJ Yoda, jazz from Courtney Pine and folktronic tour de force Tunng. Camden’s The Flowerpot is decamping to Kent to host the Farm Folk tent and you’ll be able to tuck into ﬁne food from the Garden of England. www.loungeonthefarm.co.uk Worth going because: Lounge on the Farm’s reputation is their proudest feature so its organisers will want to maintain their exceptionally high standards.

For a festival that’ll diversify your tastes

Friday 3rd - Sunday 5th September Moseley Park, Birmingham Friday 2nd - Saturday 3rd July The Hop Farm, Paddock Wood, Tonbridge, Kent Billed as the stripped-back festival with no sponsorship and no branding where everyone can enjoy the music in the same way, however they’ve paid for their ticket, The Hop Farm Festival is Vince Power’s festival baby. Carrying his name, the Mean Fiddler founder has assembled a line-up including headliners Bob Dylan, Van Morrison, Blondie, Ray Davis and Mumford & Sons to ensure it’s an event he can be proud of. www.hopfarmfestival.com Worth going because: the headliners would be just as at home on the Pyramid Stage at Glastonbury as at this Hop Farm.

Showcasing unsigned acts alongside established international makes for an exciting line-up of traditional, contemporary and downright experimental folk and acoustic music at this festival in Brum. For its fifth year, there will be performances out beyond the tree-lined boundaries of the park into a choice selection of Moseley Village’s finest pubs where you’ll find sessions, dancing and an array of talented musicians. The Divine Comedy, Turin Brakes, Donovan and The Ukulele Orchestra are just some of the eclectic highlights to look forward to this September. www.moseleyfolk.co.uk Worth going because: this is one festival featuring acts you won’t see on television all summer long.

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The Kaje