Issue Two This month has been a particularly busy one here at The Edge. Leaving behind the remnants of freshers’ week and a serious bout of freshers’ flu, we move into the start of term with a wealth of keen new writers producing amazing content for you all to read. Thanks to everyone who picked up a copy of issue one - we were so proud of it and can’t wait for you to read this issue. In this month’s magazine we have an exclusive interview with Bastille following the release of their new single ‘Of The Night’, as well as an announcement of new two-disc record All This Bad Blood. The Edge has a long standing relationship with the guys from Bastille, so it brings me so much pride to be able to put Dan Smith on the cover of this month’s issue. Check out the features section of the magazine for the double page spread on the band. This issue also has a wealth of great television content; although, be aware, we really are *spoiling* you with this month’s culture section. From Dexter to Breaking Bad, you can get your fix of the most talked about shows on the box. Of course, as always, check out the records and live sections for plenty of musical goodness. In the last few weeks we have also had a very exciting opportunity in terms of film; heading along to BFI’s London Film Festival, enabling us to bring you first look reviews of the very latest releases including predicted smash hit blockbuster Gravity. Thanks for all your support; by reading this magazine you are making all of our hard work worthwhile. Peace, Megan Downing Editor, The Edge
Editor Megan Downing
editor@theedgesusu.co.uk Deputy Editor Howell Davies deputy-editor@ theedgesusu.co.uk
Film Editor Barnaby Walter film@theedgesusu. co.uk
News Editor Hannah Mylrea news@theedgesusu. co.uk
Head of Relations relations@ theedgesusu.co.uk
Records Editor Jan Kobal records@ theedgesusu.co.uk
Culture Editor Rebecca James culture@theedgesusu. co.uk
Online Manager manager@ theedgesusu.co.uk
Head of Publicity Bronwyn Scotland publicity@ theedgesusu.co.uk
Features Editor Cat Olley features@ theedgesusu.co.uk
Live Editor Grace Pattle live@theedgesusu. co.uk
Head of Design Claire Joines design@theedgesusu. co.uk
Editor In Chief David Martin vpcomms@susu.org
02 |Editorial
The Edge | editor@theedgesusu.co.uk
Contents Welcome to Issue Two
p. 2
Records Album Reviews Haim - Days Are Gone p. 4 Rewind: Fleet Foxes - Fleet Foxes p. 5 Chvrches - The Bones of What You Believe p. 6 Franz Ferdinand - Right Thoughts, Right Words, Right Action p. 7 Single Reviews Arcade Fire - ‘Reflektor’ p. 9 Blood Orange - ‘Chamakay’ p. 9 Darkside - ‘Paper Trails’ p. 9
p. 17 p. 18 p. 19 p. 21 p. 21
Culture Blood, meth and tears: the end of Breaking Bad Reviews: Homeland season three premiere Flashback: Pokemon Crystal Review: Dexter season eight
p. 22 p. 23 p. 24 p. 25
Live
Features From Bridget Jones to Game of Thrones; the saga of the killed off character p. 10 Interview: The 1975 p. 11 The rise of Bastille p. 12 Breaking Bad news: The era of the spoiler p. 15
Film *London film festivaL special* Captain Philips
Gravity Archive: The Witches Inside Llewyn Davis Cinema Reviews Filth How I Live Now
p. 16
Preview: Local Natives at University of Southampton (29/10/13) Review: Bowling for Soup at Southampton Guildhall (10/10/13) Review: Kids in Glass Houses at The Wedgewood Rooms, Portsmouth (08/10/2013) Review: Freshers’ Ball 2013 The Edge Sessions Listings
The Edge | editor@theedgesusu.co.uk
p. 26 p. 27 p. 27 p. 28 p. 30 p. 31 Culture ||01 Editorial 03
HAIM DAYS ARE GONE (POLYDOR) Words by Alex Meehan
S
ister trio Haim have been making waves in the last eighteen months with various singles and entertaining festival performances. Finally the record their fans have been waiting for has been released, but is it any good? Days are Gone starts with ‘Falling’; a song that is so criminally catchy with an understated guitar and memorable lyrics, that it sets a high bar for the rest of the record. Next track ‘Forever’ continues this standard with its clever use of collaboration between the percussion and vocals, to produce a thoroughly upbeat number. Recent single ‘The Wire’ is a track that smoulders with confidence; Este’s husky vocals sound great against the high pitched tone of the guitar. The only unpleasantness is the unnecessary synth notes which feel intrusive in an otherwise fun rock ‘n’ roll track. However, in ‘If I Could Change Your Mind’ everything gets a little too washed out with synthesizer and I begin yearning for some of Danielle’s competent guitar playing. There are too many different elements all fighting with each other and the lyrics feel just a bit corny: "If I could change your mind/ I could make you mine". Yet, the synths aren’t all obnoxious and overbearing; ‘Days
04 |Records
Are Gone’ provides an excellent use of synthesizer to coincide with its percussion, creating a rhythmic dance feel that I truly adore. Inevitably ‘Don’t Save Me’ remains a highlight; tucked away in the middle of the record the song shines with a catchy chorus and percussion that has a real weight to it. ‘My Song 5’ really surprised me; I hadn’t expected this R’n’B influenced number from Haim, let alone that I would like it so much. A very unusual blend of distorted vocals, dirty guitar bursts and a heady atmosphere of the bizarre give the record a pleasant shake-up.
the ending of the album a bit confused.
The album gets a little messy with ‘Let Me Go’; as everything collides together to become rather incoherent, and similarly ‘Running If You Call My Name’ has trouble creating a clear sound, making
Yet, aside from the lacklustre closure Days are Gone is an admirable debut from the LA band. My relationship with the record initially felt unsteady, but multiple listens later, I had warmed to the enthusiastic and undefinable sound. It’s not perfect, but it certainly screams promise, and it’s damn good fun.
The Edge | records@theedgesusu.co.uk
Rewind: Fleet Foxes Fleet Foxes (SUB POP) Words by Michael Anderson
I
n the midst of a heavily electronic zeitgeist, the past decade has experienced a reactionary rise in the output of folk music. Hailing from Seattle, this outfit’s eponymous debut album received critical acclaim across the world for a bucolic character that can be seen even before the soaring harmonies of the record’s opener ‘Sun It Rises’. This is of course referring to the album’s artwork; a painting entitled ‘Netherlandish Proverbs’, which could not fit the atmosphere and personality of the record more. The seeming ubiquity of Fleet Foxes in lists of ‘Top 50 Albums’, as well as a plethora of five star reviews, give credence to the notion that this album introduced a game-changer onto the world stage. Following the debut EP Sun Giant, extensive word of mouth exposure had gifted the band a foundation from which to launch their first effort at a full LP. If memory serves, the first time I came across the record was in a friend’s car when I heard the song ‘Ragged Wood’, a fast-paced track that hits you with harmonies of a transcendent originality. To put it bluntly I had never heard music like it, to this day I have struggled to attach an appropriate genre to it, and singer and principal songwriter Robin Pecknold has spoken of how even the name was intended to be “evocative of some weird English activity like fox hunting.” This
somewhat
nostalgic
sentiment
prevails
throughout, musically, as well as lyrically. The band writes of journeys and of struggles in a beautifully poetic way whereby much is left to the imagination. Using only nine lines for two and a half minutes of music, second track ‘White Winter Hymnal’ is a showcase of just how powerful the band’s partnering of lyrics and imagery can be. Meanwhile ‘Quiet Houses’ employs the repetition of three lines to play alongside a flowing and soothing instrumental backdrop, whilst ‘Heard Them Stirring’ weaves merely a few chants to dance around the song’s more variant progressions. Contrast this to the ethereal rhythms and charming articulations of a personal favourite, ‘Blue Ridge Mountains’, and what is highlighted is not only the band’s diversity but the record’s eclectic nature. This is a role-model of an album, an inspiring and timeless record, that draws inspiration from the instruments of the East and one that you need to experience. When the band recently released pictures online, first of a guitar then of a mandolin, coupled with the captions ‘Step one’ and ‘Step two’, they made it clear that a follow up to Helplessness Blues is on its way. In two albums this band has won me over and, as Mr. Pecknold is aware, the main concern is maintaining that same sheer quality. If the band’s next effort is anywhere near the standard set by their debut, I would consider that a success.
The Edge | records@theedgesusu.co.uk
Records | 05
CHVRCHES THE BONES OF WHAT YOU BELIEVE (Virgin) Words by Shell Hinds
T
he Bones of What You Believe is the debut album from Glaswegian trio, Chvrches. Consisting of Lauren Mayberry on vocals; Iain Cook on synths, guitar, bass, and backing vocals; and Martin Doherty on synths, samplers and vocals, they have slowly been revolutionising the electro-pop scene for the past two years. Having already released their acclaimed Recover and Gun EPs this year, anticipation for their debut LP has been rife. Despite only coming fifth in the BBC’s Sound of 2013 poll, the group are proving why they’re set to leave their mark on the music world, contrary to their critics’ beliefs. With a sound which can only really be described as ‘synth-pop’, The Bones of What You Believe mixes sinister lyrics, melting ethereal vocals, and futuristic synthesisers to produce a well-rounded and enjoyable record. Opening with breakthrough single, ‘The Mother We Share’, the album sets itself a very high standard from the start. If you haven’t heard ‘The Mother We Share’, it’s an incredibly upbeat track filled with layered vocals, and what may be one of the catchiest choruses of the year. At times, the album is a bit hit-and-miss. Tracks like ‘Lies’, ‘Recover’, and ‘Science/Visions’ detract from the general feel of the album and seem over-produced in parts, often swallowing Mayberry’s vocals, or simply sounding like generic, experimental pop. However, when The Bones of What You Believe is on form, they unearth a thing of beauty. Pairing Mayberry and Doherty’s vocals creates a sound resembling The xx, 06 | Records
and that is certainly no bad thing. ‘By the Throat’ is a prime example of this. It’s anthemic chorus may not be one of the most exciting that you’ll ever hear, but it will get stuck in your head. Here there is a stronger focus on the vocals, and a more stripped-back production allows for the vocal interplay to really scintillate. With lyrics like, “All that’s golden is never real”, ‘By the Throat’ shows that it is not golden, but rather a diamond in the rough. There seems to be a lack of consistency though, and this comes mainly when Chvrches try to be too experimental. High calibre tracks such as ‘You Caught the Light’ and ‘Night Sky’ are ruined somewhat by their respective intros and outros. Luckily, these are only minor issues and they make us wonder where Chvrches could take us if they really committed to these experiments. The band have forged somewhat of a ‘Kings Of Leon fed through a synthesizer’ vibe on many of these tracks (without Caleb's southern drawl) and this in no way detracts from the experience. Overall, Chvrches have crafted a very exciting debut, and these bones look set to provide support for a very long career.
Track listing 1. ‘The Mother We Share’ 2. ‘We Sink’ 3. ‘Gun’ 4. ‘Tether’ 5. ‘Lies’ 6. ‘Under the Tide’
The Edge | records@theedgesusu.co.uk
7. ‘Recover’ 8. ‘Night Sky’ 9. ‘Science/Visions’ 10. ‘Lungs’ 11. ‘By the Throat’ 12. ‘You Caught the Light’
Franz Ferdinand
Words by David Burke
Right Thoughts, Right words, Right action (domino)
S
o, everyone’s favourite indie band are back with a vengeance on their fourth album, bringing back memories of 2004 and their mega-hit ‘Take Me Out’. After the mild disappointment of Tonight: Franz Ferdinand which brought the singles but little else, it’s a pleasure to hear Kapranos and company pull away from the poppish stylings of their last album and concentrate on what makes Franz Ferdinand such a lasting band - pure songcraft with polished hooks, funky basslines that command one’s feet to move, and Kapranos’s idiosyncratic vocal delivery. From the first track, ‘Right Action’, it’s clear that the ingredients are all still present and ready - the drums power the songs forward with frenetic energy like an upbeat Gang of Four, synths and guitars meld into each other as the melodies, poppy but never bland, arc over bouncing basslines. The songs still slip between softer acoustic sections that tug at the heartstrings and those danceable hooks, showing off Kapranos’s versatility as a singer and writer in the same vein as ‘Eleanor Put Your Boots On’ from their second album. There are, as ever, a great range of influences that reveal themselves through each track, ranging from bluesy guitar licks on ‘Fresh Strawberries’ to the punk-lite that immediately follows on ‘Bullet’. The synergy between the musicians is plain to see - every melody is practically seamless in its connection to the next, and rather than stick to a
simple chord sequence for all three minutes, there is some genuine invention throughout. Now, of course, the nitpicking starts here; it sounds like their other albums, to the extent it feels nearly unimaginative. It would have been truly fantastic to hear Franz Ferdinand bring their creative prowess to the sounds of 2013, instead of sticking so doggedly to their guns. Whilst listening to this record one gets the sense it’s all been done before... on their other albums. The songs also are lacking somewhat in the shock’n’awe of their first or the emotional beauty of their second, maybe because we’ve heard these tricks before. The album is as infectious as ever, but it could have easily been a collection of extra songs from the debut’s recording sessions. Fortunately this album has plenty of saving graces to keep it afloat, with the standard Franz Ferdinand melodic power shining through as brightly as it did on their first two albums. The end of the album is genuinely pleasing to hear, especially on ‘The Universe Expanded’, a song that perfectly masters the major/minor mix we’ve all grown to love from this band. It’s certainly a good album, one to listen to again, and it’s a great imitation of their older work. Whether you’d rather hear the original or this semi-facsimile is up to you.
The Edge | records@theedgesusu.co.uk
Records | 07
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Singles
Darkside // 'Paper Trails'
‘P
aper Trails’ is a cerebrally seductive offering from Nicolas Jaar and Dave Harrington.
‘R
The track sees a contemplative Jaar croon in a lugubrious manner over Harrington’s adroit instrumentation. The two artists truly bring out a scintillating quality in each other and perhaps possess one of the most important abilities as a duo, restraint. Not to say the piece turns in on itself and dissipates, it builds in a rather swaggered manner and culminates in an achingly beautiful bout of auditory catharsis.
As lead singles go, it’s hard to imagine something much better than this. The bass and percussion in the introduction have a chilled, disco sensibility that then flourishingly leads into a plethora of beautiful vocal harmonies and call-response from Win Butler and Régine Chassagne. The band even recruited David Bowie for some guest vocals. The fact that this new and refined sound is so many miles away from the rawness of 2004’s Funeral shows how far the band has developed.
Complementing the track as a whole are Jaar’s production flourishes which are seemingly ingenuous at first but upon further listening prove to be meticulous in fashion. I eagerly await the final product of this collaboration. Words by Jan Kobal
Blood orange // 'Chamakay'
Arcade fire // 'Reflektor'
eflektor’ is the lead single from Arcade Fire’s upcoming album.
‘C
Despite being nearly eight minutes, the track never outstays its welcome. From the sedate beginning to euphoric ending, Arcade Fire are showing that they are still capable of causing a storm.
hamakay’ is the latest single from Blood Orange. The track is the first offering from his second album Cupid Deluxe, which is to be released in November. In a statement, Hynes revealed that the track is the result of a trip to Guyana, his mother’s birth place. The result is gentle, mournful even. It’s beautiful in places, and deserves to be listened to through a proper system or decent headphones; musical intricacies are easily missed. ‘Chamakay’ does tend to drift into easy listening however. It lacks power and the fierce originality of previous offerings such as ‘Sutphin Boulevard’, which set the bar extremely high. I am interested in seeing what Cupid Deluxe has to offer when it is released. Words by Cat Olley
Words by Thomas Williams The Edge | records@theedgesusu.co.uk
Records | 09
From Bridget Jones to Game of Thrones; the saga of the killed off character
M
uch to the horror of the fans of the Bridget Jones franchise, the Sunday Times Magazine recently exposed the shocking revelation of Helen Fielding’s latest instalment to the much loved books. Although all starts well for the world-famous singleton in Mad About The Boy with Bridget having produced two children with the suave Mark Darcy, the bliss does not last - as Mark Darcy dies. Or rather, is killed off. Many fans took to Twitter to express their feelings towards this announcement: “saw the news about the Bridget Jones sequel, it comes out on my birthday and Mark Darcy is DEAD!!!! Awful news #birthdayruined.” Of course, this also means that Colin Firth will not be returning to the big screen to play the killed-off lawyer. So why do authors and scriptwriters kill off such popular characters? Take for example the smash-hit series Game Of Thrones, aired in the UK by Sky Atlantic. This series has reached international stardom since the premiere of its first episode back in April 2011. The end of series one left many a fan traumatised as they witnessed the beheading of lead character, Ned Stark. As a result of this bizzare decision, the series lost by far its most prestigious actor Sean Bean. Fans questioned why such a vital character was torn from 10 | Features
the show, and whether it would be able to maintain its ratings. Fortunately, the show kept on breathing, and continued to grow to even greater fame. But then they did it again. Just as we were all preparing for the noble Robb Stark to kill Joffrey Baratheon - who certainly deserves what’s coming to him - he, his mother, his wife and unborn baby are slaughtered in the penultimate episode of series three, ‘The Red Wedding’. It’s safe to say that the general consensus was “what the hell just happened?” Series four is due to air next year, giving the fans enough time to dwell on what this mass killing off means for the series. Surely the Baratheons cannot prevail? Similarly, the nation was left reeling after the death of Matthew Crawley in the immensely popular ITV series, Downton Abbey. Creator Julian Fellowes did not plan nor want actor Dan Stevens, who played Crawley, to leave. Stevens made it publicly clear as to why he wanted to leave the hit series, claiming that “from a personal point of view, I wanted a chance to do other things”. That may be all very well for him, but what about the viewers who are now forced to watch Lady Mary bawl her eyes out every episode this year?
The Edge | features@theedgesusu.co.uk
However, a fictional world where no characters whatsoever are killed is out of the question. Sometimes, it is simply essential that our much loved - or hated - characters die in order for the story to progress. Quite frankly, if Ned Stark was still alive, there wouldn’t be much to fight over, really. And for some to argue that writers do not pay any attention to the feelings of the fans is ludicrous. What about the creative license of the writer? After all, it is they who dedicate hours of hard work into creating these characters and grow to love them too. Unless, that is, you’re the creator of series The Walking Dead, who seems to go on a killing spree regularly (think about it: Carol is the only remaining living female character from series one). But then again, it is a zombie series. It is sad to say, but deaths of lead characters in books, TV series and films are always going to be inevitable. Personally, I think that nine times out of ten such departures render the book/series/ film never the same again... but for the one tenth that are successfully received, the plot line does thicken as new possibilities are explored. All is well, as long as Joffrey gets his arse kicked in series four. Words by Chelsie Stamford
INTERVIEW: THE 1975
Y
ou’ve pretty much had the best summer a band could ever ask for. The album, The 1975 is at number one; what were your initial thoughts on finding out that your debut album had gone in at number one? When we heard we were number one, to be honest with you it was weird because I thought finding out about the number one record would be like when I used to listen to the countdown; so I used to think I’d know nothing about it and then I’d listen to the countdown and we’d come in at number one. I had this big existential crisis; then I thought that those just aren’t the important things. Like statistical, material achievements, they’re actually quite brittle and they don’t really last - they don’t have much substance. What really has substance is the kind of human connection with somebody at your show; somebody tells you an amazing story about how your music has affected their life. That’s what this year has been defined by, for me.
Now another thing that I think is interesting is your band aesthetic; you have a very clear vision of how you wanted to present yourself. I’ve read that you’re inspired by filmmaker John Hughes. How important would you say image is to you as a band? Very important. It’s all kinds of little things that build us up and make us The 1975, not just the music - it’s the synergy between the aesthetic and the sound. It’s juxtaposed, it’s life affirming pop music with an aesthetic that is more dour, and like you said, kind of leans on noir aspects and is detached from reality. It’s all part of who we are, it’s an extension of our personalities. That means we don’t want to be so exposed, so the more you stylise something the less exposed you are as a person. My perfect song would sound like ‘I Wanna Dance with Somebody’ by Whitney Houston but would convey the message and have the conviction of ‘Hallelujah’ by Leonard Cohen. That would be my perfect song. I think it’s that juxtaposition of music that makes you feel really, really good at face value but also provokes you to be more introspective when you look in to it.
The Edge | features@theedgesusu.co.uk
A lot of people have recently been arguing that guitar and indie music is in ill health. How would you comment on the current state of guitar music? I wouldn’t because I think it’s boring and I think it’s a problem that feeds itself. Because if everyone keeps thinking about music as being so defined and so tribal and so categorised, then the subjectivity of it is kind of irrelevant. Everyone is like ‘what’s happening to guitar music’ - well it’s under evolution. And guitar music isn’t dead because two of the biggest selling records of the year have been by us and the fucking Arctic Monkeys. What do you want guitar music to be? If you call us a guitar band you might as well call us a microphone band because we use them, we use them more. If you woke up one morning and all genres were gone, you could look at your record collection in such a pure way, like unrestricted by any weird connotations and it would be brilliant. Words by Lewis Cato You can read our full, unedited interview with The 1975 online at www.theedgesusu.co.uk
Features | 11
the rise of
B
BASTILLE
astille’s rise to fame has been quite the whirlwind. They may have formed in 2010, but since the release of their first single in April 2012, things have only escalated for the band. Eighteen months later, with a sold out US tour and a number one album under their belts, I caught up with Bastille founder and frontman Dan Smith, and keyboard/synth player Kyle Simmons, at their recent Portsmouth Guildhall show, on a rather special day for the band.
“It should be uploaded now” says Smith about the music video for new single ‘Of The Night’. We communally cheered before kicking off the interview in which The Edge were the first to get the low down on their new single ‘Of The Night’. “We’ve always felt ownership over that version” says Smith as we discuss how people will react to the band releasing a cover; a mashup of Snap!’s 90’s hit ‘Rhythm is a Dancer’ and Corona’s ‘The Rhythm of the Night’ which first featured on the band’s February 2012 mixtape Other People’s Heartache. There was, “so much demand from people to have it” enthuses Smith as the song has always been a crowd favourite at their live shows. “There’s 12 | Features
our fan base who know the breadth of what we do and then there are people that would have only heard ‘Pompeii’, we’re quite keen to show people that there is quite a lot more to what we do and what we want to do”.
The music video itself stars Hollywood actor James Russo (Django Unchained, Gangs of New York) and as Simmons said, “he’s got probably the best face in the world”. Smith explained how the band got to be on set, “almost passively for the first time just watching actors at work”. The music video follows James Russo’s character around as he visits the scenes of a series of deaths, a true juxtaposition of the song, as Simmons says, “the video is the complete
“it’s
fittingly Bastille, it’s weird, it’s dark” Dan Smith opposite of upbeat and happy”. Smith The Edge | features@theedgesusu.co.uk
adds, “it’s fittingly Bastille, it’s weird, it’s dark, it’s a lot weirder than other stuff that we’ve done”. Off the back of a manic festival season, of which Bestival was the highlight, Bastille travelled across the pond to the States for their full US tour. “Before we could even register it the tour had sold out” Simmons utters in a speechless fashion. Despite the immediate fame in the States, Smith keeps grounded, “to even make a dent you’ve got to start again, we’re aware that we haven’t even begun. As a band we had one of the funnest tours we’ve ever done. Every city, every state you go to is so iconic and there is so much stuff that you’ve seen in films and TV shows and read about in history books, it makes the traveling part really fun”. Upon asking for an appropriate anecdote about their time in America, Simmons and Smith told me, after much deliberation, about doing a session at Capital Studios, “It’s the LA equivalent of Abbey Road, he [Bastille’s US A&R representative] did a massive production of ‘Pompeii’ for a twenty piece film orchestra, it’s the most beautiful thing”. Smith, clearly excited, shows me a recording of the
session on his iPhone. Topping off such an amazing experience comes the news that it was on the same day as their performance on Jimmy Kimmel Live! “It feels ridiculous to us that we’ve done three trips to America and on the second one we were on the Conan O’Brien show, and then Jimmy Kimmel on the third”. Having just got back from this vast and successful stint in the US, Bastille are now in the midst of their autumn UK tour, but it won’t be long before they head out to once again tour Europe, and then South Africa. “It’s completely incomprehensible” Smith remarks on the fact that they’ve already sold 20,000 tickets in the country. “I think I’ve done one phone interview with someone in South Africa and that’s it”. In Radio One’s Live Lounge Bastille recently performed a rendition of Miley Cyrus’ ‘We Can’t Stop’, I asked the band what made them choose the song. “We picked the song a couple of months before the session, and then watched twerking unveil in front of us” says the frontman, “it’s all annoyingly unavoidable”. With
“Despite
sonic changes, they still feel very Bastille, that’s our aim”
Dan Smith the rise of YouTube virality and hits counting towards US single sales, Simmons added “that’s the world we live in, people are obviously going to try and cash in on it, if you want a number one, you can do that to get it”. Bringing my time with the band to a close they revealed some interesting things to come, with The Edge being the first to chat with them about it. Smith explained how the band are “playing three new songs tonight, ‘The Draw’, ‘Campus’ and ‘Blame’, it’s nice to throw a few wild cards in the mix amongst the tracks from Bad Blood; one new song will be released quite soon and the other two are still works in progress that will be on the next album”. As well as this The Edge | features@theedgesusu.co.uk
he enthused about the addition of guitars to their song writing process: “because we’ve never had guitars they feel like a massive novelty to us, I hope we can find a way to incorporate it into what we do and use it to progress our sound”. With this exciting news came the announcement of their upcoming two-disc record All This Bad Blood: “we’re releasing it in November, it feels like a complete representation of what we have done so far and what we’d like to do in the future. The first part allows us to properly release the tracks that we love and play live all the time but couldn’t fit on our proper debut. The second part is a mini version of one of our mixtapes which weaves in a couple of new songs. With those two new songs we wanted to stake the boundaries of the two places we could go, and hope to go, on the next album. There’s one really electronic song and one quite heavy guitar song. We’ve always felt quite free to do what we want to do, so this is showing the listener that these are the two extremes we could go. Despite sonic changes, they still feel very Bastille, that’s our aim”. Words by Megan Downing Features | 13
BREAKING BAD NEWS: the era of the spoiler
A
couple of weeks ago I was at a pub quiz. The questions were over, and the hosts were reading out the team names, slowly approaching the top three, when they read out a simple sentence. The booing was instantaneous and ferocious. It was the Sunday night that the last ever episode of TV juggernaut Breaking Bad was aired, and yes, the hosts had just read out the ending.
sections? Discussion is healthy; a relentless desire to share our opinions on social media about everything we take in - with absolutely anyone - is not. We’ve all heard the term ‘hipster’, the running joke being that hipsters liked everything before it was cool, or mainstream. But with entertainment, we are all trying to get there first, scrambling over others so we can turn round and tell them what happened.
So here we are, the era of the spoiler. Game of Thrones fans will remember shocker episode ‘The Red Wedding’. They might also remember the slew of angry letters The Metro received when it splashed stills from the episode accompanied by a spoiler heavy article on page three the next morning.
Shouldn’t we celebrate, however, that we have these television shows - from Breaking Bad to Broadchurch, Downton Abbey to Dexter - that provoke such passion in viewers that they cannot help but tell others about them? It’s true that television appears to be having a ‘moment’.
And this phenomenon isn’t restricted to the screen. I first heard about Helen Fielding’s much anticipated third Bridget Jones novel Mad About the Boy by way of an article written specifically to reveal that Mark Darcy has been killed off. At least this one would be spoiled relatively quickly anyway; he’s dead by the beginning of the novel.
But the mirror image of this is that special kind of disappointment when someone spoils the ending of something you just made your way through eight series of.
Is this indicative of a culture of over-sharing, fuelled largely by the internet in the form of Twitter and comments
We all like to blame social networking, but this is not a new phenomenon, particularly for the film world. Star Wars: The Empire Strikes Back is often cited as the original ‘Spoilergate’. Darth Vader’s famous revelation that he’s Luke Skywalker’s father is the original shocker, and spread like wildfire, spoiling
The Edge | features@theedgesusu.co.uk
the film for 1980 cinema goers everywhere. When was the last time you watched a thriller without having heard at least a peep about the climax? I bet we can all name endless films we know the plot of but have never seen. I envy those who were able to watch Hitchcock thrillers without an inkling of what was about to happen. And even the film industry itself is keen to reveal all; modern cinema’s intense marketing and adaption-heavy cinema means that we all know what’s going to happen before it does. Film trailers are also more candid than ever, functioning as a heavily edited version of the film itself instead of picking out key moments which will excite the audience. Adverts for romantic comedies include ‘the kiss’. Trailers for sci-fi films will show the ‘monster’, and probably in full. So if we want to reclaim the original excitement of film and television, we’ve got to stop spoiling it for ourselves and other people. Take a moment before you tell, tweet or text your friend that Bruce Willis is actually a ghost. Sorry. Words by Cat Olley
Features | 15
bfi london film festival 2013 review
captain phillips Words by Barnaby Walter Director: Paul Greengrass. Cert: 12A.
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om Hanks’s face is quite prominent this year at the BFI London Film Festival. He is the leading man in the opening night gala feature Captain Phillips and one of the lead actors in the closing night gala, Saving Mr. Banks. Two very different roles (one a cargo-ship captain, the other the filmmaker Walt Disney) though both based on real life individuals. His turn in Captain Phillips, the new work by The Bourne Ultimatum and United 93 director Paul Greengrass, is astonishingly good. I haven’t yet seen him in Saving Mr. Banks, so there is a chance I might have to take back my words here, but I believe this may well be his best ever performance. The movie is based on the real-life hijacking of an American cargo-ship by Somali pirates in 2009. Most of the crew hid themselves in the engine rooms whilst the captain and a few others tried to negotiate with the pirates. The hijacking goes wrong, and the pirates leave the ship taking the captain with them as a hostage in a lifeboat. Paul Greengrass is famous for blurring the lines between documentary and drama. In the press
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conference after the screening I attended, he and Tom Hanks were very clear in making the distinction between what is fact and fiction and how certain parts of the true story had to be condensed. However, just through his style of direction Greengrass makes the film feel terrifyingly real and eye-wateringly intense. He often harnesses handheld camerawork in order to cultivate a ‘real’ feel to the action (the term for the style, cinema vérité, does of course roughly translate as ‘cinema of truth’) and here it really does add to the tension. The final scenes build to an almost unbearable crescendo of shredded nerves, tears and lots of blood. During these moments Hanks is as we’ve never seen him before. Brutalised, terrified and in a state of shock, his character goes through a living hell and the actor, who many cinemagoers will know and love for his light comedies, manages to do something truly harrowing with the material he is given. This is an extremely powerful film of the kind that doesn’t come along very often. It aims to thrill and unsettle and it certainly did that for me.
The Edge | film@theedgesusu.co.uk
bfi london film festival 2013 review
gravity
Words by Barnaby Walter Director: Alfonso Cuarón. Cert: 12A.
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lfonso Cuarón has once again demonstrated what an exciting, varied and adaptable director he is. The 51 year old Mexican made a name for himself with Y Tu Mamá También, a steamy drama involving group-sex, and went on to direct projects as diverse as Harry Potter and the Prisoner of Azkaban and P.D. James adaptation Children of Men. Now he has crafted a beautiful, tense and soul-searching sci-fi epic. Gravity, whilst not perfect, is a dizzying spectacle and a tremendously accomplished work. Aside from Harry Potter, this is probably Cuarón’s most accessible and commercially bankable offering. Gravity has already broken box office records in the States and is set to become one of the biggest movies of the year. The film follows a medical-engineer/astronaut (Sandra Bullock) as she attempts to survive a series of catastrophic events whilst working in space. Her team (including a typically charming George Clooney) struggle around her as their project is blown apart, quite literally, by flying debris. Soon, she is on her own, in space, with very little in way of rescources or immediate help.
Sandra Bullock has always been an excellent actor but she has made some rather poor movies (including the one she won an Oscar for, The Blind Side). Though her presence in the film comes second to that of the director (Cuarón is the real star here), it is still refreshing to see her in a more mature and serious setting. Of course, she did have an Oscar-begging turn in Extremely Loud and Incredibly Close, but that’s best left forgotten. Because, as we know, sound cannot travel in space, the film’s score makes up for the lack of diegetic sound and is more-or-less constant throughout. A persistent music score can sometimes work against a movie, but British composer Stephen Prince controls it perfectly. The ending especially is made all the more powerful by his rousing themes. At times Gravity does feel a little gimmicky, and the continual issues our hero is faced with occasionally makes it feel closer to a videogame than a narrative feature. The overwhelming experience, however, is still raised far and above many action blockbusters. This is good, solid, and frequently remarkable entertainment. And make sure you see it in the cinema and not on DVD on a laptop in a year’s time. It deserves a big screen.
The Edge | film@theedgesusu.co.uk
Film | 17
Archive Review BFI LONDON FILM FESTIVAL SPECIAL
THE WITCHES Words by Barnaby Walter
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tudioCanal have been very proactive in releasing and remastering some of Hammer’s most notable horror titles over the past year, and just in time for Halloween they are releasing their new restored version of The Witches. Screening at the BFI London Film Festival this October, followed by a gorgeous Blu-ray release, the film looks terrific in its new digital state. Originally released in 1966, the movie stars Joan Fontain (in her last big-screen appearance) as a primary school teacher. She goes back into teaching after recovering from a breakdown connected to a terrifying experience she endured whilst working abroad. The film is quite effective in lulling us into a false sense of calm with
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some characters, then pulling the rug from under us. What initially seems to be an exercise in paedophobic horror quickly becomes something altogether very different (and more than a little nasty). Adapted for the big-screen by Nigel Kneale, the screenplay quite often feels rather obvious (though then again, this is 60’s Hammer horror) and some may guess where the movie is heading towards. Even so, this is still a creepy little treat, and a good film to watch to get into that Halloween mood as the nights start getting darker and colder. Director: Cyril Frankel Cert: 12 in selected cinemas and available on Blu-ray disc and DVD.
The Edge | film@theedgesusu.co.uk
bfi london film festival 2013 review
Inside Llewyn Davis Words by Barnaby Walter Director: The Coen Brothers. Cert: TBC. I’ve always preferred small-scale Coen Brothers works rather than the big-scale crime epics or westerns. I like the intimacy they give us with a collection of characters that may look ordinary at first glance but prove themselves to be extraordinary (sometimes, extraordinary in their ordinariness) over the course or the film. Inside Llewyn Davis is small-scale Coens, focused on character rather than landscapes and melancholy comedy rather than tension. Oscar Isaac stars as our title character; a guitarist and singer whose work never really took off. He’s not a bad looking guy, but there is something grey about the small amount of charisma he gives off. He feels like a man falling just when he should be soaring. It turns out the other part of his double act has died and he is struggling to make it as a solo artist. His financial situation is not good. He sleeps on his friends’ sofas and has to find money so his friend (Carey Mulligan, typically excellent) can abort his child. She is in a relationship with one of his friends (Justin Timberlake, surprisingly understated) and doesn’t want to give birth to a child that was the result of her unfaithful behaviour. This wonderful little miracle of a movie is made
possible by the perfect marrying of the Coen’s gift for slightly odd humour and their lead actor’s ability to be both heartbreaking and hilarious. Isaac, who appeared with Mulligan before in 2011’s Drive, is given that much needed chance to shine. In some ways, this movie will do for him the thing that his character within it so desperately needs: that one big break. The most soul-searching part of the film occurs during a trip to Chicago, where our protagonist hitches a ride with an overweight old man (John Goodman) and an attractive young man (Garret Hedlund). All of the people in the car don’t fit into this world around them. They all seem like loose cogs struggling to turn in the direction that they are being pulled in. Hedlund’s role is also feels like an intelligent, self-aware reference to his turn in On the Road. His presence feels like the ghost of a Kerouac-esque free-spirit, but one that has been worn down by time and disenchanted by the lack of satisfaction in life. Consistent funny, quietly haunting and memorable in a strange and intimate way, this is another Coenhelmed masterpiece, and one which they can proudly add to their ever-growing collection. You can expect Oscars.
The Edge | film@theedgesusu.co.uk
Film | 19
Your path to a successful career Look out for the DLHE Survey 6 months after graduation and engage with our alumni services Research postgraduate pathways and support
Prepare for Assessment Centres* and Interviews by attending the Career Destinations Boot Camp and interview workshops
Login and go through our jobs vacancy portal*, exclusive to students at the University of Southampton
Be aware of application deadlines
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Attend the June Employability Festival* and get a head start on your final year
Consider global opportunities, working or volunteering abroad with our Global Advantage and Volunteering Weeks Check out the Excel Placement Programme* for Easter and Summer paid internships
FRESHERS
Check out the Career Destinations Events Calendar
Attend skills workshops* and prepare/update your CV ready for applications
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Get actively involved in University life by joining clubs and societies
PENULTIMATE Start building your network by YEAR participating in Insider Mentoring and learning from a Career Mentor
Attend careers fairs* and network with employers
www.southampton.ac.uk/careers
* Open to all years of study Career Consultancy A 1:1 meeting with a Careers Practitioner to discuss a specific application for jobs/ internships, further study courses and PhD positions.
Boot camp A day-long event of workshops based on assessment centre exercises and tips on how to excel in the selection process.
TOP TIP All appointment slots are bookable on the day of the session and are on a first-come, first-served basis.
TOP TIP Remain focused and motivated at an assessment centre: you may be observed at any point.
Careers panels Subject or sector-specific events: Meet alumni and employers from your faculty to find out where your degree could take you. TOP TIP An ideal opportunity to ask questions and get ideas of potential careers.
Student Enterprise Considering starting your own business? Take advantage of the Student Enterprise offering of workshops, start-up competitions and much more.
Employer Presentations and Skills Workshops Interactive exercises with graduate employers or Careers Practitioners. Perfect your CV and get to grips with the job selection process.
TOP TIP To generate contacts and get involved in fantastic projects, join a Student Enterprise society like Enactus Southampton or Fish on Toast!
TOP TIP You can gain valuable skills from employer workshops even if you have no interest in applying to that particular employer.
Careers fairs These allow you the opportunity to speak directly to a range of top graduate employers. TOP TIP Attend the ‘Prepare for the Fair’ session for hints and tips on how to make the most of those few minutes at the stand.
Job Vacancy Portal Graduate vacancies and work experience opportunities are available through the Job Vacancy Portal. Employers from over 20 sectors target University of Southampton students and these roles cover diverse industries and locations. TOP TIP Access this resource by logging in to your Student Portal.
Social Media Interaction Keep up to date with events and opportunities or ask us your employability questions on Facebook or at our Twitter handle @UoS_Careers.
filth Words by Andy Southcott Directed by Jon S. Baird Studio Universal Released Out now
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visceral adaptation of the novel by Trainspotting author Irvine Welsh, Filth presents a seedily subjective view of the life of psychopathic Edinburgh detective Bruce Robertson (James McAvoy). Though it initially follows the police investigation into the murder of a Japanese student, the film focuses more upon Bruce’s vices and amoral scheming.
Edinburgh is depicted as a sordid city overwhelmed by bigotry and violence, and at first the film appears to delight in its ability to offend its audience. However, after a sometimes unpleasant first half the filmmakers manage to mould Bruce into a relatable human being, and the film becomes more than simply a mean-spirited vehicle for offense. In fact it becomes surprisingly affecting.
McAvoy shows an admirable commitment to conveying the most unpleasant depths of his character, and he is ably supported by strong performances from Jamie Bell, Jim Broadbent, and particularly Eddie Marsan. Filth may not be Trainspotting, but it is still a striking and darkly effective film.
how i live now Words by Scarlett Sangster Directed by Kevin Macdonald Studio Entertainment One Released Out Now
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ased on the award winning novel by Meg Rosoff, this big-screen adaptation stars Saoirse Ronan as Daisy, a mentally unstable 16-year-old New-Yorker, sent to a world which couldn’t be further out of her comfort zone, the English countryside. The film starts off tasting like a typical teenage romance; surly
suburban teenager meets country boy and they fall in love. Indeed if this had been televised most viewers would switch channels. Those who persevered, however, would no doubt become caught up in the quietly terrifying twist. Just as the inevitable romance begins to blossom a nuclear bomb is set off in London and director The Edge | film@theedgesusu.co.uk
Kevin Macdonald really begins to show off, his impressionistic camera work transforming the beautiful landscapes into a disorientating nightmare. It’s all hauntingly executed and feels scarily realistic, with moments that will certainly stay with you long after you leave the cinema.
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Blood, Meth and tears: The end of Breaking Bad Words by Megan Downing *This is a spoiler heavy review of the final episode of Breaking Bad*
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t’s done. Finished. Breaking Bad is no more. ‘Felina’ finished the fifth and final season of Vince Giligan’s masterpiece, Breaking Bad. After five seasons, dating back to its, now famous, white pants/green shirt pilot episode in 2008, the fate of Walter White and co has been revealed. Mr White/ Heisenberg gets his comeuppance in a satisfying and powerful ending to the series, lying on his back, in the place where he felt most at home, a meth lab.
A far from romantic reunion with Skylar was necessary. That scary phone call in ‘Ozymandias’ could have been their last conversation, but this one meant so much more. Visibly drained and scarred Skylar sits there, chain smoking, and as the camera pans we see Walt. The imagery in this scene is very symbolic with a pillar physically dividing the two. They couldn’t be further away from the newly weds we see in Walt’s flashbacks. He admits that it was all for himself: “I did it for me. I liked it. I was good at it”, this is so important, it confirms that all the ‘I’m doing this for my family’ lines were pure bullshit. A silent
The episode begins with Walt checking off his to-do list; all ends get tied up in delightfully satisfying manners. First we have the Schwartz family, Gretchen and Elliot. Scaring them into submission with ‘two of the best hitmen in the world’, who happen to be Badger and Skinny Pete, fair enough, Walt didn’t lie when he said they cost £100,000, he makes sure the two loveable stoners are sorted with a wad of cash each. He goes through the motions and poisons Lydia with the Ricin. I had predicted the ricin was for Lydia, secretly satisfied that she will die a slow and painful death.
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goodbye to Walt Jnr and Holly and Walt moves on to tackle the next end that needs tying up. The last twentyr minutes of the episode are television brilliance. We have the predicted, and needed, Walt versus Jesse stand off. After Walt saves Jesse from the hail of bullets coming from that machine gun in the boot of Walt’s car, Jesse brutally gives Todd what he deserves, strangling him with the chain of his cuffs. A cathartic necessity. Having the opportunity to murder Walt, Jesse decides to walk away and get his freedom; he knows Walt is going to die anyway, whether it be the cancer or the more imminent bullet wound, Jesse can be rid of Walt and not witness his death. ‘Baby Blue’ by Badfinger plays as the camera zooms out on a near-death Walter White, surrounded by police slowly approaching his body from all angles. The first line ‘I guess I got what I deserve’ lingers over Walt so fittingly. A great way to end a fantastic television series. Perhaps not the best of all time, but one that deserves the praise (and the Emmys) it’s getting.
The Edge | culture@theedgesusu.co.uk
Homeland: season three premiere
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fter a powerful climax to season two of Homeland, with the death of 219 people in a terrorist attack at Langley, viewers would expect an equally dramatic and tantalizing start to season three. However, ‘Tin Man Is Down’ was a disappointing follow on from such an impressive closing episode. Viewers were edged in too gently with the episode greatly reminiscent of a poor soap opera. One of the main focuses was how Brody’s family copes with their new reality. Although this does make interesting television, from Homeland more would be expected. The troubled teen Dana wastes valuable screen time, not least through the almost distasteful aspect of her sexting a new male friend. Although the revelation that she attempted suicide was interesting and provided some background to what ensued during the two months since the attack on Langley, her rather drippy character continued to be focused on. Possibly more of an interesting angle to take would have been the impact on their son, who has taken little air time as of yet. Moreover, Brody’s lack of presence meant there is little incentive to watch episode two. Many questions about The Edge | culture@theedgesusu.co.uk
his whereabouts spring to mind and none of these were answered or look to be in the near future. Co-producer Howard Gordon said, “It’s entirely possible that there could be Homeland without Brody.” Yet with two series’ greatly focusing around him, surely his presence is necessary for the show to not lose track. Despite this, however, when the episode delved more into the lives of Carrie and Saul it became much more interesting. Throughout Homeland they have had almost a father/daughter relationship with Saul protecting and desperately supporting Carrie. His actions at the end of the episode provide a shocking turn in their relationship. This ties in with the powerful aspects of the episode that see Carrie racked with guilt about the attack on Langley. ‘Tin Man Is Down’ is saved through Claire Danes’ brilliant acting as Carrie. Let’s hope that in spite of a poor episode one, we get answers about Brody’s whereabouts sooner rather than later and lose the soap style that is emerging.
Words by Emily Koltunicki
Culture | 23
Flashback:
Pokemon Crystal
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ith the highly anticipated new release of Pokémon X and Y causing a bigger stir than Team Rocket “blasting off again”, I thought it time to relive the glory days of my childhood and turn to the Second Generation, Pokémon Crystal. And, even after 12 years, it still does not disappoint. The concept is very much the same as First Generations Red and Blue: you are given a pocketable creature from the local Pokémon Professor, and sent off on an exciting adventure with little more than a phone (termed Pokégear) and backpack from your mum. The aim, of course, is to train your cute little lizard into a mighty dragon of destruction to defeat eight gym leaders and become Pokémon Master, all whilst thwarting your rival and teams of evil trainers along the way. It is Crystal’s gripping storyline and variety of added features and characters that allow it not only to be a spectacular sequel to Red and Blue, but also to overtake its predecessors vastly in game quality. For the first time the option to play as spunky blue-haired girl Kris is available, opening up the appeal of the franchise to both genders. The most impressive feature of the plot begins after obtaining the fourth gym badge. The legendary water Pokémon Suicune’s unusual interest in you that is then maintained throughout the game highlights the moment when you renounce your status as an innocent child and take your place in an epic world of
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legend and power. This moment, along with the possibility to return to the First Generation’s region of Kanto after a player has defeated the Elite Four and become Pokémon Master in Crystal, allows Nintendo to cater not only for the young, but even for Pokémon veterans. The graphics, admittedly, leave much to be desired. Crystal’s superiority to Red and Blue ends with animated sprites, more advanced illustrations and, most importantly, colour. The characters are still highly and obviously pixelated, and by the time of the vastly advanced aesthetics of Pokémon X and Y, staring at the blurred back of Togepi’s head is almost painful to the eye. Despite this it must be maintained that the retro animation itself actually moves a lot faster than the later games’, so you do not end up spamming the A button every time a wild Pokémon leaps out of the grass. But with the thrilling storyline and characters, Pokémon Crystal proves that up-to-date graphics are wholly unnecessary to define a good game. The retro graphics continue to impress simply due to the nostalgia they invoke in the game’s older fans. Any First Generation fans who found the later Pokémon games ‘Gastly’ should definitely try Crystal’s thrilling combination of the old and the new.
Words by Lauren Ramsden
The Edge | culture@theedgesusu.co.uk
Dexter: Final season
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ith seven seasons in the can and a slowly vanishing sense of wonder, everybody’s favourite blood-spatter analyst turned serial killer was just about ready to hang up his knives. The eighth and final season of the once darkly hilarious detective drama promised to be a grand finale to the mad little life of Dexter Morgan, but would we die-hard lovers of the dark defender be treated to the pitch-black conclusion we knew at heart we deserved? Or would funwrecking show-runner Scott Buck take another wrong turn, digging deeper beyond the abyss of awful that was season seven? The opening episode, ‘A Beautiful Day’ does well to setup a feisty storyline for the season, the introduction of Charlotte Rampling’s fantastically dodgy doctor Evelyn Vogel adding a new layer to Dexter’s obviously chequered past. However, right from the offset it’s clear to see that the tone of season eight is far too similar to the wrong-footed, soap-opera style drama of season seven as opposed to the early black comedy of Dexter’s roots. As the season ticks on, this becomes more and more apparent, with more focus shifted onto the relationships between supporting characters rather than the trials of Dexter himself. At the end of the day, who cares if the kid’s nanny is having problems with her boyfriend? Dexter is a show about a vigilante serial killer; we expect grisly murders, not an Eastenders-style argument every episode! As with each of the previous season, the main plot to season eight concerns an unhinged psychopath committing an ongoing chain of increasingly gory killings, paralleling Dexter and creating a new nemesis for him in the process. Despite this being a mirror of previous plot-lines, season eight takes a slightly more wobbly approach than its predecessors. Instead of devoting every episode to the hunt for the mysterious ‘Brain Surgeon’, we’re treated to several diverted story-arcs following a possible childprodigy of Dexter’s, a clumsily renewed take on Dexter’s relationship with his sister, and of course the return of not-so-old flame Hannah McKay, who continues to be duller than a butter-knife. These pointless and unfulfilling
side-quests add too little to be justified in a season that really should spend its time gearing up for a grand finale. On the bright side, Michael C. Hall turns in another award-worthy performance as the titular anti-hero. Even as his material slips below-par, Hall maintains the trademark Dexter charm that’s kept us hooked for eight long years. Season veterans Jennifer Carpenter and David Zayas too meet their consistently great standard, despite taking knocks to their usually well-honed dialogue. Where the cast really begins to falter however, is with the frankly talent-less Yvonne Strahovski. Whether it’s down to her emotionless character, insane lack of development or simply her sour-faced pout, Strahovski tumbles at every hurdle, never truly mastering the chemistry between her Hannah and Hall’s Dexter. The result of this is a bland and lifeless on-screen couple that need to be believed to give the season plot any hope, and that sadly fails. The main selling point of season eight however, is of course the very fact that it is the finale to the longrunning Dexter brand (although a spin-off may be in the works). Die hard fans huddled together to finally put their worries to rest with the epic finale to Dexter Morgan’s journey through darkness. Then when it came to it, of course, it was a total and complete let down. A botched escape, a few significant but diabolically handled major character deaths and that final shot; a really rather random conclusive segment that basically took the form of a giant middle-finger to every major fan Dexter has ever had. But really, could we have ever hoped for anything different after such a wonky final run? With few defining features and far too many episodes that really are simply unwatchable, Dexter stumbles to a disappointing and undeserved conclusion in season eight. My advice? Switch off immediately following the chilling season six finale, making it so that the immensely tense cliffhanger lasts forever. Words by Ben Robins
The The EdgeEdge | culture@theedgesusu.co.uk | culture@theedgesusu.co.uk
Culture | 25
Preview
Local Natives at University of Southampton (29/10/2013)
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ocal Natives will be heading to our very own University on 29th October as part of their 11date UK tour. Hailing all the way from Los Angeles, Local Natives are continuing to follow the success of their album Hummingbird, which was released in January. Fresh from doing the rounds at festivals all over the world this summer, including Glastonbury, Latitude and
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Beacons, Local Natives are sure to provide fans with their signature tight harmonies. Previously compared to bands including Arcade Fire and Vampire Weekend, their quirky three part harmonies and upbeat rhythms are not to be missed. Quiet about any new material, those who are lucky enough to attend the gig may even get an exclusive listen to new tracks.
The Edge | live@theedgesusu.co.uk
Supporting Local Natives will be Australian alt-rock band Cloud Control, who released their second album Dream Cave over the summer. Tickets for the gig are available to purchase from the SUSU box office for £15.50. Frightened Rabbit and Palma Violets will also perform at the University later this year. Words by Grace Pattle
Kids in Glass Houses Words by Megan Downing The Wedgewood Rooms, 8/10/2013
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fter the release of new album Peace a week previously, Kids in Glass Houses arrived in Portsmouth half way through their extensive UK tour with Cartel and Propellers. Playing for the millionth time at The Wedgewood Rooms the show definitely demonstrated a band that (in the words of drummer, Philip Jenkins) “are at Peace with their live set.” Kids in Glass Houses came onstage and jumped straight into the title track for their new album. ‘Peace’ is a fantastic sing-a-long that really got the crowd going, and despite the album only being out a week, everyone knew the words. The pulling power of Kids In Glass Houses comes from the vocals of Aled Philips and the pop music they create is optimised by the incredible hooks that are perfectly executed by the frontman.
Bowling For Soup Words by Alexander Brown O2 Guildhall Southampton 10/10/2013
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efore Bowling For Soup emerge, the sound system first plays a ‘Bowling For Soup’ chant, so everyone who is not excited knows how to feel, then they eventually emerge to the same sound system playing a song imploring us to get ready for ‘the fun train’. Totally punk. The set list is a mix of old classics and new tracks from the fan funded album Lunch. Drunk. Love., the best of which is certainly ‘Circle’, an acoustic and intimate song that really reiterates the bands’ Texas roots. All things considered it was a fun performance from one of the great nearly men of pop-punk, it’s just hard not to yearn for more music by the time the eighth penis jokes comes around. The band was amazing but to talk for 10 minutes during the encore is utterly ridiculous. Farewell Bowling for Soup, you could have been brilliant, but I will settle for you being merely rather good. The Edge | live@theedgesusu.co.uk
Live | 28
THE FRESHERS' BALL As the crème de la crème of uni partying, pressure is piled on the Freshers’ Ball to be the best night, with the best acts, with your new best friends. Last year’s extravaganza was far better than previous events, with Greg James DJing, Verne Troyer running around SUSU, and even a fresher marriage proposal; so could 2013 top it?
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The Edge | live@theedgesusu.co.uk
Scarlett’s Roses Being the first act of the night is always a tough slot, but it’s even tougher when there are only four people in the room. This was the embarrassing situation which ska-pop seven-piece Scarlett’s Roses faced as they kicked off proceedings in Garden Court. Despite being a jovial bunch with their mix of covers and original songs, it was a blessing that few freshers heard this set. Executing a performance that would be perfect for Butlins, someone needs to tell these guys that singing Salt-n-Pepa’s ‘Let’s Talk About Sex’ isn’t how to appeal to students.
Catfish and the Bottleman Catfish and the Bottleman are an incredible rock band, especially for a group who have a sperm as their logo; so it was a shame that - once again - so few people realised that they were playing. Van’s crooning vocals and awkward onstage banter were strangely endearing to watch (although his comment about the ball being an excuse for ‘having a gangbang’ was slightly uncomfortable). Blasting through singles like ‘Homesick’, which is an angsty slice of rock goodness and current offering ‘Rango’, you can see how talented the act are. Having now been tipped by BBC Radio One, Catfish and the Bottleman are definitely an act to watch.
Luminites The intelligent decision made by the Luminites to cover ‘We Found Love’ meant that they were one of the bestreceived acts which played in Garden Court. Upcoming single, ‘Do Something’, translated well from record to live show, with soaring harmonies and the crowd singing along, regardless of whether they knew the words or not. They finished with their classic cover of ‘Hurts So Good’, confirming the fact that they’re more than just a Britain’s Got Talent novelty.
Grandmaster Flash Grandmaster Flash was an odd choice for the Ball, as most of the freshers wouldn’t have been born when he was at his peak in the 1980s. However, his slick mixing
attracted quite the crowd to the far away venue that was Garden Court. Playing hit to hit, with tracks like ‘Gangsta’s Paradise’, ‘Still Dre’ and ‘Gold Digger,’ the gathering hoard of inebriated freshers went wild. Everybody in the room was clearly enjoying the range of classic tracks he was playing, especially as it was different to a lot of the other DJ sets that had happened that evening. Although his constant cries of “somebody make some noise” got slightly tiresome, the legend put on a great set.
Ms. Dynamite In a bright pink jacket, and her purple hair scraped back, Ms. Dynamite was the life and soul of the party as she bounced around the front of the stage in the Cube. Interacting with the crowd and taking full advantage of the booming sound system, she delivered an energetic performance which was lapped up by the fairly inebriated crowd. Sampling The Prodigy’s ‘Firestarter’ and performing a number of her recent, well known collaborations, the climax of the set came with final track ‘Wile Out’.
Sub Focus Regardless of the fact that this was only a DJ set, his presence was so popular that at one point, bouncers had to operate a one-in-one-out policy, and it wasn’t hard to understand why. The Cube was rammed full with freshers who were whipped up into a raving frenzy with incredible doses of drum & bass, complemented by CO2 canons and a euphoric light show. Playing plenty of hightempo tracks of his own, ‘Out The Blue’ and ‘Tidal Wave’ were particular highlights of his extremely loud set. Words by Howell Davies and Hannah Mylrea
The Edge | live@theedgesusu.co.uk
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The Edge Sessions T
he Edge would like to present the first (hopefully of many) of The Edge Sessions; a project that intends to support, encourage and share the music of local musicians. Our aim is to introduce you to the talent that is right on your doorstep, and promote those shy musicians, to move out of their bedrooms and onto a stage. Whether it be a student with a guitar, or a Portswood drunk with a great voice, we want to present the best of what Southampton has to offer. The first of The Edge Sessions presents Daniel Tovey; a third year English student at the University of Southampton. When asked about how he began writing he explained “When I was a kid I wanted to be
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a rock star, or the England goal keeper; I wasn’t fussed. When I realised that I’d never be the next David Seaman, I decided to join a band.” It was this realisation which led to him joining a pop-punk band, but despite his best efforts this endeavour never quite worked out so he decided to go it alone armed with an acoustic guitar. Realising that he loved acoustic music, Tovey began to experiment with all the different sounds he could make using his new instrument. He explains that this exploration “opened up a whole new world of music for me. I started listening to people like Ryan Adams, John Martyn, Sufjan Stevens and trying to work my style around them. I’m still doing that now really.”
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Since then he hasn’t looked back, “Things haven’t changed since I started writing really. I’m still churning out the same old song about failed romance,” he jokes. We filmed Dan’s session on campus in Valley Gardens (the secret foresty bit behind SUSU). You can watch the performance of ‘Synthetic Apple’ on our YouTube channel by typing in Edge Sessions Dan Tovey. If you’d like to get involved with The Edge Sessions, we’d love to have you on board! We’re looking for budding directors, camera crew, photographers, and most importantly, local musicians, so what’s stopping you? Get in touch! Words by Grace Pattle
Listings 21st October 451 presents Public Address II @ The Nuffield Theatre Babyshambles @ O2 Academy Bournemouth Katy Perry - Prism Passenger - All The Little Lights Arrow season 2 premiere (Sky1) 22nd October Martin Speak Trio @ The Talking Heads Suede @ O2 Guildhall Southampton The Bling Ring @ Union Films English National Ballet - Le Corsaire (until 26th) @ Mayflower Theatre The Boomtown Rats @ O2 Academy Bournemouth Elementary season 2 premiere (Sky Living) 23rd October Beans on Toast @ The Joiners Dlugokecki @ The Brook Barfi! @ Union Films Reel Rock World Tour @ The Nuffield Theatre 24th October The Famous Class @ The Joiners Jurassic Mark Presents… @ The Talking Heads Dennis Locorriere @ The Brook Person of Interest season 2 (Channel Five) 25th October Pilot House @ The Joiners The Uplifter @ The Talking Heads Kathakali @ The Nuffield Theatre Jackass presents: Bad Grandpa (15), Paramount Closed Circuit (15), Universal
26th October Sinfonietta @ St Denys Church High Tide Boat Party @ Ocean Scene Boat 27th October Sondura @ The Joiners Ferocious Dog @ The Talking Heads Eric Bibb @ The Brook Monsters University @ Union Films Alexei Sayle @ The Nuffield Theatre The Vagina Monologues @ Mayflower Theatre 28th October HIM @ O2 Guildhall Southampton Turin Brakes @ The Brook Arcade Fire - Reflektor Lorde - Pure Heroine DVD: Now You See Me (12), Entertainment One DVD: Before Midnight (15), Sony Pictures DVD: The Bling Ring (15), StudioCanal 29th October Only God Forgives @ Union Films GHOST the Musical (until 9th) @ Mayflower Theatre Blue @ O2 Academy Bournemouth 30th October Theatre Group presents Equus (until 2nd) @ The Annex Theatre Ison EP Launch @ The Joiners Jurassic Mark Presents… @ The Talking Heads Ed Byrne: Roaring Forties @ O2 Guildhall Southampton Thor: The Dark World (12A), Disney
31st October Not The Rocky Horror Show @ The Joiners Jurassic Mark Presents… @ The Talking Heads Wishbone Ash @ The Brook The Feeling @ O2 Academy Bournemouth Football Manager 2014 (PC) 1st November To Kill A King @ The Joiners Arrows @ The Talking Heads Lucy Spraggan @ O2 Guildhall Southampton Toyah Willcox @ The Brook Wretch 32 @ O2 Academy Bournemouth Drinking Buddies (15), Sony Assassin’s Creed IV (Multiformat) Battlefield 4 (Xbox 360, PS3, PC) 2nd November Dub Pistols @ The Joiners Atlantico @ The Talking Heads Rufus Stone @ The Brook Phil Jupitus @ The Nuffield Theatre 3rd November Jimmy Carr - Gagging Order @ O2 Guildhall Southampton Toseland @ The Cellar Percy Jackson: Sea of Monsters @ Union Films Jamie Cullum @ Portsmouth Guildhall 4th November Big Deal @ The Joiners Blood On The Dance Floor @ The Cellar James Arthur - James Arthur Tinie Tempah Demonstration DVD: The Smurf ’s Christmas Carol (U), Sony DVD: Broadchurch: Special Edition Blu-ray (15), Acorn Media
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5th November Sound Of Blue Note @ The Talking Heads Alan Partridge: Alpha Papa @ Union Films Call of Duty: Ghosts (Xbox 360, PS3, PC) 6th November Before Midnight @ Union Films Jimmy Eat World @ O2 Academy Bournemouth 7th November Kobra And The Lotus @ The Joiners Jurassic Mark Presents… @ The Talking Heads Editors @ O2 Guildhall Southampton Leo Sayer @ The Brook 8th November Poizon @ The Talking Heads Hazel O’Connor @ The Brook Martelo & Mr B the Gentleman Rhymer @ Orange Rooms Gravity (12A), Warner Bros. Pictures Las Vegas (TBC), Universal Seduced and Abandoned (TBC), Soda Pictures Prof. Layton & the Azran Legacy (3DS) 9th November Young Knives @ The Joiners Blancmange @ The Brook James Taylor Quartet @ The Cellar Pacific Rim @ Union Films Josh Widdicombe @ The Nuffield Theatre 10th November ReGenesis @ The Brook Planes @ Union Films Jools Holland & his Rhythm & Blues Orchestra @ Mayflower Theatre
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