jessie j
new album review
Your 13 essential
horror films
bfi london film festival
Issue �ree Start of November, and Issue Three of The Edge is already out – who knew that the first full month of term could go so fast? As you pick up this issue I’m sure you’re in the midst of assignments and lots of university work, so what better way to procrastinate than reading our Hallowe’en special! As Hallowe’en is one of my favourite holidays of the year, I couldn’t be more excited for you to sink your teeth into all of our articles in this issue. We were lucky enough to send one of our writers to the London Film Festival this month, and inside our film section you will find his thoughts on a couple of the films previewed there – make sure to check out the rest of our coverage of the festival on our website. As if that wasn’t enough film festival coverage, we also have a preview of the Fringe Film festival on page 20. Also in the film section this issue is our cover article – The Edge writers look at the best villains featured in film – have a look to see if your favourite is featured on page 23. Our features section is filled with the horror theme of the issue with our ‘13 Essential Halloween Horrors’ feature – perfect for anyone looking for a horror to cuddle up with, on pages 12 - 14. The theme continues in our culture section as we feature a special spooky version of ‘The Edge Reviews The Classics’, and we take a look at the best television versions of all of the most notorious supernatural creatures. If Halloween Horror isn’t your thing, have no fear – we have some exciting records and live coverage for you to catch up on. On page 32 you can look at our review of Ed Sheeran at the O2 Arena, or if you’re interested in local gigs, we have reviews of Black Veil Brides and Childhood, all in Southampton. Records includes pop favourite Jessie J and singer songwriter Ben Howard’s new albums, as well as a selection of single reviews. One of the things which excites me the most about this issue is all the new writers we have been able to feature in its pages. Even as winter steadily approaches, with a brand new website on the horizon, and some fantastic interview and review opportunities coming up, the future is looking very bright! Rebecca James Editor
1 | Editorial
Editor Rebecca James editor@theedgesusu.co.uk Deputy Editor Caitlin Hobbs deputy-editor@theedgesusu.co.uk records Editor Hannah Mylrea records@theedgesusu.co.uk Features Editor Siân Blewitt features@theedgesusu.co.uk film Editor Virginie Robe film@theedgesusu.co.uk C u lt u r e e d i t o r Natalie Fordham culture@theedgesusu.co.uk live Editor Annabelle Asker live@theedgesusu.co.uk news Editor Lewis Taplin news@theedgesusu.co.uk head of design Joe Buckingham design@theedgesusu.co.uk Head of external relations Jenny Simpson relations@theedgesusu.co.uk Head of publicity Henna Patel publicity@theedgesusu.co.uk Head of events Alex Meehan events@theedgesusu.co.uk online manager Emily Mitchell manager@theedgesusu.co.uk editor in chief Megan Downing vpdci@susu.org
The Edge | editor@theedgesusu.co.uk
Contents 01 Welcome to Issue Three
culture
records
Album Reviews 03 Ben Howard - Forget Where We Were 04 Jessie J - Sweet Talker 05 Hoodie Allen - People Keep Talking 06 Caribou - Our Love 06 Kindness - Otherness Single Reviews 07 Sam Smith - ‘Restart’ 07 Slow Club - ‘Everything Is New’ 07 Jaden Smith - ‘Melancholy (ft. Willow Smith)’
TV 27 Battle of the Supernatural Video Games 29 Review: Alien: Isolation Theatre 30 The Rocky Horror Show: A cult classic? Writing 31 Classics Review: Frankenstein by Mary Shelley
Live
09 The Newsbox 11 Nostalgic News
32 Review: Ed Sheeran at the O2 33 Review + Interview: Childhood at Joiners 34 Review: Black Veil Brides at O2 Guildhall 35 Review: An Evening With Emeral Caro at the BIC, Bournemouth 36 Preview: Example at Portsmouth Guildhall 36 Preview: Twin Atlantic at O2 Guildhall
FEATURES
37 Listings
NEWS
12 13 Essential Hallowe’en Horrors 15 The Scariest Game I’ve Ever Played 17 Characters To Sink Your Teeth Into 19 Introducing... Gengahr
Film
20 Preview: Fringe! Queer Film and Arts Festival 21 BFI London Film Festival 23 “You Either Die A Hero Or You Live Long Enough To See Yourself Become The Villain” Blu-ray Reviews 25 Begin Again
04
12
The Edge | editor@theedgesusu.co.uk
21
Editorial | 2
ben howard forget where we were hannah mylrea hemmings
T
hree years after indie folk singer-songwriter Ben Howard’s debut record Every Kingdom was released, he’s back with the follow up: Forget Where We Were, and this time his music is far darker than before. Though the plucked guitar and Howard’s crooned vocals are still prominent, there’s an absence of upbeat, catchy singles (like ‘Keep Your Head Up’, ‘Only Love’ and ‘The Wolves’), and Howard has instead opted for extended and experimental tracks. From the start, the record is full of crunchy melodies and huge anthemic hooks. The tracks are more experimental than before, with many of them reaching seven or eight minutes in length, with extended outros that are far less radio friendly than the offerings from Every Kingdom, however that’s not to say they aren’t brilliant. Lead single ‘I Forget Where We Were’ is full of galloping drums, moaning guitars and synthesised sounds. It has the strange ability to feel both entirely hopeful and hopeless, dependent on the mood you’re listening to it in, showing quite how brilliantly Howard can convey emotions through his music. There are elements of Every Kingdom scattered throughout Forget Where We Were, especially in the
3 | Records
vocal lines. Both the vocal harmonies, and the call and response nature of the sung lines remind the listener of Howard’s fabulous, Mercury Prize nominated record, but show how he’s developed his sound over the past three years. ‘Conrad’ especially shows a lot of similarity to Howard’s previous sound, and although it is the penultimate track on the record, it acts as the gateway between the two albums. The extended outro of ‘End Of The Affair’ is one of the highlights of the record for me. Jittering drums and skittish instrumental lines weave in and out, building anxiety and soaring towards what could be a huge climatic point, but instead of spiralling into cacophony as you’d expect, the tension is broken with a cymbal crash. This musical writing sums up the writing of the entire record: incredibly intelligent, with unexpected chord sequences and surprise breakdowns working perfectly. In the case of ‘End Of The Affair’, the tension is built up again in a split second (with no prolonged build up), which shows the ease with which Howard controls his instrumental writing. Although not the album fans might have wanted from Howard, Forget Where We Were stands alone as a truly exciting and experimental follow up.
The Edge | records@theedgesusu.co.uk
jessie j sweet talker camilla cassidy
J
essica Cornish - better know by her stage name Jessie J - released her third album Sweet Talker on the 10th October 2014. Following a recent move to Los Angeles, the Londonborn singer-songwriter will be keen to appeal to both home and American audiences following mixed reviews and the disappointing chart performance of her previous album Alive.
Sadly, this album is not as different to its predecessor as may be hoped. ‘Fire’ features powerful lyrics that fundamentally do not fit with its keyed down tempo, and as a consequence Jessie J sounds almost as if she cannot be bothered to feel the passion the lyrics claim. ‘Get Away’ is the opposite, and despite beautiful instrumentals its fairly unremarkable lyrics fail to grab listeners’ attentions. These songs represent the takeaway message from the album - things just do not fit. Jessie J appears to be reaching for a new audience, and though an admirable attempt, this album’s style is reminiscent of Leona Lewis’ Spirit without the polished execution - she is at risk of alienating listeners who recognise her for upbeat, energetic melody. Far removed from that which comes naturally, and with vocal ability suppressed beneath layers of production, this is a fairly boring listen that does not do justice to the talent Jessie J is known to possess.
That said, the album does have stand out tracks. The lead single ‘Bang Bang’ is a joint effort, shared three-way with other industry leading ladies Ariana Grande and Nicki Minaj. Worldwide number one and a UK chart non-mover with good reason. The contrasting sounds of each artist all share a defiant, girl power vibe and Jessie J’s cheeky, opening belt sets the tone for the fun and eclectic. ‘Burnin’ Up’ shares this energy but has more style and concentrated pacing, clearly showing its rap influence from collaboration with hiphop artist 2 Chainz. It is notable perhaps that the most enjoyable of songs from the album are those shared with other artists, where Jessie J is detached from the mood the album attempts to create and her singing seems far more organic - her vocals remain as powerful as she has previously proven, but cannot overcome lacklustre writing or melody. Jessie J has fallen short with Sweet Talker. With writing credits on under half the track list - a stark contrast to writing each of the 13 songs of her debut album, Who You Are - her strong vocals and previously evident musical originality is largely hidden under the influence of producers who have in this album turned this powerhouse into a simple, generic sound.
The Edge | records@theedgesusu.co.uk
Records | 4
H O O D I E A L L E N PEOPLE KEEP TALKING Luke Alexander-Grose and uplifting. We realise that Hoodie has a message; his heartache has not stopped him from living his life. From the first four minutes, you will realise that this album is the perfect house party playlist or train journey companion. Improvised interludes makes us realise that each song relates to the other; obviously Allen has a message he wants to give to his thousands of fans. The album resonates with previous releases, guaranteeing that his recent success has not changed what he wants to give us. Nevertheless, Allen teams up with Ed Sheeran in ‘All About It’, making a guaranteed tune that will definitely make your head bop, as well as proving that Allen is now a big name in the industry.
A
fter years of underground grafting, EPs and tantalising tasters, Hoodie Allen has finally released his debut album, People Keep Talking. To any Allen addicts, this album will not disappoint. Hoodie Allen, also known as Steven Adam Markowitz, has finally broken into the mainstream. Countless tour dates, free releases and the abandonment of a job at Google to pursue his dream, People Keep Talking represents a man in ecstasy. After being an online sensation, Allen has finally matured into an artist that seems set to become the next big thing. The ‘White Boy Rapper’ harnesses the good times and bad of his journey to fame, and encapsulates these emotions within 14 tracks. A mix of great studio production, varied with house party vibes and clever lyrics, reveal how far the artist has progressed since the days of his first 2012 EP. The album opens with ‘100 Percent of Something’, which establishes the tone of the album, emotional, yet still witty 5 | Records
A blend of acoustic sensations and moving harmonies are a motif throughout the album, but this does not detract from Allen boasting about his party lifestyle. ‘Sirens’ demonstrates the life of a twenty year old who doesn’t want to grow up, and encourages everyone else to live the Peter Pan dream too. With so many potential singles and exciting instrumentals, any track could add the needed seasoning to a BBQ or gathering. However, Allen definitely has not sacrificed his emotional disposition for an album of party tracks. Hoodie speaks of his struggle, working in Burger King for example, as a source of inspiration and regrets within ‘Against Me’. Expressive hooks and meaningful piano melodies reassure his audience that he has not abandoned his story telling talent. People Keep Talking is an impressive album that displays Allen’s progress and ability. However, a true fan may criticize the album for being somewhat repetitive. Whilst the lyrics and tone vary throughout, it seems that Allen has stuck with a single producer and rhythm style. If you play the album in the background, you would be forgiven for thinking that one song was stuck on repeat. Headphones in and with a long journey ahead is how the album is best appreciated. Nevertheless, Allen’s debut album has given up a seductive sample of what is to come.
The Edge | records@theedgesusu.co.uk
caribou our love polly bussell
T
his incredibly euphoric fourth album from Caribou is perfect to submerge yourself in after a heavy weekend. Our Love is the seventh album electronic music fans have been blessed with from Canadian, Dan Snaith- who has also released three much more danceorientated albums under the pseudonym of Daphni.
am submerged in a warm happy glow thanks to opening track ‘Can’t Do Without You’. With its soft bass line and seductive, echoing vocals, we are delivered through a cloud of romantic euphoria and into the next track, ‘Silver’ for a very similar experience.
Our Love has a radiant and uplifting smooth sound; far from the the blaring commercial and cluttered sounding EDM that is proving so popular at the moment. On the contrary, some of the tracks on Our Love have an almost celestial quality. As usual, Caribou’s gentle vocals are perfectly imperfect, and in this case a crooning reminder that this is a love album. From the outset I
Title track ‘Our Love’ is an essential listen as it embodies the spirit of the album perfectly with its skilful almost numerical layering of synths, bass and strings. It came as no surprise to hear that Snaith has a PhD in Mathematics from Imperial College London; an intelligent, thoughtful sound from an intelligent, thoughtful artist.
kindness otherness amy wootten
A
lan Bainbridge, the luscious-locked man behind Kindness, has released his second studio album. Otherness, released on 13th October 2014, succeeds his debut album World, You Need a Change of Mind that was released in March 2012. With Otherness, Bainbridge brings us a meticulously constructed hybrid of experimental soul, in an album that tells a narrative of unrequited love.
You Love Me’ seeming to provide an answer to the third track of the album, ‘Who Do You Love?’ a relatable journey of tensions in a relationship and its demise is created. We are, however, left with the reassuring note that ‘It’ll Be Ok’ with the concluding track of the album.
Otherness marks a slight shift in genre from Bainbridge’s first album. Although both are experimental, World, You Need a Change of Mind covers a wider range of musical platforms and focuses strongly on electronic and synth compositions. With his second album, Bainbridge is more concerned with the soul genre, which brings a bluesy level to his electronic undertones.
It’s great to find a second album that strives to be just as experimental as the debut. Bainbridge’s diversity is made apparent in the way that he continues to link seemingly incongruent elements together to create an album that, although precise in its composition, cannot be placed in a rigid genre.
Bainbridge’s use of lyrics and quite blatant track titles allow Otherness to tell a story. With ‘Why Don’t
Otherness is a great feat of experiment and diversity, but at the hands of this it can also be a little too jarring at times.
The Edge | records@theedgesusu.co.uk
Records | 6
Singles Reviews
Restart // Sam Smith Scarlett Sangster Like most of Sam Smith’s singles, this one starts with a sub-story. In the case of ‘Restart’ the story is very self-concerned on Smith’s part with reporters in the background preaching “he’s on everybody’s one to watch list”. Now, all of this would be fine if the track which followed backed up their statements…Sorry Sam, but it’s just a little S-Club for my taste. Not only is there something very distracting about the numerable backing tracks in play, but in combination with Smith’s iconic falsetto voice which makes up a considerable proportion of the song, the overall impression is somewhat overwhelming. I’m not sure whether Sam was keen on testing out some different instrumental techniques or if there was a mix up in the sound room but someone needs to tell him to stick to what he’s good at. You never know, an acoustic version could still resurrect this disaster.
7 | Records
Everything Is New // Slow club Henna Patel Speaking about ‘Everything is New’, frontman Watson explains that it is a portrayal of his grandmother who had to reestablish her sense of self after the death of her husband. Appropriately, Watson opens the track with his mellow vocals against a minimal backdrop, establishing the track’s tranquil style. However, the song soon lifts to the climactic middle section with the duo’s layered vocals, supported by a rockier band accompaniment presenting the turmoil of emotions radiated by the duo. Taylor reinforces her drumming skills - quite a sight during live performances - whilst accompanying Watson’s gutsy belting of “I know my digging, and I know my singing too”. The pair’s harmonies have always worked well, but by this track, the second of the album, they have perfected their mix of melancholic, sultry and confident vocals against a powerful instrumental backdrop. A stunningly emotive piece of music which shows off Slow Club’s true talent, ‘Everything Is New’ is by far one of the best songs Slow Club have ever written. The Edge | records@theedgesusu.co.uk
Melancholy ft. Willow Smith // Jaden Smith Joe Buckingham Actor/rapper Will Smith’s latter two offspring have both achieved infamy in their own separate (bizarre) ways. The now 13-year-old Willow’s painfully repetitive ‘Whip My Hair’ rose to viral fame for all the wrong reasons in 2010, and more recently older sibling Jaden’s stoner-logic Twitter activity has become the stuff of legend. Based on these rather dubious claims to fame, one could not be blamed for a certain feeling of scepticism while pressing play on ‘Melancholy’, which samples Pink Floyd’s ‘Breathe’ underneath singing by Willow and a rap by Jaden. And yet, absurdly, it’s excellent. While on Twitter Jaden’s pseudophilosophy sound bites come across as comical at best, when spoken in an Earl Sweatshirt-style drawl over Floyd’s psychedelic guitar they feel perfectly at home. An ambitious but well-chosen sample, coupled with just enough vocal augmentation from Willow to keep things on the acceptable side of plagiarism, and a flow which already competes with the likes of Sweatshirt and Gambino: it’s difficult not to be impressed.
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THE NEWSBOX THE KEATS OF TWEETS
TOP TOP FIVE FIVE NEWS NEWS STORIES STORIES 1
Léa Seydoux signed as next Bond girl, starring opposite Daniel Craig. The movie will begin filming December, with a planned release for the following year.
2
American Horror Story is renewed for its fifth season following the success of Freak Show thus far.
3
Channel 4’s Utopia will not return for a third series but is having a US remake, with David Fincher behind its recreation.
4
An Uncle Buck TV series is in development by ABC, based on the classic comedy which was released back in 1989. CBS attempted a remake in 1990, but it was cancelled.
5
Editors hint at a new album via a Twitter picture. The rumoured album would serve as a follow-up to The Weight of Your Love, which featured singles ‘A Ton of Love’ and ‘Sugar’.
WATCH
JAMES NORTON
9 | News
2:39PM -
08 Oct 20
@theedgesusu THE THE EDGE EDGE IS IS EAGER EAGER FOR... FOR... American Crime Story, a new Ryan Murphy creation which will explore true crime stories. The TV show will follow a similar structure to Murphy’s current anthology series, American Horror Story. 2015 Academy Awards, with the recent news that Neil Patrick Harris is the new host.
Dad’s Army film release. It has recently been revealed that the classic BBC British sitcom is going to be made into a film, starring the likes of Bill Nighy.
The London-born actor made his debut appearance in An Education, but since then has gone onto to star in lots, recently featuring in BBC One’s Happy Valley. Norton now has the lead role in ITV’s Grantchester, making him British talent that is likely to stay.
theedgesusu.co.uk/news
thank I can’t enough. you all e #HeForSh 14
Twin Peaks is to return with brand new episodes in 2016. The new series is not to be a remake, but will continue from the original series which initially aired from 1990 to 1991.
THE ONE TO
for all the latest entertainment news
@emwatson
Emma Watson has helped launch the campaign HeForShe, which is beginning to globally take flight. Her tweets of gratitude make her this issue’s best tweeter. Got a celeb to nominate for next issue? Let us know:
THE HYPE-O-METER
One Direction’s upcoming release of FOUR.
Lena Dunham’s Not That Kind Of Girl.
EH, COOL
The Edge | news@theedgesusu.co.uk
OMG
Marina and the Diamonds returns with ‘Froot’. CALL 999
FIVE-TIER-CAREER: LENA DUNHAM By creating the phenomenon Girls, Dunham became the first woman to win a Directors Guild Award for the TV show, as well as Girls itself having won two Golden Globes. The fourth season is expected to premiere early 2015. Dunham released her first book, Not That Kind of Girl, which is a collection of essays with a girl showing you what she has learned. Comedic, powerful and intelligent, Not That Kind of Girl is becoming an international must-read despite only recently being released. In early 2014, Dunham hosted Saturday Night Live, where she most notably took part in a short comedy sketch entitled ‘Biblical Movie’, portraying Eve. Dunham’s quirky Tiny Furniture, released back in 2010, looks at the life of university graduate when she returns home whilst featuring a scary amount of later Girls’ actors. The film is the classic Dunham-questioning of what we are all actually doing with our lives. Dunham performs ‘Chandelier’ with Sia on Late Night with Seth Meyers.
OUR OUR DREAM DREAM CAST: CAST: GHOSTBUSTERS GHOSTBUSTERS 3 3
MUST-HEAR MUST-HEAR TRACKS TRACKS
With the rumour of an all-new Ghostbusters, we got excited and planned what our dream cast would be if this all-female epic became a reality.
SCARLETT JOHANSSON AS PETER VENKMAN
EMMA STONE AS RAY STANTZ
JENNIFER LAWRENCE AS EGON SPENGLER
‘SUE’ - DAVID BOWIE
7:22
‘FROOT’ - MARINA AND THE DIAMONDS
5:32
‘THESE DAYS’ - TAKE THAT
3:53
‘AIR GUITAR’ - MCBUSTED
3:28
‘BABY DON’T LIE’ - GWEN STEFANI
3:23
THE THE EDGE’S EDGE’S ENTERTAINMENT ENTERTAINMENT PICKS PICKS The Editor’s pick: The World of Ice and Fire, George R. R. Martin Film Editor’s movie pick: Interstellar, Christopher Nolan (7th November) Live Editor’s gig pick: The Courteneers, O2 Guildhall (14th November) Culture Editor’s TV pick: Modern Family, series six (3rd November) Record Editor’s album pick: Sonic Highways, Foo Fighters (10th November)
The Edge | news@theedgesusu.co.uk
News | 10
NOSTALGIC NEWS
Your monthly round-up of stuff you’re sure only happened last week.
Foo Fighters release There Is Nothing Left to Lose 15 years ago
A Nightmare on Elm Street released 30 years ago
natalie fordham
Martyna Posluszna
A Nightmare on Elm Street, the iconic slasher horror film, was released 30 years ago this month and was subsequently premiered in the UK on 16th November of the same year. Written and directed by Wes Craven, this horror classic contains the creation of one of the most memorable villains in cinema history: Freddy Kreuger. Set in a small, fictional village, the plot revolves around a group of teenagers, terrorised by the intangible and evil antagonist who stalks them in their dreams and eventually kills them, causing their deaths in the real world as well. The film has received critical acclaim; the main feature highly praised by the critics was the horror’s mesmerising ability to distort the boundary between the reality and the surreal imagery of the dream world.
On the 2nd November 1999, Foo Fighters released their third studio album entitled There Is Nothing Left to Lose, marking a turning point for the band with frontman Dave Grohl famously stating the album “might be his favourite album that they’ve ever done”. This album led the band to win their first Grammy Award for Best Rock Album, two years later in 2001. This album would demonstrate a new sound that was more experimental and softer than previous albums such as The Colour and The Shape, with great tracks like ‘Stacked Actors’, ‘Aurora’, ‘Ain’t It the Life’ and perhaps most famously ‘Learn To Fly’.
Madonna’s ‘Hung Up’ enters the top 10 nine years ago georgia dudman Nine years ago, Madonna’s hit single ‘Hung Up’ entered the top ten in the US. ‘Hung Up’ was written and produced in collaboration with Stuart Price and was the first single from the international pop icon’s tenth studio album, Confessions on a Dance Floor. The pop-disco jam with Abba influences was the singer’s 36th top 10 single and put her in line with Elvis Presley for most top 10 singles of all time. The track was number one in 41 countries and became the most successful dance song of the decade in the US.
‘Just Lose It’ went to number one in the UK 10 years ago jenny simpson 10 years ago, Eminem went to number one in the UK singles chart with ‘Just Lose It’. The single was Eminem’s fourth UK number one following his own version of Tupac’s ‘One Day At A Time’. Sarcastic and full of Eminem’s usual wit, the song caused controversy due to its lyrics and parodies of celebs portrayed in the music video. The song pokes fun at Beavis/Cornholio, MC Hammer, Madonna and - most iconically - Michael Jackson who was facing child molestation allegations at the time. Despite this, the song did not perform as well as Eminem’s other previous two lead singles . 11 | News
The Edge | news@theedgesusu.co.uk
We’ve faced our deepest, darkest fears to bring you our guide to the best Hallowe’en treats, whether you like your horror campy and fun, or creepy and disturbing, we’ve got it covered.
The Edge | features@theedgesusu.co.uk
Features | 12
1. THE CABIN IN THE WOODS Harrison Abbott
Part of that very rare breed; a modern horror film that actually has an original idea. Perfect for repeat viewings and filled with quotable dialogue and a heap of nerdy film references to boot, Drew Goddard’s film manages to surpass 1996’s Scream in the process taking it’s crown as the best postmodern horror film of all time. Seemingly breaking all the tropes of contemporary horror films (most notably that they have to be kind of rubbish), The Cabin in the Woods should still satiate genre fans with it’s playful gore, variety of imaginative creatures and an ending that really does turn things up to 11 in the best possible way. Plus, there’s a bit where a unicorn impales someone with its horn so you know it’s gotta be awesome.
2. 1408 ben robins
By no means the most celebrated of the many, many Stephen King adaptations out there, 1408 finds an onform John Cusack as Mike Enslin, a celebrated nonfiction writer obsessed with debunking America’s craziest paranormal myths. But whilst on his latest assignment at the infamous Dolphin Hotel, Enslin finds himself suddenly trapped inside a haunted hotel room bearing the exact same number as the film’s title (surprise surprise). What ensues is an insanely freaky evening of lavish and unpredictable scares, building a modern horror film that never sells itself short and piles on the madness at every opportunity.
3. POLTERGEIST Harrison Abbott
Apparently there was a time in the 1980s when horror film’s were actually imaginative and fun. That REALLY isn’t the case anymore (bar a few exceptional...exceptions) but that’s ok, we still have Tobe Hooper’s wonderful Poltergiest. Somewhat reminiscent of a ride on a ghost train, the film is also much less moody and grim than others of its type and instead takes pleasure and glee in delivering its ghoulish scares. Perfect viewing for Halloween; Demon Trees! Killer Clown Dolls! Huge Monster things!
4. EVIL DEAD II Harrison Abbott
The first Evil Dead is equally worthy of a mention here and, don’t freak out, but so is the 2013 remake. Hell despite its problems Army of Darkness is still pretty good in its own right too. But none of these films have the same ludicrous appeal as the ridiculously OTT sequel/kind of remake, that’s mantra seems to have been “anything goes”. From the Looney Tunes-esque slapstick to the LAUGHING
13 | Features
DEER HEAD! The film embraces its own insanity in the best possible way. This type of indulgent attitude can often result in a film being a lot more fun to make than it is to watch. With Evil Dead II though it pays off brilliantly, culminating in one of the most enjoyable horror films... no ... most enjoyable films, ever made.
5. CAT PEOPLE lewis taplin
The original Cat People, released back in 1942, is a horror in its purest form, looking at the animalism within humanity; an insecurity that horrifies us. Focusing on a woman that is fearful that when she becomes intimate with her partner she will manifest into a cat, the film explores a woman’s sexual awakening as well as examining society at the time and its patriarchal tendency to suppress women’s sexual pleasure. Bridging horror, thriller and film noir genres, Cat People isn’t a screaming and jumping horror, but plays on creepy nights, the sound of the invisible enigma, the air of the unknown, the notion of “the other” and the monster within humankind.
6. JU-ON: THE GRUDGE martyna posluszna
“The curse of one who dies in the grip of powerful rage (...) takes effect in the places that person was alive. Those who encounter it die, (...)” With this sinister opening, Japanese horror The Grudge does not leave much to imagination. The story focuses upon a house in which a gruesome murder takes place and subsequently, as per the Japanese beliefs, curse is created, embodied by a woman Kayako, and proceeds to consume anyone who dares to enter. As the plot progresses, we discover the mystery behind the grudge as well as extremely creative means of turning you into a shivering wreck. Highly recommended for people who seek a thrill that a constant feeling of agitation provides.
7. THE GRUDGE: THE AMERICAN REMAKE martyna posluszna
And as expected, a successful Japanese horror must have its remake. American version of Ju-on: The Grudge makes the plot revolve around an American student who moves to Tokyo with her boyfriend. Working as a nurse, she ends up taking care of a woman living in the cursed house. Shortly after being exposed to the supernatural powers, she is haunted by the spirit, and wants to investigate the mystery on her own. This remake is quite poor in terms of being faithful to the original; it does, however, contain several scenes that generate a subtle sense of unease and dread.
The Edge | features@theedgesusu.co.uk
8. THE BIRDS martyna posluszna
There is no denying the significance of Hitchcock’s mastery in creating a suspense so heavy, you will not realize you stopped breathing and are now being resuscitated. The Birds is no exception. A wealthy socialite comes down to a small city in pursuit of a potential wellto-do and incredibly handsome lover. Shortly thereafter, a bizarre phenomenon occurs - birds start viciously attacking people. Even though the movie was made in 1963, in terms of special effects it is perfect and extremely believable. Birds act mercilessly, gouging people’s eyes out and pinning them to the ground using just their beaks. Throughout the whole movie, tension is continually building up which makes it memorably captivating.
9. TEXAS CHAINSAW MASSACRE martyna posluszna
You cannot have a proper Hallowe’en celebration without watching at least one good ol’ slasher film. Texas Chainsaw Massacre, released in 1974, tells the story of a group of teenagers who fall victim to a sadistic family when trustfully asking for directions. The movie is filled with raw torture scenes that were considered the unthinkable back then. The antagonists are deeply twisted and purely evil. It is a must-see film for every respectable horror fan.
life into the field, bringing with it fresh concepts, selfaware characters and satire of familiar elements made popular by classic films such as Friday the Thirteenth and Halloween. Scream follows the story of Sidney Prescott – a teenage girl being targeted by a mysterious masked killer by the name of “Ghostface”. Perhaps the reason I love this film so much is the “whodunit” factor. The first time I saw it I was so drawn in by my desire to find out who would live, who would die, and who the killer was. For me, it’s an essential viewing, whether it’s Hallowe’en or not. With an engaging plot, fresh outlook and adrenaline rushes galore, just remember: “everyone’s a suspect.”
12. THE THING harrison abbott
A critical and commercial failure upon its release, John Carpenter’s passion project; a remake of his childhood favourite The Thing from Another World has since joined the ranks of the most revered horror films of all time. More than just a standard alien invasion story the film is packed with Cold War era paranoia and anxieties. But political allegory and social commentary aren’t exactly what you’re looking for on Hallowe’en right? Luckily, The Thing also works exceedingly well as tense, twisted, gory fun.
13. THE FOG harrison abbott
10. OCULUS
martyna posluszna
Oculus is probably the nicest surprise the horror film industry had to offer over the last 10 years. Having expected yet another badly edited movie with piteously bad acting and poorly developed ideas, I owe Mike Flanagan, the director, personal apologies. The movie is perfect for those who seek intelectual stimulation and want to be scared stiff at the same time. The film tells the story of a sister who is desperate to prove that her parents death was not a result of a murder per se, but was hugely impacted by supernatural phenomenon. It is the kind of movie that will keep you wondering, what is real and what is not. If you decide it is something you might be interested in, I would advised hiding your mirrors for the night...
11. SCREAM Lucy webb
The year is 1996 – the horror genre is a complete mess, with unoriginal plotlines and clichéd motifs leaving audiences bored out of their minds. Not a moment too soon, Wes Craven’s Scream came along and breathed new
Another one from the Carpenter canon, this time in the form of an under appreciated chiller released in 1980. The Fog may not quite have the same iconic legacy as Halloween or The Thing and perhaps there’s a reason for that. However, regardless of whether or not it deserves a privileged place in the horror hall of fame, it still delivers on scares. The set-up is simple but effective: A fishing town is cursed with a supernatural fog which brings with it the zombie-like ghosts of murdered sailors, who are intent on killing six people to avenge their own deaths. The premise is hardly revolutionary but what stands out here is the fantastic craftsmanship and prevailing sense of dread. Some aspects may seem dated now, but you can’t fault Carpenters excellent direction.
If you are feeling tantilisingly terrified and you want to find out more about our 13 Essential Halloween Horrors, find the full articles online at
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Features | 14
ALIEN: ISOLATION Marcus Bridgland
FIVE NIGHTS AT FREDDY’S
Alien: Isolation was created to bring the fear back to horror games, with survival the only real objective. The makers did this by just having a single, unkillable alien to deal with, rather than other ‘shoot em up’ games we’ve become oh so familiar with in recent times. First of all, the Alien is terrifying. The wealth of different cutscenes are gory and gruesome, as you’d expect from this genre, but the scariest thing about the Alien is when you cannot see it, when it was crawling in the air vents above, waiting for you to make a noise before it would pounce. The only thing that’s scarier than the Alien? The incredible audio soundtrack that accompanies the game. The attention to detail is incredible, every door opening or scream put me into a panic thinking - “where shall I hide?!” You’ve not played anything that is scary until you’ve had a go at trying to outwit and outsmart the Alien in this game.
NATASHA RAYMOND You’re the new night-guard at a Chuck E. Cheese-style restaurant called Freddy Fazbear’s Pizzeria. The catch? The main attraction, Freddy Fazbear and his mechanical band mates, like to wander around at night. If they see you, they will kill you. Your only defence? Two security doors you can close at the touch of a button. But be careful, you only have a limited supply of power, and it has to last you till 6am! What really scares me about this game are the characters themselves. Just like the Weeping Angels in Doctor Who, you never see them move. Each time you check the security cameras, they will be in different rooms, staring menacingly into the camera like they know you’re watching them. So grab yourself a pillow, keep an eye on those security cameras, resist the urge to shut the doors immediately, and brace yourself for that final jump-scare...
THE SCARIEST GAME I’VE EVER PLAYED
If you prefer a more interactive horror experience, there are plenty of games to quench your thirst for terror. Turn off the lights, turn up the volume, and prepare for a scare.
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SLENDER: EIGHT PAGES ALEX mEEHAN If you’ve never heard of Slenderman, you’ve clearly be under hiding under an internet rock. The tall, dark and not so very handsome figure has become the frontman for the age of internet urban myths. Obviously, a number of spin-offs have popped up over the years; including several full-length fan-made films, but arguable none have been has popular than the game Slender: The Eight Pages. The company’s low-budget does wonders for the game’s atmosphere, as the cheap graphics only serve to intensify the uncanniness of the environment. But the best element, by far, is the exquisite sound design. The silence of the forest means that you can hear your every breath and footstep. The best and worst moments in the game are when you know, that if you turn around, he’ll be right there and once you’re caught, that’s it, gameover. So sit back, turn the lights off, put your headphones on full volume and get ready to scream.
BIOSHOCK JOE GIBSON
The Bioshock gaming franchise is my most adored out of the many games I have played. Whilst admittedly there exists scarier games (Outlast and Dead Space come to mind), Bioshock is scary as the world in which it is situated, the underwater Rapture, is such a beautifully crafted dystopian society. The artwork in the game is second to none and it is clear that the developers wanted to make this game feel as real as possible to immerse you in the horror of the game’s story. Horrifically maimed and drugged up splicers inhabit the city and frequently engage you in combat. The game twists and turns more times than a helter skelter and the conclusion is so shocking that it will leave a lasting impression on you. Bioshock is an unconventional horror game but is essential for any fans of the genre.
PROJECT ZERO 2: CRIMSON BUTTERFLY
DEAD SPACE harrison abbott Before the sequels arrived to actionize the hell out of this series, there was the slower paced, dread filled franchise starter that nicely filled the void left behind after Resident Evil started to lose some of its mojo. With a level of difficulty seldom seen in modern games and a scarcity of resources, Dead Space makes the player feel how all good survival-horror games should: powerless. The ingenious mechanic that dictates that your enemies can only be killed by the strategic dismemberment of their limbs, also forces more trigger happy gamers into being conservative with their ammo so that there’s a real tension to every encounter. Deservedly winning several awards for its lighting and sound design, the game expertly inflects every crevice of the stunningly realized environment with a genuine sense of threat and the unknown. Keeping you constantly on guard, the various indecipherable noises never allow you to feel truly safe, and even when you venture into the oxygen free expanses of space, the eerie silences take on their own unnerving menace.
LOIS SAIA Helplessness is the driving force of the Project Zero series’ unique brand of horror. Drawing on traditional Japanese folk tales, intermingled with a modern thirst for gore and plenty of jump scares, this game has the player dropping the controller and fleeing the room. Control alternates between identical twins Mio and Mayu, who find themselves trapped in an abandoned village, armed with only a camera to defend themselves against the menagerie of ghouls and unholy creatures hell-bent on sacrifice. The player unravels the village’s depraved history of religious cults and bloodthirsty ritual as they explore the dark winding houses and confront their inhabitants, trying to escape a seemingly inevitable doom as the past seeks to repeat itself. Survival is the ultimate goal, obstructed by emotional dependency, clashes between the leads, and the player’s (in)ability to continue, culminating in a bittersweet ending which remains with the player long after beating the game.
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Features | 16
CHARACTERS TO SINK YOUR TEETH INTO
From the fearful Count Dracula to the sparkling Edward Cullen, there’s no shortage of vampires in film and television. Here at The Edge we took a look at some of the best, and worst.
John Mitchell
Being Human, Aidan Turner Alex Meehan
B
eing Human cultivated some beautifully complex characters, with vampire John Mitchell (Aidan Turner) being the show’s best. Mitchell’s vampirism is clearly influenced by drug addiction, with his continuous battle against bloodlust framing his entire narrative. Turner injected the character with sarcasm; something that was often employed to cover-up the more fragile aspects of the character. Combine these elements with some gorgeous looks and a husky Irish accent, and you’ve got a vampire brimming with sex, violence and compassion.
Fang Rating: 7/10 Smoulder Rating: 9/10
Alexander Grayson Dracula, Jonathan Rhys Meyers Georgina Dinsdale
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eyers’ interpretation of the cold-blooded killer is not only stunning but eerily accurate as he meets many of the classic vampire attributes such as regeneration, invisibility in mirrors and as we’ve seen before, having to be invited into another’s home. Ridiculously good looking Meyers portrays a classic example of a familiar vampire that is perfect for those who love a good gothic drama.
Fang Rating: 9/10 Smoulder Rating: 9/10
Pamela Swynford De Beaufort True Blood, Kristin Bauer van Straten Alex Meehan
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rue Blood is full of smouldering, blood thirsty vamps, but none ooze the glamour and bad-ass nature that Pamela Swynford de Beaufort (Kristin Bauer van Straten) does. This vamp is unique in that her no nonsense attitude is complimented by her love for her maker Eric Northman (Alexander Skarsgard). Whilst she may seem a fierce, villainous character at first, she is shown to be at least willing to be a good vampire, providing its worth her while.
Fang Rating: 8/10 Smoulder Rating: 8/10 17 | Features
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Eli
Edward Cullen
Let The Right One In, Lina Leandersson Joe Buckingham
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n this rare case of a movie adaptation that’s even better than the book, Lina Leandersson plays a fairly traditional, but grippingly real interpretation of vampire mythology as Eli. Eli can’t eat normal food without throwing up, she’s been sort-of-dead for a long time, and she can’t enter buildings without invitation (hence the title). Interestingly though, she rarely kills her own victims—her (human) paedophilic father figure Håkan does most of that. But what’s best about Eli is that she feels completely realistic: less a mythical creature, more a scientific anomaly.
Fang Rating: 8/10 Smoulder Rating: 0/10
Twilight, Robert Pattinson Anneka Honeyball
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dward Cullen. The name itself causes shivers. They are cringing shivers - shivers of remembrance and instant regret. Because though it’s painful to admit, for both us and Robert Pattinson, The Twilight Saga happened and we were all far too involved. Stephenie Meyer’s sparkly vision is a poor excuse for a vampire. He’s a vegetarian. He won’t drink human blood, and he’s not up for biting an all too willing Bella. He is not an archaic gothic beast; he’s a mopey pale-faced prat. And for that he gets...
Fang Rating: 2/10 Smoulder Rating: 5/10
Selene
The Underworld, Kate Beckingsale Martyna Posluszna
F
irst and foremost, as expected, she is an immortal with a superhuman strength. She is also extremely fast and intuitive. Her cold and distant attitude as well as shooting skills and smooth moves, make her look like a badass. We do not, however, see her consuming blood. In the end, her unnatural persistence in overcoming obstacles and mesmerizing, extremely sleek outfit which makes her body look divine, all make her a worthy, although not an outstanding vampire.
Fang rating: 5/10 Smoulder rating: 7/10
Graf Orlok
Noseferatu, Max Schreck Virginie Robe
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ay before vampires were obsessed by fashion, not-biting anyone and their level of sexy-ness lies Max Schreck’s 1922 flawless interpretation of Nosferatu for F. W. Murnau’s eponymous silent film. Nosferatu is the first and quintessential Dracula film. Rooted in German expressionism, the film displays a strongly distorted setting, where shadows and crooked décor entrap the victims of the vampire. Schreck’s acting skills and his obvious talent for make-up and costume fabrication allow for a vampire that truly haunts the material of the film. The last scene where the monster is caught in day light and dies, not only remains one of the most fascinating scenes of cinema but is also a strong landmark in the history of film, even 92 years after its release.
Fang Rating: 10/10 Smoulder Rating: 1/10
The Edge | features@theedgesusu.co.uk
Features | 18
Introducing...
GENGAHR Nátt Day
Before we start, let’s clear one thing up:
G
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A poison/ghost Pokemon belonging to the original Red/ Blue generation of games.
G
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Your new favourite four piece band who, incidentally, always have a Gengar plushie on their amp when playing live.
A few months ago Gengahr floated on to my radar with a frankly jawdropping performance on the BBC Introducing Stage at Glastonbury and they’ve been happily haunting my radar ever since. The quartet, composed of singer and guitarist Felix Bushe, Hugh Schulte on bass, guitarist John Victor and drummer Danny Ward, hail from London and yet sound completely unlike anything else coming from our capital currently. Instead Gengahr sound like they’ve taken a leaf out of the sunkissed-haze book where MGMT, Unknown Mortal Orchestra and Foxygen originally read from - which is probably why there’s one undying rumour about the band being American. Aside from playing the biggest festival of the year, Gengahr cropped up at Knee Deep, Leeds and Latitude this summer as well as touring alongside Wolf Alice and, more recently, they’ve toured with both Darlia and Dry
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the River. If that doesn’t clue you in to why there’s such a buzz about the band then perhaps you better take yourself over to their Soundcloud ASAP to hear the hype in action. Though there are only two tracks currently available (they’ve recently taken down ‘She’s a Witch’ and ‘Dizzy Ghosts’- though they are still on Spotify) you can tell that Gengahr are here to make music that gets stuck in your head. Their melodies are what happens when shoegaze, summertime haze collides with indie-pop hooks: music that infects your subconscious like a contagion. Their musical prowess alone would be enough to lure you in to loving Gengahr, but it’s topped off by the most unsettling, ghostly falsetto from Bushe which frankly is as unnerving as it is sublime. Their debut single - is out now on iTunes.
Preview:
QUEER FILM AND ARTS FESTIVAL virginie robe
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ast London’s alternative Fringe! Queer Film and Arts Festival will storm the capital for its fourth edition from the 3rd to the 9th of November 2014. Born in reaction to the drastic arts cuts following the closure of the UK Film Council in 2011, Fringe! sees its festival growing bigger and stronger each and every year. 2014 marks the first November edition of the festival, which used to be in April, which goes from the previous long weekend festival to a week-long celebration of current queer culture. Fringe!’s programme is very eclectic. Exhibitions, feature films, short films, parties and workshops are planned throughout the week in East London, and the enthusiasm of the organisers of the festival is really contagious. “The new edition of Fringe! features a wide selection of new work created by groundbreaking local and international artists - it’s a creativity all set in East London” said Konstantinos Menelaou, the Festival Curator. Among the highlights of the week, the festival will open its art strand with a joint private view of punk art installation Pauline Boudry /Renate Lorenz: No Future/No Past and RCA Queer Society: Skin/Cells on 4th November. The heart-warming documentary Peter de Rome: Grandfather of Gay Porn (pictured) opens the film festival on the 6th November, with a drinks reception followed by a Q&A
with the film-makers. The name might not sound familiar, but the BFI has recently added the archives of his erotic films to their collection, making him the only porn filmmaker having archives in the institution. Fringe! also sees several world and national premieres happening during the festival. The closing night will show the premiere of Finnish film Open Up To Me at the Hackney Picturehouse on the 9th November. Naomi Campbel, an experimental film following a trans* woman who turns to reality TV for surgery will also be shown as part of the festival. So will Out in the Night, a doc following a group of friends whose New York night out ends with them being branded a ‘gang of killer lesbian.’ These are just a few of the twenty features presented at the festival. Vibrant, creative and audacious, Fringe! creates a real space for reflection and discovery around current queer culture and promises to be, once again, one of the most innovative queer film and arts festivals in the UK. The festival is not-for-profit and ran entirely by volunteers. Events are either free or completely affordable and everyone is welcome. Keep a close eye on the Fringe! festival and its hype - something tells me you will keep hearing about them.
The Edge | film@theedgesusu.co.uk
Film | 20
The BFI London ben robins
‘71
Director: Yann Demange Studios: Studio Canal Out: now
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amed for its period setting, ’71 finds Derby-born British soldier Gary Hook (Jack O’Connell) shipped off to Belfast on a peace-keeping mission at the height of the religious troubles. However, as expected, things take a deadly and frantic turn when a riot breaks out during a standard houseraid. Amongst all the commotion, Hook is left behind by his fleeing unit. Alone, injured and with little knowledge of his surroundings, the young private is forced to gradually feel his way back through the violent streets and tower-blocks of arguably the most dangerous place in Britain, to find his barracks and reach safety. Director Yann Demange has created something so incredibly sleek and wellhoned that potentially damaging elements such as the film’s historical setting, are seamlessly stitched into the background without question. Scenes of dramatic action are approached patiently and with a level-head, built up to with waves of masterful tension and executed in sharp, vicious sequences. Nothing is trimmed to pieces by fast-cut editing and nothing is shied away from. Demange meets the reality of every situation head-on, with a firm unwavering hand. This is the work of a seasoned pro, bursting from the fresh-face of an upcoming talent. Relative newcomer Jack O’Connell lands his second lead performance of the year,
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following David Mackenzie’s Starred Up (and soon, Angelina Jolie’s Unbroken) marking a career trajectory destined for stardom. Usually known for his more laddish and abrasive TV roles, ’71 finds O’Connell nearly mute; it’s a performance that bleeds almost entirely from his body language and facial movements, a tricky feat but one that he masters straight from the off. O’Connell’s Hook is subtly brought to life as a tortured soul, thrust into the military with little clue about his future. For a film so structured towards action and violence in its plotting, Demange is careful to allow Hook room to breathe and develop as a character, twisting him into a flawed and realistic hero that’s incredibly easy to root for. Even as the film’s story begins to open itself up wider, ’71 never once leaves its grounded tone; Demange demanding realism at almost every stage. Rarely does the narrative turn lose sight of the director’s mission, and on the few occasions it does, by either slowing the film’s pace or expanding its character-base too wide, Demange corrects himself almost immediately. As a brutal and challenging piece of British cinema, ’71 is amongst the best in recent years. But as a debut feature, this is a seriously stunning and unparalleled accomplishment, that ensures that Yann Demange is a name that should remain permanently on every filmgoers lips for years to come.
The Edge | film@theedgesusu.co.uk
Film Festival SHREW’S NEST Directors: Juanfer Andrés and Esteban Roel Studio: Film Factory Entertainment Out: TBC
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rapped in a decaying apartment hidden deep within the bustling confines of Madrid during the 1950s, agoraphobic Montse spends her days dressmaking and caring for her younger sister. One day, she encounters a wounded man on her doorstep and decides to help him. Whilst nursing the stranger back to health, Montse discovers elements to her personality that she didn’t know existed, and when her sister starts to make plans for the man’s return home, things take a ludicrously dark turn; once one enters the nest, leaving is never an option. Juanfer Andrés and Esteban Roel waste no time in setting a fiercely dark tone for their
debut feature. By beginning their story more slowly, the pair create a great deal of tension throughout the film, meaning they are never forced to rely on jump-scares. The apparent downsides to this approach however, are slightly more noticeable and the film’s incredibly slow pacing. Ultimately, when the climax does arrive in all its bloody glory, there is a great deal of fanfare, and the two newbie directors land their near-farcical toning brilliantly. If such a manner had been maintained throughout the entire film, we could well be looking at one of the finest horror movies of the year, instead of simply praising part of it.
THE DUKE OF BURGUNDY Director: Peter Strickland Studio: IFC Films (USA) Out: TBC
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resh from the success of his retroflavoured suspense chiller Berberian Sound Studio, firm film devotee Peter Strickland strikes once again with another mind-bendingly odd slice of British magic. Set deep within a countryside of unknown placing in a time before technology, Burgundy finds Strickland exploring the innermost intricacies of human desire through an all-female cast. A tired couple find their fetishistic role plays gradually losing their spark and so, begin to seek out more abrasive methods of achieving what they so long for. Of course nothing comes particularly naturally and soon the pair find their own sexual cravings dragging them both helplessly into an unmapped state
bordering on the surreal. This is a film that is so nonsensically sound that its lack of story is never even noticeable. Strickland’s soul lies in the visuals and their metaphorical placing amongst the crazy little world that he’s created. It’s this selfcontained world of Strickland’s that allows the film, as stunningly difficult as it is, the ability to work fully. Each event is so lovingly bizarre and yet so beautifully grounded in its execution that there is rarely ever reason to question what is going on. Strickland offers so much to get lost in, without ever offering a helping hand through it all, and this is to be both commended and admired. Truly daring filmmaking.
The Edge | film@theedgesusu.co.uk
Film | 22
The edge’s fil takes a lo of cinema’s bigg
“You either die live long enough become the Hans Gruber
Bellatrix Lestrange
Ben Robins
Lewis Taplin
Die Hard (1988)
Harry Potter and the Order of the Phoenix (2007)
Dressed sharply and flanked by a small army of fierce European cronies with rather large guns, Hans Gruber is very much the quintessential 80s bad-guy. The lead villain in arguably one of the greatest action movies of all time, John McTiernan’s Die Hard, Gruber is an expert strategist with a penchant for expensive clothing; a brainy-type, but one who knows his way around a gun. Brought to life with subtle brutality by the great Alan Rickman, there is no limit to his genius. He’s even a movie fan himself - but heights, not so much.
Koba
Dawn of the Planet of the Apes (2014)
Matt McConnell
When you think of the typical film villain, naturally you’d picture a pretty ticked off psychopath with a machete. But since this year’s sensation Dawn of the Planet of the Apes I couldn’t help but feel at the mercy of Mother Nature herself, embodied in the unhinged primate psychopath, Koba. Humanity fears the idea of a revolution, those considered beneath rising up and overthrowing our way of life. So when a pretty average chimp, who would usually be used for jest, suddenly turns into this lunatic fringe with an undying need to punish and exterminate his human and primate oppressors... that’s pretty scary.
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Draped in black garments with big, spiralling hair, Bellatrix Lestrange is one of the most aesthetically iconic villains of the 21st century. Portrayed by the proficient Helena Bonham Carter, Lestrange’s ruthless actions are conducted with such vigour and collectivity that the character has become one of Carter’s standout performances throughout her film career. Arriving in the Harry Potter series in Order of the Phoenix, Lestrange’s malicious aura is simultaneously endearing with the sideline of the witch’s obsessive affection for Lord Voldemort. The rise and fall of Bellatrix Lestrange is an internal moral battle for the audience.
Norman Stansfield Leon: the Professional (1994)
Harrison Abbott
A list of cinema’s greatest villains could very easily just turn into a list of the best Gary Oldman performances. In Leon: The Professional, he plays the corrupt, psychopathic, unpredictable, classical music loving DEA agent Norman Stansfield and Oldman’s unbridled energy and hypnotic charisma are for once matched by material more than worthy of his undeniable charisma. The film perhaps has the greatest bad guy dialogue of all time too. Stansfield is simultaneously one of the most threatening and one of the most likable antagonists in cinema history - and he’s just so goddamn charming.
The Edge | film@theedgesusu.co.uk
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a hero or you to see yourself villain.” - Harvey Dent
The Joker
Jopling
Anneka Honeyball
Natalie Fordham
The Dark Knight (2008)
The Grand Budapest Hotel (2014)
Batman has faced many an adversary, some brilliant, some ridiculous, but Heath Ledger’s Oscar-winning portrayal of The Joker –arguably Batman’s most iconic villain – in The Dark Knight verges on legendary. Enigmatic, slick and utterly terrifying, Ledger’s Agent of Chaos has a way of being both incredibly watchable and horrifying enough to leave you hiding behind your hands - he gleefully splendours in his acts of maddened, anarchic terror. The most memorable act for me being when he uses his beloved pen knife as the start to one of his many versions of how that bloody red smile came to be…
Clothe Defoe in black leather, put some guy-liner on him and tell him not to say a word but growl and you have the world’s scariest villain, Jopling. The reason Jopling in The Grand Budapest Hotel is the best villain ever is because without ever uttering a word, his mere appearance insights fear into your heart. You genuinely feel this man would kill you were you to be alone with him and this, coupled with his multiple skills, skiing, motor-cycle riding and scary eachoing footsteps, make Jopling not only a terrifying assassin but make him the best villain ever.
Amon Goeth
The Evil Queen
Schindler’s List (1993)
Snow White (1937)
James Chadwick
Virginie Robe
The world’s biggest dream-factory probably also created the world’s worst nightmarish villains; who can claim their childhood hasn’t been traumatized by Disney? I certainly can’t. The very first feature film the company made in 1937, using the innovative Rotoscoping technique, remains to day the only one I cannot watch without hiding behind my hands. The black hood of Snow White’s terrible step-mother is suffice to make me shudder, and her high-pitch voice still frightens me to the bone. Even though Tangled’s witch (2010) bore similar design feature, it seems that the sugarcoat surrounding the company’s features is now too thick to produce anything close to the success of the earliest films.
Ralph Fiennes is magnificent in his performance of Nazi camp commandant Amon Goeth. He manages to combine the figure’s lucid sexuality and gentleness towards those close to him with the absolute brutality he inflicts on the prisoners under his jurisdiction. Oscar Schindler (Liam Neeson) must battle against the tyranny of Goeth and the Third Reich to save the detainees from an unmentionable fate. History is the greatest source of evil and Spielberg’s faithful representation of this Nazi results not just in creating one of film’s most infamous villains, but also a powerful reminder of the atrocities of mankind.
The Edge | film@theedgesusu.co.uk
Film | 24
On Blu-Ray
Begin Again
Director: John Carney Studio: Entertainment One Out: 10th November
virginie robe
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ohn Carney, who directed Once in 2006, comes back with a similar story; but don’t expect similar styles. Set in New York rather than Dublin, with popular faces rather than unknown actors, Begin Again is an effort that just a few directors make themselves go through: Carney created the American version of his European success, and the result is rather satisfying. Begin Again relates the story of Greta (Keira Knightley) who finds herself left alone in New York after her rockstar boyfriend Dave (Adam Levine) decided his new assistant would be a better fit. She randomly meets Dan (Mark Ruffalo), a former music-business executive, and the pair decides to create an album using New York streets as a large scale studio for their musical expression. With this new film, Carney renews with the theme of musical encounters. When focusing on the relationship between Dan and Greta, the similarities with Once are striking; the two of them evolve within broken lives, and sustain in day-to-day reality thanks to their love for music. But where the previous film offered a raw portrait of unknown people, Begin Again echoes rather on a shiny music industry, and without dropping into the American Dream cliché, still steps back from the previous film, not
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only narratively, but also aesthetically and musically. The duo formed by Keira Knightley and Mark Ruffalo manages to develop the characters equally, creating a real balance on screen, where both Greta and Dan’s lives, both of their stories are cared for. The characters look after one another in turns throughout, and whilst a romance is clearly on the way, the film avoids too-obvious an ending; it is neither a narrative tour-de-force, nor a tedious story twist, but just in the right lines and on the right tone of the film’s rom-com genre. The film never tries to be more than what it is, but whilst the feature develops, Carney takes the opportunity to somehow offer a commentary on the current music industry, and especially its online development. Greta and Dan refuse the supremacy of major production companies. Internet and computing technologies make music more accessible for both audience and artists. They are resources that should, ideally, allow artists to fight the stranglehold that majors keep on their work; Begin Again reaches these conclusions, but its narrative, genre and style are too sweetly and superficially crafted to make it an unforgettable, magnificent piece of cinema reflection.
The Edge | film@theedgesusu.co.uk
BATTLE OF THE Supernatural creatures have always been a staple of the horror genre. �th TV shows like The Walking Dead and The Strain featuring as some of the most highly anticipated shows of 2014, here at The Edge we thought that we would look at the presentation of certain supernatural creatures in two different shows, and crown the best version of each.
rebecca james
THE WALKING DEAD
The Walking Dead may well mention the undead in its title, and it certainly features enough of the shambling, flesh eating creatures, but the horror comes in equal measure in what humans do as what the dead creatures do when they are faced with living flesh. The zombies featured in The Walking Dead epitomise what you imagine zombie to be – they shuffle about, groan, and have no kind of will save for the desire to eat. The Walking Dead is unflinching in its presentation, with people who have been bitten by the zombies being brutally dispatched and lashings and lashings of blood throughout.
IN THE FLESH
This BBC Three drama centres around a post zombie apocalyptic world, but unlike The Walking Dead, the dead featured in In The Flesh are very much coherent and aware. While the zombies here were once rabid, flesh eating creatures, medications mean that the undead can now be re-assimilated into society. Contact lenses, medication and make up all disguise the fact that the characters are dead, and the show focuses on the characters regaining memories of what they did while rabid. A fascinating show with a completely different take on the idea of the zombie.
Two fantastic shows that take very different approaches to the undead – but In The Flesh inches it here with its fresh look at a trope which can easily become tired.
BEING HUMAN
This time it is shapeshifters that takes center stage - while the BBC series includes both ghosts and vampires, its presentation of the werewolf is what fascinated me the most when I first watched the show. With a striking visual transformation, the likes of which I haven’t seen since An American Werewolf in London, as a viewer you feel the pain and confusion of the forced transformation. These are humans who have no control over their transformed selves – the werewolves are wild animals pure and simple.
TEEN WOLF
As the title suggests Teen Wolf focuses on a teenage boy who is bitten by a werewolf and has to deal with the trials and tribulations of being a teenager, and a werewolf. The concept sounds kitschy and Twilightesque, but the show manages to move past the clichés. The werewolves are able to develop far more control – these werewolves are able to influence their own transformations around the full moon, and manage their animalistic instincts in a way the werewolves of Being Human cannot.
Teen Wolf may not be as fluffy as the title suggests, but Being Human clinches this title because of its gruesome transformations. 27 | Culture
The Edge | culture@theedgesusu.co.uk
BUFFY THE VAMPIRE SLAYER
Buffy The Vampire Slayer is one of the most important horror TV shows of the 90’s for so many reasons - it focused on a female protagonist who didn’t need a hero to rescue her, and it tapped into the essential idea that school can be hell. While the show has some truly creative, horrifying creatures (Der Kindestod which preyed on sick children springs to mind) it is the exploration of the vampire beyond the typical blood sucking evil creature that made Buffy special. The facial distortions of the vampires combined with some very vicious and well thought out characters, like Drusilla (played to perfection by Juliet Landau) and Spike (one of James Master’s best roles to date). Here vampires have personalities, emotions, connections - and that made them all the more effective.
THE STRAIN The Strain is a very different creation. Rather than exploring the vampire as a demonic creature, The Strain presents vampirism as a kind of virus. Created by Guillermo Del Torro, the show does not shirk on the horror stakes, and keeps the audience on the edge of their seat with shock at the creature’s throat appendages that suck out blood. Emotional connection comes from the transformation of characters loved ones, and intrigue comes from what the vampire end game is. The Strain is far more gory and ‘modern’ than Buffy The Vampire Slayer which is good and bad in equal measure - The Strain is more clinical in its approach and the gruesome elements create bigger visual shocks.
Buffy The Vampire Slayer creates vampires that are compelling, rather than mysterious, and so wins this one.
ANGEL
Determining what characterises a demon in Angel is hard - ‘demon’ is quite a universal term and is used to describe a plethora of different creatures in that universe. From the green, singing demon Lorne to the Ancient pure demon Illyria there is no hard and fast rule to determine what a demon is in Angel. This makes for some creative and unique creations, and the word demon increasingly becomes less and less synonymous with the word evil. This is an interesting approach to a category which for most by definition means evilness, and creates a variety of fascinating storylines.
SUPERNATURAL
Supernatural features many of the traditional creatures of horror and folk lore, but its central focus is on the demonic. The demons of Supernatural are far more uniform than those featured in Angel – here they are the spawn of Satan the fallen angel, pure and simple. Demons must be exorcised through the chanting of Latin, can be kept out of a house with salt, and are burnt by Holy water. Demons and the mythology associated with Satan are central to the first five series of Supernatural and is when the show is at its best.
Supernatural grabs the tittle of best presentation of demons, purely for the coherency of the presentation and the inclusion of biblical imagery. The Edge | culture@theedgesusu.co.uk
Culture | 28
Review:
alien: isolation marcus brigland
D
espite being one of the most anticipated games of 2014, Alien: Isolation had a lot to prove after its predecessors were far from fulfilling additions for the franchise. Set 15 years after the original film, the story focusses on Ripley’s daughter, Amanda, searching for answers about her lost mother aboard the Sevastopol space station. Things take a turn for the worse upon arrival though so the player’s aim is primarily survival using scavenged objects to build contraptions. Weapons are in short supply though, so stealth and cunning is the key to progressing through the many rooms and corridors of the Sevastopol. This ‘fear factor’ was the main objective from the creators, and it does that with aplomb. Take this common Alien: Isolation scenario, you’re casually walking down a dim corridor with the odd electrical surge or light flicker which is not all that scary. It’s too quiet though, so you pull out your clunky 80’s motion tracker for reassurance that you’re completely alone – unfortunately, with the introduction of heavy footsteps in an above vent or a door closing that small little white dot appears on your tracker. Anxiety leads to panic as you try to find a hiding place. Storage locker, it’ll do won’t it? Nope. Within seconds the alien rips off the locker door, gives you a teasing look and finishes you. Five minutes later, after you’ve mentally recovered and your heartbeat is back to a safe level, you restart from the last checkpoint just as terrified as before. The alien is relentless. Innovatively, rather than being fixed by AI constraints, its movement is completely random and tailored to the players’ survival instincts, it’s got a 29 | Culture
brain of its own, ruthlessly stalking you. It learns more about you after every encounter, thinking of easier ways to approach and kill you. You’re not just surviving the alien though there are other humans on-board thought to be from previous expeditions to the station and androids programmed by scientists to be of use to the humans, well at least to start off with. From a personal view, the thing I was most looking forward to about Alien: Isolation was the music score, and I wasn’t disappointed. Apart from scaring the living daylights out of me whenever the alien ran through the above vents, the music and sounds are second to no other game I’ve played – having the surround sound option gave me the chills at all times, contributing massively to my gameplay experience. While a great idea in theory, the unpredictability of the alien could make gameplay frustrating when it comes out of nowhere and kills you especially as checkpoints are so sparsely located. The campaign is also incredibly long, it doesn’t bore but some sections do seem to drag on, especially once you board the Sevastopol at the start. The human graphics are also a little disappointing – more like a standard FPS from previous years not a ‘next-gen’ 2014 game. In summary SEGA have released a game the franchise deserved years ago. A brilliant fear-inducing survival game, with a valid and believable plot that uses sound effects and an abundance of visual elements to create as dynamic an environment as the original films.
The Edge | culture@theedgesusu.co.uk
THE ROCKY HORROR SHOW A cult classic? CAITLIN hobbs + danielle topaz
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he Rocky Horror Show is not just a show. It’s an experience. The spectators do not sit in passive absorption - rather, they don corsets and underpants and run around the theatre doing pelvic thrusts and throwing toast around (if permitted by the venue, of course). Despite the raunchy, freaky sexuality involved there is also a very childish, playful element to it that has a deep appeal. Besides being a fun night out you’ll find it’s the sense of community that keeps people coming back: there really is nothing that can bring people together like dancing and singing beside each other in fishnet tights. Drawing heavily on cult trends of the 70s, some of the foundations of what makes Rocky Horror great could be lost on newer audiences. The score is heavily influenced by the glam-rock genre (think Slade, Alice Cooper and friends), which is practically unheard of on today’s music scene – although remains a staple influence for many artists. Similarly, The B-movie genre that is parodied throughout the show is something we see little of in today’s cinema, as horror films are slicker and rarely played for laughs – so there are some gags and effects in the show that might go over the heads of today’s audiences. Despite this, the core message of Rocky Horror still rings true and has spoken to generation after generation since its creation. Rocky Horror was revolutionary in
breaking all the rules on gender and sexuality. I’m not saying we should all aspire to be Dr. Frank N. Furter (after all, he kills a guy with a chainsaw), but his “don’t dream it, be it” ethos is something to be admired – and the character performed by hundreds of leading men over the years became an instant LGBT icon as well as a pretty good talking point for gender performance and bisexuality. Not bad for a parody horror show written in the 1970s. Our obsession with the weird and wonderful Rocky Horror Show stems from its taboo nature. It’s exciting, it’s forbidden, it’s thrilling to be a part of. But there can also be a sense of shame surrounding such matters: people may be in to certain things that they would never admit to others, or even themselves. Rocky Horror serves as a sort of justification for the things we hide: it draws upon dark titillating subject matter that smacks of fantasy and fetishism. People are often ashamed of the sexual fantasies they entertain, even if they would never act upon them; Rocky Horror takes these and runs with them and what we feel when we watch it – especially when played by actors live on stage – is a sense of relief that perhaps there are others who have equally dark minds. It’s a raunchy acknowledgement of the most erotic and twisted corners of our brains and reassures us that every part of being human is worth a celebration, even the naughty bits.
The Edge | culture@theedgesusu.co.uk
Culture | 30
THE EDGE REVIEWS
THE CLASSICS
FRANKENSTEIN MARY SHELLEY dan linstead
F
rankenstein, Mary Shelley’s defining novel, is often regarded as a literary classic, a masterpiece highlighting the errors of going beyond your means and acting as god. But what is it exactly that makes this particular novel a classic?
least one of these themes is a headline story. Whether it was incredible foresight by Shelley, or merely an observation of humanity, to write a novel that is still relevant two hundred years on is an incredible feat, one that deserves the term classic.
Perhaps it is the various forms that Frankenstein has taken since it’s 1818 creation that has led to the term classic being attached to it. Whilst the original story, of a man making a creature and the consequences it has, has been repeated time and time again, it remains a fascinating novel to adapt into TV shows (such as the 2004 US miniseries Frankenstein), film (such as Sir Kenneth Branagh’s 1994 version, Mary Shelley’s Frankenstein) and most recently on the stage with Benedict Cumberbatch and Jonny Lee Miller. Remaking something so much always poses the risk of boring the audience, but each version is unique and can focus on one of Frankenstein’s many themes. By being read and performed for almost two hundred years, it could be interpreted as a classic.
It could just be that it is an amazing story, that was unique at the time of writing. Exploring the idea of creating life with its moral consequences, all in the grisly setting of the Gothic period, the story takes what could be simple themes, humanity and power, and explores the potential for everything to go wrong. At the heart of all literature should be a story that is tight, thought provoking and most of all a great narrative. Frankenstein ticks all of these boxes, providing an exciting and dramatic narrative that forces the reader to question their own moral beliefs.
Maybe though it is the themes that it discusses. Religion, transcendence and human emotions, particularly love and loneliness, are all key themes that are discussed in the novel. These topics are still very much at the fore of debate today, simply listen to the news to see that at
31 | Culture
All of the things mentioned and more make Mary Shelley’s Frankenstein a classic. Not many novels can provide an original tale that is full of exciting and divisive themes, that is thought provoking to the reader and that can continuously be remade and reinvented feeling fresh every time. Whether you read it for academic purposes or just for fun take the time to reread this classic, and hopefully appreciate that it deserves its title.
The Edge | culture@theedgesusu.co.uk
T
he idea of having a solo, acoustic playing artist selling out an arena as vast and iconic as the London O2, and for four consecutive nights, initially may raise doubt. With the immense success of his + tour, hitting the country’s largest arenas, nearly three years on, was the next inevitable step for the ever rising musician. Expectations were definitely high. But lets get something clear: on Sunday night Ed Sheeran proved to over 18, 000 people that he is certainly more than just a man with a guitar. With X being named one of the fastest selling albums of the year yet, it would’ve been understandable to allow the success of his second album to overshadow the show. Yet in true Ed Sheeran style, he made sure his roots were not to be forgotten, breaking out into a number of + favourites, including ‘Lego House’, ‘Drunk’ and ‘Kiss Me’, allowing for optimum mass sing-along action. Most heart shatteringly though, ‘Give me Love’ had Sheeran silencing the screams of the entire audience. Ed had a favour to ask: for us to act as a hushed choir for the songs whispered beginning, which had an effect I was just in awe of. 18,000 people whispering the lyrics of desperate love with even the hysterical fans playing along seemed like something only Sheeran could pull off to that end. Though this was also the man that had us weeping at his rendition of ‘Thinking Out Loud’. Of course we were allowed to lose our minds again for his more upbeat songs. ‘Don’t’ allowed us to appreciate his live loop pedal skills, and with only one brushed off technical hitch, it was astounding how he could use this instrument to fill venues like the Apollo and the O2 to the same rhythm smashing effect. His loop pedal also let him sneak in a couple of mash up on liners, subtly and flawlessly dropping in a
bit of ‘Loyal’ and ‘Don’t Worry, Be Happy.’ As well as singing along, at this point I’m in the standing crowd wondering what this man can’t do live. Over an hour in, and despite him playing a majority of both his albums and even having time for a chat between songs, albeit to a medley of screaming responses, his set list was over. He was thanking his fans and heading off stage, the lights were back on and yet there was a sense of denial. No one was having it. Of course he was heading back to the stage, guitar in hand, after only a minute of demands of an encore. To our defense, he loved it. Those sly smiles to himself as the audience sung the words for him in between breaths proved as much. His encore only confirmed his first O2 night as a success, finishing up with his famously prolonged ‘You need me, I Don’t need You/My Eyes Are Red’, and a fond throwback to the song that seemed to catapult him into fame, ‘A Team.’ It was an experience as well as a success. What I have learnt is that while I sadly don’t know Ed Sheeran personally, going to see him live is basically the same thing. He gives off an air of intimacy in his performance that allows any gig to become personal. It’s the equivalent of having him in the your top 3 best friends on snap chat. And that’s pretty personal.
The Edge | live@theedgesusu.co.uk
Review:
Ed sheeran
at the o2 (12/10/2014) jasveen bansal
Live | 32
CHILDHOOD at at joiners joiners (07/10/2014) (07/10/2014)
Childhood were as cool and confident as every band now has the expectation to be. After a hectic year for the band, they looked completely at home on a stage with a room filled with fans. Their tour follows a summer of festivals, the release 33 | Live
Childhood didn’t not disappoint, and I would highly recommend seeing them before Johnny Marr helps to catapult them into mainstream success.
E I V R E
Their set list didn’t promise an encore, and after they vacated the stage, the audience went crazy for the band to return. All too quickly, the clearly enthusiastic band jumped back onstage and performed an extra song for the eager crowd. This is when the crowd truly lost it. Stage diving commenced, with people jumping on top of other crowd surfers, leading to much of the audience shuffling away from the imaginary landing zone.
T
One of the supporting acts was Kid Wave, a London based four piece. The band’s performance was near faultless and they perfectly complimented Childhood in their headline slot. They injected further energy into the audience, who were clearly itching to get moving. The band are confident, care free and casual, with DIY describing their sound as ‘just the kind of addictive indie rock that keeps your mind in an endless teenage dream’.
of their debut album, and almost international fame for the band after their trip to Japan in August. Beginning their set on ‘Blue Velvet’, I was taken aback by the stark contrast in their recorded material to their live performance. Chaos is the only word to describe it. Their debut, Lacuna, is relatively relaxed and dreamy, creating a laid back vibe for every listener. Their live performance led to dancing, jumping, and eventually moshing and stage diving, which they seemed to enjoy watching all too much.
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s up and coming faces on the indie music scene, Childhood have embarked on a short warmup UK tour prior to their supporting slot with Johnny Marr this winter. Joined by Kid Wave, the South London four piece certainly know how to keep a crowd entertained, arriving onstage to a cacophony of excited voices, and never ceasing to blast out their chaotic indie pop hits.
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R E V I E W
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annabelle asker
The Edge | live@theedgesusu.co.uk
How’s the tour been going so far? Both: It’s been very good Leo [guitar]: We’ve only done two days so far, we had a day off yesterday, so it kind of feels like we’re starting tonight. But it’s been good so far, good crowds, good vibes. What can we expect from your live shows? Leo: A bit more… chaotic. Jonny [drums]: Yeah, organised chaos. Leo: People might describe the recordings as quite meandering and dreamy. Jonny: Live is a lot louder. Leo: Yeah, it’s a lot louder and a lot more energetic than people would expect from the record. Can you sum your sound in a few words? Leo: Playful, powerful, pulsating pop How was summer for you? Leo: It was very hectic, it was good. We were busy the whole time, not only did we do UK festivals but we also got to go to Japan and places in Europe. It was great, everything had it’s own interesting corners. A lot of mates of ours were playing the same circuits as us so it was a big lolapolooza really. Do you see your sound changing? And for the future of Childhood do you want to change your sound? Jonny: We’ll still write pop songs Leo: Yeah, at the core we’ll still write melodic pop songs, but being in the studio with Dan Carey has shown us the avenues we could go down and we would like to explore, because there is so much more to explore sonically.
ELINOR DAY
BLACK VEIL BRIDES at O2 guildhall (05/10/14)
Review:
B
lack Veil Brides are a band who are loved and hated in equal measure. Derided as make-up-wearing rip-off merchants in some corners, but heralded as nothing less than the second coming by their devoted army of fans, they’re a ‘marmite’ band. You can love them or hate them, but almost every rock fan has a strong opinion about them. However, their performance at the O2 Guildhall, Southampton last night showed that those who hate them might have to come up with some more compelling arguments, because those guys can put on one hell of a show. Support act Fearless Vampire Killers certainly got the crowd nicely revved up for the evening’s proceedings. Their spectacular theatrical gothic rock was a hit right out of the gate with the crowd, who seemed almost as pleased to see them as they were to see the main act. They shot through a short, energetic set, which showcased several tracks from their yet to be released new album. Next up were Attila, a band from Georgia who blend death metal and hip hop to form a subgenre of music they call party-death-metal. It sounds ridiculous, and in many ways it is. You could make the argument that Attila were a poor fit on a bill, as a band whose main lyrical refrain is ‘Suck my fuck!’ don’t really belong at a show where the average attendee is 14. But, with all that said, Attila performed absolutely brilliantly, converting the many naysayers in the crowd with ease. Despite strong performances from both Attila and FVK, there was only one band the crowd were truly excited for, and that was Black Veil Brides. They received
a rapturous reception from the crowd and immediately launched into new single ‘Heart of Fire’. That kicked off a tremendous performance from the band that encompassed a decent selection of hits and fan-favourite tracks, with a few new songs from their upcoming fourth album thrown in for good measure. New track ‘Last Rites’ in particular showcased the band’s new, more classic rock-influenced direction and really showed off frontman Andy Biersack’s deep distinctive vocals. There was a treat for some of the older fans in the audience as the band performed ‘Coffin’ a little-heard, but much-loved track from their Rebels EP. There was some fabulous musicianship on show from all members of the band, with guitarist Jake and drummer CC even managing to make their respective solos interesting to watch, a rare feat indeed. And of course there was Andy, demonstrating that he not only has an amazing voice but is a truly charismatic showman as well. By the time the band’s encore came to a close with ‘In The End’, the hysteria in the crowd had reached critical levels: there was screaming, fist pumping, fainting and sometimes singing loud enough to drown out the band. All in all, it was an incredible show by a rock band who are at the top of their game and just keep going from strength to strength. If you do happen to be one of those people who’re on the fence about Black Veil Brides, make sure you get down to your nearest show and get ready to have your mind blown; before you know it you’ll be a full-blown recruit to the Black Veil Brides Army too.
The Edge | live@theedgesusu.co.uk
Live | 34
Review:
An Evening with Emerald Caro at The BIC, Bournemouth (15/10/2014) camilla cassidy
D
utch jazz-pop singer Caro Emerald came to the Bournemouth International Centre (BIC) on October 15th, having recommenced the UK Arena tour she previously postponed following her pregnancy, and the birth of her daughter in March. Despite the delay, every seat was filled for the sold out show, that followed the European success of her first album, and its UK Number 1 follow up The Shocking Miss Emerald. Directly on the seafront, the cavernous BIC was filled to bursting with an eclectic audience comprising eager fans of every age, mingling drink in hand at the many bars in the venue. Opening act Kris Berry performed a selection of reggae inspired jazz; the mixing of influences similar in concept to Emerald’s blended style that draws on both Latin salsa rhythms and 1950s big band jazz. In particular ‘Love Trip’, with its cheerful tone and strong 60s swing influences, was a joy to listen to and certainly set the mood for Emerald’s entrance. And what an entrance it was - emerging behind a giant translucent screen and backlit such that her silhouette towered over the audience. This staging fit well with the cinematic, James Bond-esque tones of the night’s opening song ‘I Belong To You’, however Emerald’s voice was disappointingly flat. Requiring a fully committed opening belt, she instead seemed almost hesitant. This persisted into the next song also, but from then on out any fears regarding her talent or performance skills should have been banished. Emerald is a truly gifted performer. Her command of the audience in the expansive arena was such that you felt as if you were ten foot from her, looking up from a table at a cabaret. Her vocals growing stronger, smoother and more confident as the night continued, she effortlessly moved from lighter, more upbeat swing to smoother jazz. This was 35 | Live
perhaps most clearly shown in the transition from the energetic mood of ‘Stuck’ that demanded to be danced to, into an acoustic performance of the wholly different dark and intimate ‘Paris’. The stage setting emulated this, with screens showing abstract light patterns which at a moment’s notice instead displayed smooth curls of smoke and, alongside a spotlight and red backlighting, instantly created a warm, sultry mood. She provided refreshing takes on songs from her two albums using the power of a live band to embody the particularly noteworthy ‘Completely’ with a jaunty vibe that would not have been out of place at an old fashioned bandstand. After a brief but surprisingly riotous minute offstage, the foot-stamping and applause from the audience’s standing ovation called Emerald and the band back onstage for an encore. First she performed ‘Back It Up’, sectioning the audience and teaching each a short line from the song. Orchestrating like a conductor, Emerald proceeded to sing the final verses of the song acapella, layered over the voices of the audience which echoed to fill the arena - the atmosphere was electric. Emerald performed a moving version of ‘Dream A Little Dream Of Me’ that collectively took the audience’s breath away. ‘An Evening With Caro Emerald’ was everything a gig should be. Caro Emerald crosses musical styles and genres that span continents and decades, and in doing so creates timeless music that is loved by both young and old. Moving from upbeat to low key and back again, Emerald provided amazing company and put on a show that reminded audience members of the simple joy of beautiful music, and the pleasure that comes from sharing in it.
The Edge | live@theedgesusu.co.uk
Previews Example at Portsmouth Guildhall (11/11/2014)
Twin Atlantic
VS
at o2 Guildhall (04/11/2014)
Becky spear
Oli Polhill
J
ust one of a 28 show tour, Example will be performing in Portsmouth Guildhall on the 11th November. Known for his chart topping dance tracks, the tour is accompanying his fifth studio album Live Life Living, released in July earlier this year. Example (otherwise known as Elliot Gleave) first came into public attention with ‘Watch the Sun Come up’ back in 2009, peaking at nineteen in the official charts. Since then however his sound has certainly changed slightly, moving to more rave and 90s dance beats, Live Life Living in particular uses less rap than some of his previous albums. The album was also released after a change in record label from Ministry of Sound to Epic Records, with Gleave stating the likes of The Prodigy and Faithless as some of his albums’ influences. Following last single ‘One More Day (Stay With Me)’, Example is set to release his fourth single from the album ‘10 Million People’ this October, a more chilled out dance track. He has also recently revealed via twitter that his wife is pregnant so he will not be touring for a while, in his words ‘Get involved in this cos I won’t be touring for ages (missus up the duff).’ This news only means that Example has got to make this tour a memorable one and odds are he’ll be going all out if he won’t be back for a while, so its set to be a good night. Example will also being supported by electro duo Delta Heavy.
A
lt rock 4-piece Twin Atlantic have announced a string of UK tour dates this October/November.
The Glaswegian quartet will be playing a number of venues in the UK and Scotland, including Southampton Guildhall. Other dates include Aberdeen, Newcastle, Manchester, Leeds, Birmingham, Cardiff and London. Fans took to social media to express their excitement, despite some disappointment that no Irish tour dates were included. Twin Atlantic took to Radio 1’s Live Lounge, performing their new single ‘Brothers and Sisters’ as well as a cover of Sia’s ‘Chandelier’ ahead of their upcoming album Great Divide, which is due to go on sale 18th August. The band are also lined up to play Reading and Leeds Festival the weekend after their album goes on sale. The band are famed for their live shows, having toured with the likes of Biffy Clyro, My Chemical Romance and Thirty Seconds To Mars, as well as headlining their own tour dates.
Which will you attend? The Edge | live@theedgesusu.co.uk
Live | 36
Listings 3rd November
» Wicked @ The Mayflower (until 15th) » Tesseract + Animals as Leaders @ Talking Heads » Call of Duty: Advanced Warfare (Multiformat)
4th November
» The Inbetweeners 2 @ Union Films » Comedy Soc present: Free Improvised Comedy Show @ The Annex » Twin Atlantic @ O2 Guildhall Southampton
5th November
» Billy Lockett @ Joiners » Asking Alexandria @ O2 Guildhall Southampton
6th November
» Up @ Union Films » Ben Watt Trio @ Joiners » The Boomtown Rats @ O2 Academy Bournemouth
7th November
» Gaz Brookfield @ Joiners » The Sea Slugs @ The Art House » Troyk-Estra @ Turner Sims
8th November
» Guardians of the Galaxy @ Union Films (until 9th) » Comedy Soc present: The Big One @ The Annex » Amsterdam @ Joiners » Band of Skulls @ O2 Guildhall Southampton
9th November
» Cardinal Burns @ The Nuffield » Hercules @ Union Films » Hero Fisher @ Joiners » Rise Against @ O2 Guildhall Southampton
37 | Editorial
10th November
» Royal Blood @ Pyramids, Portsmouth » Robert Plant and the Sensational Space Shifters @ O2 Academy Bournemouth » Foo Fighters – Sonic Highways
11th November
» The Expendables 3 @ Union Films » Example @ Portsmouth Guildhall » Oh, What a Lovely War! @ Theatre Royal, Winchester (until 15th)
12th November
» Jimmy’s Hall @ Union Films » Bigelf @ Talking Heads » A Day to Remember @ Portsmouth Guildhall » Passenger @ O2 Academy Bournemouth
13th November
» Borat @ Union Films » Anchorman @ Union Films » Erasure @ O2 Guildhall Southampton
14th November
» Solemn Sun @ Joiners » Courteneers @ O2 Guildhall Southampton » Gorgon City @ O2 Academy Bournemouth
15th November
» Sin City @ Union Films » Sin City: A Dame to Kill For @ Union Films (until 16th) » Joyce Manor + Cheap Girls + Great Cynics @ Joiners
16th November
» They Came Together @ Union Films » An Evening with Noel Fielding @ The Mayflower » EofE @ Joiners
17th November
» Cardinal Burns @ Theatre Royal, Winchester
18th November
» Nicki Minaj – The Pinkprint
» Circa Waves @ Joiners » One Direction - Four
» Gone Girl @ Union Films » Jeeves and Wooster in ‘Perfect Nonsense’ @ The Mayflower (until 22nd) » Savage Messiah @ Joiners » Antigone @ Theatre Royal, Winchester (until 22nd)
19th November
» A Farewell to Arms @ Union Films » Theatre Group present: The Knight Who Smells of Sunflowers @ The Annex (until 22nd) » Jake Morley @ Joiners » The Kooks @ O2 Academy Bournemouth
20th November
» Casino Royale @ Union Films » Dolomite Minor @ Joiners » Laughter Lounge @ The Bridge
21st November
» The Rifles @ Pyramids, Portsmouth » Three Monkeys @ The Art House » Dragon Age: Inquisition (XBOX One, PS4)
22nd November
» Toy Story Trilogy @ Union Films » Jazzmanix present: Winter Concert 2014 @ Turner Sims (until 23rd) » Mastodon @ O2 Guildhall Southampton
23rd November
» Let’s Be Cops and Dracula Untold @ Union Films » Alan Davies: Little Victories @ The Mayflower
The Edge | editor@theedgesusu.co.uk
24th November 25th November
» Begin Again @ Union Films » Jim Noir @ Joiners » Mallory Knox @ Pyramids, Portsmouth » Kasabian @ BIC Windsor Hall
26th November
» The Selfish Giant @ Union Films » Carmen @ The Mayflower (until 27th) » New Found Glory @ Pyramids, Portsmouth
27th November
» The Snow Queen @ The Nuffield (until 5th Jan) » Vinnie Caruana @ Joiners » James Blunt @ BIC Windsor Hall
28th November
» The Ordinary Boys @ Joiners » David Gray @ O2 Guildhall Southampton » An Evening with Noel Fielding @ BIC Windsor Hall
29th November
» Avatar @ Union Films » SuPhil present: Sea Symphonies @ O2 Guildhall Southampton » Western Sand @ Joiners
30th November
» If I Stay and The Riot Club @ Union Films » SUSO present: Winter Concert @ Turner Sims » Lily Allen @ Portsmouth Guildhall
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1. *£10 OFF when you spend £25 or more at regular menu price online at www.dominos.co.uk. Excludes 14 and 21 chicken pieces, drinks and ice cream as part of the £25 spend. 2. *Includes create your own up to 4 toppings. Premium crusts, bases and additional toppings will be charged as extra. Offers cannot be used with any other offer or promotion. Participating stores only. Subject to availability. Collection or delivery – delivery areas and minimum delivery spends may apply. Offers must be used at the time of ordering to apply and cannot be used retrospectively. Offers can be amended or withdrawn at any time without notice. Conditions apply see Competitions and Offers at Boring Legal Stuff at dominos.co.uk for full details. Offers expire 27/06/2015.