The Edge - Alternative Special Issue/Issue 4 (January 2019) by The Edge

EDITORIAL Issue Four January 2019 Free

INTERVIEW: FONTAINES D.C.

: INTERVIEW ER SUNFLOW BEAN

THE LIST 2019

ALTERNATIVE ISSUE It’s not a phase Mum, it’s who I am. 1

EDITORIAL

Alternative Issue

Editor’s Note

It’s January, it’s cold and gloomy and you’ve probably only just emerged from the exam season not as unscathed as you would have hoped… But it’s Refreshers now, meaning it’s time to celebrate the new year Edge-style, by refreshing your playlists/watchlists with some very alternative new picks! Firstly, I need to clarify something. When I said the previous issue was ‘all about the hidden and the alternative’, I had no idea that well, the ‘alternative’ side of The Edge wasn’t just a phase, it’s who we are. Hence, for this academic year’s special issue, we have allowed ourselves to plunge into our most niche interests to escape the increasingly repetitive dimension of the mainstream - this, everyone, is The Edge’s brainchild of procrastination and, erm, edginess. But what is ‘the alternative’? We get serious and analyse the meanings and issues of the alternative and the mainstream on pages 11 and 13. Page 12 introduces The Greek Weird Wave, while our Alternative Bingewatching Guide offers a couple of off-the-beaten-track TV shows to dig into on page 25. As a bonus, there are Hidden Gems basically everywhere else. What is more, we have not one, but TWO interviews this issue: cover stars Sunflower Bean and rockers Fontaines D.C chat to us about their hometowns, meaningful songs, and the alternative (coincidentally, of course) on pages 30 and 32. And because diving into alternative also means discovering new entertainment, we have expanded the yearly List from Records to all sections - The List of 2019 (p. 14) has ten brand new artists who we think are going to make it big this year, films and TV shows that aren’t Game of Thrones or Avengers: Endgame but still worthy of your attention, as well as some local bands that should be on your radar. All this has made us very excited for 2019. There are two more marvellous print issues to come, a collaboration with our sister publication Wessex Scene, our own awards season, and, most importantly, plenty of entertainment goodness, both mainstream and alternative, to write about. So why not get involved?

Thea Hartman Editor 1

The Team EDITOR

Thea Hartman

editor@theedgesusu.co.uk

DEPUTY EDITOR Sophie Jones

deputy-editor@theedgesusu.co.uk

News Editor Ellie Brain

news@theedgesusu.co.uk

Records EDITOR Sam Law

records@theedgesusu.co.uk

Film EDITOR

Alice O’Hare

film@theedgesusu.co.uk

Culture EDITOR Ellis Murrell

culture@theedgesusu.co.uk

Live EDITOR

Natasha Williamson

live@theedgesusu.co.uk

Public Relations officer Nicole Kalinowska

liverecords-pr@theedgesusu.co.uk

Public Relations officer Pascal Ezeabasili

culturefilm-pr@theedgesusu.co.uk

Publicity officer

Amber-Louise Large

publicity@theedgesusu.co.uk

Head of design

Charlotte Morris

design@theedgesusu.co.uk

events officer Ben Dolbear

events@theedgesusu.co.uk

Online Manager Jack Nash

manager@theedgesusu.co.uk

VP Creative Industries Evie Reilly

vpdci@unionsouthampton.org With help from Tom Brewster (Records Executive) and Abi Cutler (Literature Executive)

EDITORIAL

Contents

31 Editorial

01 Welcome to The Alternative Issue 02 Contents

News

03 Newsbox 05 Alternative Nostalgic News

Records 07 Artist in Focus: Wild Nothing 08 Hidden Gem: Errors - Have Some Faith in Magic 09 If You Enjoyed: Green Day - American Idiot 11 Does the Official Chart represent mainstream music?

Film 12 Introducing: The Greek Weird Wave 13 In Criticism of the Hollywood Blockbuster 23 Hidden Gems: Les Intouchables, Captain Fantastic 24 Alternative Picks for Film Awards Season

The List 2019 15 17 19 21

The Music List Films To Watch Out For in 2019 Alternative TV Picks for 2019 Local Live Acts To Keep An Eye On in 2019

: The

Introducing 2 1 Greek Weird Wave

14 The List of 2019

Alternative TV Bingewatching Guide

Culture

25 Alternative TV Bingewatching Guide: Hannibal 26 Alternative TV Bingewatching Guide: Big Mouth 27 Time Travel TV: Arthur 28 Hidden Gem: Undertale

Live

29 Live Act in Focus: The Aces 30 Interview with Conor Curley of Fontaines D.C. 31 Review: Sunflower Bean @ The Wedgewood Rooms, Portsmouth 32 Interview with Nick Kivlen of Sunflower Bean 33 Listings

NEWS

THE NEWS

BOX

News in Brief

The 2019 Grammy nominations have been announced, with nominee favourites including Kendrick Lamar, Drake and Cardi B. RuPaul’s Drag Race is set to premiere in the UK after its success in the US.

The Shadow Factory is showing at Nuffield Southampton Theatres from 30th January - 2nd March. The Lego Movie 2 is set to be released 8th February 2019. Winners at the Golden Globes included Bohemian Rhapsody and Green Book, meaning that Rami Malek is a strong favourite for Best Actor at the Oscars next month.

3 4 5

Golden Globes: Who Were The Champions? After the Golden Globes, award season has taken a surprising turn. With the likes of Bohemian Rhapsody and Green Book taking centre stage, A Star is Born was left waiting in the wings, with just one award given for its original song, ‘Shallow’. Bohemian Rhapsody walked away with Best Film (drama) despite its mixed reviews from critics. Perhaps its success at the Box Office points to a season that also listens to the popularity of a motion picture? British storylines and stars were well favoured this year – Richard Madden and Olivia Colman were amongst the winners, as well as Phoebe Waller-Bridge’s Killing Eve award for Sandra Oh. Looking forward to the Oscars, Rami Malek and Olivia Colman seem to be two of the front-runners for Best Actor and Actress respectively, but after the Golden Globes took a rather unexpected turn, it could be anyone’s game. Will the rest of the season surprise us?

THE EDGE’S ENTERTAINMENT PICKS EDITOR - BROODS - DON’T FEED THE POP MONSTER, NEON GOLD RECORDS, 01/02/19 “The indie pop sibling duo from New Zealand are back with their third record, and if the first two are anything to go by, we can expect an eclectic mix of dreamy and catchy tunes perfect to soundtrack the dull winter days.” RECORDS EDITOR – BUSTED - HALF WAY THERE, JUNO RECORDS, 08/02/2019 “Ok, this may be the alternative issue and recommending Busted here may not quite be in keeping with the theme, but Busted look set to try and win over our hearts again with an exciting mix of their classic early- ‘00s style with the pop-rock trends of recent years. I’m ready to go all the way back to 2003 for this one.” FILM EDITOR - IF BEALE STREET COULD TALK, DIR. BY BARRY JENKINS, 08/02/19 “After the immense success of Moonlight, Barry Jenkins has become one of the hottest names in filmmaking. If the trailer for If Beale Street Could Talk is anything to go by, his latest film could be even better than its predecessor – watch out for this one when the Oscars roll around.” CULTURE EDITOR - KINGDOM HEARTS III, SQUARE ENIX CO, 29/01/19 “Fourteen years in the making, KH fans will finally get the new numbered entry they’ve been clamouring for, featuring brand new characters and gorgeous animated locales.”

LIVE EDITOR – HER’S @ HEARTBREAKERS, 30/01/19 “Liverpudlian based duo Her’s are coming to Heartbreakers with their dream-pop. Perfect for anyone who loves that weird and wonderful variety of music à la Mac DeMarco.” Image courtesy of 20th Century Fox

NEWS

ALTERNATIVE

NOSTALGIC NEWS 5 YEARS AGO

Whiplash was premiered Alice O’Hare

e’s breakout film, Director Damien Chazell Sundance Film Festival 5 Whiplash, was premiered at the 4. 201 ary years ago on the 16th Janu Simmons, the film explored Starring Miles Teller and J.K. mising young drummer pro the relationship between a ling with the themes of and his cut-throat mentor, dea that would be central to sacrifice, dedication and jazz was widely recognised for Chazelle’s later work. Simmons Actor at the following ting por Sup his role, winning Best film also won Academy year’s Oscars ceremony. The Sound Mixing. Awards for Film Editing and zelle’s move towards the Whiplash paved the way for Cha La La Land and First Man mainstream with works like rded as one of the best rega and has since gone on to be how far an independent films of the decade, showing just rt space of time. Whilst filmmaker can come in a sho at the time, there is no he may have been alternative of the hottest names in one now doubt that Chazelle is Hollywood.

5 YEARS AGO

Boyhood was premiered

Eleanor Robinson

First premiered at Sundance Film Festival on the 19th January 5 years ago, Boyhood was directed and writte n by Richard Linklater, with a relatively unknown cast besides stars Ethan Hawke and Patricia Arquette. The film was nominated for six Academy Awards, with Arquette winning for Best Supporting Actress. The uniqueness of Boyhood comes from multi ple places, most notably is the fact that the film was a 12-year production, the first of its kind, following the coming of age of lead character Mason, year by year as he grows up. First time actor Ellar Coltrane plays the boy throughout the film; his own adolescenc e seen on screen and influencing the character in the film. The cast all remained the same for the 12 years of the films making. This was a huge feat in the film industry, and allowed the audience to literally witne ss the characters grow and change, and is what make s Boyhood so distinct from other coming of age films.

10 YEARS AGO

Bon Iver’s Blood Bank was released Sophie Jones

Blood Bank, Bon Iver’s 4-track EP, was released 10 years ago, on 20th January 2009. With a total run-time of just under 17 minutes, the EP includes the eponymous single, as well as ‘Beach Baby’, ‘Babys’, and ‘Woods’, the latter later sampled by Kanye West, and featured on Skins’ third series. It came two years after the band’s debut album, For Emma, Forever Ago, was first released on Justin Vernon’s MySpace. Emma was later distributed as a limited 500 CD run, but in 2017 it was certified platinum for 1,000,000 units sold - a success not touched by the following EP. No matter, as Blood Bank seems more like a series of experiments than an album. It sees Vernon begin to layer his voice with the vocoder now so associated with Bon Iver, and acts as a further stepping stone towards Bon Iver’s discovery of their own blossoming identity. Images courtesy of Sony Pictures and Universal Pictures

NEWS 10 YEARS AGO

An Education was premiered Ellie Brain

rs ago on January An Education premiered 10 yea tival. The film did 18th 2009 at Sundance Film Fes uding receiving incl on, well during awards seas Best Adapted , ure Pict t Bes nominations for for Carey Mulligan. Screenplay, and Best Actress n at the time, was Mulligan, a relative unknow breakthrough role, her was s praised by critics. Thi Oscar, she won a and whilst she didn’t win the llor. Me BAFTA for her role as Jenny the life of 16-yearThe coming-of-age film follows an older man with old Jenny and her relationship irations of asp h hig her g that leads to her rejectin far from ult” “ad an as live to ity Oxford Univers makes at Wh family. the world of her friends and based is it ity; real to this film impacting is its link It ber. Bar n Lyn by oir mem g on the best-sellin you edic the com perfectly balances serious with , just as Jenny is film the out ugh thro led mis are . on’ throughout her ‘educati

20 YEARS AGO

…Baby One More Time was released

Ottilie Young

It has been 20 years since Britney Spea rs was launched into stardom with her first studio album on 12th January 1999. The albu m was hotly anticipated after the release of her debut single of the same name in 1998, and it did not disappoint. The album debuted at num ber one on the Billboard Top 200 and spen t six nonconsecutive weeks there. Spears undeniably made waves in the music industry. As a star she has had several stints in rehab, shaved her head, and who can forget her performance with a live snake at the VMAs in 2001! Nevertheless, after the release of …Ba by One More Time, Spears was credited with reviving the teen pop sector of the industry. She has become an international pop culture icon, and despite her controversies during her time in the limelight, she has provided nine stell ar studio albums. This 1999 classic is still Britn ey’s most successful album to date.

20 YEARS AGO

The Blair Witch Project was premiered Charlotte Rawlings

The Blair Witch Project (Daniel Myrick and Eduardo Sánchez) premiered at Sundance Film Festival 20 years ago on 25th January 1999.The unsettling horror was produced by Haxan Films and follows the story of the disappearance of three students. Their decision to enter the woods in order to compose part of their documentary about local legend, the Blair Witch, leads them to insanity. The specialism of The Blair Witch Project lies in its minimalist yet unnerving filming style which was certainly unique for its time. The revolutionary approach to use shaky handheld camera alongside the film’s creative viral marketing strategy, led many spectators to believe the content of the film was reality. With a small budget of $60,000, this cult classic generated a worldwide gross of nearly $2.5 million. It has had a significant influence on the genre and is arguably a trendsetter for low budget found-footage horror films. Images courtesy of Sony Pictures, Cheiron Studios and Artisan Enternainment

RECORDS

ARTIST IN FOCUS

JENNIFER BANFUL

WILD NOTHING Jack Tatum, aka Wild Nothing, enters into a new dimension sonically with his latest project Indigo. These hypnotic, silver-toned vocals and dreamy synths create a nostalgic listening experience reminiscent of ‘80s pop. Tatum debuted in 2010 with Gemini, an album recorded in his bedroom whilst he was still attending Virginia Tech University. What was then an intimate recording session intended for Tatum’s ears only, eventually blossomed into the unimaginable – a music career, critical acclaim from Billboard, Pitchfork and iTunes, touring, an international fanbase. As Tatum’s endeavours into the world of synthpop grew, he continued to experiment with his sound whilst still maintaining its retro feel with chiming riffs, celestial drum machines, echoey vocals and atmospheric synths. The indistinguishable sound of Gemini is nestled somewhere between Chillwave and Beachy Indie. With its day-dream-like murmurings of sweet-nothings and candy-coated pessimism, it was an album that seemingly drifted in and out of the unconscious longings of a love-struck youth. Gemini’s tone of star-gazed bewilderment was not carried over into Nocturn as such, instead, it had a more summery, upbeat, vibe to it, with lyrics that toy with the notion of concealed desire. Tatum sings on ‘Shadow’ with a hopeful longing “I’d go with you if you asked me to”. He later recoils “But we wouldn’t get too far / Two strangers in the dark,” reminding us of that all too familiar resignation to a fantasy. This lyrical detachment continues throughout the album. But Life of Pause is perhaps the most experimental of all Tatum’s projects, as it bears resemblance to Fleetwood Mac, Talking Heads, and Bombay Bicycle Club. Tatum achieved a far more soulful, galactic-

disco sound with Life of Pause. His departure into the unfamiliar would ultimately have him return to his Gemini glory days with Indigo, however, since Life of Pause has often received criticism for its lyrical flatness and predictability which makes its emotional intent unclear, even despite its impressive psychedelic-funk sound. The concept of vacancy is something that Tatum intentionally plays with throughout Life of Pause – a sentiment that certainly peaks through with ‘TV Queen’, a track that entertains the notion of a simulated romance and an artificial closeness. When Tatum sings “When you walk out of that box / Out of that screen you’re real to me,” it prefigures as a sensational, albeit, an empty satire of the “Commercial Gaze”. Indigo’s well polished, hi-fi sound is best described as a reawakening. Released in the late summer of 2018, this album looks back but does so with a freshness that allows it to avoid being mistaken as a carboncopy of Gemini. Like with the majority of Tatum’s projects, Indigo has an ‘80s pop-inspired feel to it, whilst it also makes some striking references to the modern digital-age – the title of the album itself refers to the glow of a phone screen. Undoubtedly, it is this interplay between technology and the emotions which makes for a rather unique listening experience. Indigo is a true testament to Tatum’s artistry - with it, he has really been able to reach a definitive sound. Needless to say, this album is mellow, contagious, full of texture and well worth a listen. Indigo is available now via Captured Tracks. Wild Nothing are currently on tour and have added six UK dates for February 2019. Image courtesy of Cara Robbins

RECORDS

Hidden Gem: Tom Brewster ERRORS - Have Some Faith In Magic Emblazoned across the cover of Errors’ Have Some Faith In Magic are several hallucinated figures, obscured by a VHS-grain fuzz that slurs their surroundings into a strange tangle of architecture. Expressions are unrecognisable and surfaces unintelligible, creating the perfectly mesmeric cover for a band whose concerns about identity fall far behind the scope of their sound. It’s a strange blend of artifice and reality that reflects their sound perfectly – emotive electronic music that’s as artificial as it is heartfelt. Errors’ career started with the glitchy, analogue It’s Not Something But It is Like Whatever in 2008, followed by the floatier, more spaced-out Come Down With Me in 2010. Whilst enjoyable enough on their own, these albums felt a little restricted by their hardware – staccato and rigid instrumentation holding back the far more expansive vision under the surface. Songs like ‘A Rumour in Africa’ from the latter were enjoyable enough on their own, but perhaps missing the spark of ambition and scope that would come to fruition on 2012’s Have Some Faith In Magic. I was fourteen years old when I first heard the shimmering intro to ‘Tusk’, the album’s opener – and some ethereal quality of its being pulled me into the world of Have Some Faith In Magic, completely enchanted and enraptured by the landscape painted before me. A flutter of synthesisers set the tone for something bright and sparkling, before a crunching, distorted riff sears through the track like a god ray. The song swells into a titanic, life-affirming ballad before receding backwards, folding in on itself and morphing effortlessly between states. Errors’ songwriting is at its peak on tracks like these – with wonderful dynamic shifts and tonal changes mid-track that give every song its own multi-faceted character. ‘Magna Encarta’ swiftly follows, with trembling leads and mesmeric walls of noise to boot. Here are the first signs of something truly unique about Errors – their lyrics, or rather, lack of. The vocals on ‘Magna Encarta’ and indeed many other Errors tracks

are doubled, tripled, quadrupled – reverberating endlessly and slurred into expressionistic swathes of non-speech. The group don’t sing in the straightforward sense – the words totally unintelligible and more serving as another texture within their sonic palate, camouflaged against the whorl of instrumentation behind it in similar fashion to the blurred figures that adorn the cover. Perhaps the album’s highlight and crowning jewel of Errors’ career is the glittering, expansive and triumphant ‘Pleasure Palaces’. The song sounds the control room of some titanic starship – where tangles of the biological and synthetic clash and meld together into pillars of twitching, wavering electronics. The song builds up and up on itself, entering blissful, stratospheric heights before slinking into a hazy dance-groove and eventually juddering to its crumbling finish. It’s the album’s highest point, the techno-angelic choral vocals soothing, yet ominous – perhaps a coded warning; a distrust of the digital spaces people call home, or a prayer to a new age of technocracy. After Have Some Faith in Magic, Errors took a few steps back from the harsher textures present on the album (especially towards the close, on tracks like ‘Holus-Bolus’ and ‘Barton Spring’), recording New Relics and Lease of Life with an even sharper focus on the blurred lines between artifice and reality. Songs like ‘Pegasus’ and ‘Genuflection’ respectively show this evolution in sound, improvements on what made their own brand of swirling post-disco so listenable in the first place, perhaps even making them better albums as a result; but nothing replaces the decadent, experimental and criminally underrated work of art that is Have Some Faith In Magic – an album that deserves far more recognition than it has garnered since its release in 2012 – a testament to vision and creative control in equal parts. Have Some Faith In Magic is available now via Rock Action Records. Image courtesy of Mihaela Bodlovic

RECORDS

If you enjoyed:

Vicky Greer Since its release in 2004, Green Day’s American Idiot has struck a chord all over the world. Through a track listing of nine-minute epics and classic riffs, the album tells a story that hits home with so many fans, and it rightfully secured the band’s status as rock icons. Described by a number of fans as a ‘gateway band’ into the world of punk rock, many people have Green Day to thank for being a mainstream introduction to the scene. If you can’t get enough of American Idiot, here are some suggestions to add to your Spotify library to discover some lesser-known, but equally powerful alternative records.

Against Me! - Transgender Dysphoria Blues This album may be a short one, with a total length of just 28 minutes, but it is completely unforgettable. Easily one of the most bluntly emotional albums released in the last few years, this album documents lead singer Laura Jane Grace’s experiences coming out as a transgender woman in 2012. Like American Idiot, this album ranges from the heavier tracks like ‘Paralytic States’ to the gentler acoustic sounds of ‘Two Coffins’ – and Grace’s vocals proves her undeniable talent in both extremes. It’s unsurprising that Against Me! were chosen to open for Green Day for many of their shows on the Revolution Radio tour. Against Me! have become an instant favourite among Green Day fans, and Transgender Dysphoria Blues is an album which will stay on your mind for a very long time.

Bad Religion - Recipe For Hate This record is for anyone who is a fan of American Idiot’s more politically-charged title track and the explicitly critical ‘Holiday’. Bad Religion are famous in the political punk genre for their criticism of modern society. 1993’s Recipe For Hate is a fan favourite and has been named as an inspirational record for many new punk bands today. Particular highlights of the album are ‘American Jesus’ and ‘Portrait of Authority’, representing the typical anti-establishment lyrics and punk riffs of the genre. So, if you’re feeling frustrated by the news and generally disillusioned by society, Recipe For Hate is a perfect listen.

Rancid - ...And Out Come the Wolves Coming from the same ‘90s California punk scene, there are many connections to be drawn between Rancid and Green Day, with Billie Joe Armstrong almost becoming Rancid’s second guitarist in 1992. Although he obviously declined, the two bands still work together, with Rancid as support on Green Day’s last UK tour and frontman Tim Armstrong directing the music video for Green Day’s ‘Bang Bang’. …And Out Come the Wolves takes inspiration from punk and ska sounds that drew a lot of new interest to the scene upon its release, and it is still deemed a classic among punk fans. Notable tracks are ‘Ruby Soho’, ‘Roots Radical’ and ‘Time Bomb’, but the album as a whole is a great insight into the ‘90s punk scene that created so many iconic bands, and an absolute essential for anyone beginning to explore the genre. Image courtesy of Warner Bros

RECORDS

Does The Official Chart Represent Mainstream Music? Pascal Ezeabasili The Official Charts Company claims to be a trusted weekly barometer of mainstream music right now. It compiles various record charts in the UK through market researchers Kantar Millward Brown. The OCC also claims to cover 99% of the singles market and 95% of the album market. Streaming presents the biggest issue with the charts. The different “official” charts were initially meant to represent the top-selling singles and albums for the preceding week based on physical sales and paid-for downloads. This was made to include audio streams in 2014 and YouTube official videos in July 2018. This seemed a necessary move in a time where streaming was growing as a source of music consumption. However, the lack of retroactive action when imposing new rules on chart music renders the charts useless as a historical record of mainstream music. An example being the global phenomenon of 2012 that was ‘Gangnam Style’. The song and music video went viral upon release and went on to become the first YouTube video to reach one billion views and the most viewed video on YouTube. The commercial success of the K-pop hit was not

represented in the charts as it preceded the inclusion of YouTube views in chart data, yet similar international songs such as ‘Despacito’ received chart recognition simply due to the time at which they went viral, cementing their place in chart history. The financial aspect of charts also diminishes its credibility as a marker of mainstream music. Whilst each sale of CDs and audio downloads is counted individually, the OCC has a complex and constantly changing structure where 100 or 200 paid subscription streams count as one sale and 600 or 1200 ad-supported streams count as one sale (as of 2018). The conclusion being the cost per stream for the consumer increases the value of the stream. This not only defeats the purpose of Chart music being a measure for popularity as it places chart power onto the biggest spending audience as opposed to the biggest audience, it is also contradictory to its bias system as Vinyl records sales are not counted as multiple sales as they generally cost twice that of a CD or download. Streaming has also put to question what it means for an artist to be in-demand. The popularity of playlists on streaming platforms such as Spotify, Apple Music and Tidal has given uneven influence to the curators of these playlists. In March 2018, Spotify CEO Daniel Ek noted that over 30% of consumption on Spotify was a direct result of recommendations made by the platform’s own algorithms and curation teams. And with streaming becoming the main source of music consumption, accounting for 38% of global recorded music revenue, it becomes evident that the charts do not represent the general listening habits of people and are largely skewed by playlists. This also risks monopolising the charts as record labels develop close ties with streaming services leading to flagship artists being most represented on playlists and therefore on charts. Chart music can also be criticised for sounding too alike or moving too slowly, however the former is a matter of preference and follows typical patterns of music moving in trends. The slow movement in charts might also serve as a good exception for an otherwise bipolar industry and climate. This does not save the charts as a reputable source of historical music record or current signpost for mainstream music – which prompts the question, what is “alternative” and what is “mainstream” music after all?

FILM

Introducing:

The Greek Weird Wave

In Yorgos Lanthimos’ Dogtooth, three isolated siblings surround a tape recorder which teaches them new words, their meanings jarred and shifted from our own definitions of them. “Sea” is given the definition of a leather chair with wooden arms and “Highway” is described as a very strong wind. These are the opening images of the awkwardly but aptly titled ‘Greek Weird Wave’ which made very strong winds of its own; a movement forged in the fires of an equally absurd financial crisis which brought the nation to its knees and lifted its cinema on its shoulders. Marked by the release of Lanthimos’ abrasive family oddity, the Greek Weird Wave’s opening act is perhaps most appropriately compared to sitting on the sea, its relaxed uneasiness forming the basis of the movement to follow. Such unease echoed through a country facing unprecedented austerity measures, the exposure of a corrupted government and a consequential disconnect between the nation and its people. Where words failed in making sense of it all, an absurd cinema with its own notion of sense offered definition to a breaking nation.

This definition was one characterised by detachment and surrealism. The films of the Greek Weird Wave are rife with an aesthetic of abstraction. Characters behave in a manner which is unfamiliar almost to the point of complete emotional alienation and scenarios are often either implausible or impossible but presented as grounded. As a result, the wave is knowingly chaotic and confusing, as chaotic and confusing as it might be to experience a Greece in crisis. The Greek crisis would become a full humanitarian disaster in 2010. As healthcare, education and quality of life took a hit, Greece’s Weird Wave reacted. Lanthimos’ stunning 2011 Dogtooth follow up Alps addressed increases in mortality resulting from the

turmoil in a suitably ‘weird’ way. A collective of performers imitate the recently deceased to assist grieving relatives in exchange for a fee; an allegory of national loss of morality and government greed. A year prior Athina Rachel Tsangari released Attenberg, a film which opens to the uncomfortable external touching of tongues of its two stiff leads and follows Marina, a David Attenborough-obsessed young woman who deals with the death of her father and her inability to become attached to other people. The wave produced film worlds as absent of compassion and humanity as the nation which surrounded them, surreal cinema for a surreal turn of events. By 2015, the wave reached the peak of its surreality with Lanthimos’ English language debut The Lobster. Offering, what is for many, a way into the Greek Weird Wave, The Lobster revolves around a hotel for singles where finding love is of imminent priority. If you are to fail in your search for companionship, you are transformed into an animal of your choosing. Rooted in the importance of co-dependence in Greek society following the crisis, The Lobster is both comically rich and impossibly bleak to the point that black comedy doesn’t appear to be a dark enough colour. It is hard to define exactly if or where the wave ends, but its legacy undeniably continues. Last year’s The Killing of a Sacred Deer boasts all of the movement’s defining characteristics with Lanthimos at the helm, Tsangari’s 2015 film Chevalier boasts a conceit dense in its allegorical material, and the reportedly wonderful and bizarre The Favourite has just received its UK release after great festival success and Golden Globe nominations to its name. Greece’s wave of weirdness is one of the most dynamic, diverse and subversive in contemporary cinema. So, as the highway blows strong, don’t remain standing, sit in the sea and experience the Greek Weird Wave.

Liam Beazley Image courtesy of Feelgood Entertainment

FILM

IN CRITICISM OF

THE HOLLYWOOD BLOCKBUSTER A Blockbuster movie is one that is defined by its extravagance. These movies usually have a huge budget that surpasses £100 million, a large crew, many notable actors, an expansive marketing campaign aimed at a wide audience and, rather crucially for executives, will be a financial success. Just this year this has included the likes of: Avengers: Infinity War, Solo, Deadpool 2, Jurassic World: Fallen Kingdom, Ready Player One and many more. The history of the blockbuster can be traced back to the likes of Steven Spielberg with the film Jaws and George Lucas with Star Wars, two franchises with varying success in the following years. These films kick-started a trend in Hollywood cinema that saw production companies begin to spend more money on individual films and focus their marketing to promote these films around the summer of each year. The success of these large productions often prompts the production of further sequels and/or spin-offs. But it is this very practice that has become far too commonplace in modern cinema. A great example of this in action is the recent trend in superhero blockbusters, with the rise of the Marvel Cinematic Universe (MCU) and DC Expanded Universe (DCEU). Whilst one of these is evidently more successful than the other, there has been a huge overstauration in superhero films in the past few years, with the MCU itself putting out three films a year in the hopes of keeping viewer attention on their cinematic universe. Production companies are clearly following a trend, churning out large profits. But how long can this last? Will superhero movies continue to prosper in the years to come? Or will they go the way of the western and die out almost completely due to oversaturation? Another huge issue with the mentality of the Hollywood Blockbuster is the sequel and the prequel.

Nowadays, companies like Disney are so confident that certain properties will do well that they greenlight sequels before the prior film in the franchise has even been released, only to backtrack on this should said film underperform. A great example of this is 2015’s Fantastic Four reboot. This was originally planned to be a franchise for 20th Century Fox, but after a poor reception and lacklustre box office sales, the planned sequels were cancelled, with the rights to the franchise eventually being sold to Disney. A further issue is a lack of creativity. The success of a film brings a large profit. So how do we make more money? Just do the same thing again. But this only seems to lead to laziness on behalf of writers and directors. The best sequels use the original story as a jumping off point to explore new ideas, potentially with new themes and characters. The worst sequels are those that wallow in the success of their original, merely imitating the prior story and changing very little. Unfortunately for viewers, the latter of these two possibilities is far more commonplace, as directors increasingly play it safe to ensure an amicable box office return, and it is only many years and sequels later that returns begin to diminish when audiences grow sick and tired. This problem is taken even further by reboots, which usually end up an obvious attempt to cash-in on a franchise that is experiencing fatigue by promising a “return to roots”. Now I may be a hypocrite, as I do love a good Marvel movie, but I find myself visiting the cinema less than ever before. Instead I try to focus on what I love most about certain movies and invest in these aspects over the names of certain companies or franchises; this could include favourite actors or upcoming indie directors. But for the time being at least, the blockbuster reigns supreme, with its overblown production and many sequels raking in the cash from the masses.

Ollie Webber

THE LIST

The Music List of 2019

That rush of excitement you get when you discover something brand new and amazing? That’s what each of these artists made us feel, and why they are set to soundtrack your 2019.

Shame

Tom Brewster

“Shame, shame, that’s the name”. The band have repeated this mantra at each and every gig they’ve played so far – from support act, to headliner, to mainstage – growing in ferocity and stage presence from one year to the next. Garnering a prestigious AOTY award from Rough Trade, landing interviews with The Guardian and Pitchfork, and even scraping the UK Top 40, Shame are poised for huge success in 2019 providing their follow up expands on last year’s excellent Songs of Praise. Alongside contemporaries like Goat Girl, IDLES, Preoccupations and Protomartyr, the band present music so thoroughly interwoven with its times that it can’t possibly be ignored – tapping into some deep-seated consciousness that some things just aren’t right.

The Japanese House

Thea Hartman

The Japanese House, a.k.a 23-year-old Amber Bain, is one of the most promising indiepop artists out there. With her deep voice, harmonised to an almost hypnotic effect, lyrics that could be taken out of poetry books, and a carefully woven mix of guitars, keys, and electronic synths, Bain has created a unique, soft sound that is set to send you floating into a state of dreamy reflection. If her four shining EPs and fresh singles ‘Lilo’ and ‘Follow My Girl’ are anything to go by, The Japanese House’s debut album Good At Falling (out March 1st) might just be what shoots her to stardom, alongside her Dirty Hit pals The 1975, Wolf Alice, and Pale Waves.

King Princess

Tash Williamson

Mikaela Straus, aka King Princess, hasn’t even had a full album out yet, but she has been making multicoloured waves. Debut single ‘1950’ was embraced by the LGBTQ+ community as a queer anthem in early 2018, with her EP Make My Bed dropping just a few months later. King Princess has burst onto the music scene and got our attention, with music that represents a new generation of non-binaries and non-conformists living in a world where it’s getting easier to celebrate and be wholly themselves. Under the mentorship of Mark Ronson and his record label, 2019 might be the year she takes over the world.

YONAKA

Jack Nash

Some say rock is dead. YONAKA are proving them wrong, showing the world how rock is done right. Fronted by lead singer Theresa Jarvis, their take on rock is fresh. The Brighton quartet are already making a big name for themselves, having supported Bring Me The Horizon on their UK tour in November 2018, and being featured in the line-up for festivals such as All Points East. The industry also sees something in them, as they are signed to Atlantic Records, who also have the likes of Ed Sheeran and Paramore on their books. 2019 is going to be a big year for YONAKA, hopefully with an album and a solo tour to come.

City Girls

Pascal Ezeabasili

Following the culture of braggadocious lyrics and high energy sounds, City Girls have built a foundation upon which to thrive in the upcoming months. Signed to the same label as Migos, Cardi B and Lil Yachty, the duo of Yung Miami and JT have dropped two electrifying records in the last year with no let-up in momentum. City Girls have proven to have the work rate, management and music to make it big in hip hop and in 2019 you can expect their growth to continue. Images courtesy of Pitch Perfect, Primary Talent International, Meredith Jenks, Devil PR and Evan Browning

THE LIST No Rome

Alice O’Hare

No Rome burst onto the scene in 2018 with dreamy breakout track ‘Narcissist’, featuring The 1975. Originally based in Manilla, the Filipino musician has since relocated to London to continue making music with Matty Healy and co., releasing debut EP RIP Indo Hisashi in August last year. It provides a flavour of what No Rome is about, combining soft, absorbing vocals with alluring electronic beats. Standout track ‘Seventeen’ gives off some serious Frank Ocean-esque vibes, whilst the aforementioned ‘Narcissist’ functions as an irresistible singalong electro-pop banger. No Rome can be caught supporting The 1975 alongside Pale Waves early this year, but if he can replicate their recent success, it won’t be long before he starts selling out his own headline shows.

Jed Wareham

Holding Absence

Holding Absence have burst into the alternative scene, obliterating ear drums with anthemic choruses and impeccable vocals from frontman Lucas Woodland. Technically, the band is incredibly talented, and can swoop from slow and emotional to hard-hitting and moshpitworthy in the space of one verse. With tracks like the emotion-filled ‘Penance’ alongside the hugely epic new single ‘Like A Shadow’ in their arsenal, Holding Absence are destined for great things in 2019. Given that an album has been hinted at by band members on social media, it is exciting to see what else Holding Absence could possibly have up their sleeve.

Joji

Bailey Williams

In the last few years, we’ve seen an explosion of the Soundcloud-rapper genre (featuring shoe-string budget production, trap influences and mumbled lyrics) into the mainstream music scene. In the coming year, I would tip another rapidly ascending online star to make waves in the mainstream: Joji. Taking a slower, more emotive approach, Joji has built on the now-passé trap-and-mumble-rap combo of his earlier works and is now carving out a fascinating niche. With a unique ear for melody, and some inspired production that sets him apart from other artists in the genre, it is Joji’s potential to push his style onto a worldwide platform.

Sam Law

Maggie Rogers

Maryland singer-songwriter Maggie Rogers has been on my radar for a good while now, and in 2019 she truly deserves to be in yours. Bursting onto the scene in 2016 when she left Pharrell Williams speechless with a demo of ‘Alaska’, Rogers has taken her time to produce her debut studio album Heard It In A Past Life (released January 18th). Intermingling delicate lyricism with accomplished vocals, precise acoustic instrumentation with eclectic synthesized beats, she’s able to craft a song for every occasion. From the forget-everythingand-party of ‘On + Off ’ to the graceful introspection of ‘Fallingwater’, Rogers proves with her debut why she’s a force to be reckoned with in 2019 and beyond.

Jack Nash

Sam Fender

The name on all the music critics’ lips right now: Sam Fender. The 21-year-old Geordie has a powerful voice, with a vocal range that is sounds similar to Nothing But Thieves’ frontman Conor Mason. The emotion in some of his more slowed down acoustic tracks, such as ‘Leave Fast’ are so raw; compare this to the guitar-heavy track ‘Dead Boys’ - it is a talent to have such a diverse vocal range for an artist that’s so new to the music industry. He has some pretty famous fans, including the likes of the Arctic Monkeys, who have previously sampled his vocals in some remixes of their own work. With a Brits Critics’ Choice award already to his name, he is definitely one to watch in the coming months and beyond. Images courtesy of All On Red, Sharptone Records, Joji, Chalk Press Agency and Neighbourhood PR

THE LIST

Films To Watch Out For in 2019 It’s a dead cert that the likes of Avengers: Endgame and the upcoming final part of the recent Star Wars trilogy are going to be major successes in 2019, but, keeping with our alternative theme this month, there are plenty of other, more understated upcoming releases that should be on your radar this year. Our writers have put together their top four picks for the year ahead:

Queen & Slim

Eleanor Robinson

dir. by Melina Matsoukas

Although we know very little about upcoming drama Queen & Slim, what we do know is very promising. Centered around a couple whose night takes an unexpected turn when the police pull them over, this film could turn out to be a very relevant social criticism of the treatment of ethnic minorities by the police. Further hope for the film comes from Emmy-winning writer and LGBT advocate Lena Waithe, known for her impressive television work including Master of None and the most recent iteration of Dear White People. Her debut film is set to star the sought-after Daniel Kaluuya alongside Jodie TurnerSmith (both of whom have made very successful role choices in the last 5 years) and is to be directed by first time feature length filmmaker Melina Matsoukas. Matsoukas won a Grammy for the direction of Beyonce’s iconic ‘Formation’ video, so if that doesn’t suggest that this film will be a success, nothing will!

Untitled Boyle/Curtis Project Liam Beazley

dir. by Danny Boyle

Set for release in June 2019, an as-of-yet-untitled project prepares to make a bold claim as the most British thing since afternoon tea and half-time pints. That project is Mancunian auteur Danny Boyle’s latest, a film which follows up the brilliant heroin-induced nostalgia nightmare of T2: Trainspotting with a far more sugary brew. Providing the sugar is a writer you would imagine takes about seven; Richard Curtis will bring his UK utopia to Boyle’s oeuvre in their first, somewhat unlikely, collaboration. Even more British still is the supposed plot, Curtis’ screenplay is rumored to follow a musician who seems to be the only person in the world who remembers The Beatles. But, if you aren’t quite ready to cream your scones just yet, the cast is complete with an EastEnders ‘East Ender’, a beautiful British starlet on the rise and a familiar guitar donning red head. Himesh Patel, Lily James and Ed Sheeran may sound like the start of a very dodgy 5-a-side team but, if anyone can, Curtis and Boyle will get them playing. It may prove to be a little bit too milky and, yes, it is all but guaranteed to be too sweet, but take a sip and it might just turn out to be the cuppa you’re looking for. Image courtesy of NBC Universal

THE LIST

Joe Williams

dir by. Jordan Peele

Scant detail is currently known about Jordan Peele’s sophomore directional effort Us, except that it will likely be a social horror in the same vein as his debut Get Out. The critical and commercial explosion of Get Out essentially earned Peele a golden ticket in the entertainment industry. Since its release, he has become attached to numerous projects, including a revival of classic TV anthology The Twilight Zone and a Candyman remake. There’s a possibility that Peele may become pigeonholed as the black horror director, yet, if Get Out is anything to go by, he has the wit and satirical edge – stemming from an extensive background in sketch comedy – to bring a fresh and provocative perspective to anything he touches. To make Us an even more exciting proposal, Peele has recruited Black Panther stars Lupita Nyong’o and Winston Duke to play his central duo. It’s going to be a must-see.

Rocketman

Theo Smith

dir. by Dexter Fletcher

With Bohemian Rhapsody a certified box-office success, it seems to be both coincidental and unsurprising that another biopic about a British music gay icon is on the horizon in 2019: Elton John. Judging from the teaser trailer, it could be what die-hard Freddie Mercury fans wanted from Bryan Singer’s film: a personal insight into the star himself whilst providing a celebration of his extraordinary musical career. With Taron Egerton as the Middlesex-born pop star, there is a credible British actor that seems to capture John’s persona and uncanny looks, alongside director Dexter Fletcher who recently half -directed Bohemian Rhapsody and has a knack of making interesting ‘feel-good’ biopics about British icons. It also has the hit songs: the mashup between ‘Bennie and the Jets’ and ‘Rocketman’ seems certain to send goosebumps down the spine of any fan and the reconstruction of some of John’s live concerts could mean more potential quiet karaoke in the cinema. All of this might have the essence of deja-vu but, unlike Bohemian Rhapsody, all the stars seem to be aligned without masses of controversy haunting behind the scenes. Images courtesy of Universal Pictures and Paramount Pictures

THE LIST

Alternative TV Picks for 2019

It’s not all about Game of Thrones in 2019 (if you can believe it). The televisual landscape has been transformed by the likes of big franchises like the medieval fantasy series, and The Walking Dead, but sometimes one can find big (and unexpectedly great) things in little places. With such an alternative mindset, The Edge’s writers have set about pitching their excitement for the best ‘alternative’ TV shows you need to see in 2019!

His Dark Materials (Season 1)

Sophie Jones

After years of frustration at the forgettable adaptation attempt of 2007’s film The Golden Compass, BBC and HBO are finally hearing my call, and have started filming a TV adaptation of Phillip Pullman’s His Dark Materials, with a cast that I’m sure they stole from my dreams. Dafne Keen of Logan is perfect for the wild, strong-willed Lyra, the series’ precious protagonist, and the rest of the cast, including Hamilton creator Lin-Manuel Miranda, X-Men and Narnia’s James McAvoy and Luther’s Ruth Wilson, are equally exciting. With Jack Thorne of Cursed Child adapting the script, and a directing team including Academy Award-winning Tom Hooper, and Jamie Childs and Euros Lyn of Doctor Who (the latter having also worked on Daredevil, Broadchurch, Sherlock and Torchwood), I am tentatively hopeful that this adaptation might be deserving of its beloved source material. While we don’t have an airdate yet, we know from their Twitter that both Miranda and McAvoy have completed their time on the set, and the media consensus concludes a probable 2019 release date.

Big Little Lies (Season 2) Theo Smith

It was one of 2017’s outstanding sleeper hits: David E. Kelley’s televisual adaptation of Liane Moriarty’s novel Big Little Lies had a star studded cast (Nicole Kidman, Reese Witherspoon, and Shailene Woodley) with career-best performances, gorgeous direction from Jean-Marc Vallee, and a story that was gripping over seven episodes. There is, however, trepidation for Season 2 because it was a limited series before its critical and commercial success meant a second season was on the cards. So how do you entice an audience to return to Monterey, California? At the time of writing, the plot has been carefully placed under wraps but two key new additions should be enough to pull you back. The first is a change of director in Andrea Arnold, an experienced indie filmmaker who recently directed the engrossing coming-of-age drama American Honey, which is an inspiring choice on many regards. Her movies are mainly character driven so it will be interesting to view how she adds to Vallee’s direction from Season 1. The second is a heavyweight new addition to an already prestige cast: Meryl Streep as Perry’s mother Louise. How HBO managed to get her on board is anybody’s guess, but just thinking about how she will add to the dynamic is enticing to behold. Images courtesy of Phillip Pullman and HBO

THE LIST

Santa Clarita Diet (Season 3) Tash Williamson

Santa Clarita Diet is the unsung hero of the televised suburban horror sitcom genre. The cast is superb, featuring Drew Barrymore as realtor mum Sheila suffering from a zombified mid-life crisis; Timothy Olyphant as her former jock and pot-smoking realtor of a husband Joel; Liv Hewson as their ass-kicking daughter Abby; Skyler Gisondo as the hilariously nerdy but loveable neighbour Eric; and Mary Elizabeth Ellis as Eric’s overtly sexual mum Lisa. Oh, and that guy from Firefly (Nathan Fillion) as a decapitated head. Their suburban bubble of bliss is burst when Sheila turns into a zombie. Everyone scrabbles around to cope with her personality changes and dietary requirements that ultimately liberate her from a life that she hadn’t been living to the fullest. She’s happier, she feels sexier, she is more confident; she just has to eat people now. The series has become all the richer for the motley bunch of neighbours and co-workers that populate their lives. With Season 2 ending on a couple of tantalising cliff-hangers, the taste for the Santa Clarita Diet has definitely intensified.

Mr. Robot (Season 4) Joe Williams

Oh Mr. Robot, we hardly knew ye. Coming to an end with a fourth and final season this year, the intense psychological drama brewed a perfect soup of pertinent themes – mental health, hacktivism, late capitalism and corporate power in US politics – to become the cult show of the moment when it first aired in 2015. For three seasons Mr. Robot has offered one of the most thorough explorations of extreme mental disorder on television, making Rami Malek, the spearhead of a terrific ensemble cast, a star well on his way to the A-list. The show has been teetering on the brink of full-on physical transcendence for a while; if ever there were a time to address those intriguing hints towards time travel and parallel universes, it would be now. These peripheral traces of sci-fi come second, though, to the immaculate manner Mr. Robot has balanced narrative, theme and inventive visual style. It’ll be missed.

Swamp Thing (Season 1) Ellis Murrell

Perhaps the most exciting thing about ‘DC Universe’, the newly-created streaming service for DC Comics’ characters (missed opportunity not calling it Batflix, but I digress), is the opportunity it presents to shed light on unknown characters. Swamp Thing, alter ego Alec Holland, a character I can best describe as a man-plant hybrid hulk monster, is one such character. His first season, scheduled to premiere on the service in mid-2019, promises a brand new take on the mythical character, with Andy Bean/Derek Mears set to play the two sides of the character’s personality. The potential for a fun ‘Jekyll and Hyde’-style double act is tantalising, as is the casting of the brilliant Kevin Durand as what is certain to be the season’s Big Bad, Jason Woodrue, AKA Floronic Man (tee-hee). If the series embraces its comic book roots, there’s little doubt in my mind that Swamp Thing has the chance of being 2019’s funnest new show. Images courtesy of Netflix, NBCUniversal and DC Comics

THE LIST

Local Live Acts to Keep an Eye on in 2019 Tash Williamson

The diverse live music scene may just be the best thing going for Southampton. As well as an amazing roster of national and international talent descending on the city, some of our local artists are making ripples of their own. Here is The Edge’s list of local live musicians on the rise. All these bands are gearing up for a mad 2019.

Wild Front Wild Front and The Edge go way back. The quartet had been playing together for years before forming the band in their hometown of Southampton. Earlier this year, they sold out their biggest headline show to date in the expansive chamber of Engine Rooms. Since their EP Physics was released back in 2017, they’ve been busy with a steady smattering of tour dates and new singles, as well as the 2018 festival season, playing the likes of Truck/Y Not and Southampton’s very own Common People. Now they’ve been earmarked by Student Radio Association and DIY as ones to watch in 2019. Their genre-melding indie covers the entire spectrum of music. Rock, pop, funk - they’ve got it all covered. This insatiable band are preparing for a year of tour dates and new music.

Costellos Costellos’ rock ‘n’ roll indie provides the kinds of anthemic songs everyone loves to sing and bop along to at a gig. Labelled as ones to watch by the press, they’ve supported the likes of The Sherlocks and Blossoms on tour. With contagious songs and a relentless work ethos, the beginning of 2019 sees us on the precipice of Costellos’ biggest year yet. New music and tour dates are both teetering on the horizon. The quartet have spent the last few months working on their debut EP, honing it in full at an acoustic session in their hometown in October of 2018. Since their debut single ‘Keep on Lying’ was released in 2017, they’ve been leaning into their Britpop influences all the more. Ever present is that reminiscence on their latest single ‘Out of the Blue’, which premiered on BBC Introducing Solent. Pairing that with their jangly indie roots, it’s set to be a winning combination.

The Manatees Southampton locals The Manatees and their indie-pop have quite a fan base already, with listeners engaging with their youthful songs about young love and adolescence. They released two EPs last year, Avoiding Glances and Young Hearts, and released popular new single ‘Milan’ earlier this year. They’ve gained the attention of BBC Introducing Solent and have already sold out gigs at The Joiners and Heartbreakers here in Southampton. They’ve also been featured on Spotify’s ‘Hot New Bands’ playlist and been played on BBC 6. Singer and guitarist Jay Harris and drummer James Brearly met and played under various pseudonyms at school, and with the addition of Tyler Bloor and James Miller, the four-piece was complete.

Cassava Forming back in 2016, Cassava have been the support choice for visiting bands such as DMA’s, The Big Moon and Spring King, as well as selling out gigs of their own. Their relentless and slick indie anthems have received backing from Fred Perry Subculture and BBC Introducing South and they’ve only released four songs. They’ve spent the last few months in the studio with Gavin Monaghan (The Sherlocks, The Editors and The Twang) working on new material - and I just can’t stop playing their latest single ‘20’.

FILM

HIDDEN GEMS The Intouchables

Based on a true story – as all the tear jerkers appear to be – The Intouchables tells the story of an unlikely friendship forming between Philippe, a quadriplegic Frenchman, and his caregiver, Driss. The two come from completely contrasting walks of life - Philippe who lives a life of wealth and luxury, and Driss who has to support his family and doesn’t take his work seriously. Driss only attends the interview to be a caregiver so he can receive his benefits, but Philippe is fascinated by his manner. As the story develops, so does the two protagonists’ friendship; Driss doesn’t treat Philippe any differently because of his disability, and similarly Philippe introduces Driss to cultural pastimes including viewing modern art, going to the opera and even starting to paint. This combination of factors allows the two protagonists to value their own lives a lot more, and begin to understand each other’s hardships. An element of this film that particularly stands out is the soundtrack. I am a huge fan of Ludovico Einaudi, and his style of classical music fits perfectly in The Intouchables. His music stays faithful to traditional classical music but also encompasses some more modern elements. Perhaps this is representative of the traditional and modern

Captain Fantastic

Captain Fantastic is a 2016 American comedydrama film set in the wilderness of Washington. The film follows a father, played by Viggo Mortensen, and his six children as they re-join society after nearly 10 years of living self-sufficiently in the woods. Their reintegration is prompted by the suicide of their mother, and Mortensen’s wife. Viewers watch as the children experience life outside of the forest as the bonds of family and loyalty are tested. The family break the norms in every way; the children have peculiar names, like Vespyr and Zaja, and their clothing is even more questionable.

Images courtesy of Gaumount and Universal Pictures

Ellie Brain being brought together through the friendship of Philippe and Driss. This style of music is then combined with elements of more traditional classical music that Philippe appreciates, and music that Driss favours such as Earth, Wind and Fire’s ‘Boogie Wonderland’. Although the film features some difficult themes, it tackles them in a comedic and light-hearted manner. The theme of disability features heavily and is useful and interesting when examining how we treat people with disabilities in society. This theme of disability is further explored in the film, observing how Philippe is still able to maintain romantic relationships as well as friendships. The end of the film, which shows pictures and videos of the individuals that the film is based on, really embraced the true focus of The Intouchables – how friendships are able to flourish despite the complexities of class and disability.

Ottilie Young However, the hidden beauty in this film is undeniable. The naivety of the children as they experience society for the first time in a long time is both touching and heart-wrenching to watch. Coming to understand the father’s decision to raise them the way he did iws a journey that we as viewers feel privileged to be part of - watching as the family come together to honour their mother proves exactly what the point of life is. Captain Fantastic has a bizarre opening in which we see the children on a hunting exercise. It is at this point that it may seem too bizarre for some, but it is so worth sticking out. The film presents to us sadness, joy, coming-of-age, family relationships, young love and mental illness. Some might argue it is a hard piece to watch, and there is no denying this as viewers quickly learn that the female lead of the family suffered from bipolar disorder which led her to the decision to end her life. For me, however, the way that this film forces us to experience the harsh realities of life and step out of our comfort zone is what makes it so touching.

FILM

ALTERNATIVE PICKS FOR

FILM AWARDS SEASON Alice O’Hare

Time flies. Somehow it’s already a year since The Shape of Water swept the board as Best Picture, Frances McDormand blew us all away in Three Billboards Outside Ebbing, Missouri and Gary Oldman reigned supreme as Best Actor in Darkest Hour. Speculation is already mounting as to who will follow in their footsteps this year and we can’t escape the hype surrounding the likes of Lady Gaga and A Star is Born. This issue, however, is all about the alternative, and there are plenty of understated performances that are equally (if not more) deserving of acclaim this awards season. Here are a few of The Edge’s top picks:

Best Actor Charlie Plummer in Lean on Pete Andrew Haigh’s indie gem, Lean on Pete, is an utterly encapsulating event from start to finish, but the true standout aspect of the film is the breakout performance from Charlie Plummer. Plummer plays the role of Charley, a neglected teen who forms an unbreakable bond with a dying racehorse after dealing with personal tragedy, and does so with such ease. Despite being surrounded by a much older cast, Plummer commands the screen, channelling grief and teen angst with the unstoppable grit and determination of someone who’s been through more than most fifteen-year olds could ever imagine. His manner is strangely reminiscent of Timothee Chalamet in Call Me By Your Name, and unfortunately this performance looks set to be as equally overlooked by the guilds and academies handing out the silverware. Plummer may not quite break into the awardsphere this year, but his incredible performance in Lean on Pete is sure to put him on the radar of filmmakers well beyond the world of independent cinema.

Best Actress Yalitza Aparicio in Roma

No performance has affected me quite as much this year as Yalitza Aparicio in Roma. Aparicio stars as Cleo, housekeeper to a troublesome middleclass family in 1970s Mexico City. This film is about the strength of women in the face of adversity, and Aparicio is the strongest of them all. After a brief and intimate encounter with a violent protester, Cleo’s pressing problems outweigh the needs of the family and the actress expertly channels the raw emotion of a woman at the very edge, doing everything she can to hold it together, always putting others first. For every tear and bittersweet moment (believe me, this performance provides many) that Cleo faces, Aparicio ensures that she remains a multi-dimensional character, presenting a fiercely caring lady. What is most impressive about this performance is the fact it is her screen debut - not that we can ever tell. Quite frankly, it would be an injustice if she were to be snubbed this awards season. Images courtesy of Daniel Dorsa/WWD and dosD3

CULTURE

Alternative TV Bingewatching Guide: Ellis Murrell If you’re a fan of horror, chances are you’ve heard of Hannibal Lecter. The character, a cannibalistic serial killer created by author Thomas Harris for the novel Red Dragon, was instantly popular, going on to feature in several films, the most famous of which being the Best Picture winner The Silence of the Lambs (1991). The success of the movies was, ultimately, what led Bryan Fuller, of Pushing Daisies fame, to develop a Hannibal TV series for NBC, which took full form in 2013. The show, which explores the psychosexual relationship between FBI Agent Will Graham (Hugh Dancy) and the psychiatrist psychopath Hannibal (Mads Mikkelson), is perhaps the most bizarre, grotesque and artsy show of the 21st century - and one that you should seek out right now. The core of the show’s magic comes from its gorgeous aesthetics. Fuller and his team make murder into a canvas, with beautifully-disturbing crime scenes ranging from a human-horse-bird Russian Doll, to a man with a cello shoved down his throat (complete with playable vocal chords!), to a human totem pole. You would struggle to find more revolting creativity anywhere on television, but the show’s depiction of violence never feels oversaturated. In fact, scenes of actual struggle are so rare that when we do actually see our leads come to blows, in Season 2’s magnificent finale ‘Mizumono’, it’s an absolute highlight, blending tension, gore and emotion in a haunting kaleidoscope of murder. Hannibal isn’t for the faint of heart. The cast are nearly-infallible in their performances. Mikkelson is disturbing and charming, terrifying and seductive. To me, he is the definitive Hannibal Lecter, capturing the character’s twisted connoisseurship as well as his capacity for extreme violence. He is matched perfectly by Hugh Dancy as his rival (and implied object of sexual desire), who struggles with his own demons throughout the series, as his mental state unravels, and his connection with Hannibal’s crimes grow deeper.

Whilst the show is undoubtedly focused on this central pairing, there are plenty of great supporting characters to spice up the broth. Laurence Fishburne plays FBI boss Jack Crawford, who struggles with letting go of his terminally ill wife Bella in a heartbreaking story arc throughout the three seasons. Caroline Dharvernas is brilliant in the role of psychology professor Alana Bloom, a genderswapped Alan Bloom from the novels, although she is better served when she is pitted against Hannibal rather than rounding out the frustrating love triangle of Season 2 with Hannibal and Will. Certain praise should also go out to some of the show’s recurring villains, who comprise the narrative for much of the first two seasons. Michael Pitt is perfect as the vile aristocrat Mason Verger, capable of inflicting some of the most horrifying torture imaginable on his sister Margo. However, the show is at its absolute peak when Hannibal and Will are caught in conflict, desperate to outwit one another in a game of chess that rarely lets up in intensity. By the time you are gifted scenes of Hannibal in the iconic muzzle behind bars, it feels right, and earned. The show rarely plays to fan expectations, but it’s a testament to Fuller’s writing prowess that he can so brilliantly combine experimental storytelling with faithful adaptation. Sadly, just as Hannibal promised to set up a brilliant new character dynamic (and potentially bring in Silence of the Lambs characters) for a fourth season, the axe came down on the show in 2015. Talks of a revival, perhaps on one of the online streaming networks, have been rife ever since, although it seems unlikely to happen anytime soon. Regardless, as the end credits play on Season 3’s ‘Wrath of the Lamb’, the story feels satisfyingly complete, satiating the hunger of the ‘Fannibals’ and casual viewers alike. Arguably, Hannibal was the strangest and bravest show on television since the original Twin Peaks. If it’s not something you’ve tried as of now, you owe it to yourself to have a taste.

Image courtesy of NBC

CULTURE

Charlotte Colombo

Alternative TV Bingewatching Guide: Big Mouth With Big Mouth being yet another Netflix-exclusive adult cartoon you would be forgiven for skipping past it, due to the fact it is in an arguably oversaturated market. Not to mention, it covers puberty in grotesque detail alongside weird manifestations like the (very creatively named) Hormone Monster. But, Big Mouth stands out like a teenager’s first pimple due to its cringe-inducing and all-too-real subject matter. Puberty is a taboo we never talked about at school beyond pictures of chlamydiaridden genitals, and this show aims to break down that taboo and show that, no matter how disgusting some aspects of puberty and the body are, it’s all natural. In a sense, it is empowering. The protagonists are too ‘tweenage’ boys called Nick (Nick Kroll) and Andrew (John Mulaney), who share their names with the two creators of the show: Kroll and Andrew Goldberg. They draw inspiration from their own experiences of puberty, with Nick struggling with his lack of development and Andrew developing a bit too much with a little moustache and a chronic masturbation issue. Guiding Andrew (and sometimes Nick) through this process of change is their Hormone Monster, Maury (Also Kroll). Maury serves as the cynical and brutally honest devil on their shoulders, giving Andrew helpful advice such as ‘Jack off twice and page me in the morning’ in between various cocaine binges. Although the Hormone Monster seems outrageous, he serves as a manifestation of Nick and Andrew’s hormonal desires, which enables us to separate the teens’ questionable behaviour and desires from their personality. Too often, teens are considered as being nothing more than these hormonal zombies as a result of puberty, so manifesting that as an actual monster helps to show that underneath puberty they are still just people. Maury isn’t the only monster playing a role in these prepubescent escapades. Image courtesy of Netflix

The show sometimes moves into point-blank bizarre territory with the ghost of Duke Wellington showing up to teach Nick the ‘birds and the bees’ and, with the help of Freddie Mercury’s ghost, help Andrew through his confusion over his sexuality. But, through coupling the daily issues of puberty with absurdity and pop-culture references, we as the audience are able to see puberty in a new light and actually learn a thing or two, especially with a ‘The Bachelor’-style episode debating the best type of contraception Another character, Jay (Jason Mantzoukas), has a tendency for humping anthropomorphised pillows, which gets a bit too real when that pillow gets pregnant and (shock!) gives birth to a pillow fathered by Jay’s brother. By writing this, I am aware that I sound downright strange, but it manages to parody typical ‘soapy’ storylines like infidelity and keep the audience entertained as a suitable B-plot as well as showing just how insane characters like Jay – who Maury says is ‘his own hormone monster’ – are. But, despite Nick and Andrew being the protagonists, female puberty is given the same excruciatingly detailed treatment with character Jessi (Jessi Klein) and her own Hormone Monstress (Maya Rudolph). From getting her first period whilst on the Statue of Liberty, through awkwardly navigating her first ‘boyfriend’, there are definitely some of us out there who can relate to this. Big Mouth might be disgusting, but it’s proportionate to the way puberty actually is and doesn’t shy away from the truth. We might not impregnate pillows or have dance sequences about body positivity, but the abstract setting of the show doesn’t detract from the fundamental message: puberty is something we have all gone through and can relate to. Big Mouth, as well as being purely entertaining, explores puberty with a new level of honesty and doesn’t shy away from it which, for me, is utterly refreshing.

CULTURE

Time Travel TV: ARTHUR Every now and again, when I’m walking down the street, a familiar song from childhood springs to mind. It was written and sung by Ziggy Marley and the Melody Makers (the children of Bob and Rita Marley) and preached two simple precepts to an infectious reggae beat: get along with each other and believe in yourselves. It was the theme to a Canadian-American children’s show called Arthur about the eponymous aardvark and his fellow anthropomorphs who lived in Elwood City, as they all tried to work together to make the world a better place through small acts of kindness. I watched it religiously over breakfast before going to school. If CBBC were showing Arthur in the morning, it was going to be a good day. I can’t remember what it was about the show which had me so obsessed. It may have simply been the opportunity to inhabit the world of Arthur Reed, so lovingly created over the years by Marc Brown. Every part of the city was a richly detailed and vibrantly coloured piece of eye-candy, beautifully capturing the essence of places which might otherwise seem mundane. Shots would often place you at eye level with the characters, so it was really like you were one of the gang, catching up over milkshakes at the Sugar Bowl, or sat in Mr Ratburn’s class having just been set a surprise quiz, staring wistfully into second grade’s classroom as they sang songs about ice-cream. Perhaps the allure was how relatable I found the main character: just like Arthur, I too was once a specky bookworm in primary education who had an annoying sibling, a strict piano teacher and a difficult relationship with the teething problems involved in getting older. What I remember most deeply about the show today is how the characters resolved their conflicts through a process of learning, taking responsibility and finding a solution or compromise through cooperation. When Binky was blamed for the graffiti ‘Binky Rules’ springing up all around the school, Buster and Fern, with clashing styles of sleuthing, first competed to prove their friend’s innocence and the intellectual dominance of their respective genders. Only when they joined forces,

Austin Lovell

however, could they prove that it was actually a band of the same name (in reality, the Finnish folk group Värttinä) which was vandalising the city as a publicity stunt for their new CD. This theme of overcoming categories which inhibit cooperation by emphasising difference – including gender, age and class – was a central maxim of Arthur episodes, and one which is no less relevant today. When Arthur floored his younger sister D.W. for breaking his toy aeroplane, neither he nor his sister could understand what they did wrong and both refused to apologise to the other. Only after being hit himself by Binky, who was pressured to demonstrate an act of hooliganism to remain a member of the Tough Customers club, was Arthur able to empathise with his younger sister, who herself learnt that she was wrong to throw his plane out of the window thinking it was only a model. Finally able to understand each other, the characters all realised how they were wrong to resort to violence – forcing their will on the other – rather than cooperation and could then apologise authentically as a result of this revelation. However, this theme of ‘working together to make things better’ (to quote Ziggy) never resulted in stories which were in any way formulaic or contrived. Often there was no great revelation neatly wrapping up the episode, but rather the bitter truth that many unfortunate facts about life cannot be changed and must simply be accepted over time. These slightly more serious episodes were not afraid to shy away from issues of dyslexia, asthma, cancer, diabetes, divorce and death. It was the depth and authenticity of the characters in their responses to such conflicts and issues which made it so appealing to me growing up, and to many children around the world, it seems, as Arthur, scheduled for another four seasons, has become the second longest-running animated series in the United States, after The Simpsons. Combined with smooth jazz transitional motifs and guest appearances from the likes of Simon and Garfunkel, Yo Yo Ma and Michelle Kwan, Arthur was (and is) a truly memorable show. Image courtesy of Oasis Animation

CULTURE

LOUISE CHASE Undertale is a single-player RPG developed by Toby Fox and initially released in 2015, following a successful 2013 Kickstarter campaign where it funded ten times the amount initially required. (Proving that even before this game was even fully developed it was proving to be a hit!) The story of the game follows “The Fallen Human”, who the player names at the start of a new playthrough, as they try to work their way through the underground realm of monsters in a bid to try and reach the surface, dealing with puzzles and challenges along the way. Decisions are a big part of the battle mechanics; choosing to spare or kill your opponent can lead to one of a few possible endings - the most infamous two coming after the so-called “Pacifist” and “Genocide” runs of the game. Honestly the memorable thing about this game is the soundtrack. There are so many tracks that make for easy background listening (in fact many of the tracks feature on my revision/study playlist) and Toby Fox is gifted at making each area sound completely different, yet linked, and just as beautiful as the last. My personal favourites are ‘It’s raining somewhere else’ and ‘Home’. Even the small piece titled ‘Determination’ that plays when your HP falls to zero isn’t unpleasant to listen to. If anything I found myself growing more determined to try again after listening. The pieces that play during the boss battles – both the peaceful and genocide runs’ versions – are high-paced, catchy and give each battle (that is different in style and technique) their own feel that always relates back to the character. From the more jolly and snappy ‘[Bonetrousle]’ for Papyrus, to the overture that is ‘Hopes and Dreams/Save The World’ during the finale – the boss battle tracks bring tension and grab your attention with more than just a sudden wild use of vivid colours.

Image courtesy of Toby Fox

But that’s just talking about the pacifist run tracks. For the genocide run, there’s fewer pieces to listen along to, but each brings desperation and a stronger need for the inhabitants of the underground to stop the player’s murderous rampage. Undyne’s track goes from a military general doing their job, to a true hero saving the rest even to the brink of death/mortal injury. The alternative route is harrowing, and I can’t bring myself to attempt this run, favouring to watch others play through it themselves (even if I do miss out on what it agreed to be the best boss fight in the entire game). The crown for the best boss battle track, however, goes to Sans. Yep. The laidback, joking character from the Pacifist run is now the hardest boss in the game if you choose genocide. There’s just something about ‘Megalovania’ that almost makes it seem that you’ve gone a step too far – and the battle that accompanies it is no exception. Sans is ruthless and breaks the laws and dynamics of the game that you’ve learned and completely destroys you if you don’t have quick reflexes. (Think twice about his offer of mercy half way through – he’s still a prankster, remember!) For such a cute animation style, with no voice acting for any of its cast, Undertale and its storyline really packs a punch. The design of the game brings back nostalgia for older titles such as Earthbound and its ‘80s graphics, and repeated attempts at the game are rewarded with little meta jokes here and there, as well as little changes in dialogue. The reception of this game has me super excited for Toby Fox’s next adventure with some of these characters in Deltarune (full release date TBC), which is prepared to turn everything we know about the Undertale playstyle and the universe, on its head.

LIVE

LIVE ACT IN FOCUS

THE ACES Hilary Ip

Sugar, spice, and everything nice.

This is The Aces.

A genuine voice of our generation, The Aces are no ordinary girl group. There is no hidden drama about who hates who and who is going solo next year. They are just four girls from Utah, who have been making music together for over a decade, despite their mainstream debut being only last year in 2017. The girls are only twenty-somethings and they have already made a splash with their debut album When My Heart Felt Volcanic, released in April 2018. There is no rest for the talented as right after opening for 5 Seconds of Summer all summer, The Aces embarked on their first headlining tour in the UK and EU. On a cold and rainy November night in London’s Camden Dingwalls, The Aces brought incredible warmth and energy to the sold-out crowd on the last night of their UK tour. A hauntingly alluring mix of sugary pop and alt-rock echoed through space as the entranced crowd sang and danced along to every song, getting every lyric right. The Aces are not a one-woman show. There is an overwhelming sense of unity and camaraderie. Despite only sisters, Cristal and Alisa Ramirez being actual relatives, the chemistry between them, Katie Henderson

and McKenna Petty feel just as potent. Lead singer/ guitarist Cristal is a siren on stage luring us in, breaking our hearts then giving us hope for love once again. Alisa’s drumming compels you to clap along. Katie’s guitar solos are skilful and show experience well beyond her years. McKenna, on the bass, is calm and cool as she provides the steady heartbeat of the songs. Their ability to keep up their infectious high energy is astonishing. Even after a solid hour of performing, they managed to jump in sync as the 500 people in attendance jumped and stomped to the beat of their final song ‘Stuck’. It was a miracle the walls didn’t literally come crashing down as the roar of applause and screams enveloped the venue. But what is most touching is the love The Aces show for their fans. Each member had the chance to express their love for the fans but most memorable was when McKenna teased “so sing along if you’re an OG AceFace,” which most of the audience were as we erupted into a rendition of ‘Baby Who’, a song from their first EP released back in 2017. There is clearly a special element in the band to create such a devoted fanbase. With lyrics such as “Oh you know how to win them over but not this time”, ‘Fake Nice’ provides the perfect clap back to that frenemy. While ‘Volcanic Love’ describes lust in such a beautiful way you don’t even realise it, “Under the ashes/The heat you left just won’t subside”, The Aces are the ultimate soundtrack to your life. With their first headlining tour wrapped up and another set in the U.S. for the New Year, it is only a matter of time before The Aces are the next big name in the indie music game.

Image courtesy of Chad Kirkland

LIVE

AN INTERVIEW WITH

CONOR CURLEY of FONTAINES D.C. “We didn’t try and write for a certain time, we wrote for ourselves”

It’s hard to pin Fontaines D.C. down. Poetic and post-punk in ethos, a little bit more rock ‘n’ roll in execution; one thing everyone can agree on is their alternative status. Their blistering live performances and authentic sound are making waves in the alternative music scene at home in Ireland and abroad. The quintet have just finished work on their debut album and are midway through their UK, Ireland, Europe & US tour. Conor Curley, one of the band’s two guitarists, chats to The Edge about Dublin and alternative music.

How would you describe Dublin as a theme in your music?

I think the whole idea of our sound and how the band started in Dublin. Very quickly we dived pretty deep into the history of Dublin and the bars. The venues where bands like The Dubliners would have formed; trying to reflect their history and starting our own.

Is there an area or a place in the city that you haven’t been able to include in a song yet?

I think at this point, after doing songs like ‘Liberty Belle’ – which obviously involves an area of Dublin called The Liberties – we’re trying to be less on the nose about how we give shout out to Dublin and our surroundings and make our songs something a bit less obvious and write in a way that is more lofty and takes more interpretation.

Do you think about the longevity of your own work?

Yes, I think about the longevity of our work a lot. Especially recently now we’ve finished our first album and are looking at doing the second one. I think there’s longevity there and the fact that our music is honest, you know? We didn’t try and write Image courtesy of Sonic PR

for a certain time, we wrote for ourselves, so I feel like longevity will come out of that.

When you set out to form Fontaines D.C., was it important that you were a guitar heavy band?

We all put ourselves in Dublin to do music, and at that time, there was no real guitar bands going on. It was kind of after that period of the mid2000s when guitar music wasn’t that appealing. We were all singer songwriter-y, everyone-writesfor-themselves type of thing. Then we just kind of realised. I think we were at one of our houses and we were listening to Buddy Holly and The Stooges and that kind of idea really just ignited something in us that we really thought that guitar music shouldn’t be done or shouldn’t be over.

How do you view the relationship between the mainstream and the alternative?

It’s a difficult one because everyone I know and everyone I work with is attracted to this idea of alternative music and not being in the mainstream. But it looks like now that, through those efforts, you end up being in the mainstream. Like, look at IDLES, I love IDLES and you can’t go into a pub in London now without seeing three people wearing Idles tee-shirts because they’ve come up bigger than what they set out to be, I think. Alternative music has taken over, and obviously you have to have the ambition to get there. I’ll always look at making music through an alternative lens. What’s the alternative to doing that? Making music to make money? That’s not our idea.

Tash Williamson

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www.theedgesusu.co.uk!

LIVE

Review: n SunfLower Bea tsmouth The Wedgewood Rooms, Por

A night of live music at its absolute best, we started off with Jesse Jo Stark and her dark and sultry rock ‘n’ roll. She slayed the singing and the dance moves, strutting around in her white leather boots. There was ‘Dandelion’ and its euphoric chorus, the Hawaiian steel guitar theme in ‘Mystery’ and ‘Breakfast with Lou’ that sounded straight out of a dusty American diner with its “pancakes double stacked”. A shout out to the keyboard player who kept on sliding up the keys at every opportunity. From good ol’ American rock to the ethereal Miya Folick and her Matrix slow-mo dancing and punk ethos. You know a band is buzzing when they start dancing before the songs have even started. Funky ‘Leave the Party’, with one of the band members simultaneously key mashing and saxophone wielding, was definitely the high point of her set. She wasn’t referring to this evening, Miya felt the need to explain, with the lyrics “leave the party/ don’t need to tell nobody/ there’s nothing for me here”. Alongside this and other energetic numbers ‘Freak Out’ and ‘Stop Talking’, she managed to fit in the beautifully soaring ‘Thingamajig’ and a gorgeous cover of Joni Mitchell’s ‘Woodstock’. Now to Sunflower Bean. Lead vocalist Julia Cumming came on in an electric blue sequin dress and glittering heels; Nick Kivlen in a satin pyjama-like ensemble; their keyboard player for the evening, fellow artist Dr Danny, in something straight out of the 1960s; and immediately I was entertained. They jumped right in with two songs from the new album Twentytwo in Blue, including triumphant ‘Twentytwo’, before taking a step back in their oeuvre to some of their earlier heavier stuff. They played around with every song, whether it was Julia pulling apart the vocals or Nick nailing a guitar solo. The two of them floated around The Wedgewood Rooms’ ample stage and occasionally met

in the middle, bouncing off one another musically or, as with Julia, just bouncing up and down in place. Providing the provocative and ballsy energy of ‘Come For Me’ and then some, Julia climbed over the barrier and started moshing with the crowd. The lights on the stage had turned technicolour in honour of the single from the new EP King of the Dudes, set for a 25th January release. But, no sooner had they thrown down this unsurpassable gauntlet of a performance, they picked it back up again and transcended it. With their beautiful rendition of ‘Only a Moment’, they captured the light and shade of the song with the help of some audience participation. With the chorus “you’re exactly where you’re supposed to be”, we sang it along with them as loud as we could and then just as quiet. Drummer Jacob Faber stripped it back and closed his eyes, while Nick added to his already beautiful solo with gorgeous scalic rises and falls. When he distorted the clean sound of his guitar they blasted it home. The song has hung around in my head ever since. One encore and a killer guitar and piano solo battle later - Dr Danny hoisted the keyboard up and held it like you would a guitar - and the gig was over. Growing up around music certainly has its perks, when you can achieve this level of live performance on stage, transforming the songs and how the audience interprets them as you play. The diversity of the songs that Sunflower Bean continue to perform and experiment with makes labelling them impossible, but it also makes them one of the most exciting bands around. Their new EP may be on the horizon, but I wouldn’t say no to a live album.

Tash Williamson Images courtesy of Sunflower Bean and Sonic PR

LIVE

Interview with

Nick Kivlen of

SUNFLOWER BEAN The lovely Nick Kivlen of Sunflower Bean took Tash Wil some time out to talk to The liamson Edge. With Nick on vocals and guitar, Julia Cumming on vocals and bass and Jacob Faber on drums, the three twenty-something year olds have been turning heads with their alternative rock since their emergence from New York’s DIY music scene. Here in the UK, Annie Mac’s head has also swivelled their way. Their latest single, ‘Come for Me’, featured as Mac’s Hottest Record in October 2018, which is one of four tracks on their new EP, King of the Dudes. You guys formed Sunflower Bean back in 2013. When did you all decide to make a go of it or did it just spiral naturally into this musical career? We were all involved in music from a very young age. Me and Jacob were both in a rock band when we were in high school, and Julia’s been touring since she was about 13, so we’ve always been sort of working musicians to some extent. And me and Jacob were in another band together where I played bass and I had all these songs that I had written and me and Jacob started playing them together in our senior year of high school. There weren’t that many teenagers in the Brooklyn DIY music scene so we kinda all knew each other and that’s how we met Julia and I asked her to be in the band. It took a little bit of convincing but finally she agreed and here we are five years later. What is the New York music scene like? How have you seen it change as you’ve been changing as a band? When we were all teenagers it was really really thriving, around 2011 to 2014. There were a lot of bands and everyone was friends and there were a lot of venues and a lot of shows. There was this one street called Kent Avenue in Williamsburg where there were three amazing DIY venues right there. Everyone would go there on the weekends and there would always be something great to see or there would be a rave until 5

in the morning - it was a really great time. As we’ve been on the road more and away from home I feel like I’ve lost touch a little bit with that DIY scene - mostly because we’re not in the shows, we’re not playing every weekend. But there’s still some great bands and some great venues in New York and whenever I’m home I try to go out and catch friends and see stuff. I mean, New York is a huge city and there’s so many people, there’s always something going on. There’s something for everyone, whether you’re into like really really minimal crazy noise or if you’re into performance art. There’s a venue called The Glove in Bushwick that’s pretty heavily based in performance art and music. There’s still a lot of a really great stuff going on in New York. What song on your latest album, Twentytwo In Blue, means the most to you? I think the song on Twentytwo In Blue that I sort of gravitate the most toward is ‘I Was A Fool’. Because it’s sort of the classic moment in our practise space where we’re working on something and all of a sudden the magic starts flowing and you get this feeling of elation that you are worth creating. ‘Cos sometimes you have self doubt and you’re like “what am I doing”, “are we really good enough to keep on doing this?” When you have those moments and you stumble upon a song like ‘I Was A Fool’ you get this feeling of like “wow, it really is all worth it.” Because I love this, I love playing it and it’s an amazing feeling because that doesn’t happen most days. Most days you’re playing and nothing significant comes from it. So when that inspiration does hit, it’s a magical moment that you can share together, and I think we nailed the recording, which is hard to do. I really do like the sonic qualities of that track on the album. Is that the case with your new EP King of the Dudes? Yeah, the EP was very similar to that in a lot of ways, because we went into the studio without any material. We had a few ideas but for the most part it was unwritten. We banged out those four songs really quick. And the factor of having a new producer who was also in the room sorta added to the serendipity of it. EP King of the Dudes is released on 25th January via Mom + Pop Music. Read the full interview on

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EDITORIAL

LISTINGS Live Music January 23rd – Heavy Lungs @ The Joiners, Southampton January 27th – This Is The Kit @ The Joiners, Southampton January 29th – The Wombats @ O2 Academy, Bournemouth January 29th – Enter Shikari @ O2 Guildhall, Southampton January 30th – Her’s @ Heartbreakers, Southampton February 1st – Willie & The Bandits @ The 1865, Southampton February 3rd – The Vaccines @ O2 Guildhall, Southampton February 11th – ALLUSINLOVE@ Heartbreakers, Southampton February 12th – CHVRCHES @ O2 Academy, Bournemouth February 16th – Willie J Healey @ Heartbreakers, Southampton February 21st – Trixie Mattel @ O2 Academy, Bournemouth February 23rd – Arcade Hearts @ The Joiners, Southampton

Theatre January 10th – 12th – How To Disappear Completely And Never Be Found @ NST City January 23rd – 26th – And Then There Were None @ NST Campus January 22nd – 26th – American Idiot @ Mayflower Theatre January 30th – February 2nd – Beauty and the Beast @ Mayflower Theatre February 3rd – Anton and Erin @ The Mayflower Theatre February 5th – 8th – Missing @ NST Campus February 5th – 9th – The Girl On The Train @ The Mayflower Theatre February 11th – 16th – The Full Monty @ The Mayflower Theatre February 11th – 16th – Abigail’s Party @ NST Campus February 19th – 23rd – Swan Lake @ The Mayflower Theatre

Comedy January 11th – Showstopper! The Improvised Musical @ NST City January 12th – The Comedy Bar: Big Gig @ NST City

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www.theedgesusu.co.uk

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