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Issue FIVE It is hard to believe that we are now at the penultimate print issue of this academic year. Following our exciting upcoming collaboration with the Wessex Scene, Issue 6 will be the final magazine not only of this term, but also of my tenure as Editor. But don’t worry. I’m not about to get weepy just yet. First, it’s time to pull out the cassette player and get re-hooked on the feeling of The Guardians of the frickin’ Galaxy. That’s right, in conjunction with the release of Marvel’s latest offering, our cover stars this time around are Star Lord, Drax, Gamora, Rocket and Baby Groot (aww!). This issue therefore circles the themes of galactic awesomeness and rocket-fuelled stardom befitting of this much awaited sequel. In our latest Closer To The Edge feature, we propose the tracklist of our dream ‘Awesome Mix’ - A.K.A: the old-school songs we would most like to see Star Lord having his next dance-off to (p. 6-7) - while in our Film Section, we take a look at the career of the franchise’s breakout star, Chris Pratt (p. 19) In keeping with the galactic theme, we also get excited for the new series of Doctor Who (p. 25) and explore what makes a perfect Doctor Who companion before we meet Pearl Mackie’s Bill for the first time this month (p.11). Also in this issue, we have music coverage galore with reviews of Circa Waves’ latest record (p. 12) and The xx’s recent gig in Brixton. (p. 33). Looking ahead to arguably the most exciting local live event of the year, we also preview Craig David’s upcoming Southampton gig at The Ageas Bowl, featuring excerpts from the exclusive Q&A that The Edge was lucky enough to attend in February. (p. 29) It has been an incredibly busy time for us here at The Edge, hosting numerous events like our Oscar liveblog, The Edgetival and the second annual University of Southampton Student Film Festival. I couldn’t be more proud of what we’ve achieved in the last few months. If you haven’t yet joined us, what are you waiting for? Come, join our community of Edgelings. “We are Groot.” Anneka Honeyball Editor
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Editor Anneka Honeyball editor@theedgesusu.co.uk Deputy Editor Ashleigh Millman deputy-editor@theedgesusu.co.uk records Editor Xavier Voigt-Hill records@theedgesusu.co.uk Features Editor Rehana Nurmahi features@theedgesusu.co.uk film Editor Hollie Geraghty film@theedgesusu.co.uk C u lt u r e e d i t o r James Barker culture@theedgesusu.co.uk live Editor Carly-May Kavanagh live@theedgesusu.co.uk news Editor Robert Pratley news@theedgesusu.co.uk head of design Liana Dent design@theedgesusu.co.uk Head of relations Navi Ahluwalia relations@theedgesusu.co.uk Head of publicity Becca Hellard publicity@theedgesusu.co.uk Head of events Octavia Woodward events@theedgesusu.co.uk online manager Jack Lewin manager@theedgesusu.co.uk editor in chief Cameron Meldrum vpdci@unionsouthampton.org With help from Sophie McEvoy, Conor Kavanagh, Rebecca James and Henna Patel
Contents editorial
01 Welcome to Issue Five 02 Contents
NEWS
03 Newsbox 04 Nostalgic News 05 Notes on News: The Great Waterstones Debate
Features
06 Closer to The Edge: Our dream ‘Awesome Mix: Vol. 2’ 08 Who saw that coming? Films that took us by surprise 11 What makes a perfect Doctor Who companion?
Records
12 Album Review: Circa Waves - Different Creatures 13 Album Review: Future - FUTURE/HNDRXX 14 Album Review: Mallory Knox - Wired 15 Singles: All Time Low - ‘Dirty Laundry’ Singles: alt-J - ‘3WW’ Calvin Harris feat. Frank Ocean & Migos ‘Slide’ 16 Clean Cut Kid - ‘Leaving You Behind’ Day Wave - ‘Something Here’ Goldfrapp - ‘Anymore’ 17 Singles: Lorde - ‘Green Light’ Singles: Zedd &s Alessia Cara - ‘Stay’ Singles: The Chainsmokers & Coldplay - ‘Something Just Like This’
film
19 Actor in Focus: Chris Pratt 20 Cult Classics: Mulholland Drive 21 One to Watch: Wind River 22 Blu-ray Review: Nocturnal Animals Blu-ray Review: Fantastic Beasts and Where to Find Them
culture
23 Author in Focus: Alafair Burke 24 Review: The Walking Dead: A New Frontier 25 Spring Previews: Doctor Who Series 10 26 Spring Previews: Fargo Series 3
live
27 Preview: Craig David @ Ageas Bowl, Southampton 29 Review: With Confidence @ The Joiners, Southampton 30 Review: RAYE @ XOYO, London 31 Artist in Focus: All Time Low 32 Review: The XX @ Brixton Academy, London 33 Listings
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CHRIS PRATT
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CRAIG DAVID
27 THE EDGE
IMAGE BY WALT. DISNEY STUDIOS MOTION PICTURES
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NEWS
THE NEWSBOX TOP TOP FIVE FIVE NEWS NEWS STORIES STORIES 1
Moonlight pipped La La Land to Best Picture at The Oscars 2017.
2
Ed Sheeran released third album, Divide, smashing sales and Spotify records.
3
Nintendo released the Nintendo Switch, their 8th Gen console.
4
Craig David announced Southampton show in September.
5
Mass Effect: Andromeda was released on Playstation 4, Microsoft Windows and Xbox One.
THE THE EDGE’S EDGE’S ENTERTAINMENT ENTERTAINMENT PICKS PICKS Editor:
Russell Brand, Re:Birth, @ The Mayflower, 02/05/17
Records Editor:
The Days We Had, Day Wave, Harvest Records, 05/05/17
film editor:
Guardians of the Galaxy Vol. II, Dir. James Gunn, Walt Disney Pictures, 28/04/17
Culture editor:
Doctor Who, BBC, 15/04/17
Live editor:
THE THE KEATS KEATS OF OF TWEETS TWEETS @JimmyKimmel
Hey @ realDonaldTrump u up?
Got a celeb to nominate for next issue? Let us know
@theedgesusu
THE THE EDGE EDGE IS IS EAGER EAGER FOR... FOR...
Crash Bandicoot N. Sane Trilogy, Vicarious Visions, 30th June 2017: Arguably the greatest game series ever per eight out of ten entertainment magazine News Editors, the return of the orange eponymous Bandicoot is set to introduce the character we all know and all love to a new generation, as well as giving many others a welcome dose of pure nostalgia. Craig David @ The Ageas Bowl, 1st September 2017: Local boy turned superstar, Craig David is set to play the Southampton cricket stadium in the Autumn, presumably to showcase a mix of classic and new material. Sigma, who in September 2016 were playing Freshers’ Ball 2016 are set to support. Moving on up.
The Skints @ The Engine Rooms, 07/05/17
for all the latest entertainment news theedgesusu.co.uk/news theedgesusu.co.uk/news 03
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Arguably the funniest moment during the entire Oscars 2017 ceremony, host Mr Jimmy Kimmel proves himself to be an absolute master in the art of the Trolling. America thanks you, we thank you, the World thanks you.
NEWS
nostalgic news Another roundup of things that happened this month in years gone by.
Avril Lavigne released the best damn thing ten years ago ALICE HEARING
Avril Lavigne’s iconic teen album The Best Damn Thing, featuring cult classic ‘Girlfriend’ was released ten years ago today on 17th April 2007. The Best Damn Thing marked Avril Lavigne’s transition from teen-tomboy queen to sexually mature blonde bombshell, replacing ties and combat pants with heavy eye make-up, lacy dresses and corsets. Having once sung about the love she had for a Sk8er Boi, her lyrics became raunchier, sexier and less appropriate for the pre-teen age group that worshipped her. Despite the transition, ‘Girlfriend’ became a teen anthem and has remained a (very) guilty pleasure of mine ever since it’s release 10 years ago. In hindsight, this album is a blight on ‘00s pop rock, with a bizarre mixture of sad X-Factor style ballads and all American sassy pop songs, with cheerleader chants that take the cringe rating off the charts. Listening back, I want to slap my 11 year old self round the face for genuinely enjoying this sore attempt at pop music.
cabin in the woods was released 10 years ago ASHLEIGH MILLMAN
On 13 April 2017, Drew Goddard’s directional debut, The Cabin in the Woods celebrates its fifth birthday. The genre-bending horror film was a critical success upon release, proving itself as an intelligent spoof film that straddles scary, funny, and original in a way not many films had successfully done before. Following five college students as they head out on a getaway to – you guessed it – a remote cabin in the woods, they realise their trip isn’t all that it was cracked up to be. Instead, it’s soon discovered that their lives have become a game for technicians of a secret government agency: but at what cost? With not just zombies, but zombie redneck torture families – and maybe a rogue merman – The Cabin in the Woods acts as a deconstruction of every genre trope you could possibly experience, but in clever and innovative ways. It’s easy to see how the film has earned itself 18 awards, predominantly as Best Horror Film of the Year, and 33 further nominations over the course of its release half a decade ago, as well as frightening off a whole new generation of teens from the woods once more. th
HOt fuzz was released 10 years ago HOLLY HAMMOND
Cult comedy Hot Fuzz was released 10 years ago, on 20th April, 2007. The satiric buddy cop film sees star London police officer, Nicolas Angel (Simon Pegg), forcibly transferred to picturesque suburban town, Sandford that has a non-existent crime rate and multiple ‘Village of the Year’ awards to its name. Angel is paired with the dim-witted cop, Danny Butterman (Nick Frost) as he comes to realise that there is more to this idyllic town that it seems and that there might be a darker reason for the sky-high accident rate. This film is yet another marvellous pairing of the Nick Frost and Simon Pegg comedy duo that features many moments of hilarity as they take on every buddycop/action trope ever in this parody that doesn’t quit. It also features an impressive supporting cast with the likes of Martin Freeman, Bill Nighy, Olivia Colman, Alan Partridge, Bill Bailey, and Stephan Merchant all appearing in this police parody.
arctic monkeys released FAVOURITE worst nightmare 1o years ago THEA HARTMAN
When their second album, Favourite Worst Nightmare was released on April 18th 2007, Indie Rock band Arctic Monkeys had already made history. After all, heir debut album, Whatever People Say I Am, That’s What I’m Not, released in January 2006, broke the record as UK’s fastest selling debut album with over 360,000 copies in the first week. After this incredible success, the band’s second was under enormous pressure. However, they delivered a self-written record which gained considerable critical appraisal, winning the Brit Awards for Best British Album and Best British Band in 2008. With tracks such as ‘Fluorescent Adolescent’, ‘D is for Dangerous’, ‘Brianstorming’ and ‘505’, Arctic Monkeys brought back their edgy sound and Alex Turner’s representative lyrics in what some critics thought was a more aggressive style. This spirit represented an entire generation, and it still does ten years later. THE EDGE
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NEWS
Notes on News:
The Great Waterstones Debate ROBERT PRATLEY Recently, several voices have complained significantly, regarding a recent decision taken by Waterstones. It clearly has upset many, many people, judging on the number of comments on online forums and message boards. But what exactly did the booksellers do which was so terrible? Did they overcharge customers? Some sort of illegal malpractice to staff-members, or customers? Erm no. The heinous crime which they have committed, is having the temerity and audacity to no longer front stores with the Waterstones branding. Instead, they have the shock horror to diversify stores, making them look like- *gasp* local independent retailers, complete with attractive shop-windows and unique designs! How terrible. So far, only three stores have been infected with this terrible disease, Southwold Books in Suffolk, The Rye Bookshop in East Sussex, and Harpenden Books in Hertfordshire. Unsurprisingly, I have little sympathy with those people who were up in arms about this. They are claiming it is deceptive and wrong. It isn’t. Previously, other companies have rightly come under fire for false advertising- already this year this magazine has covered both sides of the No Man’s Sky debate. Recent rumours regarding Pirates of the Caribbean: Salazar’s Revenge suggests that Johnny Depp’s Jack Sparrow will only be a secondary character, despite being the most prominent member in the merchandise campaign. If Waterstones were masquerading as a quaint, local store to sell their products at an inflated price, then I could understand the unrest and unease about it. It’d be morally wrong and financially deceptive, and rightly everyone could criticise them for it. But they aren’t doing that, this sort of branding is not illegal and if it is designed to help stores fit in, surely it’s an aesthetic decision? The books sold will not change, the stock will not be altered. The only difference is a brighter window and a better-looking store. Effectively, this diversification is just internal-franchising and clever marketing. If the shop meets the requirements of the area, surely that is more important? 05
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The man in charge of making these changes? Waterstones CEO James Gaunt- who had previously founded his own INDEPENDENT publishing firm and book retailer. In an interview, he was asked why he decided to rebrand these three stores in this unique manner. He responded in a magnanimous and sensible manner, stating: “We’re coming into quite sensitive High Streets, ones predominantly with independent retailers on them, and we wish to behave as they do,” before continuing to add, “Part of the reason that we do it is to convince our own booksellers that they have the autonomy that they do have.” How dare he try and create autonomy for independent stores, giving them freedom to create their own niche and identity, as opposed to be a faceless, corporate engine serving solely to the Waterstones branding? Sickening. Gaunt cares about Waterstones, but clearly he does respect the autonomy and individuality that local stores have. He himself finished his rebuttal by staunchly finishing, “I think I have always acted and worked as an independent book seller and I would love for everyone who works for me does so likewise.” I’m not going to try and pretend it isn’t about profits for them, but he does appear keen to protect the high street autonomy. In this world, with the rapid-changing face of the High Street becoming more and more bland and homogenised, how dare a company try and make themselves look unique?
FEATURES
Closer to The Edge: Of all the elements that made Guardians of the Galaxy so unique, its uplifting soundtrack was definitely one of the most memorable. The Awesome Mix, a tape of ‘60s and ‘70s tracks, has an incredibly nostalgic aura, and is worth listening to, even if you don’t watch the film. With the second film fast approaching, our Edge writers had a think about what they’d love to hear on the Awesome Mix Vol. 2.
Kansas - ‘Carry On My Wayward Son’ DAVID MITCHELL-BAKER
The original Guardians of the Galaxy soundtrack was a perfect mix of fun, cheese and nostalgia, and that’s why this big hitting Kansas single needs to feature on the soundtrack for Volume 2. With eccentrically high vocals and intricate guitars, it’s pure 70s progressive rock ‘n’ roll through and through. But perhaps more crucially, it’s something that it’s not hard to imagine Chris Pratt’s Star Lord dancing around to, whilst equally baffling Drax and Gamora.Whilst the music of the first film works in the way that a score/scene transition song usually does, ‘Carry on Wayward Son’ is the kind of song I could imagine the group fighting aliens to, something akin to the ‘Free Bird’ scene from Kingsman. If Kansas’ other big song ‘Dust in the Wind’ can be used well in a movie (hello Old School) then ‘Carry on Wayward Son’ can damn sure succeed in Guardians of the Galaxy Vol. 2.
david bowie - ‘starman’ HOLLY HAMMOND
It’s no secret that Guardians of the Galaxy director, James Gunn, was a massive David Bowie fan, even hoping to include Bowie in Guardians of the Galaxy Vol. 2 with a cameo before word reached him that the icon had passed away in early 2016. As such, it’s not hard to imagine that he might want to honour the late, great cultural icon by including him in the latest instalment, making Bowie the only artist to feature on both films’ soundtracks. Of all of Bowie’s impressive discography, the only song I could imagine being included would be ‘Starman’ - a wonderful play on Peter Quill’s notorious outlaw-turned-hero name, Star-Lord! It’s got everything you could want for Awesome Mix Vol. 2, the only problem I could foreseve is finding other tracks to go alongside ‘Starman’ that won’t be upstaged by the raw awesomeness of David Bowie... 07
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FEATURES
Our dream Awesome Mix Vol.2 EURYTHMICS - ‘SWEET DREAMS (ARE MADE OF THis)’ BRUNO RUSSELL
Of all the overplayed ‘80s hits the latest GOTG soundtrack could rely on, ‘Sweet Dreams (Are Made of This)’, is probably one of the most iconic, while also serving as an excellent theme for the clichéd moment where the good guys declare war on evil! The song has a Halloween-esque feel which works perfectly to present the fear opponents should feel at the oncoming storm. I mean, after all, who am I who to disagree? (Yes that was a joke...). It also has a strong back beat which delivers a sense of power and strength; it essentially feels like a ‘punch in the face moment’. Now all we need is that era’s equivalent of Sia or Sam Smith for that moment that it seems like they’re going to die, and then obviously stay alive!
THE SUPREMES - ‘YOU KEEP ME HANGING ON’ REHANA NURMAHI
Although most of this playlist is made up of Rock & Roll, I don’t think that the whole soundtrack should be, especially given that the first one wasn’t. With a few Motown breaks in Awesome Mix Vol. 1 for the likes of Marvin Gaye and the Jackson 5, I only think it fair that the second film features some sweet Motown tunes too. My proposal to fit the bill: girl power band The Supremes’ 1967 hit, ‘You Keep Me Hanging On’. With an aggressively cool driving guitar riff and percussion, it would fit perfectly among the other songs put forward for our dream soundtrack. With lyrics which sing ‘You don’t really love me/You just keep me hanging on’, it could be used with beautiful irony if pitched as being our heroes singing it at the villains. Also, with badass women in the film like Gamora and Nebula, surely some badass women should rep on the soundtrack, right?
BLACK SABBATH - ‘PARANOID’ ANNEKA HONEYBALL
This 1970 track by British rock legends, Black Sabbath, is one of the staple soundtrack fillers for many a cool film, from Dazed and Confused to Sid and Nancy, Almost Famous and most recently, Kong: Skull Island. Though we wouldn’t usually advocate repeat tracklists, ‘Paranoid’ seems like a perfect, if unsurprising fit for the Guardians. In the last film, the Guardians prepared to kick ass to the sound of The Runaway’s ‘Cherry Bomb.’ Raw, crude and cool as hell, that track really embellished the scene in which the group finally came together with a (crazy) plan to save the galaxy, whilst also exemplifying their style as a rag-tag group of criminals perfectly. ‘Paranoid’ would serve in a similar way, acting as a gnarly motivational track to get our favourite heroes in the mood for battle.
THE EDGE IMAGE BY WALT. DISNEY STUDIOS MOTION PICTURES
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FEATURES
who saw that coming? JAMES LYNCH Amid all the franchises and generic blockbusters that define modern cinema, there are some films that defy our expectations and surprise us. Whether these films were completely original stories that no one knew before hand or films that breathed new life into their dying franchises, some films manage to surprise us both in terms of how much we enjoyed them and also how successful they were among both critics and the box office. As we think about Guardians of the Galaxy and its unexpected success from audiences in 2014, here are some films that surpassed my, and hopefully your, previous expectations:
KINGSMAN: THE SECRET SERVICE (2014)
Loosely based on an obscure 2012 comic The Secret Service, audiences were expecting another James Bond-wannabe spy flop. However, with a stellar cast including Colin Firth, Michael Caine and Samuel L. Jackson and daring to use more cursing and on-screen blood than any other spy thriller before it, director Matthew Vaughn expertly blended intense stylised action with black humour to give a fresh look at private espionage on the silver screen. Plus, I doubt any spy film could boast a scene like Firth’s character taking out an entire church congregation to the tune of Lynyrd Skynyrd’s ‘Free Bird’.
MAD MAX: FURY ROAD (2015)
Coming 30 years after the last instalment of the Mad Max franchise, Fury Road not only brought back a halfforgotten action series, but redefined modern-day blockbuster cinema. In a time dominated by CGI, Australian director George Miller mostly utilised practical effects to create eye-watering action and visuals in what is effectively a 2-hour long dystopian car chase. Fans and critics were left amazed by its direction and editing, as well as inspiring performances from Tom Hardy and Charlize Theron, with some calling it one of the best action films of all time. A nomination for Best Picture at the Academy Awards only goes to show how Fury Road stole our hearts and minds.
IRON MAN (2008)
Few could have expected the success that originated from this first instalment in the Marvel Cinematic Universe. Take a superhero not known well beyond the comic book world, plus an actor beset with drug-related issues and struggling to get back to his prime, and the result is a smart, funny and fresh superhero film. Downey’s defining performance as Tony Stark has made him a fan favourite, and this film set the stage for Marvel Studios to build upon and create the Marvel Cinematic Universe as we know it today. When we consider the best Marvel films, this early gem should always be in the mix.
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FEATURES
FILMS THAT TOOK US BY SURPRISE CASINO ROYALE (2007)
How do you revitalise cinema’s foremost spy franchise and compete with the growing popularity of new series such as Jason Bourne and Mission Impossible? Well, the 21st instalment of the James Bond franchise chose to drop the silliness and campness of the Roger Moore and Piers Brosnan eras and replace it with gritty action and a dark and suave portrayal of 007 by Daniel Craig. Coming after the flop that was Die Another Day, Casino Royale defied our expectations and changed our view of the Bond saga, from a goofy, gadget-filled adventure to a brutal and realistic look at modern-day espionage.
STAR TREK (2009)
Though the fan base had stayed strong, the later film instalments in the Star Trek franchise had not and the future of this sci-fi series looked bleak. However, director J.J. Abrams restored hope in his 2009 reboot. His combination of a brand new cast with the old characters made the return to the USS Enterprise an enjoyable ride. Good performances, well-directed action sequences, and a strong story appealed to Trekkies and new fans alike as well as attracting fans from this franchise’s main rival, Star Wars, still unsettled from the mediocre prequels. All in all, Star Trek delivered life back to the sci-fi genre, not just the series itself.
BATMAN BEGINS (2005)
Following some truly awful films about the Caped Crusader such as Batman and Robin in 1997, Batman Begins was the revival we deserved. From a relatively unknown Christopher Nolan at the time, it would have been easy to have not expected much. However, by asking the question whether Batman could work in the real world, Nolan’s gritty and dark reboot brought one of cinema’s favourite superheroes back into the spotlight. Christian Bale’s performance captures the true essence of an eccentric billionaire-turned-vigilante crime fighter, and the focus on characters and story over action appealed to both fans and critics. Plus, this film kicked off the highly successful Dark Knight trilogy - arguably one of the greatest trilogies of the 21st century, if not ever.
CAPTAIN AMERICA: THE WINTER SOLDIER (2014)
After Iron Man, Marvel went through a string of adequate to poor solo films which all felt too similar, with little character story and unsatisfactory action. However, Winter Soldier broke this chain. Directors Anthony and Joe Russo dialed down the scale, focusing more on plot and characters and not the world-ending trope of earlier films. With action more akin to a Bourne film and a story you would expect from a Cold War spy thriller not a superhero film, Captain America: The Winter Soldier is full of suspense and surprising character development, setting it apart from its predecessors in the Marvel Cinematic Universe. Marvel really did step up their game in 2014!
THE EDGE IMAGE BY WARNER BROS. PICTURES
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FEATURES
What makes a perfect Doctor Who companion? SOPHIE JONES Let’s say you have yourself a Time-Lord. He’s the last of his kind, and he’s wise, and witty, and more than a bit arrogant. He’s picked up plenty of girls in the past few millennia, but his last pretty little thing got killed off by some kind of supernatural bird, so he’s getting a bit lonely. What does he look for in his next companion? Here’s a list The Doctor may devise during some of his down-time, and maybe pop in the paper for advertisement purposes. A companion of The Doctor must: 1. So far, be female. 2. Be involved somehow in the universe-threatening alien invasion that the TARDIS manages to land slap-bang in the middle of. 2a. This involvement must demonstrate the companion-to-be’s courage and unique charm, as they keep their cool in the face of danger and end up saving the world at the eleventh hour. 3. Demonstrate prior knowledge of staple catchphrases such as “it’s bigger on the inside!” and “Doctor Who?” 4. Develop some kind of feelings for the Doctor, usually unrequited, sometimes resulting in a convoluted love-triangle scenario. 5. Possess a decent amount of wit, in order to keep up sufficient banter with the Doctor, and produce the occasional witty one-liner that can be placed on mugs, t-shirts etc. 6. Have a strong moral compass, but with the ability to make mistakes (and learn from them). 7. Preferably must have some relation to some other interesting characters. (See: Jackie Tyler, Mickey Smith, Wilfred Mott, Rory Williams, River Song, Danny Pink) And last, but certainly not least, a Doctor’s companion must be human. And not just human, but filled with all the oh-so-very-human traits of compassion, kindness, curiosity, courage. Their life must be filled with all of the usual human drama; romances, families, friends – who will pop up every now and then – and they must allow the audience to see their
vulnerable and relatable side. They must have some weaknesses, helping the Doctor see some of his too, as well as having many strengths that they can employ in the face of alien invasion or mystery solving. The Doctor must trust them, and vice versa, allowing for intimate, emotional conversations about the past. A Doctor’s companion is, in conclusion, a wellrounded, strong female character with a well-defined character arc, who isn’t perfect, but has a big heart. This is all unless, of course, you’re written by Steven Moffat, in which case your life revolves around The Doctor, you’re quite good at asking questions and running about after your new Time-Lord friend, and both of your parents are conveniently dead, or might as well be. Oh, and you have very similar nicknames: (The Girl Who Waited/ The Girl Who Lived). Still, you’re at least partly human, and the Doctor seems to like you. The next series of Doctor Who airs later this month on BBC One.
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RECORDS
ALBUM reviewS
CIRCA WAVES
DIFFERENT CREATURES TOBY LEVESON When Circa Waves first burst onto the scene in 2015 with their debut album Young Chasers, they offered an escape from reality with a record full of simple yet effective indie tracks which instantly felt at home on festival fields up and down the country. Two years later, the Liverpudlian fourpiece returns with Different Creatures, a heavier and more sophisticated second album which proves the band as more than just escapist indie fodder. “Tricky” is the word often associated with a second album, especially if the first is a success. (A sold-out date at Brixton Academy following the release of Young Chasers certainly suggests Circa Waves’ debut was.) Yet, Different Creatures is quite literally just that – it’s a different creature. From the huge opening crashes of the guitar at the start of ‘Wake Up,’ the album’s opening track and first single, you can instantly tell something is different. The sound is heavier, the riffs are bigger, and the choruses are anthemic and ready for stadiums, as seen in second single ‘Fire That Burns.’ The mosh pits will be ready for the roaring ‘Goodbye,’ whilst an early highlight is the reflective ‘Out On My Own,’ a slower track that provides a break from the heavier guitars and an opportunity to pause for thought, yet still carrying a massive, infectious chorus.
forty minutes of freedom Circa Waves offered in Young Chasers, but it works, it’s welcome, and, in many ways, it’s not overly surprising: at the end of 2015, they toured with Foals, another band who developed a darker, heavier sound after lighter early outings, so it’s not as if Circa Waves are trying something completely untested. One thing Different Creatures has not lost is radiofriendly singles ready to become fan favourites. ‘Stuck,’ for example, is a great song and one you can expect to hear fitting into the likes of BBC Radio 1 and Radio X, whilst the record is also excellent at slowing things down when necessary. The acoustic ‘Love’s Run Out’ is simple, quite sad, but shows Circa Waves to have some depth and that they aren’t entirely about the big riffs and mosh pits. The development of Circa Waves is impressive – this record feels ambitious and more mature, shedding any concern that they would be an indie one-album wonder. Where other bands have failed to stay relevant, Circa Waves have – whether consciously or not – realised change is good, so if Young Chasers offered escapism, Different Creatures is more realistic and self-assured. Out now via Virgin EMI
However, it’s not just the sound itself that has changed and progressed: Different Creatures’ lyrics are more mature, and there’s a personal feel to it. Frontman Kieran Shudall reflects on his own issues throughout and even gets a little political on the title track, which discusses the refugee crisis in Syria. This is all quite a departure from the THE EDGE IMAGES BY VIRGIN EMI
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FUTURE
FUTURE/HNDRXX ROB TUCKER
A little over a year since EVOL, Future‘s last solo project, all of a sudden he released two albums in two weeks: the self-titled FUTURE and HNDRXX, announced just days after the first album dropped. To reignite the spirit of A-level English in my excitement at this rapid succession of music, I decided to review, compare, and contrast both simultaneously. Whilst their proximity may make it seem odd to for FUTURE and HNDRXX to be released as separate projects, upon first listen it becomes clear why. With two completely different styles, FUTURE and HNDRXX are two signs of the same coin, with the former filled with certified bangers and the latter emphasising slower, smoother tunes. If FUTURE is for the streets, HNDRXX is for the sheets. Turn up to FUTURE, come down to HNDRXX. FUTURE is for doing shots in the club, HNDRXX is for drinking alone at 4am. (Right, I’m out of analogies. On with the review.) FUTURE is Future doing what he’s known for: bars on big beats. From the insanely hype ‘Poppin’ Tags’ to taking shots at Desiigner on ‘Zoom’ and a GOAT flute sample on ‘Mask Off,’ FUTURE is full of tracks you just can’t help but nod along to. Although he does nothing particularly new here – those who can’t stand the trap sound that he’s got on lock won’t find their minds being changed – and it’s certainly the weaker of the two, with several forgettable and samey tracks, it remains a solid project and a fun listen.
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HNDRXX, on the other hand, is a complete contrast, with a far more melodic R&B-inspired sound. Here, Future comes across as vulnerable and self-reflective: “I was having trust issues / But I been having way better luck since you,” he croons (if such a thing is possible) on ‘Incredible,’ whilst on closing track ‘Sorry’ he admits – in a sad, Drake-like fashion – that his lavish lifestyle has pushed away many women he’s cared about. Furthermore, HNDRXX also makes up for FUTURE’s lack of features with two huge ones. After the pure goodness of 2016’s ‘Low Life,’ The Weeknd rejoins Future to brush off their haters with a verse and catchy chorus on on ‘Comin Out Strong’ (“They take my kindness for weakness / Still coming out strong”). Meanwhile, Rihanna appears on ‘Selfish,’ playing off Future with some beautiful vocals for a radio shoe-in. The production and variety of beats on HNDRXX is great, showing why R&B Future is the best Future. It’s true that the trap sub-genre is definitely not for everyone – initially, Future’s mumbling over catchy beats seemed all style with no substance, so I can’t really blame anyone for hating his sound. I, on the other hand, have been converted completely: FUTURE and HNDRXX are both strong projects for different reasons, really displaying his range as an artist. Could he have cut out the weaker tracks and combined them into one album? Possibly, but that just wouldn’t be as exciting. Out now via Epic
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RECORDS
Mallory knox wired LUCY CLOWES
Mallory Knox’s return to the pop-rock scene comes with promises to reinforce their place in the industry and demonstrate a shift from their usual sound. Guitarist Joe Savins has even claimed that their earlier work “doesn’t represent what we get out of music,” and for fans that must set off alarm bells. Wired’s singles unsurprisingly presented an altered front, sparking general disappointment due to a lack of catchy hooks and missing the mark especially in some aspects for Mikey Chapman’s passionate vocals. Despite these early grievances, Wired clearly raises their game with commendable lyrical sentiments. It’s impossible to listen through and not notice the difficult issues the band is trying to address: inspired by a variety of issues and subjects from sex to mental illness,
SYD FIN
CARLY-MAY KAVANAGH For Syd, Fin represents “an in-between thing” to “maybe get a song on the radio, maybe make some money, have some new shit to perform” in a little pause from The Internet, the five-piece Odd Future spin-off she fronts. However, it’s clear she had nothing to worry about: bringing together her influences from hip-hop to R&B to neo-soul with her impressive songwriting and production from the likes of MeLo-X makes it a debut that oozes confidence, showcasing precisely what her vocals are capable of over 12 slick tracks. The effortlessly cool sound of the album is juxtaposed with lots of self doubt – her opening line: “I’m drowning in doubt and frustration / Can’t sleep ‘cause I’m anxious” – but some self-assuredness shines through. Later, Fin is an explosion of pride in sexuality, bringing the topic to the forefront without overdoing things on ‘Got Her Own’ and the stunningly intimate ‘Body.’ Her cool exterior shows cracks when singing about
the album is clearly laced with both hard-hitting and easy-going topics. ‘Better Off Without You’ faces the problem of flippant anti-depressant prescriptions, whilst ‘Falling In Love’ paints the titular concept as demonic. ‘Saviour’ is revolutionary, attempting to shift religious dependence and ideology of waiting for change towards proactively making a difference. In terms of influence, the album incorporates sounds of other popular rock bands – ‘Midnight’ and ‘Come Back Around’ slightly echo sounds the pop-punk strains of All Time Low whilst ‘Falling In Love’ takes clear inspiration from Biffy Clyro. There is, however, a persistent lack of structural clarity and a continued dearth of good refrains. The Mallory Knox records of old were filled with structurally complex moments, yet on Wired few tracks demonstrate significant variations between verses and choruses, which simply seem to happen and blend away as the composition blends together. Out now via RCA
unrequited affections (‘Insecurities’), yet it channels a retro Destiny’s Child vibe with a challenge to the boundaries of ‘90s-style R&B. Fin is the smoothest, sexiest, most painfully cool album you will hear this year. Its blending of sounds and influences feels experienced, and there’s a depth which is so often missing in the crowded genre as she layers gorgeous, weightless vocals over funky beats whilst mixing tempos and styles for a delightful auditory experience. Irresistibly groovy without necessarily redefining anything, Syd combines all of your R&B loves whilst singing about whatever she wants to. Out now via Columbia THE EDGE
IMAGE TOP IMAGE BY EPIC BY RCA, BOTTOM IMAGE BY COLUMBIA RECORDS
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single reviews
RECORDS
All time low dirty laundry Frontman Alex Gaskarth may have said ‘Dirty Laundry’ “felt like…the right song to put out first,” although you’d be forgiven for not thinking it on first listen. He melts through quiet strums for a strong start that, soon enough, returns to the traditional brand, with escapist roots channelling through the rippling vocals and soft guitar. Meandering to some sort of peak through a perfectly
alt-J 3ww Following a year-long break after touring This Is All Yours, the opener from alt-J’s forthcoming RELAXER is a sensual and gripping return of their most admired stylistic devices with more of a relaxed surety in their ability to experiment. Charting a further progression, ‘3WW’ shows a new comfort in a sound that is not concerned with the catchiness of previous records, beginning with meditative percussion and a guitar that leaves anticipation for Joe Newman’s unique voice, however it is keyboardist Gus UngerHamilton who utters the first words.
calvin harris feat. frank ocean & migos SLIDE “All my songs in 2017 have been sonically designed to make you feel fucking incredible,” tweeted Calvin Harris shortly before dropping the least Calvin Harris thing since the transition from chicken-lobbing synthparading goofball to Vegas-dwelling chiselled Adonis, now decorated in the facial hair department with a veritable forest, commenced after 2009’s Ready For The Weekend. ‘Slide,’ that track, invites elusive carpenter and emotional maven Frank Ocean to lead the crooning whilst Quavo and Offset of ‘Bad And Boujee’ ad-libbers Migos squeak through augmentation and their oh-soevident riches for a verse each, just in case financial 15
SOPHIE TRENEAR solid verse, it comes as quite the surprise when the chorus hits with little more than a vague sense of colourless insipidity. With no words, no flavour, and a whole lot of repetition, this isn’t your average pop-punk record. Instead, ‘Dirty Laundry’ suggests Last Young Renegade will beckon a darker, more evolved All Time Low – and one which may not please those alienated by the new sound, crisp as it is. Saints may never make mistakes, according the boys, but maybe the band has indulged in a few with the new music that’s been two years in the making. Here’s hoping the biggest mistake of all was releasing ‘Dirty Laundry’ as the first single. Out now via Fueled By Ramen
MEG HOLLAND Their vocals call out to the band’s folk-inspired side – for the first two minutes, it feels akin to a Lord Of The Rings soundtrack. From half-way, however, ‘3WW’ morphs into documenting sexual encounter and the fragility of love. The chorus line initially sung by Newman (“I just want to love you in my own language”) stands alone, initiating a change in progression of the song until we hear it again with Wolf Alice’s Ellie Rowsell joining onto the hypnotic beat from the beginning. Out now via Infectious
XAVIER VOIGT-HILL
inadequacy is how you reach Harris’ desired effect. Instead of relying on the tiresome verse/chorus/ rampant euphoria formula exhausted by literally every single from 18 Months and Motion, ‘Slide’ bookends successive verses from its artists with Ocean’s ambiguous hook and atrocious Picasso-referencing yelps. Once the minute mark passes and the beat finally settles in, it merely is that: comfortably backing the urban outfits atop, whilst occasionally shimmering away for percussive reverberations and to introduce delicate melodic adornments to the satisfying groove. Out now via Columbia
THE EDGE TOP IMAGE BY FUELED BY RAMEN, CENTRAL IMAGE BY INFECTIOUS MUSIC, BOTTOM IMAGE BY SONY
Clean Cut Kid leaving you behind
RECORDS
Of late Clean Cut Kid has done nothing but disappoint, with recent releases ‘We Used To Be In Love’ and ‘Make Believe’ failing to match previous highs. However, with the announcement of Felt, this unexpectedly uplifting post-breakup song (that could almost be seen as a sequel to the former) revitalises the Liverpudlian quartet’s mojo. Whilst this is a topic the band has extensively explored in the past, ‘Leaving You Behind’ takes them in a different direction: once again bringing dominant harmonies from husband and wife duo Mike and Evelyn Halls, this time her vocals are given space to overpower his in the chorus for a sound not unlike The Japanese House. Until this moment it does, however, sound exactly the same as everything else the band
Day wave Something here
Taken from Berklee-educated Jackson Phillips’ upcoming debut album The Days We Had, ‘Something Here’ has the rare ability to generate a variety of emotional responses with an underlying weariness to its upbeat and motivational reminder to live. Without analysing the lyrics too deeply, it feels like a simple track dressed up in a complex fashion – the verse endings (“I feel like they’re listening,” “I feel like nothing’s real”) exhibit
goldfrapp anymore Despite two top 10 albums since, Goldfrapp hasn’t made much of an impact since the 2007’s Seventh Tree smash hit ‘Ooh La La.’ ‘Anymore,’ the first portion delivered ahead of seventh record Silver Eye, looks the most likely successor in terms of longevity – it’s very much a 2017 revamp of that old Goldfrapp sound, complete with fresh synth samples and an upgrade of the vocal processing that has arguably become the London-based electro duo’s trademark. The message of ‘Anymore’ seems very clear: with the phrase “I can’t wait” repeated 38 times and lines such as “You’re what I want / You’re what I need / Give me your love / Make me a freak,” the song certainly seems
ALEX SMITH
has released, with high-pitched vocals over a powerful electric guitar and drum background. This trait, although instantly loving, annoys me significantly – an album full of identical songs isn’t one I want to listen to, and ‘Leaving You Behind’ does little to dispel my fears. Out now via Polydor
CÉCILE HOWARD paranoia and general disengagement from the world to contrast the traces of optimism in the chorus. Yet, somehow its composition invokes feelings of fluidity and movement with hazy nostalgic memories being brought into the light, much like other portions of Day Wave discography. The use of guitars, drums, and bass by Phillips develops this sound, complementing the existentialist verses and hopeful chorus self-assurance. Whilst earlier success had been localised largely to the California region from the Headcase and Hard To Read EPs, it is clear this beautifully contradictory formula is what the dreamy project needs in order to spread. Out now via Harvest
DAVE WILLIAMS
to be written from the perspective someone who is in a particular mood. There’s not a great deal of subtlety to the track, but some of the finest pop is so in your face you can practically smell it. However, it may not entirely be a bad thing that ‘Anymore’ will probably fade away quietly without even enjoying the ad circuit boost of singles past. Out now via Mute
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RECORDS
lorde Green light
For 20-year-old Ella Yelich-O’Connor, the last four years must have been rather dramatic as she became the youngest artist since 1987 (and the first New Zealander) to top the Billboard Hot 100 with ‘Royals’ before embarking on a tour that took her to Brixton and Coachella. ‘Green Light,’ the addictively intense first taste of sophomore album Melodrama, is about heartbreak. Slow to start, her powerful vocals establish the narrative with lyrics that speak to the heart (“I do my makeup in somebody else’s car / We order different drinks at the same bars / I know about what you did and I wanna scream the truth”) but, with an energetic and emotional chorus, this is also about letting go.
the chainsmokers & coldplay something just like this Jesus, are we still doing it with The Chainsmokers? Just because someone has a smash summer hit doesn’t give them the right to suddenly be appearing on awards shows, performing with once reputable acts – they ruined Halsey less than a year after her debut album blew up, and now they’ve come for Coldplay, the dukes of safe, warm pop. Make no mistake, that ‘Something Just Like This’ is The Chainsmokers’ best song is entirely the problem. Replacing Drew Taggart’s vocals
zedd & alessia cara stay
Hours after the dynamic union of Coldplay and The Chainsmokers – seriously, WTF? – German producer Zedd followed suit by joining forces with Canadian pop sensation Alessia Cara for ‘Stay,’ a straight collaboration that merges both their chosen musical styles and perhaps lacks the magic required to make it anything groundbreaking. It’s always a joy to hear Cara sing, but you can’t help thinking that Zedd could have paired her with something a little more interesting.
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SAM LAW Lorde described it as “that drunk girl at the party dancing around crying about her ex-boyfriend” and you can really feel it – ‘Green Light’ is ideal for those Friday nights when you’ve had a crap day and just want to say “screw it” and go out and have fun. Far more electrifying than anything we’ve heard from her before, it has me very excited for the Melodrama to come. Out now via Universal
GEORGE SEABROOK
and their inclination towards the latest #edgy pop ingénue in favour of Chris Martin is their smartest move. Gone is the tonal vocal detachment, always dissonant with the nostalgic hope of their lyrics, in favour of Coldplay’s consistently near-comical commitment to sincerity. Martin’s lyrics are usually more pop hit than miss: the continuous superhero/ Greek legend metaphor might grate – was Achilles really known for his gold? Spider-Man’s certainly not got a reputation for ‘control’ – but at least it’s threaded throughout, and never regarded with any disdain. Out now via Disruptor
JAMES BARKER
That said, both parties stick to what they’re good at, and it’s refreshing to hear Zedd producing something other than a chaotic DJ Snake remix or a bland Hailee Steinfeld track. His sharp beat compliments Cara’s husky vocals during the verses before exploding in his trademark style on reaching the chorus. Cara follows the likes of Selena Gomez and Ariana Grande in working on vocals with him, suggesting he (or at least someone at the label) still has it when it comes to finding hot, current artists to work with. Out now via Polydor
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FILM
ACTOR IN FOCUS:
Chris Pratt SOPHIE TRENEAR The term ‘loveable hunk’ has its full potential only truly utilised when describing Mr. Chris Pratt, a man who rose to fame after starring in hit sitcom Parks and Recreation as the loveable Andy Dwyer, before being propelled into major popularity with 2014 effort Guardians of the Galaxy as the hunk Peter Quill. Loveable hunk. Never has the world seen such an unexpected transformation. And with the hotly anticipated Guardians of the Galaxy Vol. 2 just around the corner, it seems only right to take a peek at his most notable works to date… Discovered at the Bubba Gump Shrimp Company he worked at, a 19-year-old Pratt was soon cast in the short horror Cursed Part 3 before moving onto regular TV roles in Everwood and The O.C. After auditioning for the leads in Star
Trek and Avatar, Pratt resolved to rethink his career ambitions having been told he didn’t have “that thing, that ‘it’ factor” that the directors wanted. Pratt was cast as Parks and Recreation’s Andy Dwyer in 2009, originally a temporary character, but which lasted him six years and flung him into the eyes of the adoring public, earning him a slew of critical commendation. Making a smooth transition into the glitz and glam of Hollywood’s silver screen, he won a supporting role in 2011 effort Moneyball, going against type by playing a dejected father and baseball player. After more supporting roles in Zero Dark Thirty and Her, things began to swing in Pratt’s direction as 2014 rolled in. The year would see him headline two blockbusters, the first being The Lego Movie which was released to universal acclaim and went on to become America’s third-highest-grossing film of 2014. The second, one of the most anticipated films of the year, saw Pratt take on the role of Peter Quill/Star Lord for the collectively celebrated Guardians of the Galaxy, after originally turning it down, not wanting “another Captain Kirk or Avatar moment”. Luckily, he was praised almost unanimously, “overflowing with charisma,” as The New Yorker noted, “buoying the film and its requisite whizbang special effects”. 2015 saw him star opposite Bryce Dallas Howard in the eagerly awaited Jurassic Park follow up, Jurassic World, as Owen Grady. Further cementing his new typecast as the virile but charming hero, he went on to play Josh Farraday, a gunslinging gambler, in the remake of The Magnificent Seven before starring opposite Jennifer Lawrence in the sci-fi blockbuster Passengers last December. The next few years will see him intertwined in the glittering realm of the blockbuster, reprising his roles as both Peter Quill and Owen Grady in their various follow ups, including the swiftly advancing Avengers cross-over.
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FILM
CULT CLASSICS:
Mulholland Drive LIAM BEAZLEY Following the early 20th century writings of Freud on dream theory, the similarities between dreaming and the experience of cinema has long been theorized, drawing comparisons between the movie goer and the dreamer in a sense that we are idly transported psychologically via the presentation of images. Few filmmakers have explored this quite to the level of David Lynch, whose work has mentally assaulted and disfigured the film experience on multiple accounts through twisted and often incoherent imagery. Considered by many as Lynch’s opus, Mulholland Drive acts as the ideal starting point on the ominously lit road towards his nightmarish grey area between film and dream which, once entered, proves hard to wake from. Released in late 2001, Mulholland Drive proved successful in theaters but completely divided audiences, with some proclaiming it as a masterpiece and others totally dismissing it as a waste of two and a half hours of life. Both camps can be understood and though I am passionately in the former, a film which stores its true worth deep within the unconscious and hidden between the lines of a far from conventional plot, will never be for everyone.
suppressed desire and sexual discovery, but the truth is that Mulholland Drive shouldn’t be watched with the conscious thought process that leads to such conclusions. Mulholland Drive is not a film which is awake, but instead a film entirely sleeping. This is where it gains its cult status, like a reoccurring dream, you can’t help searching it in an attempt to uncover new meanings and can’t resist reliving the experience. What Mulholland Drive achieves is something unparalleled in the film medium outside of Lynch’s work, weaving the kaleidoscopic texture of a dream and lulling into a hypnotic state of nonsensical beauty. Few films successfully breach the borders of the screen, but Mulholland Drive escapes the projector and penetrates the subconscious in a way which will feel all too visceral as the theater lights come on, waking you like the sun through open curtains. Love it or hate it, Mulholland Drive embeds in the memory and with time has the odd ability to make you look back and question whether you dreamt the whole thing, enticing you to keep dreaming again and again. I for one don’t want to wake up yet.
On the surface the film is about Betty (or it may be Diane) with dreams of being a Hollywood actress who moves to LA and meets Rita (who may be Camilla, or even Diane too) who is about to be killed when her limo is ran off the road forcing her into Betty’s path. From here it is anyone’s guess as to what the story really is, as Lynch masterfully offers a frame of a narrative for us to inject (or choose not to inject) our own narratives into without alienating us entirely. It’s possible that the film is a commentary on Hollywood and the American dream (think La La Land’s evil twin), it is also possible that it explores
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FILM
One to Watch:
WIND RIVER DAVID MITCHELL-BAKER Hot off the heels of the critically acclaimed and award nominated neo-western thriller Hell or High Water, screenwriter Taylor Sheridan is picking his pen back up but moving behind the camera this time to bring us Wind River. And by all indications, Sheridan could yet again bring us one of the year’s best films. Described as a spiritual successor to both Hell or High Water and Sheridan’s previous film Sicario (for which he also served as screenwriter), Wind River tells the story of a FBI agent, played by Elizabeth Olsen, who teams up with a local tracker, played by Jeremy Renner, to investigate a murder that occurred in the Wyoming winter wilderness. What’s really notable about Wind River is that Sheridan now has the chance to bring his own work to life as director. Whilst it would undoubtedly be a great feeling to see your screenplay make it to the big screen in such successful fashion, it’s only natural that you would want to be the one to oversee the actual construction of a film from our script. He may not have that much experience in directing but Sheridan has surely learned a lot from the likes of David Mackenzie and
Denis Villeneuve in seeing them translate his work to the silver screen. Combine these two elements and you have the perfect recipe for Sheridan to make the best of his work and not only write a sensational movie, but also direct a sensational movie. Added to the stellar talents of Sheridan are the cast. Jeremy Renner on his day can provide a fantastic performance, as can Elizabeth Olsen, and given that the two have worked together before (in the Marvel Cinematic Universe) they should have more than satisfactory chemistry to lead the film. For Olsen, still somewhat of a newcomer, this could be a true star making turn and put her firmly on the map, her role sounds excitingly familiar to one Jodie Foster’s character from Silence of the Lambs, Renner as the grizzled veteran (not in a Hannibal Lecter vein) alongside her should make for an excellent pair. Additionally Jon Bernthal has become a hugely reliable character actor over the years having starred in the likes of The Walking Dead, Me and Earl and the Dying Girl and Daredevil, and Gil Birmingham was Hell or High Water’s secret weapon, so the inclusion of these two only bolsters a strong ensemble. Whilst a release date is yet to be confirmed, Wind River has been picked up by The Weinstein Company since its debut at this year’s Sundance Film Festival so expect some news in this department very soon. But do not let this put you off, once it arrives Wind River will undoubtedly be one of the year’s most exciting, visceral and best films.
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FILM
Blu-ray Review:
nocturnal animals
TOM WILMOT
Nocturnal Nocturnal Animals is the story of wealthy art gallery owner Susan (Amy Adams), who receives a book, entitled with the film’s name, written by her ex-husband, Edward (Jake Gyllenhaal). The film breaks off into three stories. One following the events of Edward’s book, another, which explores Susan and Edward’s past relationship, and a third that stays with Susan in the present. Susan begins to understand the darker, more personal meaning behind Edward’s book as the film progresses. Gyllenhaal once again is on top of his game in his roles as both Tony, the fictional character from the book, and Edward. Amy Adams’ understated performance is also superb, as she is able to effectively show us Susan’s misery through a few fleeting looks. Her limited screen time does not go to waste. Aaron TaylorJohnson and Michael Shannon also shine playing characters in Edward’s book, with Taylor-Johnson’s portrayal of antagonist Ray Marcus being uncomfortable to watch at times. This however is a compliment to the quality of his acting. The film is beautifully shot by director Tom Ford with some excellent imagery being used, such as mirrored camera shots between the events in Edward’s book and reality. The attention to detail really pays off. The cuts from the past to the present further the audiences understanding of the film’s overarching plot, as well as how all the storylines link together. The film tries at times be too artistic and ambiguous, but luckily it does not detract much from its overall quality.
Blu-ray Review:
Fantastic beasts and where to find them
NELLY MAIR
Fantastic Beasts and Where to Find Them, the latest offering from the Harry Potter franchise, follows Newt Scamander as he attempts to find the mystical creatures he has accidentally let loose in New York City. The film is set in the 1920s and as a result of attacks by Grindlewald, the city is increasingly suspicious of witchcraft, a prominent subplot in the film. Having recently won an Oscar for best costumes, the 1920s setting enables the make-up and costumes to be truly beautiful. Furthermore the special effects, in both the magical scenes and in the creation of the creatures are done very well, creating a fantasy which is compelling and believable. This, combined with the touching and humorous performances, creates an escapist experience perfect both for family viewing and for the festive season in which it initially came out. There are two main plots in the film, one which focuses on Newt’s recapture of the creatures and the other on the behaviour of mysterious orphan, the significance of which unfolds gradually throughout the film. Both plots are effective in their own right, the first charming and funny, the second creepy and tension building, but the inconsistency between the two holds the film back. Crucially, the ending fails to live up to either the charm of the main plot or the creepiness of the sub-plot. Overall, Fantastic Beasts and Where to Find Them may have flaws, especially in the latter half, but the overall experience is beautifully created and wonderfully enjoyable. Partly the simple experience of returning to this particular fantasy experience, but also the charm with which the film is carried out, makes the movie a worthwhile see. THE EDGE TOP IMAGE BY FOCUS FEATURES, BOTTOM IMAGE BY WARNER BROS. PICTURES
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CULTURE
Author in focus:
Alafair Burke REBECCA JAMES It is rare that you find an author which such intimate knowledge of the subject matter they are writing about. Whether it is a middle age man writing about the struggles of a teenage girl or a suburban middle class woman writing about a shady government organisation, the literary profession is full of authors who research and write in fields they have no experience of. Alafair Burke is not like these writers. Burke’s literary work focuses on a subject with which she is intimately familiar – crime and law. As a graduate of Stanford Law School, a former Deputy District Attorney in Portland, Oregon, and current Professor of Law at Hofstra Law School, Burke clearly has the knowledge and experience of the criminal law system. This makes her novels all the more grounded in realism, and her attention to detail impeccable. Burke’s female leads elevate her novels, making them all well worth your attention. Burke’s first foray into the world of literature came in 2003 with the publication of Judgement Calls. The novel introduced Portland prosecutor Samantha Kincaid (who would be featured in two further books Missing Justice and Close Case). Judgement Calls focused on the assault of a 13-year-old girl, and features a narrative which only gets more interesting as the novel progresses. The revelation of the girl’s occasional prostitution and drug habits muddy the waters of the case, and further leaks and revelations
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keep the momentum going. What makes this novel the impressive debut it was is the detailed knowledge and attention to the process of bringing a case to court. The book was endorsed by the likes of Lee Child and Michael Connelly, signalling approval of Burke from the wider crime writing community. Burke then turned her attention to a new female hero, this time in the form of NYPD police detective Ellie Hatcher. Published in 2007, Dead Connection changed Burke’s criminal focus from the prosecuting perspective to the detective. Then, in 2014, it was announced by publishers Simon and Schuster that Burke and Mary Higgins Clarke, another significant figure in the world of suspense and crime fiction, were working together on a new series. These books, the Under Suspicion series focuses on Laurie Moran, a television producer who has created a reality documentary series on cold cases. So far Burke and Higgins Clarke have collaborated on three books, The Cinderella Murder (2014), All Dressed in White (2015) and The Sleeping Beauty Killer (2016). Burke has also written several standalone novels, the most recent being The Ex, an exploration of what you would do if you were faced with the one who got away, who just happens to be accused of murder. Featuring another interesting and well-rounded female figure, this time in the shape of top defence attorney Olivia Randall, The Ex has an engaging plot, with an entirely surprising twist ending.
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Review:
Telltale's
The Walking Dead: A New Frontier TOM WILMOT After a near two-and-a-half-year wait, Telltale’s The Walking Dead is finally back. The return of the studio’s most popular IP sees the addition of a horde of new characters, the welcome return of familiar faces, and a whole load more zombies. This double episode premiere, entitled ‘The Ties That Bind’, gets the season off to a solid start. This season’s story starts with new character Javier, voiced by Jeff Schine, surviving with the remainder of his family long after the outbreak. After running into some trouble, Javier finds himself stranded, until he runs into returning fan favourite, Clementine. From this point we see a team up between Javi and Clem as they look to reunite with Javi’s family, whilst also facing the mysterious group known as ‘The New Frontier’. Telltale’s choice to move the focus away from initial protagonist Clementine initially came as disappointing news to some. Thankfully though, Javi is a likeable, engaging, complex character. The incredibly tense opening sequence of Episode 1 sets up Javi’s family dynamic in an excellent way, and is a great gateway for getting to know our new lead. Clementine returns to the series a more matured character from Season 2, and whilst A New Frontier acts as an entry point for new players, it is rewarding for returning fans to see their choices carried over into Clem’s new story. In terms of Telltale’s hallmark feature of making choices to change the game, A New Frontier’s first two episodes are
filled with some incredibly difficult decisions that dramatically affect your overall experience. Hopefully this will continue throughout the season, as comparing choices with other players and feeling like your story is unique is part of what makes the Telltale games so fun. In terms of gameplay, The Walking Dead continues the trend of previous Telltale titles. Button prompts appear for dialogue choices that take up the majority of gameplay. There is also the return of quick-time events, where button prompts will feature in action sequences under tight time constraints. These involve the face buttons as well as the analogue sticks, and whilst not the hardest sequences, the timing element does add a sense of urgency to the gameplay. The game is let down as it does not run as well as it should; an unfortunate trend in Telltale’s many franchises. At particular points, it will freeze and skip dialogue, the latter happening far too frequently. Although the game’s overall look and feel has improved, its performance issues are something that Telltale must address soon. The cliffhanger at the end of Episode 2 will leave players itching for the third. Overall, A New Frontier’s first two episodes successfully set up what looks to be another excellent season of The Walking Dead. Assuming Telltale can address the current technical issues, we should be in for something special. The Walking Dead: A New Frontier Episodes 1, 2 and 3 are available digitally and through retail now. All are available on PS4, Xbox One, PC, Android, iOS and Mac.
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CULTURE
SPRING PREVIEWS:
Doctor Who: Season 10 SOPHIE TRENEAR Twelve years ago, Doctor Who sprang back on to our TV screens with a crass “Run!” , as if it had never disappeared. Within a mere 45 minutes, that which in 1963 had paved the way for a myriad of sci-fi franchises proved it was anything but out of steam. Nine series and three regenerations later, it still hurtles on. With no sign of stopping, its tenth series is poised to fly around the corner. The tenth series will introduce the Doctor’s new companion, Bill (Pearl Mackie); the eighth core companion since the reboot kicked off. She joins partially established sidekick Nardole (Matt Lucas) who has starred in the two previous Christmas specials, ‘The Husbands of River Song’ and ‘The Return of Doctor Mysterio’. Released ten months ago, the teaser trailer for the new series sees the Doctor and Bill running from yet another horde of Daleks; a scene since confirmed to fit into an upcoming episode.
to band together a tone reminiscent of the best veins of the last seven years of Who – although it’s unlikely that the style of Russell T Davies/David Tennant’s 2006-10 era will emerge. Series 11 has been reserved for the bigger transformation, after controversial showrunner Steven Moffat leaves, and Broadchurch’s Chris Chibnall takes over. The new series will also say an indebted goodbye to Peter Capaldi, who has played the 12th (or 13th, or 14th, depending on the wibbly wobbly timey wimey canon of the show’s recent history) incarnation of the Doctor for the last two seasons. It might be better though, with such an action-packed tenth series, to forget such an impendence. With such a lot ahead of us, who know what will happen? Only time will tell… Doctor Who returns to BBC One on April 15th.
The emblematic program, having run for a total of 54 years, has been under fire in recent years for succumbing to genericism. However, after several dodgy seasons, Series 9 saw a momentous, though underappreciated, crux in the show’s history. Heralded by critics (including The Edge) as the best season to date, it proved to be a major turning point for Doctor Who, and a fantastic forecast for the next season. With a fantastic group of some of the best Doctor Who writers on board, including veteran DW writer Toby Whithouse (‘School Reunion’, ‘The God Complex’, ‘Under The Lake’/ ‘Before The Flood’, among others), Series 10 promises
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THE EDGE IMAGE BY BBC
CULTURE
SPRING PREVIEWS:
Fargo: Season 3 DAVID MITCHELL-BAKER Fargo Season 1 had absolutely no right to be as good as it was. But then Fargo Season 2 was so much better than we could have ever anticipated. So does it even need to be said that Season 3, set to debut on April 19th, is easily one of the most anticipated TV returns of the year‽ Based off of the 1996 Coen brothers film of the same name, Fargo combines elements of dark comedy, crime and Nordic noir, creating a show full of engrossing characters, sharp dialogue and a disturbing form of charisma. Season 1 told the 2006 story of Lester Nygaard (Martin Freeman), an insurance salesman wrapped up with the mysterious and murderous Lorne Malvo (Billy Bob Thornton). Season 2 took us back to 1979, where a normal couple (Kirsten Dunst and Jesse Plemons) cover up their accidental killing of a powerful gangster at the centre of a crime syndicate. Linking the two series are father-daughter Sheriffs, Lou Solverson (Patrick Wilson) in 1979, and Molly Solverson (Allison Tolman) in 2006. So what does Season 3 hold for the show? Here’s the official synopsis: “Set in 2010, the third instalment of Fargo centers on Emmit and his younger brother Ray Stussy (both played by Ewan McGregor). Emmit, the Parking Lot King of Minnesota, sees himself as an American success story, whereas Ray is more of a cautionary tale. Forever living in his more successful brother’s shadow, Ray is a balding and pot-bellied parole officer with a huge chip on his shoulder
about the hand he’s been dealt – and he blames his brother. Their sibling rivalry follows a twisted path that begins with petty theft but soon leads to murder, mobsters and cut-throat competitive bridge.” Other cast include Carrie Coon as Sheriff Gloria Burgle, a newly divorced mother; Mary Elizabeth Winstead as Nikki Swango, a crafty and alluring parolee and Ray’s girlfriend; and David Thewlis as V.M. Vargas, a mysterious loner who partners with Emmit. Scoot McNairy and Thomas Mann have also signed on in recurring roles. It’s an eclectic combination of seasoned film and TV actors, similar to the previous seasons, and it should hopefully prove to be just as enthralling to watch. Since Season 2 wrapped up at the tail end of 2015, showrunner Noah Hawley has had time to expand his already fantastic resume; in 2016, his excellent novel Before the Fall was released, a book that showed Hawley is just as good at managing multiple storylines and characters on paper as he is on-screen. Earlier this year his newest TV creation Legion debuted to critical acclaim. Hawley is a man going from strength to strength, and thus our hopes are high for his third Fargo outing. Two fantastic seasons under his belt and an intriguing cast in the foxhole with him, Fargo Season 3 looks set to be one of the year’s finest shows. Fargo returns to Channel 4 on April 19th.
THE EDGE IMAGE BY 20TH TELEVISION
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LIVE
pReview and q&a:
Craig David
@ the ageas bowl, southampton JAMES BARKER Southampton legend Craig David is coming back home, Craig also spoke of his “incredible journey”, and how for a very special concert at The Ageas Bowl in September! his Ageas Bowl performance comes at the perfect, matured time in his career. “It’s so cyclical in terms As the tour for his new album, Following My Intuition, of how music comes around, there’s no guarantee reaches its final leg, Craig kept the announcement whatsoever that you can come back and see two of playing in Southampton top secret until a fancy generations connect with your music. I’m ready to press conference The Edge was in attendance for. In smash this out the park.” When questioned on whether the subsequent Q&A, he spoke about the feeling of his Southampton-based Mum would be attending the ‘coming home’ to Southampton, the importance of show, the singer wryly commented that she’d already family and friends, and being too old for all-nighters. been eyeing up one of the fancy on-site Hilton suites for the show. “I wanna make sure my family get to fully “To be back in Southampton, that made me smile. I told experience this,” he humbly noted; “It’s not about ‘look my Mum a few days back, and she said ‘What!’. It just how cool I am, playing these huge events’. I just wanna brings back amazing memories, every time I’m driving come back and have everyone have a good time at my down the Avenue or I come off the M3… This is where shows – if they have a good time, I’ll have a good time.” everything started for me, a little kid with hopes and dreams “I feel every show I do is special to me. I try and bring living on the Holyrood estate. something unique to each one. The TS5 element allows And sixteen years later I’m me to always freestyle it a little bit depending on how playing at the [Ageas] Bowl, the crowd is, and I can lean it anyway as my playlist to 15,000 people... It never is open. We’ve always got extra songs in the bag, and becomes something I take I treat it like a DJ show – we’re always ready to go. for granted, or can ever be This show will be epic.” When asked whether he’d be boring to me. I feel pulling an all-nighter after the show, Craig mused that like that kid all he might just be a bit too old. “The way [my friends] over again, and would like it, I’m gonna be seeing the sunrise; though it’s gonna be one thing I always told myself is that, if I was still seeing an incredible the sunrise at 35, something’s gone wrong! I’m gonna experience.” make the most of it, but burning the candle at both ends is something I’ll put to one side for the minute!” Craig David plays The Ageas Bowl – Southampton’s cricket ground – on Friday September 1st. Tickets are already on general sale. Chart-topping DJ duo SIGMA will be supporting Craig, returning to the city after playing the Union’s Freshers Ball in 2016. Other artists joining Craig are still to be announced.
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THE EDGE IMAGE BY XAVIER VOIGT-HILL
LIVE
Review:
With Confidence
@ The Joiners, southampton CHARLOTTE HUNT In Southampton’s very own The Joiners, preceded by three dynamic sets from support acts Broadside, Safe to Say and Milestones, Australian Pop Punk Band With Confidence wander on stage demanding little attention from eagerly awaiting fans. This seemed a vast contradiction to the passion and energy that had been on stage no more than ten minutes before but everyone in the room knew that what was to come would not disappoint. All eyes were on them, the room was silent and cameras were out. After fiddling with their guitars and taking a video with the audience they said three words: “are we ready?”. The room erupted. With only one album and two EPs under their belt, the set list covered nearly all fan favourites, starting with the introductory track to their debut album– ‘Voldemort’ from Better Weather – and finishing with one of their most loved singles – ‘Keeper’. The electric atmosphere emitted from the audience seemed to bounce from wall to wall of this small, intimate venue. From the upbeat, heavier songs to the more subdued emotional ballads, not a soul was silent, everyone sang every word with all they had. During one of their softer songs, lead singer, Jayden Seeley, warned the audience of his sore throat, something completely undetectable due to the pure energy of his performance throughout. ‘Long Night’ was sang with a
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great depth of emotion and the sore throat caused no hindrance to the quality of the performance. At that moment, everyone was swaying as one, in an almost hypnotised state, to the sound of a familiar song. The band, as a whole, have great onstage presence and chemistry. Their ability to poke fun at and joke with one another between songs made the concert a much more personal experience for the band and fans alike. It is equally as personal to see the band flourish in their own headlining tour of the UK, especially as last year they toured the same cities but as the support act for British Pop Punk Band, As It Is. Being at a venue like The Joiners meant there were no flashy visuals or pyrotechnics, nothing but a simple With Confidence tapestry/flag behind the four band members. This left all attention on their every move, something bound to put any musician under a greater deal of pressure. This seemed to have no effect on them, they played as though in a room full of friends or familiar faces, interacting with individual audience members whenever they got the chance. It is clear this band knows how to work a crowd. The Joiners is known for being the host to many rising stars, including Green Day and Oasis, and if With Confidence carry on the way they are, there is a chance they could share such a legendary status.
THE EDGE IMAGE BY HOPELESS
LIVE
Review:
RAYE @ XOYO, London XAVIER VOIGT-HILL
With piercing strobe panels and chorus of rousing sirens seeping through what little space a packed XOYO had to offer by 9pm on a Thursday, ‘Shhh’ provided a starting jolt to commence proceedings in RAYE’s latest one-off sell-out. The ominous single from August’s SECOND EP is one she highlighted to The Edge as “the most fun to make” from it, and the follow-on from its lyrical density, peppered with trembles of the vocal power within, gifted a welcome reality-beckoning breather not five minutes into the set. As queueing down Cowper Street had been so in vogue, she told of how she teared up at footage her manager had captured before beaming and bobbing her way through a collection of excursions into heartbreak, disenfranchisement, and outright pop gold. Especially with how frequently her name is currently bandied about amidst illustrious companions – Stormzy, Charli XCX, Snakehips, Little Mix, Ellie Goulding, etc. – it becomes far too easy to forget that Rachel Keen is still a 19-year-old BRIT School dropout from Croydon. At the time of her debut headline show – in October, over on the other side of Old Street at Hoxton Square Bar & Kitchen, she filmed the ‘Shhh’ video as a warmup – there was clear evidence from two EPs of a young R&B singer-songwriter finding subtle variety for her mature songwriting. Here, mere months later, five of her records were perched in the singles chart’s top 50, with her name and voice – carried by Jonas Blue’s ‘By Your Side’ and Jax Jones’ ‘You Don’t Know Me’ – kept only from the outright peak by a double dose of Ed Sheeran.
“pop enough” to rest with a suitably commanding aura (“Time is money so don’t fuck with mine”). Elsewhere, her original material did at times draw similar interaction with the crowd, coupling her contemplative writing with a strong vocal that, as she remarked, must be regularly watered amidst her boundless on-stage enthusiasm and writhing. From SECOND, the delicate string lines leading the resonant booms around the chorus of ‘Distraction’ arrested the ‘Shhh’ intensity with a defiant, victorious vein later employed to cap the encore-less set with audience chorus opportunity ‘I, U, Us.’ Tracks like ‘Bet U Wish’ and ‘Hotbox,’ written with astonishing maturity in her mid-teens and featured on 2014’s Welcome To The Winter, presented a yet more solemn strain echoed in ‘Sober,’ a tale recounted exquisitely from a keyboard for its public debut. The contrasts in topic and delivery to the gleeful playground pop ditty ‘My Girl’ were clear yet admirable, with her pure thrill around an audience a delectable tonic for the talent that will certainly realise her ambition of becoming “a massive artist.” Whatever “it” is, RAYE carries such a thing in spades, and those who experienced it with such intimacy will sense that it’s merely a matter of time until the rest of the world cottons on.
It was, therefore, inevitable that these dancier cuts would figure significantly in the programme, but how she elevated them from their staunchly whelming recordings with her charismatic delivery was quite something. The standard ‘By Your Side’ can feel erring as RAYE’s voice is distorted rudely after elegant string dashes, yet here very sparse instrumentation and off-beat clicks in the bluest of lights guided the track subtly towards its drop; ‘You Don’t Know Me’ needn’t have utilised a microphone given the way the audience joined in on its tacit endorsements of waving style-cramping iPhones around in the club, firmly laying her feeling of it as not THE EDGE IMAGE BY POLYDOR
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LIVE
ARTIST IN FOCUS:
ALL TIME LOW SOPHIE TRENEAR
Now known as one of the biggest bands in pop-punk history, the boys of All Time Low spend their days Now known as one of the biggest bands in pop-punk celebrated by a vast fanbase having released two live history, the boys of All Time Low spend their days albums, six studio albums, and another upcoming this celebrated by a vast fanbase, having released two live June, touring consistently in between. Since forming albums, six studio albums, and another upcoming this in high school, they’ve reached icon status and are June, touring consistently in between. Since forming considered as influential on the rock movement as their in high school, they’ve reached icon status and are Blink-182, Sum 41, and Fall Out Boy counterparts, considered as influential on the rock movement as their propelled into the pop-punk stratosphere from Blink-182, Sum 41, and Fall Out Boy counterparts, their humble beginnings in Maryland, Baltimore. propelled into the pop-punk stratosphere from their humble beginnings in Maryland, Baltimore. Starting out covering the songs of the bands they would one day call their peers, November 2003 saw Starting out covering the songs of the bands they the release of their first EP. Soon All Time Low, having would one day call their peers, November 2003 saw taken their name from the New Found Glory song the release of their first EP. Soon All Time Low, having ‘Head on Collision’, released their debut studio album, taken their name from the New Found Glory song The Party Scene, in 2005, all before even graduating. ‘Head on Collision’, released their debut studio album, The Party Scene, in 2005, all before even graduating. After releasing another EP, the boys were propelled into the mainstream after appearing at Vans After releasing another EP, the boys were propelled Warped Tour 2007 and releasing their second studio into the mainstream after appearing at Vans album So Wrong, It’s Right. The album brandished Warped Tour 2007 and releasing their second studio the track ‘Dear Maria, Count Me In’, their first album So Wrong, It’s Right. The album brandished single to enter the charts, now heralded as one the track ‘Dear Maria, Count Me In’, their first of the most iconic of their lengthy discography. single to enter the charts, now heralded as one of the most iconic of their lengthy discography. 2008 marked the start of a lengthy touring tradition for the Baltimore-born boys. Co-headlining the AP 2008 marked the start of a lengthy touring tradition Tour 2008, another Vans Warped Tour outing, and for the Baltimore-born boys. Co-headlining the AP playing alongside bands like The Maine and Mayday Tour 2008, another Vans Warped Tour outing, and Parade, the end of 2008 saw ATL named ‘Band of the playing alongside bands like The Maine and Mayday Year’ by Alternative Press magazine, and rightly so. Parade, the end of 2008 saw ATL named ‘Band of the Year’ by Alternative Press magazine, and rightly so.
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In the following year, Nothing Personal was released which would go on to be one of the best-selling In the following year, Nothing Personal was released rock albums of the year, sell over 60,000 copies, and which would go on to be one of the best-selling reach the top-spot of several charts including the rock albums of the year, sell over 60,000 copies, and US Billboard 200. The album boasts many of their reach the top-spot of several charts including the now-iconic songs, like ‘Lost in Stereo’, ‘Damned US Billboard 200. The album boasts many of their If I Do Ya (Damned If I Don’t)’, and ‘Weightless’, now-iconic songs, like ‘Lost in Stereo’, ‘Damned which remain crowd favourites even seven years on. If I Do Ya (Damned If I Don’t)’, and ‘Weightless’, which remain crowd favourites even seven years on. After various tours, including support for Fall Out Boy’s prestigious Believer’s Never Die Tour Part Deux, After various tours, including support for Fall Out and the release of their first live album Straight to DVD, Boy’s prestigious Believer’s Never Die Tour Part Deux, the band’s first hotly anticipated album was released and the release of their first live album Straight in 2011, Dirty Work, to critical and commercial to DVD, the band’s first hotly anticipated album success. Refusing to rest for too long, they released was released in 2011, Dirty Work, to critical and its follow up, Don’t Panic, one year on. Their next, commercial success. Refusing to rest for too long, they Future Hearts, was released two years later to acclaim released its follow up, Don’t Panic, one year on. Their from fans and critics alike, and the boys went on to next, Future Hearts, was released two years later to embark on some of their most significant touring acclaim from fans and critics alike, and the boys went yet, including a headline slot at Download Festival. on to embark on some of their most significant touring yet, including a headline slot at Download Festival. Having recently teased their fans with a brand-new song, ‘Dirty Laundry’, and an upcoming album, The Having recently teased their fans with a brand-new Last Young Renegade, All Time Low have no doubt song, ‘Dirty Laundry’, and an upcoming album, The changed in more ways than one since starting out Last Young Renegade, All Time Low have no doubt as teenagers. There might be no two songs more changed in more ways than one since starting out different than brand new ‘Dirty Laundry’ put next as teenagers. There might be no two songs more to the far older ‘Jasey Rae’, and playing local pubs different than brand new ‘Dirty Laundry’ put next might have evolved into conquering stadiums, but the to the far older ‘Jasey Rae’, and playing local pubs boys have stayed nothing if not humble, and, luckily, might have evolved into conquering stadiums, but the with the very same rapturous energy that captivated boys have stayed nothing if not humble, and, luckily, listeners nearly a whole decade and a half ago. with the very same rapturous energy that captivated listeners nearly a whole decade and a half ago.
THE EDGE IMAGE BY ALL TIME LOW
ARTIST IN FOCUS:
The xx
@ O2 Academy, Brixton
CARLY-MAY KAVANAGH AND XAVIER VOIGT-HILL
Newly into their third album cycle, The xx’s eventual return to London could never get away with being as simple as an arena show or two. To this day, their sound is one of angst and uncertain intimacy, and a little residency in the venue where all three members first experienced live music seemed only fitting. In hindsight, that the post-I See You run would sell out Brixton’s O2 Academy seven times is remarkable, considering the nerves so apparent on the garagerecorded debut xx that they’re barely audible at times.
further, situated ambiguously above, tilted to show off the habitat of production maestro Jamie Smith, as the set opened up to ‘Loud Places’ after a ‘Sweet Like Chocolate’-infused ‘Fiction’ elicited a thrilling, excitable finale to the main portion of the set. Only in such a week-long celebration could they get away such extravagances, and clearly exhibiting Smith’s workhorse-like performance tendencies illustrates just how his solo sojourn – the Mercury-nominated In Colour – has shaped the band’s recent sonic evolutions.
Yet, the trio’s development in assurance and ambition is evident: Night + Day, announced initially as three consecutive nights before expanding rapidly on the first pre-sale day, isn’t just seven gigs in eight days, with the band’s cross motif etched into every available panel between the Victoria Line’s platforms and the venue’s stage. Escalator adverts detailed the afterparties; free magazines at the door documented film screenings and community outreach endeavours. Each show carried a bespoke support pairing, with spellbinding acts in their own right (Sampha, Francis And The Lights, Robyn, etc.) gracefully borrowing the stage after assorted warm-up mixes from esteemed selectors (Floating Points, Joy Orbison, six hours of Jamie xx and friends). Such was the extent of their squatting, the band even had two explicitly-labelled WiFi networks around the venue floor, including one simply for the lighting.
Otherwise, it can be all too easy to just focus on the brilliance of Sim and Madley-Croft’s precise vocals, endearing interludes, certain telepathic awareness, and awkward suflles. Throughout, if a song or even a verse fell more significantly to one, the other would step back and really allow the attention to be on them. In particular, a tender hug after Madley-Croft’s heartwrenching solo ‘Performance’ was enough to draw tears before the stunning openings of ‘VCR’ and ‘Angels’ could even make themselves known. Out of ‘On Hold,’ their comeback single and a clear highlight (alongside ‘Dangerous’) from the new record both on tape and stage, the ominous instrumental ‘Intro’ came as a breathtaking penultimate encore moment, because nothing is more xx-like than an introduction to end. (The two even swapped sides!)
On a minimal stage – because this is the same band that delivered ‘Intro’ after all – the softly-spoken front pairing of Oliver Sim and Romy Madley-Croft stood, stared, and swayed peculiarly in an enclosure of eight revolving stage-high revolving panels, mirrored on each face to propel light around the room. One
Throughout Night + Day, The xx’s mission – comfortably achieved – was to shatter hearts into millions of pieces by way of blaring horns, pulsating basslines, and an ethereal vocal coating that feels somehow more nuanced than their low-key recordings ever could. To join the three childhood friends who, after three powerful albums, returned home to an adoring city was a truly unforgettable experience.
THE EDGE IMAGE BY YOUNG TURKS
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LISTINGS FILM 2nd April Taxi Driver @ Harbour Lights 9th April Casino @ Harbour Lights 16th April Batman @ Harbour Lights 24th April Gentlemen Prefer Blondes @ Harbour Lights
3rd May Stewart Lee @ Mayflower 9th - 13th May Jane Eyre @ Mayflower 14th May Count Arthur Strong @ Nuffield Theatre 15th-20th May The Woman in Black @ Nuffield Theatre 21st May Ruby Wax @ Nuffield Theatre
30th April One Flew Over The Cuckoo’s Nest @ Harbour Lights 30th April Mad Max: Fury Road (Black & Chrome Edition) @ Harbour Lights 1st May Mullholland Drive @ Harbour Lights 7th May Chinatown @ Harbour Lights
Theatre 3rd-8th April Dr. Frankenstein @ Nuffield Theatre 4th-8th April The Wedding Singer @ Mayflower 6th April- 29th June Grapevine @ Nuffield Theatre 9th April Sara Pascoe @ Nuffield Theatre 15th April Billy Ocean @ Mayflower 18th - 22nd April Wonderland @ Mayflower 23rd April Jimmy Carr @ Mayflower 25th April - 13th May Pygmalion @ Nuffield Theatre 27th - 29th April Madam Butterfly @ Mayflower 30th April Shappi Khorsandi @ Nuffield Theatre 2nd May Russell Brand @ Mayflower
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THE EDGE
LIVE 1st April Broken Witt Rebels @ The Talking Heads 2nd April Totorro @ The Joiners 7th April Acid Reign @ The Talking Heads Our Hollow, Our Home @ The Joiners New Model Army @ Engine Rooms 8th April The Toasters @ The Talking Heads Southampton Punk Festival @ Engine Rooms 9th April Magenta @ The Talking Heads Attila @ Engine Rooms 11th April Chris Bourne @ The Joiners 12th April Haze @ The Talking Heads Steve Ignorant (Crass) @ The Joiners 13th April Holy Moly & The Crackers @ The Talking Heads Joanna Gruesome @ The Joiners 14th April Deference @ The Joiners 16th April Rusty Shackle @ The Talking Heads Ducking Punches @ The Joiners 18th April Menzingers @ The Talking Heads 19th April Strange Bones @ The Talking Heads
20th April Maid of Ace @ The Talking Heads 22nd April Johnny Lloyd (Tribes) @ The Joiners 23rd April Kult @ The 1865 The Wytches @ The Joiners 25th April Maia @ The 1865 Patent Pending @ The Joiners 26th April While She Sleeps @ The Talking Heads 27th April Kovic @ The Joiners 28th April Counterfeit @ The Joiners 30th April Black Spiders @ The Joiners 3rd May The Hunna @ Engine Rooms 4th May The Kooks @ O2 Guildhall 7th May The Dark Market @ The Talking Heads The Skints @ Engine Rooms 9th May Skinny Lister @ The Talking Heads 10th May Katatonia @ Engine Rooms 12th May Hands Off Gretel @ The Talking Heads
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