Issue Six Welcome to issue six of The Edge, the superhero edition! In light of the recent boom of the superhero franchise we thought it would be apt to dedicate a whole issue to them, with our cover feature predicting what the future holds for the genre. What is in store for our beloved caped crusaders? Turn to page 10 to find out. (*said in a booming movie trailer voice*) Our culture section is entirely dedicated to superheroes, in one form or another. I argued for the inclusion of House of Cards as Kevin Spacey’s Frank Underwood is the epitome of the anti-hero with his scheming, self indulgent plans. We have a review of the first episode of season two of House of Cards that aired on Netflix last month; be sure to catch up before you check it out, we don’t want to spoil the fun. More on the stereotypical superhero track, we have reviews of both Arrow and Marvel’s Agents of S.H.I.E.L.D. Be sure to check it all out. The hero of the moment in the music industry, Pharrell Williams, is back with his brand new album G I R L. Check out the records section for our review; we promise there will be no silly Vivienne Westwood hats involved! Also in the records section we have reviews of St. Vincent’s self titled record and Coldplay’s brand new track ‘Magic’. As I write this editorial it has dawned on me that this is my penultimate issue as Editor of The Edge *fights back tears*. The magazine has improved so much over the last year - even if I do say so myself - and I am insanely proud of the work we have put in to make it what it is today. I hope that whoever takes the reins next year will put just as much love and care into The Edge as I have done over my three years here. I’m excited for whoever gets that opportunity! Apologies for the outpouring of emotion, but for now I’m still in charge *evil villain laugh*. Remember, with great power comes great responsibility. Megan Downing Editor (aka. King Pin)
Editor Megan Downing
editor@theedgesusu.co.uk Deputy Editor Howell Davies deputy-editor@ theedgesusu.co.uk
Film Editor Barnaby Walter film@theedgesusu. co.uk
News Editor Hannah Mylrea news@theedgesusu. co.uk
Head of Relations Kirstie Carter relations@ theedgesusu.co.uk
Records Editor Jan Kobal records@ theedgesusu.co.uk
Culture Editor Rebecca James culture@theedgesusu. co.uk
Online Manager manager@ theedgesusu.co.uk
Head of Publicity Bronwyn Scotland publicity@ theedgesusu.co.uk
Features Editor Cat Olley features@ theedgesusu.co.uk
Live Editor Grace Pattle live@theedgesusu. co.uk
Head of Design Claire Joines design@theedgesusu. co.uk
Editor In Chief David Martin vpcdci@susu.org
02 |Editorial
The Edge | editor@theedgesusu.co.uk
Contents Welcome Welcome to to Issue Issue Six Six
p. p. 22
Records Album Reviews Pharrell Williams - G I R L St. Vincent - St. Vincent Beck - Morning Phase Sun Kil Moon - Benji Single Reviews Todd Terje - ‘Delorean Dynamite’ Jess Glynne - ‘Home’ Coldplay - ‘Magic’
p. 4 p. 5 p. 6 p. 9 p. 7 p. 7 p. 7
Half of a Yellow Sun p. 18 Non-Stop p. 19 Archive & Comment Archive: Zodicac p. 20
Culture
House of Cards: Season 2, Episode 1 p. 21 Marvel’s Agents of S.H.I.E.L.D p. 22 Arrow p. 23 Flashback: Harry Potter and the Chamber of Secrets (PC Game) p. 24 The Lego Movie Videogame p. 25
Live
Features Caped Crusaders: The Future of the Superhero Franchise p. 10 Famous Last Words: The Best Final Songs p. 12 Interview: MØ p. 15
Film Cinema Reviews Only Lovers Left The Double
p. 16 p. 17
Review: Brother & Bones at The Talking Heads (17/02/2014) p. 26 Review: Julio Bashmore at Warehouse, Southampton (01/03/2014) p. 27 The Pizza Underground to perform at The Joiners this summer p. 28 Review: Young Rebel Set at The Joiners (27/02/2014) p. 28 Review: Bastille at Bournemouth International Centre (04/03/2014) p. 29 Listings p. 31
Edge| |culture@theedgesusu.co.uk editor@theedgesusu.co.uk TheThe Edge
Culture ||01 Editorial 03
s m a i l l i W l Pharrel Columbia
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harrell Willliams is the man of the moment; he was Oscarnominated for his ‘Happy’ contribution to the Despicable Me 2 soundtrack and creator of unforgettable summer tracks alongside Daft Punk and Robin Thicke. But, G I R L, his first solo album since 2006’s In My Mind, looks set to remind us why the man beneath the ridiculously big hats is a musical genius in his own right. G I R L is a celebration of the female, and Pharrell does it well. Album opener, ‘Marilyn Monroe’ makes sublime use of strings to create an introduction that wouldn’t be out of place in a movie (I did find that it resembled parts of the Pirates of the Caribbean soundtrack…), and this is sustained throughout whether through punchy pizzicato or a graceful accompaniment. The balance of the song shows why Pharrell is the go-to producer for many artists.
04 | Records
Naturally, this sleek production is carried on throughout G I R L, and we most definitely aren’t deprived of his trademark falsetto. Tracks like ‘Hunter’ show that it can be a bit piercing, and some even highlight that his vocals can fall a bit flat (literally); but this doesn’t matter, because G I R L is not just an album: it’s a musical statement. Let’s get the negativity out of the way. G I R L is not the perfect album. It is let down occasionally by Pharrell trying to do too much, indulging in unnecessary orgasmic sounds, and some weak lyrical content (“When I open the window, I wanna hug ya / ‘cause you remind me of the air, yeah!” – make of that what you will…). However, it is little gifts like ‘Lost Queen’ and its almost tribal influences which provide some of the biggest surprises on this release, and also its hidden track, ‘Freq’. We not only find out that Pharrell thinks all women want “hot sex and gold shiny things”, but also where The Edge | records@theedgesusu.co.uk
JoJo’s been hiding for all these years! It’s impossible to miss the feel-good 70’s funk vibes which permeate the album, and the nods back to his N*E*R*D* days; G I R L would be a completely different album without them. It is this nostalgia, as well as Latin dance and ska style duets with Justin Timberlake and Alicia Keys respectively, which really highlight the amount of thought which has gone into Pharrell’s pro-feminine concept album. The easy listening platform makes the songs far more accessible, and his “women are wonderful” message far easier to slip into the mainstream. G I R L is a brilliant return for Pharrell, and proves itself to be the pick-me-up the musical world has been waiting for. Words by Shell Hinds
St. Vincent St. Vincent
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nnie Clark has managed to continuously mesmerize me for several years. Apart from her startlingly competent football control, and presence on quirky shows such as Portlandia, she utilizes her phenomenal guitar prowess to weave joyfully experimental music. Every LP Clark releases observes St. Vincent exuding a certain personal trait. Frailty seemed to prevail on her debut (Marry Me), beautiful angst flows through her sophomore (Actor), elegance and disenchantment are present on Strange Mercy, and unabashed confidence finds itself manifest on St. Vincent. Not to say that her prior work lacked confidence. It did at times, however, sacrifice musical appeal for manic creativity.
St. Vincent is Clark’s most consistently visceral work to date, with flourishes and grooves that one can only truly appreciate upon several diligent listens. As with all of Clark’s music, St. Vincent is built on a foundation of intricately delicious guitar experimentation and (more often than not) elaborate rhythms. Layered on top of this is Clark’s most underrated talent, her wistfully ornery lyrics and vocal harmonies. The production throughout the entirety of the record begs for a competent mode of listening in order to be properly enjoyed. From the ingeniously oscillated hi-hats on album opener ‘Rattlesnake’ to the subtly split and panned synthesizer
REpublic
octaves that introduce ‘Psychopath’, every song has a seemingly effortless aural surprise for one to indulge. The themes Clark explores in her music have mainly revolved around humanity versus artificiality. The idea that in this day and age we have become so accustomed to whatever life we lead that if we were to detach ourselves from it we would end up questioning it and, in the process, discover a new aspect of ourselves that would vanish the second we return to the mundanity of our regular lives. The tainted beauty of this is that our transformed selves would have to be left there standing, never being allowed to be packed into the boot of a car and driven back to the city. These themes are ever present in St. Vincent, especially on tracks such as ‘Rattlesnake’ and ‘Digital Witness’, the latter being very reminiscent of the collaboration between her and David Byrne due to its marvelous use of staccato brass. This is the record that sees Clark fully detach from any semblance of the Annie Clark she started out as. One need only glance at the transitory history of her cover art to see this. It is as if the ideas she started presenting on Marry Me were an extension of her own, reflected in the fairly stoic and normal facial expression found on the cover. Actor sees Clark looking away from the camera, further testing the waters. She screams behind a refrained veneer on the cover of Strange Mercy and finally breaks through as the artistic symbol she has toyed with for so long on the cover of St. Vincent, proudly sitting atop her peculiar throne, gazing assertively at the audience while draped in a futuristic garb of sartorial elegance. St. Vincent has arrived, and I hope she is here to stay. Words by Jan Kobal
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Records | 05
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eck, one of the most artistically mercurial and prolific alternative artists of the last two decades, has finally released Morning Phase; his self-professed follow up to 2002’s expertly restrained and utterly beautiful Sea Change. Esoteric and arcane are two things this album is not, much like Sea Change, the themes explored on this album pertain to loss, inexplicable lack of motivation, depression and, ultimately, resolution. Beck’s music has been rather scatological in the past, ranging from upbeat and rather non sequitur to subdued and somnambulant. Those looking for music in the vein of Odelay or Midnight Vultures should approach this record with an open mind. Even though it won’t get you up and running, it pleases the ear and serves as an apt concomitant to an introspective rainy day. Morning Phase is a little bit of a hit and miss record, a gem at times while occasionally being rather drab and formulaic. Every second of the album is beautifully produced and sequenced with orchestral interludes tying the work together very nicely. You never know whether you are about to get a languidly scintillating piece of music that waxes and wanes with purpose,
such as with the absolutely perfect album closer ‘Waking Light’, or a supremely disappointing AM radio country song such as with ‘Blackbird Chain’, ‘Blue Moon’, and ‘Country Down’. I very quickly realized that these rather disappointing songs were necessary for the album to achieve its goal as a fully bodied piece of work, even if they never compelled me to listen to them more than once. Trudging past these songs, however, reveals some of the most marvellous pieces of music Beck has ever made. The flanged piano on ‘Unforgiven’ allows for a string section to dovetail splendidly and the addition of a harp near the end of its run serves as a surprisingly well-suited surprise. The percussion present on ‘Morning’ is enveloped in such a sense of lackadaisical charm that Beck’s voice not only accentuates the track, it makes it soar. ‘Phase’ serves as a fantastic orchestral interlude that gave me goose bumps on my initial listen. ‘Wave’ had a similar effect, its swelling arrangements allowing for Beck to croon in such a dramatic way so as to astonish the listener while never hindering the track by descending into any sort of histrionics.
Reverberation plays a large part on this album but it never coats the music to such an extent that it becomes shrouded or murky, it instead seems to add a fantastic and sweet dimension to it. The one piece of music that I will be taking away from this album and cherishing for years to come is without a shadow of a doubt, ‘Waking Light’. The song most resembles the sort of structure Beck utilized for Sea Change all while being much more embellished. Something to be noted about these two albums, is that where Sea Change exercised an admirable amount of restraint in order to evoke the emotions it did, Morning Phase opts to do the opposite on quite a few tracks, thus leading certain songs to become rather cluttered and cumbersome to listen to. As much as the music present on Sea Change is what made it the seminal piece it is, it was the dead space and atmosphere that surrounded it that made it so hauntingly beautiful. I leave this listening experience wishing Beck had taken a note out of Ludwig Mies van der Rohe’s book in that less can most definitely mean more. Words by Jan Kobal
Photography: Peter Hapak
Capitol
BECK // morning phase 06 | Records
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Singles
todd terje // delorean dynamite
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he track is instantly likeable, quickly bringing us back to the familiar, catchy disco synths we all associate with Terje, yet with quite enough undercurrent of bass to make it acceptable during a house set. Terje really is the go-to man for those wanting to check out some real disco-influenced music. What he manages to do well is create a true sense of euphoria and release, slowly building us up and bringing us back down. If like me, you stick it on repeat, once the initial quirkiness of the track wears off, the real musical quality behind it shines through. So grab the album on pre-order now, and you’ll receive this banger just to keep you tiding over until the album is unleashed in April. With so much going on in this track, it seems like a fair deal. If this single is anything to go by, the album will be well worth the wait. Words by Jamie McLean
jess glynne // home
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eaturing on two hit singles in a two month period is a pretty good way to kick off your music career. Jess Glynne has established her name through her collaborations with Clean Bandit and Route 94, but her debut single proves that she has the talent to stand on her own two feet. ‘Home’ sits on a melody which is riddled with strings, a garage beat and ticking percussion, providing a flawless backdrop to Glynne’s radio-friendly soulful vocals. Think Lauryn Hill meets Ella Eyre and you would soon be on your way to defining her voice. The production clearly takes inspiration from Clean Bandit’s use of orchestral riffs, while her soulful voice and underground beat tie the elements together neatly. While it may not be anything particularly fresh or groundbreaking, ‘Home’ is clean, catchy, and suggests huge potential.
coldplay // magic
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xcluding last year’s contribution to the ‘Catching Fire’ soundtrack, Coldplay have not released a single since ‘Hurts like Heaven’ in 2012. The fact that the band have just announced a new album, Ghost Stories, will please fans just as much as this new single from the upcoming LP. This is not typical Coldplay either, with the beginning of the song sounding like The xx, very stripped back and minimalist. The drum machine and lack of guitars may concern those who appreciate their live performances but at this stage of their career, Coldplay seem to be enjoying experimenting with their musical style and it shows. This song is a grower and is all the better for it. Diehard Coldplay critics may yet be won over. Words by Joe Gibson
Words by Howell Davies The Edge | records@theedgesusu.co.uk
Records | 07
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ark Kozalek, currently the only member of Sun Kil Moon, pours his heart out into this hour long venture into the mind of a middle aged man. Benji features contributions from Sonic Youth’s Steve Shelley and various other indie artists. Kozalek reveals his insecurities through simple chord sequences, beautiful fingerpicking and his signature vocal style. ‘Carissa’ begins the album with sombre steel strung acoustic guitar accompanying Kozalek’s gravelly voice. The lyrical style of Kozalek adds a personal touch to this album. It is almost as if he is letting the listener into his own head. The mournful tone really translates well into the next couple of songs, ‘I Can’t Live Without My Mother’s Love’ and ‘Truck Driver’. The former of which has possibly the most heartfelt lyrics in the entire album, on par only with ‘I Love My Dad’. The latter of the two, begins with lyrics that set the tone immediately “My Uncle died in a fire on his birthday”. The dark, haunting guitar part very much accentuates the restrained anger, and even in the darkest part of the album, the vocal harmonies still brighten up the mood. ‘Jim Wise’ is the only track on this album which doesn’t feature a guitar, but instead a sweet sounding electric piano. With a female vocal harmony, this song really isolates itself from the rest of the album and almost acts as a divider between the two halves. It is in this track that Kozalek demonstrates his ability to tell a story through song. ‘I Love My Dad’ has such a kind
chord sequence that is filled with nostalgia and a sense of humor. ’I Watched The Film The Song Remains The Same’ features Kozalek’s mesmeric fingerpicking and lulls the listener into this introspective state of mind. The angelic backing vocals and the ethereal finishing solo makes for one of the most memorable moments in Benji. ‘Micheline’ is the tenth song on this album, reminiscent of ‘Carissa’, the kind, country feel is juxtaposed with tragic lyrics and it makes for quite the emotional journey in just over six minutes. Last but certainly not least, ‘Ben’s My Friend’ sees the album to its end. This song doesn’t sound like anything on the album and really shouldn’t work, but it somehow does. With drums right at the start and shakers to give it some well received syncopation, this is probably the only song in Benji with a hook and even has a simultaneous guitar and saxophone solo. What makes this song even more impressive is that Kozalek just wrote it on a whim as a nod to Ben Gibbard of Death Cab for Cutie. This is definitely an album to consider purchasing. The cathartic lyrics may seem overwhelming at first, but repeated listens reveal the meanings behind each track. Benji is the kind of album that requires the listener to take one hour to dedicate to it as not all of the tracks hold up to being played on their own. If you are willing to give this album some time, you definitely will not be disappointed. Words by Aniruddh Ojha
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Records | 09
Caped cr
THE FUTURE OF THE SU
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ith Netflix and Disney having just signed a $2 million deal to create a new, Netflix-exclusive TV show based around four New York superheroes, now seems like the perfect time to re-evaluate the explosion of the comic book superhero in the mass media, and question quite why audience are still enthralled with caped crusaders. The Netflix/Disney deal is set to bring four relatively unknown superheroes to television and computer screens via the streaming service. Daredevil (last seen in Ben Affleck’s disastrous 2003 film, of which the less said, the better), Jessica Jones, Iron Fist and Luke Cage will be the focus of the series, which is set to be filmed exclusively in New York, with a deal which covers four seasons and sixty one-hour episodes. This deal solidifies the move of superhero franchises from one media platform, film, to a multiple platform environment, s om e t h i n g
10 | Features
started by shows like Arrow and Agents of S.H.I.E.L.D. Recent years have seen an explosion in the proliferation of the superhero genre. Although there were several different superhero movies in the years preceding 2000, the most notable franchises being the Superman films and George Clooney’s outing as Batman (including 1997’s ‘classic’ Batman and Robin) 2000 brought to the big screen the first team of superheroes in X-Men. However, 2001 was a turning point in the explosion of the genre. Rebecca Housel argues in her book Superheroes and Philosophy that ‘since the tragedy of September 11th 2001, the popularity of films featuring heroes in many forms has soared. Naturally, comic book superheroes perfectly fit this need, and comic book-based films have set new box office records’. In the wake of such a tragic event we needed something to look to to provide support and hope, and thus the superhero franchise was truly born. What followed was a sudden boom in the popularity of superhero movies, led by Spider-Man in 2002, staring Tobey Maguire, Kirsten Dunst and James Franco.
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Groups of superheroes fighting crime together is a common occurrence in the original comic book material, with Marvel or DC heroes featuring in each other’s comic books on a semi-regular basis. However, the inclusion of Black Widow (Natasha Romanov) in Iron Man 2 was the first hint of the changing landscape of the superhero genre on film. What is particularly startling about the superhero boom is the way that it is no longer comprised of film series’ focusing on an individual hero, with a couple of movies in a franchise before audiences move on. It doesn’t mean a necessary degrade in quality, like 2007’s appalling Spider-Man 3 which showed exactly how not to mash up villains. Instead, the emergence of a combined Marvel film verse, culminating in a phase one finale of Avengers Assemble, was a game changer for the way that we view superhero films. While you can easily watch all
rusaders
UPERHERO FRANCHISE of the Iron Man films as their own series, they slot into the Marvel world, particularly the third which makes direct reference to the events of Avengers Assemble. With the now prerequisite postcredit (and post post-credit) sequences referencing the next film to be released in the wider Marvel film verse (as opposed to the one featuring the central character) audiences are encouraged to try films featuring superheroes they may never have heard of (Guardians of the Galaxy seems set to be a good example of this). The way that this new format has changed the way we view superheroes is clear, as other studios have attempted to jump on board with the successful format piloted by Disney and Marvel. DC is trying to do this with the upcoming - and as yet unnamed - Superman versus Batman film followed by the scheduled Justice League film, while there are rumours that Columbia pictures wants to make a team style verse out of the Spider-Man franchise, perhaps starting with the - on the cards - Sinister Six movie. The
Disney/Netflix
deal
expands on the movement of superheroes from the big screen to live action television. While both Marvel and DC comics have been on the small screen in the form of cartoons for a long time, live action superhero series have been around for longer than you might think - Superman had his own live action series in the 1950’s. What makes the newest series stand out is its connection with external material; Agents of S.H.I.E.L.D does not exist in a vacuum, but rather directly responds to the occurrences in the wider Marvel cinematic universe. Whether this trend continues largely depends on the show’s renewal, which is currently touch and go, so it remains to be seen whether this will be a failed experiment, or a template that DC comics will attempt to follow in the future. The superhero train certainly shows no sign of stopping anytime soon. With Captain America: The Winter Soldier - which marks the ninth instalment of the Marvel cinematic universe - set to
be released at the end of March, Guardians of the Galaxy set to come to cinemas in August this year, and Avengers: Age of Ultron currently filming, Marvel and Disney seem set to continue the conveyor belt of superhero movies well into 2015. The only question now is how long this trend will continue, and whether audiences will bore of the super powered superhero exploits.
Words James
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by
Rebecca
Features | 11
Famous last words: the best final songs
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hilst for many acts the concluding chapter of their career is closed by the release of a press statement citing ‘creative and personal differences’ or death, the true send off usually lies in their last ever work. When the time comes for a group or act to call it a day they are more than likely tired, resentful and/or emotionally damaged: a set of circumstances which occasionally leads to some of their greatest material. So, to dig deeper into this phenomena and also partly pay tribute to My Chemical Romance releasing their final ever song this month, the writers of The Edge have decided to team together Avengers-style and trawl through some of their favourite sonic eulogies. The Beatles - ‘The End’
Smashing Pumpkins - ‘Untitled’
Before anyone points it out, yes I realise ‘The End’ is not the final song The Beatles ever released. That dubious honour goes to 1996’s ‘Real Love’. Furthermore ‘The End’ was not even the last song on Abbey Road as the original hidden track ‘Her Majesty’ came directly after. This said, of the many final songs of the Beatles this is perhaps the one that does justice to their craft and justifies their status as one of the most innovative acts of the twentieth century. The track illustrates many of The Beatles’ strengths - the ‘less is more’ drum style of Ringo, the melodic and imaginative playing of Paul McCartney, the blues-influenced lines of George Harrison and the harsh skiffle-y twang of John Lennon. This is capped by the soothing and slightly elegiac finale focused around the seminal “And in the end the love you take is equal to the love you make.” No other band has synthesized all of these influences to such a great degree, and in this way ‘The End’ is evidence of The Beatles’ enduring appeal.
‘Untitled’ was the final single recorded by the Smashing Pumpkins, released in 2001, before their break up post-Machina/The Machines of God. The fuzzed lead and cheery clean rhythm guitar makes ‘Untitled’ sound like it could have been recorded by the Siamese Dream-era Pumpkins. According to frontman Billy Corgan, this was entirely the point; they wanted to write a song to show all their disillusioned ex-fans that they still had it and that they hadn’t ‘lost [their] minds and weren’t able to come home’. However, the song was actually recorded in the space between the exit of legendary first bassist, D’arcy Wretzky and before her replacement, Melissa Auf der Maur, which resulted in Corgan recording bass parts. Although Corgan has partially resurrected the Pumpkins with a completely new group of musicians, there are still moments in their most recent album, 2012’s Oceania, which serve as a reminder that he hasn’t gone entirely mad.
Words by Aaron Gordon Mulford
12 | Features
Words by Aniruddh Ojha
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The Libertines - ‘What Became of the Likely Lads’ The infamous duo of Pete Doherty and Carl Barat – the lead singers of one of rock’s most original outlets of the twentieth and early twenty-first century, The Libertines - are as well known for their drug-induced spats as they are for their catchy choruses and rowdy parties in their Bethnal Green flat. Although The Libertines were a four-piece band, with John Hassall on bass guitar and Anthony Powell on drums, much of the lyrical genius and melody writing stemmed from the Doherty/Barat relationship, thus much of their turbulent relationship can be chartered through their songs. ‘What Became of the Likely Lads’ was the last single ever released by the band as a four-piece, reaching number nine in the UK charts in August 2004, in which Barat laments “Oh what became of forever?/ Though, we’ll never know”. Doherty’s ongoing drug addiction makes these lyrics particularly affecting, as his inability to keep clean led to the fracturing and eventual dissolution of the band as it was known. “I tried to make you see/but you don’t want to know” suggests at the frustration faced by Barat as he attempted to reconcile with his musical partner and ultimately best friend; this reunion didn’t occur until 2010, when The Libertines headlined Reading and Leeds festival. Their final single released together is poignant in its intimacy. Although it was preceded by the commercially more successful and arguably better ‘Can’t Stand Me Now’, nothing sums up the sadness of such a raw, energetic and downright talented band - and friendship - dissolving over a sad drug problem than Barat asking: “what became of the likely lads?” Queen - ‘Mother Lover’ Words by Amy Sandys Queen lost their flamboyant frontman Freddie Mercury to AIDS in November of 1991, but LCD Soundsystem - ‘New York, I Love You earlier that year he had been working hard to but You’re Bringing Me Down’ get as much new material recorded with the band as he could, while he still had time left. Okay, I’ll admit that I’m partaking in a minor According to guitarist Brian May and drummer bending of the rules. Whilst this track is by far Roger Taylor, during these sessions Freddie not the final song that Murphy wrote under the would be drinking shots of vodka in between Soundsystem moniker - This Is Happening, the takes to give him the strength to get through last album by LCD Soundsystem, was still to another. ‘Mother Love’ features the singer’s last come - it was the final goodbye at their threeever vocal performance; recorded over a few hour long, sold-out farewell show at Madison days in May of ’91, Freddie said that he needed Square Garden, and what a goodbye it was. to go home ‘for a rest’. Unfortunately he would Documented in the fantastically moving film never feel well enough to return to the studio to Shut Up and Play the Hits, Murphy sings his finish the song; the third verse is sung by Brian intimate ode to the duplicitous personality and May. As the song fades out, a short clip of the coldness of his hometown with every moment band’s classic ‘Live At Wembley’ performance savoured and held onto for as long as possible by and a few seconds of every song they ever audience and band alike, slowly crescendoing recorded jumbled into one can be heard, as well and culminating in an explosion of sound and as a few lines of ‘Goin’ Back’ (a song recorded cascading balloons from the Garden’s ceiling. by Freddie’s first band ‘Larry Lurex’), reflecting on their past and everything they achieved ‘If it’s a funeral’, the band’s breakup with their late, great frontman. ‘Mother Love’ announcement said, ‘let’s make it the best appeared on the posthumous Made In Heaven funeral ever’. It most certainly was. album alongside the rest of the material to come from these final sessions and some of Freddie’s Words by Lewis Cato older solo tunes re-worked by the remainder of the band, thus bringing closure to this period of their career. Words by Seb Male
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Features | 13
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hrough her tireless schedule of festival appearances and gigs across the world, she has slaved away to make a name for herself in music over the last two years. We caught up with MØ - real name Karen Marie Ørsted to find out about her debut album No Mythologies To Follow and her plans for the rest of 2014.
No, I wouldn’t say it’s pessimistic, but I feel like the record is a bit restless, like I’m searching for an answer. A lot of the songs are about being young and confused and restless, like I’ve already said, but ‘Don’t Wanna Dance’ is about those hours when you don’t think about that, when you get drunk and you have fun with your friends.
Your debut album No Mythologies To Follow is out on 10th March, how are you feeling about it finally being released?
What other musicians and acts are inspiring you at the moment?
I’m very excited but I’m also terrified of course. We’ve been waiting for this and building up to this release for so long, that it’s so surreal that it’s finally coming out. I’ve been so excited about it, but now I’m like ‘oh no!’ because we’ve been waiting for so long. I’m totally excited, it’s just so crazy that it’s finally coming out! You have said that your current single ‘Don’t Wanna Dance’ is the only positive song on the album does that mean it’s a pessimistic record?
At the moment I am very inspired by the producer SOHN, and not to be cheesy but life in general. Emotions and the stuff that happens when you walk around and the people surrounding you, that’s often what inspires me the most. How come you’re still in the studio recording music, even though the record is about to be released? The thing is, I started making music when I was a little kid. This sounds so typically artistic like ‘awh I need to make music!’ but it’s my way of getting my thoughts, feelings,
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frustrations and even happy things out. I just really love working on new music all the time. That’s what I really adore the most. And finally, what other plans do you have for the rest of 2014? Right now everything that lies beyond the release of the debut album is a blur because you never know what will happen. I just really hope that I get to tour a lot and make a lot of new good songs and the most important thing is that the people like the album. I hope the people supporting me and my fans will feel connected to the album and get something out of it. The most important thing about music I think is when you can touch people in a way that makes them want to do something in their own lives, so if that could happen I would be one lucky woman. Words by Howell Davies Photography by Thomas Skou
Features | 15
Only Lovers Left Alive Director: Jim Jarmusch. Studio: Soda Pictures. Out Now.
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he seven year struggle that independent film-maker Jim Jarmusch endured to realise Only Lovers Left Alive is testament to its marginality in the genre. Inspired by Mark Twain’s The Diaries of Adam and Eve, Jarmusch’s vampire romance drama opens a window into the lives of eternal lovers. With the focus entirely on mood and very slight plot progression, the film bears little resemblance to ‘vampire classics’ Nosferatu, Dracula or even recent teen franchise Twilight. Rather, the couple’s immersion in their chosen worlds is faultlessly echoed in the contemplative cinematography, composing a love letter to not only love itself, but music, literature and culture. Adam (Tom Hiddleston) and Eve (Tilda Swinton) are lovers who simply happen to be vampires. The oft-sensationalized vampiric traditions such as drinking blood are handled rather matter-of-factly, their survival dependent on nonthreatening relationships with those
16 | Film
who have access to hospital blood banks. For it is only in Eve’s sister Ava (Mia Wasikowska) that we have the clichéd seductive vamp who too easily gives into temptation, threatening their peaceful, insular world with exposure. The film poses the question of what it would be like to live an immortal life, and Eve’s resounding reply is to nurture interest in everything. Culture keeps them going, and it is their difference that binds them; for in yin-yang style, exquisitely expressed via costume, she provides the light, he the dark. And so, Adam exudes the suffering of immortality, a brooding Byronic rock-star living in Detroit, whose roadie dealer procures rare guitars and amplifiers. Clad in black from sunglasses to steel-toe-capped boots, Hiddleston lends the role an unanticipated balance of sensitivity and edge, while Swinton’s freespirited nature-lover Eve gracefully navigates the human world with ease.
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But romance is not confined to husband and wife, and the camera lovingly captures the magically cultural nocturnal worlds they have chosen for themselves. Dreamlike drifting through a crumbling night-time Detroit exposes its incontestable standing in music history, while Tangier is elevated to the natural resting place for unsung heroes of literature (John Hurt’s Christopher Marlowe). However, the film also cultivates a romance of music between the film-maker and audience, the moody, evocative score (provided by Jarmusch’s own band Sqürl), forming a melodic dirge with hints of the Middle East. Although the cultural references are often so explicit they break the immersion, they serve to validate the couple’s meant-to-be-ness, and you leave the theatre inspired to look at the world with the same child-like wonder as a twothousand-year-old immortal. Words by Meg Wallace
The Double Director: Richard Ayoade. Studio: StudioCanal. Out: 4 April.
T
he first thing that becomes apparent about The Double is its setting. It’s impossible not to take note of the endlessly drab and muted colour tones of its mad and undiluted world; this is clearly an edge towards the film’s Russian roots (a Dostoyevsky novella of the same name). With his second film, Richard Ayoade has graduated his influences from French new wave to Orwellian dystopia, and this results in a much less sunny disposition, and a far darker set of laughs. This builds towards the realisation that the comedy on display here is much less noticeable, particularly beyond the (at times) deeply affecting plot. With a bigger budget comes bigger stars, and so steps into the spotlight Jesse Eisenberg in the dual-lead role, playing both the ineptly invisible Simon James, and his counterpart (or “double”), the sensationally charming James Simon. Of course acting opposite yourself is never an easy job, but Eisenberg brings
with him a certain penchant for both awkward humour and a snide confidence that tears away any doubts towards confusion, and makes for a truly entertaining watch. Support is brought in by the ever-watchable Mia Wasikowska as Simon’s admirably cute loveinterest, with a host of other Ayoade-alumni taking a bow (even if just briefly) to round off a familiar, but noticeably great cast. The real star of The Double is not the cast however, but more the back-drop to the whole deluded tale. Beneath the dark laughs and photographic trickery, is a living, breathing, functioning world of lost identity and bureaucratic nightmares. Much like many of the dystopian greats, Ayoade invests time and effort into building his world and layering the story over the top, creating a multi-tiered narrative that functions uniquely in its own right.
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Unfortunately, all cleverness aside, The Double does face some issues during its trek across the screen; namely with pacing. The first act of the film lumbers along at a slow speed, but from there on things become a little wobbly. Great chunks of exposition are fired out in bite-size lumps at random moments throughout the second and third acts, eventually blossoming into a climactic, yet painfully muddled conclusion. Words by Ben Robins
Film | 17
Half of a Yellow Sun Director: Biyi Bandele. Studio: Soda Pictures. Out: 21 March
C
himamanda Ngozi Adichie’s novel is transferred somewhat awkwardly to screen in this rather mundane and at times tedious adaptation by first-time writer-director Biyi Bandele. Of course, for a debut feature, it could be argued that Bandele has done quite an impressive job, and it’s true that he directs with confidence and maturity. However, there is a distinct lack of visual style (such a pity, considering the lush imagery the setting of Nigeria has to offer) and in the end the drama starts to grow dull. The film, like the book, concentrates on the Nigerian civil war, resulting in the creation of the Republic of Biafra between 1967
18 | Film
and 1970. As we learn throughout the story, this caused tensions, both political and domestic, for the inhabitants at the time. British actors Thandie Newton and Chiwetel Ejiofor play a couple clearly in love, though hampered by various issues (including infidelity and political activism). We follow them throughout the film as violence enters their lives, and they are forced to move around the country to avoid the more serious areas of unrest. The film has been pushed back to late-March, perhaps in the hope that Ejiofor would be an Academy Award winner by the time of its release for his performance in 12 Years a Slave. He didn’t win, but
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the connection to this year’s Best Picture Winner may still help give its release some impact. The movie is shot unimaginatively, in a way that reminded me of some rather flat and stuffy television dramas I have seen: the type that come in two parts, have largerthan-normal budgets, funding from the States and are usually sponsored by Viking River Cruises. There’s nothing truly awful here, and the acting is perfectly fine, but for such a much-praised, wellloved novel as Half of a Yellow Sun, I had hoped for a film a bit more memorable than this. Words by Barnaby Walter
Non-Stop Director: Jaume Collet-Serram. Studio: StudioCanal. Out Now.
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on-Stop is a very pleasant surprise. Instead of being a trashy European Liam Neeson action movie, it turns out to be a quality European Liam Neeson action movie. It’s even better than the silly but entertaining Unknown, which was also directed by Spanish filmmaker Jaume Collet-Serram, aimed at the same kind of audience and backed by the same studio, the French company StudioCanal. In this film, Neeson plays an air marshal called Bill Marks. Like all good movie air marshals, Marks has problems with alcohol, doesn’t like taking off or landing, and has a past littered with grief and broken hearts. And he has a gun. But instead of going evil-rogue, Non-
Stop allows him to go good-rogue. As one by one passengers and crew are murdered by an unidentified terrorist (who is sending him weird messages throughout), Marks has to rely on his own instincts and trust no-one. This may sound clichéd, and to be honest it is, but Collet-Serra has, over his career, become something of a master of accessible, all-round entertaining suspense. He handles the tension excellently and cranks up the spectacle-value during the final act. Although the film descends into explosions and shooting (which is fun in itself), the first two thirds are more akin to Agatha Christie The Edge | film@theedgesusu.co.uk
than, say, Die Hard or Taken. The mystery-side works as a very effective whodunit as a number of recognisable faces fall under suspicion (including Downton Abbey’s Michelle Dockery, 12 Years a Slave’s Lupita Nyong’o and the allround amazing Julianne Moore). This movie isn’t going to change to world or win Oscars, but it is a very solid, highly enjoyable piece of escapism that is a vast improvement on anything Collet-Serra has done before. To be fair, his other projects include House of Wax and Orphan, so room for improvement is pretty wide. Thankfully for us, he has aimed high and succeeded. Words by Barnaby Walter Film | 19
Archive Review
Zodiac I
n the last act of Zodiac, disgraced, alcoholic reporter Paul Avery (Robert Downey Jr.) spitefully dismisses the fruitless investigation into one of the most notorious serial killers of the twentieth century. “He offed a few citizens, wrote a few letters, then faded into a footnote.” Like the mysterious killer, David Fincher’s 2007 mystery thriller (which he considers to be his finest film) caused a lot of fuss, then seemed to fade away. Quite why this happened is a mystery in itself. A likely factor, though, is its admittedly daunting running time. However, Fincher owns every last frame of that 162 minutes. Painstaking attention to detail seems to be the aim here, as the film seems to cram as much information about the case into that time as it can. It is undoubtedly fascinating; the first half of the film draws us into the enthralling case so, that like protagonist Robert Graysmith (Jake Gyllenhaal), we become obsessed with finding the answers. However, Fincher and screenwriter James Vanderbilt aren’t interested in merely reconstructing the murders and providing
20 | Film
speculation as to who was responsible. There’s something more human at the centre, and debatably more interesting. Something that elevates it above a by-thenumbers serial killer film. What we have instead is a film, not about a serial killer but about the dangers of obsession, as Graysmith ultimately isolates himself from the world in his quest to solve the case. What this all adds up to is a film that Fincher poured not only his technical and creative skills into, but also one where he most expertly exhibits his story telling skills. Add to that a cool, period soundtrack and Zodiac emerges not only as one of the most underrated films of the last decade, but also as one of the best. Director: David Fincher. Studio: Warner Bros. Words by Harrison Abbot
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House oF Cards T
he hit American political thriller House of Cards is back with a second season that is more ruthless and blood filled than the first. Episode one is an incredibly powerful start to what is looking to be an awe inspiring second season.
As a die-hard Spacey fan having 13 hours of Spacey, rather than the two to three in a movie, made me appreciate him more as an actor, which I didn't think would be possible. In fact the entire cast is spectacular. Golden Globe winner, Robin Wright, is stunning. Her onscreen dynamic with Spacey is just as intense in this second season, and she, rightly so, deserved her win for Best Actress in a TV drama. Demonstrating a ruthlessness that is parallel to Spacey's Frank Underwood makes them one of the most powerful, and dangerous, onscreen couples. Episode one is everything I expected, and more, as a lead on from the edgeof-your-seat first season. We begin with Frank and Claire Underwood, on a run together. The tranquility of the
Season Two, Episode One
show seen in season one remains, as even in moments of extreme tension the screenplay is paralleled with Frank Underwood's calm demeanour. Slick and stylish camera work brings in this beautifully executed juxtaposition. Speaking of tension, this first episode doesn't hold an ease-you-back-into-the-storyline approach. We are thrown straight into the action as Frank and Doug try to tie up loose ends from the first season. With no time to catch your breath, the viewer is left to come to terms with the death of a main character, and so early on in the season, too. Just as I was starting to think that the show has a fantastic portrayal of female determination and drive, Frank pushes Zoe Barnes under a subway train, stopping this drive, just as she had begun to peel away the falsities of his outer shell, and discover too much about the death of Peter Russo. Yet another false suicide on the bloodstained hands of Frank Underwood.
intermittent addressing of the audience. These are the moments that demonstrate Spacey's acting prowess. Similar to Bryan Cranston's Walter White in Breaking Bad, you are on the side of the villain. Even when Frank is at his most ruthless, killing people to reach the top of the food chain, I am right by his side, knowing that these are things that need to be done. Episode one will leave you speechless. Impeccable acting, stunning imagery and most of all, a killer story-line to keep you hooked. The Fincher-Spacey production tying it all together produces some fantastic television. 'Did you think I had forgotten about you?' says Frank in the closing stages of the episode, straight into the camera. I had for a second, but I am so glad we hadn't been forgotten. 10/10 Words by Megan Downing
One of the many draws to House of Cards is Frank Underwood's The Edge | culture@theedgesusu.co.uk
Culture | 21
Agents of S.H.I.E.L.D
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arvel have won the cinematic universe arms race by taking the kind of unapologetic approach to the fantastic that makes the people at DC/Warner sweat visibly, and it seems like the expansion of this world of Iron-Men and defrosted super soldiers to television would be a recipe for success. Which makes it all the more disappointing when you come to the realisation, as I did three to four episodes in, that nothing remotely interesting is going to happen from the moment the Marvel logo appears on the screen, to the moment the credits scroll down it. Perhaps the worst thing about the show is the absolute lack of anything approaching an engaging character. Agent Ward is only interesting because never before has a leading protagonist been so lacking in dimension that it made the cast of The Big Bang Theory look like that of Game of Thrones. Agent May is also as one-note as a kazoo,
22 | Culture
while Mary-Sue mega hacker Skye is about as endearing as a fungal infection. Coulson's resurrection serves the dual purpose of giving the writers something to drag out for the entire season, whilst also robbing his death in Avengers Assemble of any meaning whatsoever. Despite being a walking clichĂŠ strained out over two characters, Fitz and Simmons are almost likable, although this says far more about their acting than it does the writing. Despite Joss Whedon only having a producing role in the show it drips with the very worst Whedonisms and a bland, televisual cinematography. The snarky interplay between characters, that was enjoyable in Firefly, is overused to the point of grating smugness, and the banter is neither witty nor particularly insightful. The villains are boring and uninspired, terrorists and spies with the occasional madman who has built some kind of super weapon/serum from salvaged alien technology. With a universe containing
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an invincible green monster powered by rage and Norse gods, the kind of goons that Stirling Archer could easily dispatch simply do not cut it. Agents of S.H.I.E.L.D is aggressively mediocre in a time when audiences have come to expect more. There is literally no reason to watch this show: Finished Breaking Bad? Watch True Detective and realise the bar has been raised again. Want something witty with a great group dynamic? Watch Veep, or Community. Action comedy? Brooklyn 99. Thriller? House of Cards and Hannibal have just entered season two. Want a superhero show? Watch Arrow. If you're a Marvel fan you have even less reason to watch it than most, you'll be frustrated by the meager handful of Z-list character cameos. Just wait for the upcoming Netflix Daredevil series. 4/10 Words by Joe Cooper
Arrow A
rrow has returned from its winter break, picking up the story soon after the events of December's stunning mid-season finale. The first half of season two focused on Oliver Queen's (Stephen Amell) struggle for control of a strength enhancing drug called Mirakuru, in both Starling City in the present and on the island in his flashbacks. This first half was concluded by revealing that Slade (Manu Bennett), was alive in Starling City and helping Brother Blood (Kevin Alejandro) create 'super-soldiers'. Since the mid-season finale may have been the best episode of Arrow since it premiered in 2012, episode ten was a little disappointing. There were no further glimpses of Slade in the present day, details of his aims, or how he is influencing Brother Blood's experiments. It is likely that he will be the main villain for the final part of the season, but the show would have maintained a stronger momentum with a brief appearance. However, this episode was certainly a turning point in the presentation of Sebastian Blood (Kevin Alejandro). Laurel (Katie
Cassidy) has discovered that his public, good-guy persona is not everything it seems. The writers have done well to create an evil, yet likeable, villain, and the decision to have Laurel find out the truth behind Sebastian's faรงade, rather than Oliver, introduces elements of doubt and trust. Although the action and setpieces were up to the usual high standards, the 'villain of the week', called Shrapnel (Sean Maher), who planted bombs throughout Starling City, was underwhelming. Whilst he initially posed a huge threat, Oliver and co. quickly, and easily stopped him causing havoc, which seemed like a waste of what could have potentially been an excellent character. Barry (Grant Gustin) was originally introduced in Arrow as a prepilot for the upcoming The Flash show but his presence has also developed Oliver and Felicity's (Emily Bett Rickards) relationship. The tension between the two of them seemed quite forced but culminated in a nice scene with Ollie acknowledging Felicity as
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mid season review a partner. Meanwhile, Oliver's flashbacks hinted that events on the island may be beginning to get exciting. A cat and mouse situation has started with Slade disappearing with the Mirakuru formula, and Edward Fryers (Sebastian Dunn) hunting Oliver and Sara Lance (Caity Lotz) to gain control of the drug. It will be interesting to see if these events lead to an explanation of how Slade and Sara returned to civilisation. In short, although the action was up to the same high standards as usual and the new episode set up an intriguing situation on the island, it is certainly not among the best episodes of the show. Episode ten's failure to address some cliffhangers from December's brilliant midseason finale meant it was unable to continue the momentum the show had created before its break. 6/10 Words by Tom Hopkins
Culture | 23
Flashback:
HArry Potter
AND the Chamber of Secrets (PC)
E
ven with the franchise coming to an end with the final film in 2011, we still have not been able to forget about Harry Potter and the world of Hogwarts. So, with much of our generation still yearning for more Harry, let’s take a nostalgic look back to one of the first, and one of my most played childhood games, Harry Potter and the Chamber of Secrets for the PC. For those unfamiliar with J K Rowling’s second instalment, Harry has returned to Hogwarts after an incredible first year of learning. As He-Who-Must-Not-Be-Named has been vanquished once more, one would think that this year would be more normal – well, as normal as attending a magical school of witchcraft and wizardry could be. But when Harry begins hearing voices in the walls, people start being petrified and it is announced that the Chamber of Secrets has been opened. When a chilling message is written in blood on the wall, it seems that Harry, along with his best friends Ron and Hermione, are in danger once more. The storyline is one of the most compelling features of this game, with Aragog the giant spider leaving you to be devoured by his children and Lord Voldy returning with a vengeance with his dreaded Basilisk. Unique to this game, 24 | Culture
however, are the collectables that make the player want to explore further. There are 50 Bronze and 40 Silver Wizard Cards with celebrities from the wizarding world to collect, which give you extra stamina and keys to the Golden Wizard Card room, where favourites, such as Dumbledore and Harry, are immortalised in card form. One of my favourite places is the Bonus Bean Room, which you are permitted to enter if you lead in the House Point Cup every week. Here Bertie Botts Every Flavour Beans (also collectable around the game) are in abundance, and by collecting enough, one can buy Wizarding Cards or Quiddich updates, like superior broomsticks, from Fred and George Weasley. In order to defeat the evil lurking in the sewers, Harry must learn a series of new spells and overcome more difficult challenges than the ones he faced in the first game. Attending classes allows Harry to l e ar n these spells with mini-
challenges, such as ridding hallways of gooey ectoplasm with ‘Scurge’ and stunning magical creatures with ‘Rictusempra’. This is particularly where the gameplay is actually vastly superior to that of its successors after The Prisoner of Azkaban. Here a player can cast these spells easily by holding down the left mouse button until the symbol of the spell appears on the object they want to cast it on. In other games, casting a spell proved tricky and inaccurate due to the lack of helpful symbols and, in some, confusing camera angles. Of course, for a game developed in 2002, one cannot compare its graphics to the Elder Scrolls and Farcrys of today. The bulbous pixelated eyes of gnomes are creepy and Ron’s fingers look like they are permanently glued together, but the animations are still fluid and well done. At least they have vastly improved from the Philosopher’s Stone game, where a flat Hagrid seems to have been hit in the face with a sledgehammer. If any Potter fans want to relive their childhood obsession (and, let’s be Sirius, that’s all of us), then I would recommend this game to begin with. Its storyline is sufficiently disconnected from the underlying terror of Lord Voldy to make the game epic in its own right, and so allows the player to become blissfully absorbed in the magic of Hogwarts that we all wanted to be a part of as children – and for a lot of us, still do. Words by Lauren Ramsden
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L
ego’s first foray into the videogame industry took place in 1997, with Lego Island for Windows 98, but it wasn’t until developer Traveller’s Tales took over in 2005 that things started to pick up heat. It was in 2005 that Lego Star Wars was released, and created the style of Lego videogames that we know and love today. Now in 2014, alongside the release of The Lego Movie, the first original Traveller’s Tales Lego video game has been released. The Lego Movie Videogame pretty much acts as an alternative to the film, since all the relevant scenes of the film are used as cutscenes in the game. Luckily the stellar cast of voice actors for the movie also lent their voices to the game. This includes, what in my opinion, might actually be the best casting decision of all time: Will Arnett as Batman. Any fan of 30 Rock or Arrested Development knows what I mean. This doesn’t mean to discredit the other voice actors, who do a great job making the game feel alive, even the voice actors who aren’t Morgan Freeman. The game looks pretty great, but
not amazing. There are some breathtaking moments every now and then, for example: falling through the portal and the ascent into Cloud Cuckoo Land. The design of the levels, although slightly flawed by glitches that might get you stuck for quite a while, is actually rather well done. Special bricks are colour coded, and routes are usually easy to follow. When not in an active mission, players are free to roam around the realms that they have unlocked, of which there are only four. Sometimes it is hard to tell where the indicator is pointing because the camera is semi-fixed. When playing two player co-operative, dynamic splitscreen can be enabled, and although it looks cool, the change of perspective might make you feel slightly queasy. This is an option that can be disabled, however, so it isn’t really a permanent problem. When in free roam mode, you are led to your next mission by an ethereal trail of green studs which relocate to wherever you are. This can be really helpful but might not be easy to spot the first time.
are available alongside the main storyline, as the main quest itself is only about 20% of the actual game. The main quest is only about six hours in length, which is admittedly a little disappointing. This is no Skyrim, but it’s still one hell of an adventure. Each group of characters have their own special skills that help you continue the main storyline or unlock special items in previous missions that were unavailable before. The game boasts characters such as Gandalf and Superman, whose roles in the game are pretty minimal. The game itself is filled with it’s own sense of humour and doesn’t rely on the film to make it interesting.
The gameplay is what you’d expect from a Lego game and more. More minigames and side quests
8/10
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This recent entry into the Lego game franchise is definitely a success, with a wide range of characters for you to control and a lot of hidden secrets, the re-playability is significant enough to validate your purchase of this game now. If you haven’t seen the film, don’t worry, this game will immerse you in the Lego universe more than the film can.
Words by Aniruddh Ojha
Culture | 25
Brother & Bones The Talking Heads 27/02/2014
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hursday night was not what I was expecting at all. A band with ‘bones’ in the title were playing The Talking Heads. I anticipated mosh pits, shouting, and lots of guys wearing eyeliner. It turned out London-based five piece Brother & Bones were a whole lot more than that. If you’re looking for a band that fits smoothly into the rock category, you’ll be disappointed. They are a square peg made for a round, rock hole. Their music is edgy, different, exciting. Sure, during the set there were some allout rock-out moments, but there were also times when the entire audience watched in stunned silence as lead singer Richard Thomas melted the microphone with a heart-wrenching acoustic rendition of ‘Gold and Silver’. When he finished there was dead silence.
26 | Live
Until someone shouted: “SMASHED IT!” from the crowd. Yes. Yes they did. When Brother & Bones finally took to the stage it was clear there were some dedicated fans in the audience. There was a fantastic atmosphere, with everyone singing along to old favourites like ‘For All We Know’, ‘Follow Me Down‘, and newer single ‘To Be Alive‘, taken from an EP which attracted attention from the moment it was released. It reached the top 10 albums on the iTunes Rock Charts, placing Brother & Bones alongside the likes of Mumford & Sons and John Mayer. Fresh from a tour of Europe, the band’s energy on stage was incredible, hurtling from song to song and throwing in new material alongside older favourites.
As with any Talking Heads gig there was a seriously eclectic audience, from the one guy rocking out at the front on his own, to the man and wife at the back telling people off for talking. Despite the energy, it did at times feel like the crowd was holding back a bit. Maybe that’s because I was expecting mosh pits. But there wasn’t the abundance of crazy, I-don’t-care dancing that I had anticipated. Nevertheless, it was an absolutely fantastic night. For me the highlight was ‘Gold and Silver’. Wreathed in smoke and red lights, Richard Thomas silenced an audience that only moments before had been jumping up and down. Now that’s impressive. Words By Nathalie Baker
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Julio Bashmore Warehouse, Southampton 01/03/2014
J
ulio Bashmore (real name Mathew Walker) is one of the UK’s most prominent figures in the house muic scene, after bursting into the limelight in late 2009. Now in 2014, as house acts such as Disclosure and MK dominate the charts, Bashmore’s newest single ‘Peppermint’ featuring Jessie Ware is sure to be just as successful.
Julio Bashmore made a huge mistake by turning up at 3am to start his performance. Considering the event began at 10, this was ridiculous planning on the event manager’s part, as the crowd became impatient and tired waiting for the main act they had paid up to £20 for. And to be honest, it wasn’t really worth the wait.
Playing at Warehouse in Southampton, Bashmore had a fantastic opportunity to make a lasting impression to fans both old and new by putting on a memorable live performance that matches the quality of his own songs. Warehouse is a great venue for dance music, recently hosting an amazing event with Rudimental. Unfortunately, the reality was far more disappointing.
When he finally came on, he honestly looked like he would rather be anywhere else in the world. He didn’t begin with any of his famous songs, marking his
entrance on to the stage, and chose songs which were not as good as his support acts. It felt as though after all the build-up, something more was expected, some fantastic tunes or a great performance that got the crowd going. His lack of stage presence was particularly disheartening; his trademark hood and cap covering his face as he concentrated on his mix. He lacked the enthusiasm of previous performances - most notably Creamfields - and any kind of personality or individuality was obsolete from his set. It seemed as though he would be better off in a studio rather than in front of a live audience. The night itself was a great house event and Warehouse was an impressive venue. In the case of Julio Bashmore however, his stage presence, or lack thereof, was anti-climactic, and perhaps rather than seeing him live, it would have been better to stick to his YouTube channel.
The night overall was a great success for anyone who loves house music, with a great line up of support acts. Kowton (who has collaborated with Bashmore before) and Velour were great. The crowd were absolutely loving it, revved up for the appearance of the main act Bashmore. However,
Words by Lucy Partner
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Live | 27
The Pizza to perform at The Underground Joiners this summer
M
to
a c a u l a y Culkin will be bringing his band The Pizza Underground Southampton in June.
The band gained fame at the end of last year when they began to unveil some of their tracks, which are songs by the Velvet Underground that have been rewritten to
revolve around pizza. Tracks include ‘Take a Bite on the Wild Side’ and ‘Pizza, It Hurts’. The announcement was made on The Joiners’ official website. Macaulay Culkin will perform at the venue alongside his four band mates, Matt Colbourn, Phoebe Kreutz, Deenah Vollmer and Austin Kilham. The group are reported to have formed in 2012 but have recently performed a number of shows in New York.
films such as Home Alone and Uncle Buck. However, his acting career was reasonably short lived, only doing the occasional piece of television or film since 1994’s Richie Rich.
The 33-year-old rose to fame as a child actor featuring in
Words by Howell Davies
The Pizza Underground’s tour begins this month in the US, with the band playing at The Joiners on 5th June. The hugely hyped performance at The Joiners has already sold out.
Young Rebel Set
at The Joiners (27/02/2014)
Y
oung Rebel Set had a tough atmosphere to come out to, after the audience had been treated to some truly awful support acts. Yet, this seemed to play to the band’s advantage more than anything else. With my expectations now at their lowest point, the group came out and truly shone in the wake of the previous acts’ ruin. Opening with single ‘Lash of the Whip’, the room was instantly revived. Due to the unusually large number of band members, the group had a delicious dynamic of multiple instruments generating different layers of
28 | Live
sound. This high point fed right into the following single ‘Tuned Transmission’, with the audience clearly beginning to get into the spirit of things. Through a combination of casual banter with the crowd, and a great rendition of their songs, Young Rebel Set were impressive. Another favourite ‘Lion’s Mouth’ led into a slew of tracks from the band’s newest album Crocodile, including ‘Another Time Another Place’ and ‘Berlin Nights’. From showcasing a new song called ‘Strangers’,
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the band finished off with the sentimental finale of ‘If I Was’. Young Rebel Set managed to salvage the gig, following the messy support acts. Even though the set was a tad short, the band impressed with an energetic atmosphere and recognisable skill. Words by Alex Meehan
BASTILLE With special guests Brother & Bones and Angel Haze BOURNEMOUTH INTERNATIONAL CENTRE (04/03/2014)
B
rother & Bones were the first support act and they were phenomenal. These guys were born to play in big venues such as the BIC, with the sheer force of their live performance. Next up was Angel Haze, who was entertaining but I couldn’t help but notice she had very little tone in her rap style and it felt very forced. I have to admit that I most enjoyed her set when she was covering BeyoncÊ's 'Drunk In Love'. Bastille came onstage around two hours after entering the venue, almost too long a wait for some of the more impatient fans around me. However, as soon as the band began first track 'Bad Blood' these woes had disappeared. What struck me as the most impressive element of this current tour is the aesthetics. The final chorus of 'Bad Blood' dropped and so did a black curtain revealing the biggest triangle to date on stage with the band. As a backdrop to their set their music videos or other cool visuals w e r e
projected into the centre of the triangle. These sort of updates to their live shows really allow frontman Dan Smith to explore his love for film, and incorporate that into their shows. The band have the Bad Blood set nailed, absolutely perfected, down to a tee, so a glimmer of hope for someone who has seen it 15 times comes along when a new track is thrown into the mix. More so than ever, English fans are begging for new material from the band; some of us have been hearing 'Pompeii' for almost two years. Salvation came in the form of some brand new tracks. The first in the set being 'Blame', a track featuring such an infectious chorus line it could be the next 'Eh eh oh eh oh'. Another new(ish) track was 'The Draw', the band have released it onto their YouTube channel so quite a few of the crowd were always singing along. With its heavier guitar part and soaring vocals, I wouldn't be surprised if this track becomes the lead single for the second album.
as well as beautiful harmonies, all of which were executed perfectly in the live setting. The band also performed a brand new track called 'Weapon'. For this song Dan invited support act Angel Haze back onto the stage. A catchy chorus with rapped verses from Angel Haze made this song seem very different to Bastille's earlier tracks. With hip hop being an influence for Dan when writing music, it's not surprising that having Angel Haze featuring on a track is something they're moving towards. As a whole, the show was great, however, I cannot help but crave new material from the band. The new tracks which they did perform were stunning in the live setting, I just can't wait to hear them in recorded form on a second album that, hopefully, isn't too far away. Words by Megan Downing
Another moment that made this performance a step up from previous shows is the inclusion of 'Laughter Lines'. The track, has an intricate string part
The Edge | live@theedgesusu.co.uk
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Listings 17th March We Are Scientists @ SUSU Louise Dearman - It’s Time Tour @ Nuffield Theatre TG presents God of Carnage @ The Annex Theatre (until 19/03) 18th March The Stranglers @ Portsmouth Guildhall Dexters @ The Joiners Rebecca Ferguson @ Bournemouth Pavilion Theatre 19th March Franz Ferdinand @ O2 Guildhall Southampton 20th March Stu Larsen @ The Brook I Am Giant @ The Joiners The Feeling @ Wedgewood Rooms 21st March Pure Dance 2014 @ Turner Sims (until 23/03) London Symphony Orchestra @ Portsmouth Guildhall Johnny Foreigner @ The Joiners 22nd March Electro Juice presents... @ SUSU SUSO Spring Concert @ Romsey Abbey 23rd March Metronomy @ Wedgewood Rooms Lee Nelson & Joe Wilkinson @ Portsmouth Guildhall The Secret Life of Walter Mitty @ Union Films Last Vegas @ Union Films Sinfonietta: Fauré Requiem Concert @ All Saints Church Brass Band Spring Concert @ St Albans Church Jazzmanix Spring Concert @ Theatre Royal, Winchester
24th March AIM presents Frequency @ SUSU
1st April Stiff Little Fingers @ Wedgewood Rooms
25th March The Midnight Beast’s Ashley Horne DJ set @ Orange Rooms Southampton MuSoc @ The Talking Heads Paolo Nutini @ O2 Academy Bournemouth Spring Awakening @ Nuffield Theatre (until 05/04) American Hustle @ Union Films
2nd April Sandi Thom @ The Brook Runrig @ Portsmouth Guildhall
20th April Dave Cappo @ The Talking Heads James Blunt @ BIC Windsor Hall
5th April Brahms Requiem @ Turner Sims
21st April McBusted @ BIC Windsor Hall (until 22/04)
6th April Tinie Tempah @ BIC Windsor Hall
26th March About Elly @ Union Films TG presents Blithe Spirit @ The Annex Theatre (until 29/03)
7th April Derren Brown - Infamous @ Mayflower Theatre (until 12/04)
22nd April West Side Story @ Mayflower Theatre (until 03/05)
27th March Lee Scratch Perry @ The Brook Bipolar Sunshine @ The Joiners Culturefest 2014: The Jackalantan @ Turner Sims Laughter Lounge @ The Bridge 28th March Jason Derulo @ BIC Windsor Hall Roy ‘Chubby’ Brown @ O2 Guildhall Southampton 29th March Redlight @ RoXX Rufus Stone @ The Brook Darlia @ The Joiners 30th March Saint Raymond @ The Joiners Goldfrapp @ Portsmouth Guildhall Sarah Millican @ Mayflower Theatre 31st March The Wanted @ BIC Windsor Hall
8th April UB40 @ Pyramids Plaza, Portsmouth Manic Street Preachers @ O2 Academy Bournemouth 9th April Foreigner @ Portsmouth Guildhall 10th April Devildriver @ The Mo’club 41N 50W @ Nuffield Theatre (until 19/04) 13th April Frank Skinner: Man In A Suit @ BIC Windsor Hall Sophie Ellis-Bextor @ O2 Academy Bournemouth 14th April Matt Cardle @ O2 Academy Bournemouth 16th April Of Mice & Men @ The Mo’club 17th April Memphis May Fire @ The Talking Heads Kris Roe @ The Joiners
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18th April The Maine @ The Joiners
23rd April Gary Barlow @ BIC Windsor Hall 27th April Alkaline Trio @ Pyramids Plaza, Portsmouth 5th May Dreamboats & Petticoats @ Bournemouth Pavilion Theatre (until 10/05) 6th May 20th Century Boy @ Mayflower Theatre (until 10/05) Elias Quartet @ Turner Sims 7th May TG presents Showcase @ The Annex Theatre (until 10/05) 8th May We Were Evergreen @ The Joiners 10th May Pulled Apart By Horses @ The Cellar Jazzmanix Summer Concert 2014 @ Turner Sims 11th May Bruce Forsyth Entertains @ Mayflower Theatre
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