Issue FIVE It’s so odd to think we’re now on our fifth issue of the year, over the half way mark, nearing the finish line as it were. My committee have achieved so much in such a short space of time and with some exciting new plans already unfolding in semester two I can’t wait for you to see them. Movie whiz and all around wonder-kid Ben Robins, our film editor, is currently working with Wessex Films to bring the University of Southampton its very own film festival. Keep an eye out for posts about where to send your submissions and how to get involved. If you’re the next Tarantino or Spielberg, we want to know. After the success of our special international issue our editors have come back to the daily grind and are looking forward at 2016 for us all with our most anticipated films on pages 21-22, games on pages 25-26 and of course go to pages for our list of 2016 for the hottest records you need to look out for. We’ve taken throwback Thursday further with a new series in Live all about our best and worst gigs from the past. The first is delivered by our very own features editor, Millie Cassidy on page 30. Of course, it just had to be about Bruce Springsteen. Moving to recent sombre events with the loss of David Bowie, Alan Rickman and even Terry Wogan our news writers take up the issue of sensitivity in pop culture on page 5 in our Notes on News. To help celebrate some of these national treasures you can see more about them in our five-tier-career, which can be found in our Newsbox on pages 3. As always we look onwards, upwards and sometimes even backwards on all things entertainment so whether you’re looking for something about Justin Bieber’s development, see page 11, or an article on our hatred for unnecessary romantic subplots in superhero movies you’ve come to the right place. We’ve got everything you need to keep track on the entertainment industry, including reviews, interviews, previews and of course news. So stay up to date and keep an eye on The Edge. Natalie Fordham Editor
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Editor Natalie Fordham editor@theedgesusu.co.uk Deputy Editor Lewis Taplin deputy-editor@theedgesusu.co.uk records Editor Amy Wootten records@theedgesusu.co.uk Features Editor Millie Cassidy features@theedgesusu.co.uk film Editor Ben Robins film@theedgesusu.co.uk C u lt u r e e d i t o r Harrison Abbott culture@theedgesusu.co.uk live Editor Will Hodgetts live@theedgesusu.co.uk news Editor Anneka Honeyball news@theedgesusu.co.uk head of design Jack Gracie design@theedgesusu.co.uk Head of external relations Georgia Simpson relations@theedgesusu.co.uk Head of publicity Helen Archer publicity@theedgesusu.co.uk Head of events Annabelle Asker events@theedgesusu.co.uk online manager Jack Lewin manager@theedgesusu.co.uk editor in chief Kerry Sclater vpdci@susu.org
Contents editorial
01 Welcome to Issue Five
NEWS
03 The Newsbox 04 Five Tier Careers - David Bowie/Alan Rickman 05 Notes on News: Why and when popular culture needs to be sensitive 06 Nostalgic News
Features
07 Romantic Subplots: The Real Villain of Superhero Films 09 The Edge’s Dream Date 11 Justin Bieber: From Boy to Man
Records
12 Review: ODESZA feat. Zyra - ‘It’s Only’ 12 Review: EKKAH - ‘Small Talk’ 12 Review: Enter Shikari - ‘Red Shift’ 13 The List of 2016 15 Review: Bloc Party - Hymns 16 Review: Chairlift - Moth 16 Review: Daughter - Not to Dissapear
film
17 Blu-Ray Review: The Martian 17 Blu-Ray Review: Spectre 19 Review: Nina Forever 20 Actor in Focus: Brie Larson 21 The Most Anticipated Films of 2016
culture
23 Review: Sneaky Pete 25 The Edge’s Most Anticipated Games of 2016 27 Intro to: Jukebox Musicals - Mamma Mia! 28 Review: Y - The Last Man
live
29 Venue in Focus: Talking Heads 30 Bruce Springsteen @ Wembley Stadium, 2013 31 Review: Alien Ant Farm @ Old Fire Station, Bournemouth 32 Preview: Nina Conti @ Criterion Theatre, London 32 Preview: Bowling For Soup @ O2 Guildhall, Southampton 33 Listings
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NEWS
THE NEWSBOX THE KEATS OF TWEETS
TOP TOP FIVE FIVE NEWS NEWS STORIES STORIES 1
Will Smith,9thSpike LeeAnnie and Mac others Beginning March, willhave take proposed a controversial of from the over the slot of Monday toboycott Thursday Academy Awards, following lack of the hours 7pm to 9pm on Radiothe 1, replacing diversity in this year’s acting nominations. Zane Lowe.
2
Marvel’s Jessica Jones has been renewed The Theory of Everything’s Felicity Jones for a ofsecond Netflix. and Life Pi’s Irrfanseason Khan areon confirmed to
3
The nineties’ cult tech show Wars Ewan McGregor willgame make hisRobot directorial is set to return to BBC Two later this year.
4
Dizzee Rascal and Everything Everything Rae Morris is confirmed as the support act will headline Blissfields festival, for Tom OdellWinchester’s when he tours this Summer. which takes place from 30th June-2nd July 2016.
5
Dame Barbara and Ross Kempof Sue Perkins is toWindsor host Thronecast, a Game are set to returnwhich to Eastenders Peggy Thrones spin-off will air live as after each and Grant Mitchell for a final time. episode of the HBO series.
THE EDGE’S ENTERTAINMENT PICKS Editor:
Katherine Ryan, Kathbum @ O2 Guildhall, 5th February
Records Editor: Jack Garratt, Phase, 19th February
Film Editor: Deadpool, directed by Tim Miller, 10th February
Somewhere in between filming Kong: Skull Island and sweeping up award after award for her acclaimed performance in Room, Brie Larson managed to reveal her life-long dream to collaborate on an album with Beyoncé. The title of such a record? “Brieyonce”, of course. The actress’ followers later joined in on on rs la ie @br the music puns, suggesting my ays been further collaborations with It has alw e at collabor “Justin Brieber”, “Briehanna” dream to @ m with on an albu d “Brieand “The Brie-tles.” lle ca ce Beyon yonce”
Got a celeb to nominate for next issue? Let us know:
@theedgesusu THE THE EDGE EDGE IS IS EAGER EAGER FOR... FOR... The BBC’s Shakespeare Festival - The Beeb have Blur’s new album. Late last month, Blur unveiled a announced a series of programmes in celebration of new track entitled ‘Go Out’, the lead single from their the Bard this April, including The Hollow Crown: War upcoming album, The Magic Whip, due to be released of the Roses, starring Benedict Cumberbatch and the this April, their first release in 12 years. RSC’s Shakespeare Live!, hosted by David Tennant. Suicide Squad - Thewhich latesthas trailer DC’s been epic conbad The new Alien film, beenfor recently guy fest was released last month and we loved it! firmed. District 9’s Neill Blomkamp is to direct the new Starring Will Smith, JaredFox, Letoas and Robbie, film from 20th Century wellMargot as Ridley Scott the film is set to be released in UK cinemas in August. confirmed as the producer. Lady Gaga’sTnew album - The singer revealed that This year’s in the Park. It has beenhas announced that recording next album currently underway, Kasabian, of TheherLibertines and isNoel Gallagher are to aiming forwith release later this year. The record is said to headline, other names like Sam Smith and Jessie feature with Mark Ronson and Elton John. J set to collaborations appear.
Culture Editor: The X-Files: Season 10, Channel 5, Early February
Live Editor: Bowling For Soup @ 02 Guildhall, 13th February See page 30 for our preview!
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for all the latest entertainment news theedgesusu.co.uk/news
NEWS
FIVE TieR CAREER
Last month, the entertainment world lost two of its brightest and most beloved stars; David Bowie and Alan Rickman. In celebration of their lives, here are some of the highest points in each of their esteemed careers.
ALAN RICKMAN
DAVID BOWIE
Alan Rickman graduated from RADA in 1974, working as a respected stage actor in the Royal Shakespeare Company for several years before making his movie debut (at the age of 42) as the delightfully wicked Hans Gruber in 1988 action classic, Die Hard.
Born David Robert Jones, David Bowie released his first album in 1967. However, his breakthrough into popular culture occurred five years later in 1972 when his persona, Ziggy Stardust burst into the public consciousness, dazzling us all with his androgynous stylings.
In 1992, Rickman brought another iconic villain to life, playing The Sheriff of Nottingham in Robin Hood: Prince of Thieves. For his performance, the actor won his first and only BAFTA. Throughout the nineties, Rickman provided a plethora of interesting performances in films such as Sense and Sensibility (1995), Galaxy Quest (1999) and Dogma (1999). From 2001-2011, Rickman made what is arguably his most memorable performance, as Professor Severus Snape in the Harry Potter series. During this time, he also appeared in films like Love Actually (2004) and Sweeney Todd: The Demon Barber of Fleet Street (2007). On 14th January 2016, Rickman died at the age of 69, following a battle with pancreatic cancer. His final film, Alice Through The Looking Glass, is set to be released later this year.
Following the international success of his fourth studio album, Diamond Dogs, Bowie decided to retire Ziggy in favour of another persona known as The Thin White Duke, who made his debut on the 1976 album, Station to Station. From 1976-1979, Bowie characters aside and recorded known as the Berlin era, in critically acclaimed albums,
put his various as himself in a time which he produced Low and Heroes.
The eighties saw Bowie take on a more popular, commercial sound, with his 1983 record, Let’s Dance. During this period, he also performed at Live Aid with Queen and starred as Jareth the Goblin King in cult favourite, Labyrinth. After a notable three year absence, Bowie returned with his final album, Blackstar, on 8th January 2016. Sadly, two days later, he died at the age of 69, following a lengthy battle with liver cancer.
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NEWS
Notes On News
When and why popular culture needs to be sensitive to grief Robert Pratley
Last month, I wrote an article regarding the controversy surrounding Ricky Gervais’ supposedly “transphobic” joke about Caitlyn Jenner at the Golden Globes. In it, I discussed how over-blown reactions seemed more common in today’s internet-obsessed society and defended the right of comedy to be controversial. I generally suggested that the fuss was about nothing.
There is a fine line between comedy, good television and unacceptable behaviour. If the backlash over Ricky Gervais’ joke had been his making fun of a car crash, then I could have understood it. Instead, the backlash was focused towards a joke - that Caitlyn Jenner, despite her successes in the trans community, “didn’t do Subsequently, I find myself writing an article discussing much for women drivers” - that only when our culture should be sensitive and how the potentially might have been construed as media, at times, fails to recognise the need for this offensive by a small section of society. sensibility - presumably in the name of “high ratings.” In both occasions, we have Channel 4 News Anchor, Jon Snow, was guilty of such a something different. The former moment last month, when he interviewed Richard Wilson incident with Jon Snow was a - an acting colleague of the late, great Alan Rickman. blatant attempt at humour in an For some reason, Snow felt it necessary to relay a joke interview which was promoted about Wilson’s One Foot in the Grave character Victor as sombre and respectful. The Meldrew by uttering his catchphrase “I don’t believe it” latter, regarding Celebrity Big when discussing the death of Rickman, who Wilson had Brother, was an attempt to use the only seen a few days prior. Wilson’s calm response was right to grieve to boost ratings and incredibly dignified, given that few would have criticised create hysteria for a lady who was him for an angrier reaction to such an insensitive ploy. suffering enough already - both totally unnecessary. Furthermore, Gervais In January, Channel Five were equally guilty of using was backdating over ten months. media coverage to exploit a tragic situation. The death These cases were barely a day old. of the legendary David Bowie led to his first wife Angie being understandably upset. Due to her appearance in the Here’s the thing: comedy Celebrity Big Brother house however, the producers felt it is okay, even when it’s necessary to broadcast her mournful sobbing on national controversial television. At a moment when likely media attention was or done the thing she least needed, the executives at Channel 5 in a public put high ratings above her dignity and right to grieve. environment. But the exploitation of Of course, Angie’s decision to stay in the house meant grief, whether for they had to address the subject of Bowie’s death “high ratings” or somehow, but the manner in which they did divided a cheap laugh, public opinion. Indeed, the subsequent reaction of is where I, and Tiffany Pollard, who sent the housemates into a frenzy in my view the thinking fellow housemate David Gest was dead rather media, should than David Bowie, was quite frankly farcical. Again, draw the line. one must question why on earth the organisers couldn’t have cleared it up on the tannoy to avoid Angie’s subsequent humiliation. Unsurprisingly, Channel 5 was accused of capitalising on her grief to boost ratings.
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NEWS
nostalgic news Another round up of things that happened this month in years gone by.
The Silence of the Lambs was released 25 years ago
David Bowie released ‘Rebel Rebel’ 42 years ago
25 years ago, on 14th February 1991, audiences from across the world witnessed The Silence of the Lambs for the first time. Now seen as one of the best movies of the 1990’s, as well as one of the best horror movies of all time, the film follows FBI agent Clarice Starling (Jodie Foster) as she is assigned to apprehend a mysterious serial killer called “Buffalo Bill.” To do so, she must confide in Dr Hannibal Lecter (Sir Anthony Hopkins), a cannibalistic genius who holds the only key to finding Bill. An armrestthrottling thriller, the film is also part of an elite Academy Awards class, having won awards in each of the “Big Five” Oscar categories; Best Picture, Best Director, Best Actor, Best Actress and Best Screenplay.
The late, great David Bowie released one of his most iconic seminal tracks, ‘Rebel Rebel’, 42 years ago on 15th February 1974. The song is known for being one of Bowie’s last forays into the glam rock style he emulated - and pioneered - through his character Ziggy Stardust. Originally written for an aborted Stardust musical in 1973, ‘Rebel Rebel’ is also known for its gender-bending lyrics and its instantly recognizable guitar riff. The track appeared on Bowie’s eighth studio album, Diamond Dogs - a concept album which was recorded and released shortly after Bowie’s ‘retirement’ of the Stardust character, after which he introduced a new persona in the form of Halloween Jack.
David Mitchell-Baker
Oasis released ‘Don’t Look Back In Anger’ 20 years ago Augusta Melbourne
20 years ago, on 19th February 1996, Oasis released one of their most iconic signature songs; ‘Don’t Look Back In Anger’. The tremendous vocals of the Gallagher brothers (this track is the first one to feature Noel on leading vocals) are what made the band another perfect addition to the 90’s indie circuit. From that memorable piano intro with its impactful sound to the beautifully drawn out lyrics of the chorus and the steady, yet captivating beat of the music, it’s easy to see how the song became a classic. The track, which featured on the band’s acclaimed sophomore album, (What’s The Story) Morning Glory?, hit number one in the UK charts upon release. It remains to be Oasis’ third best-selling single, having sold 900,000 copies to date.
Sophie McEvoy
Trainspotting was released 20 years ago
Sean McDonnell
20 years ago, on 23rd February 1996, the UK was graced with the release of Danny Boyle’s second feature film, Trainspotting. Based on Irvine Welsh’s cult novel of the same, the film offers a brutal yet humorous depiction of heroin addicts in an impoverished area of Edinburgh in the nineties. Starring Ewan McGregor, Jonny Lee Miller and Robert Carlyle, the film is considered by Welsh to be a “remix” of his debut novel. The soundtrack is also excellent, featuring hits by Iggy Pop and Lou Reed, as well as contemporary dance and Britpop tunes, such as the anthem ‘Born Slippy’ by Underworld and Pulp’s ‘Mile End.’ Upon release, the film was an immense box office success and gained a massive cult following. A sequel is expected to arrive in 2017.
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FEATURES
Romantic subplots:
the real villain of superhero movies Rebecca James
You know the age old story – boy gets super powers, meets girl, has to save the world, probably has to save the girl, boy and girl kiss in some big finale. The romance plots of superhero films have become so predictable that they rival romcoms. Not only is the inclusion of romance annoyingly formulaic, it has become a way of developing character without having to put much effort in. The hero becomes a better man, and you know that because he finally gets the girl. Some might argue that superheroes have feelings too – they need to have an emotional stake in the action for audiences to connect with, and the easiest way to do this is to create romantic tension with a female lead to then give the character something to fight for. His reward when he saves the day is then to embark on a relationship with said woman. In this narrative the woman is framed as a prize for the male character; it doesn’t matter how accomplished she is, or how much she contributed, because as soon as the music swells and the two kiss she is in that moment nothing more than the superhero’s girlfriend. The source material for superhero films make it very easy to fall into the idea that they need to have a romance – some of these characters have such a long history that when you read the names you know exactly who is who. Clark Kent and Lois Lane. Peter Parker and Mary-Jane Watson. This is why filmmakers need to stop falling into the trap of including a romantic subplot in their superhero films. It is too predictable, and doesn’t allow the characters to develop alongside one another into people who would actually be in a relationship. Comic books often take many volumes and issues to develop a relationship, showing us the characters as they grow, and this is something that TV shows give space to. These great romances are given time; whereas films seem determined to shoehorn them into the first time a character is on the big screen. Ant-Man is one of Marvel’s most recent offerings, and it has a lot going for it – funny moments, sharp performances, a bizarre concept that it runs with. However, it is let down by the insistence on a romantic relationship. The relationship between Paul Rudd’s Scott Lang and Evangeline Lilly’s Hope Pym is shoehorned in, when Michael Douglas’ Doctor Pym catches them kissing. Up until this point the characters had been plodding along nicely, connecting as two human beings with only a pinch of sexual tension. But when a romantic relationship is thrown in at the end, their emotional connection is cheapened. Hope’s narrative becomes less of a story of a woman gaining her father’s recognition as a capable hero, and becomes more about her as the other half of a superhero couple. She becomes ‘and Wasp’ before she even dons the suit, Ant-Man’s girlfriend before being her own hero. I want to see a superhero couple who have developed independently for more than ninety minutes, who the audience have seen develop a mutual respect and understanding for one another; not just an immediate lust presented as love at first sight. I want to become invested in a relationship because it makes sense for them to be together, not just because they have been together in the comic books, so they must get together in the film. Remove romantic subplots from first installments completely, and show us male and female friendship first – the romance will be all the better for it. 07
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FEATURES
The
Edge’s
Fictional Dream Date Whether you see it as Valentine’s Day or Singles Awareness Day, around this time of year everyone seems to have their hearts and minds set on romance. For those among us that will be spending the evening curled up and watching Netflix instead of enjoying some footsie and fine dining, The Edge got together to ponder our dream dates – with fictional characters, of course.
Jake Peralta (Brooklyn Nine-Nine) Not because his awkward He’s funny, would give
of my love of Andy Samberg and charm! Detective Peralta has it all. smart, a damn good detective and everything for the people he loves.
The date would be as follows: You’d roll up to the restaurant and he would immediately compliment you; his eyes softening as his dopey love-lorn smile falls on his face. The whole meal would be filled with humour which although is childish and makes you roll your eyes, you find pretty endearing. When the bill arrives, you’d see him gulp nervously, but you calm him by saying you’ll split it. Then you’d go play mini golf, because why not? You’d both get super competitive and when you win, he’ll say that he let you, and you’ll go along with it, just to let him smirk. I think the thing about Jake is how in touch he is with his emotions. Yeah, at first he struggles dealing with them- but he cares about openness and honesty; which I definitely want in a guy. Specifically that guy. Or at least one who can rock the checked shirt, tie, hoodie and leather jacket combo as well as he can. Rehana Nurmahi.
Damon Salvatore (The Vampire Diaries)
Yes, I know he is a vampire who could rip out my heart and suck my blood – but hear me out! Damon Salvatore (Ian Somerhalder) entered Mystic Falls as your bad bod who was out for blood and wanting to ruin his brother’s life, all with a twinkle in his baby blues and that smouldering, brooding look that only bad boys seems to have in television. Over the past six years, Damon has had a completely three-sixty, he’s no longer full of bloodlust and revenge, instead he is devoted and 100% in love with Elena. It is due to this change and devotion that Damon would be the perfect date. His traditional gentlemen manner, his wining and dinning and his perfect dancing would make this date be perfect. It also doesn’t hurt that he looks expectionally good in a tuxedo. By the end of the dinner and dancing, Damon would happily end the night doing whisky shots with you until the early hours of the morning, all with that twinkle and love in his eyes. Georgia Simpson.
Hank Moody (Californication)
The cynical, slightly damaged (but loveable) struggling writer, clad always in a black t-shirt and denim jeans – would provide all the elements necessary for a memorable date. There would, of course, be no food. We’d talk over a whisky (I don’t even like whisky) at a downbeat bar, he’d give me cynical life advice, painting a bleak but artistic picture before urging me that pursuing a career in writing is the worst thing I could ever do. Basically, we’d just get drunk for hours and I’d come out of it with a sore head the next day. I’d hopefully be all the wiser for Hank’s advice and take inspiration from his fashion choices though. So it’d be worth it. Amy Wootten.
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FEATURES
Hermione Granger (Harry Potter)
I’m sure most fans would agree with this one. Hermione Jean Granger; what a woman. Not only is she is real hero if you forget all the ‘Harry is the Chosen One’ rubbish, and even remove the fact that she’s a god damn wizard; she’s one of the strongest women in literature of recent times. Snuck away under the oak beams of the Three Broomstick Pub in the Wizarding World’s most romantic village, Hogsmeade, you’d find yourself captivated by her ramblings about Hogwarts: A History (seriously, the most interesting castle I’ve ever heard of, why do Harry and Ron not want to read about its history?). I’m sure the date would rumble on for hours, getting lost in the time, as she teaches the proper way of saying ‘Wingardum Levi-O-sa’. From her awkward mannerisms to her strong morals (remember S.P.E.W?), Hermione Granger is surely the perfect Valentine’s Day date. James Barker.
Captain Kirk (Star Trek)
Who could be a better date than the universe’s bravest? First, Jim would have invite me on board of the U.S.S Enterprise where he would wait for me with some exotic and beautiful flowers from a strange and far off planet. Then, he would invite his date aboard his ship, travelling through space to an unknown destination. Arriving to a romantic background, there would surely be a table, some candles, and a band playing the planet’s native music, where we would eat a brilliant dinner full of new tastes. During dinner he would talk about all his wild adventures and exploits leading to him saving lives throughout space.
Fox Mulder (The X-Files)
Whether it’s chasing monsters in the dark, staking out Area 51 or just looking up at the stars wondering if the truth is really out there, a date with Mulder would be the best kind of spooky. (Obviously, in this scenario, Scully doesn’t exist. I wouldn’t be able to break Mulder and Scully up. At least I have some common decency here – unlike show creator Chris Carter). An ultimate date with Mulder would have to be a road trip. Preferably through New Mexico, and up to the Extra-terrestrial Highway, Nevada. Screw going out for a tasteful meal, I want to get as close as possible to Area 51. In fact, talking about a tasteful meal, there is a McDonalds in the shape of a UFO. Take me there and I’m yours. And of course, who could forget visiting the famous UFO crash site in Roswell. This probably sounds absolutely mind numbing, but to me – and Mulder – this is the ultimate dream date. Bearing in mind this dream date would last more than a day, since looking at it on Google Maps this road trip would take approximately 14 hours. But that gives me and Mulder the chance to listen to Foo Fighters in the car. It’s a win-win situation. Sophie McEvoy.
Finally, we would board the Enterprise again and speed to a special spot in the galaxy where the stars have never so bright, and maybe if we’re lucky we could see from afar one or two shiny comets. There, before our eyes, all the majesty and the beauty of the universe will come to life as we’re alone on the bridge of the ship. Lisa Veiber.
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FEATURES
Justin Bieber: Boy to man Natália Tanser Once a worldwide sweetheart, only to later be shunned by his most loyal ‘Beliebers’ – but now, he’s back on top. It’s no secret Justin Bieber has had a tough few years. The once fresh-faced singer who had hits with stereotypical pop tunes ‘Baby’ and ‘Somebody to Love’ forfeited his image as a boy with an angelic voice and a bowl-cut following a string of events difficult for even the most experienced public relations manager to handle. Yes, they’re still desperately hoping no one remembers the incident in which a chimpanzee was confiscated from him at an airport. The end of 2015 gave a hint of what is to come, that 2016 is to be The Year of The Bieber. But how, exactly, did Justin Bieber save his image? The answer is that he didn’t. Bieber didn’t attempt to appear like an innocent teenager in the dog-eat-dog world of showbiz, also trying to find a ‘shawty’. Instead he constructed an entirely new one. Successfully creating a new one in a world in which a celebrity’s metamorphosis can be tracked by a quick Google search is no easy task, as Chris Brown has found out the hard way. Justin Bieber’s newfound success is due to two key factors: his image and his music. Firstly, Bieber’s team of experts clearly sat down and had a long think. They then came up with the conclusion that given the fact he had acquired a ‘bad boy’ reputation, they should work with it. Rather than trying to label his antics as a one-off and claim that he was still the sweet Canadian teenager the world saw on YouTube, they allowed him to go on TV and publically apologise for his mistakes. Presenters such as Ellen DeGeneres were key in showing the world that, like every other teenager, Biever had a ‘difficult phase’ but came out the other side stronger. This liberating approach to his career set Bieber off to find himself. With over 40 tattoos, an intense workout routine, a new wardrobe and social circle, Bieber’s life has changed dramatically over the last few years; but it’s a transformation the world has seen and even embraced. The Bieber-bowl cut vanished and a quaffed quiff appeared in its place, and his skinny teenage frame transformed into something good enough to model for Calvin Klein. Now Bieber’s image is that of someone who, having suffered heartbreak, is just trying to focus on his music. Now, as for the music side of things, Bieber’s early albums were full of tracks that blurred into one. There was no distinguishing factor between the lyrics and the sound from one song to another. So it goes without saying that the change in Bieber’s music has been key in re-establishing himself in the music industry. His new album Purpose features an array of songs, some focusing on relationships while others dwell on deeper or more emotive topics, but thankfully you can tell one apart from the other. The chart-toppers ‘Where are Ü Now’ and ‘What Do You Mean’ blend deep house with electro and pop, while ‘Love Yourself ’, focusing only on an acoustic guitar and vocals, showcases Bieber’s vocal skill and versatility.There’s something there for the mums, the sons, the daughters and even the dads. Long gone is the petition to deport Justin Bieber back to Canada – in fact, it’s been replaced with a poster from his new album. Well done, Bieber, well done. 11
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RECORDS
Enter Shikari ‘Redshift’
Alex Lee Emery Especially for the first three minutes the radio-friendly ‘Redshift’ seems somewhat out of sync with a lot of Shikari’s other work. In particular, when compared to their politically charged previous albums, ‘Redshift’ is left seeming not only lyrically weaker, but musically far less interesting. One of the main appeals of Enter Shikari is their willingness to comment on contemporary and real life issues, for example their previous single ‘Anaesthetist’ addressed healthcare profiteering and the deteriorating state of the NHS. Yet here the bold and relatable song writing is instead replaced with celestial imagery and “can you feel it inside” clichés that lack both the edge and substance of previous releases. Similarly, despite the excellent production, ‘Redshift’ just doesn’t feel like it’s pushing into any new territory musically. Particularly in light of the leaps forward they took on their last album The Mindsweep. A status that, despite its promising finale, ‘Redshift’ cannot live up to. ‘Redshift’ is out now via Reality and Hopeless Records.
EKKAH ‘Small Talk’
Henna Patel Currently working on their debut album, disco pop duo EKKAH (Rebekah Pennington and Rebecca Wilson) have released brand new track ‘Small Talk’. The single is their first since the release of their debut EP Last Chance To Dance, and their first offering since being signed to Sony Music and RCA Records. On ‘Small Talk’, produced by Brighton producer Tourist, the two Rebeccas channel their signature disco dance vibe with echoing handclaps grabbing the listener from the first second, swooning infectious melodies and colourful synths. The girls stick to their easygoing themes of late night fun making the track vibrant and infectious. Their lyrics are hardly complex - not a negative criticism as more emotive songwriting can be seen elsewhere in their discography - adding to the laid-back and fun nature of their music. Pennington and Wilson have shown with ‘Small Talk’ that their music is well crafted, slick and fun. ‘Small Talk’ is out now via Sony Music.
ODESZA feat. Zyra ‘It’s Only’
Xavier Voigt-Hill Few in the electronic world can match ODESZA when it comes to atmospheric, emotional production. In 2014 the Seattle duo of Harrison Mills and Clayton Knight put out their second record In Return, a luscious and bewildering journey touching on hip-hop, pop, and orchestral beauty that continues to unveil further nuances even after dozens of listens, defying the prevalent disposability of much of the genre. ‘It’s Only’ wags the tail of In Return with a clinical edge following an adultery-triggered break-up. “I heard the news today that you’re not mine to keep / Don’t struggle too much now while I kill you in your sleep,” leads us off as Zyra’s calculated calm haunts in the merciless arena. With samples of frantic pizzicato string runs and a gentle breeze of twinkles as garnish throughout, ‘It’s Only’ is a superb example of the duo’s expansive instrumentation knowing no limits. ‘It’s Only’ is out now via Counter Records. THE EDGE
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RECORDS
The List of 2016
The List of 2016 brings you 10 artists who have been softly treading their way to success over the past year or so, who we will bring great music with them this year.
Jack Garratt
Back in November 2015 Jack Garratt won the Brits Critics’ Choice award for 2016 - which is a pretty big deal. In the past the award has been won by hugely successful artists such as Adele and James Bay. He is a multi-instrumentalist, singer, song-writer and producer. Garratt has already released two singles from his upcoming album, ‘Breathe Life’ and ‘Worry’. However it is definitely worth listening to his previous EPs and singles as well. His highly anticipated album, Phase, will be released on 19th February. Laura Ingate.
EKKAH
Describing their sound as “glittery, funky, dancey disco beats,” EKKAH are the shimmering duo of Rebecca Wilson and Rebekah Pennington. Brought to life by their debut track ‘Last Chance To Dance’, the pair bring disco and funk inflections aplenty. They keep their lyrics simple and fun pours out of each and every track. They’ve given us a glimpse of their debut with new single ‘Small Talk’, a vibrant track that ensures excitement to bubble for the album. Amy Wootten.
Samm Henshaw
It’s tempting to define Samm (spelled with two m’s “because I can’t spell”) Henshaw as a soul singer. His voice is certainly reminiscent of Labrinth in his quieter moments a la ‘Jealous’, but on his EP The Sound Experiment he purposefully does as much as he can with his gorgeously vocals. It’s a brilliant collection of songs that feel like they came straight from a perfected LP, especially ‘Autonomy (Slave)’ and ‘Better’. It’s not as experimental as the name suggests, as all the songs have a heavy blues and folk feel to link them together. George Seabrook.
NAO
Likened to electronic female artists such as BANKS and FKA twigs, when listening to NAO more closely you realise that she is doing something different altogether. With two EPs under her belt, So Good and February 15, NAO’s vocals are intriguingly ethereal, combined with plunging synths and punchy electronic work. She’s also collaborated with another artist on this year’s list, for ‘Firefly’ with Mura Masa, which is a pretty special track. Amy Wootten.
Alessia Cara
19 year-old Canadian, Alessia Cara, has received a lot of attention for her single, ‘Here’, that details the relatable story about being at a party that you don’t really want to be at. Falling somewhere between R’n’B and pop, Cara’s debut EP Four Pink Walls was released last year, followed by her latest single ‘Wild Things’. Her debut album Know-It-All dropped at the end of last year. Her sound is youthful, with gentle instrumentation offset by her bold and confident voice. Amy Wootten.
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RECORDS
HONNE
Mabel
The London based Electronic-Soul duo formed in 2014, and after several successful EPs released that year and in 2015. The crooning, almost mournful vocals of Andy would be the first thing you’d notice about their sound if not for the exceptionally rounded production, and gorgeous bass licks that pop out on tracks such as ‘3am’, and ‘Loves The Jobs You Hate’. They sound new, but the soul of the music is pure romance and sex. Instant classic. George Seabrook.
Raised between London, Stockholm and Spain, 19 year-old artist Mabel evokes an irresistibly smooth nostalgic sound, combining tenderness with firm beats. Debut track ‘Know Me Better’ is an honest, clean, empowering song that whilst being instrumentally spacious, feels focussed and precise. Her other release, ‘My Boy My Town’ engages with nostalgic R&B, delicate soul and an infectiously catchy pop structure, creating a glossy, sensual track. Mabel’s self-assured sound feels both fresh and classic, both exciting and comforting, making her one of the most interesting artists on The List. Lewis Taplin.
Bugzy Malone
Regarded as the MC who put Manchester on the grime map, Bugzy Malone’s ‘Wasteman’ slates those artists turn to pop as a way to get into the charts: “how do you go back from pop to the grime scene?” He exposes the superficiality of artists who dip their toes into grime without knowledge of its roots - or in fact leave it entirely just to produced popular music-, with slick, carefully-treaded lyrics. With debut album Walk With Me under his belt, Bugzy Malone could pave the way for the grime scene from Manchester in 2016. Amy Wootten.
Dua Lipa
Courtesy of Lana Del Rey’s management, Dua Lipa has revealed two tracks to the world. Whilst ‘New Love’ does showcase the artist’s powerful, slightly rough and unregulated, vocal abilities, it isn’t until latest release ‘Be The One’ that Dua Lipa fully forms into the artist that makes her one to watch for this year. The tropical, playful sounds incorporated with her bold vocals creates an uplifting, lively piece of music that aligns itself with the bubblegum-pop sound of Marina and the Diamonds’ FROOT bangers. Dua Lipa is going to be a colourful addition to this year’s pop scene, with fans waiting on the edge of their seat for another fun track that acts as a time capsule to her floral utopia. Lewis Taplin.
Mura Masa
Mura Masa, a 19 year old from Guernsey named Alex Crossan, could well describe himself as the bae of SoundCloud. Oozing heartbreak and instrumental prowess through his thoroughly contemporary melody-driven take on hip-hop-inspired electronica, he has earned his place on our List for 2016’s artists to watch. His breakthrough Someday Somewhere EP featured the likes of NAO and Denai Moore alongside his own vocals, emphasising the intense emotion that pours forth. Xavier Voigt-Hill. THE EDGE
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Amy Wootten Hymns is a refreshing diversion for the band: it’s as introspective as it is uplifting, and is rife with wonderful imagery carefully sprinkled through the lyrics. My advice? Don’t cling to the Bloc Party of Four and their previous records, but allow the new direction of Hymns to hold you in its warm embrace. ‘The Love Within’ gently echoes with mechanical verberations picking up the tempo as Okereke opens with “you give me grace and dancing feet.” Its construction is simple, held by a staccato beat and the omnipresent warble of a rising and falling synth, before plunging into the new territory of upbeat synth licks. Gentle piano chords signal ‘So Real’, with Okereke’s vocals softly spoken. It brings a distinctly melancholic shift to the album, detailing a break up with lyrics “what am I supposed to do / when the only good thing about me was you.” Bartle lends gentle high hat shimmers to the track, but what keeps the introspective track in tone with Hymns are the bass segments that coax us out of the sadness. ‘The Good News’ contrasts, freeing us from a pool of breakup woe, as it opens with a punchy vintage rock rhythm. There’s something country about the chorus, with the whole band on vocals, it’s uplifting and it brings with it the strange simile: “everyday is a repeat, like a carrier bag stuck in a tree.” Hats off to the carrier bag comparison, it beats Katy Perry feeling like one. Bloc Party make
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the everyday a little more thought-provoking. ‘Different Drugs’ marks Hymns’ midpoint, pulling us in with a staccato beat and gently soaring echoes beneath it. It’s a distinctive foottapper of a track, long enough to completely lose yourself in it. For the most part, it’s nothing different, it’s just a pleasant listen - but reach the last minute and it shifts. With high, distorted female vocals repeating “different drugs”, the track unearths an underlying dance element before Bartle closes with racing drums. Beginning with a rhythm reminiscent of a Vampire Weekend track, ‘My True Name’ glitters with the beautiful imagery of “daylight through a stained glass window the colours run.” The chorus brings with it an inflection of Robin S.’s 90s hit ‘Show Me Love’: “if you’re looking for devotion / then come to me.” ‘Virtues’ is uplifting, a soulful rock track with cathartic lyrics, an ever-present punchy drum beat and a rhythm that undulates like waves. Hymns is as much a break-up album as it is one glowing with religious and faithful imagery. It gently winds through different genres with Okereke’s vocals paving the way, and it’s long enough to immerse yourself in. It shows Bloc Party in a different light, and it marks a delightful comeback for the band. Hymns is out now via Infectious Music UK.
RECORDS
ALBUM REVIEWS
Moth is an album so thematically strong that, on a first listen, it actually appears rather samey. Though all the tracks are pleasant, they can be fairly non-descript and difficult to distinguish from one another, bar their having ever so slightly different basslines and synth beats. With time, though, these definitely become clearer, and you can appreciate the subtlety at work.
Chairlift Moth Millie Cassidy
It’s unlikely any of the tracks will ever illicit that excited, “Man, I love this song!” reaction. Some are, however, definitely worthy of note. ‘Moth to the Flame’ has repeating refrains balanced with some fun lyrical quips – “I should know better than to take your love letters to heart” – which result in a carefully balanced blend of the two synth and pop halves the duo represent. ‘Cha-Ching’, as well, is a stand out. It plays from the beginning with this vague, indescribable ‘Eastern’ vibe, teasing you with it, before bringing out a solidly urban and recognisable R&B feel for the chorus with its catching refrain of repeating numbers. Moth is curious and mysterious, but a little distant. It is the perfect motivating study music, or pre-drinking music, or cooking with it on in the background music. Those aren’t bad things, but they require music that’s about as impactful as Moth is on the whole. Moth is out now via Columbia.
Not To Disappear kicks off with ‘New Ways’, the gentle opener that sets the sombre mood for the album as a whole, and showcases Tonra’s atmospheric vocals in all of their glory. ‘Numbers’ comes next, and is probably the track that is most representative of their previous work. ‘Doing The Right Thing’ follows as one of the pivotal tracks on the album, as an exploration into the thoughts of an Alzheimer’s suffering, which is especially poignant as Tonra’s own grandmother suffers from the disease. The band’s lyrics are particularly prominent in this track, such as “Everyone’s in love, I just sit in silence,” emphasising this heartbreaking message. This track will play on the emotions of anyone that knows anyone suffering from the harrowing illness. ‘No Care’ is has a tone distinct from the rest of the album. The song’s loud, chaotic nature is a product of Aguilella’s fast paced drumming; a well considered extra dimension to this record. The album is clever in the way it has hints of their previous work, whilst still moving in a distinctive and fresh direction. In this way it has the potential to maintain old fans while gaining new ones. Stand out tracks on the album include ‘Doing The Right Thing’, ‘No Care’ and ‘To Belong’. As always, Elena Tonra’s vocals shine through on this record in expressing fragility and heartache, whether that be in life or Emily Marmara love. Haefeli and Aguilella should by no means be without praise; they provide the perfect backdrop for the lyrics to shine through. While any fans hoping for a slightly more upbeat and happier second album may be left disappointed, Daughter have stuck to what they do best - conveying the pains of life. Not To Disappear is an album that is definitely worth a listen, especially if you have never heard the band before. Not To Disappear is out now via 4AD.
Daughter Not To Disappear
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FILM Blu-Ray Review:
THE MARTIAN
Director: RIDLEY SCOTT Distributor: 20th CENTURY FOX Out: 8TH FEBRUARY
HARRISON ABBOTT
Directorial comebacks are rarely as exciting as Ridley Scott’s The Martian. More often than not, they just gently assure us that maybe our old favourites haven’t totally lost their touch, but they’re rarely of the same calibre as the older stuff. In Scott’s case however, he’s managed to not only prove that he’s still got it, but also deliver one of his best films yet. Now garnering serious awards buzz, The Martian is the kind of film you’d expect from a director in their prime, not from a 78 year old. It’s entertaining, it’s funny, it’s different. It even manages to overshadow more recent space-films
like Gravity or Interstellar, by having a beating heart to accompany the gorgeous visuals. On a surface level, the film is essentially a hybrid of Cast Away and Apollo 13, as astronaut Mark Watney (Matt Damon) is inadvertently left behind on Mars by his crew, following a severe dust storm. Watney has to subsequently survive 300 ‘sols’ on the planet, in the vein hope that someone will come back for him. Throughout its duration the film bounces back and forth between Watney on Mars and the NASA scientists who are trying to figure out a way to rescue him. What distinguishes The Martian, besides an undeniably loveable Matt Damon, impressive visuals and an excellent score, is its refreshingly optimistic tone. Rarely have space movies felt this good. Most of this is to be attributed to Drew Goddard and his witty-as-hell screenplay. But that doesn’t mean that we should underestimate the role of Scott, he’s earned it after all. Oh and the soundtrack. Never forget the soundtrack.
Blu-ray Review:
Spectre
Director: SAM MENDES Distributor: 20th CENTURY FOX Out: 22ND FEBRUARY
CHRIS MEADS Spectre, the fourth film in the Daniel Craig Bond era, sees James Bond receive a message from his past that leads him on the trail of a sinister and shadowy organisation. This is by far the most formulaic and homogeneous James Bond film in recent years, so much so that at times it just feels like the film is ticking off a checklist of tired tropes and plot devices. You may argue that the old adage ‘don’t fix what ain’t broke’ can be applied to James Bond, however, we’ve come to expect new and interesting twists on the classic formula during the Daniel Craig era, which both Casino Royale and Skyfall delivered but Spectre does not. Positives though, are that Daniel Craig has taken full ownership of the role, has a great swagger about him, and brilliant comedic timing. Some of the action
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set-pieces are exhilarating and very well made. The standout is the opening action sequence in Mexico City that may just be the best opening James Bond sequence ever. Spectre is a solid enough but unspectacular action blockbuster. Its fantastic central performance and jaw dropping action sequences, are overshadowed by its generic plot and basic supporting characters. Recent superior entries in the franchise loom over the film like a spectre.
FILM
Ben Robins Having worked as editors on award-winning BBC shows like Bad Education, whilst simultaneously juggling their own cinematic dreams, Chris and Ben Blaine finally unleash their first feature film to the wider-world this year, after cruising around festivals for most of 2015. And as far as debuts go, this one is rather special. Labelled by the brothers as something of a “fucked up fairytale”, Nina Forever follows the relationship struggles of student Holly (Abigail Hardingham), who begins seeing coworker Rob (Cian Barry), only to find that he’s hiding a worrying and potentially deadly secret. Whenever the two become intimate, the bloodied corpse of his dead ex-girlfriend Nina (Utopia’s Fiona O’Shaughnessy) rises from the grave, physically mangled from the car wreck that killed her, but still harbouring her intense love for Rob. Faced with a bizarre dilemma, the couple must decide whether to try and rid themselves of Nina’s wandering spirit, or attempt to incorporate her into their blossoming relationship. Calling Nina Forever “a bit weird” doesn’t quite cut it. Few first-time directors would have the confidence to tackle something that crosses so many different genres and has such an unnervingly schizophrenic tone; and yet the Blaine brothers seem to manage it without any due fuss at all. The constant shifts from buckets of blood, to graphic sex to oddly deep and meaningful chatter about the process of death and moving on, never once feel jarring, sliding into one another with all the grace and panache of something far more straight-forward.
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Director: Chris & Ben Blaine Distributor: StudioCanal Out: 22nd February A large part of what helps sell Nina Forever’s positively mental little world though is its cast. Fiona O’Shaughnessy’s often unsettling, yet wickedly funny, undead Nina is an expected delight. Fans of Channel 4’s Utopia will be at home with her unusual style, which works terrifically in such an unusual context. The real star here however is first-timer Abigail Hardingham, who brings not only her own sense of fearlessness to the role, but also a welcome dose of curiosity. Her Holly is a difficult character to sell: a volatile young woman with many hidden unworldly sexual desires bubbling below the surface; someone who is willing to engage in threesomes with an undead corpse, and yet she manages it almost flawlessly. At times the Blaines’ truly “fucked up” little tale may prove a little hard to handle for some. As you can probably tell, this is not your average romance, nor your average horror, and the genre mishmash will no doubt not sit right with everyone. Occasionally the brothers lean too far one way and the film can feel a little too soppy or dramatic, but these are usually passing moments which thankfully don’t hang around for too long. These smaller issues don’t stop Nina Forever from being a genuinely entertaining and viciously funny little British treat however. What the Blaine brothers have done here is strange, twisted but undoubtedly original; it’s a film that won’t excite everyone, but the smaller groups that it does will find something special hidden amongst the bloody sheets and dark reveals.
FILM
Actress In Focus: Brie Larson David Mitchell-Baker
With the release of her new film Room (not to be confused with the “You’re tearing me apart Lisa!” Tommy Wiseau 2003 vanity project The Room), Brie Larson finds herself on the cusp of super stardom, so it seemed only fitting to take a look at her career thus far. Throughout the 1990s, Larson had brief roles in TV shows, then taking on a number of small roles in several films throughout the 2000s including roles alongside the likes of Jennifer Garner and Ben Stiller in 13 Going on 30 and Greenberg. However it was Edgar Wr i g h t ’s 2 0 1 1 comedy S c o t t Pilgrim vs. the World that brought Larson her biggest mainstream role to date. The film has since developed a cult following and gained L a r s o n significant exposure.
After this, Larson played ensemble roles in Rampart alongside Woody Harrelson and TV dramedy United States of Tara with Toni Collette, until 2012 saw her star in the smash comedy hit 21 Jump Street where she bore her own comedic chops up against an impressive ensemble featuring Channing Tatum, Rob Riggle, Ice Cube and Nick Offerman. Brie took on the role of Molly Tracey, the love interest of both Jonah Hill and Dave Franco as the former attempted an undercover drug bust along with cop buddy Channing Tatum in a local high school. Larson continued to get her name out there by starring in The Spectacular Now with Shailene Woodley and Don Jon with Joseph Gordon-Levitt. But her most important role was yet to come... 2013’s Short Term 12, an indie drama centering on a residential treatment facility, featured Larson in the lead role of Grace, a 20-something who has to tackle not only the difficult youths she works with but also her relationship with her co-worker and boyfriend Mason (John Gallagher Jr.). Larson received unanimous critical acclaim for her lead performance and earned herself numerous award nominations, including nominations from both the Indie Spirit Awards and Critic’s Choice Awards. Riding hot on the tails of her Short Term 12 performance, Larson starred in 2015 films The Gambler and Trainwreck. Her performance in Room has, as of writing, earned her a Golden Globe, as well as BAFTA and Oscar nominations, where she is no doubt favourite to take home the big award. One thing is for certain; the sky is the limit for Brie Larson. Still only 26, to have such an eclectic career at such a young age is outstanding and Room seems to be the start of an acting career that can rival the all time greats.
Did You Know?
•Brie is also a professional singer and has toured with Jesse McCartney. •Despite pursuing acting since the age of 7, Larson has considered quitting acting due to the difficulty of the film industry and the fact that she was unable to get the parts she wanted. •She auditioned for her role in Short Term 12 over Skype.
The Film You Should Watch:
Short Term 12 THE EDGE
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The
Edge’s Most Anticipated Films of 201 6
2016 is certainly shaping up to be another year to watch, promising foul-mouthed superheroes, Shane Black’s return to the buddy cop genre and yes, even more Star Wars, as well as the latest offerings from the Marvel and Harry Potter universes and much, much more. So join us now as we journey deep into what the next year has to offer.
La La Land (15th July) After making huge critical waves with his Oscar-winning debut Whiplash last year, fresh-faced Sundance graduate Damien Chazelle is back, turning his sights towards something even more expansive: an old-school musical. The only plot given for La La Land to date suggests a jazz pianist falling for an aspiring actress in Los Angeles, with song and dance supposedly following. What sells this one though isn’t just Chazelle’s name, it’s his cast. Reuniting the ever-adorable Ryan Gosling and Emma Stone as the central pair is a stroke of genius, especially considering the strength of their chemistry in the likes of Crazy, Stupid, Love and the often forgotten Gangster Squad, whilst the return of former Chazelle favourite J.K. Simmons also provides plenty of excitement too. There’s not much to go on for this one yet, but if it ends up being even just half-as-good as Whiplash, Chazelle’s sophomore effort will likely be one of 2016’s best. Words by Ben Robins
A Monster Calls (21st October) J.A. Bayona, director of horror The Orphanage, is bringing his third feature film to 2016, and it could be the best of the lot. Adapted from Patrick Ness’s book (who also took on screenwriting duties), A Monster Calls is the story of Conor, a thirteen year old boy whose mother is suffering from cancer, when one night he is confronted by a tree monster. The Monster, played by Liam Neeson tells him he was summoned by Conor. The book is an elegant reverseengineering of stories, t h a t takes a
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powerful stance on the nature of grief and loneliness. Rumour is that Bayona withdrew from directing the World War Z sequel in order to perfect this film’s edit. The book is heartbreaking and quite magical, and with Bayona’s assured direction, and a cast that also includes Felicity Jones, Toby Kebbell, and Sigourney Weaver, it looks set to be something truly special. If the adaptation is done properly, it could be on the same level as Inside Out, as intelligent and mature stories under the guise of something magical and fantastical. Words by George Seabrook
(28th October) The latter half of this year’s Marvel offerings comes in the form of Doctor Strange - a new mystical origin story that promises a welcome departure from the technologically equipped superheroes of recent months. Benedict Cumberbatch stars as Dr. Stephen Strange, an arrogant but highly skilled neurosurgeon whose life is changed after a horrific car accident. Unable to carry on as a surgeon, Strange turns his attentions to the mystic arts; exploring hidden dimensions and learning to wield ancient magic. The star-power of the cast alone is enough to make anyone giddy, with the likes of Tilda Swinton, Mads Mikklesen, Rachel McAdams and Chiwetel Ejiofor joining Cumberbatch in the adventure. The first images of Cumberbatch as the so-called ‘Sorcerer Supreme’ also look tremendously promising (and for the Cumberladies of the world, more than a little bit foxy.) Words by Anneka Honeyball
FILM
(20th May)
Do you like jokes? Do you like action? Do you like funny action, and action-packed jokes? Then boy have I got the film for you – The Nice Guys is a comedy-thriller set in 1970s L.A., that follows a P.I. and a hired thug who team up in order to find and protect a missing girl, and solve the curious death of a porn star. It’s made by Shane Black, who previously wrote Lethal Weapon, and directed Kiss Kiss Bang Bang and the best Iron Man film (the third one), and stars Russell Crowe and Ryan Gosling (yeah I know). There are lots of films to get excited about in the coming year, but everyone will be getting excited for those. Get excited for this – it looks like it could very easily be one of the most fun films of the year, you never know. Words by Matt Clarson
2016 is set to take us on a trip down memory lane as the Harry Potter universe expands with the heavily anticipated arrival of David Yates’ Fantastic Beasts and Where to Find Them. The film centres around the story of Newt Scamander (Eddie Redmayne) in the year 1926. Newt travels to America with a briefcase filled with magical creatures, and when these creatures escape, serious consequences face Newt, the magic community and the muggle world. The cast also features newcomers Katherine Waterston, Alison Sudol and Ezra Miller, but also acting veterans Jon Voight, Ron Perlman and Colin Farrell. Given the monumental success, both commercially and critically, of the Harry Potter series and the indelible impact it has had on popular modern day culture, Fantastic Beasts (featuring the screenwriting debut of JK Rowling) looks set to launch the magical world back into the spotlight and remind everyone just why they fell in love with Rowling’s world in the first place.
(18th November)
Words by David Mitchell-Baker
(16th December) A common criticism of the most recent Star Wars entry, The Force Awakens was that it played too safe, re-treading the familiar ground of A New Hope. It’s fitting, then, that Disney’s upcoming Rogue One could be the most unique Star Wars film to date – the first to deviate from the Skywalker family saga, instead turning the franchise’s attention to the rebels that made the destruction of the first Death Star possible. With Felicity Jones (The Theory of Everything) and Diego Luna (Elysium) starring alongside a digitallyresurrected Moff Tarkin and a rumoured Darth Vader cameo, Rogue One will take us back to known territory but has the potential to be a refreshing and original entry in the Star Wars series. Words
by Sarah Corrigan THE EDGE
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FLASHBACK: Sn eaky Pet e ( P i lot )
It seems that in today’s movie climate, all of the stars are going rogue. From Cillian Murphy in Peaky Blinders, to Matthew McConaughey and Woody Harrelson in True Detective, the small screen is certainly becoming a lot bigger. The latest actor to take the plunge into the medium is Giovanni Ribisi with Sneaky Pete.
Sneaky Pete tells the story of the con-man Marius (Ribisi), who steals the identity of his cellmate Pete after being released from prison. He does so in order to hide from Vance (Bryan Cranston, sans moustache), an ambiguous figure to whom he owes money. Marius subsequently returns to Pete’s grandparents’ house after a hiatus of 20 years, so that he can pick up where Pete left off. He then cleverly works his way into the family bail bond business and uses his skills as a criminal to help his ‘cousin’ Julia (Marin Ireland) locate a particularly nasty client. The concept itself is pretty simple and easily repeated, as Marius and Julia can follow up with clients episodically. But it feels quite fresh and original, in part thanks to the compelling performance by the fast and agile Ribisi, who flits effortlessly between Pete, Marius, and the spontaneous lies he conjures when needed. The concept for the show is good, but the cast is great. From the kind rustic grandparents played by Margo Martindale and Peter Gerety, who both look and sound the part, to the rebellious teen Carly (Libe Barer), all of the characters in the show have received a
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well fleshed out introduction. In fact, we leave the pilot feeling that we know a lot more about this unconventional family than we do about our central character, but that just adds to the feeling of longing both Marius and the viewer feel for this slice of small town country life. Despite all of this, the show is not without a few unsurprising plot twists. These predictable beats affirm the series’ status as not ground-breaking, but dependable and consumer friendly, for example there’s the fact that Pete’s other cousin is a cop (Shane McRae). There’s also an overprotective and suspicious grandmother and the hint of an ill-advised romance between Marius and Julia. But is this all such a bad thing? It is after all lighter and more playful where other shows are praised for what seems to be density and complexity. It doesn’t mean you have drawn the short straw when it comes to acting talent or clever writing; it’s just a different kind of series. Sneaky Pete is what it is, but it does it very well. It is a show that has been concocted to feed a modern audience who consume series after series. While the story may be contrived in places, the acting is exceptional. If you don’t believe me, or Bryan Cranston, it certainly generated enough hype to get the approval of Amazon for a whole season. It’s just another reason to get your free 6-month trial of Amazon Student Prime, if Mr. Robot is not enough of an incentive. Sneaky Pete is set for a 2016 release on Amazon Prime Instant Video. Words by Tash Williamson.
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Most Anticipated Games of 2016 With all those pesky ‘games of the year’ lists out of the way, it’s now time for The Edge to look ahead at what 2016 has to offer, with our most anticipated games of the year.
Sea of Thieves This one has the potential to be either a total disaster, or one of the most important games of all time. Very little information is available at the time of writing, which fuels this sense of uncertainty, but the premise of Sea of Thieves is very intriguing. The game is a new pirate themed IP from legendary developers Rare, in which the player is purported to have unprecedented control over the story mechanics. Although not much is known about this aspect, the early word is that players will be able to use in-game tools to customise narratives which they can then share online with other players. The conceit is undeniably alluring and if all else fails, there are skeletons. Everyone loves skeletons! Words by Harrison Abbott.
No Man’s Sky One of the most hotly anticipated games of the year is indie developer Hello Games’ open world sci-fi title, No Man’s Sky. The game sees the player take to the skies and explore a procedurally generated fictional universe, discovering any of the quintillions of unique and fully explorable planets that are made and stored using fancy maths stuff. From gameplay footage, concept art, and hearing the developers talk about the game, it’s clear that No Man’s Sky will be one of the most visually striking and ambitious next gen games yet. All we can do is hope that there’s enough to convert this ambition into a truly top calibre gaming experience. Words by Matt Clarson.
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Final Fantasy XV Announced in 2006, before Final Fantasy XIII had even been released, this game has been in development for ten whole years. With the potential of being the only Final Fantasy game that could dethrone VII as the king of the franchise, Final Fantasy XV is going to feature an immense world, complex characters and, this being a Square Enix game, a rich, intricate (and probably very confusing) story. With the demo release last year being longer than a lot of full-length titles, Square Enix are clearly confident in the amount of work put into this game. With no release date more specific than ‘quarter four of 2016’, it’s still unclear when we’ll be able to immerse ourselves back into the Fabula Nova Crystalis narrative, but hopefully it will be sooner rather than later! Words by Thomas Davies.
Cuphead It’s not often that an indie platform game will make its way onto a most anticipated list, but then again, Cuphead is something very special. Inspired by 1930s cartoons, particularly those of Disney and Fleischer Studios (Betty Boop, Popeye), the game has a distinctive style unlike anything else out there at the moment. The game even goes as far as to adopt the production methods of older animation, utilising charming handrawn characters and beautiful painted backdrops. The result is not only breathtaking, but also feels startling authentic, clearly originating from a passion for the material. In an age when most indie platformers have jumped on the ‘retro’ 8-bit bandwagon, it’s exciting to see something go in a totally different direction like this. Words by Harrison Abbott.
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Intro to: Jukebox Musicals
The jukebox musical is a genre of theatre that uses previously released pop or rock songs in a form of compilation, or uses the back catalogue of a particular band or artist. The narrative of the show is therefore not formed around the creators of the music, as it would be in a biographical musical, but is instead used to form an original plot, which is unrelated to the artist. The genre has increased in popularity over the years, due to the success of West End shows such as Mamma Mia!, which uses the songs of Swedish pop group phenomenon ABBA. Written by British playwright Catherine Johnson. and composed by former ABBA band members Benny Andersson and Björn Ulvaeus, Mamma Mia! is set on the Greek island of Kalokairi and centres around a bride named Sophie. Over the course of the narrative, Sophie finds her mother’s diary and discovers that it may help her discover the identity of her father, be it Sam, Harry or Bill. Sophie’s dream is to have her father walk her down the aisle at her traditional Greek wedding. She consequently invites all three estranged men to the upcoming wedding, as she believes that she will know her father as soon as she meets him. Moreover, she does so without her mother’s knowledge. As a result of this, when her mother finds out about the return of these ghosts from the past, she panics and turns to her friends and former band, The Dynamos, to help her through the ordeal and reconnect with her former flames. The use of ABBA songs within the musical provides moments of exposition within the humorous script. For example, one of the early numbers ‘Honey, Honey’ is used to explore Donna’s diary. The song allows the audience to know the tone of the musical. It is a comedy that aspires to entertain, rather than a heartbreaking musical filled with soul-crushing ballads. For this reason, Mamma Mia! does not take its self too seriously. This is in part due to the use of ABBA music, which was similarly light-hearted and breezy. With it’s upbeat tempo and fast paced lyrics, the music’s main aim was always to be joyous and fun. This translates perfectly onto the stage and allows for the characters of Donna, Tanya and Rosie to be full of life and provide comedy to what is usually a female dominated audience. The fact that the music is familiar is an added bonus. It allows (and indeed encourages) the audience to sing and dance along with big numbers such as ‘Voulez-Vous’ and ‘Super Trooper’. This musical is one that you will be unable to stay sat down for. Instead, you will find yourself becoming your very own ‘Dancing Queen’! Words by Georgia Simpson.
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CULTURE
THE EDGE REVIEWS
THE CLASSICS
Y: THE LAST MAN Brian K. Vaughan
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here’s a lot of dystopian fiction in the world. Some of it focuses on the youth replacing, or being used by, the old. Then there are the post-apocalyptic scenarios where everything resets, especially societal norms. There’s even unease and heady dystopian elements in the real world. Everywhere you look, especially on the internet, there are political, racial, and gender-based conflicts and inequalities. What if we could make it all go away? Or if we could make half of the problem-causers go away? Would humanity be left with a better half? Or are some things just too deeply set into our species to be easily removed? In Y: The Last Man, writer Brian K.Vaughan, along with artists Pia Guerra and Jose Marzán Jr., tackles these questions in a blindingly fresh and intelligent comic-series. The story follows Yorick and his pet capuchin Ampersand, survivors of a plague that has wiped out half of the planet’s human and animal population. In the very early issues of the series, Yorick makes his way from his home in New York to Washington D.C. There, he joins the ultrabadass Agent 355 of the ‘Culper Ring’ in search of an explanation for the plague. Along the way, they meet Dr. Alison Mann, a pioneering and very cold bioengineer who believes she helped cause the outbreak. Together, they set out across the U.S. in search of answers, encountering marauders, republicans, and many groups of people with secrets to hide. Oh and by the way, every one of them is a
woman. Remember that plague? It killed all the men on the planet, except for Yorick. And to put it bluntly, he’s pretty useless. Yorick’s an escape artist, with a minor in stage magic and a college diploma in Literature. His heart’s in the right place, but he all too often isn’t. As he often bemoans, out of all the men to have survived, why did it have to be him? Vaughan’s series is astonishing for the sheer pacing and creativity alone. If you pick up the (admittedly pricey) first volume, you’ll likely be hooked within a page. The opening issue is a horribly tense countdown over the last half an hour prior to the sudden worldwide “gendercide”. It sets up loads of characters, all of whom become key players over the first few arcs of the series and make frequent appearances later on. The rest of that first volume is able to match it for its pacing and goes one better with plenty of meaty moralising. Debates about the best way to reform government and the very question of “who killed the world?”play key parts early on, before the series settles into it’s road movie-esque tale. When it does, the stories and surprises keep coming. This is a beautiful and challenging series, with some of the most likeable and diverse characters around. Y: The Last Man (2002), by Brian K.Vaughan, Pia Guerra and Jose Marzán Jr. is published by Vertigo. Words by George Seabrook.
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LIVE
VENUE IN FOCUS
TALKING HEADS OLI POLHILL
Few of Southampton’s several music venues can boast a history as chequered and intriguing as that of the Talking Heads. The favoured venue of students and locals alike, the Portswood pub boasts a long and illustrious list of musical guests which grants it pride of place in Southampton’s live music and entertainment scene. Guy Benfield, along with business partner Martin White, joined forces to save the Talking Heads from permanent closure in early 2012 after severe financial pressures, and the venue has since become one of Portswood’s most iconic and beloved landmarks. The pub has played host to a variety of musical acts, including alternative rock group Wheatus and Australian metalcore band Northlane, as well as being an ardent supporter of local bands and artists. Late in 2015 it was announced that Talking Heads would be moving from 320 Portswood Road to a newer and far larger location at 16-22 The Polygon (also known as The Maple Leaf) at the end of January 2016, with the intention of reopening doors in early February. There was some immediate, and understandable, scepticism at first, but both punters and the owners are now, nevertheless, excited about the imminent re-opening. In an interview with the Daily Echo, Benfield
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said: “We struggle getting people up to Portswood Road for events and [The Maple Leaf] is a much better location - I could not have wished for a better location.” One of the Talking Head’s most striking features is it’s rustic, individualist interior aesthetic. Entering the cosy front area you are greeted with a solid wooden bar and a panoply of ruched Dralon chairs overlooked by copious numbers of trinkets and ornaments that hang from every wall. As you make your way down a short corridor to the large rear bar the wall furnishings and brushed wood subsist under the shadow of the impressive stage, which extends across the entire back wall. A highly flexible area, the rear bar can accomodate 260 standing for live music or several hundred seating places for private events. The Talking Heads carries a fine selection of Hampshire real ales as well as all the expected bar snacks and drinks, making for a highly enjoyable event no matter what or who the act is. Here’s to hoping that owners Benfield and White will retain this charmingly kitsch interior design which has stolen the hearts of Southampton locals. There is no doubt, however, that the Talking Heads will continue to even greater success, programming an eclectic range of artists from its new home in The Polygon.
LIVE
BRUCE SPRINGSTEEN @WEMBLEY STADIUM, 2013 MILLIE CASSIDY
On the 15th June 2013, Bruce Springsteen and the E Street Band played Wembley Stadium as part of his tour for Wrecking Ball, his seventeenth studio album. I was going for my 19th birthday, my mum taking me to see my favourite artist and formative influence in concert. Springsteen was at this point a 64-year-old man, and you’d be hard pressed to find anyone a third of his age with more energy. He gave everything to the show – he ran side to side, up and down, danced with the audience, played, sang, everything. He didn’t take a break in three and a half hours and honestly, I was tired from just looking at him. Seeing your heroes in person is always a bit of a trip, especially when they have as much vitality and presence in person as they have in your imagination. The concert was amazing – Springsteen spent the first hour and a half walking lengths of the stage picking up people’s request signs, getting the consensus of the band before playing them, then triumphantly throwing the sign away. Then, he played the entirety of Darkness on the Edge of Town; hearing an album track for track like that in concert was something else. But the most magical bit of the whole evening – up there with the most magical moments of my life came right at the end.
So Springsteen had just left the stage after his encore, and my mum poked me; there was a train home in 20 minutes that we should try and catch. So we hurried from our seats, and got into the inside of the stadium. We were just walking to the stairs when we heard the crowd outside go up in cheers; he’d come back on stage. My mum turned to me and said, “Well, let’s wait and see what he plays; if we really like it, we’ll stay.” So we paused, and waited. It was really quiet, the cheering having died down, before the silence was broken. By six solitary notes on the harmonica. ‘Thunder Road’. I bloody sprinted. I honestly did not think about anything and I just ran, out to the seating, and along the rows until I got far enough out to see the stage. Acoustic and totally alone, without the E Street Band to accompany him, Springsteen was playing my favourite song in this world. I’d spent the whole day with my fingers crossed, hoping he’d play it; it wouldn’t have ruined the day if he didn’t, obviously, but… ‘Thunder Road’ is a song about believing you’re done for, that you’ve got nothing to your name just like you’ve got nothing left to give; but it’s a song for just going out and trying anyway. It’s a song for giving it one last try, going out in a blaze of glory because even if you fail you can say you’ve tried, you’ve given it your all. It’s a song for everyone who has ever doubted they mattered. And – as I had to hold myself up on a railing, openly and unattractively sobbing for five straight minutes – in that moment, it felt like it was a song being played just for me.
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ALIEN ANT FARM @OLD FIRE STATION, BOURNEMOUTH WILL HODGETTS
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alifornia-based rockers Alien Ant Farm arrived on the not-so-sunny south coast of England on a bitterly cold evening to play Bournemouth’s Old Fire Station. The show was the penultimate stop of the UKleg of the ‘Anthology’ tour, named in homage to their highly successful sophomore record. The Old Fire Station was sold out and packed to the rafters with reminiscing rock fans, with the average age in the 30 - 40 region. Yet despite there being so many people, there was no atmosphere whatsoever. Essex-based quartet InMe took to the stage at around eight o’clock to try and rev up the crowd, but they unfortunately failed. This is by no means a reflection of their performance however, as they delved into their extensive back catalogue to produce a half-decent nine track set. Unfortunately for live shows, it is the atmosphere that makes it, and there was just a severe lack of one. Even when the main attraction made their appearance, there was very little reaction from those in attendance. This was a massive shame because Alien Ant Farm put on a great performance, with the group sounding almost identical to how they sound on a record - an impressive feat for a group that have passed their peak. They made their way through Anthology
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impeccably, with frontman Dryden Mitchell trying his best to interact with the crowd, but ultimately failing due to the lack of response. He did bring the tone down further for a short while whilst he told how him and his mum are in the middle of an awful fight at the moment, prompting an even more awkward silence from the Bournemouth crowd before playing “her favourite song in the world”, ‘Attitude’. The popular tracks from the Anthology record, ‘Courage’, ‘Movies’, and the aforementioned ‘Attitude’ managed to evoke some kind of reaction from fans, with some faintly being heard singing along, but that’s as much as they gave until the final song of the encore. Alien Ant Farm released a cover of Michael Jackson’s ‘Smooth Criminal’ on the record, with the single version peaking at number five in the UK singles chart, five places above what the original was able to achieve. The anthem got everyone bopping up and down, at long last, and singing along at the top of their voices. It may have been too little too late from the crowd, but Alien Ant Farm did themselves proud and showed that even though their best material may be far behind them, their ability to perform live certainly is not.
LIVE
Preview:
NINA C O NT I @CRITERION THEATRE, LONDON
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BEN WILLCOCKS
he amicable and endearing Nina Conti will take to the stage at London’s Criterion Theatre next month; the award-winning comedian will be performing her show, ‘In Your Face’, from the 25th February – 12th March. Now a seasoned veteran of ventriloquism, Conti intends to develop her act even further in London, by utilising members of the audience as her
puppets. This is achieved by asking volunteers to wear a strap-on mask, as she embarrasses them light-heartedly. Although Conti has trialled this brave concept on various television shows, ‘In Your Face’ promises to include more improvisation and interaction with the audience. Undoubtedly, Conti will also expose her other well-known characters during ‘In Your Face’, such as Scottish Granny and Monk the monkey. Conti is no stranger to the stage or screen, having headlined regularly at London Comedy and appearing most recently as a guest star on 8 out of 10 Cats Does Countdown. Arguably her most impressive achievements to date are winning a British Comedy Award and her film being nominated for a BAFTA – all without moving her mouth! Now Conti is gracing the stage of comedy once again; expectant audiences await her hilarious new material with eager anticipation.
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owling For Soup are bringing their ‘How About Another Round’ tour to the O2 Guildhall in Southampton on the 13th February after having said their farewells to the UK in 2013. Formed in Texas in 1994, they hit it big with their single ‘Girl All the Bad Guys Want’ in 2002. Their fourth album Drunk Enough to Dance hit 14th in the UK charts whilst their fifth studio album The Hangover You Don’t Deserve became the band’s first and only US Top 40 album, in 2004. Since forming the band have released ten studio albums and several compilation albums. A mix of pop punk and alternative rock, Bowling For Soup were the soundtrack to many teenage lives in the Noughties, offering powerful riffs and trademark humorous lyrics. The band announced they wouldn’t be doing any more UK tours in 2013 stating personal and financial reasons. However, in June 2015 they released a statement saying “it was farewell, not goodbye,” and announced their current UK tour. They will be playing alongside support acts The Dollyrots and Lacey.
Preview:
BOWLING FOR SOUP
@O2 GUILDHALL, SOUTHAMPTON JENNI DERRICK
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Listings Film 17th February The Tribe @ Union Films
23rd February Orthodox @ Harbour Lights
24th February Dark Horse @ Union Films
28th February
In the Heart of the Sea @ Union Films Black Mass @ Union Films
1st March
Bridge of Spies @ Union Films Janis: Little Girl Blue @ Harbour Lights
2nd March An Autumn Afternoon @ Union Films
6th March
Live 18th February
Blossoms @ The Old Fire Station, Bournemouth Skinny Girl Diet @ Joiners
19th February
Fickle Friends @ Joiners The Hell @ Talking Heads
20th February
Richard Hawley @ Southampton Guildhall FlashFires @ The Railway Inn Palms and Pelicans @ Joiners Fatherson @ Talking Heads
21st February
Rob Beckett @ Nuffield Snuff @ Wedgewood Rooms
Joy @ Union Films The Hateful Eight @ Union Films
The Crookes @ Talking Heads
8th March
Allison Weiss @ Joiners
Creed @ Union Films The Forbidden Room @ Harbour Lights
Tonight Alive @ Pyramids Live
24th February 25th February
The Rifles @ Wedgewood Rooms Hot Feet @ The Railway Inn Sundara Karma @ Talking Heads
26th February
CJ Wildheart @ Joiners Stiff Little Fingers @ Pyramids Live Weapon @ Talking Heads
27th February
Kodiak Jack @ Wedgewood Rooms
28th February
Frankie Boyle @ Mayflower Theatre Mark Steel @ Nuffield Hacktivist @ Joiners Devilskin @ Talking Heads
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C Duncan @ Joiners
3rd March
Keston Cobblers Club @ Wedgewood Rooms Wilson @ Joiners
4th March
Psychic Sally @ Southampton Guildhall Will Varley @ Joiners The Vibrators @ Talking Heads
5th March
Dub Pistols @ Wedgewood Rooms Tenek @ Talking Heads
7th March
Foxes @ Pyramids Live
23rd February
Maz O’Connor @ Talking Heads
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1st March
Lucy Spraggan @ Wedgewood Rooms Tony Law @ The Railyway Inn
29th February
Sabaton @ Southampton Guildhall Foxes @ The Old Fire Station, Bournemouth Twenty One Pilots @ Portsmouth Guildhall
Theatre 10th-21st February
Chitty Chitty Bang Bang @ Mayflower Theatre
16th - 20th February The Witches @ Nuffield
22nd-27th February
The Rocky Horror Show @ Mayflower Theatre
23rd-27th February A Raisin in the Sun @ Nuffield
29th February - 2nd March Cirque Berserk! @ Mayflower Theatre
1st-19th March
The Massive Tragedy of Madame Bovary! @ Nuffield
3rd March
The Faaaabulous Ceri Dupree Show @ Mayflower Theatre