The Edge (November 2015) by The Edge

Issue THREE Welcome to our third issue of The Edge! Time really flies when you’re having fun and we’ve certainly been having a blast here. We’re now at the mid-point of the first term, and essay deadlines are looming for all. We’ve had a busy few weeks since our second issue, organising some exciting Edge Sessions including High Tide Royals and The Hoosiers. We’ve also collaborated with the Wessex Scene on a very special combined magazine called The Black History Month Issue, which if you haven’t got your copy already, go grab one! This issue began themed right from the very start with a big focus on Halloween and, of course, one of film’s biggest releases of the year, Spectre. We’ve covered everything from the best James Bond theme songs, which you can catch on pages 12-13, to what to expect from Spectre and the problem with the ‘Bond girl’, available to read on pages 8 and 11 respectively. But we haven’t stopped there. Records Editor, Amy Wootten, took a look at the problem with music streaming in the industry on page 5 and our writers break down the scariest enemies in gaming on pages 26-27. We also have a review of Lifehouse’s performance over at O2 Shepherd’s Bush Empire and managed to sneak backstage for an exclusive chat. With our own introducing gig on the horizon at The Joiners with The Costellos headlining and Strawberry Morning supporting, we took a look at one of our lesser-known favourite venues, The 1865. The Edge were also lucky enough to be invited along to the London Film Festival to explore the latest film crazes, but also a new addition to our calendar, Raindance Film Festival, which introduced some smaller but very interesting releases. With issue three coming out now, our team have started to become reflective on what already is a really exciting year for The Edge. With our writers more enthusiastic than ever, and some really exciting opportunities and interviews on the horizon, you’re really missing out if you’re not part of the student entertainment magazine. Natalie Fordham Editor

THE EDGE

Contents

Editor Natalie Fordham editor@theedgesusu.co.uk

editorial

Deputy Editor Lewis Taplin deputy-editor@theedgesusu.co.uk

NEWS

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

01 Welcome to Issue Three

03 The Newsbox 04 Notes on News: The cost of streaming - is all fair in the music industry? 05 Nostalgic News

Features

film

17 Raindance - That’s Not Us 18 Raindance - Exit/Entrance 19 BFI London - High Rise 20 BFI London - James White 20 BFI London - Bang Gang (A Modern Love Story) 21 Blu-Ray Review: Poltergiest 21 Blu-Ray Review: Slow West 22 One to Watch: Kill Your Friends

06 What Makes a Scary Movie Monster? 07 Spectre Speculation 09 The Edge’s Dream Bond Cast 10 The Bond Girl Problem

culture

Records

live

11 Best Bond Themes 13 Review: CHVRCHES - Every Open Eye 14 Review: Cristobal and the Sea - Sugar Now 14 Review: Avicii - Stories 15 Review: Sam Smith - ‘Writings On The Wall’ 15 Review: Jamie XX - ‘I Know Theres Gonna Be (Good Times)’ 15 Review: Redlight - ‘Threshold’

23 Review: Hamlet @ The Barbican 25 The Scariest Videogames Villain 27 Horror TV Previews

28 Review: James Bay 29 Interview: Lifehouse 30 Review: Lifehouse @ Shepards Bush Empire 31 Preview: Catfish and the Bottlemen @ 02 Guildhall 31 Preview: Skindred @ 02 Guildhall 32 Venue in Focus: The 1865 33 Listings

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

04 THE EDGE

NEWS

THE NEWSBOX

Notes on News:

TOP TOP FIVE FIVE NEWS NEWS STORIES STORIES 1

In a recent 9th interview Zane Lowe, Beginning March,with Annie Mac will Will take Smith revealed he plans to go onfrom his over the slot ofthat Monday to Thursday first world 7pm musictotour 2016, alongside past the hours 9pminon Radio 1, replacing collaborator, Zane Lowe. DJ Jazzy Jeff. Disney have cast year-old newcomer The Theory of 14 Everything’s Felicity Auli’i Jones Cravalho as the voice of their latest princess, and Life of Pi’s Irrfan Khan are confirmed to Moana. star in Inferno, the latest film to be adapted

BBC have commissioned a new Doctor EwanThree McGregor will make his directorial Who spin-off entitled Class, made for and debut with the upcoming film, American about young adults.

Mr set to finally out to his RaeSmithers Morris isis confirmed as come the support act beloved Burns, in twothis new episodes for Tomboss, OdellMr when he tours Summer. of The Simpsons.

Union Filmsiswill be holding a a Game midnightof Sue Perkins to host Thronecast, screening of The Hunger Games: Mockingjay Thrones spin-off which will air live after each -episode Part 2 on 19thHBO November of the series. - one day earlier than every other cinema in the region!

THE EDGE’S ENTERTAINMENT PICKS Editor: Dirty Rotten Scoundrels @ The Mayflower Theatre (24/11/15 to 28/11/15)

Records Editor: Kate Boy, ONE (06/11/15)

Film Editor: The Hallow, directed by Corin Hardy (13/11/15)

Culture Editor: Fallout 4, Bethesda Game Studios (10/11/15)

Live Editor: The 1975 @ Southampton Guildhall (21/11/15)

THE EDGE

THE KEATS OF TWEETS

After 12 weeks of intense bread-making, doughproving and cake-decorating, The Great British Bake Off finally came to an end last month, with Nadiya Hussein coming out as the worthy winner. After her moment of victory finally diya a N m u eg @B aired to millions of fans, azing the baker took to Twitter am e th o T o gave me to express her amazement. people wh nity. To tu this oppor baker us my gorgeo . hat a ride friends. W BBO #G u yo k Than

Got a celeb to nominate for next issue? Let us know:

@theedgesusu THE THE EDGE EDGE IS IS EAGER EAGER FOR... FOR... Bridget Jones’s BabyLate - The first imageBlur fromunveiled the longBlur’s new album. last month, a awaited sequel was ‘Go released withfrom Renée new track entitled Out’, last the month, lead single their Zellweger herMagic role asWhip, Helendue Fielding’s hapupcomingreprising album, The to be released less journalist. Also starring Colin Firth and Patrick this April, their first release in 12 years. Dempsey, the film is set to be released next September. The revival series - Following the influx of conTheX-Files new Alien film, which has been recently been teaser trailers and revelations,is we can’t wait to firmed. District 9’scasting Neill Blomkamp to direct the new see and Scully return ourwell screens in January filmMulder from 20th Century Fox,to as as Ridley Scott 2016. confirmed as the producer. Ghostbusters The combination a new all-female that This year’s T- in the Park. It hasofbeen announced bustin’ team AND the promise of a cameo from are to Kasabian, The Libertines and Noel Gallagher almost every original cast member, including Bill Jessie headline, with other names like Sam Smith and Murray and Sigourney Weaver? Yes please! Paul Feig’s J set to appear. reboot is set to hit cinemas in June, next year.

for all the latest entertainment news theedgesusu.co.uk/news

The cost of streaming: Is all fair in the music industry? WRITTEN BY AMY WOOTTEN

The way we consume music has been changing for a long time. It’s a rarity to find someone who still buys hard copies of CDs these days, as we continue to seek streaming platforms, such as Spotify and the newly arrived Apple Music, for our tunes. But even with 10 million paying subscribers and 30 million people who use the platform for free, somehow artists are still not getting the pay they deserve. Elly Jackson, better known as La Roux, is the most recent artist to rare up Spotify’s payment system. In a sarcastically composed Tweet, she stated: “Thanks for the £100 for this quarter…one more month and I might be able to afford your premium service. Lucky me!” Of course this isn’t her only source of income, but there are students who earn a higher wage than that for three months. It isn’t as though her latest album, Trouble In Paradise, didn’t see success either - The Guardian named it the best pop album of 2014. So why the lack of money? She may be more under the radar now, but £100 for three months is still absurdly low. We all remember the disgustingly catchy ‘All About That Bass’ which erupted last year, throwing Meghan Trainor into the world of fame, whilst also receiving more than 178 million Spotify streams. Problematic as the track is, what is more problematic is that the track’s co-writer, Kevin Kadine, received just £3,716 from its streams (still more than La Roux, admittedly). The writer stated: “that’s as big a song as a songwriter can have in their career…but you’re making £3,716. How do you feed your family?” Put like that, there’s definitely something unjust in the system. Songwriters will likely go uncredited because the artist is at the

forefront of the track, but that doesn’t mean they shouldn’t get a fair wage from the music. Such was the case with Avicii’s ‘Wake Me Up’, which saw the writers receiving just £8,000 from the 168 million Spotify streams the track got. But who is to say that they would have received any more than that if hard copies of the albums were bought? Taylor Swift left Spotify in November last year, following the injustice of their pay to artists – who only receive up to £0.01 per track play. And she’s not the only one to leave either. The Beatles, AC/ DC, and The Black Keys are also unavailable on the streaming site. The issue is that these artists can afford to go without the promotion and streaming of Spotify, which lands those that can’t in a catch-22 situation. In the case of La Roux, even at less than 1p per stream, with the 100,000,000 streams her tracks garnered, she should have been entitled to £700k – a far cry from the £100 she received. Spotify could do more, obviously, but the unfair money distribution battle is amplified by the label that the money initially goes to. That said, at least there is some money bouncing around, rather than illegally streaming artists’ work. Tame Impala’s Kevin Parker recently spoke of illegal downloading and flagged up that the most important element in these debates should be the music. Swift herself said “music is art”, so why is all of the concern about money for art? What’s important is that people are listening and connecting to your art: that should be why you made the music in the first place. The music should be what’s most important, but here’s a message for Spotify: buck up your ideas, make use of your 30 million paying subscribers, and give artists and songwriters the money they deserve for their art.

THE EDGE

NEWS

FEATURES

nostalgic news Another round up of things that happened this month in years gone by.

Guitar Hero was first released ten years ago Sophie McEvoy The first instalment of the popular music video game series Guitar Hero was released on Playstation 2 ten years ago on 8th November 2005. Developed by Harmonix, the game required a guitar shaped controller (modelled after a Gibson SG), to allow the player to simulate playing at a rock concert. The goal of the game is to score as many points as possible, whilst keeping the virtual audience excited. The game also boasted a large cataloge of playable songs including tracks from the likes of Black Sabbath, The Ramones, Jimi Hendrix and Sum 41. Guitar Hero became a surprise hit within the gaming community, earning itself critical acclaim and becoming one of the most influential games of the first decade of the 21st century - spurning a further nine major releases.

Toy Story was released 20 years ago Georgia Simpson The resonating friendship between a cowboy doll and a space ranger action figure first blossomed 20 years ago, when Toy Story was released in US cinemas on 19th November 1995. The first featurelength computer animated film (as well as the first theatrical film) to be produced by Pixar, the story and characters of this movie have truly survived the test of time and are still relatable today. The film, which follows a group of anthropomorphic toys, went on to receive three Academy Award nominations including Best Original Screenplay, Best Original Score, and Best Original Song for Randy Newman’s iconic theme, ‘You’ve Got a Friend in Me’. The film has since spurned two sequels, with a third already in production.

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Miranda first aired six years ago Dan Linstead The popular BBC sitcom Miranda first hit our screens six years ago. After a successful stint on Radio 4 under the guise of Miranda Hart’s Joke Shop, the show made the successful transition to BBC Two on 9th November 2009. Three series and two tearjerking farewell specials later, both the character and the show have become a much loved addition to contemporary British TV, with over 11 million of us tuning in to the opening episode of series three in 2012. It’s not just a successful show among viewers either; the show has also received nods from the Royal Television Society, BAFTA and the National Television Awards. Though it seems to be over for now, watching the hilarious antics that Miranda and co. got up to was always “such fun.”

Madonna released ‘Material Girl’ 30 years ago Anneka Honeyball Madonna’s provocative pop classic ‘Material Girl’ was released 30 years ago, on 30th November 1985. Taken from the Queen of Pop’s infamous second album, Like A Virgin, the single was written by Peter Brown and Robert Rans, and produced by Nile Rodgers. The lyrics of the track speak about the so-called materialism of the modern woman, opting for money and success rather than love and romance. The iconic music video saw Madonna mimic the infamous scene from Gentlemen Prefer Blondes in which Marilyn Monroe performed her ‘Diamonds Are A Girl’s Best Friend’ stint. The song has sold over 405,000 copies in the UK alone and made the top ten in the majority of international charts upon its release.

Be they supernatural, extra-terrestrial, or just plain psychopathic, monsters have been terrorizing the big screen since the dawn of cinema. But what does it take for a movie monster to really give you nightmares?

Originality

Now this might seem obvious, but it’s remarkable how many classics are flogged for an easy buck. Frankenstein, Dracula, Freddy Krueger, and countless others have been done to death by endless sequels, remakes and sequels of remakes. Paranormal Activity? We’ve seen so many of these ghosts/daemons/whatevers in such a short span of years that we now know exactly what they’ll do! When you know your monster inside out it stops being scary. Give us more new ideas. The Babadook, It Follows; these films will stick with us because the creatures they presented us with were something new, something we’d never seen before, something we couldn’t predict, and that’s what scared us. Not that the tired old bogeyman can’t be resurrected effectively if you change up the formula a bit. When Wes Craven took back his beloved dream killer in 1994’s New Nightmare, a full ten years and five films after the original Nightmare on Elm Street, he turned our expectations on their head by making a film in which Freddy Krueger attacks people trying to make a Freddy Krueger film. A simple twist, and the results were truly petrifying!

Mystery

The infamous xenomorph of Alien fame is one creepy beasty! Scurrying round the maze like air ducts of the Nostromo, leaping out on the unwary to chow down with its mouth-within-a-mouth, before vanishing again. Horrifying stuff, made all the more unnerving by the

fact that we hardly ever see the thing. We just know it’s out there somewhere, waiting… waiting… Oh God, IT’S BEHIND YOU!! When it comes to showing off your monster, less is always more. It’s not until the final scene of Alien, under the bright, white lights of the Nostromo’s escape shuttle, that you start to realise that the terrifying xenomorph is in fact just a man in a rubber costume; a really good costume, no question, but still… the cracks do begin to show. Too many potentially great horrors feel the need to blow their load in the last ten minutes with a clear view of their monster, essentially killing a whole film’s worth of tension in seconds. In contrast, The Blair Witch Project has one of the scariest movie monsters of all time, despite us having never actually seen the witch herself!

No Backstory!

There’s a reason why films like Dracula Untold and The Texas Chainsaw Massacre: The Beginning tank at box office: it’s because no one cares. No one’s interested in spending two hours watching some Romanian bloke becoming Dracula. We’d rather watch Dracula being Dracula. The Texas Chainsaw Massacre: The Beginning is one I found particularly insulting. The original Massacre is so horrifying because there is absolutely zero explanation as to why this bunch of total psychopaths do what they do. Their actions are senseless. To have all that torn apart, to have Leather Face explained by a generic knock off that has none of the spirit of the original was enough to make me scream… not in a good way! Josh Harris

THE EDGE

FEATURES

SPECTRE SPECULATION

What To Expect From Bond’s Latest Adventure Ben Robins

It may have been a rather long wait, but the latest 007 adventure is finally very much on the doorstep, and it certainly looks to be another giant leap in a new direction for Bond. Sam Mendes’ dramatic rejigging of the world in 2012’s Skyfall definitely put the character on a new path, and with Mendes returning for this year’s Spectre, one can expect such things to continue. Here are a few things to expect from the new Bond adventure when it finally lands on October 26th.

One of the Best Villains Yet

Return of the Badass Henchman

Like him or loathe him, Christoph Waltz was born to play a Bond villain; everything from his vicious grin to that ridiculously detailed annunciation screamed potential adversary, and now we finally have our wish. And with fan-favourite criminal enterprise Spectre finally making its grand return to the series - supposedly headed up by Waltz’s Oberhauser there are high hopes for a new iconic nemesis to rival the likes of even classic Connery-era Blofeld.

To go alongside such a big-time villain you obviously need a memorable accomplice. Goldfinger had Oddjob, Hugo Drax had Jaws, and now Oberhauser (supposedly) has the towering behemoth Mr Hinx, as played by Guardians of the Galaxy’s scenestealing Dave Bautista. It’s been a while since a Bond nemesis had an equally imposing henchman, but now it seems they’re back, and more burly than ever.

Gadgets Galore For the first time since Ben Whishaw joined the scene, it looks as if we might well get a glimpse inside Q’s lair, which is ridiculously exciting for Bond fans of all varieties, as that can mean one thing and one thing only - gadgets, and lots of them. Even the latest car, another Aston Martin for the ages, seems to kitted out with all the appropriate bells and whistles, making it seem as if Spectre might well be a new take on that classic Bond formula that’s been lost in more recent efforts.

The Beginning of the End Despite a great deal of talk over who will be replacing him, current star Daniel Craig actually still has at least one more Bond adventure left in his contract. Considering his age and no doubt his building disdain for the franchise however, it’s likely that Spectre’s sequel will be Craig’s last, and so it seems to make sense that Spectre will form the groundwork - possibly the first in a two-part story - for what will eventually be the current Bond’s grand finale. How this will be set-up is still anybody’s guess, but it seems a safe bet that Waltz will play a big part in the proceedings.

THE EDGE

FEATURES

THE BOND GIRL PROBLEM Everyone seems to have had their say on who should play the next James Bond - but The Edge have gone one better. Here, we tell you who we think should play every main role. What a film, eh?

BOND

DAN STEVENS

Unlike Daniel Craig’s brash, heavy-handed 007, Downton Abbey veteran Dan Stevens oozes class and charm. His violent, calculated streak - as championed in last year’s The Guest - is far more internalised. He would play a more emotionally and mentally complex Bond, that could flirt with the realms of psychosis and deliver a deeper and darker stance on our favourite agent. Stevens has the looks and confidence down, but he would add layers to the Bond legend, and make for a rejuvenated series that’s not only fiendishly entertaining, but dramatically stimulating too. Ben Robins

VILLAIN GIRL

ZOE SALDANA Zoe Saldana is surely the obvious choice for a Bond Girl, one that can go toe to toe with the man himself. Her role in Guardians of the Galaxy as the captivating and very capable Gamora show her form as an action star. Mix that badassery up with a funnier, more spirited character than the green-skinned assassin, and voila! A (sexy, if you needed reminding) new Bond Girl, emphasis on the new. Who was the last Bond girl who could fight and have fun? George Seabrook

JESSICA CHASTAIN The rule goes: if there are two women, one of them is evil. As in life, in Bond. Jessica Chastain has played good people in tough situations, acting in bad ways. Now let’s have her as a bad person, who thinks that they are good. We want the Chastain of Zero Dark Thirty – cool, determined, and utterly ruthless. She has the chops and the presence, and would never come close to being seduced by 007. Let’s mix things up: make the women the power plays, a la Mad Max: Fury Road. “That’s not Bond!” But it is cool - and Chastain is definitely that. George Seabrook

IAN McKELLEN Bond is a British institution – and any Bond film should do its part and our proud acting royalty. Ian McKellen should be an obvious choice for someone of bearing to represent the head of the world’s greatest spy organisation. Does this even need justifying? He’s Gandalf, Magneto, and played countless roles for the RSC. McKellen has superbly portrayed some of our favourite fictional heroes and villains. If we can trust him to head the Brotherhood of Mutants, I think we can trust him to boss a bunch of government employees around. Camilla Cassidy

RICHARD AYODE

With Sam Mendes pushing Bond towards sleek style and intelligence - while harking back to the ‘good old days’ when the films were fun and suave bringing in Richard Ayoade to play Q is a great idea. More than smart enough for the role, Ayoade would raise the back-and-forth between 007 and Q to a whole new level, and his combination of goofball humour with dark cynicism would work with the jaded, mature character Bond is becoming. Matthew Clarson THE EDGE

Written by Rebecca James

The tradition of ‘Bond Girls’ does a disservice to women - and the James Bond franchise itself. For each new Bond film, there are several announcements waited for with eager anticipation – who is singing the theme tune? What’s the title? And, of course, who will the Bond girl be? Casting news with any big franchise or eagerly anticipated project is always met with excitement by fans, but there is a certain fascination with the list of women who make their way onto our screens and, more often than not, into Bond’s bed. While a role in a Bond film is undoubtedly a feather in any actor’s hat, and being cast as a Bond girl can do wonders for a career, it comes with some frustrating drawbacks which need to be addressed by the writers of Bond immediately. The life of a Bond girl is limited – Bond’s female costars will feature in one film, as whatever their role might entail, and then fade into a long list of women who Bond has interacted with or bedded in his long screen career. Very few Bond girls feature more than once in the whole franchise, while actors playing M, Q, and even Miss Moneypenny could be called back to the role again and again. An actress has the material given to her for that film, with little chance of picking that character up again; which wouldn’t be a problem if we were talking about a stand alone film. But Bond is a series, and while each actor normally has several films to make their mark on the character, the female companions are not afforded the same opportunity to make an impression. Whether their performance stands out or they are mediocre, every actress who plays a Bond girl is relegated to a long list of women who may well become an answer on a quiz show. When it comes down to it, the biggest problem with the entire concept of the Bond girl is the inevitable sexual subtext which accompanies the idea. Bond girls sleep with Bond. Even the name reduces them to less than their own character. They are Bond’s girls, not women who feature with equal importance to the narrative, or who are allowed to exist as characters in their own right. I’m willing to bet that the majority of people may well be able to name actresses who have been in a Bond film, but they won’t be able to give you more than three

character names, once Pussy Galore, Vesper Lynd, and Octopussy are taken out of the running. Inevitably, Bond girls sleep with Bond to reaffirm his virility. They are there to prove his sexual prowess and his command of the world around him, the fact that women are powerless to resist his advances affirms everything about his hyper masculine presence. The female characters are not there to add colour to the story, or to help Bond in a meaningful way – they are either pawns or victims to the enemy, and Bond could get on quite well without them. Essentially, Bond girls exist to prove that Bond is an attractive man who is capable at his job as a spy. Quantum of Solace is undoubtedly a blight on Daniel Craig’s otherwise spotless run as Bond, but it at least did something a little unusual with Bond’s female companion – Bond doesn’t sleep with her! These problems don’t mean that Bond films aren’t enjoyable and exciting, because they are. However, adressing these problems, and m a k i n g the female leads in these films actually leading characters with depth and development will make the franchise r i che r, and more relevant in the modern world.

THE EDGE

RECORDS

THE BEST BOND THEMES

The release of Sam Smith’s theme for the upcoming Spectre has proven a disappointment to many, especially in comparison to past themes for Bond. The Edge took their pick of the best of Bond themes throughout the ages.

THEME: THEME:

‘We Have All The Time In The World’ ‘The World Is Not Enough’

FILM: FILM:

Her Majesty’s Secret Service The World Is Not Enough Though it’s not even the film’s main theme, nothing could ever come close to the beauty and brilliance of Louis Armstrong. He plays with the final words of the film, rumbling them in his throat like gravel, to create an elegant, timeless song that stands alone as a thing of beauty.

THEME: THEME:

‘You Know My Name’ ‘Live And Let Die’

FILM: FILM:

Casino Royale Live And Let Die Tough, modern, and a little bit silly, it’s a perfect lyrical and musical fit for the film, which sees the origin of the misogynistic and careless James of old. And thanks to the collaboration with David G. Arnold the beautifully Bond-ian guitar/horns riff makes frequent appearances in the film.

Despite the cheesiness of the film for which the song takes its name, ‘Live and Let Die’ is easily one of the most iconic Bond tunes to date. And for good reason, with an appropriately bombastic chorus and intense bridge, McCartney crafted an excellent song for Roger Moore’s best performance. Alex Meehan

George Seabrook

How much more 90s can you get? Garbage enlisted soundtrack producer David Arnold to give the band that John Barry orchestral flair, whilst still retaining their signature industrial rock sound.

MILLIE CASSIDY

THEME: THEME:

Sophie McEvoy

‘Another Way To Die’ ‘Skyfall’

FILM: FILM:

Quantum Of Solace Skyfall

Bassey is the queen of THEME: Bond themes, having sung ‘Goldfinger’ two of the most memorable. FILM: The tune masterfully weaves in the motifs of the original Goldfinger Bond theme, and is elegantly classic. Also, Bassey’s voice is captivating; opening the film with this song just leaves you excited for what’s going to come in the movie.

The collaboration between Jack White and Alicia Keyes brings with it a punchy, sultry track, with the level of power (juxtaposed with gentle piano melodies) needed for a Bond opening. The chorus is explosive, the lyrics quick and slick as the track erupts. Perfect. Amy Wootten

Adele’s superb vocals set the scene for the intense drama that lay ahead of the opening sequence, with just a squeeze of sexiness and a catchy chorus that had people humming the track for weeks following the film’s release. Becca James

Rehana Nurmahi

THE EDGE

RECORDS

Review:

Where the first album from the Scottish electro trio opened with the soaring and gradually building strains of ‘The Mother We Share’, Every Open Eye lunges for the listener in the very first second, with ‘Never-Ending Circles’. It’s an audacious opening to a second album. The track is imbued with confidence thanks to Lauren Mayberry’s lyrics and delivery, and the sound backs it up. A triumphant song for a breakup, which, when lead single ‘Leave A Trace’ immediately follows, helps frame the rest of the album. They’re just coming back with more power. That power is evident in the final minute and a half of ‘Clearest Blue’, when the song goes from a ballad, building incrementally, to an explosion of electro energy. Following Mayberry’s vulnerable lyrics in the first half, pleading for help in anticipation of a panic attack, the release of the final half is astounding. Mayberry may be vulnerable lyrically, but her voice sounds invincible. It’s stronger and more impactful than the soft, almost whisper-like one of before. One could say the misogyny she’s been exposed to online has made her reveal the toughness she restrained before. There’s certainly a strength in the band’s emotional honesty, when they close with ‘Afterglow’ – just her voice, and the high notes of a church organ. It’s a beautiful comedown not just from the banger of

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‘Bury It’, but from the entire album. It may even work best on its own for those who expected a more complex finale. There’s a definite duality to CHVRCHES displayed here too. There was never any doubt that they can do depth of emotion with synth. It’s kind of their forté. But alongside the aforementioned vulnerability, ‘Make Them Gold’ embraces more positivity than the rest of the album. ‘Empty Threat’ carries on with an unreserved positivity in similar way, tackling doubts over a relationship with a more modern sound, in tune with ‘Never-Ending Circles’. Whereas, when Martin Doherty takes the vocals (just once this time) on ‘High Enough To Carry You Over’, weirdly reminiscent of Michael Jackson, a more mournful tone takes over. There’s nothing on Every Open Eye which sounds like a significant departure. That CHVRCHES have taken all the best parts of The Bones Of What You Believe and refined and advanced the sound so meticulously, without losing any sense of power, emotion, or complexity, is a miracle.

Every Open Eye is out now via Virgin EMI Records. GEORGE SEABROOK

CRISTOBAL AND THE SEA SUGAR NOW Marcus Bridgland The four-piece describe themselves to have an original “tropicalia pop” genre, of which definitely suits their debut record. ‘Sunset Of Our Troubles’ gives an early indication of the warm, summery feeling that define the band, of which continues right the way through the record. The highlight of the album ‘Fish Eye’ gives an instant foot-tapping reaction, with a very catchy hook and a real sense of cohesion and chemistry. The vocals of Leila Seguin are a brilliant side note to the flute in ‘Legs Gone Feathers’ as the record slightly changes during its second half - gradually taking a slightly more soothing and relaxing

tone, but still keeping that joyful and cheery character. Final track ‘Miasma’ rounds off the record with a fast pace and a more traditional European style. I’d recommend this album to anyone who has a taste for Western European folk music, although there are some definite Foster The People vibes in some areas. Above all though, if you want some happy, carefree, cheerful music then look no further than this debut record.

Sugar Now is out now via City Slang.

AVICII STORIES Xavier Voigt-Hill On occasions where Rascal Flatts track before Tim Bergling introduces quickly finding its footing uncultivated ground in celebrating a man who with Stories, contrasting wanders the Hollywood styles don’t quite meld streets pretending to be sufficiently. The trap Jesus. California indeed breakdown of ‘Pure will not let you down, Gav. Stories Grinding’ after bluesy Unfortunately mumblings on work once again feels like an ethic does nothing to overambitious smoothie. inspire, and its companion The whole fruit bowl (of promotional single ‘For Avicii’s iPod) has been A Better Day’ meanders chucked into a blender along with only a on a tour bus without tambourine and staccato appropriate planning or piano. structure to determine the The banjos have been left best plan of action. in 2013, and the result is that the few countryStories is out now via driven tracks. ‘Broken PRMD. Arrows’ infuses lovestruck Georgian tones with a smooth and fluttering backing that is sure to find a home on radio, and ‘Sunset Jesus’ with Gavin DeGraw opens like a THE EDGE

RECORDS

SAM SMITH WRITING’S ON THE WALL

MILLIE CASSIDY Smith seems to have got his wires crossed; his creation, rooted in the legacy of the franchise without regard for modern formulas of success, seems to be a halfhearted repeat of Adele’s ‘Skyfall’. Th lyrics are also up for contention, with Smith offering only some say after director Sam Mendes told him he needed to tone down his vulnerability. Still, in crept lyrics such as, “How do I live? How do I breathe? When you’re not here I’m suffocating.” Perhaps not the most likely sentiment from the world’s most famous womaniser. ‘Writing’s On The Wall’ is ill formed. While doubtlessly a song that will grow on you, it will likely leave listeners pondering missed opportunities. ‘Writing’s On The Wall’ is out now via Capitol.

JAMIE XX FEAT. YOUNG THUG

I KNOW THERE’SPOLLY GONNA BE (GOOD TIMES) BUSSELL

The track is bookended with nostalgic samples that have become a Jamie xx trademark, diving right in with the warming croons of acapella group The Persuasions that cleanses the onslaught of filth from Young Thug’s lyrics. His raspy and wailing vocals promise us his idea of the “good times”: lots of partying, women and sex. Beneath the vocals is a Jamaican heartbeat made up of a prominent bass and those cherished steel drum synths. It is catchy, it is light-hearted and it taunts your body with the urge to dance; this modest British artist has made an epic summer jam and released a shiny new video just in time for the winter. ‘I Know There’s Gonna Be (Good Times)’ is out now via Young Turks.

RED LIGHT FEAT. MELISA WHISKEY THRESHOLD

XAVIER VOIGT-HILL Opening with a twelve-piece orchestra, ‘Threshold’ lacks the elasticity of Redlight’s work, though not the listenability. Vocalist Melisa Whiskey leads us through a tale of a relationship that’s falling apart packed with clichés, whilst superb production and subtle instrumentation keeps the listener clinging on. The whole package, with its restrained percussion and soulful decoration from Whiskey closely resembles the former glories of Chase & Status. Redlight is renowned for high energy and boisterous productions spanning copious genres, and ‘Threshold’ illustrates a welcome depth and emotion within his repertoire. ‘Threshold’ is released on Friday 23rd October via Lobster Boy. 15

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RAINDANCE REVIEW:

THAT’S NOT US

Caught somewhere between one of those Eric Rohmer summer movies and an overlong episode of Friends, William C. Sullivan’s That’s Not Us is the kind of passably amusing, but overly-safe, movie that saturates the current film festival scene. Despite its slightly outof-the-mainstream subject matter, non-hysterical treatment of kinky sex, and aspirations to meandering naturalism, there’s nothing here that deviates too heavily from the Sy Field screenwriting template. Movies about the low-key relationship troubles of vaguely artsy 20-somethings drifting through white-collar post-grad aimlessness doesn’t exactly get the blood racing, but there are enough keenly observed moments and wellconstructed gags to make for a pleasant enough 2 hours. Shot in the slightly washed-out, shallow focus, highres visual style that’s currently-in-vogue amongst the micro-budget crowd, the story focuses on a group of 20-something friends who gather for a week at a relative’s beach house. This group then splits into three couples, each hampered by a low-stakes, fairly generic issue: Alex and Jackie aren’t having sex as often as they used to and are in need of ways to spice things up; Spencer’s going to grad school and leaving his boyfriend James alone in the city; Dougie doesn’t know how to ride a bike and is worried that his masculinity will be undermined if he lets his girlfriend Liz teach him. There are moments when tensions are subtly expressed through tossed-off passive aggressive comments and eye rolls, the improv-style dialogue filled with realistically bad jokes and delicate evasion tactics; specific details are wedded to generic situations to make them appear genuinely lived-in. However, as a whole, the narrative is too tidy and formulaic, complete with an afterschoolspecial-style moral about the importance of being open with those close to you. If there’s a unifying thematic

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thread tying these stories together, it’s the lack of communication, and (spoiler) each pair’s problem works itself out when they finally drop their puffed up personas and are finally honest with each other. As with many theatre directors who turn to cinema, Sullivan’s style is unobtrusive and performance-intensive, mostly opting to capture the action in a series of casually framed two-shots or eye-level close-ups that capture the minutiae of the actors’ body language without interacting meaningfully with it. Subjects are usually framed so that you see the person talking and the person reacting at the same time, inviting your eyes to drift from one to the other. Aside from a handful of functional establishing shots, the camera rarely pulls out for anything wider then a medium shot, which means that there’s no real sense of environment. No composition carries any kind of expressive or iconographic weight, instead opting to appear – by design – to be indifferently caught rather than deliberately orchestrated. It’s the sort of pragmatic, visually flat style favoured by the most pragmatic mumblecore filmmakers which I thought had migrated to HBO. Once you look past the lowkey realist rhythms, and meandering conversational longeuers, there isn’t much more insight here than you can find in the average sitcom.

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RAINDANCE REVIEW:

EXIT/ENTRANCE It’s become a cliché to say that with festivals of this type, the high profile movies often turn out to be disappointments, while the obscurities pushed to the side-lines are often unjustly overlooked gems, but here’s a perfect case in point: my favourite movie of Raindance so far is an eight minute avant-garde whatsit by Canadian filmmaker Federica Foglia. Equally poetic and essayistic, Exit/Entrance is largely plotless, using its images and sounds to instead riff on a particular sensation – the personal dislocation of being both within and outside an alien culture, wanting to adapt to its established codes and rhythms while still not betraying your personal history and values. From this, a number of small truths emerge: the way that the displaced individual will search for the familiar within these surroundings, while those around them try to project familiarity onto them; the gulf between individual experience of immigration and its turning into objective, abstract information; the de-humanizing aspect of well-meaning integration programs, which scrub individuals clean of cultural background and associations; the subtle

feelings of exclusion created by language barriers. Shot on what appears to be a consumer-grade DSLR, this intensely interiorized feature follows a young, recently immigrated painter as he goes about his everyday life, struggling to come to terms with his new situation. The compositions themselves are mostly quite plain in their set-up: static, planimetric, etched in simple two-point primary colour schemes, surrounding the subject with a great deal of negative space. They gain power through the editing, which is entirely associative rather than being geographically or temporally motivated. Focal shifts, disorientating cuts, and complex super-impositions create complex networks of meanings. These make richly textured visual collages out of the minimalist designs. Even when the idea behind a shot skirts heavyhandedness, the formal authority with which it is expressed is impressive in itself. Every image is alive with the sensation of a director trying to find a unique visual language to formally express a feeling they can’t quite find the words to describe. Every shot has its own logic, its own tone, its own tenor, yet they all manage to cohere into a unified whole. What’s demonstrated is a kind of thinking-through-the-image that’s rarely found in the contemporary cinematic landscape, even within the avant-garde scene. ALL WORDS WRITTEN BY JAMES SLAYMAKER

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LFF REVIEW:

HIGH RISE Recent and prolific British talent Ben Wheatley, maestro of the delightfully dark Kill List and Sightseers, returns to the big screen after his lengthiest absence yet, bringing a positively bonkers adaptation of a classic J.G. Ballard novel with him. Named for the towering apartment block in which its entire narrative is set, High-Rise follows newlyanointed resident Robert Laing (Tom Hiddleston), as he navigates the fierce new social hierarchy of the building’s inner-society; one which is dictated by a gradually-escalating class conflict. Clearly out of his depth, Laing finds safety keeping friends on both sides of the divide, but when the petty squabbles eventually amp up to all-out war, there is simply nowhere left to hide. As the tower becomes engulfed in a bloody haze of orgies and violence, a tribal state takes over, where each and every resident begins giving in to their innermost primal urges, and society itself crumbles into nothing. It’s a ballsy and complex premise, and one which Wheatley and his creative partner Amy Jump submerse themselves in one hundred percent, right from the film’s very first frame. There are no breaks for exposition, no explanatory titles and absolutely no slowing down of any kind; everything there is to know about the sincerely screwed-up little parallel world that the film takes place in is fired directly at the viewer quickly and sharply. In fact, at times this abrasive quality to the film can be a little hard to swallow, but overall it becomes clear, particularly as the climax looms, that without it the film simply wouldn’t be anywhere near as effective. High-Rise is a loud, brash, and incredibly dark attack on the senses. There may be a great deal of characters and social advancements to follow, but at its core it is very simply dedicated to a single idea: human nature as innately destructive. Often at times Wheatley may dress this whole

JAMES WHITE

premise up a little too much - his insanely close adapting of the source material doesn’t necessarily always help proceedings - but on the whole he always keeps things not only intriguing, but also deftly entertaining. This is in part due to an incredibly well-rounded cast, namely its lead Hiddleston - a charming and equally bemused audience conduit - but also Wheatley’s own styling of the material. The film’s ethereal, 70s-style setting lays a lot of the ground work, but it’s actually the plethora of beautifully edited sequences and clever sound design which push High-Rise that little bit further. Abba will never quite be the same again. It’s these small but significant features, when paired with the film’s overarching themes, which mark Wheatley’s latest as somewhat adrift from usual encounters. There’s no real genre template here, nothing to compare it to. HighRise is a mess of surreal imagery and crazy ideals, but one which displays an innate bravery and dedication to its cause, that ultimately allows it to become one of the most exciting British films in recent years. It may not quite find perfection in all its madness, but High-Rise does succeed in gifting its audience with an entirely unique experience, and a thrilling one at that.

ALL WORDS WRITTEN BY BEN ROBINS

Over the course of several months, James White follows the mental and physical struggles of its titular character (Former Girls star Christopher Abbott) as he battles with personal demons concerning the death of his estranged father. Parallel to this, he finds love and affection from a support network of friends and his mentally-unstable, cancer-stricken mother whom he cares for, in between nightly binge-drinking sessions to ease the pain of his constant inner frustration.

film’s introduction at least, such a tactic feels a tad too full-on and it becomes a little difficult for one to actually get their bearings.

Director Josh Mond’s dedication to the idea of the film as a character-study is clear to see from everything from its title, to the very fact that its protagonist never really leaves the frame at any point, and for the most part, this works incredibly, but in the

James White is a dark and unapologetic look inside the mind of someone battling to uncover their true potential. Its dedication to character drives it far above most other human studies and helps it to stand tall as ultimately, one of the most affecting dramas of the year.

LFF REVIEW:

BANG GANG (A MODERN LOVE STORY) Much like David Fincher’s modern American masterpiece Fight Club, Eva Hasson’s Bang Gang takes its title from a secret underground club, although this one is a little more on the sexy side. Formed by the film’s central protagonists as they attempt to navigate the harsh realities of growing older and dealing with the expected angst that comes with it, the ‘Bang Gang’ is exactly what it sounds like. When a number of bored high-schoolers begin to find their small town existence a little too vanilla to bear, they hatch a plan to take their regular alcohol-fueled parties up a notch, embarking on a seemingly limitless odyssey of drugs and bisexual orgies. Despite a pretty hefty dose of really quite

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When things do begin to slow down however, Mond’s film gradually mellows into an incredibly genuine and affecting human drama. All it takes is for all the characters to be in place, and the emotional fireworks which have been sparking since those early minutes finally ignite and begin to start hitting home. Central to this all though is Abbott’s performance; an often subtle but always powerful unravelling of a man truly at odds with the universe.

graphic sex throughout, and an insanely frank outlook on the likes of abortion and sexually transmitted diseases, it’s the use of technology amongst the leads that Hasson rather bafflingly chooses to lead with, dubbing the film “a modern love story” in the process. Sadly, this ends up leaving the whole affair feeling a little too much like an overly ambitious educational video, pushing a message that’s been touched on plenty of times before, and with far more gravitas than here. This is not to write Hasson’s debut effort off completely however, as she delivers some luscious, heavily glamorised photography and an ever-so-slightly nostalgic score which marks it as, at the very least, an entertaining film, even if that’s just down to its visuals and clever characterisation, and not in fact its overall story arc. THE EDGE

CULTURE FILM

FILM Blu-Ray Review:

Director: DARREN Director: JulyARONOFSKY Jung DISTRIBUToR: LIONSGATE FILMS Out: 5th OCTOBER

POLTERGEIST ASHLEIGH MILLMAN

A poltergeist is a type of ghost that invades your home, makes loads of annoying noises, and destroys valuable things you hold dear, much like a film remake of the same name. As with the first Poltergeist, we’re introduced to a normal, suburban family dynamic. Whilst suffering financially, they find a house at a bargain price and snap it up without a second thought. Soon after, strange occurances set son Griffin on edge - setting up our paranormal experiences for the film and young daughter Madison’s subsequent kidnapping into the void. Whilst it retains a family-friendly horror vibe, is mildly watchable, and

puts the film into modern perspective; it’s pretty clear to see it wasn’t really a necessary production. Gil Kenan makes no decisions that mark this new Poltergeist out as special - using the same scenes, characters, and quite possibly the very same CGI from the 80’s that culminate in a bland rehash of something that was once unique. Even when viewed completely on its own the film doesn’t really go anywhere; there is no character development, a distinct impression that you’re watching a string of what could be good, solid scenes propelled by filler, and awful special effects. All in all, it’s something you can watch to fill a hole in your time. But that’s exactly what it will feel like afterwards.

Blu-ray Review:

SLOW WEST JACK GRACIE Slow West is the debut feature of John Maclean and stars Kodi Smit-McPhee as Jay, a young Scottish nobleman venturing across the Wild West in the hopes of finding his childhood love Rose. During his travels he finds Silas (Michael Fassbender) a lone ranger, who agrees to escort him on the mission, for a price. The film is short, the action is well staged, and the characters never over-stay their welcome, with all the actors giving fine performances of the compact script, that flits between wit, tension, and sorrow at a moment’s notice. Because overall, under the whimsical colours, and literal quick-fire comedy, there’s a 21

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Director: GIL KENAN Distributor: 20th Century Fox Out: 26th OCTOber

vein of sadness that runs through the story, the sense that the world never turns out the way we want it to, and is at the same time very poetic in doing so. From foreshadowing, to literal crying over spilt milk, and salt rubbed in wounds, this is the account of someone reflecting on their past life with a bittersweet tone. Tilt-shift focuses, cropped widescreen, and film emulsion set the tone for a playful nostalgia trip that - although not wholly original in the independent scene currently - works well to establish the story-telling nature of the feature. An engaging tale from a promising new director and writer.

ONE TO WATCH:

Director: Owen Harris Distributor: StudioCanal UK Out: 6th November Soon to be released dark comedy-thriller Kill Your Friends promises us a now familiar trope of joyless entertainment. Expect to loathe what plays out in front of you, but simultaneously enjoy it. The film is an adaptation of the acclaimed original novel by the darkly comic author John Niven, in which every other page spits graphic sex, drug use, and violence. Set in the late 90s Brit-pop era, hateful protagonist Stephan Stelfox (Nicholas Hoult) narrates a viciously satirical insight into the corrupt world of the music industry whilst

murdering his way to the top of the record label in which he is reluctantly employed. With the trailer basically being a party scene montage, the film’s promo certainly bolsters industry mutterings that its producers would probably rather be quashed; that the film is merely a sour cocktail of the sociopathic behaviour and horrifying hedonism that we’ve already seen in The Wolf of Wall Street and American Psycho. It may well explore similar territory, but excitingly, Kill Your Friends is British. The film boasts a strong British cast, a proudly loathsome London setting, and the music as expected, is an explosive killer soundtrack featuring The Prodigy and The Chemical Brothers. Niven infamously turned down the chance to sign Coldplay during his own career as an A&R man, which is something of a blunderturned-blessing for those who are prepared to be attacked from the outset with acidic one liners and expert satire. The cult novel may not be suited for the faint-hearted, but this film adaptation is in the hands of director Owen Harris who has previously directed episodes for popular TV comedy series Misfits and the acclaimed dark drama Black Mirror, qualifying him (hopefully) to make Niven’s thriller not only stomachable but ubiquitously entertaining. The fact that it is Harris’ feature debut and the screenplay is written by Niven himself promises Kill Your Friends to be a project of passion and loyalty. It is inevitable that you will think of it as a rainier, British version of American Psycho, but the spanner in the works comes in the form of a supporting performance from James Corden. Allow yourself to feel initially confused by this, but then very excited. Written by POLLY BUSSELL THE EDGE

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Review:

Hamlet @ t he B a r b i c an

Seated far back enough to take in the impressive stage, while still temptingly close to Benedict Cumberbatch himself, we all waited with baited breath as the curtain raised and the lights softened. Opening the play was the man of the hour, young Hamlet. He perched on the stage in corduroy trousers, wistfully flicking through his record collection. ‘But wait!’ you cry, ‘Hamlet opening the play!?’ I know. I was as taken aback as you are, but I managed to restrain my judgement, if not only for the fact that female directors are still rather few and far between in London. Deciding to just roll with the rest of what Lyndsey Turner had to offer, I sat back and let Cumberbatch do the talking. It’s no secret that the man can act, and it seems he also has a rather precise talent when it comes Shakespeare’s text. The lines belong between his lips; he spouts them with ease and at an impressive speed, and it was interesting to hear where he placed his intonation as he delivered the famous soliloquy. Cumberbatch is Hamlet in fast forward. However, while his performance is tight and regimented, is this really what the role of the prince calls for? For many, the intricacies of the play lie in Hamlet’s teetering position on the edge of sanity, and to date it has been the more fragile portrayals that have won the audience over. It would be a crime to neglect to mention the stage design for such a stunning show, and what a masterpiece it was. In the shape of a grand

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banqueting hall, the set loomed over the actors, the life-sized room isolating those within its electric blue walls. Intricate wreaths of shining flowers hung from the ceiling, twisting around an enormous chandelier, and some clever lighting transformed the set from nighttime ghost-haunt, to daytime country house. Yet, though there wasn’t anything particularly rotten in the state of Denmark, a couple of ideas were probably past their best-before-dates. A rather overgenerous handful of extras occasionally steered the focus away from the main players, and though the ‘play within a play’ scene was visually interesting, Claudius’ reaction to the performance was difficult to gauge, as he sat with his back to the audience. Turner’s Hamlet was full of peaks and troughs. On the one hand, an original set design with some smart slow motion moments and an explosive finish to the first half. On the other, a Hamlet who doesn’t have a single screw loose and some mediocre character development for the rest of the cast. Though definitely worth the watch, Turner’s production just wasn’t the life-changing rendition of the worldfamous play that it could have been, given that it was working with that sort of budget and that sort of leading man. Hamlet is show ing at t he B arbic an unt i l 31st O c tob er. Words by Becca James.

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THE SCARIEST VIDEOGAME VILLAINS Clickers

The Last of Us ‘The Last of Us’ Clickers are people that have been exposed to infection for a significant amount of time. Their appearance consists of vile fungal plates that have grown outwards through their head and have permanently impaired their vision. This loss of sight is made up for by their frighteningly good hearing, which they use to navigate and to detect potential prey. Their most distinctive trait however, is the disturbing clicking sound that they produce and for which they are named. When entering a spore infested area and hearing this relentless clicking, you will need to take a minute to compose yourself, as you know that it only takes one push too far on the joystick, for Joel to make too much noise. If this happens, then a series of shrieks will ring out and a terrifying chase will ensue, one which will, more often than not, result in a cold sweat and a game-over screen. Words by Tom Wilmot.

The Stalker Warframe

Picture this: you begin your mission - maybe something near the start of the game, or maybe a harder level later on. You’re halfway through it, when suddenly the lights start to flicker. Several seconds pass and then they flicker again. Then you start getting messages from the Stalker,

messages that include your username in them. The Stalker is hunting you. Are you still fighting with other enemies? You’d better hope not, because the Stalker is one of the toughest enemies in the game, and becomes extremely hard to deal with if you have to avoid lesser foes as well. It’s this combination of difficulty and the personalised way the character is trying to assassinate you, that makes him such a chilling character, in an otherwise predictable world. Words by Christopher O’Moore.

The Splicers Bioshock

The residents of Rapture, known as Splicers, were driven mad by their addiction to the body-changing ADAM. What makes them fantastic villains is that they have a dual purpose. While other scary shoot-em-ups upgrade their character to the point where simple enemies are dispatched with ease, Bioshock makes these characters so fascinating to simply watch and be around. You can hear demented conversations between them, gossiping about later or past sections of the game, or spy someone so deranged that they dance in a broken spotlight, imagining themselves to still be in their past life. The Splicers manage to contribute fear to the early game, and also the human element that separates Bioshock from the rest of the pack. Words by Jack Gracie.

Pyramid Head

The Xenomorph

Over the course of the series, this iconic villain has been reduced to nothing more than a mere mascot. As a result, it’s easy to forget just how powerful his presence was when he was first introduced in Silent Hill 2. Aside from being intensely intimidating and visually striking, Pyramid Head is able to get under your skin in a very individualistic way. A walking reminder of James Sunderland’s guilt (for spoiler related reasons), this persistent stalker is a symbolic punishment and a reflection of James’ own perception of himself. Yet it’s worth noting that on a conventional level, he is a supremely frightening figure as well. Every encounter with this enigmatic creature is fiercely terrifying, from the first time you see him staring you down in a hallway, to the infamous mannequin -rape scene, each moment in which he appears is unforgettable. Add to that the way he seems to be constantly pursuing you, and you have a truly scary villain. One who operates on both a primal and a psychological level.

Alien: Isolation is a game that raises the bar in terms of movie to video-game adaptations and in terms of villainy. An exceptional example of AI, the alien learns from the players’ attempted resistance. Flamethrowers and shotguns might prove an effective deterrent at first, but labour these and the Xenomorph will soon pay them little mind, rushing forth to spear and devour poor Amanda Ripley. Further to this, it learns from your cowardly avoidance tactics. Hiding in lockers works initially, but soon it will adapt to smash through the door and tear you to shreds.

Words by Harrison Abbott.

Words by James Chadwick.

Silent Hill 2

Alien: Isolation

Scary enough? Perhaps not. But the Xenomorph represents a constant threat. Discharging weapons, running, or implementing environmental changes will invariably see the fatal foe charge through doors and ventilation ducts. The alien’s presence thus requires genuine foresight, in a time when passive gaming has become the norm.

Spiderbugs

The Grandchildren

Metro Last Light

Albino Lullaby

Out of all the terrifying mutant animals and insects in the Metro universe, the Spiderbugs prove to be the scariest. A combination of scorpion and spider, these bugs cannot be killed by gunfire but have to be exposed using a light source: either the torch you carry, or your trusty lighter. In the darkest spots, these spiders will attack you in swarms and you can barely repel all of them. Early on in Metro Last Light, you are chased down an abandoned part of the Metro by hordes of the creatures. You then come across an immovable door. The switch to unlock it is in a giant Spiderbug nest, which you are forced to go into alone. The disgusting nest provides plenty of dark crevices for Spiderbugs to hide and this portion of the level offers a copious amount of jump scares. With your flashlight being your sole comfort, the whole section was stomach dropping, palm-sweating horror.

Albino Lullaby is the first game in a long while to realise that injecting some ‘character’ into your antagonists can go a long way in generating horror. Implied to be brainwashed and mutilated humans that were dragged down into an underground city, the terrifying Grandchildren’s main distinguishing feature, is that their motivation for catching you is actually clear. They want you to become like them. Ambiguity in horror villains is fine, but in the Grandchildren is a detached, yet almost too human personality. The game has only come out recently, yet these monsters are already beginning to make a name for themselves, and could easily become iconic gaming villains in their own right, completely independent of the ‘scariest’ qualifier. Words by Thomas Davies.

Words by Conor Kavanagh.

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LIVE

Review:

J A M E S B AY

With the Halloween season upon us, our writers get into the spirit of things by taking a look at some of the exciting horror themed shows heading our way. Ash Vs. Evil Dead

After literally decades of waiting (unless you count a few hit-and-miss video games) Bruce Campbell’s iconic, fast-talking, deadite-slayer Ash Williams is finally returning to our screens. It may well be a slightly smaller outing than some fans were hoping for, but with original Evil Dead maestro Sam Raimi on-board for this new series, and early trailers proving to be just as bloody and sassy as the original films, there is certainly hope at the end of the tunnel. Look out for a new generation of boomstick-related fun coming soon. Words by Ben Robins.

American Horror Story: HOTEL American Horror Story can be a little hit and miss where the horror stakes are concerned - Hotel looks set to redress this balance, thanks to the new location and the dual threats, which are both supernatural and human in nature. Set in Los Angeles, in the Hotel Cortez, this series of the anthology show features Lady Gaga as The Countess, the owner of the hotel, and two murderous antagonists: The Addiction Demon and The Ten Commandments Killer. The former haunts the hotel, whilst the latter is a human serial killer who uses biblical teachings to justify themselves. Hotel features many of American Horror Story’s long standing cast

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members, including Evan Peters, Sarah Paulson, Denis O’Hare, Lily Rabe, Kathy Bates, Emma Roberts, and Wes Bentley, but is the first of the anthology series not to feature Jessica Lange. Also joining the cast is Cheyenne Jackson, Naomi Campbell, and Max Greenfield. Creators Ryan Murphy and Brad Falchuck promise that this new series will have a darker tone than previous ones. American Horror Story: Hotel airs on Fox on 20th October at 10.00pm. Words by Rebecca James.

Scream Queens

Following on from previous hits Glee and American Horror Story, Ryan Murphy combines his talents for the ghoulish and camp in Scream Queens. A tongue-in-cheek take on the slasher genre, the show focuses on an exclusive sorority being terrorised by the Red Devil, a serial killer seemingly out to avenge a death which took place in the house twenty years ago. Anyone looking for serious scares may be turned off by its comic approach, but the inventive murders and intriguing mystery will draw you in. Alongside Murphyalumni Emma Roberts and Lea Michele, is veteran horror star Jamie Lee Curtis as the university’s dean. Words by Kate Andrews.

@ Bournemouth International Centre GEORGE SEABROOK

One thing to take away from James Bay’s set at the Bournemouth International Centre: he knows how to make an entrance. The large and unadorned semi-square at the BIC swiftly filled out, and the crowd stretched to the doors at the side. The stage was simple: a backdrop with his name above a sketch of him with the already emblematic hat and shaggy hair. Then, without warning, all the crowd lights went straight to black; less than a split second later, the eager crowd roared with excitement, cheering and applauding. Eventually Bay is revealed at the back of centre stage, hat, hair, and a guitar. Launching straight into rhythmic strumming, tempo ratcheted up high, he bounced down towards the microphone, ramping up the audience’s anticipation like a master. Bay may be relatively new, but he has not an ounce of shyness onstage. His presence has all the command and playfulness of a real rock ’n’ roll pro. It’s almost off-putting how naturally it seems to come to him. Maybe the crowd was more willing to go with it than others, which only went to feed Bay. His banter with the audience was minimal but solid, and as his set wound down he took the time to introduce his band and get the audience to show them love. Five songs into the set, he announced that he had never been to Bournemouth before – it was a special occasion for him. So, he would play us songs that weren’t on the album, like Deluxe edition highlight ‘Running’, with a stronger climax and more energy, or the EP treat ‘Sparks’. However Bay’s real banter came through the music, playing with riffs and extended intros into tracks, as well as compelling the (utterly willing) audience to sing and clap along, with the help of a few brilliantly timed cues from those asterisk lights. His lead into ‘Let It Go’ was magnificent, and subverted expectations that such an emotional track would need a quiet introduction. While the vast majority of the set was devoted to

playing through Chaos And The Calm, he’d clearly thought out an appropriate order for them, by opening with a song as immediate as ‘Collide’, and closing with one as loud as ‘Get Out While You Still Can’. Of course, ‘Hold Back The River’ was the last track he played – how could it not be? Yet the best and worst part of the encore was the cover of Alicia Keys’ ‘If I Ain’t Got You.’ Beautiful, honest, and a faithful cover, undone by a middle eight which became a middle sixteen, then a middle thirtytwo, finally a middle two hundred. A completely indulgent series of solos for the band and Bay himself. That’s still part of Bay’s onstage charm however – his total love for it, and the command he has over band and audience are impressive. While his indulgences get away from him, you can always feel how much he loves it, whether his powering through the punchy ‘Best Fake Smile’ or encouraging the audience to sway along before beginning ‘Move Together’. He never wants to leave the stage. It’s now just a question of when and where he’ll find a big enough crowd to satisfy that love, and not if.

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LIFEHOUSE

@Shepherd’s Bush Empire, London WILL HODGETTS & BETH LEMPRIERE

Interview:

LIFEHOUSE WILL HODGETTS & BETH LEMPRIERE

With the European leg of their tour coming to an end at the historic Shepherd’s Bush Empire in London, Live Editor Will and writer Beth Lempriere were fortunate enough to be able to catch up with Lifehouse bassist Bryce Soderberg a few hours before their set.

Beth: So how has the tour been so far then? The tour actually itself has been phenomenal! I mean, we took a few years off and haven’t toured here since 2011, so to come back and have the response we’ve had, and the same people coming out and singing the songs, and not having our fan base go away is phenomenal.

Beth: What has been your biggest highlight of the tour so far? Honestly, and I’m not being biased, I think the Shepherd’s Bush show that we did was phenomenal! It’s a hundred year old venue, there’s so much history here and there’s an energy in the room every time you come here.

Beth: Is there anywhere you haven’t played that you would like to play? Yes, Brazil. Specifically. If you look online I’ve noticed Brazil’s had a really phenomenal reaction to our music on social media. South America as a whole is an area we’ve never been to and we’d definitely like to explore.

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Will: When you’re on tour, what do you do during your downtime? I’m a history buff so if we’re in a place in Europe, I’m always trying to go on TripAdvisor and find what the number one visited places are to learn about the history. There’s so much history here.

Will: Is there a routine you’ve slipped into that you go through before you go on stage? Yes, I warm up my vocals for twenty minutes two and a half hours before the set. I don’t eat chocolate, cheese or coffee five hours before the set. I’m like full OCD with that! Because for vocals that’s huge, like you can hear Jason warming up right now. And we have like a little huddle before we go on and just say “Hey, have fun!”, you know and get the energy going.

Lifehouse ended their European tour at Shepherd’s Bush Empire before they headed off to tour Australia and the Philippines. Irish four-piece Raglans did a fantastic job at supporting and getting the crowed pumped with their indie-rock, folk infused sound. As soon as Lifehouse graced the stage the packed venue erupted with deafening cheers and they kicked off the set with the lead single ‘Hurricane’ from their new album. Technically the band were excellent and their musical talent is truly admirable. However, if you weren’t hugely into their music, or their particular style, you may have come to the opinion that their tracks sounded very similar at times, lacking much variation in pace or energy, which meant that for a few scattered around Shepherd’s Bush, boredom struck and yawning commenced. BUT. There were times when the crowd could really get behind the band and the track being played, with a prime example being their hit single ‘You and Me’. The highly recognisable opening notes were played and the whole venue shook with the eruption of screams and cheers. As soon as Wade started singing the first few lines, the entirety of Shepherd’s Bush Empire got right behind him; there wasn’t just one guy singing his heart out on stage, there were 1,500 or so vocalists at this point, belting out the iconic lyrics. Things only got better with the eventual key change when bright lights were shone directly onto a large glitter ball dangling above centre stage, which refracted spots of light across the entire venue - it was something to behold, something special.

’You and Me’ was certainly the highlight of the evening, which in hindsight was a little disappointing considering it was played during the middle of the set. Other hits such as ‘Broken’ and, in particular the final song of the evening, ‘Hanging by a Moment’ evoked large cheers and lots of sing-along fun, but they didn’t live up to the glittery perfection of ‘You and Me’. Following ‘Broken’ Lifehouse left the stage before reemerging for the encore, and boy did the crowd make sure they came back on! I have genuinely never been to a concert where the crowd made so much noise during the interval. Everyone was clapping, chanting and stomping their feet for a solid couple of minutes, from the moment the band left, to the second they stepped back onto the stage. And they were rewarded with two excellent performances of ‘Flight’ and the aforementioned ‘Hanging by a Moment’. Overall, the music, technically, was great. Wade and Soderberg’s vocals were on point the whole night, as were the abilities of each musician with their respective instruments. They are certainly a band I could listen to constantly on a summer’s day or when I just want to chill out and relax. Yes, sometimes the variety was lacking, and some of the songs just seemed to merge into one due to their similarities, but that didn’t take away from how good they were musically and vocally. Altogether a very complete and accomplished performance from a great band.

Will: So is there anything you’re looking forward to tonight in particular? It’s the last show of our Europe tour with the band Raglans opening up for us, but I think it’s too short of a tour to do a prank. It’s just going to be a nice goodbye to Europe. The future for us is that we’re certain we’re going to keep going, but it’s not certain that we’re going to come back here. I hope to though very soon.

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LIVE

Preview:

VENUE IN FOCUS

SKINDRED @O2 Guildhall, Southampton OLI POHILL

Welsh crossover metal quintet Skindred will be headlining the O2 Guildhall, Southampton in early November with an exciting bill of support acts. Formed in Newport, South Wales in 1998, the band have become famous for their energetic live performances and eclectic blending of styles. Their past composition has included

combinations of, to name a few genres, heavy metal, hardcore punk, reggae, jungle and dubstep. Skindred’s new album Volume is due to be released on the 30th October, so we’ll undoubtedly be seeing a lot of their new material on tour. They will be accompanied by main support act Crossfaith, a Japanese electronicore band formed in 2006. After releasing their critically acclaimed first EP Zion the quintet, fronted by vocalist Koie Kenta, experienced international success, springboarding them onto the release of their third full-length album Apocalyze. They will also be releasing a new record, Xeno, before setting off on tour with Skindred. Completing the list of support acts for the evening are Californian rapcore quartet Hed PE and alternative rock group Yashin, so expect an energetic and very involving evening in the Guildhall.

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The 1865 is Southampton’s youngest major live entertainment venue. With a capacity of 750 standing for live shows and 200-300 seated for comedy/cabaret acts, it quickly attracted talents in the entertainment world as an intimate, medium-sized venue. The 1865 opened in early 2014 and advertised itself as a place not just for live music, but also for comedy and cabaret acts, as well as live acoustic sessions and private functions, and before long the offers came flooding in. During it’s early months The 1865 played host to several open mic sessions and independent shows organised by Southampton Solent University, in which undergraduate Music and Music Technology students showcased their original compositions to their peers and to the public. The venue also hosted awardwinning comedian Sean Hughes in July of that year and a disco/soul/funk night called SHAFT.

As the New Year rolled over the list of acts got larger

The 12-date tour will also see the Welsh quartet play their biggest shows to date, including two nights booked at Brixton’s O2 Academy on 6th and 7th November.

OLI POLHILL

By May 2014 the heavy hitters were being put on the roster. The announcement that hard rock veteran SOiL, along with the equally popular American Head Charge and Hed PE, would be stopping off at The 1865 on their autumn 2014 tour was cause for a ripple of excitement through Southampton’s alternative music community. Not long after this it was advertised that The Blackout would play a show at the venue, then folk metal giants Alestorm were put on the calendar of events as well.

Catfish and the Bottlemen will play at Southampton’s O2 Guildhall on the 12th November this year, the final stop of their sold-out UK tour.

Following the release of their debut album, The Balcony, in September 2014, the band have had an extremely successful year. The four-piece have played at a load of Britain’s biggest festivals and also made their debut on US television when they appeared on Conan on the 4th August. The Balcony charted at number 10 in the UK Albums Chart, and was certified gold in January this year.

THE 1865

and more exciting. Comedian Gina Yashere, Funeral For A Friend, Viking metal pioneers Amon Amarth, and Trevor Nelson were just some of the names to be seen on The 1865’s billboards in early 2015, and the venue hosted a score of independent acoustic sessions, genre-themed DJ sets and tribute bands in between. In recent months, The 1865 has hosted yet more popular and well-known artists including Chicago Blues singer Mud Morganfield and pop punk group State Champs. Acts to look forward to for the rest of this year include The Story So Far, Motionless In White, Ghostpoet, and Dr. Feelgood. There is little to criticise about The 1865. It’s the perfect size for a live gig, large enough for the atmosphere to really be felt but not so large that you get lost in the action. Ample seating on the walls mean it’s easy to take a break and watch the show without feeling disconnected, whilst easily accessible toilets add to the convenience and the drinks prices are fairly reasonable compared to other venues of this size. It couldn’t be easier to find - just walk down the old High Street until you reach the intersection with Bernard Street, turn left and you’ll be queuing up for your favourite band or comedian in no time. Website: www.the1865.com Facebook: www.facebook.com/the1865 Twitter: www.twitter.com/the1865

Preview:

CATFISH AND THE BOTTLEMEN @O2 Guildhall, Southampton LIZZIE COOPER-SMITH

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Listings Film

Live

26th October

27th October

Diplomacy @ Union Films

Jon Gomm @ Joiners

27th October

28th October

Fantastic Four @ Union Films Make More Noise! Suffragettes in Silent @ Harbour Lights

28th October

University of Southampton Music Society Takeover @ Talking Heads

29th October

31st October

Tom Mann @ Joiners The Proclaimers @ Southampton Guildhall

1st November

Bob Dylan @ Southmapton Guildhall Thee Outlaws @ Joiners

Far from the Madding Crowd @ Union Films A Nightmare on Elm Street @ Harbour Lights Max @ Union Films Mission: Impossible - Rogue Nation @ Union Films

2nd November Macario @ Union Films

3rd November

Paper Towns @ Union Films

Mr Holmes @ Union Films

1st November

Nina Conti @ Nuffield Sundara Karma @ Joiners

3rd November

Skindred + Crossfaith @ Southampton Guildhall

5th November

Happy Mondays @ Southampton Guildhall The Lovely Eggs @ Talking Heads

11th November

6th November

The Salt of the Earth @ Union Films

Every Time I Die @ Talking Heads

15th November Southpaw @ Union Films

17th November Trainwreck @ Union Films

18th November The President @ Union Films

19th November - 16th December

The Hunger Games: Mockingjay - Part 2 @ Union Films

6th - 7th November

Frank Turner & The Sleeping Souls @ Southampton Guildhall

8th November

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Atlantico @ Talking Heads Lucy Rose @ Wedgewood Rooms Festival of the Spoken Nerd @ Nuffield The Red Paintings @ Joiners U.K. Subs @ Talking Heads The Men That Will Not Be Blamed For Nothing @ Talking Heads Saint Raymond @ Wedgewood Rooms

19th November

Andy Fairweather Low & The Low Riders @ Talking Heads

20th November

Dexters @ Joiners Hattie Jacques’ Playlist @ Talking Heads

21st November

The 1975 @ Nuffield Dorie @ Joiners Mad Dog Mcrea @ Talking Heads

22nd November

Alan Carr @ Mayflower Theatre

Theatre 28th - 31st October Romeo & Juliet @ Mayflower Theatre

2nd - 7th November

Jools Holland and his Rhythm & Blues Orchestra @ Southampton Guildhall Tommy Tiernan @ Nuffield Flight Brigade @ Talking Heads

The Full Monty @ Mayflower Theatre

10th November

Blood Brothers @ Mayflower Theatre

5th - 7th November The Silver Sword @ Nuffield

10th - 14th November

Richard Hawley @ Southampton Guildhall

12th - 13th November

11th November

16th - 21st November

Racing Glaciers @ Joiners

14th November

18th November

Bring Me The Horizon @ Southampton Guildhall

4th November

10th November

Foals @ Southampton Guildhall Martha + Radiator Hospital @ Joiners Ferocious Dog @ Talking Heads

31st October

8th November

The Man from U.N.C.L.E. @ Union Films Maze Runner: The Scorch Trials @ Union Films

13th November

15th November

Leviathan @ Union Films

4th November

Catfish & the Bottlemen @ Southampton Guildhall John Otway @ Joiners

30th October

Ella Eyre @ Southampton Guildhall The Computers @ Joiners Leaves’ Eyes @ Talking Heads

Listen To Me Marlon @ Harbour Lights

12th November

Juicy and Delicious @ Nuffield Hairspray @ Mayflower Theatre