Issue TWO Welcome to Issue Two of The Edge! It seems that we put together the first issue of the year such a short time ago, and now it’s already time for the second. With this issue Freshers’ is firmly over, and the beginning of the term is now in full swing. We’ve had quite a busy few weeks here at The Edge with Creative Industries Induction, Bunfight and Freshers’ Fayre along with our first writers’ meeting of the year. We’ve loved getting to know a lot of new writers and want to say a thank you to everyone who joined us at the Bunfight.
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
01 Welcome to Issue Two
03 The Newsbox 05 Notes on News: Why Anthony Horowitz is wrong to lambast the latest James Bond films 06 Nostalgic News
This issue is very close to my heart with some exciting features that focus on theatre. Our writers have discussed everything from Shakespeare to Hedwig and the Angry Inch. It’s a section that is often forgotten among the depths of our brilliant content but thankfully with this issue it takes centre stage.
Features Editor Millie Cassidy features@theedgesusu.co.uk
07 What’s on SUSUtv
film Editor Ben Robins film@theedgesusu.co.uk
As if that wasn’t enough, we also have some excellent coverage of the Mercury Prize and Film4’s FrightFest. We have taken a closer look at whom we’d like to be nominated for a Mercury Prize so you don’t have to! Some of them include Wolf Alice, Jamie xx and many more, which you can check out on pages 16-17. You can also read more about The Hallow, the best thing to come out of FrightFest this year on page 22. You can also check out Notes on News on page 6 for a hint as to what our third issue may be focusing on.
C u lt u r e e d i t o r Harrison Abbott culture@theedgesusu.co.uk
09 Introducing: Southampton Artists 11 Interview: The Enemy 12 Childhood Novels We Love 14 Lost in the Atlantic 3: Broadway Privilage 15 Behind the Curtain: Plays that deserve the Spotlight
We have also taken a closer look at our home in Southampton for our favourite local acts and venues. We took a look at the talented Grant Sharkey, Three Times Over and The Diamond Age. You can read all about Southampton’s finest on pages 10-11. We were also lucky enough to gain an interview with Tom Clarke of The Enemy before the release of their fourth studio album, It’s Automatic.
head of design Jack Gracie design@theedgesusu.co.uk
With Issue Two coming out now, we are at the start of what looks to be a really exciting year for The Edge. With the team working like a well-oiled machine, and some really exciting opportunities and interviews on the horizon, it could not be a better time to be part of Southampton’s entertainment magazine. Natalie Fordham Editor
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live Editor Will Hodgetts live@theedgesusu.co.uk news Editor Anneka Honeyball news@theedgesusu.co.uk
Features
Records
15 Mercury Prize Wishlist 17 Review: Foals - What Went Down 19 Review: Defeater - Abandonded 19 Review: Gold Celeste - The Glow 20 Review: Gilligan Moss - ‘Ceremonials’ 20 Review: The Prettitots - ‘Suicide Hotline’ 20 Review: Battles - ‘FF Bada’
film
21 Fright Fest Review: The Hallow 22 Fright Fest - The Highlights 23 Blu-ray Review: Mad Max: Fury Road 23 Blu-ray Review: Requiem For A Dream 24 One to Watch: Joy
culture
25 Review: Metal Gear Solid V: The Phantom Pain 27 How to Fix: Doctor Who 28 Hidden Gems: HHhH
live
29 Venue in Focus: The Joiners 30 Comedians we’d like to see in Southampton 31 Review: Jasper Carrott @ 02 Guildhall 32 Preview: Northlane @ Talking Heads 22 Preview: Fightstar @ University of Southampton 33 Listings
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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
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editor in chief Kerry Sclater vpdci@susu.org
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THE NEWSBOX TOP TOP FIVE FIVE NEWS NEWS STORIES STORIES 1
2
Sam Smith is9th theMarch, singer behind the next Beginning Annie Mac will take Bond theme. entitled ‘Writing’sfrom On over the slotThe of song, Monday to Thursday The in on theRadio upcoming 007 the Wall’ hourswill 7pmfeature to 9pm 1, replacing flick, ZaneSpectre. Lowe. Disney are making a musical sequel to Jones The Theory of Everything’s Felicity their 1964 classic, Mary Poppins, with Rob to and Life of Pi’s Irrfan Khan are confirmed Marshall (Into The star in Inferno, theWoods) latest set filmtotodirect. be adapted
3
Alex time-travelling companion, EwanKingston’s McGregor will make his directorial River Song, is set to appear alongside Peter debut with the upcoming film, American Capaldi this year’sPhillip DoctorNoyce. Who Christmas Pastoral,inreplacing The drama special. will star Jennifer Connelly and Dakota
4
All episodes of Marvel’s as latest Rae13Morris is confirmed theseries, support act Jessica Jones (starring Krysten Ritter and for Tom Odell when he tours this Summer. David Tennant), will be available to stream on Netflix from 20th November.
5
Ant Dec are to host The BRIT Sue and Perkins is tosethost Thronecast, a Game of Awards again in 2016.
ONE TO WATCH
THE KEATS OF TWEETS
Guillermo Del Toro has joined Twitter! Ahead of the release of his latest film, Crimson Peak, the iconic director tweeted to announce his arrival to the T D @RealG social media scene. Though me. confused as to why other users ly al re is Hi- this had nabbed his name for their ers were Some oth e ith my nam own handles, the auteur has posting w why?) s ow promised to try and keep kn d o (G ’t am. I don his new account up to date! so- here I t bu ch u m it really use Got a celeb to nominate for I’ll try! next issue? Let us know:
Game Thrones number of big Blur names have a Blur’s of new album.- A Late last month, unveiled been addedentitled to the season six, the castlead list,single including new track ‘Go Out’ fromIan their McShane, Richard E Grant, Essie Davis, Max upcoming album, The Magic Whip, due to beVon released Sydow and their Piloufirst Asbæk. SkyinAtlantic is set to return this April, release 12 years. to Westeros in Spring, next year. The Girl - The trailer Tom Hooper’s The Danish new Alien film, which hasfor been recently beenlatest condrama was released lastBlomkamp month, showcasing firmed. District 9’s Neill is to direct another the new Oscar-worthy performance fromasEddie who film from 20th Century Fox, well Redmayne, as Ridley Scott plays a transgender pioneer in the 1920s. Also starring confirmed as the producer. Alicia Vikander, the film will come out in January 2016.
POST LOUIS
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Chris Pratt and Aubrey Plaza
Mel and Sue
THE THE EDGE EDGE IS EAGER IS EAGER FOR... FOR...
Star Wars: Episode - The is set to awaken aas a Glastonbury 2015.VII With Fooforce Fighters confirmed day earlier thanEdge is expected, with UK releasebiggest date headliner, The eager fora new this Summer’s now slated for 17th December. festival.
single, ‘30mm Pool’ is available to stream now.
Tina Fey and Amy Poehler
@theedgesusu
Pokémon soon be ablebeen to catch ‘em all that This year’sGO T -inYou’ll the Park. It has announced using your The phone, as Nintendo working on a GPSKasabian, Libertines and are Noel Gallagher are to enabled thatother will be available to download for Jessie free headline,app with names like Sam Smith and on iOS Android. J set to and appear.
Post Louis have been working hard to create their own sound, ever since the group began in 2013. The central songwriting pair of the fivepiece band, Stephanie Davin and Robbie Stern, have been waxing lyrical for the past year to produce their debut album. The band’s first
OUR DREAM OSCAR HOSTS The Academy Awards’ co-producer David Hill recently revealed that the ceremony would be hosted by a duo in 2016. Here are some of our dream suggestions...
for all the latest entertainment news theedgesusu.co.uk/news
FIVE-TIER-CAREER: FIVE-TIER-CAREER: WES WES CRAVEN CRAVEN
MUST-HEAR TRACKS ‘Drive’ - Oh Wonder
3:18
1. Wes Craven got his first job in the film industry as a sound editor at a post-production company in New York. He also (rather shockingly) worked in the world of ‘Adult Entertainment’ for a short time before turning his hand to horror.
‘Baby Ain’t Made Of China’ - Wolf Alice
3:39
‘Clearest Blue’ - CHVRCHES
3:56
‘Wildest Dreams’ - Taylor Swift
3:30
2. Craven’s first feature horror film, The Last House On The Left, was released in 1972 and proved to be a massive box office success, grossing over $3 million.
‘Jaded’ - Disclosure
4:02
3. In 1984, Craven’s most famous character - the razorclawed dream dweller, Freddy Krueger - made his horror debut in A Nightmare on Elm Street. Since it’s release, the film has garnered universal acclaim and spawned several sequels and spin-offs. 4. Craven redefined horror for a second time in 1996, when he wrote and directed the seminal metaslasher film, Scream, which would later spawn three more films, as well as the recent MTV spin-off series. 5. Craven sadly passed away on 30th August 2015, at the age of 76 after battling with brain cancer. His legacy in the horror genre has since been heralded as redefining and unique.
THE EDGE’S ENTERTAINMENT PICKS
Editor: American Horror Story: Hotel, FOX UK (20/10/15) Film Editor: Crimson Peak, Guillermo Del Toro (16/10/15) Culture Editor: The Muppets, Sky One (TBA) Records Editor: Surrender, Hurts (09/10/15) Live Editor: Kid Ink @ Southampton Guildhall (16/10/15) THE EDGE
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NEWS
NEWS
nostalgic news
Notes on News:
WHY ANTHONY HOROWITZ WAS WRONG TO LAMBAST THE LATEST BOND FILMS WRITTEN BY CAMILLA CASSIDY
In an interview with The Daily Mail last month, author Anthony Horowitz took no prisoners as he lambasted numerous elements of the latest outings in the James Bond film franchise. And while his latest release, Trigger Mortis, does lend him some credibility as a Bond connoisseur, in my opinion, he is (mostly) wrong. Despite Daniel Craig’s terrific Bond and the excellent Casino Royale, Horowitz found little nice to say about 007’s subsequent film outings; “Quantum of Solace just went wrong. Skyfall is my least favourite. […] Bond is weak in it. He has doubts. That’s not Bond.” I was sort of with him until he said: “‘I don’t want to know about [Bond’s] doubts, his insecurities or weaknesses. I just want to see him act, kill, win.” At this point, I’m slightly boggling as to how this man can call himself a writer. I appreciate that Bond is different. One could say that’s just how Bond is. But why? Why are we excusing uncreative storytelling simply because it hides under the guise of being cool. It is cool – no-one’s trying to deny that – but what’s wrong with wanting a character to succeed for more than just the sake of pyrotechnics? Car chases, explosions and getting the girl are all deeply exciting; the unmitigated thrill of these things is what founded the action genre, whilst also keeping it going. But these plot devices work best when balanced with a reason behind them. You care most about the trouble a character is in, or the hell they’re going through, when you know what it’s costing them; what it means to them. This was the same in Skyfall; as we gave time to Bond’s past, it elevated his actions at the film’s climax – and now seemingly, for entire subsequent films – to something above
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this slick spy we couldn’t have a hope of empathising with, to a character that’s a little more human. Part of why Captain America: The Winter Soldier is an amazing film is because it had The First Avenger behind it saying, “This is why this is sad. This is why Steve is finding this difficult. This is why that giant explosion and helicopter crash is so awesome.” You might not have enjoyed Cap’s first film outing as much, but it’s entirely necessary to understanding that character. Horowitz wants a hero without flaws. Who isn’t weak. Who… can’t lose? Then what’s the point of going to the cinema?! I can save you £7.50 and tell you the ending right now. If there’s no risk and the downfall of your cool, badass character can only be someone else being cooler, that’s just about the most boring way to write a climax I can think of. Bond is a classic Byronic hero. He swoops in, beats the bad guy, gets the girl and moves on without another word or a hair out of place. We’ve had 23 films out of that. What’s wrong with giving our lead a little more motivation to do it for a 24th time So sorry, Anthony. I get where you’re coming from. But I think I’ve seen enough action films where the hero is a two-dimensional middle aged white guy with no substance. And that’s passable in a two hour flick. But in a film series which has and will continue to cover decades of film-making, I find it deeply saddening that a man who has dedicated his life to creating interesting literature would wish such poor storytelling on one of the world’s favourite characters.
Another round up of things that happened this month in years gone by.
David Fincher’s Fight Club was released 16 years ago Martyna Poszluzna The film adaptation of Chuck Palahniuk’s Fight Club was released 16 years ago on 15th October 1999. Directed by David Fincher, it remains one of the most controversial films of the 90s. The film tells the story of a bored employee (Edward Norton) who grows tired of his mundane life. Alongside an enigmatic soap maker named Tyler Durden (Brad Pitt), he decides to cocreate an underground club where men can channel their aggression into ‘therapeutic’ fighting. Some say it is overrated, some say it is visionary; Fight Club depicts a world that is disturbingly raw and cruel to the point of grotesque. But at the same time it is funny and clever. Even though it didn’t make a lot at the box office ($100 million on a $63 million budget), Fight Club has made such a phenomenal cultural impact that it has firmly established itself as a classic.
Rebel Without A Cause was released 60 years ago Sophie McEvoy Groundbreaking Hollywood classic, Rebel Without a Cause was released sixty years ago, on 27th October 1955. Since its release, the film has achieved cultural significance, largely in part to the appearance of James Dean in what is inarguably his most celebrated role. Sadly, Dean died in a tragic car crash a month before the film’s release, but his role as the disillusioned teen, Jim Stark helped to cement his status as a cultural icon from the 50s and beyond. Directed by Nicholas Ray, the film follows Stark as he tries to find some purpose in his life and gain a love that he doesn’t get from his family. The term ‘timeless’ gets thrown around a lot within the film community, but Rebel Without a Cause certainly wears the term with pride.
Arctic Monkeys released ‘I Bet That You Look Good On The Dancefloor’ 10 years ago Cameron Ridgeway ‘I Bet That You Look Good On The Dancefloor’, the first single from Arctic Monkeys’ debut LP Whatever People Say I Am, That’s What I’m Not, was released 10 years ago on 14th October 2005. Written by the Northern indie-rock band’s frontman Alex Turner, the track was released amongst a wave of popularity for the band, who at the time were in the middle of a sold out UK tour. Soon after its release, the song went on to top the charts, entering the UK singles chart at number one. It has since gone on to become one of the band’s most recognisable hits, and was voted seventh on NME’s list of the 500 greatest songs of all time. The band also performed the track live during the opening ceremony for the London 2012 Olympics.
Oasis released ‘Wonderwall’ 20 years ago HENNA PATEL The Gallagher brothers and co. released their most famous single, ‘Wonderwall’, 20 years ago on 30th October 1995. Upon release, the track soon became one of Britpop’s most iconic and recognisable tracks that still holds stock even today. ‘Wonderwall’ was lifted from Oasis’ second studio album, (What’s the Story) Morning Glory?, which reached number one in the UK album charts. ‘Wonderwall’ was also their first hugely successful single to reach the top ten on 13 international charts. It was also certified platinum by the British Phonographic Industry and certified gold by the Recording Industry Association of America. To date, the song has sold more than 1.26 million copies in Britain alone.
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What’s On SUSUtv Written by Chris Evans - SUSUtv Station Manager SUSUtv is the University of Southampton’s student run television station. We make a range of productions from original series to factual documentaries, music videos to sports coverage and so much more. We have our own studio in the Students’ Union and a range of professional equipment including cameras, microphones and editing software so the potential for you to create your very own television programmes is limitless. If you’re interested by TV production and want to gain valuable experience we will be running training sessions throughout the year, so it’s easy to get involved whether you’re a seasoned pro or a complete newbie! Live Show Listings In the weeks to come we’ve got a number of exciting live shows coming up that you can watch online at www.susu.tv/live. Here’s a little taster of what you can expect:
2nd October – Freshers’ Training Live
For our first live broadcast of October we will be handing over complete creative control to a team of freshers! That means we will be training our crew on the day and putting them through their paces by challenging them to write and run a complete live broadcast. We don’t even know what they’re going to come up with yet, so you can sit back and watch as we cook up either a complete success or catastrophic failure.
16th October – Friday Live
Friday Live is SUSUtv’s fortnightly live studio broadcast. In our first episode of term our presenters will be recapping all the highlights from Freshers’ Fortnight. Tune in to witness our infamous presenters challenge as well as the opportunity to tweet in some of your most embarrassing Freshers’ pics.
30th October – Friday Live Halloween Special
As October draws to a close we’ll be broadcasting a suitably spooky Halloween themed Friday Live. The ghosts and ghouls of SUSUtv will be putting on something a little special to prepare you for the unsightly costumes you’ll likely to be seeing on the streets of Southampton.
Getting Involved You can keep up to date with all of our shows via our website or by subscribing to the SUUtv Southampton channel on YouTube. To find out about how you can get involved in any of our broadcasts you can find us on Facebook or contact our Station Manager at stationmanager@susu.tv 07
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INTRODUCING: Southampton Artists
Three Times Over
Eastleigh-based quintet Three Times Over are a local rock band who have a big and expanding following in the Southampton area. They market themselves as a rock/ pop group who like to ensure their music has a variety of fresh sounds to each track.
One of our favourite features here at The Edge is Introducing, where we shine our spotlight onto an up-and-coming artist. But to give you the best chance to get in on the ground floor, here’s a run-down of some Southampton locals who are destined for the big time. Whatever your tastes, our city has something special to offer – and this is your chance to say, “I heard them first!”
The Diamond Age
Southampton’s very own so called ‘dream-pop’ duo are as synth-y and chilled out as their genre suggests. They join the dots between The Beach Boys and The Smiths tinged with some LCD Soundsystem and Arcade Fire; quite the cocktail I’m sure you’ll agree.
The five-piece are made up of vocalist and frontman Mike Guyan, guitarists Andy Towell and Dell Dinawi, bassist Paul Champion, and drummer Dan Barnes. They released their debut, self-titled fivetrack EP back in 2013, which is available on both iTunes and Spotify, before releasing their debut single ‘Two Worlds’ back in June of last year. Since forming two years ago, Three Times Over have become a massive hit on the local circuit, amassing a group of loyal fans who pack out each show they play. They have supported many established artists, including American rockers Red Jumpsuit Apparatus at The Joiners back in August. Frontman Guyan has a husky vocal reminiscent of many of rock’s biggest voices over the past 20 years. Their tracks are always upbeat and are written to be performed live as that’s where these five lads thrive the most. Get them in an intimate venue with a hundred sweaty rock fans and they’ll put on a show you’ll be glad to have attended. WILL HODGETTS
Grant Sharkey
Matt Canning and Bill Acharjee manage to shoe gaze their way to a hypnotically melodic sound that effortlessly fuses indie and dream-pop, so much so that you’re left attempting to shamelessly equate them to other bands in a haphazard attempt to fully describe them.
Grant Sharkey is a man on a mission – to release an album, every six months, for 20 years. 2013 until 2033, with this year seeing him with five down and 35 yet to go. With no agents, label or PR, you know a guy’s got to be pretty bold to give that a try.
Their music is entirely self-produced; 2014’s ‘It Might Just Be’ retro vibe has soaring hooks layered over some gleaming reverb that is tied over by the ticking drumbeat. It has the same flavour as The Drum’s ‘Let’s Go Surfing’, sans whistling, but with more fusion that culminates in sweet tasting musical happiness. By contrast, they go full on Morrissey with ‘Yesterday Was’; still rocking the retro with the licks and hooks lifted straight out the eighties and echoing The Cure.
And bold his voice is. With quick witted if sparing lyricism carried by a clear voice set against a single double bass, Sharkey’s works are unlikely to be quite the same as anything you’ve ever heard before. They dabble in everything from love songs political satire; album 5/40 was entitled Goon, with a bright green cover emblazoned with Nigel Farage’s face.
If you’re sick of the resemblances, and want to hear this magical blend yourself, their whole discography is on Soundcloud, as well as your chance to see some truly psychedelic, t-shirt worthy album artwork. FREDDIE STEVENS
One
man,
20
years,
40
albums.
Listen
in,
and
see
how
far
he
gets.
(And, okay. I wasn’t being entirely truthful. Sometimes instrumentation other than the bass is featured. My personal favourite track does have to be ‘Let’s Play Squatch! (Composition for kazoo in B maj)’. It’s exactly what you think it is, and it’s great.) CAMILLA CASSIDY
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Books are part of the fabric of our childhood, and there is nothing more reassuring than sitting down with a good book that you loved as a child, or young teen. Two of our writers look at the books which influenced their youth.
The Enemy are due to release their fourth studio album, It’s Automatic, on 9th October and it marks a new musical direction for the band. Lead singer, Tom Clarke, was kind enough to have a chat with The Edge about their evolution as a band, their unlikely influences, and how he begrudgingly stars in music videos.
What are your favourite songs from the new album? I’ve got two. ‘Melody’, that song has been around for years. I think I wrote it in 2009 and it has changed a lot over the years. We have recorded it so many times and there has never been a version where we think ‘that’s the keeper.’ It was only in the last album session that we got a version where the music reflects the sentiment of the song from when I originally wrote it. The other one is ‘Some Things’. This is the first time that Andy has really started coming to the party with full pieces of music. He came to me with the full piece and asked whether I could put some vocals over it. It’s ended up being my favourite one and I think going forward it’s going to be how we are going to do a lot of our writing. It works really well and the production is beautiful. It’s my favourite on the album and I think it’s one of the best things we have done as a band.
What are your musical influences on this album? Specifically on this album I started listening to soundtracks, especially the soundtrack to Drive really kicked this album off. The most recent The Horrors album was an influence as well as it had some beautiful things on it and there were moments that really sounded like Simple Minds. At the same time I listened to the new Brandon Flowers stuff, ‘Can’t Deny My Love’ has absolutely nailed production. It’s like he has referenced every piece of genius production in the history of music in that one song. There was also a lot of Kanye being played, for references to drum sounds as they are absolutely brilliant. So loads of different stuff and things that people probably wouldn’t expect. On one of our tracks, ‘Everybody Needs Someone’, there is a synth sound in the verse and the reference for that is an All Saints song. 11
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The Palace of Laughter
Given that you have three top 10 albums, do you feel under a lot of pressure when releasing a new album? I feel massive pressure if I’m honest. It screws me up a bit. I know that when you release an album you put yourself out there and there are segments of the press that decide they hate it before they have even heard it. You know they are going to rip it to pieces so you have to prepare yourself for that. Also, I genuinely worry whether the fans will like this album as it is different. What will happen when we play it live? Is it going to change the vibe of gigs? Will it kill our touring career? Because, that’s what pays our mortgages. It’s all pretty terrifying to be honest.
You all star in the video for your recent single ‘It’s Automatic.’ Do you enjoy starring in your own videos? Every time we make a video I plead with whoever is making it to not be in the video. Like, we have professional actors that enjoy being in front of a camera and look good doing it, can’t they do it. I’m not a big fan of being in front of the camera or of the comment sections below YouTube videos, people comment with stuff like “OMG his teeth are rubbish”, it’s like yeah they are, well done! The Enemy are playing nearby in Portsmouth at the Wedgewood Rooms on Sunday 22nd November. It’s Automatic is out on 9th October via VAM Records. Read the full interview online at www.theedgesusu.co.uk WRITTEN BY EMILY MARMARA
When I think about my childhood I am immediately reminded of one of my favourite books, The Palace of Laughter by Jon Berkeley. Picked up randomly one day in Waterstones this book was the first in the Wednesday Tales trilogy that would grip me for most of my formative years. Powerfully visual, fun, whimsical and 100% original, this book will always remain a firm favourite. The novel was the first from illustrator Berkeley and his talent for art shines through in the wonderful description throughout the book. Focusing on a young orphan boy, Miles Wednesday, as he runs off with the circus he eventually gets dragged into all sorts of mischief and magic. The concept may not sound original but the detail to individual characterisation shows the vast imagination Berkeley holds and applies. There’s a magic tiger, a power crazed circus owner, a walking teddy bear and of course angels. If you want to relive the magic of your youth this book is perfect as it’s story will appeal to all ages.
The Shadow in the North
Phillip Pullman is mainly known for his fantasy trilogy His Dark Materials but the book I feel is one of Pullman’s best novels is a favourite from my childhood, The Shadow in The North. The novel is the second in the Sally Lockhart series and takes place in 1878, six years after the events of The Ruby in The Smoke. Sally is now a financial consultant and though loves Frederick she cannot express it just yet. The book is a twist and turn of events that revolve around Sally’s investigation into the loss of a woman’s money and the power play between companies and business moguls. For a story so complicated it rivals any detective story Pullman manages to deliver the events clearly though some are lost along the way to more heart-wrenching tragedies. This novel is perfect if you want to explore a female detective without feeling like the mystery is too drawn out. Beautifully crafted, this sequel will always remain in my memory as the first novel to have made me cry. The feminist heroine may never exploit her message but certainly delivers a strong role model for young girls.
Eragon
The books that I loved as a child and a young teen still grace my bookshelves for two very good reasons - they are still fantastic reads, even as I approach my midtwenties, and I feel a great deal of nostalgia towards them. Eragon by Christopher Paolini is the start of his Inheritance series, which follows the coming-of-age of a young farm boy named Eragon who discovers a Dragon egg which hatches for him. Paolini’s writing is easy to read, and he creates a world which is all-encompassing, a world which fascinates from the start, and characters which you truly empathise with. Eragon is the start of an engaging series of books which gets stronger as the series goes on, with ever deepening plot lines and character motivations. Paolini was nineteen when he started writing this novel, and it shows in the developing style which emerges through the series. The themes and writing make this a novel I could pick up again now, and thoroughly enjoy!
The Magician’s Guild
A book I discovered in my early teens thanks to the recommendation of a couple of friends, The Magicians Guild is the start of a series which captured me completely, and made me want to write fantasy novels. Canavan’s creation of a unique world, with a set class system which segregates the right to use magic, is what drew me in to start with, but her characters are what kept me up at night, reading until I had finished the whole trilogy. The main character Sonea, the working class girl whose magic is so powerful that it threatens to flame out, was someone I really identified with as a young girl as I grew into my own personality and identity, with her confusion and anxiety about her place in the world. Canavan created a world which keeps me going back every time she releases a new book set there, as I absolutely devoured the prequel and sequel series she has released in recent years.
WRITTEN BY REBECCA JAMES
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LOST IN THE ATLANTIC 3:
There are plays that stay with you long after you have left the theatre. Plays like Cat on a Hot Tin Roof, Titus Andronicus, and Death of a Salesman, all of which are currently on the stage or are about to be, and are fantastic examples of theatre that can make you think. Yet there are so many more plays that need to be on stage now.
BROADWAY’S PRIVILEGE WRITTEN BY GEORGIA SIMPSON
The glimmering lights of Broadway have been delighting audiences with plays, musicals and comedies for over 100 years. Many of the shows such as Wicked, The Book of Mormon, Chicago and most recently Kinky Boots have made their way over the pond to the West End. However several amazing productions from ‘The Great White Way’ have yet to make the leap to the UK. So take a look at some of the fantastical, magical and amusing shows that we think should come to London’s theatre district.
Misery Based on the novel by Stephen King and the popular 1990 film of the same name, Misery tells the tale of romance novelist Paul Sheldon, who is rescued from a car crash by his obsessed ‘number one fan’ Annie Wilkes and wakes up in her secluded woodland cabin. Annie reads the manuscript of his newest novel and become enraged when she discovers that he has killed off her favourite character. This causes events to take a violent turn and the titular misery ensues. The play has yet to preview in New York but will be starring Bruce Willis as Sheldon. This is going to be a sure fire hit, especially in the West End, which has just seen the musical version of American Psycho sell out completely!
If/Then Another musical which should make the jump is the Tony award nominated If/Then. It tells the story
of 40-year old Elizabeth, a divorcee who moves back to New York City after a fresh start. In the city she meets two friends, one who tells her to live her life under the name of ‘Liz’ and the other who instructs her to make professional connections under the name ‘Beth’. From this point on the show depicts the two paths that Elizabeth’s life could potentially take. Think Sliding Doors but add the incredible vocal talent of the Broadway powerhouse that is Idina Menzel.
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Aladdin A magical musical based on Disney’s 1992 animated classic, with music by Alan Menken and lyrics by theatre legend Tim Rice. Aladdin has been at the New Amsterdam Theatre since 2011 and has been really well-received by critics, with James Monroe Iglehart winning a prestigious Tony Award for his role as the Genie. But don’t fret young Disney fans! It has been confirmed that Aladdin will be coming to the Prince Edward Theatre in the West End for summer 2016, taking the place of the revival of Miss Saigon.
Hedwig and the Angry Inch This musical is a real game-changer, following the life of German rock star Hedwig, as she details her previous life as a boy named Hansel, whose life-long dream it was to find his other half. Hedwig reluctantly submitted to a sex change operation in order to marry her love, an American G.I. However the operation was unsuccessful, leaving her with the titular ‘angry inch’. The musical highlights transgender issues in a 1980s context, in a sensitive yet tonguein-cheek way. With several leading men having undertaken the role - including the likes of Michael C.Hall, Darren Criss, and Taye Diggs- it has been a phenomenal success, nominated for eight Tony Awards, with four wins including Best Revival of a Musical and Best Leading Actor in a Musical for Neil Patrick Harris.
The Rover Aphra Behn is a playwright whose work should be shouted about from the rooftops. A fantastic poet and playwright, she was also a spy for Charles II, and her work is infused with wit, bawdiness, and interesting women. Set in the midst of a Spanish masque, The Rover follows sisters Florinda and Helena, as they each search for something special before they are tied down. The play includes ribald sexual imagery, a rakish character called Willmore, and many moments of mistaken identity, all of which come together to create a truly funny play. Last performed in London in 2009, The Rover needs to return to the stage now.
The Taming of the Shrew Sometimes it seems like you can’t move in the West End without facing a theatre performing a Shakespeare play. However, there are some plays which get performed again and again, and others which seem to have fallen completely out of favour. The Taming of the Shrew is an example of the latter. In recent years it seems that only the RSC and productions at The Globe have tackled this work. Ostensibly about ‘taming’ a willful woman, there are so many opportunities in The Taming of the Shrew to make a commentary on the desire to change others, or about the position of women in a male-dominated society. This play deserves a longer run, with a heavily ironic take on the idea of taming.
Lover’s Vows Google Lovers’ Vows by Elizabeth Inchbald, and you are most likely to find a lot of discussion of its presence in Jane Austen’s Mansfield Park and very little about the play in its own right. Focusing on illegitimate children and sex outside of marriage, the play was scandalous when it was first published. Inchbald is a wonderful writer, and it would be fantastic to see this play on the stage for a limited run. Austen lovers would surely flock to it for a greater understanding of its presence in Mansfield Park, and it gives an interesting insight into 18th Century morality.
The Man of Mode The Man of Mode by George Everage is another Restoration drama which deserves to return to the London stage. The National Theatre produced a modern dress production of the play in 2007, featuring Tom Hardy and Rory Kinnear, and it would be fantastic to see another such production on the stage in the West End. Focusing on the character of Dorrimant, who is an unrepentant womaniser and rake, the modern fascination with the transformation of the ‘bad boy’ would assure that this highly amusing play could find an audience. WRITTEN BY REBECCA JAMES
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MERCURY PRIZE WISHLIST The Mercury Prize is one of the most prestigious music awards around, hailing Primal Scream, Suede, Ms. Dynamite and P J Harvey amongst its winners since 1992. With nomination announcements on the horizon, The Edge has put together a Mercury Prize list of our own. JAMIE XX - IN COLOUR In Colour sees Jamie xx blur the lines between soft electronica, R&B, house and dance, experimenting with key elements and moulding them to create his own distinguished aesthetic. The result of this seven-year process is an eclectic, genre-bending record worthy of praise. HENNA PATEL WOLF ALICE - MY LOVE IS COOL Despite having a girl on lead vocals in a rock band full of men, this album has far more in common with The Naked And Famous’ debut than Paramore. Daring, punchy fun, and full of delightful guitar sounds. GEORGE SEABROOK JESSIE WARE - TOUGH LOVE Jessie Ware’s Tough Love is a sultry, authentic record, composed of both tender moody songs alongside tracks that build to epic cathartic finishes. Infusing mellow R&B with velvety soul, Ware is a British female artist who deserves recognition for her delicious, but subtle, genre experimentation. LEWIS TAPLIN FOALS - WHAT WENT DOWN What Went Down is a stunning mix of Foals’ old and new sound, that either simmers in the background or explodes with attention-seeking flare. Accompanied by simply poetic lyrics and flawless delivery, the album is quintessentially perfect. EMMA HARRISON BEESLEY. SBTRKT - WONDER WHERE WE LAND Wonder Where We Land sees London-based Aaron Jerome collaborate with an ambitious range of artists, from Vampire Weekend’s Ezra Koenig to Sampha, developing a raw and diverse sound. The stakes were raised from his debut, and the unification of SBTRKT’s continually experimental sound is deserving of recognition. AMY WOOTTEN 15
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WE ARE THE OCEAN - ARK No album this year has as much fun twisting the genre into many shapes, each as catchy as the last. The eponymous opener has the biggest and deepest rock sound of anything else from the last few years. GEORGE SEABROOK. OH WONDER - OH WONDER Oh Wonder’s self-titled debut is a swirling tapestry of electro pop goodness. Each track is an uplifting anthem, complete with candid lyrics and expert production. It would be an absolute travesty if it wasn’t nominated. HANNAH MYLREA CIRCA WAVES - YOUNG CHASERS A near-perfect debut, full of lyrics you can chant along with, and beautifully produced guitar riffs that hang in your head. It’s difficult to overstate how hard it is to be this good. GEORGE SEABROOK HOT CHIP - WHY MAKE SENSE? Why Make Sense? bubbles with excitement and all things nonsensical. It’s a meandering weave through different styles, breaking the bounds of genre-hopping between jazz inflections, Chemical Brothers sounding electronic influences and softer melodies. AMY WOOTTEN
ALT-J - THIS IS ALL YOURS An Awesome Wave, alt-J’s debut album, left a lot to live up to. This Is All Yours did so and more: a delicate and mature album that has retained all the intricacies of their debut in a more cohesive manner. EVAN SMITHSON EVERYTHING EVERYTHING - GET TO HEAVEN Very rarely will a commercially successful record cover political topics such as the rise of Islamic State, but step forward Everything Everything. The utterly engaging Get To Heaven further demonstrated their ability to orchestrate blissful pop with serious messages. TOBY LEVESON
THEEDGE EDGE THE
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ANNABELLE ASKER
In response to Will Hodgkinson, the Times writer who reviewed What Went Down, your insistence that Foals will join the likes of Coldplay and Snow Patrol in “the tasteful stadium rock market” is deliberately controversial and a boring prediction for a band who have achieved more musically than many. What Went Down is a stunning album, opening a new chapter in Foals’ discography, which has as much of a right to be there as their debut. While steering away from math rock is a predictable game, it demonstrates a maturing sound. Foals are indeed like a fine wine. Their debut Antidotes was the multiple £4 bottles of Echo Falls that you purchased from your local Premier before a heavy night out on the town. What Went Down is, as Philippakis groans in the opening track, “a port wine stain”. A more expensive yet well-produced album that is bound to sell well and fill concert venues, staining your ears with catchy choruses, but doesn’t lose that edge that Foals bring and conquer the indie music scene with. Stand out tracks on the album include ‘Birch Tree’, ‘Albatross’, ‘Snake Oil’ and ‘London Thunder’. The jammy guitar melodies on ‘Birch Tree’ are groove worthy, and a delight to the ears. ‘Snake Oil’ brings a heavier sound to rival ‘Inhaler’, that will
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likely melt some faces in a live concert. However, it is becoming increasingly clear that Foals are unlikely to set foot out of their new comfort zone. Since the release of Total Life Forever, their sound and lyric quality has levelled and plateaued. As much as I hoped the new album would overstep the mark and break from their slowly cementing sound, there is a small comfort in their continued sound. The heavy plucky basslines, extraordinary drum work, and melodious guitar all collects with Philippakis’s raw vocals to create a sound that is distinct and original. What Went Down will bring fans of live music a whole new concert experience. The band that brought face-melting mosh pit music to the famous Royal Albert Hall and Alexandra Palace can do no wrong in a live setting. Their shows are endlessly entertaining, and their live renditions of their tracks are original and something more than the average band. Tracks such as ‘Mountain At My Gates’ will excel in a live situation, making the purchasing of tickets even more competitive than they currently are.
What Went Down was released on 28th August via Warner Bros.
RECORDS
RECORDS
SINGLES REVIEWS
GILLIAN MOSS
DEFEATER - ABANDONED OLI POLHILL The record opens with ‘Contrition’, setting the tone for the rest of the album in a psalmic fashion as a version of the Hail Mary prayer. It eventually resurfaces in other tracks on the album (‘Remorse’, ‘Vice’ and ‘Regret’), as though they were themselves a desperate prayer as the priest struggles with his faith and with God. At times Abandoned’s main character wrestles with his faith and himself in anger - the rapid and powerful percussion on ‘December 1943’ is relentless - and at others he is solemn and reflective as in ‘Borrowed and Blue’, an almost cinematic experience of soaring melodies and clean vocals (the only track where these are utilised) as the priest gives in to the pleasures of the flesh: “Our lips speak in secrets, / Our tongues lie in verse, / Our hearts slow with the
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guilt, / Our love, our only recourse.” As the record draws to a close the pace relaxes and the tone as a whole becomes less intense. The final few tracks feel tired and worn as a single guitar riff permeates ‘Atonement’ and takes centre stage from the lyrics. Abandoned is Defeater’s most complex album to date, both musically and lyrically. Concept albums are notoriously difficult to keep interesting, and at times the listener may find their attention drifting away at the expense of the record’s quality. But this is a piece of music that requires full focus from the listener, and for that reason it may not appeal to the everyman. Abandoned is out now via Epitaph.
GOLD CELESTE - THE GLOW AMY WOOTTEN The Glow is the debut album from Oslo-based trio Gold Celeste. It emerges from 60s psychedelic pop inflections that will likely draw comparisons to the introverted psychedelic rock of Tame Impala, but there’s something softer and more magical about the band’s sound. ‘Can Of Worms’ softly reverberates into life with muffled chattering and dreamy synth undulations, before a quick drum beat brings things into focus. With ‘Open Your Eyes’ comes something more upbeat, creating a sunshine filled track; there’s nothing forced or straining about listening to this band. The lenghty tracks of the album are offset by the dispersion of ‘Pastures’ and ‘On The Brink’, both acting as interludes of under a
minute long. The instrumental tracks break up the album, with ‘On The Brink’ amping up the pace before its closer, ‘The Start Of Something Beautiful’. The end track neatly references back to the opening lyrics of the album, with soft vocals crooning “they said it would be beautiful”, making for an ending that both acts as closure, as well as leaving room for more things to come. The Glow is a beautifully polished debut from Gold Celeste. Producing a sophisticated statement sound of soft psychedelia with unhurried lyrics and a dreamy tone in a debut is a rarity. The via
Glow is Riot
out now Factory.
‘CEREMONIAL’
THE PRETtIOTS ‘SUICIDE HOTLINE’
BATTLES ‘FF BADA’
BECCA JAMES
EMILY MARMARA
EVAN SMITHSON
An indescribable blend of electronic pop and retro beats, Gilligan Moss’s ‘Ceremonial’ is the perfect track to get you up off the sofa and stuck into that essay you’ve been happily procrastinating for the past week and a half.
Brooklyn-based three piece, The Prettiots, have released their single ‘Suicide Hotline’, with cutesy ukulele chords, gentle instrumentation and satirical lyrics courtesy of Kay Kasparhauser, combined to create their signature sound.
‘FF Bada’, the newest offering from upcoming third album La Di Da Di, sees Battles stylistically return to their roots. The track is a tight, complex instrumental much in the vein of their earlier EPs and debut album Mirrored. Neglecting to continue the expansive nature of their most recent record Gloss Drop, Battles have chosen to revert to the intensity found in repetition.
‘Ceremonial’ is a pumping, suspenseful track that immediately hooks the listener with it’s erratic, building beat. Reminiscent of those vintage Nokia ringtones that were the bomb in 2003, Moss’s unique blend of chant samples and resonating marimba melodies are an homage to original West African music. Deliciously delirious, it’s easy to get lost in Moss’s blend of intricate rhythms and soft sporadic vocals before the hypnotising track drops briefly at 3.38. Swooping and swerving through various stylistic conventions, synthpop forms the base of the cut, with hypnotising, sugar sweet overlays that conjure images of pagan ritualistic dance. It seems we’re going to be seeing a great deal more from Moss in the months to come as much is clear from the small teasing sample of his up-and-coming work which is available to listen on his Twitter. Definitely one to watch: Moss’s narcotic, swirling sound is ready to hit the world by storm.
‘Ceremonial’ is out now via AMF Records.
Their latest single will no doubt cause a stir through its laidback attitude towards depression and suicide. Yet there are certainly parallels that can be drawn to Aussie singer-songwriter Courtney Barnett, who is renowned for her witty lyrics and deadpan delivery. The opening line of “On a scale of one to Plath I’m like a four” and the chorus of “I’m not fine but I’ll be okay” set the sardonic tone of the track. The references to Plath, Woolf and Hemingway, key literary figures all of whom who have committed suicide, further the band’s darkly humorous yet intellectual aesthetic. The upbeat harmonies and alt-pop melodies make ‘Suicide Hotline’ a highly likeable track, but it may leave a bit of a sour taste due to the blasé approach it takes towards the both topical and serious issue of mental illness. Perhaps sometimes you have to see the light in dark situations, which no doubt the Prettiots trio do with some controversy, through irony and self-depreciation.
‘Suicide Hotline’ is out now via Rough Trade.
The band’s discovery of the Ableton Launchpad has resulted in an even more metronomic sound than before. Simple guitar loops are added with such generosity that it becomes impossible to keep up with. The sheer depth of layers involved is rewarding, as each repeat listen leads to a newly discovered motif within the tangle. Just as the single becomes too complicated, the layers are instantly stripped down to a single repeating chord. A bouncy math-rock guitar riff and ominous bassline are reintroduced, before the track rapidly escalates back to its climax. ‘FF Bada’ is as energetic and intricate as Battles have ever been, and just as brilliantly weird.
‘FF Bada’ is available to stream now via Warp Records. THE EDGE
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Review:
FILM
DIRECTOR: CORIN HARDY OUT: 13TH NOVEMBER DISTRIBUTOR: ENTERTAINMENT ONE
THE HIGHLIGHTS WRITTEN BY BEN ROBINS
It has often seemed like every horror film released over the last couple of years is either a remake, a Conjuring clone, or a found-footage rip-off. Caught up in trying to pursue the hottest trends, most producers don’t have confidence in anything that falls out of the very specific bracket of what they think people want. As a result, so many specific types of horror film have fallen out of fashion, when it used to be such a diverse and lively genre, that boasted plenty of different variants and sub-categories. However with films like It Follows daring to walk their own path, we might be entering something of a renaissance period.That is if The Hallow is anything to go by at least. The first feature from director Corin Hardy, The Hallow is an old-school creature feature,in the vein of The Thing, with elementsof body-horror and a siege movie as well. The set-up is beautifully simple. British conservationist Adam (Joseph Mawle) and his family have moved out into a remote Irish woodland. There, they encounter the usual foreboding warnings of seemingly crazy locals, who insist that they have to leave, or else demonic creatures will attack. It’s not a spoiler to say that these warnings go unheeded, and what ensues is a night of extreme peril and a very intense series of set-pieces. Championing practical effects, The Hallow is a love letter to the sort of films that Stan Winston and Rick
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Baker used to make before studio’s cottoned on that it was easier to simply use CGI all of the time instead. Relying on performers in costumes and puppeteers to operate traditional animatronics, the film has something that a lot of modern ones don’t; a tangible sense of threat. CGI just isn’t scary because, no matter how good it is, it never really feels like it can be in your room at night, when you’re trying to sleep. Here on the other hand, it never looks like the creatures are on a separate plane of existence to their prey, and the effect that this has on the tension can really be felt. Hardy’s direction is top-notch as well, eliciting marvellous amounts of suspense from tiny details like shadows, the flash of a camera, or subtle shifts in focus. His understanding of the genre is also impeccable, and as a result he is able to play with audience expectations, and provide new twists on stale tropes. Just when you think you’ve figured out exactly where a scare or plot-point is going there will be a small shake-up that you definitely didn’t see coming. All in all, The Hallow is more than just a great film. It’s the kind of film that needs to receive an equal amount of love and affection from the public, as its director has clearly already poured into it. It’s the kind of film that needs to be supported, and showered with praise. Because horror can be great again, with the right encouragement.
With the final screening now all said and done, another year at the fan-favourite horror film festival FrightFest comes to an end. It was an intense five days of slasher flicks, haunted-house horrors, and disturbing supernatural happenings at the Vue Leicester Square, with some of the best and brightest new talent in filmmaking showing off what they’re made of. Although opening night nostalgia trip Turbo Kid certainly wowed us with its cheapo, cartoonish charm, and the fantastically twisty The Diabolical gave us a lot to love in genre-bending terror, it was no doubt Corin Hardy’s gloriously practical creature-feature The Hallow that undoubtedly won the weekend with its seriously spooky set-up and frankly incredible devotion to the monster movie sub-genre. Elsewhere, Dan Berk and Robert Olsen’s low-key hriller Body also proved to be something of a highlight with its positively charming cast proving endlessly watchable, whilst both Shut In and Bruce McDonald’s latest Hellions were equally inventive, if a little muddled with their storytelling although thelatter definitely wins points for the most random use of llamas of the year. The Blaine Brothers’ British genre mish-mash Nina Forever was certainly another welcome breath of fresh-air, chronicling the rather bizarre relationship of student Holly and troubled supermarket worker Rob, who
find their most intimate moments invaded by the decaying corpse of Rob’s dead girlfriend Nina. Utopia’s Fiona O’Shaughnessy is as weird and kooky as ever as the mangled Nina, driving right down deep into what it means to be dead, whilst Abigail Hardingham and Cian Barry both prove equally as fearless in their exploration of grief. The Blaines’ very own form of fucked-up rom-com is delightfully dark and provides plenty of wicked laughs, whilst still handling the more emotional beats with ease and precision. Lastly, one of the most surprising films of the festival was Michael Thelin’s suburban nightmare Emelie, which centres around a standard American family whose lives are torn apart one night by the babysitter from hell. Fiendishly subtle with its advancements, the film benefits from a ridiculously talented cast of child actors who well and truly steal the narrative from Sarah Bolger’s otherwise beautifully-layered villain. It may often seem a little clunky in its exposition and doesn’t quite reach the heights it sometimes hints at, but Thelin’s debut feature is a tremendously well-shot and well-built little thriller that’s never worried to push the envelope. As you can probably tell by now, 2015 certainly proved to be a great year for new talent, so be sure to look out for all of the above upon their eventual releases - especially The Hallow which lands here in the UK this November.
HARRISON ABBOTT
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FILM Blu-RayReview: Review:
Director: George MillerJuly Jung Director: Distributor: WARNER BROS. Out: 5th OCTOber
MY DOOR MADA GIRL MAX:ATFURY ROAD
Mad Max: Fury Road will make you forget every great blockbuster of the last five years, leaving only the sheer madness of director George Miller’s vision as your goto answer for what constitutes a truly great blockbuster/action film.
Like an adrenaline shot to the heart, it’s a two hour-long thrill ride, stripped of unnecessary plot baggage, with its story told just through small, infrequent scenes of dialogue, and in the beats of the myriad action sequences. Even on the small-screen, it’s hard to imagine a more fun or invigorating time at the movies.
Blu-ray Review:
REQUIEM FOR A DREAm ASHLEIGH MILLMAN ANNEKA HONEYBALL Requiem for a Dream is a disturbing, graphic and downright unpleasant piece of cinema - it is difficult to watch, hard to enjoy and leaves a bad taste in your mouth after watching the closing scenes: yet it is nothing short of brilliant. Depicting the downward spiral of substance abuse on four very different people, we follow the entangled lives of Sara Goldfarb (Ellen Burstyn), her son Harry (Jared Leto), his girlfriend Marion (Jennifer Connelly) and his best friend Tyrone (Marlon Wayans) as their chemical highs begin fading into something far more sinister. The film depicts the slow unraveling of each character’s sanity, moral judgement and substance dependence in frightening detail; vividly manipulating our sensory experience of the story through grotesque visuals and unimaginable situations. 23 23
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GEORGE SEABROOK However the best thing about Fury Road is how, underneath the perfect manly night-in film, is a deep and powerful story about women and men banding together to save themselves, and then society, from patriarchy. Max’s name may be the title, and Tom Hardy is superb as him, but Charlize Theron’s Furiosa is the real hero. For a film with such a minimalist story, it’s remarkable how great the characters and actors are. So much so that, even in a film with money shots coming left, right and centre, some of its most memorable moments are purely character driven; calm amongst a storm.
Director: DARREN ARONOFSKY DISTRIBUToR: LIONSGATE FILMS Out: 5th OCTOBER
This is a film that needs to be experienced to be explained. As far as psychological dramas go, this is one that tops many lists for aptly portraying what its like to struggle against an illness that people don’t realise they have the consequences rooted in the harsh actuality of ‘the real world’; where people are used, hurt, and not everything turns out okay.
ONE TO WATCH:
Distributor: 20th Century Fox Out: 1st January Chestnuts roasting on an open fire, snow drifting past partnership will battle through anything the windows - the sound of holiday cheer all around you. in the pursuit of artistic perfection - Lawrence When the big day comes, you’d all better be ready for Joy. recently joked to Entertainment Weekly, “I still have Snowst Traumatic Stress!” before Jennifer Lawrence and Bradley Cooper describing the unpleasant working conditions are back this winter, again under the genius direction and the eight feet of snow that had to be of David O. Russell. Drama-comedy biopic Joy, navigated around. However, Russell decided to take marks their third collaboration after the this in his stride and incorporated the events critically acclaimed Silver Lining’s Playbook (2012) into the film, allowing him to experiment and American Hustle (2013), both of which scored with Joy’s memories of her young highly on the big screen and earned Russell two childhood and her love of the snow. Academy Award nominations for Best Director. Revealing the film’s icy cool aesthetic as Joy Based upon the real life story of American marches down the street in sunglasses, a blonde punky inventor and entrepreneur Joy Mangano, the film bob and a smart business suit, the teaser trailer has follows the Long Island single mother of three certainly done more than pricked a few ears. as she sweats her way to the top of the family Opening with the wise words of Joy’s empire after creating and patenting the grandmother (Diane Ladd), and featuring Joy Miracle Mop. Speaking to Vanity Fair, throughout, the only voices we hear in the film’s Russell described his vision for the film as an recent trailer are those of women, “examination” of the woman’s life, focusing on a very significant hint that Russell her soul and how it develops over the years. intends to tell Joy’s story from her own point of view as an interesting and complex women. August’s teaser trailer unsurprisingly shows leading lady Lawrence completely at ease as David O. Russell’s third collaboration with Jennifer she takes centre stage in yet another Oscar- Lawrence and Bradley Cooper is set for release this rumoured biopic, and considering her Christmas time. For now however, the question on rather impressive history with everybody’s lips is not ‘Will Joy prove Russell, the film is all set to wipe itself against its rivals on the big the floor next awards season. screen?’ but rather: ‘Can a film directed by Russell fulfill its Filmed last winter in the potential as a feminist piece middle of Boston’s of cinema?’ heaviest snowfall season, it’s clear that this We await the answers director/actor with baited breath. Written by BECCA JAMES
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Review:
CONOR KAVANAGH
After years of anticipation, Metal Gear Solid V: The Phantom Pain has finally been released. The many publicised disputes between Kojima productions and Konami have made this Hideo Kojima’s last Metal Gear game, but it is also definitely one of his best. Many game series like Far Cry or Assassin’s Creed promise freedom of gameplay, when in truth they only have two paths, either total stealth or total action. There is usually no in-between. The Phantom Pain is the first action game that fully allows you the freedom of choosing your own path. Missions usually have an objective that can be accomplished in a number of ways. For example, if the mission is an assassination, you could straight up shoot the target, or you could tranquilise him and bring him back to your base. If you wanted to be more creative, you could stealthily strap a C4 bomb onto the back of one of his soldiers and wait until they meet, before blowing them both up. This freedom doesn’t merely extend to how you complete your objectives, but also to how you reach them. You can play the game using total stealth, not being seen or interacting with anyone. Or you can go through the missions knocking out guards while mixing it up with some silent kills. Even if you take the more gun-hoe approach, enemies won’t immediately know your location and Kojima has refined the ranking system to accommodate the new styles of play. In past Metal Gear Solid games you couldn’t achieve the coveted ‘S’ rank on a mission if you killed someone, but now, killing without being detected barely hampers your
progress at all. Accommodating so many different styles of play is possible due to this being the first open world Metal Gear. The open world allows you to tackle heavily guarded areas from any direction and at any time of day, giving the game tremendous replay value. Probably for the first time ever in a Metal Gear title, gameplay trumps the story. It has clearly been streamlined to accommodate new players to the series, but still does contain many great and completely insane moments prominent throughout the Metal Gear saga. It even goes to some previously unexplored areas that include heavy topics, such as African child soldiers and rape. Both are handled with the respect that these subjects deserve, highlighting how much the gaming medium has developed over the years. The film world has many Auteur directors, but the world of gaming is limited to only a few, and The Phantom Pain is a clear example of the vision of one man. Anyone who has played a previous Metal Gear will see Kojima’s influence everywhere in terms of cut scenes, gameplay, and humour. All in all Metal Gear Solid V: The Phantom Pain offers a staggering amount of variety in the gameplay department and is one of the best new releases in years. As well as this, it is a high note for its creator to leave the series on. Metal Gear Solid V: The Phantom Pain is available now on PlayStation 3,PlayStation 4, Xbox 360, Xbox One and PC.
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DOCTOR WHO
ANNEKA HONEYBALL Doctor is sidelined and the adventures themselves are undermined. Now that Danny’s out of the picture (sorry, spoilers...), I hope that Clara can get back to a more Steven Moffat is one of the most amicable sense of self that isn’t so frustrating to watch. controversial figures in the world of fandom. As the showrunner of both Doctor Who and Sherlock, he is one of the most well known and revered television 3) Give the 12th Doctor an interesting story arc and don’t let writers in the world right now - but the way he has ANYTHING undermine it. maneuvered Doctor Who over the years has been somewhat troubling. My problem with Moffat is not Peter Capaldi is an incredibly complex and versatile necessarily with his ideas - because as past episodes such actor, with a real passion for the material and the show itself. So please... can’t we give him something more as ‘Blink’ have proved, he can come up with some truly interesting to work with? In series eight, we were ingenious concepts. The main problem is that, when given glimpses of what this regeneration of the given control over this series that he himself confesses Doctor could do - who he was and how he to love so much, he becomes a little over-excited and worked. In the upcoming series, I’d really like the the continuity of Doctor Who has suffers as a result. emphasis to be on him. They owe it to Capaldi to give him something The other problem vis-a-vis Moffat, is that he more than playing with the TARDIS dials and seems to be getting a little unoriginal of late. wryly commenting on Clara’s coming and goings. ‘Dinosaurs on a Spaceship’, ‘Vikings on a Spaceship’... when will the man learn that putting something oddly historical on a space craft 4) Missy and River are great female characters.... but please don’t won’t necessarily make the show more interesting?? ambush them with more plot twists. 1) Moffat: Keep calm and try not to get too crazy with your storylines....
2) Stop making it all about Clara. In series eight, one of the most frustrating elements was the extreme focus it put on Clara. In a disappointing move, her annoying dilemma between staying with Danny and travelling with the Doctor quite often overshadowed the elements of the show which are arguably more important. While I understand that one part of the companion’s role is to emphasise the human struggles that travelling in time and space can manifest, it should not be to the point where the
It was recently announced that River Song will be returning for this year’s Christmas special. Now, while I’m not a massive fan of River and her tumultuous storyline, I will concede that Alex Kingston is flawless and deserves the very best. I’m also still not sure how I feel about Missy... but again, Michelle Gomez is brilliant. So, if we are getting more of these ladies, then fine. Go ahead. But please, please, please stop using them as plot devices to suddenly twist the story in a new direction. Let’s allow these ladies to simmer in their roles as they are, at least for a little while.
CULTURE
ÒHIDDEN|GEMSÓ Review:
HHhH
HHhH is a book about the Second World War. Specifically about one of Hitler’s top lieutenants, Reinhard Heydrich, the Butcher of Prague: the man who orchestrated Kristallnacht, established the Einsatzgruppen, chaired the Wannsee Conference, and was a driving force behind the Holocaust (and if you’re wondering, these are all bad things). Even more specifically, the book is about the breath-taking, desperate, suicidal mission taken on by two men – assassinating Heydrich, one of the most powerful and dangerous people in Europe. As well as all this, HHhH is a book about its author, about his struggle reconciling history with fiction, and about his obsession with the people whose story he is telling.
about the politics of the time; pointing out small details that, though functionally purposeless,are intriguing or funny; making copious reference to literary works, other writers, or films and correcting himself with profuse apologies over having mistakenly misnamed a minor character, or describing the colour of a car as black instead of green.
Binet encompasses a staggering breadth of information and detail in his novel, taking us through medieval Prague, Hitler’s rise in pre-war Germany, the beginning of the War and its progress in Europe up until 1942, the life and career of Heydrich and his assassins, as well as the actual focus of the book – the assassination attempt itself. He does this by flitting from moment to moment, pausing just long enough to show us a glimpse of what is happening each time, letting us peek at a fragment of a scene, before whisking us away onto the next. These scenes are all balanced masterfully, never too long or dense to bog you down, always playing off of other scenes from earlier in the book, building on one another and forming a picture that spans hundreds of years, hundreds of miles, and the lives of millions.
It’s this conclusion that raises the whole thing from good to great. Binet writes here with a passion and a fervour, a bloody single-mindedness that holds you enthralled. It is an action sequence made all the more fantastic by its ridiculousness and by the knowledge that it actually happened.
Throughout what amounts to the most engaging, extensive history lesson you’ve ever had, Binet hovers ever-present over your shoulder: interjecting with comments
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All of this is done concurrent to the deluge of history that runs through the book, providing drips and drops of information as the plot crawls slowly but incessantly forwards, ramping up tension and providing the gripping, un-put-down-able factor that is key in any good story until, in the final third of the book, the tension is released in a hundred-or-so pages of glorious, absorbing action.
HHhH is a truly wonderful book and one that you should definitely read. It is a novel of epic proportions, and yet it’s effortlessly readable, fast-paced, and not so long as to give War and Peace a run for its money (looking at you, fantasy novels). Pick it up, open it, read its first few pages and let yourself be swept up by Binet, his writing, and his morbid fascination with a group of people who will forever be known as the worst to ever walk the earth. MATT CLARSON HHhH is written by Laurent Binet in 2010 and was published in English in 2012.
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COMEDIANS WE’d LIKE TO SEE PLAY SOUTHAMPTON Some of The Edge’s writers have come together to put forward which of their favourite comedians they’d like to see come to Southampton over the coming twelve months.
VENUE IN FOCUS WILL HODGETTS Southampton is renowned for having a great history of live music. There are numerous venues throughout the city who can boast hosting some of the biggest names in music in the past. However, there is one venue in particular that can claim to have a history more prestigious than any other here on the south coast. The Joiners Arms, more commonly known to the masses as simply The Joiners, is arguably one of the best small venues in the country. It’s peak capacity is just 200 people, which means that no matter who is playing, the show is guaranteed to be an intimate affair. NME actually named The Joiners as the UK’s best small music venue two years ago in 2013 - there aren’t many places that can boast such a high accolade. The venue is internationally renowned, and has seen some of the biggest artists ever to create music take to its stage. To name but only a very select few, the likes of Arctic Monkeys, Bombay Bicycle Club, Coldplay, Ed Sheeran, Green Day, Kasabian, Muse, Oasis, The Libertines, The
Pigeon Detectives and You Me At Six have all played The Joiners at one point or another. Since their performances in Southampton, all of these artists, plus many more, have gone on to do such things as headline the world’s biggest festivals and perform sell-out stadium tours across the world. It is safe to say that if ever you go to The Joiners to see a band or artist perform, you could quite potentially be watching the next international superstar or a future idol. But that’s not the only reason you should go to this great little venue. If you’re someone who loves to check out new music, then this is the place for you. Most nights The Joiners is home to a selection of local, national and/or international talent. The vast majority of acts that perform there are apart of various rock sub-genres, but the venue enjoys putting on a whole host of different sounds and prevents itself from becoming one-dimensional. If there is one thing you do during your time in Southampton, make sure you go check out The Joiners Arms in the heart of the city centre.
Website: joiners.vticket.co.uk Facebook: www.facebook.com/joinerssouthampton Twitter: www.twitter.com/joinerslive
John Oliver:
Last Week Tonight with John Oliver was one of the breakout comedy shows of last year - his unique blend of satire and astute social commentary makes for a compelling watch. His astute choice of topics on Last Week Tonight prove that he can handle a wide range of topics, and it would be interesting to see how he would present his comedy back on British shores. Oliver has the charisma to hold an audience, and his topic choices would certainly resonate with a student audience. REBECCA JAMES
Gina Yashere:
Yashere is one of the funniest female comedians that Britain boasts. The Bethnal Green-born comedian is possibly best known for starring in The Lenny Henry Show. Often Yashere’s stand-up acts focus on her upbringing with her Nigerian mother and the differences compared to caucasian British children’s upbringings. Yashere, however, is always accessible and appeals to a wide audience having toured across America, Australia and even the Far East into Asia. To see her live would be a treat for students of Southampton - it would provide an unforgettable experience.
Michael McIntyre:
Arguably the most popular comedian in Britain at the moment, it would incredible to see floppy-haired Michael McIntyre come to perform in Southampton. What makes him so funny is the way that his observational humour takes things that happen to everybody on a daily basis and emphasises the silliness in those situations. There are very few comedy fans that dislike the London-born star and as a result it would prove a massive hit should he perform here on the south coast. His warm-up shows are in smaller, more intimate venues which include the Royal Theatre in Winchester - it’s only another fifteen minutes down the M3 to see us Michael! WILL HODGETTS
NATALIE FORDHAM
Jon Richardson:
Best known for his appearances on such comedy shows as Mock the Week, Live At The Apollo, 8 out of 10 Cats and later, 8 Out of 10 Cats Does Countdown, Jon Richardson is perhaps one of the most recognisable faces of comedy today. The majority of his stand-up has centred around his battle with OCD as his cleanliness took over his life. Talking about irritating housemates and awkward social situations is something all students can relate to and this is why Richardson would be a great addition to Southampton’s comedy line-up. NATALIE FORDHAM
Amy Schumer:
She’s the woman of the moment and killing it with comedy using her life as the basis. Her recent film Trainwreck was super successful with plenty of NSFW moments. It would be amazing to see her in Southampton. GEORGIA SIMPSON
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Review:
Preview:
NORTH LANE
JASPER CARROTT
@TALKING HEADS, Southampton
@02 GUildhall, Southampton
OLI POLHILL
WILL HODGETTS
For over 40 years now Robert Norman Davis, better known by his stage name Jasper Carrott, has been entertaining audiences up and down the country with his cheeky humour and witty observations. Along with his friend Bev Bevan and a selection of other musical guests, the 70-year old put on a night of laughs and music for the people of Southampton at the O2 Guildhall on the 6th September. Carrott arrived on the south coast as part of his Stand Up And Rock Tour, which incorporated a mix of stand-up comedy from himself and a selection of rock ‘n’ roll hits from the past 50 years. Of course the main attraction and big draw of the night was the Acocks Green-born star, who explained that this was the first time he had performed in Southampton since before the turn of the millennium. He quipped, “They say you only play the Guildhall in Southampton twice during your career. Once on the way up... It’s nice to be back!” to many laughs from those who had braved the Sunday evening cold to see him. The former Golden Balls presenter hasn’t lost any of his admirable charm. He still comes across as the playful comedian he was 20 or 30 years ago and he treated those in attendance to numerous new stories, whilst also revisiting old favourites, including his encounter with the infamous Magmaloo curry in Newcastle. His silly
Sydney-based metalcore band Northlane have risen to new heights following the hugely successful and much-anticipated release of Node, their third full-length album.
humour still remains a massive hit with those of all ages, with his relatable jokes and puns that everyone can understand. “You know that look a woman gives you when she’s sexually aroused? No, me neither!” being a particular tickler from the evening.
The new record is the first to feature new vocalist Marcus Bridge since the departure of Adrian Fitipaldes in 2014; this will also be the first time that the quintet has headlined the UK with their new frontman at the helm. The combination of Northlane’s pre-2014 popularised djent and their more recent tendencies towards melodically-lead technicality should provide an interesting mix of styles for the show.
After a half hour or so, Carrott welcomed Bev Bevan, who used to be a part of the Electric Light Orchestra alongside Wizzard’s Roy Wood, and his band to the stage to treat the crowd to some of the biggest rock ‘n’ roll hits from the past. Vocal guests included Rockin’ Berries frontman Geoff Turton who did a few great renditions of some of The Beatles’ greatest hits, and Midlands-based folk/rock band Quill’s vocalist Joy Strachan-Brain. The group performed numerous foot-tapping hits that got a few heads bopping, but unfortunately I feel most people would have just preferred to see Jasper do a whole stand-up routine rather than have to put up with live music. Carrott was able to prove that despite now being in his 70’s, he is still just as funny as ever. There aren’t many comedians who can draw a crowd of all ages and have an even split of gender coming to watch them, but Jasper can. His personality lights up the room whenever he’s in it and he’s able to draw a smile from just about anybody. I sincerely hope that he decides to carry on touring and will be back in this part of the country in the not-so-distant future - everyone needs a bit of Carrott in their life.
Also on the bill are support act Volumes, The Acacia Strain an Hellions, so expect yet more stylistic diversity from this ravishing mix of groove-driven metalcore, thunderous ‘doomcore’ and theatrical hardcore respectively. This date will be the last of their UK shows. Through most of October the band will tour across most of Europe, visiting just under twenty capital cities, before returning to briefly tour Australia ahead of a gargantuan pan-American tour ending in Orangevale, California.
Preview:
FIGHTSTAR
@UNIVERSITY of Southampton LIZZIE COOPER-SMITH
After a successful run of 10-year anniversary shows following their four-year hiatus, Fightstar will play at University of Southampton on the 18th October this year. The nine-leg tour, Troxy and finishes up support of the band’s The Devil’s Back, which October. Behind The Devil’s full-length studio album,
which starts at London’s at Aberdeen’s Garage, is in forthcoming album Behind is due for release on 16th Back will be the quartet’s fourth following 2009’s Be Human.
Earlier this summer the BBC Radio One Rock Show premiered ‘Animal’, the lead single from Fightstar’s up-coming album, and the first new song released by the band in over five years. Support for the tour will come from London three-piece Arcane Roots and Irish alt-rockers Making Monsters.
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Listings Film October 6th, 7pm Inside Out @ Union Films
October 6th, 6.15pm, Cartel Land @ Harbour Lights
October 7th, 7.30pm Charlie’s Country @ Union Films
Live October 5th
Raglans @ Joiners
October 6th
The Japanese House @ Joiners Spindlefish @ The Talking Heads
October 7th
Wheatus @ The Talking Heads
October 11th, 5pm,
October 8th
October 11th, 8pm,
October 9th
Jurassic World @ Union Films San Andreas @ Union Films
October 11th, 10.30pm Annie @ Harbour Lights
Louise Distras @ Joiners Eskimo Callboy @ Joiners
October 10th Captain Jack and Friends @ Joiners
October 13th, 7pm,
October 11th,
October 14th, 7.30pm,
October 12th
Magic Mike XXL @ Union Films La French (The Connection) @ Union Films
October 18th, 5pm, The Longest Ride @ Union Films
October 18th, 8pm
Terminator Genisys @ Union Films
Against the Current@ Joiners Jimmy Carr @ Mayflower Theatre Grave Pleasures (Ex-Beastmilk) @ Joiners
October 13th
DMA’s @ Joiners
October 14th
October 19th, 7.30pm,
Spear of Destiny @ Joiners Counterparts @ The Talking Heads
October 20th, 7pm,
Kid Ink @ Southampton Guildhall GUN @ The Talking Heads
The Barber of Seville @ Harbour Lights Ted 2 @ Union Films
October 21st, 5pm,
Back to the Future Trilogy @ Union Films
October 25th, 5pm,
The Age of Adaline @ Union Films
October 25th, 8pm
Ant Man @ Union Films
October 16th, October 18th,
Hothouse Flowers @ Southampton Guildhall Jeremy Hard @ Nuffield
October 19th,
George Taylor @ Joiners
October 20th, Tankus the Henge @ Joiners
October 25th, 8pm
Darwin Deez @ Wedgewood Rooms
October 26th, 8pm,
Bullet for my Valentine @
Spectre @ Harbour Lights
Southampton Guildhall
Jodorowsky’s Dune @ Harbour Lights
October 21st,
October 22nd
Ellen Jewell @ Joiners
October 23rd
Cattle & Cane @ Joiners
October 24th
The Ordinary Boys @ Joiners
October 25th,
Andy Parsons, Nuffield Hooton Tennis Club @ Joiners
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Theatre October 9th-10th
Les Ballets Trockadero de Monte Carlo, Mayflower Theatre
October 9th-31st
The Glass Menagerie, Nuffield
October 10th Grass, Nuffield
October 13th
I puritani, Mayflower Theatre
October 14th
Orlando, Mayflower Theatre
October 15th-17th
Sweeney Todd, Mayflower Theatre
October 20th-24th
Stomp, Mayflower Theatre
October 24th
Little Bo Peep, Nuffield