World Special 2016 by The Edge

WORLD SPECIAL Award season always seems to drive home the same point every year. Our experience of entertainment is mostly very white and very western. Sadly, I’m not talking about any cowboys. For our special issue this year my team and I decided we wanted to correct this and give you, our writers, a taste of a different culture. To prove that other cultures have provided amazing entertainment throughout pop culture we have a special double page Nostalgic News for you with everything from the familiar, Spirited Away, to the brand new to you, The Good, The Bad and The Ugly on pages 4 and 5. Our writers have looked at everything foreign language, from films to music to literature, and how it’s not the words that are important but simply the art. If you’re already a massive fan of euro-pop than we’ve got you covered with an ode to the best contest, Eurovision on page 9. Breaching more broadly into Europe and beyond our resident writer, Matt Clarson argues why we need to broaden our literary horizons on pages 17 and 18. Animation was the hot topic that arose straight away when this issue was agreed and we’ve got the perfect way to move you away from Disney and into the Ghibli. If you’re desperate for something new our Introduction to Anime on page 19 will take you through the cult popular FullMetal Alchemist: Brotherhood series. You’ll be thankful there are no princesses in sight. We also delve deeper into Asia with our Hidden Gem series for your next game craze, Shadow of Memories, and movie drama, Nobody Knows. With a personal throwback to Denmark Roskilde Festival in 2013 our live team have got you covered for all your events. Moving across and down to Australia they’re also introducing you to hilarious comedian Jim Jeffries on page 21. We’re sure you’ll be hitting YouTube straight after. This issue has made me intensely proud of my committee and writers. They’ve really stretched themselves to find interesting and innovative entertainment that I’m sure will be perfect to get you through the January Blues. We’ve started off the new year with a great foot, which we’re sure to continue. Natalie Fordham Editor

THE EDGE

Editor Natalie Fordham editor@theedgesusu.co.uk Deputy Editor Lewis Taplin deputy-editor@theedgesusu.co.uk records Editor Amy Wootten records@theedgesusu.co.uk Features Editor Millie Cassidy features@theedgesusu.co.uk film Editor Ben Robins film@theedgesusu.co.uk C u lt u r e e d i t o r Harrison Abbott culture@theedgesusu.co.uk live Editor Will Hodgetts live@theedgesusu.co.uk news Editor Anneka Honeyball news@theedgesusu.co.uk head of design Jack Gracie design@theedgesusu.co.uk Head of external relations Georgia Simpson relations@theedgesusu.co.uk Head of publicity Helen Archer publicity@theedgesusu.co.uk Head of events Annabelle Asker events@theedgesusu.co.uk online manager Jack Lewin manager@theedgesusu.co.uk editor in chief Kerry Sclater vpdci@susu.org

Contents editorial

01 Welcome to the World Special Issue

NEWS

03 Nostalgic News 05 Notes on News: Why the Academy Awards should recognise films regardless of language

Features

06 Growing up with Bollywood 07 Studio Ghibli: Delve into Japan’s most famous animation studio 08 Beautiful Brainpower: Foriegn Music

Records

09 Eurovision, Mon Amour 10 Genre in focus: K-Pop 11 Best InternationalArtists

film

12 Review: The Club 13 Director in Focus: Jean-Pierre Jeunet 14 Hidden Gem: Nobody Knows 15 One to Watch: Victoria

culture

16 Hidden Gems: Shadow of Memories 17 What’s the Matt-er: Words with feelings, or, why english literature isn’t the only kind worth reading 19 Intro to Anime: Full Metal Alchemist Brotherhood

live

20 Throwback: Roskilde Festival 2013 Denmark 21 Comedian in Focus: Jim Jefferies 22 Venue in focus: Paradise - Amsterdam

THE EDGE

NEWS

nostalgic news Pokémon will celebrate it’s 20th anniversary in February 2016 Sophie McEvoy This year sees the 20th anniversary of one of the most influential, multi-million dollar franchises of all time; Pokémon. Developed by Game Freak and published by Nintendo, the game was originally conceptualized by Japanese designer Satoshi Tarijiri, as a result of his fascination with insect-collecting as a child. The objective of the game is to become the champion of the Pokémon league, by capturing and training Pokémon to defeat other trainers. Nintendo recently announced that the Red, Blue, and Yellow versions of the game will be re-released on Nintendo 3DS Virtual Console on 27th February 2016, to coincide with the franchise’s anniversary.

Eurovision will celebrate it’s 60th anniversary in May 2016 Lisa Veiber The Eurovision song contest celebrates its 60th anniversary this year. Held for the first time in Lugano, Switzerland, at the Teatro Kursaal, on 24th May 1956, the idea for the contest was first conceived in 1955 during a meeting of the European Broadcasting Union in Monaco. The first concert was primarily a radio show, although some cameras were taping the contest. The winner of the very first concert was Swiss contestant, Lys Assia, with her song ‘Refrain.’ In 2008, the number of countries represented hit a new record with over 43 countries performing. For the 50th anniversary, a poll named Abba’s 1974 song ‘Waterloo’ the best Eurovision song of all time. The 60th Eurovision contest will take place on 14th May 2016 in Stockholm

THE EDGE

A Royal Affair will turn four in March 2016 Anneka Honeyball One of the most recent films to come from the world of Danish cinema, Nikolaj Arcel’s historical drama, A Royal Affair was released four years ago in March 2012. Starring Mads Mikklesen and Hollywood’s current golden girl, Alicia Vikander, the film is based on the true events surrounding Queen Caroline Mathilde and her relationships with both her husband King Christian VII of Denmark (Mikkel Følsgaard) and their revolutionary-minded physician, Johann Struensee. The film received a wave of critical acclaim upon release and was also nominated for Best Foreign Language film at both the Oscars and the Golden Globes.

Spirited Away will turn 15 in July 2016 Martyna Posluzna Spirited Away, a masterpiece of animated film directed by Hayao Miyazaki, was released 15 years ago, in 2001. It’s hard to believe that pig parents, giant river spirits and evil witches are now relics of our childhood. A fondly remembered film, which managed to penetrate the Western market past the Disney machine, Spirited Away received massive critical and financial success worldwide. It even went on to win the Academy Award for Best Animated Feature in 2003. It was this film that also inspired many to find enjoyment in other anime classics such as Howl’s Moving Castle, Princess Mononoke, and My Neighbour Totoro. 15 years on, this powerful film symbolises why escapism and fantasy can be so important, even in our not-so-magical adult lives.

NEWS

Another round up of things that happened in years gone by. Abba’s ‘Dancing Queen’ will turn 40 in August 2016 Amy Wootten Who hasn’t belted out that they are a dancing queen, young and sweet, and only 17? The lead single from Abba’s fourth studio album, Arrival, and the Abba anthem of all time, ‘Dancing Queen’ was first released in Sweden 40 years ago, on 16th August 1976. The track became their only number one hit in America, and topped the charts in 15 different countries across the globe. To date, it has sold over three million copies worldwide. The development of ‘Dancing Queen’ began in August 1975 as a demo called ‘Boogaloo.’ A myriad of artists have since covered the track including The Sex Pistols, Belle and Sebastian, Robyn, S Club 7 and U2. That the track is still being covered and played today only goes to show the longevity Abba have achieved with this disco great.

Pan’s Labyrinth will turn 10 in October 2016 Ashleigh Millman Ten years ago this year, on 11th October 2006, Mexican film magician Guillermo del Toro released his whimsical masterpiece, Pan’s Labyrinth. A fantastically dark adventure to another world, the film is a touching exploration of an 11 year old girl’s escape from reality and into a realm full of fairies, fauns and woodland wonder. Acclaimed by critics and audiences alike, the film has won roughly 28 awards, including three Oscars for it’s art direction, cinematography and makeup. It is also the highest rated film of the noughties on Metacritic, with a score of 98/100, and has grossed over $80,000,000 worldwide. Simultaneously an enthralling and disturbing story, Pan’s Labyrinth is a cornerstone in world cinema; and will likely remain so for years to come.

Amélie will turn 15 in October 2016 Lewis Taplin Released in the UK on 5th October 2001, Amélie celebrates its 15th anniversary this year. The French romantic-comedy tells the story of an alienated young woman (Audrey Tautou) living in contemporary Paris who decides to change the lives of those around her for the better. Directed by Jean-Pierre Jeunet, the film is noted for its unique visual style, strong colour palette and quirky approach. As well as being a commercial success and earning over $170 million at the box office, the film was also a critical triumph, winning Best Film at the European Film Awards. Amélie also took home two BAFTAs and was nominated for five Academy Awards - an impressive feat for a foreign-language film.

The Good, The Bad and the Ugly will turn 50 in December 2016 Sean McDonnell Considered the greatest Spaghetti Western ever made, Sergio Leone’s The Good, The Bad and The Ugly turns 50 this year. The film, which was released in Italy on 15th December 1966, was marketed as the third entry of Leone’s “Dollars Trilogy.” The film follows “Blondie” (Clint Eastwood), the ‘Good’ bounty hunter who competes with the ‘Bad’ mercenary Angel Eyes (Lee Van Cleef) and the ‘Ugly’ bandit Tuco (Eli Wallach) in the search for Confederate gold amidst the chaos of the American Civil War. Through its combination of realistic violence, terrific performances and a beautiful score (courtesy of the maestro himself, Ennio Morricone), the film has been honoured and adored by critics, academics and filmmakers alike and still manages to entertain audiences today.

THE EDGE

NEWS

Notes On News

Why the Academy Awards should recognise films regardless of language CAMERON RIDGWAY

Films from around the world have gained more recognition on the American awards stage of late, with productions from all corners of the world picking up nominations and wins in the Academy Award category for Best Foreign Language film, which is pretty much the only major award in Hollywood as far as nonAmerican, foreign language cinema is concerned. However, there is still a lot of progress to be made in the recognition and promotion of world cinema. Separating films and confining them to one award simply because they have been shot in a different language or another part of the world doesn’t help when it comes to encouraging audiences to broaden their horizons and experience a wider range of storylines and cultures. It’s not because foreign language films are considered as inferior by critics either - films such as Amélie and El Laberinto de Fauno have been included on many mustwatch lists and have since become popular worldwide. But many others remain confined to the Best Foreign Language film award in terms of their nominations - an award which isn’t really promoted or highlighted during the ceremony on the night itself, which is perhaps the most prominent promotion for the Academy Award nominees and the one that sticks in the minds of audiences. The award itself has been the subject of contention and controversy for a while now, with a variety of films not being accepted for nomination onto the long-list. The nomination for one film representing each country is decided on by a committee composed of film judges and experts from that country. Such a one nomination policy has been criticised in the past, because of it’s implication that some worthy films have missed out on nominations for the award and are unlikely to be recognised in other categories. Although some individuals who have worked on films from the best Foreign Language short-list have in the past been nominated for other awards to recognise their work, it still doesn’t seem fair. The Film Federation of India was accused of personal bias by director Bhavna Talwar in 2007, when it nominated Eklavya: The Royal Guard for the award instead of his film Dharma, which he suggested was due to the connections 05

THE EDGE

that Federation members had with the film’s producers. The definition of what a country is has also proven to be an issue of contention, with some Palestinian films being excluded in the past because the Academy has not considered the area which has sent the nomination to be a ‘country’, meaning that some foreign films covering divisive or relevant current issues have also failed to make the longlist. Humbert Balsan, who produced the acclaimed Palestinian film Divine Intervention, was told it could not be nominated as the Academy did not consider the state to be a country. In such a complex situation, the solution must be to recognise all films at award ceremonies on an equal level, regardless of the language in which they have been filmed and place every single one on an equal footing based on it’s cinematic content, rather than the language that it has been filmed in or the geopolitical situation in the area in which it was produced.

FEATURES

Growing up with Bollywood Rehana Nurmahi

As a British Asian, I have grown up not only enjoying the amazing content that British film and television industries have to offer, but also ‘connecting with my roots’ by watching Indian films straight from the biggest film power in the world: Bollywood. Oh yes, Bollywood films of the 90s and early 00s were very much a central part of my childhood, and probably the reason why I have a tendency to randomly break out into song to this very day Although I don’t watch nearly as much Indian cinema as I used to, Bollywood still holds a special place in my heart, and there are many reasons why. As a child, these films were visceral and exciting, and most importantly-fun. A key aspect of Bollywood films is that they tend to be bright and colourful, with many spectacular dance sequence and over-the-top declaration of love. What’s not to love about that? I love musicals, so a film industry which predominantly makes musicals is pretty ideal for me. It’s mostly good music too - the majority of the music industry in India is defined by the soundtracks to these films. I remember dancing and singing along and even now, whenever I want to feel nostalgic, a Bollywood soundtrack can do that for me. Even Western music has found itself inspired by this music, with renowned artists such as Kanye West, Black Eyed Peas and Chase & Status all having sampled Bollywood tracks in their songs over the years.

Another reason why these films were and still are such a joy to watch, is because they are so fantastical. 90% of Bollywood films have a happy ending in which the two lovers are united. In the world we live in, sometimes it’s nice to just relax and enjoy a film knowing that it ends well. In retrospect, there’s a lot wrong with the Bollywood film industry. With older, more aware eyes, I can see that for one, these films are pretty misogynistic. Even when there are strong female characters, you can guarantee that there will be a scene in which they are scantily clad and the camera lingers on their bare midriff for a little too long. Also, these films are extremely predictable: Bollywood narratives are a distinctive formula, and it’s rare to find films that stray from that. Admittedly in the last decade or so there has been some genuinely brilliant pieces of cinema coming from India: Devdas, My Name is Khan, and Lagaan are examples of that but, on the whole, Bollywood panders to the mainstream cinema going public. However, in spite of its flaws, Bollywood is still a huge part of my film loving experience. The majority of it is sentimental, cheesy rubbish but sometimes a bit of that is exactly what you need.

THE EDGE

FEATURES

Delve into Japan’s most famous animation studio Natalie Fordham Studio Ghibli, Inc. is best known for its anime feature films such as My Neighbour Totoro, Princess Mononoke and The Cat Returns, but they have also produced several short films, adverts and one television film. The studio was founded in 1985 and eight of its productions are among the 15 highest-grossing anime films made in Japan, with 2001’s Spirited Away being the highest grossing over $274 million worldwide. Astoundingly, four of Studio Ghibli’s films received Academy Award nominations in the United States. Spirited Away even won a Golden Bear in 2002 and an Academy Award for Best Animated Feature Film in 2003. However, on the 3rd of August, 2014, Studio Ghibli announced it was temporarily halting production following the retirement of director Hayao Miyazaki. To commemorate their success on the world’s stage I’ve decided to explain why they really need to be on the shelf along with the thousands of Disney films you’ve got hidden. Studio Ghibli’s films are an iconic favourite of non-western animation because while they provide a beautiful story for children they also appeal to the adult in us. It’s hard not to get sucked into these rich canvases with their often head-strong protagonists. Every one is a blend of adorable naivety and fierce determination and, from abandoned Chihiro to mechanic Fio, it’s hard not to fall in love with them. The great thing? So many of the protagonists are female. On top of that is the fact that though you have an undertone of romance the majority do not end fulfilled. This isn’t your typical princess who needs saving. These girls have steel. Similarly to Disney, and even DreamWorks, Studio Ghibli seems to love using the absent parent trope of animation but here it’s explored through reason. The parents are far from perfect; Chihiro’s gorge themselves to the point they turn into pigs and Brunhilde floats off from her wizard/scientist father on the back of a jellyfish because he’s distracted, busy working, and so we easily empathise with them. The most heart wrenching however is of course young Satsuki and Mei. Their mother is recovering from a long-term illness and they move to be closer to her with their father. So while there are many fantastical elements to these wonderful films they also deal with serious issues, and rather than just removing parents they address the issue of parenthood itself. Apart from all of these reasons, of course my final point comes back to the beautiful animation. While not as cinematically developed into 3D the way many are now in Hollywood, Studio Ghibli maintains the skill of actually hand drawing these movies. All this, added to their range of stories from sea-dwellers to WW1 pig pilots, Cat Kingdoms to 13-year-old witches, battles between forests and industrialisation and even animal shifters in moving castles. Studio Ghibli has something to appeal to everybody and, with their strong willed protagonists, is owed the great courtesy of being safely on the shelf with all your other beloved animations. These movies are not merely kid’s films; they are pieces of beautiful cinema.

THE EDGE

FEATURES

Beautiful brainpower: Foreign language music Camilla Cassidy

Foreign language music often has something magical about it – whether you understand the language a lot, a little, or not at all, there is something slightly special about it. Maybe it comes from the way we’re sharing art and learning between cultures, and getting to enjoy something different, something with the connotation that people a world away have created this and that it has made its way to you. Maybe it is that, because the filtration of foreign arts and entertainment to our country seems so rare, we’re getting only the best exports. Whatever the cause, and even if someone can’t name too many tracks in another language off the top of their head, when presented with one their beauty can be difficult to ignore. I mean, I challenge you to deny that ‘Le festin’ – the song by Camille, which featured in Disney’s Ratatouille – is anything but exceedingly charming. These songs, however, might be more than just nice to listen to. As students, they might hold the secret to that elusive productivity. Studies have shown that listening to music helps with work on repetitive and relatively mindless tasks – filling out a spreadsheet, sorting documents, that sort of thing. But when it comes to needing more brainpower, the perfect playlist can be a bit more tricky. Researchers show that a certain level of background noise is the optimum for productive working, but that the noise shouldn’t involve any intelligible speech. That’s why people suggest working in coffee shops, or with ambient noise generators that fake the noise of rain or wood burning fires or, well, coffee shops. The low hum of the unpredictable, ‘white noise’-ness is meant to help concentration, boost your brain and lead to higher worker satisfaction.

If you’re chasing some cheer when working, there is evidence that listening to your favourite music puts you in a better mood and so a better mindset to work. Makes sense – but my opinion is that when we listen to songs we’re familiar with we’re too tuned into them, and we enjoy them enough that we’re distracted. This is definitely the crime for people who spend as much time picking the music to listen to as they work than they do working! So the suggestion is that we take the words, the ‘intelligible’ bit that your subconscious is trying to decipher instead of your textbook. Classical music works well for this, but so does, yes, foreign language music. As long as you’re not too fluent in its language, music from around world can help improve your studying. It can open your mind to new things in more ways than one, both hearing something new and maybe learning it, too. Some personal suggestions for foreign language albums you could just pull up, press play on the first track and leave running while you work include the The Life Aquatic Sessions by Seu Jorge, a Brazilian artist who, for the film of the same name, covered David Bowie songs with these elegant acoustic covers, and the selftitled debut album from Claire Denamur, who sounds sort of like a French answer to Christina Perri, if she wrote any songs that weren’t incredibly depressing. Foreign language music, perhaps because we don’t always understand it, can sound effortlessly beautiful. It is, to me, naturally joyous – something we maybe all need a little more of, when stuck in the library.

THE EDGE

RECORDS

Eurovision, mon amour Xavier Voigt-Hill The Eurovision Song Contest is the pinnacle of humanity. Each year since 1956, up to 27 nations have battled it out in the ultimate televised bloodbath in front of hundreds of millions, with their weapons of cheesy pop songs and questionable dance moves. But you knew that already, for Eurovision also serves as that most British of institutions: an excuse to chuckle with schadenfreude at our own mediocrity. Until 2002 things were pretty consistently adequate, concluding with Jessica Garlick’s second place in Estonia. What followed was so beautifully catastrophic that the hangover lingers to this day. Enter Jemini, a peroxide Liverpudlian duo who somehow triumphed in the televised heats with ‘Cry Baby’, a breakup anthem that stood in defiance against the anonymous dumpee and what music theory teaches us about singing in tune. The result? A soul-crushing yet well deserved nul points. The ultimate Eurovision failure, not to be repeated until Germany and hosts Austria failed to inspire in 2015, doubles as one of the most memorable moments of the competition’s history. Only one UK entrant since, Jade Ewen in 2009 with a song composed by Andrew Lloyd Webber, has even come near the top 10. Within months, she was the sixth and seemingly final Sugababe.

THE EDGE

Those who do escape the Europop Games arena with shreds of credibility intact can indeed go on to become superstars. Though it is true that we haven’t heard much of recent victors like Emmelie de Forest and Dima Bilan since their triumphs, we’d never have seen Abba, Céline Dion, or the second leg of Jedward’s career without the contest. The winner certainly does take it all, providing at least five minutes of fame and a snarky comment from Graham Norton suffices. That’s what makes Eurovision. It’s that solitary beast among the cacophony of singing competitions with a genuine blend of fun, frivolity, and what can (usually) be accurately described as music. Sixty competitions have been and gone and the show still goes on, viewed by up to 600 million on television as an international ritual. Australia, adoring fans from afar, turned special guests in 2015 to celebrate the anniversary and were so impressive that they’ll be lining up in Stockholm in May, and even China has expressed an interest. Madonna once said that music makes the people come together, rather like the European Union itself intends. Somehow, for one night each May, a continent puts aside its differences and deliberations about Schengen and financial woe in favour of a night by the telly together, truly, as one.

The 2016 Eurovision Song Contest takes place on May 14th in Stockholm.

RECORDS

Genre in Focus: K-pop Martyna Posłuszna K-pop is a hodgepodge of dance-pop, electronic, rap, r&b and even rock. It has style, it is smooth and highly addictive which is reflected by an immense and dedicated fan base across the world. The success behind k-pop is in the artists. Their professional regime borders with insanity. They are trained for years, rehearsing and practicing up to 16 hours a day, in singing, dancing and developing individual style. They live in dorms, separated from their families. One might say it is extreme but the outcome is so fabulous, I would not be the one to complain. That is what is ever so often missing from the Western performers: one can either sing or dance. That is why singers like Beyonce or Lady Gaga who put so much effort into their careers are so popular. But these are the exception. Each k-pop music video is a unique, elaborate piece of audiovisual poetry. Imagine a music industry where every one aims to be excellent at what they do. Welcome to South Korea.

Take the best out of pop, and you will have k-pop. The uniqueness behind that genre is artists’ perfectionism in shaping their image. What is greatly valued within k-pop boys’ and girls’ bands are brotherly values and respect. There is always a leader in a group who is responsible for harmony. K-pop is catchy and rich. The industry involves ‘fanservice’ which is based on artists’ frequent appearances on various tv shows, allowing the fans to get to know them better. Rather than their music, the audience takes liking in their idols’ looks and personalities. Dedicated fans of k-pop artists often resort to rather obsessive and stalker-ish forms of idealisation. Harassing and infringing the privacy of celebrities is not uncommon. Basically, the effort k-pop performers put into creating their own glamorous brand is so appreciated, it often results in obsession. K-pop is not just another music genre; it is like pop on acid made addictive. Once you become immersed in this fabulous world of style, edge and swag, you will need it. It’s a drug.

Top 10 recommended k-pop tracks: 2NE1 - ‘I Am The Best’ 4MINUTE - ‘Crazy’ BIG BANG - ‘bae bae’ BIG BANG - ‘bang, bang, bang’ Girls’ Generation - ‘I Got A Boy’ GOT7 - ‘If You Do’ iKON - ‘RHYTHM TA’ Hyuna - ‘Roll Deep’ Monsta X - ‘Hero’ SHINee - ‘Sherlock’

THE EDGE

RECORDS

Best international artists Music isn’t just about what makes it in the U.K. and U.S. The Edge takes a look at some of our favourite international artists.

KATE BOY

Relatively new to the music scene, KATE BOY are one of the most interesting artists to arrive within the last year. Based in Stockholm, the now-duo consists of lead vocalist Kate Akhurst - originally from Australia - and Marcus Dextegen. They first released music in 2012 with ‘Northern Lights’, which demonstrated their confident, punchy sound. For the following three years, KATE BOY teased fans with further singles alongside monochromatic visuals until finally releasing One. One showcases KATE BOY’s ability to experimentally play with electronic, synth-pop sounds alongside Akhurst’s self-assured vocals to create striking, dramatic and compelling tracks. Although there are some slips in One, the duo are still young in their career, and standout tracks such as ‘Lion for Real’ and ‘Human Engine’ show that KATE BOY’s international recognition is destined to grow.

Rammstein

Rammstein are one of those rare bands in music that you have hear or see to believe. Describing them and their genre of music to someone who has never heard of them before is a major feat. You could link their style and theatrics to the likes of Marilyn Manson and Nine Inch Nails, but Rammstein take it one step further. On multiple levels. Rammstein are the pinnacle of discovering the side of alternative rock that your parents don’t want you to discover. Before Rammstein, it was bands like Slayer and other ‘devil-worshippers’; now it’s BDSM inspired wardrobes, over-the-top pyrotechnics and black lipstick. The band take Alice Cooper’s on stage antics, set pieces and ‘suicides’ to a whole new high.

Sophie McEvoy.

Lewis Taplin.

Sigur RÓs

Best known for ‘Hoppípolla’, Icelandic for ‘hopping into puddles’, a track that has been used time and again over winners’ montages in talent competitions, Sigur Rós provide a beautiful fusion between classical, rock and ethereal tones. Active since 1994, there is very little hope of singing along to the band, but you don’t need to. Let Sigur Rós wash over you and immerse yourself in the ethereal waves of their sound- they have a lot to pick from with a back catalogue of eight albums. Their latest album, Kveikur, provided a harsher, rock-rooted sound for the band with deep, dark plunges of sound on opener ‘Brennistein.’ Each album takes the band in a different direction, and that’s what makes them so wonderful.

Amy Wootten.

Crossfaith

Formed in 2006, Japanese metallers Crossfaith have made a name for themselves in not only their home country, but in Europe as well. Having toured with the likes of Machine Head and Limp Bizkit, the five-piece from Osaka have become renowned for their fusion of metalcore with electronic dance music, as well as their eccentric and intense live performances. Crossfaith have gone from strength to strength since their debut record The Artificial Theory For The Dramatic Beauty and have developed a large European following. The band’s fourth studio record, Xeno, was released in September 2015 and is by far their most complete yet, with a clear focus on performing the tracks in a live setting with anthemic choruses. If Crossfaith carry on improving and innovating, their popularity is only going to grow.

Will Hodgetts. 11

THE EDGE

FILM

Review:

THE CLUB BEN ROBINS

Pablo Larraín’s low-key Chilean drama has already managed to swipe one of the top awards at the Berlin Film Festival, and is now one of the leading favourites for the Best Foreign Language Film Oscar. But can the No director’s penchant for the slowburn still prove just as successful as it has overseas? Set in a small, secluded seaside town on the edge of South America in rural Chile, The Club focuses on a tight-knit group of retired priests and nuns, living quietly out of the spotlight. But when a new figure is brought into their lives, disaster quickly blossoms, unearthing a wealth of disgraceful crimes from the residents’ pasts. At the head of it all, a far younger priest begins attempting to counsel the elders but struggles to understand their desire for something beyond religion.

Club is largely built around emotionally-strained conversations and the occasional gorgeous nature shot which, although beautifully pieced together by Larraín, still feel as if they are very much living in the shadow of the more intense bursts of action. However, despite this occasional longing for something more substantial, there is still plenty to enjoy about the film’s more low-key moments. Its cast form an incredibly believable and complex little coven which steers the narrative well, whilst The Club’s setting - as rural as it may well be - allows for a beautiful sense of sparseness, chronicling the protagonists’ disconnection from the wider world very effectively. The generational conflict at the film’s centre also works tremendously, providing plenty of dramatic sparks, even if not all of them seem to quite catch. It’s clear that The Club is a festival-pleaser for a reason, and Larraín’s neatly symmetrical tale packs plenty of punch, although a little more in the right places would likely have helped it to feel less like it was simply treading water before the eventual finale.

As you may well have guessed, said synopsis doesn’t exactly equate to a Die Hard-level entertainment factor. In fact, for the most part, Larraín’s film seems to find comfort in just how miserable existence can be. There are smatterings of dark humour peppered throughout, and the occasional glimmer of hope, but for the most part, this is a decidedly bleak affair that is perfectly happy being so. This is by no means a bad thing, and it never really affects the film’s overall quality, but it does feel necessary to point out ahead of time so that no one gets the wrong idea. After all, The Club does begin rather violently. The actual nature of the violence may well constitute as a spoiler, but rest assured, it is sudden, bloody, and devoutly shocking, and it is this moment that very much opens up the film; a streak of red on an otherwise devoutly beige canvas. There are a few other occurrences such as this, wherein Larraín attacks the otherwise undisturbed normality of the picture rather wickedly, and these easily form the standout moments. Otherwise The

COUNTRY: CHILE Director: PABLO LARRAIN Distributor: NETWORK Out: 25th march

THE EDGE

FILMS

DIRECTOR in Focus: JEAN-PIERRE JEUNET JAMES CHADWICK

Jean-Pierre Jeunet was born in Roanne, France in 1953 and over the course of his 25 year career in cinema he has created some of the most visually striking films in the history of the form. Having created a number of short films, Jeunet teamed up with Marc Caro to direct the self-penned Delicatessen in 1991, a dark comedy set in a post-apocalyptic Paris which laid the template for a style and tone that are present across his impressive body of work. It won the director a host of César awards and even picked up a BAFTA nomination. Delicatessen also marked the director’s first combination with Darius Kronji, the cinematographer who would go on to work with the likes of David Fincher and Woody Allen. He brought with him the distinctive yellow and green filters that Jeunet has carried across into the rest of his work. He followed up this success with the Palme D’or nominated City of Lost Children in 1995. In a similarly dystopian setting to his previous work, a circus strongman searches for his brother who has been kidnapped by a crazy scientist. He attempts to use children as a means of curing his crushing inability to dream. Jeunet then embarked on an ill-fated trip to Hollywood to work on the problematic Alien: Resurrection. It would be a further four years before he would get behind the camera again but when he did so in 2001 with Amélie, his return proved triumphant. Starring the flawless Audrey Tautou, it has since become recognised as a true classic of modern foreign cinema. The director’s usual dark tone gave way to a vivacious romance set on the streets of Paris, replete with washed-out whimsy that only Wes 13

THE EDGE

Anderson could come close to emulating. The film raked in an extraordinary $174 million from a budget of just €10 million. With five Oscar nominations and two BAFTA wins the director achieved critical acclaim to match the financial success. Three years later he worked with Tautou once more on A Very Long Engagement. An increased budget resulted in comparatively meagre profit margins but this comparably twisted First World War romance is undoubtedly one of the director’s finest creations to date. 2009 brought with it Micmacs and a continuation of Jeunet’s aesthetically appealing auteur style but this comedy-crime caper failed to garner much critical praise. 2013 saw a return to mainstream, English-language cinema for Jeunet with The Young and Prodigious T.S Spivet, a box office flop that may now see him face the same challenge that many great directors outside of Hollywood suffer: sourcing funding. Hopefully the future will be bright (and yellow tinted) for the Frenchman.

• •

Did you know?

French actor Dominique Pinon has appeared in all of the director’s films. Jeunet spent years working on adapting Life of Pi and planning the film for the big screen but stepped aside from the project. Ang Lee went on to win the Academy Award for directing the film.

The Films You Should Watch:

Delicatessen is a lesser-known gem with dark comedy on par with the Coen brother’s finest work. Amélie, a true watershed moment in the history of foreign film. and one of the best rom-coms out there.

FILM

Hidden Gem: Sophie McEvoy The cinema of Japan is one of the oldest and largest film industries in the world, with anime and horror seemingly being what Western audiences are drawn to the most. With such a vast and plentiful history, it’s easy to see some films go amiss amongst Western audiences. One of those films is the 2004 drama film Dare mo Shiranai – translated as Nobody Knows. Directed by the influential Japanese director Hirokazu Koreeda, Nobody Knows tells the tale of four children who are left alone by their mother for weeks, of whom eventually does not return; meaning that the children are forced to survive on their own. They were half-siblings – each having different fathers - aged between five and twelve years old. The film is based on an event that occurred in 1988, referred to in the media as the “Affair of the five abandoned children of Sugamo”. The incident was covered extensively by Japanese and international media, with the children’s names never being released, therefore being referred to as Children A, B, C, D, and E. Two of the children died as a result – Child C and E – one in the hands of Child

n y: Japa

azu : Hirok

A’s friends, and the other due to malnourishment. Nobody Knows tells a less gruesome tale of what actually unfolded for the children that suffered from their mother’s abandonment. Koreeda presents a fictionalized version of the event, naming children A, B, D and E, with no mention of Child C. The police do not become involved, leaving the children to lead their underprivileged lives. Koreeda wanted to take a different approach to the direction of Nobody Knows, giving something for the audience to take away from the film rather than create the stereotypical feel-good film that audiences in Japan are accustomed to. He spent over 15 years developing the screenplay, and spent long periods of time getting acquainted to the young cast members for them to be able to express themselves freely, with as little dictation from himself and other adults as possible. The film was also filmed chronologically, with the majority of the filming being set in the small apartment that the children are succumbed to living in. Koreeda’s dedication for both the film and the cast members makes for an extremely naturalistic and sympathetic piece of cinema. The film competed for the Palme d’Or at the 2004 Cannes Film Festival, with critics reaching the same conclusions, and also awarding Yuya Yagira the Best Actor award at the festival, making him the first Japanese actor to win the category at Cannes.

da Koree kes Avenue : Dra

Countr Director Distributor

THE EDGE

FILMS

ONE TO WATCH:

Everybody loves a good one shot wonder feel to our films. In Kingsman’s brutal church sequence, we follow a dashing Brit spy as he kills at least 50 mad and violent bigots, the camera never flinching or cutting away. In the upcoming film Creed the camera of the first fight follows the lead from entering the ring until the victor is crowned, again with no cuts. And 2015’s Oscar winner Birdman was famous for the digital stitching together of several single take scenes to form one film over a few days. The technical brilliance of all these films is obviously to be crowned. But German director Sebastian Schipper is about to outdo them all when Victoria arrives on UK shores. Victoria is the story of the titular Spanish girl in Berlin, played by newcomer Laia Costa, who gets swept up after leaving a nightclub by four well-meaning German hoodlums who say they’ll show her the real Berlin. Her small decision to walk with them becomes an adventure through the city, but then evolves into a much darker night of crime, as dawn approaches rapidly. Schipper’s direction is intended to emulate the feeling of making short and intense friendships on nights out with random strangers, and the way small choices suddenly

evolve and stack up into life-altering consequences - he achieved this by filming the entire two hour and 18 minute runtime in one go. There were three takes, and the final film is the result of the third go at it. Having spent 2015 being featured at several festivals including the BFI London Film Festival, a limited US release and a steady roll-out across Europe (beginning in Germany) and Latin American countries, there is plenty of buzz about Victoria. The vast majority is positive, praising not just the audacious feat of the single shot, but the fresh take on an old tale about youth and crime. Star Laia Costa has also been highly praised for her star-making, charismatic and very real portrayal of a lonely party girl enjoying her freedom nonetheless. It shouldn’t be hard for Victoria to appeal to bigger audiences than the standard ‘Foreign Film’ crowd, as for narrative reasons the film is told mainly in English. Victoria doesn’t speak German, and the German boys (led by Frederick Lau’s Sonne, whose initial flirtation with the lead brings the whole group together) don’t speak Spanish. Yet from all the buzz and the very look of it, Victoria is nothing that could ever have happened within the American or British studio system.

George Seabrook Country: Germany Director: Sebastian Schipper Distributor: Curzon Artifical Eye Out: 1st April

THE EDGE

CULTURE

Hidden Gem:

Ah Japan, never stop making games. Gaming may well have embedded itself into many cultures, particularly in western society, but no nation has been more impacted by the medium than Japan. The country has produced games ranging from the epic fantasy stories of the Final Fantasy saga, to the outright weirdness of games like Catherine. Japan has also bred some of the greatest development companies active today; such as the whimsical, fun and rainbow-vomit-inducing Nintendo and the great Square Enix. But the company we shall be focusing on today is the monolithic and hatred-inducing Konami, a company who appear to be capable of only making outright fantastic games, that they then punish their developers for producing, or outright terrible games... that they then punish their developers for producing. Shadow of Memories is an outright terrible game. You should also totally play it. Called Shadow of Destiny by our North American counterparts (which… kinda makes more sense), this is one of the greatest worst games ever made. See, unlike a lot of awful games, the gameplay in this one isn’t that bad. If it were, the whole experience could be written off as ‘basically not worth it’. As it stands, Shadow of Memories is a fairly competent puzzle/adventure game. Sure, that’s not exactly a rave review, but ‘fairly competent puzzles’ is the best of what this game provides. The story is a completely insane mess about time travel, fate, alchemy, death and mysticism. The main character, who spends the entirety of the game in a state of total shock and surprise anytime somebody so much as crosses the street, has to prevent his own death through a time machine granted to him by a demon homunculi. Again, the story is a completely insane mess. The puzzles are also confusing, sloppy and designed by somebody who has a very strange idea of how cause and effect actually works.

And I died laughing. Many times. From abandoning the girl he’s feebly attempting to flirt with in the 14th century, to attempting to delay his own death by pitching a time travel movie to a director, the stupidity of the protagonist and of the game itself, provides endless amusement. One of the endings in particular had me falling to the floor, with any attempts to stand torn asunder by another burst of the most suffocating laughter I have ever experienced. It’s dumb, it’s glorious, and I could not recommend it enough. If you are looking for an overlooked Japanese game to get into this year, could do with plenty of laughs, and are willing to look past the fact that the game was developed by the industry equivalent to Skeletor, get yourself Shadow of Memories. Fast. That this game was not successful, is a sad reminder that we do not embrace stupidity enough in our society.

Shadow of Memories is available on PS2, PSP and PC. Words by Thomas Davies.

THE EDGE

CULTURE FILM

What’s the Matt-er: Words with feelings, or, why english literature isn’t the only kind worth reading

There is a worrying prevalence among, well, lots of people, to assume that English literature is the best literature, and that’s that. And these people do have a point. Shakespeare, Austen, and Woolf are all English, and almost everyone agrees that their work is among the best. The problem comes when people look at these writers, and instead of seeing them as geniuses who happen to be English, they see them as English, and therefore geniuses. If you ask someone who they think was the best writer in, say, the Nineteenth Century, they’ll probably say something about Dickens, even if they have never read a Dickens book. And if you ask them about any period where Dickens is not a possible answer, they’ll either say one of the prominent English writers of the time, or Dickens. If you ask someone who has read at least a little widely, they’ll tell you that, really, ‘best’ is an arbitrary means of classifying or celebrating what are a vast range of very different, very incomparable works. Or they’ll say Dickens to make you go away. Now, I have no problem with people liking Dickens, or having Dickens as their favourite author (although have you tried actually reading a Dickens book? Jesus! No-one cares what the plucky orphan boy did that one time in London), because literature is inherently subjective. You can think Twilight is gold, and that’s totally fine. My problem is when people mistake their subjective opinion for an objective one, and when such people happen to be Minister for Education, and they decide that the GCSE English syllabus can only contain works by English writers. And don’t

THE EDGE

start saying anything about how it’s called ‘English’. For all intents and purposes it should be called just ‘Literature’, or ‘Words with Feelings’, or something. Not only does this lead to cultural isolation, rather than, you know, a sense of shared understanding and wider empathy, it winds up making people think that English literature is the only kind worth reading. What I’m trying to say (in a very roundabout sort of way), is that this idea that English literature is inherently the best, is a bad one. I mean, whatever it is that you’re trying to impart when you claim a book to be the best, or decide that one book should be read in schools over the other, limiting yourself to just one geographical set of texts seems counter-intuitive. That’s without even going into the fact that we live in a much more interconnected world than ever before and that at everyone’s fingertips is a smorgasbord of ideas and styles and peoples, so we might as well just embrace it for the staggering feat of human achievement that it is. There is a wealth of brilliance within easy reach, brilliance that can tick any box you want ticked. Do you want to show children, or teenagers, or other generally young and impressionable people, that reading can be rewarding? Do you want them to enjoy it? Have them read something by Mohsin Hamid. His books, like The Reluctant Fundamentalist, or How to Get Filthy Rich in Rising Asia, are inventive, short, and easy to read, and come with the added bonus of introducing the reader to a culture in sore need of more nuanced understanding.

CULTURE

Maybe you want something that epitomises the kind of stylistic playfulness of postmodernism, or is just an example of a thoroughly well-written modern novel. Try Norwegian Wood, by Haruki Murakami (by the way, I’m not saying that this will be an easy book, but then 1984 isn’t particularly easy either). Do you want to show the literary realism of the Nineteenth Century? How about, instead of Dickens, you read Madame Bovary, by Gustav Flaubert, Les Misérables, by Victor Hugo (this one comes with added bonus of being super popular), or Anna Karenina by Leo Tolstoy. All three of these books are considered to be some of the best ever written, and Tolstoy and Hugo influenced Dickens’ own work. Do you want a masterclass in narrative? Read Dostoevsky’s short stories. The advent of Modernism? Swann’s Way, by Proust. A seminal work of African literature? Chinua Achebe’s Things Fall Apart. Philosophy thinly veiled as a novel? Nausea by JeanPaul Sartre. An exploration of love and desire (with more philosophy thrown in for free)? The Unbearable Lightness of Being by Milan Kundera. Political intrigue, drug abuse, vengeance, and lesbianism? The Count of Monte Cristo by Alexandre Dumas. The experience of an entire city distilled into one short novel? Portrait with Keys, by Ivan Vladislavić.

make you see your own life in a profoundly different, profoundly better way. What I’m trying to say is that choosing to only read English literature is like going to one restaurant, really enjoying the food, and then never going anywhere else again. It wouldn’t kill you, it wouldn’t even make you a necessarily dull person. But wouldn’t you, every now and then, look in through the window of a different restaurant, and see all these happy, smiling people enjoying food you’d never eaten before, and wouldn’t you just want to try it?

Recommendations:

I mention it in the above piece, but my recommendation this time is Mohsin Hamid’s novel How to Get Filthy Rich in Rising Asia. It tells the story of a man’s life and how he (as the title suggests) becomes filthy rich in rising Asia. What separates it from other novels, and makes it as good as it is, is that the book is written as a self-help book, entirely in second person. That is, it addresses the reader directly (as “you”) for the entire novel. It makes for a funny, engaging read, and a quite unique novel that stays with you even after you’ve finished it. Words by Matt Clarson.

What I’m trying to say is that there is so much excellent literature available to you, just waiting for you to pick it up so that it can make you laugh and cry and get lost in worlds, people, and places that

THE EDGE

CULTURE

Anime is bizarre. There’s so many weird, strange and confusing series out there that the whole thing just seems fairly unbreachable and understandably off-putting - but if you neglect to give it a chance, then there are some accessible and incredible shows that you’re missing out on. Fullmetal Alchemist: Brotherhood is one of these shows. FMA:B is set in a world in which alchemy (the transmutation of materials) is real. Water into wine, coal into gold; if you have the atomic ingredients, you can make it. The story centres on two brothers, Edward and Alphonse, gifted young alchemists who are haunted and driven by the untimely death of their mother. Unprepared and blinded by their grief, they attempt to resurrect her with catastrophic consequences, resulting in Edward sacrificing his arm to save Alphonse’s soul, binding it to a hollow suit of armour. Now the brothers travel the world in search of the knowledge needed to not only save Alphonse, but to bring back their mother. So why is it the easiest to recommend for nonanime viewers? Probably the most convincing aspect for some is that you can watch it with an English dub. There’s no lack of emotional intensity or sincerity (found in most dub attempts), and every character is performed with heart and enthusiasm. This is closely linked to a second selling point, which is that there’s very little m e l o d r a m a . The whole series feels lean and fast-paced. People trying to get into anime are typically put off by how 50% of the time is spent in the characters’ thoughts, either listening to them doubt themselves, plan ahead, or reflect on the past. In FMA:B, these moments are

THE EDGE

few and far between, as the characters don’t have much time to reflect before the next call to action. This makes the show feel much more fun and streamlined, causing the eventual breaks in the action to be all the more powerful. Finally, it’s a brilliant and deceptively simple story. While it may take a few episodes to settle into the show, it quickly sweeps you up into its world through a unique premise, massive collection of interesting characters, and a scope which consistently widens episode by episode. It’s become a compliment recently to describe a series as not being simply about a handful of characters, but about a world (ie: Game of Thrones, Harry Potter, Lord of the Rings) and this could be said of FMA:B. It’s another story that you will want to jump back into the moment it’s finished and relive all over again. A brilliant introduction to the medium for people of all ages and varying levels of cynicism. Fullmetal Alchemist Brotherhood is available in its entirity on Netflix. Words by Jack Gracie.

LIVE

Throwback:

Roskilde Festival 2013 Denmark

Roskilde is a Danish music festival, situated just a two hour train journey away from the heart of Copenhagen. Having never visited Denmark before, my sister and I began a solo trip around the city of Copenhagen, ending up at a relatives house, before trekking from their small home town of Slagelse to the gigantic site that contains the four day musical experience. Denmark is perhaps the cleanest and most friendly European country I have had the pleasure of visiting. English is widely spoken, the food is plentiful and delicious, and the culture is rich and varied. Public transport was easy to use and cheap, as well as running into the early hours of the summer mornings, meaning our commute to and from a comfortable bed and warm shower was easy. This sets the scene for a welcoming and highly enjoyable festival experience. Roskilde is a huge festival experience, with over 180 bands performing over the short four days, and nearly 130,000 attendees. It certainly felt like we were a part of something big. The festival operates as a non-profit organisation with the incentive to create music, culture, and humanism. If you want to have a great time, and feel like you’re contributing to something, Roskilde is the festival for you. The 2013 festival featured acts such as Metallica, Sigur Rós, Queens of the Stone Age, C2C, Slipknot, Disclosure, Chase and Status, Baauer, Rihanna, FIDLAR, and MØ. The variation in music is what makes this festival so

great. At my time of attendance, MØ wasn’t the chart topper she is today, and watching her live back then only prophesied her rise to stardom. The stand out acts from the weekend included; Efterklang, Sigur Rós, FIDLAR, and Of Monsters and Men. I have never experienced a more ethereal moment in my life than Sigur Rós performing live at midnight in a packed but completely silent tent. The three-piece had complete control over the audience and I remember coming out of their performance with tears rolling down my cheeks. Efterklang are Denmark’s own heroes of post-rock experimentation. Their music somehow represents Denmark in my eyes. Their music is complex and deep, yet minimalist and wildly enjoyable. Performing live they possess an energy I have never really experienced, they fill a stage with real music, rather than an over the top light show and back up dancers. Their music is honest, delightfully so. Looking back on my experience at Roskilde, its difficult to understand why I haven’t returned to the festival since. With a varied line-up, relatively cheap festival food and drink, and a delightful stage arrangement, European festivals are the future. Leave the muddy fields and teenage angst of British festivals in favour of a musical adventure across Europe. ANNABELLE ASKER

THE EDGE

CULTURE LIVE

Comedian in Focus:

Jim Jeffries WORDS BY BEN WILLCOCKS

Australian Geoff James Nugent, more commonly known as Jim Jefferies, has divided opinion throughout his entire career as a comedian. Gathering reviews from either end of the critical spectrum, it is fair to say that Jefferies surrounds himself with controversy, advertently attempting to push society’s limits on dark humour every time he steps out on stage. In short, any fan of Jim Jefferies will tell you that the foul-mouthed Australian has no line, and this fearless attitude towards comedy is either adored or scorned by respective reviewers. In my opinion, comedy and humour is based solely on exaggeration. It is the same format with Jim Jefferies’ dark comedy, except, of course, it is important that the audience realises that the material is farcical and outlandish. Jefferies often enjoys playing with the audience, as he jested in Brisbane once: “I would advise you not to go to work tomorrow and try to retell my jokes”. It is evident to everybody, including Jefferies himself, that his work can be inappropriate. Although I have unfortunately never seen Jefferies live, I have been lucky enough to see most of his shows online, whether through YouTube or Netflix, and it’s got to a stage where I watch them on repeat! In every show, the set-up is the same; a cynical and carefree comedian either challenging society or sharing his personal anecdotes whilst drinking beer. In fact, Jefferies claims that “if you don’t drink, then all of your stories suck and end with: and then I got home...”, so clearly he feels that his stories and anecdotes are told better with a beer in hand! The laid back approach towards

THE EDGE

the delivery of his material is second to none, and is, in my opinion, the main reason why his jokes are so funny – it also makes it all the more humorous when he rants and loses his temper. Jefferies plays a character when he steps out on stage, and the bigoted style should be viewed as parodic rather than offensive. Once audiences started watching his comedy with this outlook, Jefferies became a hugely successful comedian despite the controversy. However, his comedy stretches so much further than just dark humour. Arguably his most famous sketch is his comment on gun control in America, where he rants and disagrees with an American’s right to possess guns. He wittily mocks gun-enthusiasts by claiming that they only have one argument for owning guns: “F*ck off, I like guns!” jokes Jim Jefferies in BARE, commenting on the most recent mass-shooting in America. The video clip from his show shortly went viral and sparked a debate in whether the law should be looked at again. This kind of influence clearly shows the impact Jefferies’ comedy can have on audiences. Although most of his material is obviously ridiculous, from time to time the comedian can speak a lot of sense! In my opinion, Jim Jefferies is an example of a triple-threat comedian; he has the perfect balance between expert material, dry and cynical delivery and unparalleled confidence.

LIVE

Venue in Focus:

Paradiso Amsterdam WORDS BY OLI POLHILL

Paradiso is one of the leading music venues in Amsterdam’s tourist centre, with a colourful history that gives it a firm foothold in the city’s alternative music scene. The building itself is a former church, dated to the nineteenth century, which up until 1965 was used as a regular meeting place for the Vrije Gemeente (‘Free Congregation’), a liberal Dutch religious group. Paradiso was later squatted in 1967 by a group of hippies who wanted to convert the church into a live entertainment and leisure club, but this activity was quelled by local police in that same year. Despite these events Paradiso, along with the nearby Melkweg, soon became all but synonymous with the hippie counterculture and rock and roll movements of the late 1960s and early 1970s, playing host to a number of wellknown artists of that era including The Rolling Stones, Johnny Thunder, and Willie Nelson. From the mid-1970s Paradiso became increasingly associated with British punk rock and new wave music, although it continued to program a wide range of artists from all genres. The venue garnered particular international attention from several UK and American artists, most notably Billy Idol, David Bowie, and the Sex Pistols. Indeed, Glen Matlock played his last show with the Sex Pistols at Paradiso shortly before leaving the band in late February, 1977.

In the late 1980s the venue became popular within the electronic dance scene, hosting a string of raves and themed dance parties, and by the 1990s it was hosting international, national and local musical talents. In more recent years Paradiso has continued to be a success, staying true to its roots in the rock and roll community whilst maintaining a good roster of diverse acts, programming a wide range of artists including Adele, Muse, Foo Fighters, Deftones, Pearl Jam, Tenacious D and many others. If a popular band or artist has a tour date in Amsterdam, it’s very likely that they are playing Paradiso. The main concert hall has retained the building’s original aesthetic, making for a memorable atmosphere at any show. The stage is situated at the far end of the room, overlooked by three illuminated church windows, and where rows of pews once sat there is an expansive standing area able to accommodate over 1,500 people. This is overlooked on both sides by two balconies which collectively seat 250 and give a superb view of the stage and it’s backdrop. The venue borders the Leidseplein district, one of the most vibrant tourist and nightlife locations in the city, making it easy to locate. In sum, Paradiso is well worth a visit if you find yourself in Amsterdam. With an impressive history, a beautifully arresting interior and a consistently exciting line-up of artists, it is one of the city’s premier music venues.

THE EDGE