Surreal and Fantastical Special Issue (January 2017)

T H E

S U R R E A L

A N D

S P E C I A L

ASSASSIN’S CREED

FA N T A S T I C

I S S U E

A SERIES OF UNFORTUNATE EVENTS

WINONA RYDER

special issue Happy New Year! And welcome to the Surreal and Fantastic Special Issue!

When I first ran for Editor, this issue was the passion project at the forefront of my manifesto and I am so excited to present it to you now. Inspired by the creative ingenuity that went into last year’s World Issue, I wanted to create a special issue that was different to what we’d done before; an issue that was distinctly ‘Edge-y’. Using the surreal and fantastic as our main theme, the committee and I have pulled out all the stops to bring you some strange and magical features from the worlds of film, culture and music.

In this issue, our regular ‘Nostalgic News’ feature has been given a double page boost (p. 3-4) to reveal all of the surreal and fantastic films, games and albums celebrating milestones in 2017. In Features, Head of Design Liana looks to Gandalf the Grey for words of wisdom (p.6) while Features Editor Rehana explains the importance of real in the surreal (p.9), drawing on recent YA dramas like Harry Potter and The Hunger Games as examples.

In Film, we look at surreal and fantastic films of the past - such as Donnie Darko (p.18) and Brazil (p.21) - and the present, with our review of Assassin’s Creed (p.16). I also took a moment to reflect on the career of Winona Ryder (p.17), who recently wowed us all in the Netflix hit, Stranger Things. Culture is also rich with fantasy this issue, looking at the wonderful works of Terry Pratchett (p.23), the dubious utopia of Westworld (p.24) and some of the most surreal video games around (p.25-26).

In Records and Live, we also ponder on some of music’s greatest eccentrics (p.15), as well as the wonderfully wacky comedic stylings of Tim Minchin (p.30). It’s not all themed though, as with a new year, we also bring you our List of 2017, featuring ten artists that we expect to shine in the next 12 months (p.13).

With this issue, we come to the halfway point of our print run for the academic year. We have plenty of exciting plans coming to fruition in 2017 and if you haven’t already, I would implore you to join us for the ride.

Anneka Honeyball Editor

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THE EDGE

Editor Anneka Honeyball editor@theedgesusu.co.uk Deputy Editor Ashleigh Millman deputy-editor@theedgesusu.co.uk records Editor Xavier Voigt-Hill records@theedgesusu.co.uk Features Editor Rehana Nurmahi features@theedgesusu.co.uk film Editor Hollie Geraghty film@theedgesusu.co.uk C u lt u r e e d i t o r James Barker culture@theedgesusu.co.uk live Editor Carly-May Kavanagh live@theedgesusu.co.uk news Editor Robert Pratley news@theedgesusu.co.uk head of design Liana Dent design@theedgesusu.co.uk Head of relations Navi Ahluwalia relations@theedgesusu.co.uk Head of publicity Becca Hellard publicity@theedgesusu.co.uk Head of events Octavia Woodward events@theedgesusu.co.uk online manager Jack Lewin manager@theedgesusu.co.uk editor in chief Cameron Meldrum vpdci@unionsouthampton.org With help from Sophie McEvoy, Conor Kavanagh, Rebecca James and Henna Patel

Contents editorial

01 Welcome to the Special Issue 02 Contents

NEWS

03 Nostalgic News 05 Notes on News: Fantastic Beasts

Features

06 Gandalf Quotes to Live By 07 Closer to The Edge: Our Fantastic and Surreal Playlist 09 The importance of real in the surreal 10 Introducing: Jorja Smith

Records

11 You’ve gone mainstream: PC Music’s internet pop sensation 13 The List of 2017 15 From Bjork to Bush: Music’s greatest

eccentrics

film

16 Review: Assassin’s Creed 17 Actor in Focus: Winona Ryder 18 Cult Classics: Donnie Darko 19 The Fantastic and Surreal: Best On-Screen Moments 21 In Defense Of: Brazil

culture

23 Author in Focus: Terry Pratchett 24 Welcome to Westworld 25 Fantastic and Surreal video games 27 Intro To: A Series of Unfortunate Events

live

29 The most surreal moments at a gig 31 Artist in Focus: Sia 32 Comedian in Focus: Tim Minchin

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ASSASSIN’S A SERIES OF WINONA UNFORTUNATE RYDER CREED EVENTS

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27

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THE EDGE COVER IMAGE BY WARNER BROS. TELEVISION

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NEWS

nostalgic news DAVID BOWIE RELEASED THE RISE AND FALL OF ZIGGY STARDUST 45 YEARS AGO SOPHIE MCEVOY

2016 took the iconic and legendary David Bowie away from us, but 2017 sees the 45-year anniversary – and celebration – of one of Bowie’s most renowned records, The Rise and Fall of Ziggy Stardust and the Spiders from Mars. Released on 16th June 1972, the record introduced the world to Bowie’s alter ego Ziggy Stardust, a bisexual, extraterrestrial being who comes to earth to promote a message of hope to humanity in their last five years of existence. Ziggy became the definitive, stereotypical Glam rock star; full of hope and love whilst protruding sexually promiscuous ideals and drug intake.As with everything that Bowie produced, Ziggy Stardust produced a social commentary of the 1970s and the genre in which Bowie found himself in. Through this story, Bowie created one of the most highly regarded Glam rock concept records of all time.

Not only did Ziggy help scores of teens to find themselves, he also represented a revolutionary story that Bowie created for the outcasts; a story that still speaks for teenagers and young adults to the present day.

the princess bride was released 30 years ago REHANA NURMAHI

25th September 2017 marks 30 years since cinema screens were first graced with that ‘classic tale of true love and high adventure’ - The Princess Bride. Directed

by Rob Reiner and written by William Goldman, adapting it from his own book, the film has become a cult classic amongst fantasy fans and fairy tale fans alike.

The film recounts a grandfather reading the book that his father used to read to him, S. Morgenstern’s The Princess Bride. We then enter into a narrative about Princess Buttercup (Robin Wright) and her long-lost love Wesley (Cary Elwes). It’s a film that really does contain it all: “Fencing, fighting, torture, revenge, giants, monsters, chases, escapes, true love, miracles”... As well as this, the film has become beloved for its dry wit and lovable characters.

The film which introduced the now very successful Robin Wright to the world is a true staple of the 80s fantasy movie, and a wonderful film that is too often forgotten about. You should give it a go - but beware the R.O.U.S.s!

Stardust was released 10 years ago HOLLY HAMMOND

The fantastical fairy-tale epic, Stardust, was released 10 years ago, on 19th October, 2007.

Director Matthew Vaughn’s tale, adapted from the Neil Gaiman novel of the same name, follows a fallen star named Yvaine (Claire Danes), knocked out of the sky and trying to return home to her fellow stars amidst the threat of evil witches out to get her heart, misunderstood cross-dressing sky pirates, and the usual vying love interests. Yvaine is accompanied by Tristan (Charlie Cox), a poor boy from the other side of the Wall that separates the mundane from the magical realm of Stormhold, as they fight threats and learn who they really are. It’s a spectacular tale of love lost and found, and an epic journey of self-discovery. Stardust’s impressive supporting cast of Robert De Niro, Michelle Pfeiffer, Sienna Miller, Ricky Gervais, Mark Strong, Rupert Everett, David Walliams, Ben Barnes, Henry Cavill and Ian McKellen makes this a solid fan-favourite with levity and drama galore.

the beatles released ‘lucy in the sky with diamonds’ 50 years ago SOPHIE JONES

When young Julian Lennon drew his nursery school crush surrounded by stars, how was he to know what he would inspire? This painting (currently owned by Pink Floyd’s David Gilmour) was the muse for ‘Lucy in the Sky with Diamonds’, the third track on The Beatles’ eighth studio album, Sgt. Pepper’s Lonely Hearts Club Band.

Released on June 1st 1967, this quintessential psych-rock track celebrates its 50th birthday this year, with a cover history spanning from Elton John to Star Trek’s very own William Shatner (I would like to suggest that he sticks to flinging himself across the USS Enterprise, but it’s definitely worth a listen!).

However, it is best known for the apparent reference to LSD in its initials, a reference that has been repeatedly denied by Lennon. He, and McCartney, instead claim that the song’s trippy images were inspired by a scene in Through The Looking Glass, where Alice drifts on a boat surrounded by the weird and wonderful images of Carroll’s imagination.

The slow, warped vocals, sonic textures, and fluctuating time signature, combined with the fantastical landscape, give the track a palpable feeling of psychedelia; you can see where the rumours come from!

So 03

picture

yourself

on

a

boat

on

a

river...

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NEWS

Another roundup of things that happened this month in years gone by.

Harry Potter and the Philosopher’s Stone was released 15 years ago CARLY-MAY KAVANAGH

The story of an 11-year-old wizard, Harry Potter who’s famous for defeating Voldemort as a baby, leaving his abusive aunt and uncle for Hogwarts School for Witchcraft and Wizardry is universally known. Written by J.K. Rowling, adapted for film by Steve Kloves and David Heyman and directed by Chris Columbus, it was released on 16th November 2001, by Warner Bros. Pictures.

Harry Potter and the Philosopher’s Stone features Daniel Radcliffe, Rupert Grint and Emma Watson as Harry Potter, Ron Weasley and Hermione Granger. There have been seven sequels, with the last one, Harry Potter and the Deathly Hallows - Part 2 released in 2011.

It made over $970 million worldwide and was nominated for, amongst others, the Academy Awards for Best Original Score, Best Art Direction and Best Costume Design.

It is the 30th highest grossing film ever, and the second highest in the series (the final film is highest). At the time of release, in the UK, it was the highest-opening weekend film ever in terms of money made.

It was praised for its visuals and acting, but criticised for pacing and being too faithful to the book.

Some would say that’s a good thing...

Pikmin was released 15 years ago ELEANOR JOYCE

Released in the UK on 14th June 2002, Pikmin is a classic Nintendo real-time strategy game which introduced Smash Bros. staple Olimar to the gaming world.

As Olimar, it’s your job to control the three varieties of Pikmin - red, yellow and blue - using their different abilities to help you while keeping them safe from the hungry predators that come out at night. Each ‘day’ in the game lasts about 15 minutes, so the game challenges you to move fast and solve puzzles before night falls while keeping your Pikmin army safe.

The original Gamecube game received overwhelmingly positive feedback from gamers and critics alike, and this resulted in a sequel, Pikmin 2, in 2004, and the visually stunning Pikmin 3 was released in 2013 for the Wii U. The Pikmin franchise is one of the most entertaining, varied and surprisingly deep video game series out there - the Pikmin themselves are adorably bizarre, the game has incredible replay value despite it’s short length, and you have to think about every move you make.

The bee movIE was released 10 years ago ROBERT PRATLEY

Ten years ago, on 2nd November 2007, Dreamworks released The Bee Movie, which was produced by Columbus 81 Productions.

Jerry Seinfeld stars as Barry B. Benson, a disillusioned bee who realizes his only role in life is the autonomous production of honey for humans. He teams up with florist Vanessa (Renee Zellweger) and best friend Adam Flayman (Matthew Broderick) and decides to sue the human race.

Yup. 91 minutes of a bee trying to fight a legal battle against garishly obese Layton T. Montgomery (John Goodman) while trying to steal Ken’s (Patrick Warburton) girlfriend.

The Bee Movie has somehow become a cult film for memes, and grossed $286.7m worldwide, almost double the production budget. What is stunning about the film is the bizarreness of it, especially dream sequences that end in plane crashes. As absurd as it sounds, it is even worse when you consider the meme culture it has developed. Take bees out the film, and it becomes the mad rantings of an insane woman.

The oriignal also has incredibly strong Marxist undertones, and encourages cheating on your partner with insects. Enough said.

bridge to terabithia was released 10 years ago REBECCA BARNES

The adaptation of the beloved children’s book by Katherine Paterson was released on 16th February 2007, capturing the hearts and minds of children and adults alike.

The story follows Jess Aarons (Josh Hutcherson), a boy from a poor family whose dreams of winning a school race are dashed when a new girl, Leslie Burke (Anna Sophia Robb), moves to town.

Nevertheless, the two quickly become friends and escape to a magical world called Terabithia to avoid the problems in their real life, such as school bullies and neglectful parents.

Bridge to Terabithia received positive reviews from both critics and the general public, winning 5 Young Artist Awards in 2008. Robb and Hutcherson’s performances were also largely praised by audiences and critics alike, who were surprised at their acting skills, considering they were only 14 and 15 respectively.

Bridge to Terabithia remains popular to this day, with many calling it one of the best Fantasy films of the 21st Century and possibly even of all time.

THE EDGE

IMAGE BY NINTENDO

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NEWS

notes on news

Did Warner Bros. successfully create the ‘Fantastic’ in Fantastic Beasts?

ELEANOR JOYCE

After going to the midnight screening of Fantastic Beasts and Where to Find Them at the IMAX, I was pleasantly surprised by the film - the characters were likeable, the world-building was authentic, and the visual effects were nothing short of impressive.

However, I couldn’t help wondering how I’d managed to sit through a two hour and thirteen minute film that included very few of the many ‘Fantastic Beasts’ from Rowling’s 2001 book.

However much I enjoyed the film, the title of Fantastic Beasts and Where to Find Them was possibly an unfortunate one considering that the Fantastic Beasts are found almost immediately and largely ignored in favour of a militant dark wizard - apart from the Thunderbird, who implausibly saves the day when every wizard in New York cannot.

Of the creatures that escape from Newt Scamander’s suitcase account for just four - or five, if you include the Murtlap that bites No-Maj Jacob Kowalski - of a possible eighty-five.

It would be unreasonable to expect to see all of them in the film, but why did the production team decide to release the Niffler, Demiguise, Occamy and Erumpent when they’re so similar to creatures that we see every Sunday on Planet Earth II? When reading the book, I’d imagined them to be more, well... fantastic.

There’s no denying that the effort taken to create the creatures in Newt’s suitcase resulted in absolutely stunning VFX. There are just under 1,500 visual effects used in the film, and the team behind puppets in War Horse were responsible for creating a 17ft 05

model of the Erumpent for instance - but a lot of the creatures we see are turned into cuter versions of those in the book. For example, the Mooncalves that Kowalski feeds look a lot like Beanie Babies with four legs, whereas they’re described in the book as having ‘bulging eyes on top of their heads’, something that could have been interpreted a lot more unnervingly, if the film hadn’t been rated a family-friendly 12A. Another problem is the lack of certain creatures mentioned in the eponymous book. Where are the Hairy MacBoons, a carnivorous five-legged species?

Or the Fire Crabs and Glumbumbles? Slightly hazardous they may be, but Newt is adamant that none of his creatures are dangerous. He’s obviously forgetting the Nundu, the leopard-puffer-fish cross we see in his suitcase, that (according to the book) can wipe out entire villages with its virulent breath.

Some of the creatures shown in the film aren’t actually in the textbook, but you’d be forgiven for forgetting the Marmite, a cross between a luminescent squid and a dust mite that Newt bottle-feeds in the film, and the Glow Bugs, whose appearance you can probably work out on your own.

Overall, it’s very disappointing in how they fail to utilise the title’s ‘Fantastic Beasts’, when it comes to the full film.The creatures that escape from the suitcase actually contribute very little to the plot of the film - there are some 10 minute set-piece scenes of their capture, and various recurring gags involving the crafty mole-echidna known as the Niffler.

Having said all that, the film takes place over the course of 48 hours, so compared to the Harry Potter films, there are lower stakes than an entire school year, and it’s easy to forget that any of the creatures escaped at all after the overarching plot takes off and Colin Farrell reveals that he was actually Johnny Depp all along.

And with the promise of sequels aplenty coming our way in the future, it’s plausible that Fantastic Beasts II might have newer, cooler, more interesting beasts for Newt and co. to wrangle with - and that would be Fantastic indeed.

THE EDGE IMAGE BY WARNER BROS. PICTURES

FEATURES

Gandalf Quotes to Live By LIANA DENT There’s no denying that Gandalf gets some of the best lines in The Hobbit and The Lord of the Rings series. From his immortal, “You shall not pass!” to the advice and encouragement he gives the Fellowship, there’s a lot we can learn from his words of wisdom. I’ve tried to find some of his best quotes for when we need a push out of the Hobbit-hole on a cold morning and into the world outside...

“The world is not in your books and maps. It’s out there.”

We can spend as long as we like dreaming about the things we’ll do and the places we’ll see one day, but to get there, we’ve got to go one step further. These things will always be stuck on the page or the screen unless we go and look for them. If what we want seems out of reach, it’s easy to tell ourselves to forget it, that we’ll be satisfied with living vicariously through other means, but this is the difference between dreaming about something and actually experiencing it. If there’s something we want to do, we need to go and seek it out for ourselves!

“All good stories deserve embellishment.”

That said, sometimes we just want a little space from the world, and losing yourself in a story via Netflix, a game or a good book can help you to see life in a new light. It’s good to experience things through other’s eyes, and to share the experience with people facing similar problems.

Bilbo: “I just need to sit quietly for a moment. “ Gandalf: “You’ve been sitting quietly for far too long!”

I guarantee there’s something you’re on the fence about doing right now. Even if you’re still unsure, just make a decision and go with it! Step out of the Hobbit-hole instead of deliberating any longer and see what happens.

“It is the small things, everyday deeds of ordinary folk that keeps the darkness at bay.”

Never think that you don’t make a difference. The time you spent listening, the money you donated or the compliment you gave was remembered, and made someone else’s day that much better.

Frodo: “I wish none of this had happened.”

Gandalf: “So do all who live to see such times. But that is not for them to decide. All we have to decide is what to do with the time that is given to us.”

You’ve seen the news at some point in the last few years, you want to drop that comeback you thought of earlier into that argument from three weeks ago, you want a few more weeks between now and deadlines. Wanting these things is normal, and escapism is wonderful, but letting these wishes get in the way of enjoying what you’ve got right now can be all too easy. Since this is the only time we’re given, we can try to enjoy it as much as possible, and there’s always something we can do to make things a little better for ourselves and for others.

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FEATURES

Closer to The Edge: Here at The Edge, we decided that it was high time that we collated another playlist. Given the issue’s theme of the ‘Fantastic and Surreal’, this playlist is a collection of all the music we love that is just that bit otherworldly. Whether that’s in its themes, its lyrics, sound or context, well it’s different for each song. However, we hope that together they make something altogether fantastical!

John Williams - ‘Hedwig’s Theme’

Is there any other song that in its first eight notes takes you back to your childhood of magic? Okay there probably is for you, but for me, no song is more fantastic or surreal than ‘Hedwig’s Theme’, the opening theme for the Harry Potter series. Due to the piece being used through all eight films and the recent Fantastic Beasts And Where To Find Them too, it’s impossible to hear it without being taken back to the films.

The theme of Hedwig is so closely related to the early films, to their childhoods, and David Yates (director of the final four films) chose specific moments to use it as they got older like when Harry leaves his home and when Hedwig dies.

As the films get darker, the music itself gets more mysterious; it’s a song that brings us back to our childhoods as the film takes them into adulthood, and I don’t think any piece of music could be more surreal to me than this one is.

Words by Carly-May Kavanagh

Pink Floyd - ‘Echoes’

Pink Floyd are one of the most influential bands to grace not only rock, but the general history of popular music. Their seminal 1973 record Dark Side of the Moon is often regarded as one of the best albums of all time, and is the third best-selling album of all time.

They are also known for their out-there, progressive and psychedelic sounds. They started as, and continued to be, a very experimental band, producing sound suites such as ‘Atom Heart Mother’ on Atom Heart Mother (1970), ‘Dogs’, ‘Pigs (Three Different Ones)’ and ‘Sheep’ on Animals (1977) and the majority of their early work.

But it’s the epic track ‘Echoes’ on Meddle (1971) that is the most surreal piece of music in Pink Floyd’s catalog. Clocking in at nearly 24 minutes (or 26 minutes depending on the live versions), ‘Echoes’ is a mesmerizing track full of extended instrumental passages and improvisation, accompanied by the signature sounds of Roger Waters, David Gilmour, Nick Mason and Richard Wright.

Words by Sophie McEvoy

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IMAGE BY CAPITOL

FEATURES

Our Surreal and Fantastic Playlist Evanescence - ‘Bring Me To Life’

Evanescence are well known for their eerie songs with emotionally fraught lyrics and suitably complimentary music. In fact, many of their songs would fit well into a playlist of fantastic and surreal music. However, it is one of their best known songs which I think fits this theme perfectly. From the opening lyrics of ‘Bring Me To Life’, where Amy Lee’s haunting voice declares “How can you see into my eyes, like open doors/ Leading you down into my core/Where I’ve become so numb,” to the accompanying rock guitar riffs, this song epitomises how eerie and surreal music can be. This is then further emphasised by the song’s music video.

This song also featured on the soundtrack of Daredevil and the music video takes inspiration from this theme. Directed by Philipp Stölzl, the video features Lee in the midst of a nightmare, balancing precariously as she climbs an apartment block, only to lose her balance and fall. This is one of the most recognisable music videos of recent times, in part because of the impact of the song, and also due to the striking visuals of the video. All in all, a suitably surreal and eerie addition to this playlist.

Words by Rebecca James

Halsey - ‘Castle (Winter’s War version)’

The Winter’s War version of Halsey’s ‘Castle’ fits the mysterious nature of this theme perfectly, and not just because it’s the title song of a fantasy film! The track employs the use of drama very effectively, building a sense of tension in the song which is then released when you get to the drop. This is made more other-worldly through the haunting echo that opens up the song before introducing Halsey’s haunting voice that really makes an impact. The vocals themselves have a real force of domination behind it, and the song seems to itself declare war as you head ‘straight to the castle’. The song sends you in to another world, but one a lot more dramatic and mysterious than ours!

Words by Bruno Russell

Gary Jules- ‘Mad World’

The Gary Jules 2001 cover of Tears For Fears’ 80s song ‘Mad World’ is a song that never really made sense to me. At the same time, I always felt inexplicably drawn to it and compelled by it. Maybe it was the haunting lyrics, maybe it was just that simple and delicately played piano melody, maybe it was the echoes playing behind the chorus.

Whatever it was, it gave the entire song this aura that I cannot describe without using the titular words of fantastic and surreal. A song from a darker, bleaker, sort of world (maybe something like the Upside Down from Stranger Things), it still managed to connect with human feelings which are very real. As well as this, it featured on the soundtrack to Donnie Darko, a cult favourite and known for being a bit out there. What can I say about ‘Mad World’? Depressing? Oh yes.

Fantastic and Surreal? Oh yes. Just a brilliant song. Without a doubt.

Words by Rehana Nurmahi

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The importance of real in the surreal REHANA NURMAHI Of course, much of the appeal of the fantastic comes from the larger than life and altogether surreal worlds they inhabit. However, I find that a lot of what I love about the surreal, comes from the ‘real’ elements of it. That reality within the completely imagined… that is where the magic is made.

A master of this is J.K Rowling with Harry Potter. She creates a host of well-rounded characters, none of which are perfect, and a lot of the struggles she gives them are extremely human; not exclusive to this fantasy world. For example, the Weasleys struggle with trying to provide for their seven children, and often have to pass handme-downs to their youngest son Ron. It’s no secret that when Rowling began to pen these novels, she was living off benefits, and that probably inspired this fictional family’s situation. By bringing her reality to the novel, she provides something that people can empathise with, something that some may see in their own life that creates a greater appreciation for these characters.

You also see a hero who didn’t choose to be hero, and at times, his quest is a burden. In Order of the Phoenix, Harry screams at Dumbledore “I WANT IT TO END! I DON’T CARE ANYMORE,” and suddenly you are reminded that the protagonist is a 15-year-old boy, and he has seen and lost so much. It is so human and genuine that he is hurting and he is doubting whether there is a point to all of this, and it makes this one of the most poignant scenes in the whole series. This is seen in other fantasy protagonists too, including Frodo from Lord

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of the Rings. He goes as far as to say “I wish this had never happened.” Again, it’s a reminder that in being a hero, there’s doubt and difficulty and responsibility.

It’s not just the authenticity of characters that enhances realness though, but authenticity of themes. Look at how politically relevant novels like The Hunger Games have become in recent years. There’s a reason that the genre of YA Dystopia is so popular, and continues to expand each and every day. Although we don’t see the extremes in the everyday, it can be read as a warning sign of what’s to come if society is not careful. The screams of the characters have become battle cries for an uprising generation.

As much as we hunger for heroic quests and big feats of bravery, those aren’t what we connect with. That comes from the little moments where we recognise ourselves. It’s Katniss holding Prim close when she’s not sure what’s going to happen. It’s Frodo teasing Sam about Rosie. It’s Ron worrying about not passing his O.W.L.s. It’s Percy Jackson struggling with dyslexia.

It’s any and every moment where the protagonist has no idea why they’re in the situation they are in, but are doing their best just to make the most of it.

Ultimately, fantasy does exist as a means of escapism.

However, the real within the surreal is just as important.

Not only does it connect us with our humanity, but it shows the extent to which these thoughts, feelings, and themes are as universal as they come.

THE EDGE IMAGE BY LIONSGATE FILMS

FEATURES

INTRODUCING:

JORJA SMITH NAVI AHLUWALIA Jorja Smith is an 18-year-old singer-songwriter from Walsall, West Midlands who recently moved to London in a bid to begin her up-and-coming music career. Her interest stemmed from an unfortunate turn-out to a Christmas nativity play performed

by Smith and somewhat reluctantly, her brother, before she saved the day singing ‘Silent Night’ to an audience including her father - for the first time.

Since her claim to fame at Sunday school, Smith has written a number of killer tracks including ‘Where Did I Go?’, ‘Blue Lights’ and ‘A Prince’ which samples 17th century composer Henry Purcell and features a verse from none other than Irish singer-songwriter/ rapper Maverick Sabre. Her first release, ‘Blue Lights’, acts as a soulful excerpt into the life of an onlooker, with a dark and brooding outlook on the situations that arise as a result of less-than-privileged schools and frequent run ins with the unmistakable blue lights of authority.

Smith’s vocals are the result of impenetrable passion and soul, accompanied by sombre melodies and breathtaking harmonies, transporting listeners to a truly powerful place, revelling in explicit social commentaries and fearless independence. Jorja Smith truly is one to watch.

This has been noted by critics too, with her name featuring on the list of nominees for BBC’s Sound of 2017, as well as making it onto The Edge’s List of 2017.

To read about other artists on our list, check out the Records section of this issue.

Inspired by the talent of a musical father, Smith was destined for a career in the music industry and since her move from Walsall to London, the singer has released her first ever EP entitled Project 11. The EP was released November 2016 and features an incredible 5 tracks, including the Zane Lowe premiered ‘Imperfect Circle’ and Maverick Sabre collaboration ‘Carry Me Home.’ She also appeared on the recent Cadenza track, ‘People’, alongside Jamaican reggae artist Dre Island.

Following the release of her distinctly versatile EP and a recent support slot on soul singer NAO’s latest tour, Smith embarked on her first ever headline tour of the UK, consisting of a mere three dates, beginning in Manchester, followed by London and Birmingham. Soon after, Smith unleashed a string of US tour dates with appearances scheduled for this year in New York, Los Angeles and San Francisco.

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RECORDS

IT CAME FROM SOUNDCLOUD: PC Music’s internet pop invasion XAVIER VOIGT-HILL Playing a track on SoundCloud is never as straightforward as it may seem. Once non-skippable audio promos subside to gift you 30 seconds and an abrupt ending that reminds you of the firm’s perpetually iffy situation with the industry as a whole, the real fun can begin as it catapults you down a mesmerising rabbit hole of what happens when you give seamless distribution and budget creation tools to the most idiosyncratic budding musicians. Entire self-sufficient niches have established themselves, attracting new prey in this very fashion, and singular hits, especially in the dance world, have flourished from silent launches on the platform, but few lasting trends have managed to escape through into more mainstream vistas. PC Music is ready to be the exception.

A London label specialising in releases from a sizable gamut of aliases (easyFun, Spinee, Dux Content, Lipgloss Twins) that more often than not trace themselves back to founding father A. G. Cook, PC Music’s string of free downloads doused concoctions of pulsating club-minded basslines and vigorous distortions of reliable pop tropes with kitsch WordArt vomit-adorned visuals like a goldfish in a wine glass for Cook’s ‘Beautiful’ and a shower of diamond GIFs befitting only of websites of a certain vintage for Hannah Diamond’s ‘Pink And Blue.’ Last year, we summarised the aesthetic as “glittering sherbet vapidity.” Pitchfork described a remix from Cook as “[writhing] like a wad of cellophane.” Vice’s question was more salient: “Are they really the worst thing ever to happen to dance music? No. They’re fucking great.”

Columbia Records inches them ever closer to making a star out of bespectacled phenom Danny L Harle, whose recent releases have verged on long-lost relics of rave heydays by trading Alvin’s squeaks for Carly Rae Jepsen and Chairlift’s Caroline Polachek. In announcing the partnership, even the language was on-brand: “A new, perfect breed of major label. A new, highly advanced pop weapon,” read a statement. “Concurrent to this development we will continue to enforce a fast paced production line of laplanders and lifestyles, sups and secret mixes, wannabes, warlords and western beats. a multi-tier attack exposing the radical DNA of chart music, and the heart and soul behind every lab creation.”

Where 2016 was the year for the mainstream to sip from Caribbean influences and rob sampled voices of their souls by sticking them over every pseudo-drop on the charts, PC Music’s unabashed adoration of pop’s fundamental components – joy and ingenuity – provides a modicum of promise for a year that began with Ed Sheeran trying to write for Rihanna and ending up with Sia’s ‘Cheap Thrills.’ With a potion at the ready to splash around thanks to their in-house energy drink/ popstar hybrid – QT’s ‘Hey QT,’ produced by SOPHIE and Cook, was later released in $20 can form – with revered pop institutions embracing the movement, 2017 will be the when for Cook and the gang to burrow out and deposit their elixir atop pop’s stagnating conveyor.

Critics weren’t the only ones to cotton on to what was occurring. Madonna gave clan affiliate SOPHIE, who released the unnerving and sporadically incredible texture-challenging compilation Product at the tail of 2015, input with Diplo and friends on ‘Bitch I’m Madonna’ from her most recent record. Charli XCX, enlightened by a Cook remix of ‘Doing It,’ welcomed SOPHIE, Diamond, Cook, and Jodie Harsh on board for the intense four-track Vroom Vroom EP last February. By the year’s end, Cook had been officially appointed as her creative director and her return towards more radio-tolerated territory (‘After The Afterparty’) retained SOPHIE’s delicate touch with Stargate’s more traditional pop flair. A team-up with 11

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RECORDS

The List of 2017 Dagny

James Barker

The best way to describe Dagny, who hails from Tromsø in Norway, is versatile. While some of her songs hum with the lively, carefree aura of sickly sweet Ellie Goulding, others take an earthier, darker vocal that

Khalid

Hassan Bashir

Hailing from El Paso, Texas, and still only 19 years of age, Khalid Robinson brings a gorgeous soulful touch that introduces modern love to traditional ballad structures. ‘Location,’ his debut single, was recorded shortly before his high school prom and has picked up over 30 million plays with its bubbly production

Jorja Smith

a soulful excerpt from the life of an onlooker, with a dark and brooding outlook on the situations that arise as a result of less-than-privileged schools and frequent run-ins with the unmistakable sign of authority. Project 11, a distinctly versatile fivetrack EP that followed last autumn, includes the Zane Lowe-premiered ‘Imperfect Circle’ and ‘Carry Me Home,’ her second collaboration with acclaimed Irish singer/rapper Maverick Sabre.

Bruno Russell

to-earth surreality remains a constant factor in all their releases, setting a blissfully tranquil mood – kinda’s ‘pink skies’ uses delicate electric guitar to create a smooth, laidback, easy-going product; I Loved You.’s ‘4EVER!’ encapsulates the glee of love by allowing singer Paul Klein to lead over sporadic, uplifting synths and intricate percussion.

Instead of challenging, theirs is music that allows us to relinquish our trepidations by focusing on texture and atmosphere for an ethereal feel.

Named for their chosen cities of Los Angeles and New York, electropop threepiece LANY signed with Polydor after gathering online traction and 50 million plays for ‘ILYSB.’ A down-

Loyle Carner

Carly-May Kavanagh

In primary school, Benjamin Coyle-Larner would have rap battles with friends whenever possible despite being, as he told NME, “veeery shit.” His feeding material came from east London’s early noughties sound, yet his sensitive lyricism places him firmly apart from the bustle of grime artists vying to break in the year ahead. Unafraid to speak of death 13

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and sense of contemporary forward motion (“I don’t wanna fall in love off of subtweets so / Let’s keep personal / I got a lot of cool spots that we can go”). Subsequent tracks like ‘Let’s Go,’ a budding summer anthem, and December’s tender piano-led piece ‘Coaster’ stretch the sunset vibe in smooth new directions.

Navi Ahluwalia

Jorja Smith’s vocals are the result of impenetrable passion and soul, accompanied by sombre melodies and breathtaking harmonies, transporting listeners to a truly powerful place, revelling in explicit social commentaries and fearless independence.

‘Blue Lights,’ her first release, acts as

LANY

likens her to Tove Lo or London Grammar’s Hannah Reid. Though similarities to Zara Larsson in particular are palpable, Dagny comes across as a far edgier and intriguing prospect – from Island’s Ultraviolet EP, in addition to the soulful longing of BØRNS collaboration ‘Fool’s Gold,’ the artwork for the edits of euphoric debut release ‘Backbeat’ is emblazoned with a two-fingered fuck you gesture.

and sadness with brutal honesty, Yesterday’s Gone features new music alongside regular collaborators like Tom Misch and Rebel Kleff and new single ‘The Isle Of Arran,’ which our five-star review praised for its “ironic” choral bed to his frank approach regarding role models and religion.

RECORDS

10 new acts who will soundtrack 2017, as selected by the Edge team Nadia Rose

Xavier Voigt-Hill

As comfortable and charismatic alongside dancehall icons (new single ‘Tight Up’ samples and features Red Rat) and modern house crossover hits (‘Crank It (Woah!)’ with Kideko and George Kwali had an 11-week chart run and a Top Of The Pops spot), multi-talented Croydon rapper Nadia Rose is poised

Sälen

Alex Smith

If what you want from pop is lyrics about weird sexual fetishes and unwanted adultery mixed around upbeat synths, Sälen is the trio for you. Each release (‘IILWMBF,’ ‘Diseasey,’ ‘The Drwg,’ ‘Copper Kiss’) maintains this

SG Lewis

Xavier Voigt-Hill

Aside from ‘Meant To Be,’ which he sang at the recommendation of Disclosure’s Howard Lawrence, SG Lewis is the only non-vocalist appearing on The List this year. However, his wholehearted synthbased tunes have resonated far beyond the electronic scene, leading to a sold-out KOKO show. With a string of tremendous singers lining up to get on

Will Joseph Cook Xavier Voigt-Hill

It may be over three years since Will Joseph Cook picked up his first mention in The Edge and was finding himself too young to attend the shows he was supporting at, however 2016 saw the 19-year-old’s sound take on livelier instrumentation

VANT

Sophie Trenear

Through a conglomerate sound that can only be described as a blend of The Ramones, Rise Against, and Razorlight, VANT takes inspiration from the sometimes gruelling, always thickly ripe state of affairs in the world that surrounds them. “There is just something about VANT’s mix of hard guitar riffs and edgy vocals that can do no wrong,” said our review of October’s ‘PEACE & LOVE,’ which took

to follow cousin Stormzy towards widespread acclaim. From the outset of ‘Skwod’ and its one-take MOBO-winning video, the reasons why are clear: “Guess who’s back, but you never left / Yes I did, I rose from the dead / And now I’m here to kill them with flows / And some punch lines that’ll go over your head.” fascinating nonchalance, with the latter perfectly exhibiting their niche: dark and bizarre words spun

by Ellie Kamio into Paul Taylor Wade and Simon Milner’s upbeat and bouncy world of high-pitched keys. Their image seamlessly transitions from audio to video, with the apathetic tones extending into Kamio’s acting – never before has someone staring into a camera with vomit rolling down their chin been such a magical and compelling watch. board – Gallant, adored by Elton John and Seal, was a delectable addition to Yours’ ‘Holding Back,’ and recent sessions have taken place with Liv Dawson, RAYE, and RAY BLK, three of the finest vocalists 2017 has to offer – his as-yet-untitled album promises to be an embrace for even the steeliest of years. in partnership with his well-honed songwriting.

For the upcoming album, don’t be surprised to see his lyrical nous whilst veering yet deeper from the delightful standout pair of ‘Girls Like Me’ and ‘Sweet Dreamer’ into his embrace of #stupidlyfunpop. “Pop usually doesn’t hide what it is and that’s refreshing,” he said last May. “If someone calls you a pop act, it’s like being told that you write good songs.” its desperate nostalgic pleas from the aftermath of terror attacks in Paris. Allied with similarly politically conscious outfits with a desire for tangible change, this is a band that could very well save a generation.

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From Björk to Bush: Music’s greatest eccentrics ALEX SMITH Describing music or a purveyor of it as surreal isn’t always flattering. In the case that the approach falters, songs can sound odd and out of place, however when deliberate moves in more daring directions do work out, some of the most fantastic moments in musical history have appeared.

For an idea of such things, you need not look further than David Bowie. As was abundantly clear with his character-based work as Ziggy Stardust and Major Tom, there has always been some unknown and almost bizarre quality. His voice’s eerie screech carved a different dimension to transport you to his faroff land – the music video for ‘Ashes To Ashes’ will always stand out in my mind, with the outlandish clothing and colours backed by an amazingly dry and bouncy beat. The character even made a comeback in 2016’s farewell Blackstar, voted by The Edge’s writers as their favourite album of 2016.

Kate Bush, who returned in 2011 with 50 Words For Snow, was similarly reclusive – famously, she didn’t tour between 1979 and a 22-date residency at London’s Eventim Apollo in 2014. Looking back to that intermediary period reveals fantastical clouds of sound (‘Wuthering Heights,’ ‘The Big Sky,’ ‘Babooshka’) that show off a mix of different genres and some very niche subjects, realised impeccably with her stunning highpitched vocals. Björk too became a staple throughout the 1990s, with a wide variety of hit singles experimenting beyond her early Icelandic punk project Tappi Tíkarrass. Whilst less surreal, per se, the superb

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‘Iltí Ební’ has explosions of electric guitar and shouted and screamed vocals that later evolved into some of her most well-known works with The Sugarcubes and as a solo artist. It is a struggle to identify two songs as sounding similar – the iconic ‘It’s Oh So Quiet’ melds tones from her punk routes to the song’s big band origins with her unique voice; ‘Army Of Me’ crafting a mind-numbing combination of bass and synths to bring together an indescribable supernatural techno fusion.

The so-called art pop genre championed by the likes of Bowie and Björk (and revived more recently, at least in name, by Lady Gaga) has been utilised many times in the past. Just take a look at Grace Jones’ Island Life or Roxy Music’s Avalon, and this style is still popular in the present day – however the surreal doesn’t necessarily stick to this. German giants Kraftwerk deployed a unique business-like style, yet their trailblazing electronic sounds pulled them into the mainstream, and to this day Sonic Youth take these mystical notions into the heavier end of the rock spectrum.

One of the biggest draws to the surreal side of music is the wonder caused by their outlandish style – Grace Jones isn’t a good enough singer to have sold three platinum selling albums and, perhaps more controversially, it can easily be said that Bowie never had strong enough vocals for the superstardom he has received. Yet, his legacy stands true as proof that the most outlandish artists can, by combining aural artistry with a mastery of aesthetics and concepts, become revered as some of the greatest the world has ever seen.

FILM

REVIEW:

assassin's creed DAVID MITCHELL-BAKER

Despite a wane in popularity, both critical and commercial, over the last few years Assassin’s Creed has rapidly become one of the most successful video game franchises of the 21st century, so a film seemed inevitable. Telling a separate story from what we’ve had on consoles thus far, the big screen counterpart of Ubisoft’s franchise sees Callum Lynch (Michael Fassbender), taken by the mysterious company Abstergo, headed up by the father-daughter combo of Sophia (Marion Cotillard) and Alan Rikkin (Jeremy Irons), who seek to access Callum’s past through a machine known as the Animus.

I choose the word frustrating to describe this film, because for every moment of brilliance and every big and bold idea put forward, the film seems to grind its momentum to a screeching halt. One of the consistent high points however, is the quality of the lead performances, with Fassbender in particular committing to the role both in a dramatic sense and in a physical way. Cotillard doesn’t have all too much to challenge an actress of her talents but still provides a solid performance. And Jeremy Irons is... well, Jeremy Irons in a very Jeremy Irons role, perfectly cast for such a role and he plays his character just as he should do.

The film is also very impressive from a visual sense with some fantastic cinematography and action sequences, the scenes set within the animus are very well executed and capture the sets, costumes, props and overall tone and atmosphere of 15th century Spain to great success. And what a thrill our time spent with the assassins is! These parts of the movie are undoubtedly the highlights.

The action and choreography

Rather ironically, there are problems similar to the games in terms of story. Admittedly the film has a lot of heavy lifting to do in order to set up Abstergo, the Assassins, the Templars, the Animus, Callum and the Rikkins, so in order to do this a lot of time is spent in the meandering environment of Abstergo with as much exposition and information being thrown at us, in a bid to inform the non-gamers among the audience.

Where the Spanish inquisition is exciting and entertaining, the modern-day is clunky and lethargic, throwing off the film’s pacing and momentum.

A few characters feel rather inconsequential and irrelevant given their roles in the film and there a couple of logic problems and plot holes .

A rather bombastic and action packed final act closes out the story nicely, forcefully pulling us out of the lethargy and tediousness of the middle portion of the film to leave us on a high. But the fact that it has to do this is clearly an issue.

Assassin’s Creed is far from the train wreck that most critics would have you believe, but it is a classic case of a potentially great movie wallowing away in just ‘good’ territory. The texture is there, but the taste leaves a lot to be desired.

is fantastic and they are exhilarating experiences.

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ACTOR IN FOCUS:

WINONA RYDER ANNEKA HONEYBALL

Throughout the 80s and 90s, Winona Ryder was the ultimate figure of youth. With her fresh, porcelain face and dark protruding features, she captured and exemplified the essence of what it meant to be a teen - young and conflicted - time and time again. In a number of her most acclaimed films, she perfectly narrated the thoughts and feelings of that universal age in which passion and anguish collide together to inspire a myriad of problems.

Ryder’s acting career began in 1986 when director David Seltzer cast her in his coming of age film, Lucas. Her performance in that film attracted the attention of Tim Burton, who later cast her in Beetlejuice in 1988. This dark wacky comedy marked Ryder’s mainstream breakthrough as critics and audiences alike praised her performance as Lydia Deetz - a melancholy goth teenager whose family is haunted by the former residents of their new home.

In 1989, Ryder starred in the black comedy, Heathers.

Starring opposite Christian Slater, She played the role of Veronica Sawyer - a popular high school student who becomes disillusioned with her clique of friends and finds herself embroiled in the murderous solutions of her dangerous new boyfriend. Though the film was a box office flop, it garnered a mammoth cult following and lead The Washington Post to call Ryder “Hollywood’s most impressive ingénue.”

In 1993, Ryder played May Welland in Martin Scorsese’s adaptation of The Age of Innocence, winning her the Golden Globe for Best Supporting Actress.

Ryder followed this with a role in Gillian Armstrong’s Little Women, in which she played Josephine “Jo” March. For this confident, sparky performance, she earned her second Academy Award nomination.

In 1999, Ryder executive produced and starred in one of her best films, Girl, Interrupted. Based on the autobiography of Susanna Kaysen, the film follows the story of a young writer with borderline personality disorder who is admitted to an all-female psychiatric hospital. Deeply attached to the film, Ryder offered a powerful and frenetic performance as Kaysen. In 2000, she received her own star on the Hollywood Walk of Fame.

In recent years, Ryder has had parts in films such as Star Trek (2009), Black Swan (2010), The Dilemma (2011) and Frankenweenie (2012). Most recently, she appeared in The Duffer Brothers’ hugely successful N e t f l i x series, Stranger Things as Joyce Byers, receiving a Golden Globe nomination for her performance.

As her rising star continued to soar, Ryder worked with Burton once again on his 1990 fantasy, Edward Scissorhands. Aged 18, Ryder starred as the romantic interest alongside her then-boyfriend Johnny Depp, who played the eponymous outcast.

In the same year, she also appeared in the comedydrama Mermaids, in which she played the role of Cher’s repressed daughter. For this performance, she received her first Golden Globe nomination.

In the early 1990s, Ryder started to move away from the alienated teenager roles that had catapulted her into stardom, electing instead to take on more traditional, period roles. In 1991, Ryder appeared in Francis Ford Coppola’s gothic romance Dracula, as Mina Harker/Elisabeta. She brought the script to Coppola’s attention as a peace offering following her late withdrawal from the role of Mary Corleone in The Godfather: Part III.

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CULT CLASSICS:

DONNIE DARKO LIAM BEAZLEY

Do you believe in time travel? If you did, you may choose to step through a portal and back 15 years to the December of 2001 when Donnie Darko was first released to witness the genesis of the cult legacy which the film possesses to this day. A whole decade and a half later the enigma that is Donnie Darko continues to puzzle audiences and its macabre, surrealist brilliance remains as prevalent as ever.

Without the benefit of streaming services or digital downloads, the nature of independent film distribution was very different at the dawn of the new millennium.

Donnie Darko was released directly onto home video with very little marketing particularly in mainstream circles. The home video release was limited and the film became the subject of rumour and myth, being discussed in cafes by angsty art students and film buffs as a hidden melancholic fantasy gem.

Anyone lucky enough to get their hands on a copy would have been the envy of every teenager with dyed black hair and a retro vinyl collection. Quickly the hype caught on and the film became an icon of cult cinema, spawning a director’s cut theatrical rerelease in 2004, multiple successful special-edition DVD releases and a re-mastered version being released into cinemas for its 15th anniversary in 2016.

The film itself is nothing short of a masterpiece.

Its balance of haunting, psychedelic visuals, highschool drama, teenage romance and complex, timebending narrative are perfectly orchestrated to

create a psychological experience which manifests itself in the viewer long after the credits roll. To say Donnie Darko approaches the most elaborate of themes, commenting on love, fear, control, fate and existentialism to name just a few, would only be scratching the surface of its overwhelming depth.

Featuring the plot of a disturbed teenager who is saved from death by a giant bunny named Frank, resulting in the impending apocalypse, it is fair to say that Donnie Darko is a film in a category of its own. The feeling which the film emotes is one almost impossible to describe. It’s almost as if, like Donnie himself, you have just awoken from a dream or transported from a parallel universe. This derives from its surrealist style and nightmarish aesthetic which also provides some of cinema’s most chilling moments, and creates imagery unique to anything else in film which lingers on the mind of the viewer.

To this day, Donnie Darko has sustained its cult iconography, with many still dressing as Frank the Bunny at Halloween parties and fancy dress events, posters still covering the walls of film loving youths and a remaining excitement for its re-release into cinemas. So, now as much as ever, it is important to pull on our man suits, step into the portal and relive the 28 days, 6 hours, 42 minutes and 12 seconds before the world ends. And with it looking unlikely that Donnie Darko’s legacy of cult surrealist perfection will ever fade, we can breathe a sigh of relief.

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The Surreal And Fantastic: My Neighbour Totoro

Is there anything that can even be considered more beautiful than Hayao Miyazaki’s My Neighbour Totoro? Consider each aspect of one of Studio Ghibli’s most prominent films separately and you have beauty at its finest. Join them all together, and you have art. It’s a film that allows surrealism, imagination and ambiguity to run freely through its veins, aspects which marry together expertly at the film’s midpoint. As Satsuki and Mei are woken from a hot sleep, they spot Totoro and his two smaller spirits engaged in a ceremonial dance around seeds they had planted a few days earlier. Running out to join them, the tree begins to grow, giant and magnificent and infinite, pooling into the sky’s boundlessness, and the girls hop onto Totoro’s back to spend the night flying over the twilight sky. And whilst its visuals amaze, it’s really the scene’s rich score which cements it into the most surreal, and the most beautiful, scenes of cinematic history.

Words by Sophie Trenear

The Princess Bride

The Princess Bride will always be one of my favourite films - a feisty fantasy fairytale with a load of genuinely great comedy thrown in, it's an often-quoted classic. By far the best fantasy scene is the duel between Inigo Montoya and Count Rugen. Montoya seeks revenge against the sixfingered man who scarred him and killed his father. He and Rugen meet in a tense stand-off where Inigo finally gets to say the familiar phrase that he has rehearsed his whole life: “My name is Inigo Montoya. You killed my father. Prepare to die”. The evil Rugen severely wounds Inigo and mocks his quest for vengeance, but Inigo recovers his strength, repeating his grim refrain and inflicting the same wounds on Rugen. Rugen begs for his life, but Inigo simply and heartbreakingly replies that he wants his father back and kills him, finally gaining closure.

Words by Eleanor Joyce

The Hobbit: The Desolation of Smaug

Terror. It is a hard thing for film to grasp, where every film has realistic CGI and a bigger and badder villain than the last; we no longer fear what’s behind the screen.

Introducing Smaug, portrayed by Benedict Cumberbatch, this antagonist craves gold, alongside his cruel and sadistic personality he makes a diabolical villain.

In The Hobbit: Desolation of Smaug’s ending scene, Smaug leaves the mountain, and with a monstrous vengeance he takes to the sky to reap chaos on Lake-town.

Smaug becomes a true monster, a merciless black figure in the sky with the capability to destroy a whole town.

Benedict’s finishing line “I am fire. I Am… Death!” is hair-raising. Followed by a deafening silence as he flies to destruction, it puts the audience on the edge of their seat. For me it was the first time being sat in a cinema and feeling terror.

Words by Fern Bowdery 19

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FILM

BEST ON-SCREEN MOMENTS Pirates of the Caribbean: Dead Man’s Chest

Disney’s Pirates of the Caribbean franchise is one of the most divisive and interesting properties that the famed mouse house has provided us with. Fans of the films rarely agree on the best one and in fact, if you ask anyone who’s watched all three (let’s forget the fourth), you’ll find that their alliances between them are fairly evenly split. Regardless of your preference, there is a scene which undeniably captures everything the series strode for. After a lengthy, jawdropping sequence that sees the Black Pearl battle with The Kraken, Jack Sparrow (played flawlessly by Johnny Depp) faces the consequences of his actions eye to eye…or teeth. Covered in the creature’s goo, he reclaims his iconic hat, brandishes his trusty sword and as Hans Zimmer’s astonishing score swells, our hero invites his doom as he whispers “ello beastie” and plunges into the abyss. Cue goosebumps. To this day, it still grips me like it’s the first time.

Words by Eddy Tesfay

The Chronicles of Narnia: The Lion, the Witch and the Wardrobe

The fantastical world of Narnia captured my heart from the moment the books were first read to me as a child, and this film remains one of my nostalgic favourites. As Lucy pulls the cloth to the floor, revealing the iconic wardrobe, Georgie Henley’s childish smile of awe reaches out to that same curious child in us all. She steps in, leaving the door slightly open (she knew that it is very foolish to shut oneself into any wardrobe) and walks backwards into the snowcovered wonderland we all dreamed of finding as children. Henley had never seen the set before that take, and so we are seeing her first, joyful reaction. As we watch her experience the magic of Narnia for the first time, we can’t help but remember our own feelings when we first discovered the land where it is always winter but never Christmas.

Words by Sophie Jones

Harry Potter and the Philosopher’s Stone

‘Everyone was silent, staring up at the great castle overhead. It towered over them as they sailed nearer and nearer to the cliff on which it stood.’

For two decades J.K. Rowling’s ground-breaking Harry Potter and the Philosopher’s Stone has captivated the imaginations of children (and adults) everywhere and many have dreamed of experiencing Harry’s wondrous world for themselves. Symbolising a gateway between our mundane world and the magical world beyond, millions have waited patiently (and impatiently) for their Hogwarts acceptance letters. Sadly, for many Muggles, Hogwarts was no more than a fantasy until, in 2001, Chris Columbus made our dreams into a reality bringing Harry’s magical world to the screen. Adults and

children alike gawped in awe as Hogwarts was revealed for the first time, making Harry’s arrival at Hogwarts one of the most memorable moments in cinematic history. In the words of Ron Weasley, it certainly was “wicked”.

Words by Laura Woodhouse

THE EDGE IMAGE BY 20TH CENTURY FOX

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IN DEFENCE OF:

BEN NASH I take issue with the notion that this film needs defending. Unless you’re a 13-year-old who can’t function unless you’re doped to the gills on sugar and watching something directed by Michael Bay, you don’t need me to tell you that this film is a masterpiece! But…any excuse to talk about this madcap dystopian nightmare is an excuse I will take!

Ex-Python and insane genius Terry Gilliam invites us into the world of everyman Sam Lowry: a Winston Smith for the modern age. Sam’s life is dominated by official forms, heating ducts and processed food, bullied and emasculated on all sides by pushy waiters, employers and even his own mother. This is a cold world: paperwork and administration reign supreme and the skies are dominated by monolithic office blocks and shopping centres. I would put a ‘just like today’ joke in there somewhere, but the accuracy with which Brazil predicted the future is a little too close for comfort.

Comparisons to George Orwell’s 1984 are inevitable. So it may therefore come as a shock to learn that at the time of writing the screenplay, Gilliam had never read the book: “the knowledge I had was just general knowledge, the stuff you get from college. And then there was the simple fact

that 1984 — the year! — was approaching. So I thought we’ve got to do 1984½.” Instead his inspiration came from the most unlikely of sources: Alice in Wonderland.

Like Carroll, Gilliam - without pausing for breath - goes straight through the looking glass, creating a warped and unrestrained reflection of Orwell’s seminal novel that the author himself might have written had he been on enough acid to topple the Fab Four. Kaleidoscopic wide-angle shots of hideous people in hideous costumes, domineering businessmen and government officials and dream sequences that see a winged Lowry doing battle with monstrous samurai: taking a sledgehammer to any and all notions of structural and for that matter Hollywood industry conventions, Gilliam unleashed his meditation on the world as he saw it his way.

Choosing stars like Jonathan Pryce over the likes of Tom Cruise and other such big names at the time, Gilliam fought long and hard to do his vision justice. He even went toe-to-toe with the President of Universal Pictures whose saccharin vision for the film - dubbed the ‘Love Conquers All’ edit - neutered Gilliam’s artistry and replaced it with traditional Hollywood values. Ultimately though, love did conquer all…just not in the way Universal intended.

This is indeed a love story, only it’s not really one about Lowry and his dream woman. This is Gilliam’s love letter to Lewis Carroll, the trial and the grand tradition of German expressionism. A visceral dissection of this farcically insane era of transcontinental bureaucracy and outrageous consumerism. One that bleeds Kafka and Caligari - an absurdist piece of pure creative expression so beautifully surreal that it can and will never age.

Okay we’ve eschewed typewriters and heating ducts from our lives, but the leviathan of bureaucracy that Gilliam predicted is so perfectly realised that it is only becoming more relevant as time goes by.

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THE EDGE IMAGE BY WALT DISNEY PICTURES

CULTURE CULTURE

AUTHOR IN FOCUS:

TERRY PRATCHETT ELEANOR JOYCE It’s difficult to describe Terry Pratchett to somebody who hasn’t come across him before, but it’s more than likely that you’ve heard his name, even if you haven’t read one of his many, many books. Satirical and downright hysterical, his books are based on a world shaped like a disc (the namesake of his Discworld series), held up by four elephants on the back of a gigantic turtle named Great A’Tuin. Pratchett’s universe takes its inspiration from a bizarre combination of Shakespeare, fairy tales and trends in science, religion and pop culture - whether it’s the rise of the postal service, the birth of rock music, or Hollywood’s humble beginnings, Pratchett has invariably written something about it.

Pratchett’s novels are all parodies to a certain extent, riffing on often controversial themes while liberally coating them in clown makeup. He kick-started the Discworld series in 1983 with The Colour of Magic after a successful career as a journalist, partly influenced by his childhood ambition to be an astronomer.

Like all classic fantasy novels, the Discworld series contains your standard witches, trolls and even Death (WHO LOVES CATS AND ALWAYS SPEAKS IN SMALL CAPS) - but Pratchett uses these colourful characters make you laugh and think in equal measure. Despite being deeply rooted in fantasy tradition, they’re all remarkably human. Pratchett shows a fondness for his characters and their quirks, summing them up in a 2013 Daily Telegraph interview as his ‘peopleare-rather-silly-but-they’re-not-that-bad’ voice.

Pratchett’s world-building is as fascinating as his characters - the main city of Ankh-Morpork is a mirror image of London, evolving from a medieval cesspit to a sophisticated hub of human ingenuity, where people pull things apart and put them back

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together in different ways with alarming abandon.

The Disc is as diverse as it is strange, including the icy Hub, the deserts of Klatch and the more temperate Lancre, with all the physics and whatnot precisely worked out by Pratchett in his Science of Discworld.

His irreverent writing formula simply works, and Pratchett has the knighthood for services to literature to prove it. In 2007, he was diagnosed with a form of early-onset Alzheimer’s Disease, and his later books subsequently became more like soliloquies, never losing their quick-fire wit and keen social commentary.

Upon his death in 2015, we lost one of the world’s sharpest, brightest authors. He blazed a trail in the fantasy and surreal genre that many authors have since followed, and that is what makes surreal fantasy so mind-bendingly brilliant - it’s an amalgamation of ideas and influences that can instantly transport you on a journey to somewhere gloriously implausible while retaining its roots in the real world. Terry Pratchett’s signature style asks you difficult questions along the way, then steals your valuables when you aren’t looking.

CULTURE

WELCOME TO WESTWORLD...

DAVID MITCHELL-BAKER HBO’s new epic venture Westworld has been a bonafide mega hit. Near-network-best ratings, positive critical reception and an enamoured fan base, Westworld has managed to strike all the right chords and rile up anticipation for the show’s future - the mantle of TV’s next king is clearly being slowly phased away from Game of Thrones. There are a number of things that have made Westworld so appealing and addictive: the story, the acting, the writing, the score and soundtrack all make it a great show with many great elements to it. But above all of this, Westworld’s most unique element is that of its epoymous setting, and its inextricable link to the show’s premise.

Westworld is an artificial recreation of the old west, occupied by robot “hosts” who play varying roles and characters to enhance the realism and richness of the theme park world the human guests visit. Some come for leisure, some for entertainment, some for selfindulgence, and some for much darker desires. Whilst life – if you can call it that – goes on in the park, a large creative, technical and business team work behind the scenes to ensure that the park runs according to their stories, routines and plans; because after all, an artificial world has to be monitored and regulated. Westworld is essentially a fourth wall breaking film set inside a TV show. The AI question their existence at times due to manufacturing bugs and errors, and stories can be taken up or interrupted at any time by the morally questionable guests. There’s an element of The Sims to it all, as well as a more immersive virtual reality.

We never venture out of Westworld or its control centre (though we get some glimpses at other possible parks), so our knowledge of the wider society and world of this show is very limited. Is the show taking place in the distant future? The near future? The present?

The past?! The ambiguity of Westworld is its key: the park has multiple layers of conspiracies, secrets and complexities, but so does the wider world. It’s like a Russian doll that requires numerous passwords, codes and keys to access, with doll after doll within to open.

Is there even a world outside of Westworld?

Could society be in some kind of post-apocalyptic or war ravaged state, with the park being a way of escaping such horror? Mistrust, deceit and secrets seem to run deep, and we are yet to truly understand why, but surely this can’t be regular business practice.

Is this confirmation that the show is perhaps taking place in some kind of fatalistic and doomed wider world? What kind of event or occurrence could lead to the creation of Westworld? Is this just a business practice for money or is there a much wider and darker intention at the heart of Westworld? I have no doubt that moving forward, Westworld will continue to push into the surreal and the even more complex; perhaps even to expand beyond the old west...

Westworld airs on Sky Atlantic in the UK, and will return for its second season in 2018.

THE EDGE IMAGE BY HBO

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CULTURE

FANTASTIC & SURREAL Some of The Edge’s writers have come up with what they think are the most fantastical and surreal video games in existence.

Prepare to be amazed and disturbed...

Yume Nikai

Though you’ve almost definitely never heard of this game, in the some corners of the internet, it has inspired a whole new genre. The name Yume Nikki means “Dream Diary” in Japanese, and the game is a surreal exploration game made by Kikiyama, first released in 2004. Made in RPG Maker 2003, this freeware game sports pixel graphics in the tiny resolution of 320x240 and simplistic gameplay with a captivating depth to it.

You play as Madotsuki, a girl of unidentified age who never leaves her room. You can watch TV (that doesn’t pick up any channels), play your console (with one game), or go out to the balcony to look at some fog. Or you can go to sleep. Once Madotsuki is asleep, she finds herself in her room again, but some things are different. And when you try to leave, you actually can, into a room with 12 more doors. Each of those doors leads to a little “world” which branches into more worlds, many of which are connected by gates, doors, teleports or mazes - some leading to dead ends - all filled with surreal imagery and haunting drone loops.

Despite a quest to recover “effects” scattered in the dream world, there is actually very little to do. Yume Nikki has been called an “anti-game” due to the lack of typical “game” elements. There is no dialogue. There is no monologue aside from Madotsuki occasionally saying “No/Impossible” when you try to leave her room or do forbidden actions. There is no explanation. You just walk around, look around, dream.

Colours flash. People ignore you. Eyes watch you. Mazes cause you to get lost. Giant monsters swallow you. A spaceship with a piano-playing alien takes you to Mars.

The main feeling Yume Nikki evokes is a strange sense of dread, and horrible, overarching loneliness. Despite the game having hundreds of NPCs, only a few interact with you in any way. The ones that give you the most attention are terrifying-looking chasers called “Toriningen” (“birdpeople”) who force you to wake yourself up if they catch you. Many maps are huge and looping, which adds to the sense of confusion (one of the main gameplay annoyances). Some of the effects even seem to hint at Madotsuki’s social and mental isolation. Look online and find thousands of theories to this bizarre game’s true meaning, but one thing is clear: gaming doesn’t get any more surreal than this.

Words by Marcus Gorny

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CULTURE

VIDEO GAMES The Binding of Isaac: Rebirth

Rebirth is a recent remake old classic, The Binding of Isaac. The topdown dungeon crawler sees the titular child confront nightmarish creatures whilst descending into his basement, fighting them off with his tears. The twisted lore of the game stemmed from retelling the biblical story of the sacrifice of Isaac, but presented the murderous parent as unhinged and delusional, a woman who ‘hears’ the voice of God within her head. There are plenty of religious jokes within the game, yet creator Edmund McMillen never appears to be genuinely offensive in his distortion (or in some cases simple recreation) of biblical events, objects and characters. He pokes fun of it in a jovial way, rather than a malicious one.

The Isaac series is difficult to write about because initially there seems to be very little to it; you battle through a series of rooms until reaching and defeating a boss, then move on to the next floor until you reach an ending. However, the amount of variation in such a simple idea is staggering, as after hundreds of hours with both games you can still discover new room designs and enemy combinations. There are dozens of bosses to unlock and battle, each requiring a unique strategy to defeat efficiently. Isaac’s mother serves as a final boss, but defeating her on the sixth floor (no small task for a new player) unlocks a further floors and a new final boss. The game is relentlessly addictive for a long time, urging you to try new characters you’ve unlocked or to try and reach a new floor or boss. This wealth of content should keep any player satisfied for far longer than the average game, especially if they are interested in all of the secrets and item unlocks.

Words by Patrick Lee

The Legend of Zelda: Twilight Princess

Twilight Princess was enveloped by waves of critical acclaim on its release, despite only being released for the GameCube and Wii. Though ten years later it’s largely forgotten in favour of new additions to the franchise, it redefined surreal gaming, and changed the very notions of heroism and sacrifice. Following usual central character Link, we are plunged into the dark, threatening world of the Twilight Realm, a parallel dimension hell-bent on enslaving Hyrule. With all other Hylians rendered to mere spirits, the only way Link can save Hyrule is in wolf-form, transformed by the evil King of Twilight Zant.

In wolf-form, skills are learnt and honed through a mysterious spirit, who can similarly transform between wolf and man. The two wolves must howl in tune to each other, whilst the camera pans across incredible, fantastical landscapes and skylines – some of the most breathtaking scenes of the entire game. And whilst there is a clear, rigid structure to the game, the visuals revel within it, almost dreamlike, to define it as something truly spectacular.

The game’s achingly beautiful visuals and score situates Twilight Princess in the realm of the fantastic, with the inventive story arc complemented by the hypnotising beauty. Though it threatens to become forgotten, there’s no chance that it’s surreal beauty will ever be completely overpowered by future instalments of the saga.

Words by Sophie Trenear THE EDGE

IIMAGE BY NINTENDO

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INTRO TO:

A SERIES OF UNFORTUNATE EVENTS ROBERT PRATLEY With the Netflix adaptation having just hit our screens, it seems an apt time to be introduced its source material: the book saga, A Series of Unfortunate Events, written Daniel Handler in the guise of the mysterious ‘Lemony Snicket’. The series has sold over 65 million copies worldwide, and is available in 41 languages, but what exactly is it about?

A Series of Unfortunate Events is a 13 part saga, detailing the lives of the Baudelaire orphans. After the parents of Sunny, Klaus and Violet perish in a mysterious structural arson attack on their home, the children find themselves orphaned and sent off to live with a variety of their obscure, random and, more often than not, mad relations and associates.

They range from a reptile-keeping uncle to a band of carnival freaks, and even villagers obsessed with birds. At the same time, they must constantly try and battle the menacing force that is the nefarious Count Olaf, an eccentric and sinister figure who only desires to gain the Baudelaire’s immense wealth and fortune.

The real success of the series is how it manages to blend tragedy with comedy.

From the outside, the omniscient narrative voice seems to revels in the misery of the Baudelaire children, simply because it is entertaining. The hyperbolic language which frequently describes characters does not paint an accurate representation of any human whatsoever, but moreover is a caricature of ironic and clever stereotyping, with just the right hint of comic absurdity.

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The saga is very clever in how it encourages readers to consider how far they would be willing to go to survive.

In this anachronistic and timeless world, the Baudelaires’ invention and intellect serve as much greater weapons than brute force. Handler enjoys creating his own words and translations, whether that be creating ‘baby talk’ for Sunny, or a ridiculous insult for one of the terrible guardians – my personal favourite is Carmelita Spats’ “cakesniffers”. It has the right level of humour to cause you to smile, without trivialising the narrative.

Although the 13 main novels which make up the series are not particularly difficult reads, nor very long (usually around 200-300 pages), reading the series with an older mindset allows one to spot many more allusions and complex intellectual humour interwoven by its fictional compiler Lemony Snicket. From the Bad Beginning all the way through to The End, A Series of Unfortunate Events is a rarity in that it keeps you guessing and page-turning all the way to the finish.

With the colourful ensemble of characters who range from the sublime to the ridiculous and a complex yet well-developed plot which underpins the narrative, it is well worth a look, even just for a casual read. Just one look at the self-deprecating, ironically ambiguous blurbs, which urge you not to read the books for fear of disappointment or traumatisation, is entertaining in its own right.

A Series of Unfortunate Events is published by Harper Collins in the UK. Its latest TV adaptation can be watched on Netflix.

THE EDGE IMAGE BY NETFLIX

LIVE

vTHE MOST SURREAL During their Glasgow show supporting Biffy Clyro, I somehow managed to hold hands with Pete Wentz.

They usually end with ‘Saturday’ and during the last chorus, Pete dives into the crowd. Having seen them five times and never been in the right place at the right time, any interaction with the boys seemed like a lost hope. I’d already made frontman Patrick Stump giggle mid-song, caught a plectrum, and somehow managed to get to the front of a gig. But being the only crazy Fall Out Boy fan at a Biffy gig, I lucked-out.

He grasped my hand for nearly the entire chorus and came close to my face, screaming the lyrics to ‘Saturday’ as I screamed them breathlessly back. Sweating and shaking, with the most surreal moment of my life already cemented behind me, it’s safe to say that that night snoring roommates were markedly less of a concern.

Words by Sophie Trenear Somehow, the colourful, chaotic evening became more and more unpredictable as it progressed. The audience were welcomed to a seemingly endless playlist of songs by Fielding and his mates which created the kaleidoscopic/alien vibes expected of one of his shows. The night continued in a disjointed fashion, flitting from side-splitting stand-up to Fielding sitting down, opening a book, and telling a story of the plasticine Joey Ramone. It was after the interval, when Fielding came onstage as New York Cop announcing that Noel had been kidnapped, that I wondered whether I was in fact dreaming or at least hallucinating.

All The Mighty Boosh fans’ dreams became realities with appearances from Mike Fielding and Tom Meeten who boggled the audience’s minds, whilst dressed in drag and as a triangle with a ‘toblerboner’ respectively. This night was an overstimulation of the senses, and thus one which is impossible to forget.

Words by Naomi Graves There are three types of people who turn up to gigs in time for the moment the doors open: the manic superfan who has camped for hours to sprint for a spot where their idols’ sweaty performance attire is within arm’s reach, the naïve newcomer who thinks these things will begin imminently, and the distant traveller whose train happened to run relatively on time for once. As Jack Garratt closed his tour with a Brighton Dome show, my residence in the latter camp ensured I had the entire upper circle to myself as Seramic opened the evening with shockingly harsh guitar-wielding.

Eventually the set eased into a more comfortable funk with ‘People Say’, however the lingering moment came with one simple interruption of his incessant nervous enquiries as to how we were doing IN BRIGHTON: “Prawn cocktail, smoky bacon, or beef and onion?”

I should probably go to weirder gigs.

Words by Xavier Voigt-Hill

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MOMENTS AT A GIG During December 2013, I saw The Darkness in their hometown Lowestoft, for the 10th anniversary of their first album. In addition of meeting the bass guitarist (Frankie Poullain) at the hotel’s breakfast, I was lucky to see Justin Hawkins hanging from the roof, as if he was a bat. I remember perfectly the worried look on the face of his fellow musicians on stage, people all around me taking their phones out to take pictures of this bat-like imitation. Hawkins is well-known for his weird ideas on stage, and that one was the most bizarre of all their live gigs I went to. Plus, while playing my favourite song ‘Friday Night’, Justin literally pointed at me while singing “Dancing on a Friday With You”. I didn’t faint, I promise!

Words by Lisa Veiber When it comes to live performances, it doesn’t get more surreal than a Coldplay concert. All too often even our most favourite bands will not live up to our expectations when we see them live, but Coldplay are different. Our favourite songs played live in a massive stadium concert is everything you’d expect it to be. At the 2012 Mylo Xyloto tour, the Emirates Stadium in London was doused with colour, from multi-coloured confetti, beaming lazers, vibrant graffiti, and of course, the light-up Xylo bands. Hearing Coldplay’s hits in this flamboyant and bright setting was pretty surreal, but perfectly reflected the music. And just to make things a little more surreal, I somehow managed to hold a front row spot against the barrier for the duration of the gig, which earned me a “You alright?” and a head nod from Chris Martin himself. I was not alright.

Words by Hollie Geraghty

Noel Gallagher, the one from that band you may have heard of, playing at Brixton Academy to a crowd that appreciated great music like nothing I’ve seen before and is almost impossible to top stands out for me. Nowadays with his High Flying Birds band, ‘The Chief ’ has lost none of his incredible live talent, and continues to give shows of the highest quality, even though the Oasis days are long behind.

Such is his standing as one of the greatest british songwriters, he nonchalantly introduced a couple of special guests that would’ve effortlessly headlined their own Brixton show for a number of years now. Playing ‘Champagne Supernova’ with Johnny Marr (The Smiths), and a couple of The Jam classics with the legendary Paul Weller (Noel’s neighbour none-the-less) emphasised the level that Gallagher has sustained over the last 25 years. Hearing ‘Wonderwall’ and ‘Don’t Look Back In Anger’, along with a few rare Oasis b-sides, accompanied with his new material resulted in a surreal live show for any music fan. Moments like this make me think someone as talented as Noel Gallagher can say whatever the hell he likes in the press, such is his standing in global music.

Words by Marcus Bridgland

THE EDGE IMAGE BY COLDPLAY

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LIVE

ARTIST IN FOCUS:

sia

REHANA NURMAHI Australian born artist Sia Furler, more commonly known just as Sia, has been a shining light in the pop scene in the last few years. Having become synonymous with large wigs and powerful pop music, her last two albums, 1000 Forms of Fear and This is Acting have both taken the world by storm. However, these recent albums are just the latest chapter in a long career, which began locally in her hometown of Adelaide in the 90s.

Starting off in an Acid Jazz band called Crisp, she soon moved on and released her debut album Only See, in 1997. The album didn’t take off in the way she had hoped, selling only 1,200 copies. Moving to London following her boyfriend Dan Pontifex, she began to establish a life for herself, and a career for herself in the UK. She sang vocals for the band Zero 7, and remained with them during the production and subsequent tours of their first three albums. Signing to a sub label of Sony Music in 2000, she released her second solo album Healing is Difficult in 2001. The album dealt with the death of Pontifex, who had died in a car crash a few months into Sia’s time in the UK. This began what is still seen now in Sia’s music, which is a real vulnerability, and honesty about difficulties in her life- the rawness of her voice portraying this in an intoxicating way.

Between the years 2004-2010, she released three more studio albums, Colour the Small One, Some People Have Real Problems, and We Are Born, as well as a live album, Lady Croissant. We Are Born was met with great approval in Australia, and it heightened Sia’s success significantly.

However, with that success came more pressure, and as

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she struggled with depression. This is when she also began to wear wigs when performing, desperate for some sort of privacy. Her physical health was also deteriorating when she was diagnosed with Graves disease. The collaborative weight of all these factors meant that Sia considered permanent retirement. Instead, she chose to step back, and focus her talents on v for other artists.

She intended to remain out of the spotlight and to work behind the scenes as a songwriter, but this period out of the limelight did not last long. In 2011, her name went global when David Guetta used her initial demo vocals on his single ‘Titanium’, and the world fell in love with her voice. Although reluctant to return to the industry as a pop artist in her own right, off the success of the song she decided to start again- thus beginning the current reign of Sia. Through her emotional and often dark lyrics, combined with her raspy voice, Sia has something of an otherworldly quality about her; only heightened by her avoidance of the spotlight. Through performances and music video concepts, she has managed to strengthen that connection between her music and the surreal.

Often featuring teen dancer Maddie Ziegler sporting Sia’s infamous bobbed hair, both on video and on stage, the choreography by Ryan Heffington has turned the experience of Sia’s music into something altogether visceral and fascinating.

Her latest album, This is Acting, made it on The Edge’s Top Albums of 2016 list, coming in at no. 10.

THE EDGE IMAGE BY GETTY IMAGES

LIVE

COMEDIAN IN FOCUS:

tim minchin ABI CUTLER Australian comedian, composer, actor, musician and all-round talented artist Tim Minchin is, of course, most renowned for his flawless eyeliner. Hailing from Perth, Australia, Minchin first appeared on the comedy circuit with his solo show ‘Navel – Cerebral Melodies with Umbilical Chords’ in 2003.

An adept piano player himself, Minchin appeared in the show with a bass player and a drummer, and has since gone on to appear with several bands and even symphony orchestras as he performs his stand-up.

It is Minchin’s musical genius that marks him out from the rest of the crowd. One of the trademark features of his satirical style of comedy are his famous beat poems, which capture his dry, witty humour alongside a fitting melody, played either by Minchin himself on piano, or by a band or orchestra.

A popular example of these is ‘Storm’: his 2008 poem about a free-thinking, homeopathy-condoning woman, based on events from a real dinner party.

‘Storm’ quickly became a hit on Minchin’s twoyear tour, ‘Ready for This?’, prompting an animated movie version in 2011, which has since become a YouTube hit, and garnered over four million views, and the graphic novel that followed in 2014.

with many other awards. Minchin soon found his next project, having recently been the composerlyricist for his newest musical, an adaptation of the 1993 film Groundhog Day, at the Old Vic in London, which is set to transfer to New York this year.

It is undoubtedly Minchin’s quirks that make him stand out in the comedy scene, with his extravagant looks and his critical observations on the world around him. However, I find it is also these quirks which have found him success elsewhere.

Certainly in Matilda, which has become a worldwide phenomenon, the music brings across the wackiness of Roald Dahl’s novel whilst remaining equally heartfelt and engaging, something which would have made Dahl very happy. In a world which often feels full of the ordinary, I, for one, am grateful to Tim Minchin for showing us that weird is wonderful.

Minchin’s success does not just lie in comedy; he has also achieved great things in the theatre world as well. As an actor, he has appeared in several prominent roles, most recently as Judas in the 2012/13 arena production of Jesus Christ Superstar.

But it is as a composer and a lyricist that Minchin has found incredible success. In 2010, he wrote the music and lyrics for the Royal Shakespeare Company’s global smash hit Matilda the Musical, which has since played in the West End and on Broadway, as well as touring Australia and the US. The critically-acclaimed musical won 7 Olivier awards, including Best Musical, and 4 Tonys, along

THE EDGE IMAGE BY THE OBSERVER

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