Welcome Welcome to the Freshers’ Edition, and first print issue of the academic year of The Edge! It’s been a long summer preparing for this, and through blood, sweat and tears we have arrived at this (now, very glossy) magazine. With a new, keen as ever, bright eyed committee and new leadership (eeek), this year is looking to be the best yet. We have a fantastic new layout making The Edge look bigger and better than ever. I, for one, am very excited about the future of our magazine. For those of you that have just joined the University of Southampton, welcome! You are in for the best three years of your life, and one thing you should definitely not miss out on doing is writing for The Edge. Every year we look for new writers to join our fantastic team and now is your chance! (See opposite page). You’re probably wondering ‘But what the hell is The Edge?!’ Well I’ll tell you. The Edge is the student union’s very own entertainment magazine. Here at The Edge we work extremely hard to secure opportunities for writers. For example we acquire interviews with artists, press passes to the biggest festivals, gigs, and film premieres. This summer alone we have been to V Festival, Redfest and Blissfields amongst many others, as well as attending the premieres of The Lone Ranger and You’re Next (including a Q&A with Johnny Depp himself). Thank you for picking up the first issue of this academic year, we look forward to providing you with the best entertainment news, interviews and reviews on campus. In this issue we have reviews of the latest album releases including, our cover story, the brand new Arctic Monkeys album, AM. Here’s to the best year The Edge has ever seen. Megan Downing, Editor.
Editor Megan Downing
editor@theedgesusu.co.uk Deputy Editor Howell Davies deputy-editor@ theedgesusu.co.uk
Film Editor Barnaby Walter film@theedgesusu. co.uk
News Editor Hannah Mylrea online@theedgesusu. co.uk
Records Editor Jan Kobal records@theedgesusu.co.uk
Culture Editor Rebecca James culture@theedgesusu.co.uk
Online Manager Matthew Higgins manager@theedgesusu.co.uk
Features Editor Cat Olley features@theedgesusu.co.uk
Live Editor Grace Pattle live@theedgesusu. co.uk
Head of Design Claire Joines design@theedgesusu. co.uk
01 |Welcome
The Edge | editor@theedgesusu.co.uk
Head of Relations Andrew Ovenden relations@theedgesusu.co.uk Head of Publicity Bronwyn Scotlandpublicity@theedgesusu.co.uk Editor In Chief David Martin vpcomms@susu.org
Join
us! “The Edge has helped me vastly improve my writing skills over the past year. My ideas for articles have always been received with enthusiasm and constructive criticism. It’s an entirely pressure-free environment for people to write about the music/films/etc they love, so I’d definitely recommend it to everybody!” Hannah Mylrea, News Editor
“Throughout my short time at The Edge I have been able to achieve things I never imagined I’d be able to do, such as gaining press access to festivals and interviewing bands backstage in their tour bus. The Edge provides a chance to develop your writing skills amongst a team of passionate and enthusiastic people. The best part is, it’s completely up to you how many articles you write so you can fit it around your schedule” Grace Pattle Live Editor
D
o you want to have the opportunity for your writing to be published? Do you want to interview bands and artists? How about gaining press access to some of the biggest shows and festivals? Look no further; The Edge is the place for you. You don’t have to be studying English Literature to get involved with us, we welcome students from across the university, whether you are a first year or currently going into your PHD year, if you have a passion for entertainment journalism then we want you on board. We have six sections requiring content: film, records, live, features, news and culture. Whether you are into writing reviews of new album releases or reminiscing about those old films you used to adore, we have a section for it. Over the past two years The Edge has managed to develop a good reputation in the student journalism sphere by offering some amazing opportunities to writers. For example, we have been to V Festival, Bestival, Blissfields, Reading and Leeds, Strummer of Love and Redfest among many others all through the means of producing content for each festival. We have interviewed Alt-J, Bastille, Conor Maynard, Carey Mulligan, The Vaccines and many more! The Edge is a great opportunity to boost your CV, especially if you are looking to pursue a career in journalism in the future. You can start to build up a professional portfolio of your articles to show to future employers, and it’s so much fun!
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Edge | editor@theedgesusu.co.uk The Edge | The culture@theedgesusu.co.uk
/theedgesusu @theedgesusu CultureJoin | 01 Us| 02
Contents Welcome
Join Us
p. 1
p. 2
Records Album Reviews London Grammar - If You Wait Julia Holter - Loud City Song The 1975 - The 1975 Arctic Monkeys - AM
p. 4 p. 5 p. 6 p. 7
Single Reviews Forest Swords -‘The Weight of Gold’ p. 8 Banks - ‘Waiting Game’ p. 8 Conor Maynard - ‘R U Crazy’ p. 8
Features
Cinema Reviews Any Day Now, Pain and Gain About Time Upstream Colour
p. 15 p. 16 p. 17 p. 17
DVD and Blu-Ray Reviews Plein Soleil Iron Man 3 Fast & Furious 6
p. 18 p. 18 p. 18
Culture Theatre Review: Phantom of the Opera p. 21 Review: Henry VI Parts 1, 2 & 3, p. 23 Interview: Dianne Pilkington from Mamma Mia, p. 22 Television Breaking Bad: The Beginning Of The End p. 25
Live
Edinburgh Festival Fringe Diary Interview: The Fratellis Southampton Venues Guide The Curse of Cancellation
03 | Contents
Film
v
p. 9 p. 10 p. 11-12 p. 14
Preview: Wheatus at Roxx (12/10/13) p. 26 Gabrielle Aplin at O2 Academy, Bournemouth (12/11/2013) p. 27 5 Acts You May Have Missed At Reading Festival 2013 p. 28 The Big Feastival p. 29 Listings p. 30
The Edge | editor@theedgesusu.co.uk
Culture | 01
and style are distinctive to Reid in her own right. With some albums, it’s the singles that stand out as the strongest tracks, and although ‘Wasting My Young Years’, ‘Metal and Dust’ and current single ‘Strong’ are all stunning, they don’t command the attention of the record; each track is an entity in itself. ‘Sights’ is an outstanding track, with emotive, lyrics, that are only added to by Reid’s rich vocals. Nightcall’ features simplistic piano playing throughout, which is a change from their stylistically synthy instrumentation. Nevertheless, the ‘drop’ when they do use the synths is sublime.
london grammarw‘Flickers’ If You Wait (metal & dust)
S
Words by Hannah Mylrea
tarting with their first single, the glorious ‘Hey Now’, you instantly get a sense of what a special album this is. With Hannah Reid’s powerful voice totally commanding the listener from the first cry of ‘hey now’; her strong, brooding vocals soaring over the quiet jittery guitars and soft drumbeats, it proves that you don’t have to be loud and flamboyant to be completely captivating. Reid’s vocals are consistently striking throughout, and this is added to by her open and raw lyrics. Her voice has been compared to everybody from Adele to Florence Welch; but her resonant sound is unique. The comparisons are probably due to the fact it’s such a strong female voice, and although there are technical similarities, the tone
features syncopated drum rhythms that lends the track a frantic feel, which fits with the songs lyrics. A slightly different style for the band, yet still an amazing result. It’s a true festival song which will have - no doubt - gone down a treat over the summer. Album namesake ‘If You Wait’, is completely entrancing. Reid’s vocals are hypnotising, soaring above the instruments with complete fluidity and control. The use of strings just add to the power behind the song, and as the track fades out you’re left wanting more. Throughout, the album only gets stronger and stronger, and there truly isn’t a bad track on the record. It’s totally gorgeous, and one of those rare albums that you just want to sit and listen to. Put this on as background music and you’ll stop what you’re doing, it’s that powerful. With an offering like this London Grammar should prepare themselves, as they’ve got quite the journey ahead of them.
The Edge | records@theedgesusu.co.uk
Records | 04
Julia Holter Loud City Song (DOMINO)
Words by Jan Kobal
I
became captivated by the beautiful Julia Holter upon hearing ‘Moni Mon Amie’, a poignant piece of music from her sophomore effort Ekstasis. I perused her back catalogue to discover a multi-instrumentalist with a tendency to craft meticulously mesmerising music. Music that seemed ethereal, bereft of any significant percussive presence, and peppered with seeming choral dissonance. It has been roughly a year since my encounter with the bedroom artist and now she has collaborated with an ensemble to produce the iconoclastic Loud City Song. The most striking aspect of this LP is that, although retaining its celestial atmosphere, it is driven by an everpresent rhythm. This pattern of pulse finds itself manifest in the timbre of the double bass, the awkward time shifts of her vocal pieces, or (most obviously) in the surprisingly present percussion. A track that embodies the very spirit I’ve just described is ‘This is a True Heart’. The instrumentation makes her voice elusive, yet almost caustically inviting. It opens rather listlessly and spasmodically but quickly finds purpose as a timeless noir concomitant. The ensemble takes form most prominently here and douses us in velvety saxophone, guitar, and strings to a cathartic degree. The increasingly elaborate instrumentation
05 | Records
has not made her lose her sense of dynamic placement however. Her prior work is checkered with sudden shifts in pitch and direction, often breathtaking in scope. Such joyful experimentation is present on ‘Loud City Song’ as well, only that now not only is dissonance a plaything, so is gratuitous din. This is most evident on tracks such as ‘Maxim’s II’, as the ensemble swells and waxes, her voice wanes and retreats, building to an odd anticlimax. Seemingly recoiled, she recoups as the track builds into an intoxicated cadence of string, brass, and percussion. It is dangerous to approach this album with any preconceptions; Julia tends to construct a piece of music as a composer would. She allows each element the space to breathe in her airy atmosphere and they repay her in kind. The first part of her ‘Maxim’s’ opus accentuates this idea. The track is about the rather bizarre feeling of being scrutinised for seeming as if you’ve something to hide and the languidly major key progression somewhat quizzically (yet appropriately) juxtaposes this. It is this effect of dovetailing live instrumentation in concert with her voice that both perplexes and endears the album to me. My only gripe is that even though these new experimentations are astonishingly good, they are too far in between an album that still contains tracks seeing her voice occupy space for 4 minutes.’
The Edge | records@theedgesusu.co.uk
The 1975 the 1975 (polydor)
Words by Alex Meehan
W
ith their liberal use of synths, electro and Matt Healy’s high tenor voice, The 1975 sound like the lovechild of the late 1980’s and early 1990’s. The regular release of singles such as ‘Chocolate’ and ‘The City’ have pushed the band into serious popularity. Yet, rather than proving that The 1975 possess the ability to craft a brilliant single and album, their debut supports only one of the mentioned formats. Opening with a brief instrumental intro, the album plunges into ‘The City’; a resounding, twisting synth and percussion-heavy blinder which leaves behind a notable impression. Then ‘Chocolate’ rushes in and declares outright to be the best song on the record, with its catchy chorus and ingeniously chirpy riff. Finally ‘Sex’ arrives, with the guitar and angst heavy track venturing into the emotional minefield of young relationships; the lyric ‘she’s got a boyfriend anyway’ oozing many a sleepless night and restless brood. As the only song amongst the first five (aside from the intro) to not be a single, ‘M.O.N.E.Y’ still manages to hold its own, with a distinctly RnB feel to its steady beat. Yet after
‘Sex’ the whole record seems to drift along with similar sounds that have very little impact in comparison to what came before, and the brutal truth is that, as a debut, the record is far too long. There were several moments whilst listening when the thought ‘This song doesn’t need to be here’ entered my mind, particularly during brief slow-downs like ‘An Encounter’. This felt as if they were washing away the beginning’s vibrancy. Other songs simply irritated me, with ‘Talk!’ overwhelming you with an undue amount of elements clashing until they become incoherent. Aside from ‘Settle-down’; a bouncy and intricate guitar infused tune, and ‘Menswear’; an unusual track which transitions into an upbeat and husky piece, the majority of the album is forgettable. Perhaps their recent single successes convinced them that a sixteen track debut was an attainable goal. Maybe it was just unwise to place their best material all in one go at the start, but my instincts tell me that cutting out a large number of those weak songs may have given me cause to be more forgiving.
The Edge | records@theedgesusu.co.uk
Records | 06
ARCTIC MONKEYS am (DOMINO) Words by Jamie Barker
A
M, the fifth album from Sheffield band the Arctic Monkeys continues their journey from indie upstarts into a fully fledged rock ‘n’ roll band. Opening on the swaggerfilled singles ‘Do I Wanna Know’ and ‘R U Mine’ the record has a distinctive style, with notable influences from the Black Keys in ‘Arabella’ and Queens of the Stone Age. Alex Turner recently described AM as ‘sexy, after midnight music’ and this is certainly an apt description.. That said, the album is broken up into different shades of this ‘after midnight music’ style. ‘No. 1 Party Anthem’ and ‘Mad Sounds’ are reminiscent of early songs ‘Mardy Bum’ and ‘Fluorescent Adolescent’, slowing the album down at its midpoint but retaining the new found bravado of the band. After these two tracks, which are a welcome change of pace, the second half of the record sees a return to the swagger of the first half. ‘Fireside’ quickly ramps up the pace and this momentum is kept throughout ‘Why’d You Only Call Me When You’re High?’ and ‘Snap Out of It’. The latter of these songs provides a reminder that the embracing of American Rock ‘n’ Roll was
07 | Records
touched upon in previous record Suck It and See. ‘Knee Socks’ features Josh Homme briefly (he also appears in ‘One for the Road’ earlier in the album) to great effect. It also has the strongest hook in the album, provided by some stunning work from Cook and Turner. Final track ‘I Wanna Be Yours’ ends the album a little suddenly, but is another strong ender along with ‘A Certain Romance’ and ‘505’, even if it is entirely different in style. The album is a fantastic blend of American rock with the distinctive British indie that the Arctic Monkeys first became famed for. The album shows that, undoubtedly, Matt Helders is an impressively talented drummer and vocalist. He and Turner provide the spine to the album itself. As with every other Arctic Monkeys album Turner’s lyrics are obscure but focus on relatable issues. AM really does show that the teenagers from Sheffield have matured as musicians, retaining a distinctive Arctic Monkeys feel but one with a notable influence from the hard rock genre. There are weaknesses to the album, ‘I Want Them All’ being a particular disappointment along with a danger of songs blurring together at times. In all, however, AM is a brilliant effort from the Arctic Monkeys – one that will be hard to match.
The Edge | records@theedgesusu.co.uk
Singles
Forest Swords // The Weight Of Gold
Banks // Waiting Game
Conor Maynard // R U Crazy
‘T
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he Weight Of Gold’ was released online this summer, with the tagline “Life’s too f---ing short”. A surprising sentiment, given Forest Swords’ penchant for taking his time. The track begins with a distorted foghorn sample above swirling winds, before introducing glittering guitar, a submerged bassline, and a clattering drum loop that’s on the edge of tripping over itself. In doing this, Forest Swords seems to transport the listener to an ancient mining site. It’s obvious that ‘The Weight Of Gold’ is everything it was designed to be. The track is much more refined than previous work, and has such clarity that can only be the result of meticulous production. This is definitely worth paying attention to. Words by Evan Smithson
anks commands you to listen. You could try to focus on something other than her wincingly honest words but it is unavoidable. In defiance of the breathy soundscape her three-part harmonies create, her message hits hard and clear. It is this unapologetic honesty in her lyrics that has garnered ‘Waiting Game’ over 200,000 plays. Listening is like imposing on a personal moment we were never meant to hear, yet she assures listeners that her songwriting is ‘liberating’. As the all-encompassing, pulsing beat reaches a climax and drags you to the finish line, the music and emotion disappear into the quiet whisper they came from.
onor Maynard is back after his impressive debut album Contrast with new single ‘R U Crazy’. I for one felt slightly confused by the offbeat singing that opens the single in a jazzy style. However, after many listens I am singing along with impeccable timing. The track is confused in terms of genre. The dub-step vocal edits make it appear more dance based than it truly is. The moments when Conor breaks into Timberlake style falsetto are chunks of gold in the rough.
If you did not know about Banks, now you do.
Nevertheless, Maynard has his Mayniacs - in fact I’m a selfproclaimed one - that will adore this single. It has its flaws but all in all, it’s a solid effort from the 20 year old and an exciting hint towards things to come.
Words by Grace Shutti
Words by Megan Downing
The Edge | records@theedgesusu.co.uk
Records | 08
Edinburgh Festival
Fringe HIGHLIGHTS E
very year since I’ve been old enough to go, I’ve kicked myself for not managing to get to Edinburgh Festival Fringe. The world’s biggest arts festival is heaven for any fan of the performing arts; there’s theatre, comedy, dance, musicals, operas, music, exhibitions and all manner of other events to make you laugh, cry and cringe. Here are my highlights of Fringe 2013 (Words by David Tully)
Murder, She Didn’t Write - Degrees of Error “Did he have any enemies?” “No, only anemones.” An improvised murder mystery play created from a randomly chosen card written by a member of the audience, Degrees of Error’s Murder, She Didn’t Write was pretty funny. At times, I wasn’t sure if I was laughing at the cast or with them as they fought to solve a case involving death by blueringed octopus but I certainly had a lot of fun.
[Title of Show] - Patch of Blue The UK premiere of Broadway musical [Title of Show] was undoubtedly my highlight of the Fringe. A musical about two men writing a musical about writing a musical for a festival (try saying that three times fast), [Title of Show] was fast, slick, funny and brilliantly performed. The show makes many 09 | Features
a not-so-subtle reference to other works and it was great fun trying to spot all of these throughout the performance. A musical for fans of musicals.
least favourite thing was the casting of Trekkie - the actress who portrayed him extracted virtually none of the comedic potential of the character and this was a real shame.
Will you Hold my Hand? - We are Goose
Hanging Bruce-Howard - Gone Rogue
Will you Hold my Hand? is an educational musical comedy show about early British surgeon John Hunter. Shocking, amusing and disgusting in equal measure, Tim and Richard know their craft well. I loved every moment.
One of the only things harder than performing a farce convincingly is to write a brand new one, but this did not stop former SUSU Theatre Group president Alex Bray from taking on the challenge. The show was criticised for not bringing anything new, but I’m always sceptical of that kind of remark. Give me something that’s a little done but well-acted and entertaining over something dreadful but edgy any day.
Avenue Q - Royal Conservatoire of Scotland Avenue Q is one of my favourite things in the world. For this reason, I could go on forever here - but I won’t. The show was a valiant, 3-star attempt at staging a 5-star masterpiece. My The Edge | features@theedgesusu.co.uk
Gone Rouge, the touring name for SUSU’s performing arts, pulled off Bray’s script expertly.
INTERVIEW WITH THE FRATELLIS
A
t this year’s V Festival in Chelmsford, editor Megan Downing caught up with two thirds of Scottish trio The Fratellis.
So far this year what has been your favourite festival performance? Jon: We’ve done a bundle over the last three or four weeks, there was one particular one in Spain that was quite magical actually. When everybody came off after there wasn’t a lot of talking going on, just a lot of laughter. When it’s gone so well all you can do is laugh about it. Especially this summer, have you had any weird fan experiences? Barry: They tend to come when you’re on your own tour, you’ll see the same person turn up at five different shows and it starts getting weird. Jon: I tend to put people off. They tend to think we’re slightly scary. I think we’re weirder than the stalker. Post-festival season what can we expect from you guys? Are you touring, recording? Jon: We have a record out at the beginning of October, and we’re on tour pretty much from then until Christmas. Is that what you guys love doing, showing your records off to your fans? Jon: It is being a showoff. You’re being a ‘hey look at
me!’ and when somebody gives you the chance to be a showoff every night of the week you take it, naturally. It’s a good place to be. Are you still as enthusiastic as you were in the early days? Jon: Oh god yeah. We might not seem it. It’s the first time I’ve seen you guys and I thought you had so much energy! Jon: Oh really?! Well in that case, you should come back to another show then. I thought that was about 50 percent. I would hope we do seem as enthusiastic. Are there any places in the world that you haven’t performed in yet and would like to? Barry: We haven’t been to South America. I was lucky enough to go there last year and really enjoyed it. I think the band would go down really well there; festivals are all great over there. Hopefully we’ll get a chance to do that this time. Do you guys have a drink of choice on your rider? Jon: There’s always vodka, gin, Berroca, apparently we have a lot on our rider! Somebody told us earlier, I didn’t realise ours was a particularly big one. My last question is do you each have a favourite track that you love playing out of your set? Barry: Yeah, it changes every night for me, but ‘Cuntry Boys & City Girls’ I always enjoy playing that song. ‘Got Ma Nuts From A Hippy’ as well. Jon: Anything new! I love playing anything new, I get very bored. Well, if a crowd are liking it then that keeps you going. The Fratellis tour the UK this Autumn. They come to the O2 Academy Bournemouth on November 17th.
The Edge | features@theedgesusu.co.uk
Features | 10
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Your Southampton Entertainment Guide 1. SUSU The student’s union plays host to a range of artists at various locations on campus primarily The Cube, The Bridge Bar and The Stag’s Head. Alongside the university organised events Bar 2 plays host once a month to the Alternative and Indie Music (AIM) society’s Frequency nights. These nights always have a great laid back atmosphere as they’re created largely for students, by students. ‘Like’ SUSU pages on Facebook or keep an eye on The Edge to keep up with what’s on. 2. Southampton Guildhall The Guildhall is, by default, Southampton’s main venue (being the largest). It hosts a variety of events spanning from concerts and comedy to vintage fairs and wrestling. We heard a rumour that The Cure insist on practising at this venue before undergoing any tour in the UK. Not sure how much truth there is in that, but for such a grand building the acoustics can be quite impressive. 3. The Joiners
were famous. The walls of this intimate venue are adorned with old gig posters and bill lists of some of the famous faces that have graced its stage, including Oasis, The Libertines and Arctic Monkeys. More recently, after financial troubles various ‘save The Joiners’ campaigns have been supported by celebrity faces such as Frank Turner who played a benefit gig there last year. As well as the ‘big bands’, The Joiners also plays host to some superb local talent showcases. 4. The Nuffield Theatre The Nuffield is an absolute jewel of a producing theatre handily located on Highfield Campus. Although it mainly shows plays, it also attracts dance shows, comedians, children’s shows, musicals and many other types of production. Tickets are often available for extremely reasonable prices (£15 or less) - look out for flyers around campus and remember to ask if student tickets are available! The Nuffield also runs an incredibly successful volunteer usher scheme - why not pop in and ask to speak to the front of house manager? 5. The Annex
This is undoubtedly Southampton’s most famous live music venue: The Joiners. Voted Britain’s best small venue this year by NME, The Joiners has played host to some of the biggest names in music, often before they
11 | Features
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Just next door to The Nuffield, The Annex may be a lecture theatre by day but regularly becomes a fantastic performing arts space by night when used by the university’s performing
The Edge | features@theedgesusu.co.uk
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Words by Cat Olley
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10 8. Southampton City Art Gallery Near East Park in the city centre lies this chronically under visited art gallery. A beautiful airy space, the gallery hosts a permanent collection that spans eight centuries, with particular focus on Post-Impressionism, Surrealism and post-1970’s contemporary art. From dramatic religious oils to pen and ink illustrations, there’s something here for every art lover, and it’s free, so why not pop in? 9. The Hobbit If you haven’t heard of The Hobbit yet, you will within a few weeks of being in Southampton. Following a lengthy legal battle with New Line Cinema, the fate of the beloved pub has been very much in the air. Now, things are starting to look settled but the ‘Save the Hobbit’ campaigns continue. Renowned for its pint (lethal) cocktails - each named after characters from The Lord of the Rings. The Hobbit is open late and has easily the biggest beer garden in the city. While a favourite among the more ‘alternative’ scene, the venue plays host to mainly acoustic acts but has been known to get a little louder. Let’s just say the jukebox might not be to everybody’s taste.. 10. The Mayflower Offering student concessions on almost all
of its performances, The Mayflower is one of the biggest theatres on the south coast. Accessible by taking the U1C to Southampton Central train station, The Mayflower hosts an enormous range of productions from touring big-name musicals to ballet, opera and comedy. 11. Avondale House Avondales (as it’s known) hosts Monday and Thursday free-entry RPS shows. If you’re into pop punk, math rock, post-hardcore or experimental - this is your scene. The guys who run it are great chaps who will help a lot of bands starting out because they love the music. The pub itself is great for a few drinks before going out in Bedford Place but it is definitely worth seeing one of the nights down here. 12. The Cellar Formerly known as the Soul Cellar and located near the Civic Centre, this is a great place to drop into during the day and have a coffee with some homemade cake, then, as the evening draws on move onto the continental lagers. At night The Cellar plays host to some fantastic events, including dub, soul, indie and swing. In recent years, the venue has also become quite synonymous with the local electronic music scene. With its two story floor plan, this it’s well worth checking out!
The Edge | features@theedgesusu.co.uk
Features | 12
Your path to a successful career Look out for the DLHE Survey 6 months after graduation and engage with our alumni services Research postgraduate pathways and support
Prepare for Assessment Centres* and Interviews by attending the Career Destinations Boot Camp and interview workshops
Login and go through our jobs vacancy portal*, exclusive to students at the University of Southampton
Be aware of application deadlines
FINAL YEAR
Attend the June Employability Festival* and get a head start on your final year
Consider global opportunities, working or volunteering abroad with our Global Advantage and Volunteering Weeks Check out the Excel Placement Programme* for Easter and Summer paid internships
FRESHERS
Check out the Career Destinations Events Calendar
Attend skills workshops* and prepare/update your CV ready for applications
Volunteering or part-time work help boost your CV and let you try out areas of interest
Get actively involved in University life by joining clubs and societies
PENULTIMATE Start building your network by YEAR participating in Insider Mentoring and learning from a Career Mentor
Attend careers fairs* and network with employers
www.southampton.ac.uk/careers
* Open to all years of study Career Consultancy A 1:1 meeting with a Careers Practitioner to discuss a specific application for jobs/ internships, further study courses and PhD positions.
Boot camp A day-long event of workshops based on assessment centre exercises and tips on how to excel in the selection process.
TOP TIP All appointment slots are bookable on the day of the session and are on a first-come, first-served basis.
TOP TIP Remain focused and motivated at an assessment centre: you may be observed at any point.
Careers panels Subject or sector-specific events: Meet alumni and employers from your faculty to find out where your degree could take you. TOP TIP An ideal opportunity to ask questions and get ideas of potential careers.
Student Enterprise Considering starting your own business? Take advantage of the Student Enterprise offering of workshops, start-up competitions and much more.
Employer Presentations and Skills Workshops Interactive exercises with graduate employers or Careers Practitioners. Perfect your CV and get to grips with the job selection process.
TOP TIP To generate contacts and get involved in fantastic projects, join a Student Enterprise society like Enactus Southampton or Fish on Toast!
TOP TIP You can gain valuable skills from employer workshops even if you have no interest in applying to that particular employer.
Careers fairs These allow you the opportunity to speak directly to a range of top graduate employers. TOP TIP Attend the ‘Prepare for the Fair’ session for hints and tips on how to make the most of those few minutes at the stand.
Job Vacancy Portal Graduate vacancies and work experience opportunities are available through the Job Vacancy Portal. Employers from over 20 sectors target University of Southampton students and these roles cover diverse industries and locations. TOP TIP Access this resource by logging in to your Student Portal.
Social Media Interaction Keep up to date with events and opportunities or ask us your employability questions on Facebook or at our Twitter handle @UoS_Careers.
Curse of cancellation
I
n recent years TV channels have been in a rush to cancel any show that doesn’t hit a certain criteria, regardless of how dedicated fans are to the show, or indeed the quality of the show. Shows don’t seem to get the opportunity to build up an audience. It seems that quantity of viewers is valued far over the quality of the show, and this is worrying. Some of the shows that are cancelled early deserve to be, No Ordinary Family comes to mind. Others have the marks of television genius. The list of cult shows that have been cancelled far too soon include Firefly, Veronica Mars, Arrested Development, Freaks and Geeks, Deadwood, Pushing Daisies and Twin Peaks. These shows have become cult shows precisely because of their worth, but this quality was ignored because they didn’t pull in enormous ratings. The question for me remains; why are executives so focused on ratings figures? I understand that
ratings are inexplicably linked to advertising revenue - one of the main concerns for television channels - but revenue also comes in from merchandise and DVD sales. Screenrant calculated that on average between 2009-2012, “65% of new network television series” were cancelled. This raises the question of why executives green light shows only to cancel them after one series, mostly before the show has completed it’s full run? Do No Harm is one of the shows that has been cancelled in the 2012-13 period, in the middle of its American run. Message boards exploded with frustration as fans expressed their anger at the lack of promotion, and the poor time slot given to the show. It was given no chance of gathering momentum, and now people will surely be turned off by the fact that they can only watch the one series of the show. One of the biggest travesties in TV cancellation by far is Firefly. It seemed doomed from the start, The Edge | features@theedgesusu.co.uk
as FOX broadcast the shows first season in the wrong order, and then cancelled the show after eleven of the fourteen episodes. Perhaps no one particularly influential in the channel’s executive board championed Firefly, and as a result this incredible show never got the time it needed to build an audience. Eventually the series got its resolution in the feature film Serenity, but it still feels like it should have had much more screen time. However, there is at least a little hope for these cult shows. The Veronica Mars’ movie is due in cinemas in 2014, and Arrested Development got a final series, made by Netflix. If fans are dedicated enough, and the actors are passionate, then these shows have the opportunity to grow elsewhere. However, until channel executives change the way they think about television debuts and their worth, then outstanding programmes will continue to be cancelled. Words by Rebecca James
Features | 14
Any Day Now Words by Barnaby Walter
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Director: Travis Fine. Cert: 15. Out Now.
lthough set in the 1970s, it is amazing how relevant this sensitive, well-acted drama about gay adoption feels today. With same-sex marriage only legalised a matter of months ago in the UK, the topic of how legitimate same-sex relationships are compared to their heterosexual counterparts still fills the news and media. These days, however, public opinion is quite clearly and overwhelmingly on the side of freedom and tolerance. During the 70s things were of course quite different. Alan Cumming plays cross-dressing club singer Rudy Donatello, a kind and gentle man who is concerned about the safety and well-being of a child who is living with his mother in his apartment block. The child has Down’s syndrome and when the mother abandons him Rudy takes the boy in, feeds him and tries to sort out the complicated circumstances with the authorities. His relationship with a district attorny, Paul Fleiger (Gerret Dillahunt) allows him to start thinking about adopting the child, with the two of them as co-parents. This is where things go downhill. The latter half of the film is devoted to courtroom drama, and while it never exactly becomes heartpoundingly intense in a Law & Order kind of way, the
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legal procedings surrounding the case are compelling to watch. Director Travis Fine also makes a smart move in avoiding sentimentality - the kind that down social-issue-legal-films such as My Sister’s Keeper. He keeps the tone cool, collected and well-pitched, concentrating on the earnest attempts of the couple fighting against prejudice whilst not forgetting to provide an insight into the views of the time. Perhaps the most shocking aspect of this real-life story, and one the non-prejudiced people of today might find hard to believe, is the emphasis placed at the court trial on the possibility of the couple corrupting the child. It is discussed in detail how the boy, as he moves into puberty, may somehow be brainwashed into being gay just because his adoptive parents are. Of course we now know this is nonsense, and not an argument one is used to hearing in decent society, but it’s fascinating to see lawyers and judges treating this like a real and dangerous possibility. The devastating closing scenes may come as a shock to those who don’t know the details of this true story and serve as a sad reminder that homophobia and bigotry really can cost lives.
The Edge | film@theedgesusu.co.uk
Pain & Gain Words by Thomas Williams Director: Michael Bay. Cert: 15. Out Now. Pain and Gain is a film that doesn’t quite live up to its name. It sure was a pain to watch, but I don’t think I gained anything from it. Michael Bay’s latest film is a caper about a team of criminals who find themselves in over their heads. It’s a premise as old as the hills, but films like this can deliver. Sadly, that’s exactly what this film fails to do. I’ll get the good points out of the way first because there aren’t many. The casting is solid; Mark Wahlberg and Dwayne “The Rock” Johnson excel in roles like this and Johnson in particular looks the part. Ken Jeong also appears briefly, with the loudmouth sociopath shtick that he does so well. In fact, Jeong was responsible for my only chuckle in this otherwise humourless two hour trudge. The main problem is that none of the characters are sympathetic. The film goes to lengths to paint the “protagonists” as contemptible and unlikeable. Wahlberg’s Lugo is a manipulative schemer whose cruelty is matched only by his idiocy, Johnson’s Doyle is a naïve coke-head with a messiah complex and Antony Mackie’s Doorbal is barely there. The writers seem to want us to hate them, yet the victims are also fairly hateful people; a cruel boss with a disdain for
the poor and a sleazy porn king married to a character who essentially amounts to a cardboard cut-out with breast implants stapled to it, a description that unfortunately can be applied to the bulk of the female cast. The result is a confused script that can’t decide who it wants you to be rooting for. While most other filmmakers try to maintain some level of decorum when handling scripts based on a true story, Bay gives us a version of events that shows barely an iota of respect for the victims of the real life crimes. Instead of a smart film with a funny side, audiences can expect stale toilet humour that not even a pubescent boy would find funny, along with a plethora of needless up-skirt shots and female characters that serve little or no purpose and are essentially reduced to objects under Bay’s direction. There is very little to recommend in this puerile, overlong, mindless turkey. Michael Bay’s childishness ruins yet another film with butchered gags, a needless gun fetish and an overbearing atmosphere of misogyny.
The Edge | film@theedgesusu.co.uk
Film | 16
About Time Words by Bronwyn Scotland Directed by Richard Curtis Studio Universal Released 4 September
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ichard Curtis’ new film is aptly named, as it’s been over three years since his last directorial effort. Domhnall Gleeson, you may remember him as Bill Weasley in HP 6/7, plays a ‘lanky ginger’ man who finds out that the men in his family have the ability to travel through time. His father (Bill Nighy) explains the ins and
outs of his ability and manages to teach Tim, and us, that life is about finding those happy moments and to not be too scared to go out and get what you want. Unlike Tim, we only have one chance to make things right. Bill Nighy and Rachel McAdams (Mary) work well to support Gleeson’s truly exceptional performance, and didn’t outshine
him in any way. Both Lindsay Duncan (Mum) and Tom Hollander (Harry) also deserve credit, as their characters are outrageous and hilarious, making you laugh during even the saddest of scenes. I can’t sing About Time’s praises enough. It isn’t just about love, it’s about life. I loved it.
UPSTREAM COLOUR Words by Barnaby Walter Directed by Shane Carruth Studio Metrodome Released Out Now
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oodness, this film is tough. It’s like a weird mixture of Terrence Malick and Lars von Trier, with a bit of David Lynch thrown in for fun. Except that it’s not very fun at all. It’s a painful, messy collage of scenes that may well seem connected in the director’s mind, but they don’t really come together for the viewer. To be honest, this type of film doesn’t really benefit from a star rating, as there will be so many
different reactions to it. So take the 2 stars as a pinch of salt. As always, I mean the stars as only a guide to my reaction, not as a guide as to how all audiences should or will react.
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The Edge | film@theedgesusu.co.uk
Shane Curruth made a name for himself over ten years ago with Primer. Now, after a lengthy gap, he is trying to get noticed again with this picture. To be fair, the movie has won its admirers. I’m just not one of them.
Occasionally we get a flourish of imagery that is mesmerising enough to lift Upstream Colour into levels of interest. It ceases to become meaningless and achieves briefly the thing it so desperate strives to encapsulate: meaningful. But then things get a bit ridiculous. The sequences go on to long without much payoff or purpose, and patients are tested beyond their limits.
Plein Soleil Directed by René Clément Studio StudioCanal Released Out now
on Blu-ray
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atricia Highsmith’s compelling and disturbing psychological thriller The Talented Mr. Ripley was famously made into a lavish, handsomely produced film by Anthony Minghella in 1999. However, many British audiences may not be aware that its first adaptation was an equally glamorous French film titled Plein Soleil (Purple Noon) released in 1960. This version has been given a brand new restoration and is released on Blu-ray in September by StudioCanal. To some extent René Clément’s film is a little more obvious than Minghella’s Englishlanguage alternative. It’s easier to work out what direction the plot is going in and certain aspects of the story have been slimmed down in order to streamline the latter-half of the narrative. But the tension remains high throughout and Delon’s performance successfully captures the strangeness of Highsmith’s anti-hero. Barnaby Walter.
Fast & Furious 6 Directed by Justin Lin Studio Universal Released 16 September
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his appalling sixth instalment in the Fast series sees the family of lovable criminals relocate to London. They have been asked by the bulky Police officer in the previous instalment (Dwayne Johnson, obvs) to help hunt down a super-criminal (Luke Evans) who is evading capture wherever he goes. Because this is an American movie starring American actors, but largely set in Britain, the viewer is treated to endless xenophobia that emphasises a caricatured form of American hatred/jealousy towards the English. In the end this is just glorified criminal behaviour (street racing) with bad acting. BW.
IRON MAN 3 S Directed by Shane Black Studio Disney Released Out Now
Robert Downey Jr. slips effortlessly back into the role of Tony Stark, the narcissist billionaire who effectively ‘privitised world peace’ back in the first movie and now spends his days having panic attacks. Gwyneth Paltrow’s character Pepper Potts is sidelined while the men do all the work. hands of a dangerous scientist (an entertaining Guy Pearce). Depressing, dull and predictable. BW.
The Edge | film@theedgesusu.co.uk
Film | 18
ARCHIVE REview: WALL-E Words Joe Gibson Words byby Joe Gibson
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hilst no Pixar film will likely ever beat the emotional intensity of the opening scene of Up, with the startlingly mature themes of love and death evoking tears in most of its audience, Wall-E produces a valiant effort which had me gripped from the start. The themes of the film are clear from the outset, with the earth scorched and littered with junk accumulated over the years by humans. That amongst the dumping site, something so small and seemingly insignificant as a robot that processes the rubbish can have the audience so hooked is a testament to Pixar’s brilliance as an animation company. Although clearly a lack of dialogue in other films would be detrimental to their plots, it works excellently in Wall-E, and it surprised me when watching the film that the
01 | Films
it works excellently Wall-E, limited simplistic indialogue and it surprised me when between the two main robot characters the watching could film work that the so well. Thesimplistic limited scene near dialogue the between the twonarrated main robot film’s opening, only characters could work so by music, in which Wall-E well. the protectsThe EVEscene from near all kinds film’s opening, narrated of extreme weather that only the Earth by music, now offers in which is particularly Wall-E protects kinds moving EVE whilstfrom alsoall being of extreme weather that the funny, catering for audiences both young Earth now offers and isold. particularly Pixar is moving alsoit creates being at its very whilst best when funny, catering for audiences a film which is suitable for all ages. The both young comedy and old. of thePixar film is at its very best when creates there to entertain theityounger aaudience, film which whilst is suitable the subtle for jokes all ages. andThe the comedy satire areofthere the film is therethetoolder entertain the to entertain audience who will younger audience, appreciate whilst the subtle jokes message. and the satire are underlying WALL-E there to entertain the older is out now on Blu-ray. audience who will appreciate the underlying message. WALL-E is out now on Bluray.
The TheEdge Edge| film@theedgesusu.co.uk | film@theedgesusu.co.uk
Film | 20
THE PhANTOM OF THE OPERA at Her Majesty’s Theatre Words by Rebecca James
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he Phantom of the Opera is the second longest running West End musical, and it is easy to see why. With its mixture of love, drama, mystery and murder, the musical enthralls and engages throughout. The production values of the show are dramatic, with a fantastic cast and ensemble. Gerónimo Rauch was outstanding as the Phantom. His voice filled the theatre, and his spine tingling vocals impressed throughout the whole production. His acting was on point, and his makeup was visually arresting. Sofia Escobar played Christine well, after two years of playing Christine on the West End stage she has honed the performance. She is undoubtedly a fantastic singer - her vocal acrobatics were amazing as she fulfilled the potential of the beautiful music of the show. As my companion remarked “I couldn’t scream as high as she can sing.” Sean Palmer played Raoul charmingly, with small touches here and there which convinced of his sincerity. His singing is consistent, and ‘All I Ask of You,’
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his duet with Christine was a highlight of the first half. There were a few moments in the first half of the musical which fell a little flat. ‘The Phantom of the Opera’ is one of my favourite songs from the musical, and I was a little disappointed with the transition from Christine’s bedroom to the Phantom’s underground lair. The prop transition took a little too long, jarred me out of the performance, and generally felt a little off.
Similarly, at some points it did feel a little like the actors were competing against the orchestra. ‘Notes/Prima Donna’ turned into a mess of sound. It was difficult to understand what each individual was singing as three different strands were intermingled unsuccessfully. The final moments of the first act of the show also felt anti climactic. The chandelier crash was more of a light bump, than the crescendo it should be. However, the small faults in the first half were vastly overshadowed by the brilliance of the second half. ‘Masquerade/Why So Silent...?’ was a spectacle of drama and dance with beautiful costumes, and a fantastic ensemble performance. ‘The Point of No Return’ was the highlight of the whole performance - Rauch and Escobar played perfectly off one another, and their voices created something magical on the stage. The second act of the musical was completely enthralling. A standout ensemble, and a spectacular second act make this show a must see production.
The Edge | culture@theedgesusu.co.uk
10 Questions with Mamma Mia's Dianne Pilkington INTERVIEW BY DAVID TULLY
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resh from winning WhatsOnStage.com’s poll for Wicked fans’ favourite London Glinda to date, there can be no doubting that Dianne Pilkington is a familiar name on the London theatre scene. Having recently appeared in Master Class, She Loves Me and The 39 Steps, as well as Tom Hooper’s film adaptation of Les Misérables, Dianne is now playing the role of Donna in Mamma Mia! at The Novello Theatre, London. Dianne took a break from her busy schedule to chat to The Edge about her latest challenge… The Edge : How is the role of Donna different from roles you’ve taken on in the past? Donna is very different from other roles I have played, she is earthier, a mother, and she would never wear a ball gown! What was it that attracted you to the part? I was attracted to the part because she is great fun, someone I would like to hang out with. But she is also a
fighter, and I like strong women. What is your favourite song from the show and why? It changes daily. At the moment I love ‘Super Trouper’, it always lifts the spirits! If you could return to any role you’ve played before, which would it be and why? Mrs Lovett… I played it at college when I was 20, I’d love to do it now I’m the right sort of age! How easy do you find it to maintain the energy to do 8 shows a week? In Mamma Mia! I only do 7 of the shows, so I feel like I have loads of energy, as I’m used to doing 8. Coffee helps. Are you accident prone? What was your most embarrassing moment on stage? Yes. Very. I once twirled my Glinda wand into my head and knocked off my crown. And a couple of shows ago I nearly broke Dawn Buckland’s finger, shortly after head-butting her with my teeth.
The Edge | culture@theedgesusu.co.uk
Why do you think Mamma Mia! has been so successful? Has the film had an impact on the show’s success? Mamma Mia! has great songs obviously, and the story revolves around characters in which we can all see something of ourselves or our loved ones (to quote [fellow cast member] Kim Ismay). The film brought it to a wider audience, which is great, as many then want to see where it all began, on stage. Why should people get themselves down to see Mamma Mia!? Mamma Mia! is a fun night out, with songs by ABBA that we all know and love (come on, admit it). Plus its set on a Greek island, it’s like a lovely summer holiday. And it’s very funny and moving. Mamma Mia! is playing at The Novello Theatre, London and is currently booking to 5th April 2014.
Culture | 22
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Henry VI parts 1, 2 & 3
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hakespeare’s Globe makes another triumphant return to the histories’ in it’s 2013 season and the Henry saga continues... Shakespeare’s Globe brings Henry VI parts 1, 2 and 3 to life in an impressive way, which manages to keep many audience members enthralled for all three installments. These plays illustrate the political turmoil of England, and the War of the Roses which Shakespeare explains in a poetically charged, yet also a factually questionable way. Henry VI is played out in three parts, and is the story of the young and naive king, forced to make decisions and to play a role that he is unable to fulfill. A touring production, it uses minimal props, costumes and actors to great effect, evoking what the original audiences
would have experienced at the time. The cast worked seamlessly as an ensemble and also doubled up on characters, which was confusing at times as there was a tendency for them to die more than once. In contrast with many Globe productions, percussionists and vocalists were the only music that accompanied the actors. Yet with the helpful tabards, emblazoned with each insignia, one could gradually pick up who was who without the narrative being neglected. For me some of the highlights were Joan of Arc triumphing over the English nobility, jokes at the expense of the French and a highly amusing and caricatured young Richard III, reminiscent of Mark Rylance’s in the 2012 season, complete with a terribly exaggerated limp and the shrunken hand held up
with a sling (which is cheating if you ask me). Many of the audiences would have been reminded of the impact that the Wars of the Roses had on shaping the future of the British monarchy, illustrated through many works of art celebrated through different channels (though mainly BBC) in recent years. These plays were some of the first great blockbusters of Shakespeare’s and you can see why, with a great battle played out on stage in each installment, plenty of gore for the groundlings to enjoy and enough political debate to keep almost everyone guessing. It is a great trio that includes some of Shakespeare’s greatest dramatic elements. 8/10 Words by Cerys Beesley
The Edge | culture@theedgesusu.co.uk
Culture | 24
Breaking Bad: The beginning of the end Words by Joe Gibson *SPOLIER ALERT! * Do not read ahead if you have not watched season 5
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ince the mid season finale of Breaking Bad, fans have eagerly anticipated the final season of the hit US show which will conclude the story of Walter White, ex-chemistry teacher gone bad. Ending with one of the most unforgettable bombshells in recent television history, as DEA agent Hank finally realises that his own brother in law, Mr White aka Heisenberg has been responsible for the influx of blue crystal meth in his jurisdiction. The first half of the new season does not relent on the fast pace that has built over the course of the show’s run. The first episode successfully sets the tone which the final series apears set to follow, with Hank confronting Walt about his new discovery. There is certainly no love lost between the two, with Hank hell-bent on bringing Walt down. Walt may have given up the meth empire he worked so hard to establish but his ruthless nature remains. His lies, both past and present, now begin to unravel, which have huge consequences for him.
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The third episode is the best of the new bunch however, with so much happening you are left to wonder how the writers managed to cram everything in. Seeing that Hank will not stop until he is brought down, Walter creates a DVD devising a scenario, implicating Hank therefore seemingly forcing him to end his pursuit of justice. In terms of the most vindictive and appalling acts committed by Walt, this definitely ranks up there. It seems that Walt will do anything to protect his selfinterest. Jesse’s limited involvement in the first two episodes is upped in this one, with Walt realising that Jesse’s increasingly erratic behaviour could end up jeopardising his safety. This prompts ‘suggestions’ that Jesse leave town and assume a new identity, with deadly consequences implied if he doesn’t obey. It is difficult to review the fourth episode without spoiling it for those that have not seen it. Therefore to do it justice, I advise watching it and enjoy some of the best television in years. Breaking Bad is the equivalent of a roller-coaster; one hell of a ride and one which you don’t want to stop. Television will be much worse off once it is finished.
The Edge | culture@theedgesusu.co.uk
PREVIEW: F WHEATUS AT ROXX
ollowing the release of their latest album The Valentine, Wheatus are embarking on a huge national tour. The legendary pop-punkers are starting a 24 date tour beginning in Canolfan Tryweryn on the 16th September, and coming to Southampton on the 12th October.
When: 12/10/13 Words by Alexander Brown
They are joined for 6 of the UK tour dates, by the self proclaimed pioneer of ‘post-punk laptop rap’ MC Lars, a year after the release of his last album; Edgar Allan Poe EP. Lars last performed in Southampton at The Talking Heads, once again, supporting pals Wheatus on their last UK tour. Wheatus burst onto the scene in 2000 with the smash hit ‘Teenage Dirtbag’, a song now synonymous with both Jesters and karaoke goers everywhere. The song reached number 2 in the UK chart, and has been followed by a plethora of stellar albums that while not reaching the commercial heights of ‘Teenage Dirtbag’, have fared relatively well critically. The latest album Valentine has been promised to return to the style of their first two albums. Combine this with frontman Brendan B. Brown’s promise to address LGBT issues in school, it should be interesting to see how pop punk and a serious message work. Having toured with such illustrious acts as Bowling For Soup and Son of Dork (remember them?), the band will be sure to bring their own unique brand of energetic and lively pop punk to Southampton. Wheatus will be performing at Roxx in Southampton on 12th October 2013.
The Edge | live@theedgesusu.co.uk
Live | 26
Preview: Gabrielle Aplin at O2 Academy, Bournemouth When: 12/11/2013 //Words by Hannah Mylrea
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ollowing the release of her debut album English Rain in May, Gabrielle Aplin is embarking on her biggest headline tour to date. The singer songwriter is embarking on a 13date tour, starting in Newcastle on the 19th October, and playing the Bournemouth O2 Academy on the 12th of November. Aplin was catapulted into the charts in 2012 with her cover of Frankie Goes To Hollywood’s ‘The Power of Love’, which reached number one in the UK charts, and since then has released a plethora of beautiful singles including the gorgeous ‘Please Don’t Say You Love Me’ and the latest single ‘Home’. Having supported the likes of Matt Cardle and Gotye, and even fellow English songwriter Ed Sheeran on his Australia and New Zealand tour, Aplin’s had plenty of opportunities to hone her live act. Her stunning vocals combined with interesting harmonies and instrumental layers are sure to be a hit live.
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The Edge | live@theedgesusu.co.uk
4 Acts You (May Have) Missed
at Reading FINDLAY
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rightened Rabbit are hardly unknowns but with a mighty chunk of their crowd whisked away by Frank Turner on Main Stage, they were certainly underappreciated. Nevertheless the Scottish balladeers persevered with a show that rolled all of their songs’ emotions of struggle, misery and unrequited love together in to an end product which represented nothing but reinless joy. Despite being festival mainstays, this was their debut at Reading and from the look of Scott Hutchison’s teary eyes and their fervent stage presence, you could not deny their gratitude.
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t’s 11:50am, Friday morning. Many festivalgoers are still reeling in their tents, nursing their Jaeger-induced headaches from the night before. Others are at Tesco, stocking up on any crates of alcohol remaining in the store (Carling). Meanwhile, in the Festival Republic tent, a small ruckus is brewing. Findlay begin their performance, and they know exactly what the people want. Brooding yet immediate garage rock, Findlay provide hard-edged, catchy, simplistic tunes that are littered with smutty imagery; like a female-fronted Louis XIV with an expertise in pop craft. Truly belting every song for dear life, Findlay produce an energetic and captivating set; by set closer ‘Off & On’ the pits were well and truly formed.
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or a stage headlined by aggressive Magaluf-bait Sub Focus, Magnetic Man and Knife Party this year’s BBC Radio 1 Dance Stage had an undercard littered with really quite nuanced, smart, futuristic pop music, aimed around several timezones away from the general audiences. LA’s Big Black Delta is just one of many examples whose jaunty LCD Soundsystem/Talking Heads synthrock meant a grand total of fuck-all to those hanging around waiting to hear Flux Pavilion.. However for those who knew what to expect Big Black Delta were a much-enjoyable voyage in to the leftfield; crunchy, organic beats, ethereal synths, distorted basslines, and bitcrushed, washed out vocals. Much dancing? Nope.
side from drinking your bodyweight in Glen’s Vodka, covering yourself in glitter and taking selfies on your soon-to-be reacquired iPhone, three things come to mind when you ask the majority about Reading 2013; Green Day, Eminem and Biffy Clyro. However, what about some of the less loved acts at the festival? What about those names where you have to squint at your laptop screen to make them out on the poster? Don’t they deserve a little bit of journalistic TLC too? Well, at The Edge we’re a charitable bunch; so here is a list of 4 acts you (may have) missed at Reading Festival 2013. (Words by Lewis Cato)
Big Black Delta
THE BRONX
The Edge | live@theedgesusu.co.uk
frightened rabbit
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f you could see past the dust storm in the Lock Up Tent you may have been able to make out The Bronx, Los Angeles finest hardcore punk band. It was very easy to be sure that the band were having just as much fun as the audience; vocalist Matt Caughthran heading to the barrier with his microphone: “I am the new head of security for Reading Festival and for the next three and a half minutes I declare that this is a free crowdsurf zone”. To decide which of his charm or the security’s faces of palpable fear were more entertaining is difficult; however they were both very amusing. Roaring through songs spanning from their debut to their latest album; The Bronx executed a brutal yet playful 40-minute set which never faltered.
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The Big Feastival When - 31/08/13 - 01/09/13
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he Big Feastival is truly a family festival, with endless food stalls, a kids area (including farm park) and of course, the live music, there really is something for everybody. Firstly, I think I should mention the food. With hundreds of stalls, trucks and pop up restaurants and cafes, it really catered to everybody’s taste. We made the most of many food stalls offering free samples, particular shout outs should go to Shorrocks Cheese (who made the potentially disgusting flavour combination of Strawberry and Champagne cheese work), Yum Yum Tree Fudge (try their peaches and cream flavour), and The Collective Dairy yoghurt (the passion fruit is to die for). After our extensive sampling trip we took a stroll down street food alley. Everything smelt amazing, and we eventually settled on the Paellaria, which was delicious. We also took a trip through the Jamie’s food tent, and took a trip to Alex James’ cheese hub (and sampled his cheese ‘Blue Monday’ which was
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being relaunched at the festival). Brightlight City were the first band up on the Bandstand. With indie rock music and catchy dance numbers, frontman Jamie really played to the crowd’s demographic (as it was obvious this wasn’t the usual audience the band played to). Joking about their business cards and throwing free teeshirts into the crowd, they were a great start to the day! The Bandstand, played host to live music, and fun Spotify activities throughout the day, like musical bingo, a quiz and a silent disco. We also caught the Polka Dot Dolls on this stage, a 40s style girl group who covered classics by Sinatra and Glen Miller. I’d never heard of Duke, but I’m a fan now. A group who had apparently appeared on Britain’s Got Talent, they consisted of three guys, a guitar, and some incredible beat-boxing. Finishing their high energy set with Seal’s ‘Kiss From A Rose’, the band looked shattered as The Edge | live@theedgesusu.co.uk
they’d put everything into their set, yet still went and performed on the Bandstand a few minutes later! The highlight of the festival came a little later with Lianne La Havas; effortlessly cool, humble and a joy to watch. Her beautiful vocals translated perfectly from record to live show, and watching La Havas I could see quite how talented she was. Her band were tight, with perfect harmonies and never a note out of place. Singles ‘Forget’ and ‘Is You Love Big Enough?’ got the crowd singing along (even if they didn’t know the words), and made it a performance to remember. But it was Rizzle Kicks who the crowd had been waiting for, breeding a frenzy of energy from the moment they stepped on stage. Singles like ‘When I Was A Youngster’ and ‘Lost Generation’ got everybody dancing, and the band had amazing crowd interaction. It’s really hard to fault the duo’s performance; instrumentally, they’re tight, and it’s always nice to have the addition of their virtuosic live trumpeter. Rizzle Kicks proved to be the perfect end to the UK’s most delicious festival. Words by Hannah Mylrea
Listings 19th September Jason Manford @ Southampton Guildhall 20th September Catfish and the Bottlemen @ The Joiners Orphan Black - Series 1 (BBC Three)
27th September FIFA 14 (Xbox 360 & PS3) Blue Jasmine (12A) Warner Bros. Runner Runner (15) 20th Century Fox 28th September Poizon @ Pyramids Centre, Portsmouth
21st September Small Fables @ Nuffield Theatre Jaguar Skills @ Portsmouth Guildhall
29th September After Earth @ Union Films The Great Gatsby @ Union Films
22nd September Zico Chain @ The Joiners Downton Abbey - Series 4 (ITV)
30th September Jazz Café @ The Bridge HAIM - Days Are Gone Sub Focus - Torus
23rd September Younghusband @ The Joiners Kings of Leon - Mechanical Bull Drake - Nothing Was the Same
1st October This Is The End @ Union Films The Laughter Lounge @ The Bridge
24th September Sky Larkin @ The Joiners The Laughter Lounge @ The Bridge 25th September The Front Bottoms @ The Joiners Liam Fray @ Wedgewood Rooms, Portsmouth 26th September Haven - Series 4 (Syfy UK) Louie - Series 3 (FOX UK) Miles Kane @ Pyramids Centre, Portsmouth
2nd October Goldie Lookin’ Chain @ O2 Academy, Bournemouth 3rd October The Dangerous Summer @ The Joiners 4th October Freshers’ Ball Pre-Party @ SUSU Legend of Zelda: The Wind Waker HD (Wii U) How I Live Now (15) Entertainment One 5th October The Freshers’ Ball @ SUSU The Comedy Bar - Big Gig @ Nuffield Theatre
6th October Ben Montague @ The Brook Despicable Me & Despicable Me 2 @ Union Films Johnny Borrell @ Wedgewood Rooms, Portsmouth 7th October Miley Cyrus - Bangerz Children of Bodom @ O2 Academy, Bournemouth 8th October Frank Hamilton @ The Joiners Now You See Me @ Union Films Kids In Glass Houses @ Wedgewood Rooms, Portsmouth 9th October Heights @ The Joiners 10th October Musoc Showcase @ The Talking Heads Poltergeist @ Wedgewood Rooms, Portsmouth Bowling For Soup @ Southampton Guildhall
13th October Ardal O’Hanlon @ Nuffield Theatre Before Midnight @ Union Films 14th October AIM’s Frequency @ SUSU Pearl Jam - Lightning Bolt (Album) Paul McCartney - New Deluxe 15th October The Ramona Flowers @ The Joiners World War Z @ Union Films Rudimental @ O2 Academy, Bournemouth 16th October New Device & Falling Red @ Wedgewood Rooms, Portsmouth Everything Everything @ The Plaza, Portsmouth 17th October Johnny Get The Gun @ The Joiners Deaf Havana @ Southampton Guildhall
11th October Beyond: Two Souls (PS3) The Fifth Estate (15) Entertainment One Tom Odell @ Southampton Guildhall
18th October Ryan Keen @ The Joiners Captain Phillips (12A) Sony Pictures The Cat Empire @ O2 Academy, Bournemouth
12th October Man Of Steel @ Union Films Pokemon X and Pokemon Y (Nintendo 3DS) Ellie Goulding @ Southampton Guildhall
19th October Green-ish Day @ The Brook Alistair McGowan - Not Just A Pretty Voice @ Nuffield Theatre The Wolverine @ Union Films
The Edge | live@theedgesusu.co.uk
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