Issue Three With deadlines looming and the need for a Christmas break becoming more and more appealing we bring you Issue 3 of University of Southampton’s very own entertainment magazine, The Edge. Whether it’s dissertation proposals or your first ever assignment you’re worrying about, I can assure you that taking a break to get your entertainment fix will help relieve this stress, even if only for half an hour. We hope we have enticed you with our A list cover stars Chris Hemsworth and Natalie Portman. Film Editor Barnaby Walter went along to chat to them about their latest film Thor: The Dark World, of which we also have a review of in the film section. This is a magazine exclusive so be sure to head over to the features section to read more. Also in this month’s issue we have a collaborative piece from the editorial team about actors that have gone Behind The Lens and dabbled in directing. We have included the likes of Orson Welles to Ben Stiller, right through to Ben Affleck and his movie Argo. You don’t want to miss it. In our records section we have reviews of the latests releases including the long awaited Arcade Fire record Reflektor as well as Janelle Monae’s The Electric Lady record. The culture section is bigger this issue with an extra review thrown in for you all, it spans from a review of the new Bridget Jones’ novel Bridget Jones: Mad About The Boy to two amazing retro gaming pieces on Crash Bandicoot and Spyro Year Of The Dragon. In our live section we have reviews of Jake Bugg, Arctic Monkeys, Deaf Havana and London Grammar. Thank you for picking up issue three of The Edge. We hope you enjoy reading! 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 news@theedgesusu. co.uk
Head of Relations Kirstie Carter relations@ theedgesusu.co.uk
Records Editor Jan Kobal records@ theedgesusu.co.uk
Culture Editor Rebecca James culture@theedgesusu. co.uk
Online Manager manager@ theedgesusu.co.uk
Head of Publicity Bronwyn Scotland publicity@ 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
Editor In Chief David Martin vpcdci@susu.org
02 |Editorial
The Edge | editor@theedgesusu.co.uk
Welcome to Issue Three
p. 2
Records Album Reviews Arcade Fire - Reflektor Janelle Monae - The Electric Lady Dark Side - Psychic Polica - Schulamith Single Reviews Warpaint - ‘Love Is To Die’ Maipei - ‘Don’t Wait’ Ben Khan - ‘Eden’
p. 4 p. 5 p. 6 p. 7 p. 9 p. 9 p. 9
Features Behind the lens: Actors turned director p. 10 The Edge talks to: Chris Hemsworth and Natalie Portman p. 12 Tame Impala; Sympathy for the pedal p. 15
Film Cinema Reviews Thor: The Dark World. p. 16 Don Jon p. 17
Contents The Double p. 18 Liars All p. 18 Cloudy with a Chance of Meatballs p. 19 Archive & Comment Archive: Nosferatu p. 20
Culture
Crash Bandicoot: Retro games at their best Bridget Jones: Mad About The Boy Dark Side - Psychic Spyro Year Of The Dragon Misfits: Season 5, Episode 1
p. 22 p. 23 p. 25 p. 27
Live Review: Arctic Monkeys at London Earls Court (25/10/2013) Review: Jake Bugg at BIC (19/10/2013) Review: London Grammar at Brighton Concorde 2 Review: Deaf Havana at O2 Guildhall Southampton (17/10/2013) Listings
The Edge | editor@theedgesusu.co.uk
p. 28 p. 29 p. 30 p. 31 p. 32
Culture ||01 Editorial 03
Arcade fire Reflektor (MERGE)
Words By Jan Kobal
A
nother three years have passed and Arcade Fire have returned to bestow us with a work that is undeniably good, yet fundamentally frail. Drawing influences from a recent visit to Haiti by Win Butler and Régine Chassagne, the first half of the ambitious double LP charms with its Rara and Twoubadou tinged excursions. These musical themes find themselves most evidently manifest in ‘Flashbulb Eyes’ and ‘Here Comes The Night Time’. The latter being an absolutely scintillating piece that stands above much of what the album has to offer. Not to say that the LP is a work replete of confidence. This double LP sees an Arcade Fire that, while maintaining the sound and sensibilities that established them, dare to experiment with genres and timbres that never seemed within their remit. An undeniable contributing factor to the feeling of experimentation that this LP exudes is the inclusion of James Murphy as a producing credit. The former LCD Soundsystem front man makes his presence known immediately. The opening and eponymous track displays his euphoric penchant for measured and pulsating percussion. Congas and tom-toms push and pull around a velvety analog synthesizer and its accompaniment, the almost formulaically infectious alternating high-hat to kick drum strut. The piece expands and unfurls, culminating in several rapturous choruses that even see David Bowie make an appearance. The tangible presence of Murphy is felt on several other tracks as well. Something I was looking forward to with this LP was to see how longstanding Arcade Fire producer Markus Dravs would cope with Murphy chiming in on production duties. The results of the collaboration are anything but perfunctory, the two stalwarts bring out the 04 |Records
best in each other all while managing to refrain from grandiosity. A perfect example of this would be the track ‘It’s Never Over (Oh Orpheus)’. The piece moves with an alacritous purpose yet often gives way to rather majestic and sultry swells of poignant lyricism. Eventually – and only temporarily - erupting into a fantastic percussive romp laced with call and response that finally subsides into Dravs beautifully doleful studio work. The LP isn’t lacking in any “classic” Arcade Fire either. The oddly timed progressions and aptly placed key changes that made them famous are ever present in tracks such as ‘We Exist’, ‘Joan Of Arc’, and ‘Afterlife’. The latter is something that wouldn’t feel out of place on The Suburbs if it wasn’t for Murphy’s rhythmic placement. The voices on this track never lose purpose, the hook permeates throughout and the ceaseless minor theme never seems to leave regardless of the fact that the chorus often leaves us on a major key. The flaw in the fundamentality of this double LP lies in the fact that it so blatantly presents itself as a double LP. Certain aspects of this work are entirely unnecessary. The almost achingly caustic wailing present on ‘Normal Person’ is wholly unappreciated. The introductory Rara track ‘Flashbulb Eyes’ is completely unwarranted, not to mention the two gratuitously purposeless near ambient tracks ‘Here Comes The Night Time II’ and ‘Superymmetry’. The band had been cited as saying their intentions for this album were to make it concise and forceful, I leave wishing such thinking was never abandoned. Arcade Fire have constructed something that undeniably sees them at the acme of both their skill set and artistic importance, trying desperately to innovate and please. I feel that they have succeeded.
The Edge | records@theedgesusu.co.uk
Janelle Monae The electric lady (bad boy records) Words by Megan Humphry
J
anelle Monáe’s latest album is a sizzling sequel to her debut The ArchAndroid. Continuing with the same sci-fi story arc, this is a concept album which offers a fun, tantalising and thought-provoking glimpse into the futuristic world of Monáe’s imagination. Monáe uses the concept album format to provoke discussion about discrimination. She has said she uses her android alter-ego, Cindi Mayweather, to represent ‘the other’ – ‘I feel like all of us, whether in the majority or the minority, felt like the Other at some point.’ (The Irish Times, July 2010) The Electric Lady is packed full of fantastic songs, from tunes that just invite you to get up and dance, like the amazing single ‘Q.U.E.E.N.’ (featuring Erykah Badu) and the pop-punk piece ‘Dance Apocalyptic’, to the soulful ballad ‘Primetime’, and a superb duet with Prince, ‘Givin’ Em What They Love’. Monáe juxtaposes her music with entertaining ‘radio breaks’ for that authentic 25th century feel. The first single from the album,
‘Q.U.E.E.N.’, is one of those songs that you can’t help but dance to, with a strong beat and powerful lyrics. The standout moment, however, is Monáe’s ending rap – after singing about how she refuses to accept her social limitations by loving herself, she extends that invitation to her listeners – “Electric ladies, will you sleep? Or will you preach?” ‘Dance, Apocalyptic’ may not have as strong a social message, but is still brilliant– the sort of music you can dance to any time, any place – whilst ‘Primetime’ is a deeply emotional ballad. Throughout the album, Monáe’s lyrics and vocals are genuine and unaffected – something that is unfortunately rare in much of today’s music. But in amongst the musical rebellion, the audacious experimentation and the feel-good dance numbers, there are some songs that really make you stop and think; moments where Monáe touches on more personal subject matter. In the second half of the album, this comes with the song ‘Ghetto Woman’, during which Monáe sings about a poor
The Edge | records@theedgesusu.co.uk
housewife. “You were built to last through any weather”, Monáe sings, before rapping about her mother, saying that “she’s the reason that I’m even writing this song”. It adds a powerful touch of reality to an album that is, ultimately, based on a fantasy concept. The final piece on the album, ‘What An Experience’, sounds like the song that would be played over the ending credits for a rom-com, or one of those inspirational, feelgood movies. It is a fitting ending to the album, giving it a polished sense of completion. Other highlights are the gospelthemed ‘Victory’, and jazz ballad ‘Dorothy Dandridge Eyes’, showing just how unrestricted Monáe really is. She blends musical genres and styles with wit, grace, and no shortage of skill, resulting in an album that is truly a joy to listen to. Sharp, smart and most importantly, enjoyable, The Electric Lady is a must-listen, and hopefully just another step on the way to musical greatness for Monáe.
Records | 05
DARKSIDE pSYHIC (OTHER PEOPLE) Words by Evan Smithson
D
arkside is the brainchild of American-Chilean prodigy Nicholas Jaar, and the (relatively unknown) multi-instrumentalist Dave Harrington. The pair were introduced when Jaar was looking for a touring band, and found Harrington through a mutual friend. As such, I was expecting Psychic to be very much a Nicholas Jaar record. Listening to the 11 minute opening track, ‘Golden Arrow’, didn’t initially disprove my preconception. The track teases with levels of synthesizer being introduced and taken away, and the occasional faint hiss of static noise in the background gives an ethereal feel. It takes almost two minutes before any form of beat is presented, in typical Jaar fashion of keeping things slow and steady, and letting the spaces around the music tell the story. After five minutes the drum beat kicks off, and Harrington’s staccato guitar allows a groove into the track. Whilst not overlong, ‘Golden Arrow’ seems slightly too long in the context of the record, weighing in at just over a quarter of the total run time. Compared to the vast opener, second track ‘Sitra’ feels like an interlude, leading into the gorgeous ‘Heart’. Jaar’s delicate falsetto is layered over a riff that wouldn’t be out of place on a Pink Floyd record, showing that the influence Darkside took was not only in naming themselves after that album. ‘Paper Trails’ follows suit, Harrington’s bluesy guitar and Jaar’s clicking beat and
06 | Records
sultry smoky voice complement each other delicately, and are reminiscent of The Doors. ‘The Only Shrine I’ve Seen’ is the most overtly dancey song on the album, with a pulsating beat and steady bass line leading up to a lurching ‘drop’ where every element dissipates, before coming back stronger with yet another groovy guitar lick to complete the track. The most experimental track on the LP is perhaps ‘Freak, Go Home’ which begins with polyrhythmic percussion and a few seconds of heavily distorted guitar, which makes way for a disco beat, complete with a cowbell. Unlike ‘traditional’ electronic music, it eschews the practice of a constant tempo. A reverb-laden chorus lands briefly towards the end of the track, summating the most psychedelic part of the album. Ultimately, the album is a potent concoction of electronic music and bluesy rock ‘n’ roll. There are moments when neither influence is more prominent than the other, Jaar demonstrates his abilities as a producer by taking a backseat role on occasion and letting Harrington show his instrumental prowess. There is a thick, intense atmosphere to the album, with Psychic certainly living up to its name. If Daft Punk’s most recent release blended the upbeat elements of disco and soft rock, then Darkside (as their name suggests) provide the broody, dark counterpart in Psychic.
The Edge | records@theedgesusu.co.uk
POLica SHULAMITH (memphis) Words by Andy Southcott
P
oliça’s debut album, Give You The Ghost, was a startling introduction to a band intent on experimenting with expectations of genre and taste. With their rich blend of brooding synths and highly-processed vocals, Poliça somehow managed to find warmth beneath layered electronics, exposing the humanity in the digital. Though Auto-Tune had been used in indie and alternative music before, Channy Leaneagh’s vocals felt novel partly because they were immersed in the dreaded pitchcorrection software for an entire album. The result was not tacky but striking, enabling the band to form a new and haunting aesthetic. During the opening notes of Shulamith it might seem as though Poliça have veered into the very tackiness they had always avoided so well. But after a short while the bright, unnervingly plastic synths that introduce ‘Chain My Name’ give way to excellent melodies and a thick, heady atmosphere. In fact, when those suspect synths return the song becomes positively euphoric, a joyous anthem that teeters but never slips over the precipice into bad taste.
Unfortunately, Shulamith lacks the immediacy of Give You The Ghost. Where many songs on their debut felt like dramatic wake-up calls, here Poliça provide few moments to replicate the experience.
But that is not to say that this is a bad record. On the contrary, it is a highly-accomplished and subtle album that will reward those willing to put in the time. Bon Iver’s Justin Vernon, a frequent collaborator, guests on the shuddering lead single ‘Tiff ’. His ethereal voice blending satisfyingly with Leaneagh’s over a slow, seductive groove. Other highlights include the unfortunately titled ‘I Need $’, with its bleeping synths and sighing vocals, and ‘Spilling Lines’, in which hyperactive drums and bass back a strong vocal line that eventually descends into a distorted and wordless – but ultimately brilliant – mess. Indeed, the details in Leaneagh’s lyrics never prove particularly important. She transforms words into waves of soothing, free-form wails, to powerful effect. Ultimately, Shulamith is a fine follow-up to a great debut. It may not astonish in quite the same way, but over time it proves to be just as rewarding. Some might have suspected that their unconventional style was little more than a gimmick, and one that would grow tiresome over time, but on the evidence of this record, Poliça clearly have much left to give.
The Edge | records@theedgesusu.co.uk
Records | 07
Singles
Warpaint // Love is to die
Maipei // Don't wait
Ben Khan // EDEN
I
U
Effortlessly mesmerising, the sorrowful voice of Emily Kokal has a celestial beauty as she achingly repeats “I’m not alive, I’m not alive.” ‘Love Is To Die’ is a fluid and indecisive portion of hypnotic psychedelic rock.
She had success in 2008 with ‘Video Vixens’, and was featured most recently on Major Lazer’s Guns Don’t Kill People… Lazers Do, but her style has since evolved. ‘Don’t Wait’ trades slick raps for warm vocals that carry the track. Her rap flow is not cut out completely, but contained in a bridge with a strummed guitar and reduced drum beat for company. It is a refreshingly light change to the dark atmosphere that has overtaken R&B and it will be worth seeing what she comes up with next.
Lyrics such as “Palms to the sky on a religious high” leave a lot to be desired, I do not foresee them being engrained in my memory for more than an ephemeral amount of time. I do appreciate Ben Khan for his experimental style, but I find his overly superfluous production grates rather than excites
Words by Howell Davies
Words by Grace Shutti
W
arpaint’s return is typically moody and broody. A central, portentous pulse is the only foundation, with hazy melodies ethereally swirling around it. The verses are saturated in melancholy and the chorus is a u-turn of momentous proportions, drastically changing key. The first two minutes of the five minute masterpiece sounds like three different songs meshed together, and it’s almost like the LA quartet have recreated their debut album The Fool and condensed it into this miniature package.
t sounds so fresh you could be fooled into thinking Spring just came around. Mapei’s fingerclicking positivity has come out of nowhere. The Rhode Island-born artist raised in Sweden follows her Nordic countrymen in making pop music with a soul.
The Edge | records@theedgesusu.co.uk
p until recently Ben Khan was relatively unknown to me. Last FM rather hastily categorises his music into just three, genres. These being ‘seductive’ ‘electro’ and ‘darkish’ all of which are true. But I cannot help think that this track is so much more than that. The track starts out with some dirty synthesizers which work well with the cascading guitar riffs that follow; all is good until about half way in where it gets a bit messy. This track that would benefit from the old adage: less is more.
Words by Rachel King
Records | 09
Ben Affleck
In the heyday of Hollywood turning from acting to directing was a far less common practice than it is today. Orson Welles was a prolific actor and director. His films have become necessary viewing for anyone with a real interest in film. Citizen Kane is one of his best performances as an actor and director, due to his use of non-linear plot structure and the film’s central mystery. These have
Orson Welles
Glancing down Ben Affleck’s ac CV is a painful business. I’m think Daredevil, Gigli, He’s Just Not That You. However, even though watch him act his way through a shockin poor romantic comedy may feel being made to drink acid, his list of directorial efforts boast a much stronger menu of films.
There’s a reason why ‘best film’ lists feature Citizen Kane at their top seventy years after its creation. This achievement is made even more remarkable by the fact that he also co-wrote the film.
He first tried directing with a comedy short in 1993 titled I Killed My Lesbian Wife, Hung Her on a Meathook, and Now
Welles’ Shakespeare adaptations also contribute to why he is considered one of the best actors turned directors in the world. He was undoubtedly an outstanding actor; his film Othello demonstrates his directional talent as well. The opening shot of the film is irrevocably memorable, and it is instantly clear that Welles is someone who will impact on cinema for a long time. One of the first, and arguably one of the best ‘actors turned directors’ of all time.
BEHIND T
actors tur
Words by Rebecca James, Bronwy
In light of Joseph Gordon-Levitt’s directi actors turned directors - both past and pr on the
Kenneth Branagh
which he both directed and starred in with Julie Christie.
In my opinion, Sir Kenneth Branagh should be in every ‘actors turned directors’ list. He has produced, written, and starred in films since his directorial debut Henry V in 1989, recently adding blockbuster films such as 2009’s Thor and Jack Ryan: Shadow Pursuit to his repertoire.
Additionally, his performances on stage have led to a comparison with Sir Laurence Olivier early on in his career. It saddens me to think that a whole generation of people may grow up knowing him only as Professor Lockhart from Harry Potter and the Chamber of Secrets.
Well known in the Shakespeare world for his adaptations - which include his 2006 version of As You Like It, and 2000’s Love’s Labour’s Lost - Branagh has built a strong reputation both on stage and screen. Perhaps his most famous Shakespearean adaption is 1996’s Hamlet,
10 | Features
The Edge | features@theedgesusu.co.uk
k
cting king Into hing ngly like
I Have a Three Picture Deal at Disney no jokes, that’s really the title - then took a long break until 2007 when he made Gone Baby Gone. The film, adapted from Dennis Lehane’s novel of the same name and starring his brother Casey Affleck in the lead, was a critical success, and was followed in 2010 by ensemble crime epic The Town. His real crowning achievement, 2012’s drama Argo, which won Best Picture at both the BAFTAs and Oscars, was something of a bittersweet hit for Affleck, since he lost out on a Best Director nod from the American Academy. Better luck next time, Ben!
THE LENS:
rned directors
yn Scotland Barnaby Walter, Cat Olley
ional debut, Don Jon, our editors take a look at the resent - whose works have had a considerable effect e film industry.
Clint Eastwood
Ben stiller When you think of actors who have turned their hand to directing, other names may initially spring to mind. Names like George Clooney, or Ben Affleck, perhaps. Stiller is one of the most well known actors working in Hollywood today; on the Internet Movie Database he has 114 acting credits, yet his directorial roles have for the most part stayed under the radar. Stiller directed 2001 hit Zoolander and 2008’s Tropic Thunder.
material. However, Tropic Thunder fell flat for me, particularly in its portrayal of disability, although the Hollywood parody is spot on. He has directed himself again in The Secret Life of Walter Mitty - due for release in December 2013 and it seems that Mr Stiller
will be both in front and behind the camera lens for many years to come.
His directorial turns have been a little hit and miss. He was a credited as a writer for both of these two films, so the material he had to work with was his own. Zoolander was an interesting parody of the modelling industry, and had some very engaging original
Clint Eastwood is the iconic Western hero. Films like A Fistful of Dollars and Dirty Harry - among many others - have secured him as one of the most celebrated leading men in cinematic history. As well as his seminal acting work, Eastwood has directed or codirected thirty six films, of which many may not realise his involvement. His directional debut was 1971’s Play Misty for Me, and he has since directed many celebrated films, winning ‘Best Director’ Oscars twice for Unforgiven and boxing drama Million Dollar Baby. He has further been nominated
for the much sought after accolade twice more, for 2003’s Mystic River and Japanese war drama Letters from Iwo Jima. His most engaging piece is 2008’s Gran Torino, a comment on the prejudices present in everyday life. Eastwood stars as a Korean War veteran who strikes up an unlikely friendship with a young Hmong boy who has become hopelessly entangled with gang life. It’s a true family affair, with sons, Scott and Kyle, starring and producing the film’s score respectively.
The Edge | features@theedgesusu.co.uk
Features | 11
12 | Features
The Edge | features@theedgesusu.co.uk
T
alking to a Norse God is intimidating work - or rather, it would be if Chris Hemsworth were an intimidating kind of guy. Luckily for me, he was kind and forthcoming, though it is slightly unnerving when someone with so much charisma, talent, charm, and beauty looks you in the eye and responds to the words that just tumbled out of your mouth. He has gone through a meteoric rise in the past few years; this autumn alone has seen him playing racing legend James Hunt and now he is reprising his role as the hammer-wielding Marvel character Thor. Hemsworth has been very enthusiastic about filming in Britain. In recent years, he has shot a number of projects here and currently lives here with his family. His current project is a true-story drama The Heart of the Sea with Rush director Ron Howard, so at the moment he appears firmly grounded in the UK. I asked him what it’s like filming in Britain as opposed to Hollywood; “the interesting thing about Hollywood is that – I don’t know if a lot of stuff ’s shot there any more, but obviously once upon a time it was – but it is predominantly a lot of sets and studios, whereas the nice thing about here is, yes there are incredible studios, but there are brilliant locations to take advantage of ”.
“I’d try to draw from any experiences I’ve been through and empathise with frustrations I’ve had” Chris Hemsworth Thor: The Dark World certainly does take advantage of different parts of
the UK, with a location list involving Stonehenge and Greenwich. There are also visual references to places ranging from Billericay to Charring Cross. “I love the aesthetic this film has” says Hemsworth, adding, “not only do we have Asgard, but we get to see London. Most of these films are set in New York or have that backdrop, so I love that difference, and yes I do love shooting here”. Chris Hemsworth’s co-star Natalie Portman, is also currently sharing the London love. The Israeli-born American actor agreed with her on screen love interest when I put the same question to her: “I would echo Chris. It’s hard to compare because I don’t really shoot in Hollywood at all. I love working here though and I’m very envious of British actors and British crews”. Portman has shot a number of movies in the UK, including Mike Nichols’s adaptation of Patrick Marber play Closer and Philippa Gregory adaptation The Other Boleyn Girl. “American, and I guess Australian actors, are kind of like travelling gypsies going from movie to movie, moving all the time,” she said, continuing with, “whereas you can have such a fulfilling, wonderful rich career here with the theatre, the TV here, and film, all here in London. It’s pretty cool if you get to live in this place.” A lot of buzz, particularly from Marvel fans, has surrounded the love/hate relationship between Thor and his evil brother Loki, played by Tom Hiddleston. On screen, their brotherly love is complex. They are, after all, polar opposite. However, at the press conference I attended at The Dorchester, the two young men couldn’t wait to show how much affection they have for each other in real life: “I love you!” Hemsworth says to Hiddleston as he talks about his working relationship with the
The Edge | features@theedgesusu.co.uk
British actor. Hemsworth does, of course, have two brothers himself - Liam and Luke - so must be used to sibling love and conflict. Did he draw on this playing Thor? “Well, neither of them have attempted to take over the universe just yet, but I think I’d have the same reaction if they did! We’re competitive as siblings are, in everything from sport and cricket in the back yard to who is controlling the remote control when watching TV. In this industry, not so much. All three of us understand the frailty of the work and help each other with auditions - always have - and whatever scripts you are working on. You’re not in direct competition anyway. It’s more a kind of team effort than anything else.” Family experience did influence his acting in one specific scene, though, as he goes on to explain: “In one of the scenes, in the spaceship exiting Asgard, Tom and I were pretty insistent that this should feel like being in the backseat with your siblings – we couldn’t get 100 metres down the road without one of us going ‘get off me, don’t touch me, go this way!’. That certainly plugged into that scene. And having that love/hate kind of thing where you’d do anything for them but the simplest thing is going to annoy you. Certainly I’d try to draw from any experiences I’ve been through and empathise with frustrations I’ve had”. Chris Hemsworth and others spoke at the UK press event organised by The Walt Disney Company. Thor: The Dark World (2013) is released in the UK by Walt Disney Studios, Certificate 12A. Turn to page 16 for our review. Words by Barnaby Walter
Features | 13
Create a brighter future. Excel Southampton Placement Programme Placement opportunities that build up your CV, expand your network and open graduate recruitment opportunities We offer a wide range of 4 – 12 week structured, paid internships over the Easter and Summer breaks, based both on campus and within a wide variety of external companies. Project lead and person specific, our opportunities are carefully selected to ensure that you receive the most valuable, inspiring and exciting experiences.
Excel Southampton Placement Programme placements@southampton.ac.uk www.southampton.ac.uk/careers/placements
TAME IMPALA;
SYMPATHY FOR THE PEDAL
W
e have a dichotomy; musicians that fully embrace the use of electronics and those who are utterly appalled at the idea. This is why I’m citing Tame Impala, the brainchild of Australian songwriter Kevin Parker, as the perfect example of how to blend the spirit of the past with the technical accoutrements of the now. For the last six months or so, every time a friend of mine has uttered ‘I need some new music to listen to’, Tame Impala has been my instant reaction. For those who have failed to encounter either one of their two award-winning albums, Innerspeaker (2010) and Lonerism (2012), they are a band from Perth who make ‘psychedelic hypno-groove melodic rock music’ and that are playing in the world’s grandest arenas, as is evident by performances at the likes of the Coachella and Glastonbury festivals. Not only is the marijuana-heavy fragrance of the Woodstock era pouring into our 21st century ears, but critics have drawn comparisons between Tame Impala’s founder and none other than Mr. John Lennon. Although one could argue that this is
a fairly farfetched idea, both maestros do indeed have a penchant for making music that pushes boundaries, oozes of innovation and dances with one’s sensations. In a culture that operates by means of instant gratification, with ubiquitous songs about partying as if the apocalypse is upon us, music such as this is vitally important. Of course the idea that Tame Impala are to reverse all societal trends seems dramatic and ridiculous; I am simply stating that what Tame Impala do is brave, and it is paying off as their audience is growing faster than that of most acts on the planet. Take Lonerism; one of the most interesting things about it is that it is supposedly written about the walk home after a party, not, as so much else is these days, about the party itself. In turn this theme is channelled through extensive experimentation. Many bands and filmmakers are guilty of overproduction and in turn insincerity, thus in my eyes the best pieces of work are those that only use the modern era’s highly technical production devices when it is appropriate and not just for the sake of it. The matter of how many films and songs are ‘overproduced’ nowadays The Edge | features@theedgesusu.co.uk
concerns, amongst other things, the commercialisation of art forms and even lies at the centre of pieces such as Dave Grohl’s debut motion picture Sound City. In essence, today’s use of technology is an area of artistic contention everywhere. Tame Impala work today because they are not afraid. You naturalists out there may say that this is an electronic wasteland trying to prance around as a genuine genre of music, and to that I say that Tame Impala are doing what others should take inspiration from. Over the course of their young and blossoming career, they have consistently taken modern musical paraphernalia, the pedals, the synths and the vocal effects, and written music that could have been written in the late 60s, 70s, 80s or 90s. This timeless aspect, for me at least, is a universal mark of music gone right. The song title ‘Feels Like We Only Go Backwards’ may well be referring to a personal relationship, but it embodies the spirit that Kevin Parker is revitalising in order to take his sound forward. Words by Michael Anderson
Features | 15
thor: the dark world Director: Alan Taylor. Studio: Disney
T
hor: The Dark World is tremendously enjoyable. It has its weaknesses (what film hasn’t), and there are big issues with plotting (a long-running problem with Marvel adaptations) but this is a much stronger entry into the canon than anything the studio has churned out in the past couple of years (and that includes Avengers Assemble and Iron Man 3). Game of Thrones director Alan Taylor has a lot of fun with the material. He has a lovebale Norse God (played by the adorable Chris Hemsworth), a bunch of feisty human heroes (Natalie Portman, Kat Dennings, Stellan Starsgard), and two terrific villains in the form of Loki (Tom Hiddleston) and an evil elf-guy a.k.a Malkith the Accursed (Christopher Eccleston). To simplify an occasionally muddled plot, the Eccleston elf-guy and his pointy-eared friends want to mess stuff up in Asgard which also leads to complications on earth. Of course, Earth is home to Thor’s human love 16 | Film
interest (Portman), so he isn’t too happy about this. Things get even more intense when he asks his nasty brother (Hiddleston) to help him fight the bad elf. If this sounds like nonsense to you, don’t worry, you are not wrong. It is nonsense, but it all fits together in such an entertaining way it really doesn’t matter. There is such a rich flare for fun in this film that the weaknesses barely even hit home. After the annoying wise-cracks that littered Iron Man 3, it’s terrific to get a script that has the confidence to be funny without being smug. Hemsworth and Portman are great in their roles and have a very watchable chemistry. It’s a shame that there had to be a scene of Portman slapping her loved-one across the face (more than once) in order to punish him, thus entering the film into a long line of movies that condone violence in a relationship so long as it is doled out by the female. Aside from this The Edge | film@theedgesusu.co.uk
unfortunate ill-judged moment, the time these two spend together onscreen serves as the heart and soul of the film and offers a nice contrast to another (but more familial) intense love-based relationship Thor has to navigate: the one he has with his brother. At the risk of sounding like I’m damning with faint praise, Thor: The Dark World works in spite of itself, not because of its own genius. It’s a good film because of the vibe of fun behind the whole thing. Maybe one day, however, we shall get a Marvel film that survives because of intelligent plotting and doesn’t become a mess by the time it’s barely into the second act. I hope that day comes soon, because if the studio can do this well whilst using flimsy stories, imagine what they could do with a brilliant one. Words by Barnaby Walter
Don Jon Director: Joseph Gordon-Levitt. Studio: Warner Bros.
I
t’s very hard not to like rising star Joseph Gordon-Levitt. He is attractive, good at his job, and apparently multi-talented: he has now written and directed a movie. It’s a shame that the film, about a porn-addicted young man who tries out a committed relationship, is a rather patchy affair. It could be worse but, then again, it could be a lot better. Our writer/director is also his own leading man (with an exaggerated New Joiiiiseyy accent) in this tale of sex and semen. His performance is fine, but if you go in hoping for a masterpiece you will also be disappointed. That isn’t to say it’s terrible. Though the running jokes become tired quickly, JGL is inventive when it comes to using smart editing and juxtaposition as tools for humour. Look out for a particularly effective use of the Apple login jingle.
The way women are viewed for most of the film is despicable, but this is obviously deliberate. This is not a sexist film, nor does it necessarily support the repulsive views of its leading characters. However, the movie seems awkward when it comes to satirising or condemning such attitudes and it naively sidesteps the issue of female-objectification within pornography. Films that feature a host of unlikable and nasty characters are quite often tough to watch and Don Jon doesn’t cleanly drive over this hurdle. The lead character is a flawed hero, and he goes through a suitable redemptive period, but this fails to address more disturbing aspects to his character (such as his use of discriminatory language). When he gets a girlfriend (an unremarkable Scarlet Johansson) he becomes a tad more endearing, but it’s a The Edge | film@theedgesusu.co.uk
later relationship that really offers him the opportunity to change for the better. The most sympathetic role is reserved for Julianne Moore, who is in my opinion one of the best actors working in cinema today. Although there is something downright troubling in the relaxed stance the movie takes to her character’s cannabis use and drug-driving, Moore delivers a beautifully nuanced and very affecting turn as a troubled soul looking for help. Though hardly a disaster, Don Jon leaves a sense of disappointment in the air after its closing scenes. It could do with an enthusiastic edit (a couple of long-running jokes could be dropped completely), but it’s encouraging JGL is attempting to do something interesting and a bit different, even if it hasn’t entirely worked this time around. Words by Barnaby Walter Film | 17
first look review
The double Directed by Richard Ayoade Studio StudioCanal Released 4 April 2014
T
his second feature from Ayoade following the delightfully bizarre 2010 film Submarine, sees the director going further down the rabbit-hole of surreal storytelling. Loosely adapted from a Dostoevsky short story, the film follows a reclusive, down on his luck employee of a spookily nonspecific, Brazil-esque data analysis company. His name is Simon
James (Jesse Eisenberg) and he drifts through life like a ghost: resented by his dying mother, invisible to the girl he loves (Mia Wasikowska) and even to his coworkers despite having been there for 7 years. His situation reaches a horrific low when James Simon (also Eisenberg), his doppelganger in appearance yet polar opposite in demeanour, arrives at the company and proceeds to all but erase Simon’s life completely.
The overtly noir visual style is combined with a gloriously inventive soundtrack that transcends the action we are seeing, to create what is ultimately a highly surreal and bleak world. It’s not a bad film, but too often feels like it is dealing with too many elements and in the end it’s all less satisfying than the build up originally promised. Words by Mike Cottrell
first look review
Liars All Directed by Brian Brightly Studio DLN Films Released Coming Soon
T
his ridiculous little movie would like to have you believe it’s a compelling and steamy psycho-sexual thriller involving drugs, threesomes and murder. It isn’t. It’s a convoluted mess without an inch of intelligence and a collection of awful performances. A group of student friends – mostly American – are in London together over the Christmas period. On New
18 | Film
Year’s Eve they decide to host a very daring dare game, goading each other into doing rather naughty things. One guy (Matt Lanter) is tasked to jerk off in front of his best mate (Torrance Coombs). The best mate is dared to steal something from the home of a total stranger. People prick their fingers with the same needle and someone drinks the blood (HIV anyone?). As things The Edge | film@theedgesusu.co.uk
escalate, the night ends in the brutal death of one of their number (Gillian Zinser). Though it attempts to be shocking and risqué, it’s a tad embarrassing how tame it all ends up being. In the end, it’s hard to care who shagged/split up with/murdered whom and why. Words by Barnaby Walter
Cloudy with a chance of meatballs 2 Director: Cody Cameron. Studio: Sony.
B
ack in 2009, Cloudy with a Chance of Meatballs left me hungry for more. The second instalment is the cherry on the cake. Filled with all the humour of its predecessor, and even more food puns, those who enjoyed the first film will be delighted to sink their teeth into this colourful, fun, secondhelping. Starting immediately after the first film finishes, young inventor, Flint Lockwood (Bill Hader) is recruited to work for his childhood hero, Chester V (Will Forte), while Chester’s crew clean up the food left on Swallow Falls. However, their attempts mysteriously fail, so Flint is forced to return to Swallow Falls with his girlfriend Sam (Anna Faris), his friend
Brent (Andy Sandberg), his dad (James Caan) and police chief Earl (Terry Crews), where they find that their home is now a vast food jungle infested by living food animals, or ‘foodimals’. So they must brave the jungle to find Flint’s food-making invention and shut it down for good. Piece of cake, right? As you can probably guess, the fun of this film lies in the countless food jokes. Whether there’s a living, screaming leek in the boat, or the gang are being attacked by taco-diles and shrimp-panzees, you can tell the writers must have had a great laugh dreaming all these creatures up. Sony Pictures Animation does an amazing job of bringing
The Edge | film@theedgesusu.co.uk
these puns to life, making all the characters, no matter how fierce or evil, shine with a fun, colourful spark. The film is visually scrumptious, and manages to make even marshmallows and strawberries painfully adorable. What I think makes this movie a cut above all the other family films out there is the fact that it that mocks the idea of a kids’ film. Everything is over-the-top fun, enthusiastic and innocent, and Andy Sandberg and Bill Hader, who have mostly stared in films that children should not watch, are drafted in to do the voices. It’s a twisted, mocking way to add humour, and it works brilliantly. Words by Natasha Raymond
Film | 19
Archive Review
Halloween Special
Nosferatu Director: F.W. Murnau. In cinemas and on Blu-ray.
N
osferatu: A Symphony of Horrors, is the unauthorized film adaptation of Bram Stoker’s gothic classic, Dracula. This autumn, Eureka! Entertainment is re-releasing the horror classic in select cinemas, as part of their ‘Masters of Cinema’ series. This new iteration of the German director F.W. Marnau’s critically acclaimed work of silent cinema has been restored to coincide with Halloween and the British Film Institute’s “GOTHIC: The Dark Heart of Film” season. Originally released in 1922, Nosferatu is a silent cinema horror and an exemplar case of German expressionism through film. Evidently, Nosferatu, has earned the popularity and acclaim to warrant restoration and rerelease.
20 | Film
The film tells the story of Hutter, who is sent by his employer, Knock, to secure a deal with the mysterious Count Orlock to purchase a property in his fictional hometown of Wisborg. The brave Hutter ignores the locals who advise him to stay clear of Orlock’s land. As he enters Count Orlock’s castle, Hutter begins to experience bizarre dreams, and learns more and more foreboding truths about his mysterious host. The movie suffers the curse that it will largely be judged by modern audiences on its form as opposed to its content, however for those willing to engage with the film, Nosferatu can be a very rewarding experience. Words by Chris Evans
The Edge | film@theedgesusu.co.uk
DELIVERING UNTIL
5AM
DELIVERING UNTIL
Everyday
ONLINE SPECIAL
10 OFF 1
Call Avenue store or order online when Shirley closes for deliveries until 5am!
1
£
When you spend £25 or more online Online Code: SOTONMAG COLLECTION OR DELIVERY
COLLEC
TION SPECIAL
Buy One Pizza, Get One
FREE
2
Available on medium and large pizzas COLLECTION ONLY
313 Shirley Road, Shirley, Southampton SO15 3HW
65 The Avenue, Southampton SO17 1XS
Opening Hours: 10am to midnight Sun-Thursday, 10am to 1am Fri & Saturday.
Opening Hours: 10am till 5am everyday.
023 80777333 /DominosPizza
@Dominos_UK
Call Call Call
023 80233633 Like us on: Facebook.com/Dominos.southampton
dominos. co.uk Pop in Pop Tap the app dominos.co.uk Pop Tap app dominos.co.uk in in Tap thethe app OPEN
OPEN
1 Excludes drinks, and ice creams. Valid on delivery or collection orders over or to the value of £25. Not valid with any other offer. Valid at participating stores only. Available online only at dominos.co.uk. 2 At regular menu price. Free pizza must be equal or lesser value than the first. Available on medium and large pizzas only. Premium bases, crusts and additional toppings charged as extra. Not valid with any other offer. Collection only. Offer expires 31/07/14.
Crash Bandicoot:
t s e b ir e h t t a s e m a g o r t e R
W
h e n looking at games for the PS1, there is one series that simply cannot be left out:
Crash Bandicoot. During the 90’s this lovable orange hero was as much S ony ’s mascot a s Mario was Nintendo’s. Sadly though, changing developers and poor game production in the next decade would cause the character to fade into obscurity. Nethertheless, let’s focus on the game that started it all; the eponymous one of the series, Crash Bandicoot. This platformer focuses on the titular character, beginning with his escape from Cortex’s castle, then following his journey through Dr. Neo Cortex’ Islands, all to save a female bandicoot who is being experimented on by Cortex after his own escape. 22 | Culture
The game itself is split into levels, which can either be on a 2-D perspective or 3-D facing forward. In both situations though the game levels are generally fairly linear sequences of jumps, enemies, obstacles and crates (with the exception of boar riding and other unique segments). Progress within the levels requires running, jumping and spinning your way to victory, while breaking crates and defeating enemies is optional. However, crate breaking increases Bandicoot’s amount of Wumpa fruit, and when the counter reaches 100, an extra life is awarded. Extra areas can also be found, through means of tokens. Collecting three in each level allows access to extra areas that are otherwise locked, though this is otherwise unnecessary to the main game. No doubt, you will have noted nothing particularly special in that description, but gameplay is not what made the game special and there are a few factors which set it apart. The first is its setting. The game is on the islands owned by Cortex, south east of Australia, with level, boss and music all designed after the setting. Bosses such as insane kangaroos and tribe leaders can be found, The Edge | culture@theedgesusu.co.uk
with a variety of levels including swamps, jungle, ruins and much more. The music is also unique, using a variety of jungle drums and upbeat melodies to fit in perfectly with each level.. The graphics (though aged they may be), were at the time ground breaking. The visuals were aided by a vibrant and colourful style that stood out from other platformers. The other thing that set it apart, was the protagonist. The animation, quirky and mad as it may be is one of the most important things in the game, with an aura that no other character really could emulate. Looking back, while Crash Bandicoot itself was not really the most innovative of games, its colourful graphics and gorgeous world sucked in any and all players who picked it up. While the series would not peak until it’s third game when it had brought in the gameplay features that really set it apart. The game played well and had an infectious vibe that could not be ignored, and it still deservedly stands as one of PS1’s best-selling games; Bandicoot really is one of Sony’s most cherished characters. Words by Pete Bridgewater
under the dome: mid season review
I
f you want a serious, well acted drama that explores social interaction, then you should desperately avoid Under The Dome.
The premise is simple - one day a mysterious dome separates the small town of Chester’s Mill from the rest of the world. Nothing can make it through the dome except for the occasional radio wave. Under The Dome comes originally from the Stephen King book of the same name. The first episode of the show follows the book closely, and then deviates massively. This deviation is where things start going wrong. King’s book is an interesting exploration of what happens when people are confined into the ultimate microcosm, and how power corrupts completely. The television show of the same name becomes more of a soap opera, and less about human dynamics. There are some interesting moments within the show that explores the depths of human desperation and what we are willing to do to maintain our own position. When the town’s water supply is compromised “Big Jim” Rennie (Dean Norris) goes to a local farmer with a well on his land, only to be blackmailed into providing propane in exchange for enough water for people to survive. These sparse interactions provide interesting interludes, but they are too few with too much time between them to make the show have any kind of real impact. Essentially, it just becomes more and more silly. Considering that Dean Norris requested his Breaking Bad character to be killed off in season three (a request which was refused) so that he could make the pilot of this show, you’d think that it was a particularly meaty role. Instead, he
spends his time looking mildly confused and growling in response to things that he doesn’t like. The role of “Big Jim” Rennie is far beneath the abilities that he displayed in Breaking Bad. Other actors fare no better, either in respect to their characters development or simply because their acting ability is limited. Colin Ford’s acting as Joe McAllister is truly terrible in this show. Considering his fairly decent minor roles in shows like Supernatural, I was expecting better things from him. His delivery of lines is stifled and so unbelievable. Rachel Lefevre (playing Julia Shumway) and Mike Vogel (playing Dale ‘Barbie’ Barbara) redeem the show a little - the interactions between the two of them given the complicated history that the show has given them are interesting. Their acting is far more understated, particularly on the part of Vogel, and as a result of this I feel far more invested in their relationship than the other soap opera dynamics. The only reason I’m still watching the show is because I dislike ending things prematurely. However, I find myself laughing at the ridiculous nature of the dialogue (“The pink stars are falling” is a particularly outstanding example) and I don’t even feel like the cast are convinced by their own delivery of the lines, so how could we as viewers possibly be convinced? Under the Dome is interesting in theory, but in practise it falls short of the source material and becomes a shadow of what it could have been. 3/10 Words by Rebecca James
The Edge | culture@theedgesusu.co.uk
Culture | 23
I
n 1996, Helen Fielding unleashed the character of Bridget Jones onto the literary platform, captivating readers everywhere, particularly women. What strikes you about Bridget, whether you’re reading the novel or watching the highly successful film adaptations, is her ability to encapsulate the trials and tribulations of womanhood in the twenty-first century. Though a fictional figure, there are a lot of women out there who see something about themselves in Bridget Jones. She counts calories, alcohol units and cigarettes, commenting with wittiness and a comically neurotic tone that I would argue is unrivaled anywhere else in fiction. We loved to read about her hilarious mishaps with her very own Mr. Darcy, and then we loved Renee Zellweger bringing her to life on screen. At the end of the second installment Bridget finally secured a husband with a proposal from the lovely Mark Darcy, portrayed in the adaptations by the national treasure that is Colin Firth. After a fourteen year wait for her loyal fans, and after a lot of anticipation, Helen Fielding released the third installment: Bridget Jones: Mad About the Boy. If you haven’t heard the big spoiler for the third book, consider this your final warning. Prior to its publication on 10th October 2013, the internet was buzzing with fans commenting on (and mostly critiquing) the news that Helen Fielding had killed off a 24 | Culture
main character, and that it was none other than our, and Bridget’s, beloved Mark Darcy. It turns out that the couple had in fact married in the gap between the ending of the second instalment, The Edge of Reason, and the beginning of this book. But if you were thinking you would read the third part to see that moment, to see Bridget flail around trying to plan a wedding, slim down to get into her dress and encounter all manner of bridal dramas, then don’t bother – we don’t get to see any of it. Mark is dead five years before this book even begins.
single, again. We are force-fed yet more dating dramas, only this time with the added sorrow of Mark’s death.
The reality sinks in, as you read the opening chapters. She is now 51 years old, a widow, and a single mother to two young children.
Ultimately, I feel as though I should have put down The Edge of Reason and never picked up Mad about The Boy. What’s wrong with wanting to see more of what happens after marriage? Didn’t we deserve that, and more i m p o r t a n t l y, d i d n’ t Bridget?
Throughout the novel it is hard not to sympathise with Bridget, and I understand that Fielding was trying to introduce a more serious element to the books. Some criticism of the fans has said that they didn’t appreciate Fielding trying to do something different – that because it’s not the same plot, with the same characters, we will all toss it aside because we didn’t get a happy ending for our key protagonists. However, I argue precisely the opposite – this book feels like a slightly adapted version of the first two, with one man as the source of sexual satisfaction but ultimately, a dead end, and another love interest coming from an unlikely (but perfectly predictable for us as readers) source. Bridget is The Edge | culture@theedgesusu.co.uk
There was even a moment when I wanted to throw this book across the room out of sheer frustration, and it involved Daniel Cleaver being naked in Bridget’s bed. We get one measly sentence about how Mark and Daniel eventually sorted everything out and became great friends – and suddenly we’re expected to be okay with the fact that Daniel not only babysits the children, but is their godfather.
Words by Kirstie Carter
W
Flashback: Spyro Year of the Dragon hat’s small, purple, and likes to headbutt villains in the ass?
Spyro the dragon of course! It has been just over 15 years since Spyro first glided onto our screens with his exciting, magical platform game, which saw the fiery hero battling his way through magic lands to collect gems and rescue dragons. His franchise has expanded dramatically, but before all that, there was a much simpler game, Spyro: Year of the Dragon. The game starts with Spyro and the other dragons sleeping, surrounded by dragon eggs. However, an evil cloaked rabbit named Bianca sneaks in with an army of Rhynocs and steals all the eggs, disappearing into another realm through a rabbit-hole. As the only one small enough to follow her, Spyro must travel to the other realm and find all 150 stolen eggs, which are scattered through the various levels and worlds. As always, he is accompanied by his faithful dragonfly friend, Sparx, and a comedic cheetah called Hunter. As well as playing as Spyro, the player is also able to control four new characters: Sheila the Kangaroo, Sergeant Byrd the penguin, Bentley
the Yeti, and Agent 9 the space monkey, all who are unlocked at different stages in the game and have their own special levels and abilities. There are also some old characters, like Moneybags and those pesky egg thieves. Apart from the story and the characters, Spyro: Year of the Dragon is like all the other Spyro games. You have four different lands (in this case each is named after a different time of the day) which contain portals to the various levels, the settings of which range from Greek sky worlds, to dinosaur infested volcano worlds. It’s this particular feature of the Spyro games that have always made them enjoyable for me: the fact that you can do what you want really. If you want to do all the levels quickly, you can. If you want to revisit the easy levels for practise, go ahead. You don’t even have to enter a level if you don’t want, and instead spend your time exploring the lands for hidden treasures and chasing sheep. There are also the typical boss battles, in which you usually race around in circles avoiding attacks and waiting for the right moment to strike. There is a fantastic line in later Spyro games when Spyro confidently says to a villain ‘I’ve beaten much bigger guys than you. All I have to do is run round you
The Edge | culture@theedgesusu.co.uk
in circles until I figure out your weakness.’ This definitely highlights how timeless this particular feature is to the games. But what makes this game different from all the other Spyro games has to be the brilliant storyline. Bianca appears every now and then to make trouble for you, while Hunter spews hilarious, eye-rolling lines. And the dragon eggs themselves are much more exciting to find than the other collectibles. Every egg hatches when you find it, revealing a baby dragon with a name and a cute animation. It makes it all feel a bit more personal, you know? Not to mention the fact that this Spyro game is packed full of fun mini-games, one of which sees Spyro shredding it up on a skateboard. You certainly don’t see that in later games! So if you reckon you still have an old PlayStation somewhere in your attic, I would definitely recommend that you dust it off, plug it in, and enjoy Spyro’s most exciting adventure. The graphics may be majorly outdated, but I think we can overlook that. They don’t make them like this anymore. Words by Natasha Raymond
Culture | 25
Misfits
SERIES five, episode one
T
he show has seen many ludicrous storylines, including zombie cheerleaders and evil nuns, with varying success and humour. All of the original characters have now left which may have prompted original viewers of the superhero comedy to turn off. However although the fourth series may have received a somewhat tepid reception due to weak storylines and character development, all of the Misfits’ current characters, with perhaps the exception of Abbey, are more than capable of holding their own. Although it may not be as original and fresh as it was when Misfits first started, there is still more than enough here to watch, and indeed the first episode of the final series was so relentlessly funny that it would be foolish to miss it. Although the maturity of the series as a whole and particularly this episode is questionable, this is not a show that takes itself too seriously: anyone looking for serious drama should look elsewhere. Following on from last season’s revelation that Alex had cheated on Jess, the episode starts 26 | Culture
with him recovering in hospital after having a lung transplant from someone else with a power, therefore inheriting it. That this turns out to be the power to remove other people’s powers through sex somewhat epitomizes the ridiculous but entertaining premise of the series. This sets up one of the most obscenely funny and juvenile endings seen in Misfits. The other main plot to the episode involved a scout group at the community centre who turned out to be agents of Satan. This was again completely bizarre, and the ritual sacrifice of chickens somehow evoked even more comedy throughout the episode. Predictably, this ends in a number of the main characters being possessed and also ties in with Alex’s storyline. Throughout the episode we are also introduced to a new superpower support group which hints at a longer term series-arc. By the end of the episode Rudy is given a jumper from a woman who is apparently able to knit the future, foreshadowing the transformation of himself, Finn, Jess, Alex and Abby into superheroes. However quite who the turtle was at The Edge | culture@theedgesusu.co.uk
the support group is anyone’s guess. Still central to the continued success of Misfits is Rudy, who is frequently given most of the show’s funniest lines, and his impressive timing and delivery of each line shows why this is the case, exclaiming in one of the episode’s funniest lines “She dared me to swallow my full cornetto in one go. It’s given me the worst brain freeze. I thought I were going to die for a minute.” Whilst the series would undoubtedly be better with Nathan still in it, Rudy is a more than able replacement and Misfits still has as many laughs even in its fifth series. Rumours of a feature film still continue to circle, however for the time being this series is being billed as the last eight episodes of the successful comedy-drama. For those looking for a light-hearted and funny series to watch, look no further than Misfits. 8/10 Words by Joe Gibson
Deaf Havana AT THE 02 GUILDHALL Southampton (17/10/2013)
I
n light of the recent release of Old Souls, Deaf Havana’s third studio released album, the Norfolk 6-piece have embarked on a UK tour, beginning in our very own city of Southampton. Forming back in 2005, the band originally had a post-hardcore sound. The departure of their frontman, Ryan Mellor, meant the band took a different direction. This summer has been a major one for the boys. They have gone from supporting Springsteen at Hard Rock Calling, to playing a highly successful set at Reading & Leeds, and to reaching the Top 10 with their recently released album.
Southampton Guildhall is a classic venue in the city, even after its recent partnership with O2. As one of the South’s largest multi-purpose entertainment venues, it was a great place to begin the tour. The neoclassical building was designed for large crowds, which Deaf Havana managed to lure into the building with the promise of an amazing night of music. Opening their set with ‘Boston Square’, Deaf Havana didn’t let the fact the show wasn’t completely sold out to hinder them. Neither the band, nor the audience, lacked enthusiasm, allowing them to race through their
The Edge | live@theedgesusu.co.uk
discography, as well as giving James (lead singer) a chance to genuinely thank everyone for coming out and supporting them so far in their career. Overall, a fantastic beginning to the tour for the band, demonstrating how far they have come in the past few years, how much they’ve struggled and how little they take for granted in the music industry. Words by Annabelle Asker
Live | 27
arctic monkeys AT london earls court (25/10/2013) Hot off the release of their new number one album, AM, Arctic Monkeys returned to the UK for a sell-out arena tour following a triumphant headline slot at Glastonbury Festival as well as their biggest US tour to date. Arctic Monkeys took to the stage and oozed confidence, wearing their now trademark ‘uniform’ of suits and open chested shirts. Immediately the huge crowd was drawn in as the intro music swiftly led into an effortlessly cool performance of opener ‘Do I Wanna Know?’ With drummer Matt Helders’ stomp and clap rhythm pulsing through the arena during the whole song. Next came ‘Brianstorm’ which signalled the start of crazy crowd activity
28 | Live
with massive mosh pits forming in front of the band. The band quickly tore through a selection from their impressive back catalogue before starting on songs from the new record. The next big hitter was the band’s most recent single ‘Why’d You Only Call Me When You’re High?’ which was performed differently to the recorded version, instead played in a different key and with a vocal intro featuring all but guitarist Jamie Cook. Following this was set-highlight ‘Arabella’ which also featured a snippet from Black Sabbath track ‘War Pigs’ - a song that heavily influenced the central riff in ‘Arabella’.
was filled with fan favourites, ending with the closer of AM, ‘I Wanna Be Yours’, which features the words of punkpoet John Cooper Clarke. This was a particular highlight of the set as the stage released stream of confetti and smoke while the band closed off an entirely sensational set. This would have satisfied the whole crowd had it been the end of the whole show, but the band swiftly re-emerged for a short encore Turner pulled out their trump card for the penultimate song, playing old fan favourite ‘Mardy Bum’. The set ended with ‘R U Mine?’, the song was a fantastic way to end a great show by a band on the top of their game.
The latter end of the main set
Words by Jamie Wall
The Edge | live@theedgesusu.co.uk
jake bugg AT Bournemouth International Center (19/10/2013)
F
ollowing a successful summer of festival appearances, Jake Bugg kick-started his UK tour in Bournemouth in the build-up to the release of his second album, Shangri La. Bugg opened his set with new song ‘There’s A Beast And We All Feed It’. With an upbeat tempo set, this followed with a couple of songs off his self-titled album before slowing it down with the first of his new songs from the upcoming album Shangri La. Although the crowd didn’t know the lyrics to sing along with these slow numbers, they were well received and left many members of the crowd very excited for his new album. Bugg concluded his performance with his new single ‘Slumville Sunrise’ and his current single ‘What Doesn’t Kill You’. These tracks showed a more rock ‘n’ roll edge to his new album moving away from songs about drinking white lightning and stabbings at parties. The usual raucous of the crowd then ensued demanding more songs from the teenager. Bugg came out without the band to perform album favourite ‘Broken’ but then was rejoined by the rest of the band to give a superb cover of Neil Young’s ‘Hey Hey, My My’ which Bugg explains is “one of [his] favourite songs”. Bugg concluded the night with his usual closer ‘Lightning Bolt’ before throwing guitar picks out to the crowd and thanking them saying “I never thought I’d be performing to a crowd of this size”. Although his interaction with the crowd was rather brief, he packed a decent number of songs into the hour and a half he was on stage which obviously pleased the crowd and had the perfect blend of fast paced songs and slow acoustic songs making a great setlist. Bugg proved himself to be a truly raw talent. Words By Jenny Simpson
The Edge | live@theedgesusu.co.uk
Live | 29
London Grammar at Brighton Concorde 2 (16/10/2013)
F
resh from finishing the American leg of their autumn tour, London Grammar kicked off the UK stint at Brighton Concorde 2. It became apparent to all that they were very glad to be back on British soil. Their entire set appeared relaxed and effortless, as if they were performing to a group of friends (in a way this was true as the people stood behind me did not hesitate to remind anyone who would listen that they were ‘friends with the band’.) rather than a headline set on the first night of their UK tour. London Grammar opened with a rendition of ‘Hey Now’. Vocalist Hannah Reid took this opportunity to showcase her diverse vocal talent by beginning the track a capella and at a slower tempo. This built in intensity until finally the opening piano motif was played and the song returned to the recognisable version. Immediately London Grammar’s talent became clear. Anyone with any doubt as to whether or not this band would translate well live was certainly reassured within the first five minutes. I myself was unsure as to whether or not the band would have much audience interaction; I assumed that due to the mellow nature of the music, they too would share the same sombre attitude… But I couldn’t have been more wrong. Another highlight of their set was their performance of ‘Metal & Dust’, the track that initially got London Grammar so much attention. It was at this point that I realised Dot Major was the glue that held the band together. Don’t get me wrong, the other members are extremely talented, but without Dot Major they would be nothing. His multi tasking skills were off the scale, as at one point he had one hand on the keyboard whilst playing the drums with another. He also has a penchant for bongo playing; never in my life have I been so entranced by a man and his bongos. London Grammar also gave a beautiful rendition of their latest single ‘Nightcall’. Reid explained that at the moment this song was her favourite one to sing, although it changes regularly. Her vocals filled the room completely and transfixed everyone in the audience (apart from one guy in the audience who spilt his entire drink down me because he couldn’t stand up straight. He went on to explain that this was because he had arthritis in his feet and had nothing to do with alcohol consumption. A likely story). It was obvious from this performance that this song was clearly of great emotional value to Reid and I predict will do well as their next single release. It was clear that London Grammar felt a real connection with Brighton. Their set was tight, captivating and beautiful. This is a band whose music translates perfectly into a live setting. A must see. Words by Grace Pattle
30 | Live
The Edge | live@theedgesusu.co.uk
Listings 11th November Kins @ The Joiners Lady Gaga - ARTPOP Bastille - All This Bad Blood Little Mix - Salute DVD: Monster’s University (U) DVD: The Great Gatsby (12) DVD: Pacific Rim (12)
17th November The Heat @ Union Films Into It, Over It @ The Joiners Elysium @ Union Films Three Phantoms @ Mayflower Theatre Martyn Joseph @ The Brook Britten and Mahler @ Turner Sims
12th November Kick Ass @ Union Films Scrooge (until 16th) @ Mayflower Theatre Heart of a Coward @ The Joiners Gabrielle Aplin @ O2 Academy Bournemouth
18th November AIM Presents Frequency Sweet Baboo @ The Joiners Jake Bugg - Shangri La DVD: The Wolverine (12) DVD: Nativity 2: Danger in the Manger! (U)
13th November Continental @ The Joiners Ewa Wants To Sleep @ Union Films Solent Rocks @ The Brook 14th November Aynsley Lister @ The Brook Too Many T’s @ The Joiners LiveSoc @ The Talking Heads Cara Dillon @ Turner Sims On The Bridge @ The Nuffield Theatre 15th November Jeremy Hardy @ The Nuffield Theatre Natives @ The Joiners Annie Mac Presents… @ O2 Academy Bournemouth X Rebirth (PC) Don Jon (18) The Counsellor (18) Don Hemingway (15) 16th November The Royal Tenenbaums @ Union Films Coast @ The Joiners Mitsuko Uchida @ Turner Sims
19th November 2 Guns @ Union Films The Virginmarys @ The Talking Heads Alexi Tuomarila Trio @ Turner Sims The Nutcracker on Ice (until 23rd) @ Mayflower Theatre 20th November Black Bread @ Union Films 21st November Laughter Lounge @ The Bridge BreakOut Anti-Bullying Awareness Gig @ The Joiners Bernie Marsden @ The Brook Elias Quarter @ Turner Sims Mad Dog Mcrea @ The Talking Heads The Hunger Games: Catching Fire (TBA) 22nd November The Others @ The Joiners Welcome Pariah @ The Cellar Assassin’s Creed IV: Black Flag (PC, Wii U, PS4, Xbox One) Legend of Zelda: A Link Between Worlds (3DS) The Family (15) Parkland (15)
23rd November K-Klass 25th Anniversary Tour @ The Cellar Jazzmanix (until 24th) @ Turner Sims Burn The Fleet @ The Joiners Smerrins Anti-Social Club @ The Talking Heads 100 Years of Bollywood @ The Nuffield Theatre The Day of the Doctor (BBC One) 24th November About Time @ Union Films The Lone Ranger @ Union Films Jazz Morley @ The Joiners Fascinating Aïda: Cham Offensive @ Mayflower Theatre 25th November Marcus Bonfanti @ The Joiners Hayseed Dixie @ The Brook One Direction - Midnight Memories Mallory Knox @ The Mo’club DVD: Despicable Me 2 (U) DVD: Red 2 (12) DVD: The Heat (15) 26th November The Kings of Summer @ Union Films Solent City Jazzmen @ The Talking Heads Russell Brand Messiah Complex World Tour 2013 (Until 27th) @ O2 Guildhall Southampton Cerebral Ballzy @ The Joiners Welsh National Opera: Tosca @ Mayflower Theatre
28th November Adept @ The Joiners The Dodge Brothers @ The Talking Heads Welsh National Opera: Maria Stuarda @ Mayflower Theatre Akala @ The Cellar 29th November Welsh National Opera: Roberto Devereux @ Mayflower Theatre Moulettes @ The Joiners Tom Odell @ O2 Guildhall Southampton Clara Sanabras @ Turner Sims Super Mario 3D World (Wii U) Carrie (15) Saving Mr. Banks (PG) 30th November Channel One Soundsystem @ The Talking Heads Triple Act (until 1st) @ The Nuffield Theatre SUSO Winter Concert 2013 @ Turner Sims Welsh National Opera: Tosca @ Mayflower Theatre Southampton Philharmonic Choir @ O2 Guildhall Southampton 1st December The Hunger Games @ Union Films The Hunger Games: Catching Fire @ Union Films The World Alive @ The Cellar Papa Roach @ Portsmouth Pyramids Centre
27th November Welsh National Opera: Anna Bolena @ Mayflower Theatre The Family Rain @ The Joiners You Will Be My Son @ Union Films
The Edge | live@theedgesusu.co.uk
Live | 31