Editorial
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Dear readers, Welcome to the February issue of The Edge. This month we are asking you all for a favour.
Closing Down The House: The Demise of The Talking Heads (page 10)
If you’re in an unsigned band, then The Edge wants to hear from you! We are looking to put together a compilation of local talent, so if you think your band deserves some exposure, send an MP3 and details about your band to theedge@soton. ac.uk, with the subject ‘Southampton Unsigned’. Inside the magazine this month we are discussing the loss of one of Southampton’s best loved venues, The Talking Heads. Elsewhere in features we have a chat with Matt Cardle ahead of his extensive UK tour. The latest music and movies are also rated and slated, including the new Ladyhawke and The Black Keys singles, as well as Ralph Fiennes’s “bruising” Shakespeare reboot Coriolanus. Enjoy! The Edge
Editor - Joe Hawkes Deputy Editor - Meowea Hezwani Live Editor - Chris Brooks Features Editor - David Martin Records Editor - Melissa Clarke Film Editor - Barnaby Walter Culture Editor - Nick Mould Online Editor - André Pusey Head of Relations - Rob Leane Editor-in-Chief - Joseph McLoughlin
Featuring contributions from: Joe Turner, Dan Flynn, Chris Brooks, Andrew Ovenden, Stephen Slominski, Jodie Copeland, Laurel Arnell-Cullen, Owen Hackett, Paul Weiss, David Martin, Joe Hawkes, Joe Moor, Ellie Stringer, Emma Real-Davies, Alexander Brown, Barnaby Walter, Chris Bloomfield. Tom Kelly, André Pusey and Meowea Hezwani. 2
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February 2012
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Contents
Howler live at the Joiners nsigned
interview:
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att
Cardle
Enter Shikari – A Flash Flood of Colour album review
18 20 22
this month’s singles reviewed rewind:
Bloc Party – Silent Alarm Carnage film review
J. Edgar (page 23)
February 2012
the end ofthe
Talking Heads why the ‘gamer’
stereotype is outdated
Noel Fielding’s Luxury Comedy (page 27)
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outhampton
24 26
Coriolanus film review archive:
The
Texas Chainsaw Massacre 2
27
Noel Fielding’s Luxury Comedy
28
2011 Co-Op Round-Up
www.theedgesusu.co.uk
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Live
@ The Joiners
Mike Duce and his gang of rowdy North Londoners have the world at their feet it seems, as 2012 begins to take shape. With frequent radio plays, a near sell-out tour, and a potentially career-defining album recording on the horizon, this year could spell big things for the surprisingly shy Duce.
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The first date of a tour must be a daunting one for any band, but for Lower Than Atlantis this was time to demonstrate why Zane Lowe is such a fan and why the BBC asked them to appear in a masterclass session for new bands. The Joiners was sold out, but for opening act Marines there were far from claustrophobic conditions; the bar appeared to be the more popular option, yet the Suffolk five-piece did a decent job.
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February 2012
Despite looking like they would rather be somewhere else, Marines pulled off a lengthy set of soaring tunes that would definitely have been singalong anthems if anybody had any idea of the words. Marines’ brand of pop-rock was tight and sounded clean and precise, reminiscent of The Xcerts with their quality in emotive rock songs, yet they lacked an energy that was surely crippled by stage fright. The same thing cannot be said of Sights & Sounds, who appeared the polar opposite of the young Marines. The five rather hairy 30-somethings exploded into a ferocious opening to their set. Screams, riffs and headbanging aplenty led to a few crowd members shunning the stillness of their peers, and began to up the energy. Sights & Sounds definitely had experience on their side, and the set had memorable heavy highs
Live coupled with gentler slow rock ballads. Canada has certainly produced some energetic rock acts over the years, and Sights & Sounds warmed the crowd up perfectly. As they came to a deafening end, anticipation for tonight’s headliners was reaching a peak. After various crowd chanting, Lower Than Atlantis took to the stage, undoubtedly nervous but it barely showed. Opening with new single ‘If the World Was to End’ immediately demonstrated a band with aspirations: powerful, intense riffs and crowd participation straight on the first track. The set followed suit, with older material rewarding long-time fans who moshed accordingly. Crowd-surfing was especially frequent during tracks from second album Far Q. Long time radio regular ‘Beech Like the Tree’ had incredible power, and the volume seemed to step up another gear as the set progressed. Circle pits grew and soon LTA took their leave, only to return with an emotional rendition of ‘Another Sad Song’, a track that stood out as the lads’ finest, dropping the tempo after the brutality of the rest of the set. The crowd equalled Duce’s honest vocals with vigor. Despite the intense heat of The Joiners, LTA blasted through closing track ‘Deadliest Catch’, their clever nauticallythemed anthem, with an opportunity for each band member to really show what they could do on the huge riffs that ended the night. LTA left exhausted and sweaty, like the majority of their loyal fans, and despite the slightly awkward and reserved nature of Duce they should all grow in confidence throughout this tour. It will be very unlikely their next headline tour will visit a venue as intimate as The Joiners. I hope Duce and co. believe in themselves enough to provide the power and skill they showed tonight to hundreds if not thousands of people in the next few years.
Joe Turner February 2012
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Live
Howler
The latest ‘next big things’, Howler had a lot to live up to with this gig. With a crowd consisting of people eagerly awaiting to either applaud a band who fulfil the title the press has given them of a ‘Vaccines-Drums-Strokes Hybrid’ or snap up the remains as they fail to reach anything above ‘not bad’, the pressure was undoubtedly on. Support was provided from The Gentry Underground and Man Made. The former provided an interesting display of punk that resembled The Horrors’ first album Strange House, and a hyperactive lead singer who could have been having a fit throughout or could just be a particularly unique dancer. Man Made failed to reach such heights, however, with weak acoustic numbers that, while pleasant enough, were nothing amazing – I got the impression that the audience were just watching him whilst thinking about what they had to do tomorrow or whether they had recorded the show that they were missing to be here. Howler emerged to a huge amount of enthusiasm from the audience, and their lively set matched such eagerness throughout. The band’s catalogue of short, catchy songs provided a thoroughly enjoyable set for both fans and new listeners alike. Such songs as ‘Beach Sluts’ were played to perfection, with Howler seeming like a band fit to fill a stadium rather than such an intimate venue.
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February 2012
25/01/12
@ The Joiners
Live
The highlights of the night were undoubtedly lead single ‘Told You Once’ and set closer ‘Back of Your Neck’. The aforementioned was clearly the band’s most recognized song, with the majority of the audience echoing lead singer and guitarist Jordan Gatesmith’s unique vocals, reminiscent of Julian Casablancas and Lou Reed. ‘Back of Your Neck’ is a song that sums the band up perfectly with its catchy central hook, fast pace and lyrical references to Bonnie & Clyde, and as such the song went down brilliantly. What was perhaps most impressive was Gatesmith’s onstage presence, which resembled a frontman who had been doing this for decades rather than a 19-year-old on his first UK tour. He played flawlessly, sang uniquely and dealt with a heckler (who should brush up on his quite frankly embarrassing put-downs for next time) in a manner that cannot be faulted. Perhaps the only flaw was the shortness of the set. Overall, Howler have here proved that maybe they actually are the ‘next big thing’. Their catchy sound, encapsulating all the indie successes from recent years, and their onstage charisma created a show that was both thoroughly enjoyable and left the audience wanting more. Perhaps next time they should learn some covers, though, because when the tickets get expensive as they inevitably begin to play larger venues, their set is going to need a longer lifespan.
Dan Flynn
February 2012
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Live
&
Local
SOUTHAMPTON UNSIGNED! If you’re a local musician then we want to hear from you! The Edge is looking to put together a compilation of the area’s best unsigned talent. Whether you’re a regular gigging band, a bedroom singer-songwriter or an MC, we want you to get in touch with us. We love new music, and believe that The Edge should be there to give local artists a platform to get their music heard. If you want to get involved, please email theedge@soton.ac.uk.
Candle Club @
The Shooting Star 30/01/12
Having relocated to The Shooting Star in light of The Talking Head’s closure, the Candle Club is once again running at full strength. For any who aren’t aware, the Candle Club is Southampton’s original open mic night, attracting an eclectic mix of everything from local Southampton regulars to newbie student bands. Of particular note on this occasion were the acoustic stylings of Jack Sinclair (right) and the unfathomable poetic genius of Candle Club regular Kim Techno (above). All in all, if you’re looking for a non-Jesters oriented Monday night, it seems you’d be hard pressed to do better than The Shooting Star. Chris Brooks 8
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February 2012
Features
The Talking Heads: Closing Down the House
As I’m sure most of you are aware, the Southampton music scene was dealt a heavy blow as we entered 2012. On Friday 6th January, the news was announced that the following night would be the last night of trading for The Talking Heads. Almost immediately the ‘Save Our Heads’ Facebook group was established, and #SaveOurHeads began trending in Southampton on Twitter. The 260-capacity venue was packed to the rafters for its send off, and though the show of support was nice a lot of people have been left asking “How has it come to this?” Everyone has struggled since the recession, and The Talking Heads is no exception. With everyone feeling the pinch, many simply aren’t going to small gigs as much as they used to. Additionally, the Heads is essentially a pub and is having to compete with supermarket deals. This double whammy has meant it’s hardly surprising that the venue has been forced to close. That doesn’t make this any less of a tragedy, but let’s face it – to us students, the drinks there were expensive! The closure of the venue effects us at Southampton University far more than we may realise. Katy Flint, one of my fellow writers here at The Edge, informed me that the Pop/Jazz Performance module for music students would be performed at The Talking Heads. She said that “One of my highlights from last year was watching all the performances at the end of the year”. Presumably the university will find a new venue to fill this requirement, but it’s a shame that somewhere so closely linked to the university has been forced into this position. Nonetheless, the Heads deserves a nice ‘obituary’.
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Stephen Slominski from Eastleigh News commented on an online article and divulged a few details about The Talking Heads’ past. He said:
The pub was originally the Red Lion. For many years prior to The Talking Heads it was an important part of the the Southampton music scene which had existed from the 1950s–1980s when the city’s economy was based on shipping and industry rather than retail and education. It was possible to eek out a living from playing these venues – plenty of local ‘musos’ worked on the boats, too. The Red Lion used to have rowdy Sunday lunchtime sessions 12–2 – it would be absolutely rammed. But times change, and as local industry died and the gigs in working clubs dried up as the working class died out, pubs either became student venues featuring student bands or else they closed. Point is for me, the Southampton music scene died when The Talking Heads opened – I’m not saying that’s a bad thing because times must change, but the Red Lion had its 30year cycle and now The Talking Heads also comes to the end of its natural life – perhaps student fee rises means fewer students and fewer venues are needed for them. Market forces rule I’m afraid. I for one have decided that I will make an effort to attend at least one ‘local gig’ per month to try and prevent further closures. As students, I think it’s important that we try to do our bit here.
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February 2012
Features Here’s what a few of you had to say about The Talking Heads and its closure: It’s important to Southampton as it attracts up-and-coming bands to the city as well as established acts, and supports local music. Venues are running out and it means a lot to a lot of people. – Jodie Copeland, founder of the ‘Save Our Heads’ campaign and editor of mINtSouth. I played my first ever gig at The Talking Heads when I was 14 years old, and it is where I started my music career so it’s very special to me. All local music venues are important as they give upcoming artists a place to start and keep those niche genres alive. – Laurel Arnell-Cullen, local musician. I played my first gig at The Talking Heads and it was a great place to play music. I think it’s important to Southampton because it gives people like me the opportunity to play to an audience, and without The Talking Heads I may not have taken this first step. It was also a great venue to watch bigger acts, and I saw Band of Skulls and Benjamin Leftwich there which were two of the best gigs I’ve ever been to. Save Our Heads. Owen Hackett, local musician and Taunton’s College student. The Talking Heads was a place where students and locals could go, forget about the world for a while, and listen to some great indie music. In a world run by Katy Perry and Justin Bieber, a place like The Talking Heads was a great escape and will be severely missed. – Paul Weiss, Southampton University student.
By Andrew Ovenden February 2012
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Features The Gaming Stereotype Is Obsolete Today David Martin challenges the traditional notions If I was to provide you with the word ‘gamer’, I think I can be fairly certain what image that might conjure in your head: that of the nerdy, socially awkward, spotty teenager who spends too much time with computers and not enough time outside. Conjured up during the 80s and to some extent the early 90s, there is some partial truth in this stereotype, with gaming consoles still a fairly novel concept for the masses and computer gaming very much in its infancy. Yet in the modern virtual environment we all inhabit, gaming has become ubiquitous from the youngest children to the oldest generations, with the stereotype even more divorced from the truth than it was when first created. I’ve noticed there’s always been something of a stigma attached to video games, especially for those on the desktop. Music, film and art tastes are all perfectly acceptable, probably due to the length in which we as consumers have been exposed to their outlets, but the notion of virtual gaming seems to scare, confuse or even repulse certain types of people. Why this is still the case is probably primarily down to misinformation (aren’t all stereotypes?) and the association of other activities that have traditionally surrounded gaming. In the past, there was never really any consideration of gaming being a truly accessible format for leisure. Sure we had arcades, and Pong was a revolution when introduced to the world in 1972, but breakthrough into the masses was never going to happen over-
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night, despite increases in computing power happening almost in the blink of an eye. For one thing, the cost of such systems were still reasonably high, and the market was still an emerging one so the possibilities were still quite limited. Computers at the time were slow, chunky and focused on programming, which isn’t a particularly good combination if you’re trying to maintain they are ‘cool’. Quite another cause for the development of such a stereotype is a social one, where people assume you are wasting hours and hours of your life pretending to combat dragons, infiltrating a war zone or building a simulated city only to unleash aliens, fire and hellish creations onto your poor, unsuspecting victims. Okay, perhaps that was just me.
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“ he stereotype is even more divorced from the truth than when it was first created” There is this assumption that to be a video game player you must be an avid video game player, not leading a productive and traditional life. Gamers apparently neglect the traditional activities of ‘going outside’, yet consider how many people are stuck in front of the TV all day? Thus, referring to all gamers in the same light, and as separate from other media forms, is realistically quite offensive. Obviously there are those that play more than others, but there are
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February 2012
Features those that view more films, watch more TV and absorb more music than the average person, so it is hardly fair that the perception is so negative in a modern world. Although heavily featured in news stories and releases (although The Edge only started encouraging game reviews this year), gaming isn't mentioned in a very open context at an individual level in the same way music or film is, and this is a legacy from the past when gamers kept to their own in the context of a negative environment in which to play. But the new generations challenge this. Many people reaching their adulthood have now experienced their whole lives immersed in video gaming, to all levels and scales. What’s often forgotten is that gamers are not completely solitary; on the contrary, it is often more fun to have a few friends round to have a gaming session. Demand is growing from all areas of society, as it would be crude to think that we as humans have never been excited by the joys of games and competition, only it is now located in a new medium which is for some still very daunting – the computer. Understandably, there are those who still don’t quite ‘get’ the virtual phenomena that inhabit the world today, but those in the business have been sure to try and get us all on board in one way or another. The release of Nintendo's Wii in 2006 had a major impact on reshaping public perception of gaming. With its innovative ergonomic controls and family-friendly features, the console has gone on to become a massive
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“ any people reaching their adulthood have now experienced their whole lives immersed in video gaming ”
February 2012
hit, selling over 90 million copies worldwide – more than the Xbox 360 and the Playstation 3, its competitors in the console arena. On the PC, even relatively simple systems will be able to play games to a decent level, both on-line and through single-player with unparalleled diversity. Mobile gaming is also expected to take off as the most accessible and most used platform for gaming in future years. It is only recently that people have come to accept and admire the concept of ‘casual gaming’, which was almost certainly happening already. All generations of my close family take part in at least some form of gaming, whether that’s Angry Birds, Farmville, Call of Duty on the PS3, or simple browser games on the PC, and I bet almost all of you do as well. With everyone engaging in video gaming to some capacity, perhaps we will finally do away with a meaningless term. As a ‘gamer’, I certainly hope so.
STATISTICS • 56% of the UK spend money on games on a regular basis • 43 million hours are spent playing games each day • 15% of this is on mobile devices • 42% of people over the age of 50 say that they spend more time gaming than reading magazines
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Features
X Factor star Matt Cardle talks to Joe Hawkes through there. Coming down to London for one gig is difficult. The album has been a success, but the latest single ‘Starlight’ didn’t do so well in the charts – are you expecting better for ‘Amazing’?
Having struggled in various bands, you found fame through The X Factor. Do you worry about your perceived credibility? I know some people look at The X Factor and see it as a sneaky way in [to the music business], but when you’ve been trying for 14 years I don’t think any way is sneaky. You have to put in the legwork, and I certainly have done. Trying to get people to understand that I didn’t just do it on a whim is difficult. How do you think an X Factor winner can guarantee longevity? One thing I think you can do for yourself is to write your own material, which I’ve been doing all my life, really, and I’ve co-written Letters. I might even write for some other people. It’s just one of those things that can help longevity and help credibility.
The thing with ‘Starlight’ was that we weren’t really aiming for a position in the chart; we just wanted to get it out on the radio and TV. At this stage, it isn’t about plonking it in the chart somewhere; it’s about promoting the album. You can get a number one, that’s great, but if no one buys the album it doesn’t do anything for you. You’re playing a huge tour this March – what sort of show is it going to be? It’s gonna be a rock show, essentially, with a big acoustic section. It’s gonna be amazing, hopefully. I’ve known my band for a long time; I’ve been working with them for years and years so it’ll be good to be onstage with them. Is there anywhere you’re going that you’re particularly looking forward to playing?
We’re at the Bournemouth Academy on the 8th March, and from what I’ve heard it’s a really special place. Obviously there and the Having come from a songwriting backHammersmith Apollo. ground is helpful, then? Some people have been on the show on a whim and then all of a sudden they’re more famous than people that have been struggling in a signed band for a long time. The people I was playing in bands with are still doing what I was doing 18 months ago, and I have a lot of respect for them. I was 27, given an opportunity, and I took it. I was living in a little village in the countryside and it’s very hard to get 14
Do you already have plans for the follow-up to Letters? What sort of direction will you be taking? I’m always writing, and if something pops up that I really like we’ll use it. It’ll sound much more raw, maybe a little stripped back in places. It’ll be a little bit more in-your-face and with not so many instruments on it.
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February 2012
A different way. Wider Opportunities Fair Tuesday 28 February 2012 | 11am-3pm Garden Court, Building 40, Highfield Campus Career Destinations Fair offering local and global volunteering opportunities, gap years abroad and summer placements.
www.southampton.ac.uk/careers/fairs
ALBUMS
Enter Shikari
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A Flash Flood of Colour
Released 16th January
A Flash Flood of Colour lists the album’s genre as ‘punkrockdubstephardcoremetalambienttechnonoisecore’. This may initially seem like the boldest statement in the history of record label promotion, but through listening to this 11-track genre-spanning statement against ‘the man’, I feel that the promise of such a wide variety of musical craft is perhaps justified.
‘Warm Smiles Do Not Make You Welcome Here’, amongst almost every other conceivable genre. Often the blending of genres can make the songs seem slightly disjointed. The best example of this is ‘Gandhi, Mate, Gandhi’, which seems like a collage of decent musical ideas from the dubstep and metal genres patched together brokenly, rather than a song.
My one problem with Enter Shikari, originating from way back on their 2007 debut Take to the Skies, is the blindness of the political rage seen in their lyrics. I feel that the political rant at the beginning of ‘Gandhi, Mate, Gandhi’ perhaps epitomizes this. “We’re sick of this shit!” yells frontman Rou Reynolds, following a misguided rant aimed at an anonymous government who “ruins our environment and threatens every aspect of our health and does nothing but divide and segregate us”. While you do have a right to be angry, Rou & co., you would perhaps benefit by laying off the cliché ‘stickin’ it to the man’ thing quite so often until you come up with some ideas yourself. Despite this, the hormonal teenage audience that will inevitably flock to buy the album will embrace such hatred, using it as the soundtrack to their ongoing fight with their parents about being misunderstood in ‘this cruel world’.
The overloading of genres seems hard to criticise when you think of the songs in terms of their live domain. Through their three album-long career the band seem to have perfected the craft of their songs to suit their live shows. You can almost picture the points in which the crowd will react with excitement in albumhighlighter ‘Arguing With Thermometers’, as the pace changes between a catchy emo guitar hook and a drop that could easily be in the latest Skrillex ‘song’.
The album itself cannot be faulted musically. It demonstrates forward-thinking ideas from almost every genre. There’s metal in ‘Hello Tyrannosaurus, Meet Tyrannicide’, anthemic rock in ‘Constellations’, dubstep in ‘Sssnakepit’, emo in
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A Flash Flood of Colour is an exciting and often forward-thinking album featuring songs that will fully reach their potential when performed in a live domain. The only thing that perhaps hinders the album is the constant politically-orientated moaning that seemingly aims to mirror Rage Against the Machine but comes off more like Band Aid.
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By Dan Flynn February 2012
Lamb of God Resolution
ALBUMS
Released 24th January While Lamb of God's first four albums have served mostly as catharsis for frustration, 2009's Wrath and now their most recent release Resolution have been exercises in creating it. For while they've clearly shown they have considerable capacity for artistic growth, their uncharacteristic timidness in embracing it will have the listener bellowing back at their speakers (and not in a good way).
“...landfill groove metal tracks that the band can write in their sleep’’ Take the first four tracks for example: opener ‘Straight for the Sun’ is a sludgy crusher that is slower, thicker, and more relentlessly purposeful than anything they've ever done before, and for its two and a half minutes you feel like the band is really going to push themselves for this album. Then the next three songs are nothing but landfill groove metal tracks that at this point the band can write in
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their sleep. After that, the heights hinted at in the beginning are briefly revisited again and again only to be cruelly discarded. ‘The Number Six’ mixes various dynamics to make it one of the most exciting parts of the album, including a moody bass-driven section that actually brings Tool to mind, and follows that with the excellent semi-acoustic interlude of ‘Barbarossa’, yet they're surrounded by tedious filler that's miles within their comfort zone. Other flashes of brilliance like ‘Terminally Unique’ and the symphonic ‘King Me’ are similarly mixed in with snoozefests like ‘Cheated’ and ‘To the End’. The individual performances are similarly a mixed bag. Randy Blythe's vocals have lost some of the punk snarl of their early work but make up for it in raw ferocity, while drummer Chris Adler is a supremely steady pair of hands as ever; but guitarists Mark Morton and Willie Adler are missing the tension and energy that defined early Lamb of God records. Overall, it's a frustrating but not totally disappointing effort; one only hopes the band will finally be ready to stop taking baby steps on their next record.
www.theedgesusu.co.uk
By Joe Moor 17
SINGLES
Ladyhawke
‘Black, White & Blue’ Released 20th February
By Joe Hawkes
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Kiwi songstress Ladyhawke is finally back, and she is without the heavy synth sound that dominated her debut. ‘Black, White & Blue’ is a guitar-based fizzy pop song with blocky bass guitar and a chorus reminiscent of Abba, mixing the pessimistic (“No communication/Wondering if you’ll ever feel alright”) with an undeniable buoyancy that seems to defy the drizzle and transport you somewhere a bit nicer. ‘Black, White & Blue’ is just as catchy as we have come to expect from Ladyhawke, and a good indication that the reason her second album has taken so long isn’t because she has lost it. There are also a few pretty computery blips and bleeps in there to keep you entertained. Lovely.
The Black Keys
‘Gold on the Ceiling’ Released 5th March ‘Gold on the Ceiling’ is the third track on The Black Keys’ latest album El Camino, and is a vast change from the blues/surfer feel that the previous album Brothers brought. The hooks over the main melody provide a simple yet edgy rock and roll feel with pace, which sounds like it’s the musical love child of The Doors and The Beatles, but also makes it seem all too familiar. The chorus’s harmonic vocals lead into a powerful guitar riff which together introduce a welcome T. Rex-type dimension to the sound, breaking up the overall rawness of the song. So if you’re looking for a rocky, feel-good (albeit not so original), crank-up-the-volume-and-dance-aroundin-your-underwear-type song, this is it! 18
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7 By Ellie Stringer February 2012
SINGLES
Chiddy Bang
‘Ray Charles’ Released 26th February So, what's the new Chiddy Bang single ‘Ray Charles’ about? Well, ‘Ray Charles’ is about wearing sunglasses and feeling like Ray Charles – fairly simple premise. ‘Ray Charles’ is the kind of feel-good, retro, bluesaping hip-hop tune that puts one in mind of when it was acceptable for Rakim to rap about how a “plate of fish” was his “favourite dish”. MC Chiddy walks the line of taste, claiming “I’m feeling like Ray Charles/I got my shades on/Don’t know where they are”. However, this track seems to have its heart in the right place, riding an upbeat and memorable gospel hook. ‘Ray Charles’ is a fun, unsophisticated hip-hop tune.
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By Joe Hawkes
Lianne La Havas
‘Forget’ Released 13th February
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By Emma RealDavies
February 2012
Lianne La Havas is the new female face of soul we’ve all been waiting for since Amy Winehouse. Her chic demeanour is furthered by the casual strumming of her 1962 Danelectro guitar at the beginning of title track ‘Forget’. The track is stripped down to a bare minimum of layers, highlighting her smoky voice, but eventually builds up with the addition of drums and backing vocals. The general tone of the song is upbeat and jovial, which reflects a sense of her female independence as she claims “I am a one-man band”. ‘Forget’ is one of five varied tracks from her debut EP, and is well worth a listen if you’re in need of some easy-listening ‘sweet guitar-pop’ to spur you through your day.
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REWIND
Bloc Party – Silent Alarm Released February 2005
Silent Alarm is the dramatic debut from Bloc Party, released in 2005 to critical acclaim. It was this intense piece of edgy guitar rock that introduced the supremely skilled quartet to the world. Lead single ‘Banquet’ gives you an immediate sense of the atmosphere. Starting off with clever synchronisation of the rhythm and lead guitars, and later building a darker vibe as the track dynamically layers all the previous effects with frontman Kele Okereke’s energy coming to the forefront, we see that Bloc Party are able to create catchy and wonderfully refined hits which shook the scene. ‘Helicopter’ is of similar vein, with even more frantic riffs and backing vocals to compliment the political undercurrent of the lyrics, recurrent throughout the course of the album. ‘Positive Tension’ gets even more in your face, providing more evidence of the sheer ability of drummer Matt Tong’s skills. Bloc Party of course weren’t the only group trying to evoke new-wave tendencies throughout the early part of the decade, with bands such as The Futureheads and Franz Ferdinand aiming for similar nostalgia. However, for a breath of fresh air the band also show they have true creative and intelligent musical diversity when they tone 20
down the aggression and have introspective moments with more subtle melodic songs. Bloc Party prove they have thought carefully about the end of this album, retaining the urgency that has been omnipresent throughout. ‘So Here We Are’ sees Kele move to a more poignant style, with the guitars faded into the background for a more expansive outing. ‘Compliments’ is drearier, but also allows the band to delve into some more experimentation and produced effects, which can be seen as an exposé to their newer albums. Silent Alarm is a marvel in that it has a raw sound full of angst, yet at the same time is a smart and wonderfully crafted album from a band that had clearly mastered their musical direction at such an early stage. Near perfection is where you could place this. Even though their subsequent releases A Weekend in the City and Intimacy saw the band focus on electronic exploration to mixed reviews, with Kele taking it even further in his solo work, Silent Alarm was where they enjoyed their best success; and with the band set to reunite and record new material in 2012, we can only hope they try to reconstruct the music that brought them such success.
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By David Martin February 2012
Film
Carnage
Dark, strange, but very funny By Alexander Brown. Roman Polanski’s latest film is a tense black comedy, wittily adapted from Yazmina Reza’s stage play God of Carnage. The film depicts two middle-class couples meeting to discuss an altercation between their children, which rapidly descends into an uncomfortable stand-off, both refusing to blame their respective offspring yet unable to leave until someone concedes responsibility. This then escalates, making for hilarious viewing, with both couples rapidly exposing themselves as selfish and bitter creatures through clever anecdotes and amusing dialogue. Jodie Foster and John C. Reilly play Penelope and Michael, a relaxed couple who invite the more business-like Nancy (Kate Winslet) and Alan (Christoph Waltz) over to discuss the incident that occurred between their children. The film is shot almost exclusively in the flat, save for a shot of a New York park.
uncaring and misogynist lawyer, but the real strength of the movie comes from its females. Winslet and Foster really shine, developing from calm quiet spouses and protective mothers to deeply unhappy wives, eventually culminating in an hilarious scene involving a BlackBerry phone. The tight scripting and quality of the small cast allows the film to transcend its simplicity. The tense nature of the situation leads the viewer to implore the characters to resolve the issue, yet hope for more hilarious problems. This dark and rather short comedy certainly represents a change of pace for Polanski. The ending may not be entirely satisfactory, but the 79-minute running time flies by, with constant laugh-out-loud moments. Carnage is a tense and engaging experience. Directed by Roman Polanski. StudioCanal. Certificate 15.
Waltz is entertaining in his portrayal of the 22
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February 2012
J. Edgar
Film
By Barnaby Walter. Although snubbed in the Oscar nominations, Leonardo DiCaprio’s performance as the controversial FBI head J. Edgar Hoover is nothing short of magnificent. The film, directed by Clint Eastwood, is a patchy and often turgid look at the successes and failings of the much-hated but revered man who spent over 40 years trying to keep America safe. The film is at its best when it attempts to explore Hoover’s private life. Although much of Dustin Lance Black’s screenplay seems to be based on rumour and supposition, the portrayal of Hoover’s homosexuality is sensitive and heartbreaking. It is widely believed Hoover was indeed gay, and the film depicts him struggling to come to terms with the love he feels for Bureau deputy and close friend Clyde Tolson (Armie Hammer). Judi Dench gives a chilling performance as Hoover’s controlling homophobic mother. The film’s most memorable and devastating scene occurs when she tells her son she would rather he were dead than homosexual. The depiction of Hoover’s professional life isn’t as well handled. Black uses a similar format he employed in his 2009 biopic Milk, where the subject relates his experiences of the past, remembering (and sometimes misremembering) details and incidences. Some excellent make-up work successfully transforms Hoover, his secretary Miss Gandy (Naomi Watts) and Tolson into older versions of their characters, but the retrospective format doesn’t completely work. It feels as if we are only getting snippets of the full story, a problem the film shares with The Iron Lady, another biographical picture which sacrifices coherence in favour of style. This isn’t Eastwood at his worst (anything would be an improvement after his awful film Hereafter), but J. Edgar is interesting and infuriating in equal measures, and fails to get under the skin of its subject in a way that justifies the long running-time leisurely pace. Dir. Clint Eastwood. Warner Bros. Certificate 15. February 2012
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Film
Coriolanus
A cold, brutal and bruising debut By Barnaby Walter. Coriolanus isn’t exactly the most fun of Shakespeare plays, but it provides actor Ralph Fiennes with a lot of intense material and bloody violence for his interesting and bold directorial debut. Fiennes, who played the title role before onstage, is a searing, menacing energy – bloody and brutal, with cold eyes that stare conflict in the face and threaten terrifying ramifications. Caius Martius Coriolanus is a war hero who has political aspirations. His domineering mother (Vanessa Redgrave) is obsessed with his rise to power, whereas his quiet wife (Jessica Chastain) takes a backseat position in his life. Led by his intelligent senator Menenius, Caius is hopeful to win the love of the people. But the public are stirred up into an angry mob by a persuasive speaker (James Nesbitt) and the unrest results in our leading man being exiled and forced to join forces with his enemy in war (Gerard Butler).
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The script, written by the prolific John Logan, excises parts of Shakespeare’s original play in order to give the story a neater, more cinematic feel, but retains the playwright’s style and tone. In parts the drama does become a little too solid. Some parts don’t flow and the story pushes against the weight of the performances. The very long scenes, which may have worked on the stage, did not translate as well to the screen as one may have hoped. Having said this, the whole experience is worth it if only to see Vanessa Redgrave deliver a terrifying and visceral performance – one of the best of her career. It’s a strange, unsettling and bruising film with a haunting, cold look to it. The savagely brutal ending won’t send you home thinking happy thoughts, but it does pack a powerful punch. If that’s what Fiennes was hoping for, then he’s succeeded. Dir. Ralph Fiennes. Lionsgate. Certificate 15.
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February 2012
Film Also Showing War Horse
Dir. Steven Spielberg. Disney. 12A. It’s manipulative and very senimental, but this big-screen adap of Michael Morpurgo’s novel is a stunning cinematic experence. One of Spielberg’s best. Barnaby Walter.
Margin Call
The Iron Lady
Dir. Phylidda Lloyd. Fox/Pathé. 12A. By Chris Bloomfield. Recent films concerning the current economic situation have been erratic in quality. For every Inside Job we get a Wall Street: Money Never Sleeps. Thankfully Margin Call is more akin to the former and marks an excellent debut from writer and director J.C. Chandor. Set in 2008, senior risk analyst Eric Dale (Stanley Tucci) is fired from an investment firm. Before leaving he passes a USB stick to younger analyst Peter Sullivan (Zachary Quinto) warning him to ‘be careful’ with the data that it holds. Sullivan analyses the information before discovering that the firm is in deep trouble. The cast, ranging from Kevin Spacey to Demi Moore, are terrific, excelling in their admirably non-showy roles. Chandor’s script is engaging and slick, capturing the enormity of the financial crisis without demonizing traders nor condoning their actions. Although some may be put off by this aspect, and the slightly underwelming ending, Margin Call is an assured, intelligent and compelling film. Dir. J. C. Chandor. Stealth Media Group. Certificate 15.
February 2012
Meryl Streep’s performance as Margaret Thatcher is extraordinary. It’s just a pity the film is a complete mess and a wasted opportunity. Barnaby Walter.
On Blu-ray & DVD:
Barnaby Walter takes a look at the new releases. Hesher Weird, patchy but rather moving. Warrior Good acting but uninvolving. Don’t Be Afraid of the Dark Satisfyingly creepy haunted house movie. We Need to Talk About Kevin Absolutely stunning. Close to perfect. In Time Don’t waste your time. Black Mirror Disturbing but brilliant three-part series. The Slap Thought-provoking Australian drama. The Hunters Abysmal trash; avoid at all costs. Kill List Overrated, but still scary Brit horror.
More BD & DVD reviews online!
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Film
ARCHIVE
The Texas Chainsaw Massacre 2
Truly shocking and unforgettable By Barnaby Walter. The original was a masterpiece, and a bloody tough act to follow, but this really sickening, terrifying horror sequel is almost as good. When a man is murdered whilst taking part in a radio phone-in, police officer Dennis Hopper convinces DJ and journalist Caroline Williams to use the recording as bait to catch the perpetrators. But they get to Caroline before he can catch them, and our lovely radio presenter is put through perhaps one of the most gruelling onscreen ordeals ever filmed. The first movie was shocking, though had surprisingly little detail in terms of blood and gore. This has more gore and special effects, 26
and doesn’t fail to unnerve and terrify. Many of the stronger moments are not just nasty, but deeply upsetting. These scenes feature characters committing sadistic and virulent acts of torture, terrorisation and violence, but our sympathies stay with the brave and feisty heroine. We want her to survive, and are actively repulsed at what Leatherface and his family do to her. The gory action leads to a devastating homage to the famous dinner table scene from Hooper’s original film, but on a grander, more colourful scale. Everything is bigger and nastier, and works horrifyingly well. Dir. Tobe Hooper. 1986. Available on DVD from MGM/20th Century Fox.
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February 2012
Noel Fielding’s Culture Luxury Comedy: Poor First Impressions Noel Fielding obviously wields an interesting mind in the way he can weave quirky characters and turn a phrase. His appearances on Never Mind the Buzzcocks show that he is, in fact, quite witty, not just weird. So I was interested to see how he writes when given total creative freedom and not in partnership with his Mighty Boosh co-star and writer Julian Barratt. Unfortunately, it turns out that Barratt’s absence from Fielding’s work is very noticeable. I’m a big fan of The Mighty Boosh, where Fielding’s weirdness worked well with Barratt’s deadpan tone. But that’s the main problem with Noel Fielding’s Luxury Comedy. When left to his own devices, Fielding’s quirky little phrases and ridiculously colourful characters just seem to rattle on without direction. Fielding’s own show seems like a natural progression from his successful appearances on The Mighty Boosh and Never Mind the Buzzcocks. Unfortunately, without a refined structure, Fielding’s sense of humour doesn’t translate. Saying abstract words or phrases
out of context and then smiling cheekily is lovable and endearing but ultimately tiring. In a sketch show format, it all seems incredibly self-indulgent. It’s Noel Fielding being Noel Fielding for the sake of being Noel Fielding. It seems unfair to compare an artist’s new work with their older projects. Unfortunately, it’s very difficult not to do that in this case, as Luxury Comedy is drenched in Fielding’s ubiquitous style and comedy. It feels like the hyperactive younger sibling of The Boosh, one who doesn’t get enough attention so acts out in an attempt to outshine the elder. It isn’t without its charm. Fielding is a naturally funny and likable guy, and his characters are still endearing. So, despite its downfalls, I did enjoy the occasional chuckle, especially at the Pelé joke. But ultimately, it feels like Fielding has become a parody of himself. The Mighty Boosh worked so well because Fielding would say a string of nonsense, building up, and then Barratt would close the deal with a deadpan rejection, rounding the exchange off wonderfully. Luxury Comedy builds the quirkiness up and then follows it up with… more quirkiness. Then it ends. It’s a joke with no punchline, no obvious conclusion. You’re left wondering what the point of it all was, and it actually starts to get a bit mundane and irritating. Maybe that was supposed to be the point, but if it was I don’t think it worked. By Tom Kelly
February 2012
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Games Whatever Happe Multiplayer? 201 In a world where technology is allowing us to become increasingly introverted, yet still retain an air of social community through Facebook, Twitter and smartphones, we’ve lost sight of some of the simple pleasures: having friends round for a binge on Ribena and a WWF SmackDown! face-off. Couch multiplayer is becoming obsolete as gaming systems progress and are promoting exclusively online multiplayer. I’m not convinced this is a good thing. For many of us (students in particular) who have to endure this harsh economic climate, linking two separate consoles and TVs together via LAN in the living room is unfeasible... but what alternatives are there? Here’s a guide to some of the most recent games where multiplayer options like those in the days of Street Fighter remain.
Rage 20% Released 4th October 2011, id Software PS3, Xbox 360, PC, Mac
From the makers of Quake comes Rage, a postapocalyptic shooter. It feels much like id Software’s previous title, but with exceedingly beautiful graphics. The storyline has a very tedious and linear progression: go retrieve this, navigate through this abandoned prison unit whilst killing everything in your path, then go back. The split-screen co-op multiplayer is tiresome and frustrating and you’ll spend a huge soul-destroying part of the game driving across the stunning desert en route to different dungeons, which is ideal for driving lovers but not for me. F.E.A.R. 3 80% Released 21st June 2011, Warner Brothers PS3, Xbox 360, PC This split-screen co-op game continues the psychological horror story of Point Man as he battles through a futuristic doomed existence. The single-player option is a complex, thrilling, addictive storyline, which at times can be rather odd. The plot is coloured with twists, jumpy/scary little girls, and a variety of enemies: from zombies to SWATlike men, and big, scary Predator robots to weird blue beasts who teleport through walls. The only downsides of the game are the nonsensical twists, and it’s annoying how hard it can be to keep Point Man ammoed up, but all in all it was an absolute delight to complete. Hallelujah! The co-op campaign is exactly the same! The second player gets to control Point Man’s brother Fettel, a character with different abilities. 28
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February 2012
ened to Offline 11 Co-Op Review
Games
Rayman: Origins 60% Released 15th November 2011, UbiSoft PS3, Xbox 360, Wii, PC Continuing the cult classic saga Rayman comes Rayman: Origins. The co-op option far surpasses the single-player, and was marketed for the multiplaying lover. As expected from UbiSoft, the graphics are innovative and creatively fun, and the gameplay doesn’t differ from the classic idea of saving little creatures from evil with fast-paced jumping and sliding. It is a pleasure to play, although not much brainpower is required and the difficulty and repetition can get frustrating. It’s a good game for what it is, but personally I didn’t find it particularly original to play; saying that though, it would be a good party game but is nowhere near as fun as the co-op on the LittleBigPlanet series. Portal 2 80% Released 19th April 2011, Electronic Arts PS3, Xbox 360, PC, Mac When The Orange Box was released four years ago, Portal’s mind-bending, unexpected plot twists and hilarious dialogue were so impressive that most players thought the game was too short. The hype for Portal 2 was therefore huge, and seeing the finished results proves it was justified. The co-op campaign is more complex, set after the events in the singleplayer part and starring a pair of adorable robots who have to save a bunch of humans trapped in a vault. The puzzles you must complete in order to navigate through the game start out simple enough and ease into the more difficult ‘my brain hurts’ type. There are some great features available on co-op, including the ability to see what your networked robot is seeing, which allows a more enjoyable, inter-connected feel. I’d recommend this as a means to get away from all the shooter war games, which are all too common now. I hope that this brief guide proves that there is still a viable market for offline multiplayer games, especially with couch potatoes such as myself. Hopefully in the future we’ll still get the chance to have a good old fashioned communal romp together on the PlayStation! By Ellie Stringer February 2012
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Listings Albums Date
Singles
...this month’s most anticipated releases Culture
Cinema
BD/DVD
Title
13/02 – Californication: Season Four 13/02 – Goldfrapp – ‘Melancholy Sky’ 13/02 – The Kills – ‘The Last Goodbye’ 13/02 – One Direction – ‘One Thing’ 13/02 – Emeli Sande – Our Version of Events 14/02 – This Means War (20th Century Fox, TBA) 15/02 – Stitches Comedy @ The Shooting Star 16/02 – Roy Chubby Brown @ The Guildhall 17/02 – Extremely Loud and Incredibly Close (Warner Bros, 12A) 17/02 – Ghost Rider 3D: Spirit of Vengeance (Entertainment One UK, 12A) 17/02 – The Woman in the Fifth (Artificial Eye, 15) 17/02 – Barnstormers Comedy @ Winchester Discovery Centre 18/02 – Reginald D. Hunter @ Southampton Guildhall 19/02 – Rawhide Comedy @ Southsea King’s Theatre 20/02 – Don’t Be Afraid of the Dark 20/02 – The Well Digger’s Daughter 20/02 – Apples and Snakes @ The Nuffield Theatre 20/02 – Kasabian – ‘Goodbye Kiss’ 20/02 – Band of Skulls – Sweet Sour 20/02 – Skrillex – Bangarang 21/02 – Sister Act: The Musical @ The Mayflower Theatre 24/02 – Rampart (StudioCanal, 15) 24/02 – The Adopted (StudioCanal, 15) 24/02 – Safe House (Universal Pictures, 15) 26/02 – The Comedy Bar @ The Nuffield Theatre 27/02 – We Need to Talk About Kevin 27/02 – Paranormal Activity 3 27/02 – Moses: The Table @ The Nuffield Theatre 27/02 – The Black Keys – ‘Gold on the Ceiling’ 27/02 – Ed Sheeran – ‘Drunk’ 27/02 – Dappy feat. Brian May – ‘Rockstar’ 27/02 – The Ting Tings – Sounds from Nowheresville 29/02 – Stitches Comedy @ The Shooting Star 01/03 – Annie @ The Nuffield Theatre 02/02 – Project X (Warner Bros, TBC) 02/03 – Tim and Eric’s Billion Dollar Movie (Magnet Entertainment, TBC) 06/03 – Bruce Springsteen – Wrecking Ball 30
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February 2012
20
The Milk @ Joiners
Monday
Monday
5
27
The Wombats @ Portsmouth Guildhall
Monday
28
The Wanted @ Bouremouth Int’nl Centre
Tuesday
6
Rebecca Ferguson with Jay James Picton @ Portsmouth Guildhall
Tuesday
21 Kaiser Chiefs with all The Young, Th Fixers @ Portsmouth Guildhall
Tuesday
February/ March 2012
Gig Guide
22 18
7
29
Theme Park/ Cast of Cheers @ Joiners
Antlered Man @ The Celler
Wednesday
Seth Lakeman @ Portsmouth Wedgewood Rooms
Wednesday
Pulled Apart By Horses with The Computers @ The Celler
Wednesday
Olly Murs @ Bouremouth Int’nl Centre
15
Wednesday
23
24 20
17
Friday
Maverick Sabre @ Portsmouth Pyramid Centre
8 McFly @ Portsmouth Wedgewood Rooms Hayley Westenra @ Bouremouth Pavilion
9
2
The Wanted @ Bouremouth Int’nl Centre
Music Youth @ Joiners
Friday
Kevin Devine @ Joiners
Friday
Takedown Showcase 1 @ The Celler
Friday
Thursday
Gabrielle Apllin @ Portsmouth The Celler at Eastney
Inme 1 @ The Celler
Thursday
Thursday
Big Boy Bloater @ Bouremouth The old Fire Station
16
Thursday
3
10 Jaguar Skills & His Amazing Friends tour @ Portsmouth Guildhall
saTurday
To Kill a King @ Joiners
Deathstars @ The Celler
saTurday
Takedown Showcase 2 @ The Celler
25
saTurday
Ivyrise @ Portsmouth The Celler at Eastney
18
saTurday
26
19
Matt Cardle 11 @ Portsmouth Guildhall Rizzle Kicks @ Portsmouth Wedgewood Rooms
sunday
Florence & 4 The Machine @ Bouremouth Int’nl Centre Van Morrison @ Bouremouth Pavilion
sunday
Touche Amore @ Joiners
sunday
sunday