Verge Issue 5

VERGE

ISSUE V

The big interview with Death From Above 1979 ..... IndieCork Film Festival special ..... E ​ xploring the Blogosphere​...................... ..................Halloween horror in profile ..... Assassin’s Creed Unity: The Parity Problem​..... ​Rachel Allen talks about food...............

Editor’s Letter Diverged Ouija - Eoghan

Who’d have thought a film about a board game could be scary? Holding the dubious honour of being the very first Hasbro (yes, the toy/board game company, Hasbro) film production and arriving just in time for Halloween, Ouija follows a group of teenagers (it’s always a group of teenagers, isn’t it?) who awaken dark powers when trying to contact a dead friend. According to the press release, “They soon realize that the Ouija Board is not just a game; it’s real life.” It’s sure to do wonders for sales… As a film though…? We’ll see...

I’m not really into horror anyway.

Record shops – Robbie

Fright Night and all that sh*te 02 V

Claire Fox Whether you call it All Hallow’s Eve, Oíche Shamhna or just plain old Halloween, there’s no denying that the hype of this ancient Celtic festival is well and truly upon us.

Pop-up shops, Scarehouses and halfbroken bangers fill the sights and sounds of the city centre, while gaudy orange lights line the student’s houses of College road and carved pumpkins are a must.

Let’s not forget that one housemate of yours with a fetish for horror films finally gets their wish granted in forcing the house to watch The Conjuring over dinner.

Sometimes I think Halloween couldn’t come at a worse time. It’s like lecturers know that we have a litany of parties and monstrous movie marathons to attend, so they strategically set all assignments for the week after, if not on the very day of Halloween itself.

In other ways, though, October 31st is the best time for Halloween to

occur. While we may be burdened with coursework and study, there’s no better way to unleash this burden than dragging yourself out of your PJs and donning a crazy costume.

Costumes can be a hard one to master.

While last year I may have not made the best of efforts (let’s just say wearing a polka dot dress and wings does not constitute a ladybird), this year I won’t make such an elementary mistake!

When it comes to Halloween apparel, I think it’s best to adhere to the ‘Keep It Simple Stupid’ policy. My advice is to avoid buying anything; home-made costumes are usually the best and the crazier the better!

In this week’s Verge, we’ve peppered the pages with some Halloween themed topics. Both Arts & Literature and Gaming discuss literary villains and horror games respectively, while our two page interview with Death From Above 1979 documents the duo’s life after death.

All that’s left to say now is Happy Halloween! Now where did I leave that ladybird costume…

With the Vinyl Revolution well and truly underway, the key questions to all you music lovers is where you can get your hands on some of this magic without paying the extortionate prices that the major music retailers charge? Plugd Records in the Triskel is probably the best place to start. For those on a tighter budget, Records & Relics, only seconds away from UCC on Western Road, is a solid bet if searching for the obscure, while Ripall Skateshop on Sheares Street has the best selection of part-loved rock LP’s in the City.

Sonny’s Blues – Molly Another Jazz Weekend has been and gone, so for this issue I have decided to recommend something kind of blue: James Baldwin’s short story, Sonny’s Blues.

Baldwin’s story details the relationship between two brothers, a maths teacher and a be-bop pianist just out of prison, and the friction caused by their completely different life views. Baldwin’s elegant style is an absolute pleasure to read and the story packs a strong emotional punch. But it is the final section, recounting Sonny’s performance in a Harlem jazz club that, for me, is the story’s pièce de résistance.

Plague Inc. – Steve Have you ever wanted to play as an incredibly severe, infectious and most likely lethal pandemic disease on a quick course to eradicating the entirety of humanity?

Well Plague Inc. is your game. Giving you a range of options to start as anything from a mere bacteria to a complex bio weapon, you will be able to steadily evolve your chosen plague to infect and kill, while the game fights back, sometimes by eradicating pigeons... You’ll get it when you play it. It’s available on mobile for under a fiver, and perfect for bringing out your inner genocidal maniac. No? Just me then.

Campus Style Name: Fiona Cunningham Course: Commerce with Italian

Verge Editor: Claire Fox

Gaming Editor: Steve Barry

Film & TV: Eoghan Scott

Fashion Editor: Nicole Clinton

Music Editor: Robbie Byrne

Design: Kevin Hosford

Arts & Lit Editor: Molly Forsythe

Favourite shops: H&M and Topshop She likes this outfit because of her statement chunky scarf Photograph by: Aoife Cheung

The Food of Life Claire Fox chats with TV chef Rachel Allen about the love of her life: food As a teenager, Rachel Allen, like most of us, was clueless as to what career path she would follow. Bursting with all the passions of youth, Allen was content to live in her enjoyable bubble upon finishing school, thinking that a year of travelling the world was on the horizon. Although, cooking and baking had always been a treasured past-time of hers since she was a child, she had never viewed them as being her future occupation.

“I always loved cooking and baking when I was smaller,” begins the now acclaimed TV chef and food writer. “I always wanted to do something creative but, when I was leaving school, I wasn’t sure what to do, so I thought I would go travelling: yes, travelling! Of course I was completely innocent thinking my parents would finance it all!”

Allen’s parents, unwilling to go along with her plans to travel the globe, suggested that the then 18 year old should complete a cookery course.

“They said ‘Why don’t you learn how to cook? It’s a great skill and is something you’ve always enjoyed.’ So it was then I did the course in Ballymaloe when I was 18 years old. This is when I realised that this is what I love and enjoy.”

Although Allen adored the cookery course in the picturesque Shanagarry setting of Ballymaloe, she still didn’t see how this adored passion of hers could become a potential day job. “I didn’t think of it that I’d definitely like to cook for the rest of my life. I thought ‘oh maybe I’ll be an actress or maybe I’ll design shoes!’ It’s difficult at 18 to know what one would like to do with the rest of their lives”.

Soon Allen fell more in love with cooking and the surroundings of Ballymaloe when she began working as a chef in the cookery school’s renowned restaurant, which was set up by Myrtle Allen in the 1960s.

While Allen enjoyed the experience of working in the hectic atmosphere of the Ballymaloe kitchens, her heart was drawn back to the teaching and learning environment of the cookery school.

“After the cookery course, I then went to work in the kitchens of Ballymaloe.

While I loved the chef work, I realised that I loved the teaching and learning part of it more than being stuck in a kitchen. So then I trained to become a teacher in the school and began doing classes.”

It was during this cherished time of teaching in the school that a chance encounter would change Allen’s career as a chef forever. Her affection for teaching and communicating her passion for food with others caught the eye of a certain pupil at the school, taking her career to the next level.

“While I was teaching, a producer was on holiday for a week doing a course at Ballymalloe and asked if I would like to do a programme. So that’s how the TV aspect began. I kind of stumbled into it really,” laughs Allen.

Speaking quite candidly about her favourite TV shows, Allen is full of praise about her mother- in- law and celebrated chef, Darina Allen, remarking on Darina’s influence on her style of cooking. “Oh my goodness, she is just so inspiring. Her passion is extraordinary and she’s just an amazing woman.”

“I thought ‘oh maybe I’ll be an actress or maybe I’ll design shoes!’ It’s difficult at 18 to know what one would like to do with the rest of their lives.”

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Allen’s success as a TV chef in both Ireland and the UK has been followed by a slew of successful books being written by the Dublin born chef.

In a crowded literary market of cook books of all genres, can Allen pinpoint the reason as to why her books are so popular among the masses?

“Oh my goodness,” she begins once more, “in one way I love so many cookery books out there, but some are very labour intensive.

“Mine, however, aren’t really like that. I do hope that my recipes and ingredients are accessible for people. I love simple food and I’m always thrilled when people say things to me like: ‘You got me back into the kitchen and cooking again.’

In the last few years Allen has also added food journalism to her CV, writing a column for the Sunday Independent’s Life Magazine on a weekly basis.

Like all working mothers, Allen says

that the balance isn’t easy, but being organised and focused certainly makes it easier. “I love writing, I just need to get myself into the right place and do it and then I’m great. I think anybody who works pretty much full-time and says it’s easy balancing work with children are lying,” says Allen earnestly.

“It’s easier when the children are in school. If the balance shifts in the wrong direction I feel ‘Oh no!’ and then I begin to panic!”

Allen has also been a leading advocate in promoting locally sourced Irish food and making her food appealing to both the pockets and palettes of the Irish people.

“I’m definitely aware of the economic climate and that people aren’t able to cook big fillet steaks every day. I try to cook simple, yet satisfying food. I

think supermarkets are much better at highlighting this, which is great.”

As someone who has transformed from being a flighty teenager into a famed chef, Allen, without a hint of hesitation, offers advice to budding chefs out there: “I think people should work with the style they love. You shouldn’t try and emulate someone else’s style. Gaining experience is also very important.”

But what would have happened had the 18-year-old Allen decided against completing a cookery course? “That’s so hard to say,” laughs Allen. “Would I be designing shoes? Would I be acting?

I don’t know… Something creative anyway!”

Rachel Allen’s new book ‘All Things Sweet’ is out now in all good book stores.

The state of

Cork Cinema Olivia Brown Coming to any film festival, every filmmaker is excited to see their work go in front of a live audience. And while this sense of excitement was omnipresent at IndieCork, two local filmmakers took the time to have a broader look at local cinema in Cork.

Robert McCarthy directed the film, This Time Tomorrow, which screened as part of the first program of the Creative Cork section.

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“It’s a very personal film about two young people in a relationship trying to cope with a crisis pregnancy. It’s not as much about the practical ways in which they go to deal with it, but rather the frame of mind that that induces and the confusion and everything else that plays into that.

“I guess being young, being confused, not knowing where to go, I guess a few people can relate to that and that’s what it’s about. It’s topical.”

As McCarthy explains, while his film is topical it is best suited to an Irish audience.

“I showed it to a guy from Poland and he was totally lost by it because it’s very closed and related to Ireland in such a way that people from outside don’t really understand.”

However McCarthy admits that sometimes the films aimed at Irish audiences can work better.

“You start from what you know. If what you feel what you know most within a certain time period or frame of mind is so related to a place and a time, like my film is, then to truly get it you have to be familiar with that in the first place.

If you’re without that, it’s perhaps a bit trickier to actually understand what’s going on.”

Inspiration for the film was taken somewhat from McCarthy’s own life, although he may not have had direct experience with the events described.

“Inspiration came from society, from my own life to a degree, although the events are depicted didn’t exactly happen to me.

But just coming from a place of being confused, not knowing where to go, but

at the same time sharing that journey with someone that you love.”

McCarthy co-produced the film along with Lochlainn McKenna, under their Cork-based production company.

“I co-produced Rob’s film,” McKenna explains. “It was made in St. Johns College, but it’s under our production company, Speed of Sight Productions.

I did a lot of the background work and through us the film was submitted into the festival.”

McKenna, who graduated from UCC last year, is also associated with another film in this year’s festival.

“I’m in the film Dead Dogs as the supporting lead, James. It’s about a man, played by Karol Mann O’Connor, who is mentally ill and has just come back to his life with his girlfriend and daughter.

He is basically trying to re-jig his life. He goes off the booze, off the drugs.

“The Cork Film Festival, for all the good that it does, tends to veer towards people who have people to finance films and have money” I play his best friend and basically everything starts going downhill; I end up going off with his girlfriend and life goes pear-shaped again.”

In a similar way to McCarthy’s films, McKenna admits his is another topical film, despite his lack of involvement with the film’s creative aspect.

“It’s kind of weird because I work in production and it’s weird not being attached to the creative aspect. I don’t know where his thinking came from.

It’s very topical as there are always going to be these people coming back from a particularly hard time and all they want to do is good.

“To be fair to Ian, he funded the entire thing himself; he wrote it, directed it.

The entire thing was done on his own...

I’m excited to see it as I’ve only seen the trailer. It’s intriguing to see how it all came together.”

This isn’t the first time that either of the pair has taken part in IndieCork and they

“It’s kind of like a Cork interpretation of what’s going on globally.” have their own opinions on what makes the festival the success that it has become.

“We were in last year as part of the CorkLight project,” begins McKenna.

“We had a piece in it last year film called Monday Night on Friday Hill as a feature film. We were able to see it the inaugural year and now to be able to ‘vet’ it this year.

“It’s great to revisit it and see it take on a new guise,” adds McCarthy. “It’s still about Cork and people from within Cork, but just looking at the programme there’s the Lux prize, which they may have had last year. But there seems to be a kind of a growing sphere.

“There’s the Scottish independence section and a lot of branching out into the international sphere. It’s kind of like a Cork interpretation of what’s going on globally.”

However both are critical of the lack of independent cultural activity in the city and country. They strongly believe the focus of festivals should be on the art on display, as oppose to finances and politics surrounding it, if they are to be a success for everyone involved.

“Cork is good creatively in terms of its size, though I don’t think it’s reaching its full capacity or potential,” opines McKenna. “It could be one of those artistic hubs. It’s not hitting the right marks, but it could be.

McCarthy agrees, adding: “It needs to promote more of these kind of festivals, which are more representative of the greater climate in Cork at the moment.

The Cork Film Festival, for all the good that it does, tends to veer towards people who have people to finance films and have money, especially since Mick has left in the last two years.

“IndieCork is more representative.

Another thing like this would do Cork wonders.”

“The more output for creative voices the better,” McKenna weighs in, again in broad agreement. “The more films on show, the more music artists have to offer the better.”

It is clear that McKenna possesses a real passion for home grown Irish talent; “The Irish short section I’d certainly have a look at just because that would be more in my interest; like Niall Owens’ film, Stoop.”

While IndieCork has a category dedicated to films from within Cork, the Cork Film Festival has removed it from their lineup.

McKenna expresses his reservations at this as he feels it could have a negative effect on the cities aspiring film-makers.

“It’s been dropped in Cork Film Fest and is amalgamated with the shorts’ section.

I don’t know if that’s a good thing. They still have the Best Cork Film, but they don’t have a Cork section. I think it’s important to have it.”

“It’s good that it might make people try harder in that the standards will have changed,” says McCarthy, “but I don’t know. It could be a good thing but we’ll have to wait and see.”

Indie Cork: a Film Festival that gives food for thought Olivia Brown talks with Una Feeley of IndieCork about the importance of the festival

independent cinema. Yet, despite its nationwide reach, the festival has stayed true to its Cork roots. Many of the organisers hail from the rebel county and have a personal desire to help promote independent cinema in the city.

“Well we can all nearly claim to be from Cork. We’re all based in Cork,” says Feeley, who acts as director alongside Mick Hannigan. “The festival has a very Cork identity as well. There is a lot of artistic activity happening in Cork; a lot of filmmakers, a lot of musicians. There are also a lot of films being made in Cork and really they’re not getting to a bigger screen so I think there is a place for this festival.

Crane and the dance element that’s been a real joy to do.”

Personally, I was intrigued by the ground breaking idea to combine a film screening with some fabulous local cuisine – why hadn’t anyone come up with this before?! Feeley enlightened me on the idea behind this perfect

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“But outside of the local aspect, the type of films we’re looking for aren’t in a distribution system. We see there is a lot of really good work out there, from a particular type of artistic persuasion that would be more on the innovative, independent side.

Cork is a city with a vibrant, independent artistic community. With this in mind it’s no surprise to hear that IndieCork, Ireland’s festival of independent film and music, was officially launched this October.

The festival’s success is undeniable.

This year marked the second IndieCork festival in 18 months. While remarking that “this second edition is inspired by the creativity of film makers, music makers and emerging and independent talents,” Programme Director Una Feeley admitted to the element of spontaneity in organising of the festival: “It’s not our aim to have a festival every 9 months, but it happened this way this time.”

IndieCork is Ireland’s only festival which operates as a co-operative.

This means it is owned and run by its members. “Our initial aim was to set

up something quite different,” explains Feeley. “We operate as a co-op; we’re a collective and that’s how we organise things.”

But this isn’t the only thing that makes IndieCork unique.

“We’re also very keen to represent independent film and music which at the moment doesn’t have a real representation in the current array of festivals that are out there.

“To us it just seemed like there was a space there to have our own distinct personality and really it’s been proven that there is a reason for it to exist by the reaction from filmmakers and musicians who want to be part of the festival.”

IndieCork is now established as the nation’s premier platform for

“For us it’s having somewhere to showcase that work and, ultimately, the idea of a weeklong event in Cork that is a celebration. I know Cork has a lot of festivals, but we think IndieCork sits nicely within the other sister festivals.”

This year’s programme was jampacked with various events including the screenings of 18 locally produced short films and a locally produced documentary, workshops, talks and competitions.

“There are also a lot of films being made in Cork and really they’re not getting to a bigger screen so I think there is a place for this festival.”

“We have expanded to eight days,” added Feeley. “We were in the Gate for eight days, which is the festival home.

We also have a new venue in the Firkin

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combination.

“Myself and Elke O’Mahony came up with the idea years ago. Elke has a company called Bia Sasta and her area would be the whole food and local producers and artisan food and sustainability. We’ve produced a number of events together and what we’ve seen is really that this works and it works beautifully. You have a people who are creating food locally and bringing them together with an audience.

“The food aspect and the film just make it a really special atmosphere. It really is great fun. You go there on the night and Triskel Christchurch is absolutely perfect for it. In this beautiful venue people cue up in the aisles for their food, their glass of beautiful organic wine and sit down and enjoy a film. You can’t go wrong!”

The eternal cost of

X-Factor ‘Fame’ Rachael Barry X Factor has returned to our sitting rooms this month and so has the usual implorations of “Please Simon, just give me one chance, I’d do anything to be put through – this means everything to me.”

Have these people really thought about the cost of achieving fame in this manner and how talent show fame could change their life for the worst instead of for the better? My guess is probably not.

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There have been multiple tragedies in the music industry over the last few years, most recently with the suicide of Simone Battle from the up and coming pop group G.R.L. Simone had spent most of her life chasing the dream of becoming famous. In her younger years she starred in shows such as Zoey 101 and Everybody Hates Chris, but her main priority was to make it in the music industry.

In 2011, she auditioned in the American adaptation of The X Factor singing the hit ‘When I Grow Up’ and confidently told the judges that she believed that she had what it takes to be “the world’s

next pop icon.” She confidently strutted around the stage and demonstrated her well-rehearsed choreography while belting out the lyrics, “when I grow up/ I want to be famous/ I want to be a star.”

Simon Cowell became an instant fan and she sailed into the live shows only to be eliminated in the first week.

Simone spoke kindly of her X Factor experience saying that it thickened her skin and “prepared for the unexpected.”

With her single career not making an impact, she joined G.R.L. As her band were gathering momentum with their first single ‘Vacation’ and collaboration with Pitbull on ‘Wild Wild Love’ and so it seemed like Simone had achieved her dream of fame, but her dream was now the beginning of a nightmare.

Simone was found dead in her home by her boyfriend on the 6th of September through suicide. She was a member of a girl group that was just breaking into the charts, just like she wanted, so why did she decide to end her life?

Her family and friends said she never showed signs of depression and that she was excited that her career was finally taking off. However, they also told of some financial struggles and some worries she had of her future in the pop

industry.

Simone had achieved the fame that most X Factor hopefuls can only dream of. However, the pressure of achieving ultimate fame eventually led to her suicide. Maybe instead of Simon asking

X Factor hopefuls, “why have you auditioned?” or “do you think you can win?” maybe the judges should learn from Simone’s story and ask contestants questions on what is really important in life: Have you really thought about the cost of fame?

Review: Leonard Cohen, ‘Popular Problems’ Dylan O’Keeffe

Leonard Cohen, the poet and singer who penned the ever-recognisable ‘Hallelujah’ celebrated his 80th birthday with the release of his latest studio album, Popular Problems.

You may ask why an 80-year-old is still making records, not snuggled up in a retirement home with the fortunes he made over the previous fifty years of his music career. Well, Cohen had to return to recording in 2004 after being cheated out of much of his fortune by his previous manager. In a way, I’m kind of glad of that. For a man of advanced age, he has blessed us with two great releases since that misfortune, and has now topped this with his latest effort.

Popular Problems appears to be a somber album on first listen. Listen closely, however, and there’s an ambiguity and optimism lurking in the lyrics. Notably the opening track, ‘Slow’, features a

response to jibes at the slow tempo of his music along with some sexual innuendo: “I always liked it slow/ I never liked it fast/ With you it’s got to go/ With me it’s got to last.”

At the opposite end of the listing, the LP’s concluding track, ‘You Got Me Singing’ finishes the record on a positive note, asserting that Leonard is content to be still making music in an acceptance of his circumstances, “You got me singing/ Even though it all looks grim/ You got me singing/ The Hallelujah hymn.”

Cohen also touches softly and carefully on a controversial issue in the form of the Israeli-Palestine Conflict. A Jew, Cohen is surprisingly sympathetic to the Palestinian cause on the track ‘Nevermind’ which features segments of Arabic. Cohen displays a welcome gutsy and edgy attitude through moments like these on the album, presented through his as ever-exquisite songwriting style.

Every perfect couplet and rhyme will make consider the various meanings of his words through undulating layers of highs, lows and popular problems.

It should be noted then that these lyrics and messages are no good as music without a voice to back them up.

While questions have been raised about Cohen’s voice on previous records, it is clear on this album that Cohen is becoming a master of the aged, deep, male voice. The singer is delightful in his refined, often conversational style, ensuring that he never sounds strained.

Take note, Bob Dylan.

Musically, the album is also an improvement on previous Cohen releases. It seems that years of touring have created a trust between Cohen and his band. The band grasp the bluesy, soulful sound the LP goes for from the outset, even the track ‘Slow’ pulls you in with its powerful bass, synth and female harmonies. It’s an old formu-

Bla that may remind you of The Doors, which is no bad thing.

Saying all this there are a couple of negatives to acknowledge. A criticism I’ve had of Cohen’s music in the past is that it has a tendency to drag and while that is not overtly present here, tracks like ‘Almost Like the Blues’ outstay their welcome, while ‘Did I Ever Love You?’ sounds like a barnyard hoedown near its conclusion.

Overall though, Cohen’s latest release is a strong record. It’s a pleasure to listen to and one of those records that makes you want to keep listening despite its flaws.

A new era for Artificial Intelligence music?

Cork Gig Guide October 28th – November 11th Sólstafir Cyprus Avenue, Tuesday October 28th €17.50 One of the most stunning metal bands to have emerged in recent years, Iceland’s Sólstafir return with a follow-up to 2011’s breakthrough album, Svartir Sandir. Their music, ten-minute odysseys that mirror Sigur Rós at their most industrial may not sit pretty in the small Caroline Street venue, but it sure is worth the punt. Highly recommended.

“Hatsune Miku was born on August 31st; she’s 16 years old, 5 foot 2 inches, weights 93 pounds, has featured in over 100,000 unqiue songs to date and doesn’t exist.”

Brian Conmy A few weeks ago Hatsune Miku performed on the David Letterman Show. For those not familiar with the mainstay of American television, it’s not dissimilar to The Late Late Show, but with a far less cringy host. The show is a legitimate platform for musical artists to feature on in between guest interviews so for a Japanese artist like Hatsune Miku to break onto a show like this is a big deal in more ways than one.

Hatsune Miku was born on August 31st; she’s 16 years old, 5 foot 2 inches, weights 93 pounds, has featured in over 100,000 unqiue songs to date and doesn’t exist.

Hatsune Miku is a humanoid persona voiced by synthesizer software developed by a Japanese tech company.

The character appears on stage via hologram taking the appearance of an anime-esque young girl with long green hair, a short skirt and long stockings/ boots. The hologram technology is similar to that used in Tupac’s Coachella performance, however this seems a little more advanced, making for a more interesting visual performance.

While the music style of Hatsune Miku may not be for everyone we’ve seen more and more musical acts from Japan

and the larger Asia region break big in the West including the Suicide Girls, Psy and Girls Generation. Whether or not Hatsune Miku will ever release a hit as big as ‘Gangnam Style’ is hard to know, but one thing is certain: we’re looking at a future where an artist doesn’t need to exist to actually make music.

While this isn’t the first time an artist of this like has garnered some attention, Gorillaz share some similarities to Miku, though admittedly the technology being used here is so much more advanced that the human element can be almost completely removed from the equation.

Think about how attractive this must be for record companies, an artist who’s not going to die young, to get embroiled in a drug or sex scandal, to walk out on their obligations or in any way break their contract. A digital artist is tireless, in all likelihood cheaper than a human artist, and as many of them can be produced and reproduced until they become a hit.

To some this may seem like a horror story, a future of manufactured pop music. To others they may sneer and say that this is the present, that acts are already so unoriginal and pre packaged that it wouldn’t make a difference if they were a real person or a projection.

To a person like me with an interest in Japanese culture, crazy technology and an eclcetic music taste, Hatsune Miku is

the most interesting thing happening in music at this moment.

Stone Fox Crane Lane, Wednesday October 29th

When it gets right down to it however much the idea of digital artists may anger you one thing is undeniable: there are still people behind the music.

To my knowledge computers are yet to be able to fully create a song start to finish without human input, there is someone creating lyrics, programming the software and crafting the idea of Hatsune Miku and in a lot of ways this may be a more difficult craft than most human artists are putting into their act.

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Even if we strip away the artifice of a digital artist, the holographic stage presence and the idea that their vocals are entirely synthesised we’re still left with a piece of music at the end of the day. Without being able to attach a particular human’s involvement to the song maybe it’s easier to ignore biases or preferences and actually look at the song on its own merits as is somewhat difficult to do nowadays with the amount of information being available on any given artist.

Beardyman Cyprus Avenue, Friday November 7th €20

So if you have some free time maybe it’s worth Youtubing Hatsune Miku and checking out some of the songs attributed to her. You’re bound to find something you like, even if you don’t want to.

Cork Natives, Stone Fox, hope to bring about their very own funk revolution upon their return to Crane Lane as October draws to a close. While drawing influence from the soul, R&B and funk legends of 70s and 80s America, don’t be surprised to hear some modern pop classics too, albeit with their own retro twist.

The oddest artist to hit Cork in sometime, highly acclaimed electrowizard, Beardyman hits Cyprus Avenue to showcase his more direct and danceable blend of Aphex-Twin aping electronica weirdness. In his shows, no pre-recorded material is used, leaving everything to be created live and in real time in front of the audience. His unique ability to get any crowd going has seen him showcase his skills on huge stages from the legendary drum ‘n’ bass rave ‘Slammin’ to the largest indoor stadiums.

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Life After Death

Following their performance on Live With David Letterman, Jesse Keeler of Canadian dance-rock duo Death From Above 1979 chats to Robbie Byrne about making new music after a decade

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Back in 2004 Death From Above 1979 were hurtling towards the peak of their powers. Their volatile debut, You’re A Woman, I’m A Machine became the essential dance-rock album of the early noughties, spurning a host of imitators from the Yeah Yeah Yeah’s to the Klaxons as the musicsphere delved into New Rave mania. The Toronto duo were in the perfect position to become one of the greatest bands of their generation as a cult-like fanbase followed them across the globe as they toured alongside rock behemoths such as Queens of the Stone Age and Nine Inch Nails.

But then it fell apart.

As a duo about to break into the pop consciousness, Death From Above were inherently adverse to fame and its trappings. An endless touring schedule due to the once impoverished Canadians inability to say no saw the once inseparable duo tear in two. While Jesse F. Keeler and Sebastien Grainger blew up infront of the world’s press, they isolated themselves from not only those around them, but each other.

Two years after the release of their debut, the band called it quits. Burying

the pain of breakup, both decided to concentrate on their own solo materialbassist, Jesse, exercised his pop muscles with the Daft-Punk aping MSTRKRFT and drummer/ vocalist, Sebastien performed under his own synth-pop moniker.

“Even though Coachella was awesome, it never felt the band was really back together until we began to make these music babies the following year.”

Despite the relative success of both projects, neither rekindled the passion or fame that Death From Above created, but as the one-time friends continued to live in relative proximity at opposite ends of Toronto, an offer came through to reunite on the mainstage of Coachella Festival 2011 for one last time.

“Sebastien contacted me when he heard about the potential offer,” Keeler begins.

“It was the first contact we had had in about five years, we met up soon after where he apologised for what happened.

We agreed that DFA shouldn’t have ended like it did. We knew we had some unfinished business.”

That April, in what was the surprise comeback of the year, the band played a crazed televised performance to a near capacity mania on the mainstage of America’s biggest music festival.

Despite the success, Keeler didn’t feel that DFA were complete following their ‘one-off ’ comeback: “Even though Coachella was awesome, it never felt the band was really back together until we began to make these music babies the following year.”

After their victorious performance, dozens of offers came in from promoters across the world; “The offers kept coming in to play more festivals, but it was to play just the old songs and that didn’t interest us,” Keeler says, “so we decided to stop accepting tour offers after Coachella. We couldn’t just play that same old stuff, that would make us a bare bones covers band.”

Still, the desire was still there to make

this new music – a want to make Death From Above the creative powerhouse was a decade earlier.

“We just had to start playing again, but only if we could use just the creative part of our brain.”

Spurned by the need to write and release new material, the band signed an identical deal with the same record company, Last Gang/ Warner Bros, as they did a decade earlier.

As a rock duo, Death From Above shouldn’t work. One part bass, one part percussion and one third vocals, their music should sound barren and unnourishing; an exercise in self-indulgence rather than musical integrity. And that is before you discover that the drummer is also the lead vocalist.

“The decision to go with this odd combination was not a conscious one,” Keeler confirms. “We didn’t even think about it; in the early 2000s it was just Seb and I living together in a Toronto townhouse and because there was nobody else living there, we would just jam together.

“Our original intention was for me to play guitar and get other members to play bass and vocals but, as we were trying out these early tracks, our sound was so raw and full there seemed little room for anything or anyone else.”

That raw, chaotic sonic landscape that the pair create is not simply a biproduct of their physical arrangement, but courtesy of the unique gritty clarity of Keeler’s seemingly endless bass riffage, “Many don’t believe me on this one, but I didn’t know how to play bass until I moved in with Seb;” and it is this late adaption to the instrument which is largely responsible for his unique sound: “One neat trick is how I mute.

My thumb is always placed on the fret board to mute the open strings, it’s an awkward habit, but a neat trick that gives our band its sound.”

While it had been almost a decade since Jesse and Sebastien have got together to write new material, their method remained the same from their early days: “I start writing a song by toying with different riffs at home. I close my eyes and imagine playing in front of a lot of people and envision them listening to it. If I think they are enjoying it I make a rough demo with some programmed drumbeats and send it to Sebastien who then layers his drumming over my riffs.”

It’s a seemingly awkward system, but fitting of a band so perverse it is one that works beautifully: “We then meet up for rehearsal where we’ll practise the instrumentals. If we’re happy, the vocal melody will come into play before finally adding the lyrics- the last piece of the jigsaw of a telepathic process.”

“it took us years to prove that the drum and bass combination was a valid musical format” The end product of this writing process, The Physical World, is a surreal return to form. An exaggeration of their pop and rock leanings in equal parts, the LP sees the duo’s knack for a pop hook revealed in the lead single, ‘Trainwreck 1979’, and their willingness to get downright invasive in the grinding brilliance of the opening track, ‘Cheap Talk’.

“It’s difficult for me to pick out a clear favourite. Every song has our soul living and breathing inside it. We are so proud of each track, otherwise it wouldn’t be on the album, but of all them… ‘White is Red’ and ‘Government Trash’ are the ones I love to play live most,” Keeler asserts with some hesitancy, bringing his almost maternal instinct of the album to the fore.

Hotly tipped as one of the albums of 2014, the album has already received a perfect score from NME and Kerrang, while the much-revered publication that is UCC’s Motley awarded it 4 stars. Still, positive media reception, though welcome, is not of paramount importance to Keeler: “While it’s great that people are digging the album, the

most important thing today is that we are a normal fucking band. It’s nice, it’s the feeling we had when we first got together.”

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Though wholly coincidental, the release of The Physical World has coincided with the release of Royal Blood’s widely acclaimed debut LP; the newest, and perhaps only, other drum and bass rock duo in existence today. Rather than a potential rivalry, Keeler sees the Brighton duo as a welcome boost to their own fortunes.

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“That band’s existence makes me very happy,” adding, “it took us years to prove that the drum and bass combination was a valid musical format. With Royal Blood questions aren’t even been asked.

And for them to use what we use and create such a different sound proves that there’s diversity to it. Yeah, that’s awesome.”

While the release of the Death From Above’s second album has almost passed, the band now have to contend with the premiere of their documentary, Life After Death From Above 1979, which traces the band’s tumultuous past to its amicable present.

“Yeah, the documentary was odd for us at first. About three years ago, when we announced Coachella, a group of independent producers who were also fans approached to ask if we’d like them to create a feature on our story; the rise to fame, break-up and reunion, etc. It was a huge investment for the guys, they put their heart and soul into it,” he says before concluding, “I’ve just seen the complete version for the first time with friends and family and I can tell you that it’s fucking awesome.”

Keeler’s enthusiasm for the soon to be released documentary underscores the extent to which the group have refashioned for their second incarnation. A group that once fought the media circle embrace it, while preserving the same spirit of their earliest recordings. It’s a colossal turn around, a feat, but only one expected

of a band who say they can read each other’s minds.

Death From Above 1979’s second album, The Physical World, is now available in all formats, while Life After Death From Above is also available to purchase or rent in digital formats from Vimeo.com.

Stage Fright Claire Fox explains how the theatre remains the home of horror When most of us think of the horror genre, the cinematic creations of Alfred Hitchcock or the tantalising literary thrillers of Stephen King come to mind, but few of us reflect on the stage as a setting for horror to unfold. Why is this when the stage itself was showcasing all the sickness that horror had to offer long before cinema or the printing press even existed?

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Like most of life’s ingenious ideas, all one has to do is take a look back to the time of Shakespeare to realise how horror is the love-child of the theatre, rather than cinema or literature. The treacherous witches which appear in a mystical, yet memorising smoke-screen at the beginning of Shakespeare’s play, Macbeth, shake every fibre of the audience’s being, while the stain of blood on Macbeth’s hands was surely an inspiration for Hitchcock when constructing the infamous ‘shower scene’, in his horror film, Psycho.

Even in the late 19th and early 20th centuries, the world renowned Paris Theatre du Grand-Guignol, was hailed for its horrendous staging’s of blood and

gore to the Parisian people on a nightly basis.

Now the terrifying genre of horror is at home in the theatres and arenas of the world, both enticing and disgusting audiences.

One of the greatest, if not the greatest, stage musicals of all time, The Phantom of the Opera, undoubtedly belongs to the horror genre of plays and musicals.

The fact that this renowned musical is partially based on historical events that took place in Paris during the 1800s is perhaps the reason this perverse, yet passionate story has remained popular for so long. The musical, created by Andrew Lloyd Weber, was first displayed to audiences in 1986 and has been a West End hit ever since.

Another horror-driven play, with success not dissimilar to The Phantom of the Opera, is Stephen Maltratt’s The Woman in Black. The play, which is hailed for its sinister plot and eerie atmosphere, is the second longest non-musical play to run on the West End, proving how the theatre is a powerful arena for the

dramatic effects of horror to emerge.

While many of us have been forever frightened since watching the 2012 film starring Daniel Radcliffe, the theatre production of The Woman in Black is even more unsettling.

OK, so while The Rocky Horror Show may not be a horror in the truest of sense (because it’s not actually scary), its mockery of the horror genre surely makes it deserved of a place in the halls of scare-house theatre. The play, which begins with newlyweds Brad and Janet being thrown into the weird and wacky world of Dr Frank n’ Furter, who declares in song that he’s “a sweet transvestite,” is ahead of its time dealing

with transvestism and the bisexuality of Rocky in an open manner. The play, which has been followed by a successful motion picture starring Susan Sarandon, is surely a precursor to films such as the Scary Movie Series, which are, unfortunately, less entertaining.

Whether you prefer mysterious musicals, spine-prickling plays or the more comical side of horror, the theatre has something to offer for every horror lover’s heart. While it can be a pleasure reading, a terrifying book or viewing a fear-filled film, getting to see the ghastly plot of a horror unravel on stage before your very eyes is an experience that is difficult.

Sinister scoundrels and Murderous misdeeds: Villains in Literature Molly Forsythe I cannot handle horror. I’m the type who holds a book at arm’s length and will stupidly attempt to read through quivering fingers over my eyes; in fact I may even hurl the book (as was the case with Stephen King’s Misery) across the room in a fit of hysteria. Despite some close calls I’ve fortunately managed to avoid any paroxysms, which, from what I can gather from Victorian literature, can be downright deadly for ladies. Yet in spite of all this, there is still something very enjoyable about a scary read; as the Master of Suspense himself, Alfred Hitchcock, once put it: “Give them pleasure - the same pleasure they have when they wake up from a nightmare.”

For me, a good villain is absolutely key to the success of a book. In fact, often it is the villains who have scared the crap out of us that live longest in our memories - sometimes even outliving the books themselves. Take the example of

Bram Stoker’s Count Dracula, a character so vividly rendered that he has been endlessly reincarnated and reinvented since his creation in 1897.

For most, it’s the books from our childhoods that tend to make the biggest impact. If I were to nominate a writer for a lifetime achievement award for scaring kids, it would have to be Roald Dahl. Although Count Olaf and Lord Voldemort are responsible for many a sleepless night, none can match Dahl’s fantastically weird and wonderful creations. He also deserves praise for his comprehensive witch-spotting guide (remember: huge nostrils for smelling children and toeless square feet).

Of course now we are living in the age of the antihero and, in some perverse way, villains have become the heroes.

Although this phenomenon seems like a relatively new thing, the anti-hero actually has quite a long history; stretching as far back as the 17th century with

Satan in Milton’s Paradise Lost, and even further still to Grendel’s mum in Beowulf. We all dream about breaking the rules, and it can be fun to lose yourself in the story of someone who flagrantly disregards the most funda-

mental laws of society. I think Stephen King’s epigram explains a lot about the appeal of the anti-hero: “Monsters are real. Ghosts are real too. They live inside us, and sometimes they win.”

Half-Baked Horror:

Can games be scary anymore?

Steve Barry says ‘enough’ to the cheap jump scares So, Halloween is on the horizon, and we all want to settle down with a good horror game or movie, most likely so that we face the threat of soiling ourselves.

However, we’re living in a world where the vast majority of us are entirely desensitised as to what many would have found absolutely terrifying a number of years ago. All you have to look at is how horror has gone from the likes of John Carpenter’s Halloween (that name is way too appropriate for this article), to the likes of torture porn movies like Saw and just generally awful movies like Leprechaun: Origins (the title alone is clear indication of that).

A similar progression has occurred in gaming, where we have seen franchises built on the sturdy pillars of survival horror turn into silly and pedantic action ‘horrors’. I’m looking squarely at you Resident Evil. No, you’re never going to live that atrocity down Capcom.

The issue with many horror games at the moment is that they resort to cheap jump scares and overly gratuitous gore in order to frighten the player, but half

the time they don’t work. We need only look to Outlast, a recent digital release on the Playstation 4, for clear evidence of this. Employing clichéd elements such as a hulking pursuer and implications of cannibalism, it panders to general horror trends to get some cheap scares. While it can be tense at times, it is certainly not the pinnacle of horror today.

Similarly, the industry has moved towards action horror games such as Resident Evil 6, which has crippled that franchise due to its sharp departure from its roots. It goes to show that explosions and zombies don’t always sell.

Seriously, not letting you live it down Capcom.

But it’s not all bad; we are seeing some innovation and changes for the better.

Smaller-scale games like Five Nights at Freddy’s and the Silent Hills tech demo P.T. The former is interesting because it features a system where the player character himself is essentially powerless besides an almost useless and quickly draining security system; while four

animatronic creatures hunt him down to stuff them in one of their empty suits.

This powerlessness and the subtle hints at a horrific backstory result in a terrifying tension, which has taken YouTube by storm in recent months.

P.T. employs a similar tension as, while it is up to interpretation, it appears to chronicle a man’s steady descent into a psychotic break, as the house you are forced to walk around steadily becomes

more and more frightening. In horror, I would prefer to have a steady consistent feel of tension and unease than just have a monster jump out at me.

Horror games have been struggling, but they appear to be on the rise yet again with developers looking back towards their roots. So turn the lights off, turn your games system on, and prepare to crap your pants.

The Verdict on Alien: Isolation Jack O’ Doherty Holding your breath, trembling inside a storage locker, you risk a furtive glance at your motion tracker only to be reminded of your inevitable doom.

The high-pitched ping from the device increases in frequency as the ominous green blip inches ever closer. Putting away the tracker in fear of being heard, you are left with the unnerving sound of death roaming the vents above.

Suddenly silence. You check your motion tracker – nothing. A brief wave of relief precedes a violent shriek from the Xenomorph as the locker door is ripped open and you die screaming.

This characterises the gameplay of Alien: Isolation in a broad sense, an instalment which will certainly please fans of the survival horror genre. Put simply, Alien: Isolation is a unique take on the survival horror genre which has in recent years become diluted into ‘action horror’ titles such as Resident Evil 6. Indeed, Alien Isolation returns to the baseline that defined the genre.

It is continually scary, as you are never EVER safe, evading a horrific creature

that you cannot kill, and navigating a desolate space station that is eerily reminiscent of the Nostromo.

You play as Amanda Ripley, daughter of Ellen Ripley from the films, who is searching for answers after her mother’s disappearance. The Sevastopol Space Station is an inherently creepy environment, to say nothing of the denizens that dwell within. The acquisition of weapons and equipment, such as flamethrowers and EMP grenades, allows you to combat lesser enemies such as dysfunctional homicidal androids and belligerent human survivors. However these have little to no effect on the alien, so evasion is ALWAYS preferable to confrontation.

The Xenomorph A.I. is notably advanced, seemingly sentient, yielding a game of random encounters and very few scripted events. This greatly adds to the overall horror value, as the alien is essentially an omnipresent threat. Dynamically, the gameplay is fine, with a few unique and innovative additions mainly linked to stealth and evasion. Aesthetically, the experience

“Alien: Isolation is a unique take on the survival horror genre which has in recent years become diluted into ‘action horror’ titles” is beautifully crafted with excellent lighting and graphics that greatly contribute to the reliably unnerving gameplay. But it is the sound design that truly stands out – a profound achievement that allows the game to be extremely immersive and chilling.

Some players will find elements of the gameplay repetitive over time, as tedious objectives and frequent deaths become the norm. However I think the consistent quality of the experience, the constant terror, overrides any minor gameplay issues such as this. Note that the gameplay may seem clunky to some players and the lip-syncing is

occasionally a bit off.

In conclusion, I feel Alien: Isolation is an outstanding culmination of efforts to return to the tone of the 1979 film. Indeed, few games today are as profoundly unnerving and horrifying.

The alien itself is a masterpiece of design, a frightening killing machine, almost majestic in its proficiency for making you pause the game out of fear of continuing on. Ridley Scott would be proud, and remember… …in space, everyone can hear your motion tracker.

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Theatre review: Defender of the Faith Molly Forsythe reviews the thrilling play, Defender of the Faith, which appeared in The Everyman recently Originally released ten years ago, Defender of the Faith is an impressive debut and certainly augured well for an accomplished career for Love/Hate creator Stuart Carolan. Much like the celebrated TV show, Carolan’s play is more than just a standard thriller as it also examines the psychological effect of a violent environment on ordinary men. Set in an isolated Armagh farm in 1986, Defender of the Faith follows the search for the informer responsible for sabotaging an IRA bomb attack on the local British army barracks. Director Andrew Flynn’s production is the first revival of the drama since its initial run in 2004.

Boasting a first-rate cast, this production

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features fantastic performances all round. Lalor Roddy in particular provides an outstanding turn as Barney.

Roddy’s moving portrayal of the somewhat simple-minded farm-hand avoids the pitfall of making him into a comic figure. Michael Ford Fitzgerald must also be commended for his heartbreaking performance as Thomas - the archetypal angry young man.

The play pulls no punches when it comes to the more violent aspects of the story and is brutally truthful in its representation of the awful fate of IRA informants. Carolan’s script depicts a war in which the personal has completely overshadowed the political.

The self-proclaimed “defenders of the

faith” of the title have totally lost track of their cause; consequently misdirecting all their violence and suspicion onto each other.

It is significant that following on from the failed attack on the British army, every act of violence is committed by IRA men onto other IRA men. This is a world in which no-one can be trusted and loyalty is easily turned - even to the extent where familial bonds are practically meaningless. The play’s atmosphere of psychological isolation, suspicion and violence is intelligently captured by Owen MacCarthaigh’s stark set design.

The biggest issue I had with the

production was with the sound levels as it was often too frustratingly inaudible - in particular there was one pivotal scene throughout which the dialogue was entirely whispered. In addition, the humour was at times childishly dependent on swearing. However, these are only minor points in what was overall a brilliant production.

As tense as it is thought-provoking, Defender of the Faith is the kind of play that will stay with you for a long time.

Under Andrew Flynn’s direction, the production is a careful balance between hard-edged political thriller, thoughtful meditation on The Troubles, and intimate family drama.

Wuthering Heights: Passion never withers Eoghan Lyng pays homage to the classic gothic novel that is Wuthering Heights It’s impossible to fathom a time when Emily Bronté’s novel didn’t exist. It’s one of those novels that has transcended from written periodical to acclaimed classic to something of such cultural consciousness that it has unequivocally and irrevocably changed popular culture forever.

public as anything said in The Simpsons and are more thought-provoking than J. K. Rowling could ever have dreamed of. And as much as Rowling’s boy wizard may have outsold Bronté’s piece by millions, there is no mistaking the enormous influence of Bronté’s masterpiece.

It’s not one of the best nineteenth century novels; it is the nineteenth century novel. With more thematically resonances per page than there are counties in Ireland, more beautifully written passages per paragraph than most writers have ever written and, dare I say it, two more interesting lovers than any Shakespeare ever penned. The doomed love of Cathy and Heathcliff is as wonderful an experience as anyone is ever going to have in their lifetime.

It’s a work filled with social classicism, romantic amalgamation, vengeful tirades, bohemian transgression and manic despair.

It’s thanks to Emily Bronté that Cinema Paradiso’s Toto waited thirty days in the rain to prove his undying love for a girl, that Robert Smith has made a career out of sheer debauched miserabilism, that the Manic Street Preachers wrote their best album The Holy Bible and may have even inspired Arthur Conan Doyle to enshroud his characters in an eternally fog-laden London. Not bad for a novel once described by Graham’s Lady Magazine as “a compound of vulgar depravity and unnatural horrors.”

Quotes such as “It would degrade me to marry Heathcliff now; so he shall never know how I love him: and that, not because he’s handsome, Nelly, but because he’s more myself than I am” and “Terror made me cruel; and finding it useless to attempt shaking the creature off, I pulled its wrist on to the broken pane, and rubbed it to and fro till the blood ran down and soaked the bedclothes...”

These lines are as well known to the

It’s the beautiful language however that makes this novel the marvellous work it is. Whereas most modernday writers sound as ineffectual as a fourteen year old blogger, Bronté’s beautiful descriptions of ever-growing moors, ever-changing scenery, and the complex human condition shows that her gift for the pen was equal to John Rambo’s gift for the machine gun.

The Guardian’s Martin Kettle hit the nail on the head when he wrote: “Wuthering Heights is one of the most imaginative achievements of English culture. It is a work of fibrous and poetic power to

rank with Milton, Blake and Conrad.”

As Kettle himself pointed out, it is much, much more than a love story.

It is much, much more than anything written ever since.

Assassin’s Creed Unity: The Parity Problem Jonathan Soltan The PR geniuses at Ubisoft are at it again.

Not content with the scandal caused by Watch_Dogs’ visual downgrade, they have evidently decided that too many people are excited about the upcoming Assassin’s Creed: Unity and are doing their best to change that.

In a recent interview, Senior Producer Vincent Pontbriand said that the game would have a resolution of 900p on both the Xbox One and PS4 to “avoid all the debates and stuff.”

Now, there’s a lot to unpack in that statement. Firstly, there’s the obvious: that the game will be the same resolution across both platforms. One of the things nerds like me like to know is whether or not a game is 1080p on PS4. If it is, that’s great. If it’s not, no big deal.

But what’s interesting is the ‘debates’ comment. Now that sounds they’re holding back the game on one platform

(almost definitely the PS4). For a developer to do this would be totally outrageous and incredibly unfair to the people who’re going to go out and buy the game.

Of course, immediately following this, the marketing team released a statement basically saying that Pontbriand was wrong and that they weren’t holding back the game at all.

They claim that the resolution is due to the number of NPCs in the game and their complicated AI, thus rendering it a CPU issue. Now, maybe they’re telling the truth, but they’ve done a terrible job conveying their message regardless. The problem I have with this whole thing is not the resolution, but the way they’re trying to spin it and seemingly obscure the truth. Transparency should be their policy.

Some of you may remember that this isn’t the first time Unity has had a PR disaster. Back in June it came out that there would be no female playable character in the game. Given that

Ubisoft had been heavily promoting the four player co-op aspect of the game, people had been hoping the option, but Ubisoft then made a statement saying that it would be too expensive and take too much work.

This, of course, got people up in arms at yet another instance of female marginalisation, which flies in the face of the fact that they already made a whole game where you play as a female assassin. Which also got re-released

recently, which just makes me think Ubisoft are smoking something strong.

What this all boils down to is Ubisoft trying to fudge numbers and put a spin on everything they say when in reality all they need to be is transparent.

Ubisoft, if you can’t get something to work in your game, just tell us straight up without trying to obscure the facts behind marketing speak. Then maybe we wouldn’t have to keep sharpening our pitchforks.

Get Into Gaming – Device 6 and Limbo Aoife Gleeson brings you affordable games that’ll send a shiver down your spine this Halloween…

Device 6 Platform: iOS Price Point: €3.59 Device 6 is unusual. You’ll likely finish the game thinking of this word. Or, it could be some synonym - weird, surreal, bizarre; take your pick. Even calling it a game can sometimes feel like a stretch.

Closer in experience to an interactive novel instead of a video game, Device 6 takes place on an island, where you wake up with no recollection of what happened to you and have to find a way to escape this strange, mysterious place.

Here’s the kicker - this is all communicated to you in interactive, dynamic text. When you’re walking up a stairs, the text will stack upwards.

When you round a corner, it curves at a 90 degree angle. Branching text at corridors will allow you to choose

which path to take.

This odd method of interaction gels perfectly with the surreal, perplexing atmosphere of the island. Giant, stuffed bears will whisper riddles at you.

Animatronic robots will sing catchy pop songs when you enter the room.

Everything is designed to communicate to you that something strange is afoot here.

In order to progress through each section, or chapter, you have to solve puzzles in each room, cracking codes and riddles. These are not easy - you’ll be scribbling things down on a sheet and scratching your head in confusion, but the eureka moment is hugely satisfying. Device 6’s surreal atmosphere will quickly drag you in and hold your attention. Once you adjust to the strange method of play, and the reading you’re in for a very unique, memorable and creepy experience.

Limbo Platform: Xbox 360, PS3, PS Vita, Windows, iOS, OSX Price Point: Varies by Platform, but less than €10 Limbo will make you uncomfortable.

Likely very uncomfortable, since you’ll probably see the main character, a small boy, die in numerous, graphic ways before the end of your playthrough.

At the beginning of the game, you wake up in a forest and set out in search of your missing sister. On your way, basically everything is trying to kill you.

Your job is to get the boy safely past the gory dangers of the forest. You’ll

need to do this through repeated trial and error, since you probably won’t see the obstacles until you’re right on top of them. Expect to wince a lot - given that seeing a small child snapped in half by a hidden bear trap can be fairly unpleasant.

However, since the game is entirely in black, white and grey, this goriness is primarily in your imagination. As you try to solve puzzles while the shadows bleed into each other and the creepy soundtrack groans at you, expect to feel a heavy unease growing in your stomach. Play with the lights off and headphones on for added effect and discomfort. Seriously, no game will make you feel as uneasy as this one.

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Styling Exile Nicole Clinton.

“When I’m at war with myself, I just ride.”

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The hauntingly poetic ending to Lana Del Rey’s epic, 10 minute music video for Ride intends to justify the singer’s (or perhaps the character’s) obsession with the dedication of her life to the freedom of the open road. She continues, elucidating that it is about “being in touch with your darkest fantasies” and “creating a life for yourself to experience them.” However, when one studies the stunningly stylised feel of the video and the role of clothing in the production of awe-inspiring cinematic visuals, these lines could simultaneously be applied to validate the avid use of fashion in the music video.

Both Del Rey and the character she portrays in the music video have crafted a vision of an image for themselves and utilise fashion to visually exude it.

The fashion exhibited in the music video is saturated with style without being overtly glamorous. It is a product of that alluring and curious artistic paradox- the perfectly imperfect. It is ravishingly flawed, just like the girl about whom Del Rey sings. The fashion reveals its dysfunctional essence through its lack of clear direction or focus.

For example, the character’s informal look is ‘California casual’ depending on oversize, off-the-shoulder t-shirts, denim cut-off shorts and mini-sundresses. But her dresses when she sings onstage resemble an outdated 1980’s pageant queen. This eerily unnatural transition reflects the ‘damaged soul’ quality that Del Rey is fascinated with representing in her work.

Despair and mental unrest are idealised and romanticised perhaps because, despite their negatives, at least they produce strong feelings and overcome the dulling numbness that mundane life exudes. She channels the notion that there is something quite attractive about being “f***ing crazy” because of the freedom and the pardon from society that accompanies it. The glamorisation of instability and “indecisiveness as wavering as the ocean” heavily relies on fashion to exhibit these characteristics’ appeal.

The cool attitude that the girl’s style radiates loans excessive charm to her nomadic way of life. The most significant examples of this arrive in the opening scene when Del

Rey’s bleached denim jacket, ornamented with studs and fringes emanates a tarnished bohemian spirit; and again in a later scene when her eighties, shoulder-padded, fringed, black leather jacket and denim frayed shorts attach a sense of reckless anticipation to her wait for her biker drivers at a gas station.

“She channels the notion that there is something quite attractive about being “f***ing crazy” because of the freedom and the pardon from society that accompanies it.”

The video also employs fashion to aesthetically insert the very ‘American’ theories that are delicately woven through the song. There is something perplexedly glamorous about one of these classically ‘American’ ideas: the open road. Perhaps it stems from the almost legendary notion that the open road offers a physical and psychological escape from the souldestroying routine of everyday life.

Or maybe it spirals out of that other mythological concept of the American Dream, that the open road possesses endless possibilities and if you travel far enough, you’ll find what you’re looking for.

The choices of materials or textures in the character’s wardrobe contain close

associations to the most well-known periods of American history. The prominence of denim and fringes in Del Rey’s costumes in the video are reminiscent of the popular image of the Wild West.

She enters more controversial territory by donning a traditional Native American headdress, bringing up the US government’s horrendous mistreatment of the countries original nomads. Her tendency to align her style preferences with two warring adversaries from her nation’s history visually exemplifies the conflict that lies at both the root of her own identity and of a country that preaches freedom, but often asserts an abuse of control.

A more explicit display of American symbolism adorns her body when she wears the nation’s flag as a cape-like garment.

The girl’s colour palette generally revolves around the red, white and blue of the star spangled banner reminding the viewer of where her beliefs originated. The distinctive fashion triumphs in making the desolate locations of a mid-western town appear captivating and beautifully eerie.

The character’s failure to settle physically, mentally or romantically grants her outsider status, an image that is cemented in the video through her clothes and perhaps more importantly through the attitude with which she carries them. Fashion is the force that asserts her marginalisation from society as her style does not seem to fit into any one particular box, reflecting her reluctance to limit herself to only one life or lover.

She wears the feminine dresses with a child-

like, yet disenchanted innocence, but she bears the leather and denim with reckless liberty. Her indifference to modern trends and subtle changeability would make her an outcast from the cutting edge fashion crowd and her dangerous sensuality would expel her from the old- fashioned traditionalists.

She meanders between lovers in an attempt to feed her thirst for passion, acceptance and a feeling of belonging. Her fashion preoccupation alters depending on which one of the men she is accompanying, going from carefree to pretty to tough – as if each man is a style patron enabling her addiction to tasting different roles.

It is not until the end of the video that Del Rey finds her ‘people’ and thus a sense of belonging. This epiphany where she accepts her clan as those who are ‘wild’ and believe in ‘the freedom of the open road’ is represented by a tribal-esque outfit of a fringed crop-top and shorts.

Therefore, fashion plays a revitalising and symbolic role in Lana Del Rey’s Ride video. It showcases the image she wishes to embody in the eyes of the viewer as a romantic wanderer who ultimately accepts that predictable life is not her destiny. The clothes energise and glamorise the barren location and the character’s nonchalant state of mind. In fact, the whole 10 minute experience is like fashion hypnosis if you liken the tyre on which Del Rey swings at the beginning and end of the video to a pendulum dreamily entrancing us into her surreal state of existence.

Exploring the Blogosphere Nathalie Tobin With the huge focus on and hype of fashion week now officially over, we can settle down and browse our favourite fashion sites from the comfort of our own home. It is interesting to browse how style bloggers wear the latest trends or put items of clothing together to create a quirky but individual style.

The following is a list of my current fashion blog preferences.

1. Erika Fox: Born and raised here in Ireland, Fox has done us proud as she now ventures across the world to fashion capital, New York. Her blog posts are filled with cute decor, great style fodder and amazing food that you wish that you could get your hands on.

Definitely a great blog to read from a fashion guru’s point of view. It has superb articles for those who dream about having a career in the industry in America, or for those who are simply interested in fashion. Erika has collaborated with many brands such as Primark, Boohoo and Warehouse. She can effortlessly combine designer items with vintage finds in one outfit. Erika can be found on both Instagram and

Style Gentlemen, Please!

Laura O Connor While he may be renowned for his notorious antics in the ring, UFC champion, Conor McGregor is fast becoming a prominent, influential fashion figure for his slick, signature personal style. Sharp, colourful suits teamed with crisp, fitted shirts and matching bow-ties are key features of the Irish martial artist’s wardrobe. With his slickbacked rockabilly mane, fuzzy facial hair, co-ordinating accessories and that adorable winning smile, Conor has managed to reinvent the classic gentleman look, while also adding his own personal edge.

In April this year, Conor attended the Peter Marks’ annual Style Awards in the Marker Hotel, Dublin and exhibited an outfit that turned heads and marked his territory as a true male fashion star. Dressed head- to-toe in

Facebook under the name: Retro Flame or on the website www.retro-flame.com 2. Beauty Crush and Clothes Encounters: These two girls go out to the Youtube Lovers! I am equally addicted to both Sami and Jen’s Youtube videos. While Sami resides in London and Jen in the US, they both post similar videos, such as their day to day makeup tutorials, fashion look books and footage of different places that they have visited. Both can be seen on Instagram and Blogspot, but are more active on their Youtube channels.

If you need inspiration on style for the season pop over to their channel to see how fun and easy styling clothes can be, for any occasion.

3. Tumblr: Christies Closet is a nice blog to read in the evening. Her posts are very straightforward, but her style is amazing nevertheless. The best part about this blog is that she will never bore you, the images always look spectacular and you are guaranteed that a new picture or blog post frequently appears on her Tumblr page. She makes you want to rush out to the nearest coffee station to snap a photo of your

cup of coffee and upload it to the web.

To see what I mean, check out her posts on: www.christiescloset.tumblr.com 4. If you are in the mood for something truly unique, check out Threads + Thunder. Dublin born, 21-year-old fashion blogger Leanne Woodfull, has the some of the most quirky and eclectic taste. Not only do I admire this girl’s extraordinary and fearless fashion, I also hugely appreciate her open mind and honesty. She has been blogging for five years and each of her reviews are genuinely her own, unbiased view of the item. On her blog she posts about her favourite make-up ranges and clothes that inspire her and other articles that young adults can relate to as well. Flying the flag for Irish style, she’s presently living in London and winning many prizes at annual blog awards. Check out her funky eye over on: www.thunderandthreads.com 5. Scout Sixteen is a great blog page to check out for the men. Based in New York, Justin Livingston’s blog covers all different aspects from fashion to home decor and travel. The best part is that all the clothes he wears are

reasonably priced. He is a man who cares about what is in his wallet and in his wardrobe simultaneously, but still looks wonderfully slick. I like the sound of that! www.scoutsixteen.com Happy blogging!

V

a navy, pinstripe suit, baby blue, fitted shirt and loud, printed dickie-bow, Conor demonstrated that he wasn’t afraid to take risks. His clashing, brown brogues and carefully co-ordinated accessories; including a lilac pocket handkerchief, brown watch and an old-school, pocket watch earned him serious brownie points in the style stakes.

His daytime, casual look has a more laid-back feel to it, yet still contains elements of sophistication. The star flaunts his sculpted body in this tailored, light blue shirt teamed with navy shorts and TOMS that possess a summery, yet suave vibe to it.

It seems that the UFC fighter’s style is not the only thing turning people’s heads; the star’s hair has also taken the nation by storm. Barbershops around Ireland have noticed a massive surge in the number of males in their teens right through to their thirties requesting the ‘Conor McGregor’ look- shaved sides

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and small ponytail/bun on top.

The past few months have been extremely successful for Mr. McGregor, professionally and artistically. His fashion credentials have soared and have seen him become a role model for

people of all ages. With the effortless demeanour with which he presents himself, his sophisticated style and his unforgettably charismatic personality, I’m sure Conor McGregor will be the name on everyone’s lips for quite some time.

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