Otwo Volume XVIII - Issue 6

29th November 2011 Issue VI Volume XVIII

OTWO

Snow Patrol

OTWO talks to Snow

Patrol about taps an d Fallen Empires

Also inside >> Chase & Status | Colm T贸ib铆n

The Arts & Culture Supplement of the University Observer

| Hoodie Allen | The Advent of

Home Cinema

OTWO

contents Page 3 – Regulars

Caitriona O’Malley gets all hot and bothered about people taking photos of every movement they make purely for the purposes of Facebook, while Aoife Valentine is here once again to tell you What’s Hot and What’s Not.

Letter from the Editors

Page 4 – Spiritual and Gender-related Advice

Mittens and Dixon Coltrane return this issue to tell you everything you need to know about how you’ll fair over the next two weeks, and to solve all your masculinity issues, respectively.

Page 5 – What’s On

Maria Whelan gives you a preview of the Abbey Theatre’s new show, The Government Inspector while Chloe Duane lets you know what’s going on down at the Winter Arts Fair.

Page 6 – Fashion

Fashion is here to inspire your Christmas party wardrobe while Niamh Hynes looks at just how much power the editors of highfashion magazines hold over the industry.

Page 9 – Food

Elaine Lavery offers you an alternative menu for your Christmas day dinner before turning nostalgic about all those sweets you used to love as a child.

Page 10 – Travel

Travel takes us to Brescia, Italy, and back home again to Waterford, before offering us a hidden gem right here in Dublin.

Page 12 – Games & Technology

Rory Crean looks at the role of silent protagonists in gaming today, while Oisin Sheehy and Ryan Mackenzie look at two of this season’s biggest releases: Elder Scrolls V: Skyrim and Call of Duty: Modern Warfare 3.

Page 14 – Cover Feature

Tom Simpson of Snow Patrol chats to Aoife Valentine about the change in the band’s sound and considering giving up for a career as a teacher.

Page 16 – Film & TV

Take Shelter, Dream House and My Week With Marilyn all get the once over in our review section, while Katie Hughes brings you the Top Ten schools in movies. Dermot O’Rourke considers the impact the introduction of Netflix will have on cinema-going, and the Fatal Foursome decide the greatest HBO show of all time.

Page 20 – Music

Grindcore veterans Napalm Death, drum and bass legends Chase and Status and indie darlings Wild Beasts all take time out to speak to Otwo. Mixtape offers you a soundtrack for the moment you realise that first isn’t going to happen, and the Duffington Post considers the future of music... again.

Page 26 – Special Features

Colm Tóibín took time out before his talk in UCD this week to speak to Otwo about gay babies and hating wellies. Hoodie Allen woos Donna Doyle and talks about rapping.

Page 28 – Backpage Bants

Jarlath Regan took time out to answer our Ordinary Level questions, while VoxPops finds out UCD’s most extreme procrastination methods.

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Issue 6 – Final Straw of the Master Ho, ho, ho and shit, With our last issue of the calendar year, we say goodbye to 2011 and, in the words of Ol’ Blue Eyes, it was a very good year. Now, as we prepare for a deluge of exams and present-giving, we leave you, dear reader, until January – we hope you can survive without us. If not you can re-read Issue 6 to your heart’s content, we’re sure it will tide you over until Semester Two. Gracing the cover this issue are Snow Patrol. Fresh off the release of their sixth album, Fallen Empires, the SP boys are ramping up for their European tour, which is sure to get a rapturous reception when it stops off in The O2, Dublin early next year. Aoife Valentine spoke to keyboardist Tom Simpson to get a sense of what’s in store for one of Ireland’s biggest bands.

We also have an eclectic range of interviews in Music this issue as we talk to grindcore heroes, Napalm Death, and drum and bass survivors, Chase & Status as well as indie up-and-comers Wild Beasts ahead of their gig at the Academy on Saturday. On top of all that musical goodness, we have UCD alumnus, novelist and dramatist, Colm Tóibín. Tóibín returned to Belfield in an appearance for the English and Literary Society last week. He spoke to our very own Sally Hayden beforehand and revealed some thought-provoking

opinions on modern Irish society.

Turn to page twenty-six to get a look inside the mind of one of Ireland’s most prolific and celebrated contemporary writers.

Features this week concern silent protagonists in Games, powerhouse magazine editors in Fashion (surprised we weren’t mentioned, to be honest) and the potential decline of the cinema in Film. All three raise interesting and important issues affecting their respective industries, both positively and negatively, and should most definitely be worth your time and attention during that brief study break you’re so kindly allowing yourself.

Mixtape provides you with a suitably soul-crushing playlist for when you get back in the JJL, while Top Ten lists off your fictional dream schools and the Fatal Foursome tackle the works of the twenty-first century’s finest televisual outlet, HBO. All that, plus Dixon and Mittens help ease any worries you may have regarding masculinity, the future and absolutely nothing else in between.

Good luck, merry Christmas and have a happy new year. See you in 2012 (depending on if 2012 happens or not), Aoife and George

Social Notworkin

g

What’s hot and what’s not

What’s Hot

soapbox

Christmas FM

Unlike everywhere else in the world, Christmas doesn’t begin in mid-July at Christmas FM. Waiting until now before unleashing twenty-four hours of Christmas cheer for the next few weeks, it is possibly the happiest radio station of all time and it won’t have gotten old by the time Christmas actually arrives. Hurrah!

The Return of Fade Street

Fade Street has been criticised for embracing the Internet by releasing five ‘webisodes’ of the show on the RTÉ Player website before airing on the actual tellybox. It has defended itself by saying it’s trying to be down with the kids or something, but really, we don’t care. We just know Fade Street is back and we here at Otwo are hoping Wexford Paul gets some serious airtime.

Milka Daim

Combining delicious Swiss chocolate with Daim bars was a genius decision by the Chocolate Gods, or whoever it is that decides these things. It’s like a normal Daim, except all the extra chocolate means there’s less sexy sticking-to-your-teeth action. The bigger bars of it are only €1.29 in Spar at the moment too. Om nom nom, win.

What’s Not Exam time in the library

As if the library wasn’t already the place where happiness goes to die, the run up to exams adds extra annoyances that make dragging yourself there a fate worse than death. Well, maybe. People hogging plugs while they take a three hour lunch, people who don’t shower, people who have the mad chats with anyone they’ve ever met eyes with before, people who listen to music far too loud – all of you, get out.

The break in Grey’s Anatomy

If you’re not a complete pleb waiting around for RTÉ to get their act in gear, you will already know what happened in the saddest episode of Grey’s Anatomy since Denny died.

However, you may not know that you’ll have to wait until January for a conclusion to the cliffhanger ending. January. Ah now lads.

What are we supposed to do with our sleepy Friday mornings? So inconsiderate.

Queue systems in Pulse CafÉ & Readers deli You’d be completely justified in leaving grabbing lunch until well after the 1 o’clock rush to avoid trying to navigate your way to the type of food you want in Pulse and Readers. With so many different queues, they’ve found it necessary to employ a person to organise people into the right queue – we just want lunch, not to have to find our way through a maze.

by Aoife Valentine

OTWO

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The never-ending torrent of photographs on social networking websites is becoming tedious, writes Caitríona O’Malley

nnoyingly, in this world of no privacy, photographs are increasingly being seized by the sleazy, clambering mitts of social networking websites.

Infuriatingly, no occasion can be kept from public view any more.

This is patently and nauseatingly obvious on Facebook in particular. Upon logging on, you are pelted with a ceaseless procession of invariably tacky pictures, chronicling every event imaginable. Fixed smiles cascade across homepages as people are eager to smother others with evidence of their existences. As earthshatteringly exciting as the minutiae of someone else’s sun holiday is, tolerance has a limit, and the threads of sanity can snap.

To this writer’s chagrin, there is a subgroup of people who are apparently incapable of stepping outside their front door without frantically searching for a camera to preserve the moment and splash it online, no doubt for the immense pleasure that can be obtained from gazing at dozens of snaps of one’s face preening into a lens.

A tip for such narcissists: no one is as intently fascinated by you as you are. To quote Tyler Durden (oh, the achingly trendy pop cultural awareness of it all!), you are not a beautiful and unique snowflake.

Of course, there is endless entertainment in pulling a stupid face in a group photo on a night out. However, having that picture thrust on you online the next day is just irritating and embarrassing. Also, these nocturnal snapshots can occasionally resemble mug shots of stars caught embroiled in debauchery, or heroin users in the latter stages of addiction. Most definitely not flattering.

The haze of a camera’s glare can be intoxicating, but being dragged into photographs solely so that someone can spill them on social websites is creepy and meaningless, not to mention hollow.

If this writer wanted others to know the intricacies of her social life, she would inform them, thank you very much.

Facebook, naturally, does not care about the sentimentality attached to photographs. It merely facilitates the cold labelling, or ‘tagging’, of people. This is another disturbing and unpleasant element to online photos: it is so invasive, so determined to make your every movement public knowledge, and creates a sense of being tracked, like a microchipped squirrel. Aren’t cattle also tagged? These pictures loom from homepages, for any eye to scrutinise, and the constant availability of them is what makes them so charmless.

The worst thing is that, with this ease of publication, photographs are losing the intimacy that makes them so special: the privacy of an ageing photo album. It is high time to reclaim the traditional, and to cry a resounding ‘pah’ in the leering face of the culture of social website photographs.

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OTWO

Mystic Mittens’ feline fortunes Taurus

May 14th – June 21st Remember, your choice of animal hat is not as important as getting to your medieval literature exam on time.

Chaucer waits for no man.

June 22nd – July 20th Prepare for the unexpected, as a beloved family pet’s funeral takes a sexy turn.

Aries

April 19th - May 13th This week, you will find an old Goosebumps novel in the second hand bookshop. You will also discover that they do not stand up.

Dear Dixon, Every time I go to the bathroom to use the urinal, I find people are looking at my junk, which always makes me nervous as to whether they are sizing me up, which in turn makes me think sexy thoughts about ladies. So all they see is a ginger trying to subliminally wank while pissing. What advice can you offer me?

Yours, Shy in Sci Listen here Shy, These are the types of issues the female of the species simply don’t have to consider, but we of little emotion and much penis have to deal with rubs like these every day – and let me tell you Shy, there ain’t no rub like a public bathroom rub, because a public bathroom rub don’t stop.

I’d like to tell you not to be nervous, Shy Guy, but frankly, I’ve never seen your penis, and there’s every chance you’re packing a derringer, when you should be packing a Tommy, and if your packing a Tommy, you’ll be packing boxes ’til moving day – that’s a joke son, a gaff.

Ever hear of subtext?

There are several issues at play here, ol’ Shy Curious, so let’s start from the beginning. A man’s roscoe is only the size of the man holding it, 4

September 17th – October 30th Even though you’ve been wishing for snow and the big man upstairs owes you one, you should still revise.

Sagittarius

December 18th - January 20th Online dating: I’m afraid it’s the way to go.

Capricorn

Gemini

After spending the past fortnight lolling about on the sofa watching repeats of The Jeremy Kyle Show, Mittens’ parents told her to get back to work, so here she is

Virgo

Cancer

Libra

October 31st – November 23rd As Mercury begins to splangulate, get ready to hear to some made-up words.

January 21st – February 16th Beware of bottles of water with a human finger floating in it - nothing supernatural here, just sound advice.

Aquarius

Scorpio

July 21st – August 10th Of course you’re more talented than all The X Factor contestants combined.

That’s why you’re sat in front of the TV on a Saturday night, gorging yourself on cheesy blasters.

November 24th – November 29th Remember that Garda you pissed on during the protests? Well, he’s found your details and he’s not happy.

February 17th – March 11th So, you haven’t gotten the shift in a while, but brighter skies are on the horizon. I hear the announcer at the UCD exams is single and lookin’.

Leo

Ophiuchus

Pisces

August 11th – September 16th Relax, the fact that you’ve completed Skyrim multiple times is sure to make you irresistible to whoever you have your eye on.

November 30th – December 17th Your attempt at watching the entirety of The West Wing is hardly timely and will only be marginally helpful in preparing you for your politics exams.

March 12th – April 18th Expect a Christmas Day filled with shocking revelations, bitch fights galore and marathon games of Monopoly.

Leave your questions for the dashing detective on the Dixon Coltrane Facebook page

which in this case, is you. Don’t be afraid of these private part peepers; stand up straight, puff your chest out, and give it the full four inches.

You know what FDR says; “A man’s flick stick is only as proud as the man it’s attached to.” I’m almost sure that’s the right quote, although on second thought, that might have been Eleanor.

Secondly, let’s be straight about this, Shys Wide Shut – no man should ogle another man’s gogglepike unless given express permission, preferably in writing. Next time it happens, make sure he isn’t taking a gander at your cufflinks, but if he isn’t, don’t rough him up – any lug can put a palooka in his place with a Chinese squeeze. What you want to do is stare that mook out.

Look deep into his eyes, with a fury reserved only for God and the criminally insane, and he’ll think twice about eyeballing your thighballs. Either that, or just boast about the shapely nature of your own flesh satchels – nothing says “get away from me” like a man bragging about

Dixon Coltrane Real Men Smoke on Airplanes the proud nature of his own trouble bubbles.

Thirdly, and this is a big one, dye your hair. Everything about ginger is effeminate – the hair colour, the woman’s name, and the snaps. No excuses Shy Baby.

Finally, have you gone soft in the head? No man should be caught pullin’ polka in a bathroom, whether you’re thinking about dizzy dames or not. Listen up High and Shy – I

don’t care whether you’re into guys or dolls, that’s irrelevant – but no man should be rubbing his John in the john. Pleasuring yourself is a sign of weakness, sonny boy – it’s a dark and shameful thing, and a real man would just store up all his frustration until he releases at an appropriate time, like a war, or at the very least, a particularly vigorous round of alcoholism.

That’s the rub, Dixon Coltrane

OTWO

With the Winter Arts Fair in its third year, Chloé Duane takes a look at what’s new this time around

Winter Arts Fair C alling all art lovers! Yes, I’m talking to you.

Are you looking for a pre-Christmas event full of unique goodies to lavish your friends and family with? Or perhaps you just want to enjoy the Christmas celebrations in Dublin city centre with a glass of mulled wine, and without the pushy, stressful crowds? Then we at Otwo have found a treat for you.

The third annual Winter Arts Fair, organised by the Centre for Creative Practices, is taking place on December 8th – 18th. One of the Fair’s organisers, Monika Sapielak, describes it as an opportunity to “find something more personal” rather than the standard mainstream Christmas

presents such as the cosy socks or cheap perfume that we are all guilty of buying.

There is something for everyone in this fair, including the student on a tight budget. It opens with a free jazz concert from the multi-talented singer and composer Dorota Konczewska and Friends, at which homemade mulled wine will be served to those attending.

Marta Wakula-Mac, an artist who has exhibited her pieces in National Gallery of Ireland and around Europe, will be holding a Christmas card making workshop on December 5th from 6:30pm – 9pm. This is an introductory workshop about making Christmas cards through linocut and other printmaking techniques.

Or why not tag along to see 2009 Fringe Festival performer Eleonore Nicholas in A Spoonful of Silence on December 17th at 4pm. This incredibly personal piece has been described by Sapielak as a “balance” in the “chaos of the usual Christmas rush.” For those of you who just want to get your dancing shoes on, there is also a Christmas party with music and lighting by DJ Chuck taking place on December 17th at 9pm.

This fair, which took three months to organise, brings something special to Dublin that is unlike any other event that happens throughout the year.

It is inspired by European markets, which do not have the same presence in Ireland as they do on the continent. Sapielak explains that “a big part of audiences are people from different parts of Europe … the tradition of Christmas markets is much stronger there, so we want to bring it more to Dublin in an artistic form.”

All the money raised from the events will go to helping local and multicultural artists as well as the Centre for Creative Practices in maintaining its presence as the leading multicultural arts venue in Ireland, which is this year’s winner of the Media and Multicultural Award for ‘Not-for-profit Multicultural Company of the Year’.

The Winter Arts Fair runs from December 8th to 18th at the Centre for Creative Practices, located at 15 Pembroke Street, Dublin 2. For more information see www.cfcp.ie.

The Government Inspector

Roddy Doyle’s reinterpretation of The Government Inspector gives this Russian comedy classic a new lease of life, writes Maria Whelan

R

oddy Doyle shakes the Abbey Theatre with laugher with his adaptation of The Government Inspector. Originally written by Russian playwright, Nikolai Gogol in 1836, Doyle reinvents the tale by seamlessly shifting it in time, making it contemporary and relevant. He manages to balance the old with the new as characters still go by typical Russian names, such as Khlestakov and Anna Andreyevna, from the original text, yet he shakes it up with the Irish vernacular, with “lad” here and a “grand” there, which adds to the hilarity of the performance.

The play is an allegory of the ongoing economic crisis, but it particularly seems to give a dig at the Fianna Fail era, Bertie, and his gang.

Between lines such as “This house is my family house but not necessarily my principle residence”, or “new notes make new happiness”, and the bulging brown envelopes being handed back and forth, it seems all too familiar. In this version of the play, corruption and comedy go hand and hand.

Yet if we go beyond the parody, the play transcends its “Irishness”

and hones in on a story of mistaken identity. The plot revolves around the havoc which descends on the small provincial town when the local authority gets wind that an incognito Government Inspector is due to pay them a visit. The officials go into a furious meltdown as they attempt to cover up their crooked practices and make the town presentable. Patients are kicked out of the hospital to make it appear as if there is a surplus of beds, and the chickens living in the courthouse are forced to reside somewhere else, all for the sake of this unidentified official from St. Petersburg.

However, the efforts made by the Mayor (Don Wycherley) and his subordinates seem to come too early. When a leeching outsider named Khlestakov (Ciarán O’Brien) comes to town, the anxious locals are all too willing to impress. But perhaps Khlestakov’s eccentric behavior and disheveled appearance is not an attempt to withhold his true identity as the inspector. To put it in Khlestakov’s terms, the Mayor’s confusion may have something to do with the fact that “he’s as thick as

day old shite.” When the real inspector comes to town will they have the same momentum to impress?

The Government Inspector is energetic and farcical; its witticisms and ridiculous characters make it the perfect play to overcome the exam blues.

The Government Inspector is running at the Abbey Theatre until January 28th. Tickets are priced from €13. For more information, see www.abbeytheatre.ie

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OTWO Fashion

Hillary wears: Blue Jacket · €39.99 · New Look Fringed Top · €44.99 · New Look Metallic Leggings · €12.99 · New Look Purple Shoes · €34.99 · New Look Kerri wears: Pink·beaded Dress · €54.99 · New Look Shoes · Model’s own

Seasonal Elegence Hillary wears: Black and Gold Shift Dress · €49.00 · Tokki Designs at Atelier 27, stocked at Om Diva Fur Coat · €64.99 · New Look Shoes · €34.99 · New Look

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Models: Hillary Hovenden and Kerri Sullivan Photographer: Caoimhe Mc Donnell Stylist: Sophie Lioe

Fashion OTWO

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t’s that time of year again. If you’re struggling to find the perfect outfit for a Christmas party you’re not alone, but this season’s classy, vintage trend is an easy and affordable way to dress.

Rock the ballroom with a classy yet flirty look from the 1940s, which seems to never fall out of style with its focus on form fitting, sleek dresses, beautiful detailing and vintage patterns.

Along with dressing the Christmas tree with sparkling lights, go right ahead and dress yourself in a glamorous sparkly dress, which is bound to stand out in even the darkest winter nights. A pair of jewel-coloured high heels will surely complement the dress, providing an effortless combination for any of the season’s occasions. You may throw a fashionable fake fur jacket on top for a finishing touch, to keep warm and watch how eyes turn on you in an instant.

Why not use that little bit of extra pocket money on affordable vintage clothing to effortlessly epitomise Hollywood glamour - it’s time to hide the books

under your bed and head out to an end of semester Christmas party. If you really want to feel trendy this Christmas, picture Marilyn Monroe and search your wardrobe for a similar, short yet luxe dress with a bit of flow for the relaxed and loose look. The word ‘elegant’ is best used to describe this season’s style. Notice how this trend doesn’t reveal much skin, presenting an image of a chic and glamorous woman. For a fabulous look, when choosing an outfit make sure to add some glitter, gloss or sheen, as this Christmas it’s all about the razzle-dazzle.

Over-accessorising is a no this festive season; you don’t want to distract from your killer outfit.

The key is to keep it simple but dapper. For parties, stick with monochromatic colours such as blacks or pinks. Throwing a pair of drop dead gorgeous high heels on with each of your chic outfits is a must. This trend is for women who want a look that says sophisticated, but not slave-to-trend. So this Christmas, it’s time to relax, forget about exams, and enjoy an elegant night out with the girls.

By Maggie Rek

Kerri wears: Vintage red top · €32.00 · Om Diva Leggings · €12.99 Shoes · Model’s own

Hillary wears: Black·beaded Dress · €64.99 · New Look Purple Shoes · €34.99 · New Look Kerri wears: Vintage Pink Dress · €55.00 · Om Diva Shoes · Model’s own 7

OTWO Fashion

“You either know fashion, or you don’t”

With more eyes focusing on the people who decide the trends rather than wear them, Niamh Hynes looks into the world of high-powered fashion magazine editors

“T

here is something about fash- wonderful for our industry. So I was one ion … that can make people hundred per cent behind it.” very nervous,” muses the forAcross the Atlantic, epitomising midable Anna Wintour, in the open- French elegance with a coquettish attiing segments of The September Issue. tude, it is no small wonder that Roitfeld The 2009 documentary offered a rare was one of the first editors to become a glimpse into the role of an editor-in- star of street style blogs – her minimalist chief for the world’s most well-known Parisian chic helped her in transcending and highly respected fashion magazine, her role at Vogue Paris Vogue. For readers of the fashion bible, to become a fashion the inimitable power that Wintour, and icon, while also pavothers fashion magazine editors such as ing the way for her Anna Dello Russo and previously Car- daughter Julia to beine Roitfeld, hold both over what we come a style celebrity interpret as readers and the fashion in- in her own right. Anna dustry as a whole, is definitely a point of Dello Russo (editorinterest. The release of The September Is- at-large, Vogue Japan) sue came three years after the film adap- and Giovanna Batttion of the book, The Devil Wears Prada, aglia (editor, L’Uomo which was a box-office hit worldwide, Vogue), have both acdemonstrating a fascination with their complished a similar role not merely limited to only the most status in their own dedicated followers of fashion. The unique manner. Dello reputation that ‘persona’ fashion editors Russo’s eccentric sense of style is always such as Wintour and Dello Russo enjoy noteworthy, and she has been described is a huge asset to their respective maga- by photographer Helmut Newton as a zines – they become brands in and unto “fashion maniac”. Her enthusiasm and themselves, which helps in publicising genuine excitement for fashion has won their magazines. her many fans, and no one could doubt It is hard not to watch The Devil her dedication to the industry. As Dello Wears Prada without wondering where Russo and Battaglia are sparking the the line between caricature and reality sartorial interest of discerning fashioniis drawn, making Wintour all the more stas, it means they are acting as a powerinteresting. She surprised many, and ful marketing influence for their respecdemonstrated a sense of humour in the tive magazines. process, by attending the premiere of Can iconic status, however, act as the movie in New York, wearing Prada, somewhat of a disadvantage? In one and later saying in an interview that interview Roitfeld has said “when you “Anything that makes fashion entertain- go to a show now, the photographers ing and glamorous and interesting is are more interested sometimes in the 8

dress or the jacket you’re wearing than to photograph the show, and I think this is totally wrong.” It may be wrong, but fashion is big business – worth $300 billion globally. Deciding and circulating the trends featuring the designers, photographers, models, make-up artists, and hair stylists of the season is a task as-

signed to few. Those few bridge the gap between the world of fashion and the fashion-conscious consumer through the magazines they publish. Editors are balancing the fact that their revenue is dependent on the advertising of those very fashion brands they are analysing and featuring (or not featuring), with the need to produce a relevant and credible artistic body of work which must be aspirational and different, so as to appeal to its readers.

If editors aren’t careful and this balance is not attained, the desire to be different can be marked by controversy, as was the case with the December 2010 issue of Vogue Paris. Guest edited by Roit-

feld’s long-time colleague and friend, fashion designer Tom Ford, it featured an editorial spread modelled by a ten year old girl in full make-up, heels and a dress cut to the waist. The editorial caused outrage, and was seen as completely inappropriate. When Roitfeld resigned a few months later, many speculated as to whether it was a consequence of the issue, a claim which she denied. At the time, CEO of Vogue Paris’ publisher, Condé Nast, Jonathan Newhouse said “It is impossible to overstate Carine’s powerful contribution to Vogue and to the fields of fashion and magazine publishing. Under her direction, Vogue Paris received record levels of circulation and advertising and editorial success.”

Creative director of American Vogue, Grace Coddington in The September Issue concedes that “If the magazine didn’t sell, I wouldn’t have a job ... you’ve got to have something to put your work in, otherwise, it’s not valid.” It’s possible that an editor-in-chief is not the behind-the-scenes player in the way we would expect. Maybe their role is one of representing a brand, personifying the slant their magazine takes on fashion. Perhaps their power is justified in the way they ensure fashion progresses by constantly demanding something more, something different, and something better, from the creative geniuses behind the work. As Wintour herself puts it, “Fashion’s not about looking back. It’s always about looking forward.”

An Alternative Christmas Menu Without going too far left of centre, Elaine Lavery offers suggestions to bring some extra magic to the Christmas table this festive season

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lthough Christmas may be hiding behind a thick smog of exams, it would be sacrilegious for Otwo to have a food section and not do a feature on Christmas food – after all, what is Christmas about, if not food?

So save this copy of Otwo, with the stash we know you so guardedly keep, to return to in a couple of weeks, or try an alternative Christmas dinner with your friends before everyone returns home for the holidays. Here are some of our suggestions for Christmas dinners done differently.

Brussels sprouts actually look quite cute and if cooked correctly, to an emerald green, can also look quite appetising. But have you ever heard the phrase “don’t judge a book by its cover”? Yes, looks can be deceiving. No matter what you do with Brussels sprouts – wrap them in bacon, fry them in grease, dip them in chocolate and roll them in sprinkles - the conclusion remains the same: nobody likes them. They are sulphurous balls of gag.

One for tradition? No thanks!

What is a viable alternative that people might actually make room for on their plate, instead of making it a one hundred per cent meat feast? My suggestion is to make use of the heat from the oven, with all that roasting meat, and make some roasted vegetables. A tried and tested recipe with a special Christmas twist is Parmesan coated turnips. Peel and slice a bunch of turnips into batons, parboil and roll, while still hot, into a seasoned flour and parmesan mix. Roast in a little sunflower oil till cooked and crispy. Delicious.

Retro Sweets People need to realise that a turkey is nothing more than a giant chicken and a giant dried-out chicken at that. It is difficult to get an evenly cooked, succulent bird due to their monstrous size, so they will invariably be overcooked. Most turkeys sitting on our plates at Christmas will be battery farmed, and many will have been slaughtered weeks ago and are currently sitting in a freezer in some warehouse, slowly losing any flavour they might have had.

A lovely alternative to a turkey is goose, pheasant or guinea fowl - still in the poultry family, just a little more gamey and flavoursome. Go this route and you won’t be forced to think up new ideas for turkey leftovers. There’s only so much turkey curry, pie and soup one can handle.

If you insist on turkey, opt for free-range where possible. Turkeys of the bronze variety are particularly recommended if you can get your hands on one, and they require much less cooking time so you should get a better overall result.

Mince pies

Ham Instead of a leg of ham, confuse your butcher this Christmas and ask for a leg of lamb. A seemingly dubious choice perhaps, but one novice’s faux pas led to a delightful Christmas dinner one year. After two decades of Christmas dinners, a little variety won’t exactly do you any harm. If you don’t like it, you still have about sixty of the festive meals ahead - more than enough time to revert to tradition.

NOM NOM NOM

with Elaine Lavery

Turkey

Brussels sprouts

Food OTWO

Mince pies are a bit like Marmite. You either love them or hate them. Or perhaps a better analogy would be with blue cheese – they are an acquired taste. If you are one to consider mince pies a waste of calories, you can still get into the festive spirit with a bit of home baking. White chocolate and cranberry biscuits are particularly Christmassy, with the studs of ruby cranberries standing out like precious jewels. Or why not tempt your friends and family with some iced gingerbread men? In fact, any cookie recipe will go down well, especially if you stock up on a collection of cookie cutters (stars, bells, holly etc.) and ingredients for decorating – think icing, hundreds and thousands, chocolate and dried fruit.

Happy baking and merry Christmas dear reader!

In the days when disposable income equalled sugar and Opal Fruits made your mouth water, life was sweet, writes Elaine Lavery

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hen you were a child, being sent down to the shop to buy the Irish Times and a litre of milk was a delight and not a chore. It did not matter if you came home with the Times, it was the fact that someone trusted you to be sensible enough to go to the shop on your own – the first taste of freedom experienced by any child. But the best thing about the privilege was when your sole purpose of going to the shop was to buy sweets. It was something to do, and the more crap you could get for your £1 pocket money the better.

Summers, when we used to have them, were the best. Those were the days when Ben and Jerry were kids themselves and luxurious ice-cream meant a Choc Ice. A trip to the shop would mean a choice between an Apollo, a Wibbly Wobbly Wonder and a Freaky Foot – the one with the big giant chocolate toe. If your mum was being super nice, there was no need for a trip to the shop, as she would produce a Sparkler or a Milky Moo from the freezer at home.

The crisps back then were good too, and insanely cheap. For 10p you could get a packet of Hot Lips, Burger Bytes or Banshee Bones. If you were a bit older and got a raise on your pocket money, you might even be able to afford a packet of Nik Naks.

However, sweets were the ultimate draw.

Pure unadulterated sugar. None of your Natural Confectionary Company come M&S ‘made from real fruit juice’ bunk. These were the days when candy cigarettes were sophisticated, E numbers were plentiful and children were allowed to be hyper. Fizzy Kola Lollies, Stingers, Wham Bars and Frosties were standard; Dib-Dabs and PushPops were novel. Golf ball chewing gum was ok but the cool kids on the road blew bubbles with their Tangy Apple Hubba Bubba.

Ah, those were the days. You might be able to relive them with a punt in your hand once again 9 sooner than you thought!

OTWO travel

H idd e n G e m THe CAke CAFÉ, Camden Street, Dublin 2

Hidden down a side alley in Dublin City Centre, Maitiú Mac Seoin lifts the lid on the Cake Café

Waterford City, Co. Waterford

In keeping with the spirit of the staycation, Ben Storey reveals that Waterford ticks all the boxes

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any of you will be familiar with Harcourt Street, home to nightclubs such as Tripod, d|two and Coppers.

However, nestled away behind this area is a secret little spot that many people will never find; until you read this article, of course.

The Cake Café is a fantastically quirky little café. Mismatched china, cups of various sizes and a unique decorative style are the order of the day. The staff are friendly and the menu itself is delightfully simple, for example: ‘Hot Pot - it’s in a pot, and it’s hot, what more do you want?’

An unbelievable selection of teas and coffees are on offer, varying wildly from the subtle flavours of the Gunpowder Tea, to the intense coffee and chocolate flavours of Bicerin. For those of you who like to stay a bit more grounded, there is regular tea, but sure, where’s the fun in that?

The real star of the café is, of course, the cake. Baked throughout the day, they have that homemade, not-exactly-perfect feel to them.

However, the taste more than makes up for any messiness. You will absolutely adore the lemon drizzle cake, but do not forget the cupcakes, fruit loaf, brownies, carrot cake… the lot are outstanding.

Otwo’s recommendations are the infamous beans on toast or the afternoon tea. This choice comes with a bottomless pot of tea or coffee and a selection of five cakes. For first-timers, this is the perfect option to sample a variety of what the folks at the Cake Café have to offer.

If you go on a warm sunny day you can eat outside in the shade of the trees, listening to the unseen bustle of the city, only a few metres away. Situated less than five minutes’ walk from the historic Iveagh Gardens, a simple trip to the Cake Café can easily turn into a very relaxing and enjoyable day out.

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ne of the most endearing qualities of Waterford is its size. Many a visitor will remark on how this scenic riverside city successfully manages to project a welcoming aura, while containing all the trappings of a modern cosmopolitan centre.

As a Viking city, it is steeped in history and culture. Both Waterford Castle and Reginald’s Tower are evidence of this. For culture nerds, a visit to these key historic sites is a must, along with a trip to Gladstone’s Bookshop, a booklover’s paradise which is found in the heart of the city and is one of its best kept secrets. Upon entering the shop, one is deceived into thinking that it is a small newsagent. However, through a doorway at the back you enter into to what must be Ireland’s most extensive and labyrinth-like bookshop, where you can enjoy a coffee and put your feet up while reading any of the vast selection of books on sale.

For those who prefer the faster side of modern urban life, it is safe to say that Waterford city has no shortage of social hotspots. With Waterford Institute of Technology nearby, the nightlife in the city is exuberant. Particular haunts which would suit those with an appetite for real partying are Ruby’s Lounge

and Harvey’s. However, if it’s old world charm that you’re looking for, a trip to Jack Meade’s thatched pub, located just outside the city, is on the cards. Nestled in a rural concave beside a whitewashed railway bridge, it is a cacophony of memorabilia from days gone by. A pint of Guinness here is sure to warm the hardest heart.

Location is one of Waterford’s key advantages. It is only a short drive of seven miles to the famous seaside resort of Tramore. There is no better way to relive your childhood than to hit the amusements with a hot chocolate doughnut in hand. Or, if the weather is nice, a walk along the pier is breathtaking.

For a more serene daytrip, the village of Cheekpoint is beyond perfect. This picturesque fishing village really encapsulates old Ireland and offers a true sense of nostalgia, perched beside the scenic meeting point of the rivers Barrow and Suir. While there, a visit to the Cottage Bistro is a must. This quaint family restaurant serves arguably the most mouth-watering fresh seafood dishes in Ireland. The lemon sole pie comes particularly recommended.

This special combination of urban and rural experiences is what makes Waterford one of the main highlights of the Sunny South-East.

Little-known Lioness

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Photographer: Kate Rothwell

rescia is a city with a modest reputation, but an endearing appeal for those who discover it. Don’t be fooled by its industrial suburbs, the ‘Lioness of Italy’, so named after an attempted uprising against Austria in the nineteenthcentury, has plenty of beauty to be admired. One top attraction is a sprawling and impressively wellpreserved medieval castle, which boasts a panoramic view of the city from its hilltop positioning, as well as a selection of park-style spots and benches that are perfect locations for passing a few lazy hours.

The city centre contains numerous historic sights, including the remains of a Roman forum, ‘Piazza del Foro’, and two spectacular cathedrals. The ‘Duomo Vecchio’ (Old Cathedral) is a Romanesque church, known for its unusual circular shape as ‘La Rotonda’. The ancient crypt pre-dates the present cathedral and its almost eerie underground structure is another example of superb preservation.

Sightseers are well-catered for when it comes to sustenance. Grab

a student-friendly lunch at Charlie One, a pizzeria that offers a combination of various pizza slices, before following this with a scoop of ice cream or three from Gelateria Bedussi for sure-fire food satisfaction.

Home to both a university and an academy of fine arts, the city boasts a youthful spirit. When it comes to night-time entertainment, you won’t have to go far to find a cosy bar serving an evening ‘aperitivo’. Make sure to try fruity Brescian favourite ‘Pirlo’, a cocktail of white wine, Campari or Aperol and sparkling water. Quirky bar ‘La Fabbrica del Cacao’ (‘The Cocoa Factory’) is a good place for a relaxed beer, while more glamorous outdoor clubs open during the summer months. The nightlife can be pricey, so make sure to get some local advice before shelling out a twelve or even twenty euro entry fee.

The city’s highlights are numerous, but there are many natural wonders to be found beyond its urban outskirts. Lake Garda lies just thirty-five kilometres from the city centre, and while it may be a favoured tourist destination there are plenty of quiet spots to be found on what is Italy’s largest lake. Don’t be put off by the seemingly endless hotels and restaurants in some areas; it’s worth travelling a little further to find a serene lakeside path and peace of mind.

Even more stunning is the nearby Alpine mountain range and UNESCO heritage site, the Dolomites, which are found in the neighbouring region of Trentino. Skiing enthusiasts will appreciate the vast slope on the Grostè mountain, while walkers can admire the waterfall ‘Cascate Nardis’ and countless other breathtaking views, as well as enjoy local cuisine in mountain-side restaurants. Instead of always opting for pizza or pasta, make sure to also try out tasty regional delicacies such as ‘polenta’.

If you are curious to see what other places of interest Italy has to offer, then Brescia’s proximity to many of the country’s wellknown metropoles will prove a distinct advantage. Spendthrifts will be delighted to discover that

travel OTWO

Medieval sites, Alpine views and mouth-watering cuisine; Kate Rothwell tells you why to book a flight to Brescia

the glamorous shopping capital of Milan is just an hour and half’s drive away, while romantics can make their way to Verona, the spiritual home of Shakespeare’s Romeo and Juliet, in just an hour.

Once you get past the tacky tourism surrounding the renowned balcony that the playwright allegedly never saw, the city makes for a charming destination. A similar attitude must be applied to the vast cultural hub that is Venice, but there all it takes to escape the crowds is an impromptu diversion down one of the countless winding streets and alleys, the exploration of which will lead you to happen upon some of the city’s most appealing and secluded sights. Just make sure you can find your way back to what may be an equally elusive hostel.

Don’t let the tourist haunts take up all of your time however; the quaint nearby cities of Bergamo and Mantua are also more than worthy of a daytrip. Once you’ve based yourself in Brescia, prepare 11 to be spoilt for choice.

OTWO Games

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REVIEWS

The Elder Scrolls V:

S k y r i m Title: The Elder Scrolls V: Skyrim Publishers: Bethesda Softworks Developers: Bethesda Game Studios Platform: Microsoft Windows, Xbox 360, PlayStation 3 The anticipation building up to the release of The Elder Scrolls’ fifth instalment, Skyrim, was immense. This role-playing fantasy series has its beginnings in 1994 with Arena, a dungeon-crawling sword and sorcery title of modest success that was followed

by Daggerfall in 1996. Upon release, TESII: Daggerfall was considered revolutionary and ground-breaking, featuring an expansive world and unfathomed freedom of choice; these features then became fundamental to the series. It is vital to view TESV: Skyrim in context with the rest of the series, especially TESIII: Morrowind and TESIV: Oblivion, in order to get a sense of the expected standard.

These predecessors, released in 2002 and 2006 were, simply put, superb.

Each featured immersive, open-world gameplay, top-notch graphics, interesting characters, humorous dialogue and both should really have had a ‘highly addictive’ warning label stuck to their boxes.

Even though TESV: Skyrim has a rich backdrop of lore, gameplay, style and previous successes to contend with, it surpasses all expectations.

The introduction is captivating and beautifully functional. Textures are smooth and voice-acted dialogue is believable throughout the adventure. You are invited to choose your race, gender, appearance and name in a way that integrates smoothly with the unfolding introduction.

You choose from ten races as before, but Skyrim really improves on the

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customisation, allowing the creation of a truly unique character. You are then released upon the province of Skyrim, and all remaining character development stems from how you play the game. It’s bloody brilliant.

If you opt to attack with a blatant axe, a sneaky bow or an astute spell, the relevant skill increases. All combat options are mapped to either hand, corresponding to each trigger on the controller. This allows sword/ shield, axe/spell, dual-spells and dualweapons. The combat is fluid and variant and heavily influenced by your choices, but it’s not all violence.

You can craft, enchant, concoct, mine, smelt, harvest, purchase a house and marry. The quests are fantastic, the old factions are back, and the experience of joining certain factions will vary from gamer to gamer.

Non-playable characters are commonly heard talking amongst themselves about things that you are involved in or soon could be. This is quite exceptional as in the right location there are multiple conversations happening at once, and each, if engaged in, could open up endless opportunities for you to choose from. Sometimes you are side-tracked by attempting to capture a butterfly for its wings or a desperate fight for survival against one of the game’s main adversaries: huge, unscripted, intelligent dragons which, should you defeat one, instil feelings of ecstasy and immense power.

In short, the world of Skyrim is open and free, with events unfold based on your actions, with a dash of chance. Intricately designed, exciting, beautiful and addictive, TESV: Skyrim is all these things and more.

by Oisin Sheehy

Call of Duty:

Modern Warfare 3 Title: Call of Duty: Modern Warfare 3 Publishers: Activision Developers: Infinity Ward, Sledgehammer Games Platforms: PlayStation 3, Xbox 360, Wii, Microsoft Windows When the highly anticipated Call of Duty: Modern Warfare 3 was released, gamers around the world flocked to their local stores in the middle of the night to get their copies. Unfortunately, it is hard to imagine them not being disappointed, with this latest instalment in the legendarily popular series falling short of expectation.

Aesthetically, the game is great.

The graphics are incredibly realistic and the settings, which take the characters to the centre of some of the most famous cities in the world, are spectacular. But sadly, that is where the positive points end. The game is no doubt an improvement on last year’s Black Ops, but in the same manner that Barack Obama is an improvement on George W. Bush – on the surface it would appear much better, but in reality, it’s really not.

The campaign mode is pathetically short. It is possible to complete it over a weekend without trying particularly hard. In fact, it is doable in a day if you’re into that sort of thing. The missions are very repetitive and usually just involve shooting countless Russians in different locations

around the world. Whether you’re trying to recover essential intelligence or rescue a very important hostage, you are invariably going to encounter a mass of Russians who can be killed with ease, like lumbering henchmen in a particularly mediocre James Bond film. It wouldn’t be at all surprising if Russia takes serious offense to this game, and they would have every right to do so.

Not coincidentally, the game has an all-too Bond feel about it. The scenarios encountered are laughably unrealistic at times. The storyline is focused heavily on the ridiculous feud between the protagonist of the war, Vladimir Makarov, and SAS Capt.

John Price, and Price’s undying quest to get the big bad Makarov. A bad storyline isn’t too much of a negative aspect for a game such as this, but such a big deal is made out of the plot that you can’t help but resent it. The makers would have been far better off focusing more on the intriguing WWIII subplot of the game, which is actually quite gripping.

As for multiplayer mode, the return of the Special Ops section represents the highlight of the game, but even that easily slips into repetition. The addition of the old-school, run-and-gun gameplay of the ‘Kill Confirmed’ mode is a nice touch, and adds something to the multiplayer aspect of the game.

Generally however, the game is entertaining, if nothing else. It achieves what a war-based first person shooter should, and that’s excitement and cheap thrills. If you liked Modern Warfare 2, then you’ll like the third chapter in the series. Just don’t expect much to have changed.

by Ryan Mackenzie

Games OTWO

When I Say Nothing at All

With the release of highly-anticipated games such as Skyward Sword and Skyrim, Rory Crean ponders the role of the silent protagonist

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he silent protagonist has been present in gaming for as long as the medium itself has been in existence. Originally, of course, it was the by-product of a technical limitation. We had silent protagonists for the same reason we had catchy, repetitive 16-bit soundtracks. Quite simply, the systems couldn’t handle that kind of audio overload. Just like any instrument other than a keyboard couldn’t be supported on those old game cartridges, neither could hours of dialogue. The solution? Text; reams and reams of text. Games such as the Zelda series created memorable stories all the while limiting Link’s vocal contributions to the odd grunt as he cleaved a rubyconcealing pot in twain. While the gaming world around Link melted and reconstructed itself, the Hylian in green’s voice never emerged.

As gaming technology progressed, so did the capacity for aural showmanship. Nowadays, a full orchestra murmurs underneath gameplay, roaring into life to indicate an incoming encounter or the beginning of a gunfight. The silent protagonist however, has remained.

Not across the board, mind you; many have embraced the newfound luxury of voice acting, going so far as to incorporate ‘real’ acting (L.A. Noire). Yet some people believe that the character’s actions speak louder than their words. Solely text-based

games are themselves becoming a rarity; instead the supporting cast of characters has found their voice, but the player is still left mute.

Having said that, there are many examples of games that rely on their quality of voice acting, Mass Effect and Heavy Rain being shining examples. The Mass Effect series represents a compromise between the silent hero and a “character”, allowing the player to choose the path of conversation. These masterpieces – developed by BioWare and Quantic Dream, respectively – provide such a level of customisation and choice that a silent protagonist is not as important for immersion, but despite this level of involvement, it still doesn’t feel quite as convincing.

Mass Effect’s Commander Shepard is a character, i.e. his reaction will be different to yours. No matter who provides your voice, or how you are offered to utilise it, the very fact that it is not your own voice robs you of a certain level of immersion. Games such as Bioshock, Oblivion, and Fallout 3 require a suspension of disbelief to function, and a jarring foreign voice would do nothing but harm.

The silent protagonist not only allowed a level of projection on the player’s behalf, it also meant that we spent less time deciding whether we liked the character we were playing, and more time appreciating the finest of details that programmers spent hours creating. It’s no coin-

cidence that Role-Playing Games (RPG) so often feature a silent hero.

Along with the level of customisation they provide, RPGs like Fallout and the Elder Scrolls series invite you to play any style you want. A voice would more likely damage the level of personalisation than not, forcing your carefully crafted character in line with a pre-determined voice that may or may not reconcile with the user’s own idea of the playercharacter, and as such, the user’s primary role in the construction of the narrative. That is the crux, the central dogma behind the silent protagonist. In fact, that is the crux of gaming itself; the most important feature that makes it a more immersive adventure than cinema or television is a sense that your experience is unique.

In an attempt to capture that degree of involvement, this postmodern narrative style has bled into other media, most notably in cinema. You may recall 2010’s Essential Killing. It was a political thriller, exploring what one can do when given horrendous circumstances. It is relevant in this context because the main character, played by Vincent Gallo, doesn’t say a word. While the film doesn’t capture the poignancy of silence like many games do, it does allow the audience to “project”. Whereas in similar films, the lead character may explain or justify their actions

through voiceover or dialogue, here it is entirely up to the audience to imagine what is going on in their head. For cinema as a medium, no dialogue may seem counter-intuitive, but Essential Killing scratched the surface of what may be a new and intriguing facet of film.

This new element of film is directly derived from it’s sister movement, most notably, the likes of the excellent Bioshock.

Bioshock is, hands down, one of the best games of all time. The gameplay was solid, but it was the story that made it the legend it is.

The first person perspective meant that when you jammed a hyposyringe into your wrist, you felt it.

When (spoiler) Atlas betrays you, you damn sure felt it. Bioshock was one of the few games that had me shouting at my screen during the key storyline reveals and the reason was; I felt, for a second or two, that Andrew Ryan could hear me.

That is an experience that is lost once you give the player an alien voice. Rather than have the player desperately trying to interact with the scenario as they would, they sit back and wait to see what their ‘character’ says. A silent protagonist doesn’t limit a game, in fact it does quite the opposite; it opens it up to the interpretation of its audience, and that is what makes gaming the ultimate medium.

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OTWO OTWO

Empire of the snow

Tom Simpson, keyboardist for Snow Patrol, chats to Aoife Valentine about a new approach to music videos, considering a career as a teacher and the complexities of taps

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onsidering that Snow Patrol are probably Ireland’s biggest musical export since U2, it is interesting to briefly contrast the two.

While most people’s problem with U2 rests in the mere fact Bono is still living and breathing, it is Snow Patrol’s music that has gotten a slightly rougher ride as of late. Gary Lightbody, the band’s frontman, causes no real fuss but apparently, neither have their recent albums, at least not in press circles. While their last three albums have consistently achieved number one slots in Ireland, they have also often been dismissed as ‘boring’ and ‘dull’; even their attempts at considerably changing their sound on their latest album, Fallen Empires, have failed to inspire critics.

This problem is a hundred million miles away from their original position when they started out.

The band had pretty humble beginnings, making 250 tapes of their first EP, Yoghurt v Yoghurt Debate and trying to sell it around the campus of the 14

“You can’t turn taps on and off when it comes to creative things”

University of Dundee, where they were students and had formed under their original name, Shrug.

They didn’t have much success but they persevered, changing their name to Polar Bear and releasing another EP, Starfighter Pilot. Soon afterwards they released their debut album, Songs for Polarbears, under their current moniker. Critics stood up and took notice, however, glowing reviews offer little comfort when the rest of the world is refusing to listen.

The band had signed with the record label Jeepster in 1997 but just after their second album, When It’s All Over We Still Have to Clear Up, came out in 2001, they were dropped. Once again, the record was critically acclaimed but wasn’t exactly making huge sales. Fiction, a subsidiary of record label giants Polydor, nabbed them not too long afterwards, and they began constantly writing songs, eventually cumulating in their third album, Final Straw. It was with the release of this album, particularly the lead single ‘Run,’ that the band finally found commercial success.

Tom Simpson, the band’s keyboardist, is quick to give ‘Run’ all the credit for Snow Patrol’s initial mainstream success. “The first two records were critically acclaimed but never really did anything apart from give us a load of debt. We did small tours up and down Britain for many years, just playing in places the size of someone’s living room. I guess ‘Run’ was the record that shed a light on us. People started to pay attention a bit more. The gigs got bigger, the fan base got bigger and we were actually selling records and paying off that said debt. That record, we’ve got a lot to thank it for. We really did get our foot in the door with that one, and it’s still a popular record now, which is amazing.”

For the band, Final Straw marked exactly that, their last ditch attempt at ‘making it’ – had ‘Run’ not taken off the way it did, the band had decided they would seriously consider packing it all in and giving up. Simpson explained: “There were a lot of questionable looks from [our] parents and stuff, es-

OTWO don’t sound that good. I think when we did Final Straw, it was like ‘Wow, this is a good record. This sounds like it should be played on the radio’. I think the songs are more accomplished on Final Straw.”

Since Final Straw, the band’s success has only grown. They have released two albums, Eyes Open and A Hundred Million Suns, as well as a compilation album, Up To Now, and are currently focusing all their attention on the current record, Fallen Empires.

Though the classic Snow Patrol sound is very much present on some of the tracks, the album marks a shift towards a record with a much more electronic

don’t know how that’s gonna work out but I think it’s a great idea to have the fans into that, in the record in some way.”

The band worked with renowned, long-standing producer Garret “Jacknife” Lee again on this album, having worked almost exclusively with him since Final Straw. “We regard him as a member of the band, to be honest. He really puts so much into these records. He’s influential, he’s inspiring. If we were able to take him out on tour, we probably would but he’s got other records to do and he’s got family and things so we couldn’t take him out on a

“The other two records sounded like they’d been recorded in a biscuit tin or something like that. If you ever go back and listen to the first two records, they’re not that good, sonically they don’t sound that good. I think when we did Final Straw, it was like ‘Wow, this is a good record. This sounds like it should be played on the radio’”

pecially when you’re asking to borrow more money off them to pay your rent. I think around about that time I said ‘Right Dad, if it doesn’t work this time, I’ll go and do teacher training or something like that. I’ll go and get a job as a teacher,’ and he went ‘okay’ and then things started going well and I went ‘You know what, I think I’ll hold off on being a teacher, I’ll give this another whirl,’ but there was times where we were really, really skint.”

Though the songs on Final Straw still have the distinctive Snow Patrol style and make up an album that seems to act almost as a post-mortem for a relationship that never worked out, Simpson maintains it was a change in their sound quality that brought them success. “I thought it was a massive departure [from When It’s All Over...]. We actually had a producer on it. The other two records sounded like they’d been recorded in a biscuit tin or something like that. If you ever go back and listen to the first two records, they’re not that good, sonically they

vibe to it, a move which Simpson isn’t exactly objecting to. “There’s more of an electronic feel about it. I guess these elements were always there but they kind of just sat on the bed underneath the guitars and stuff. I’m happy with that, that’s what I’m into – electronic music - so I get a wee chance to shine.”

Given that their sound, and their fanbase, is already so well established, a few nerves about the album’s release were not exactly unexpected, but the reception to the first two singles has been largely positive. “Yeah, we’re very happy. First single choice, we thought we’d go for something quite upbeat and a bit pop-y as well. It got a lot of radio play, which we’re over the moon with. Then coming in with ‘This Isn’t Everything You Are,’ it’s a bit slower, but more like a Snow Patrol record than ‘Called Out In The Dark,’ but it’s still an equally powerful song.”

The video for ‘Called Out In The Dark’ is based on the idea of Lightbody being replaced by a new frontman against his will, and attempting to sneak back into the filming of the video. The tongue-incheek production was met with quite a lot of criticism from fans, who are perhaps used to the more sombre tone usually present. Lightbody responded to the criticism on his blog, highlighting that the video was supposed to be light-hearted and funny, and shouldn’t be taken so seriously, but Simpson, seemingly unphased by the criticism, was delighted with the band’s renewed interest in their own videos. “Yeah, it’s good. It’s funny, isn’t it? Gary’s really good and we were lucky to get a few friends on board for that one as well, some people we’d met out in LA, so that was quite good. Fair play to Gary, he directed that. He’s done the new one, though the new one isn’t as funny as that one but it’s interesting ... In the past we’ve not really had good videos.

We’re getting better.”

Plans are currently in motion for their next video, which will be for the title track of the album and will allow fans to get involved in the process. “That’s going to be interesting. I think the concept is that there’s lines from that particular song and fans just have to act out a video to the one line of the song. I

two year tour, but he’s definitely an asset.”

This wasn’t an album that happened overnight however. Lightbody, as the band’s frontman and main songwriter, was widely reported to have struggled hugely with writer’s block when they began getting the record together. But for Simpson, this wasn’t exactly a huge problem. “It’s just one of

these things. You can’t turn taps on and off when it comes to creative things. We were over in Santa Monica so it wasn’t such a bad thing to be honest, living by the beach. It’s not a bad place to be stranded while your friend gets himself together. He went through that. Michael Stipe from R.E.M. dropped into the studio at one point to give him some words of encouragement. Gradually the wheels got back on and we finished the record by June. All in all, it was worth waiting for.”

That may be, but the work doesn’t stop once the album is put together. Currently caught up in a whirlwind of interviews and TV appearances to promote the album’s release, the band will barely have time to stop before Christmas and in the new year, their European tour beginsv. Starting in Dublin, with two sold out shows, the path from there seems undecided. With shows selling out across Europe extremely quickly, they have been adding extra dates in most of the major cities they’re playing in. Though excited, Simpson admits “it’s the start of a very long road.”

Snow Patrol play The O2 Dublin, on January 20th and 21st. Fallen Empires is out now.

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OTWO film

REVIEWS Title: Take Shelter Director: Jeff Nichols Starring: Michael Shannon, Jessica Chastain Release Date: Out Now

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ake Shelter is about a blue collar worker who begins to have ominous nightmares about violent storms. These nightmares have dire effects on his psyche and his relationships with family and friends.

Michael Shannon (Revolutionary Road) plays Joe, a construction worker who along with his wife ( Jessica Chastain, The Help) deals with the difficulties of raising a deaf daughter. As if this wasn’t challenging enough, Joe is soon plagued by nightmares in which he is caught in storms that rain oil and is attacked by faceless figures.

The dream sequences provide decent scares, with blurred figures appearing from nowhere to attack Joe and his daughter. It’s not until the attacks happen that we realise Joe is dreaming, and so every scene contains the lingering suspicion that lightning will strike. This keeps the audience on the edge of their seat, which is fortunate because apart from the brief dream scenes, this is a slow-moving, restrained film.

As the dreams intensify they take a greater toll on Joe’s personal life. When friends start to appear as his imaginary assailants, he is too frightened to face them in the real world and so begins to isolate himself. It is a clear possibility from the

Take Shelter beginning that Joe may just be losing his mind, and this is as obvious to the audience as it is to the character himself. When details of his family history are revealed to us it becomes ever more probable.

The dramatic meat of the film is in Joe’s deteriorating relationship with his family. He is convinced that the storms of his dream are on the way in reality, and so he devotes excessive time and money into expanding and supplying his storm shelter. This is money they don’t have, and it causes serious tension within the family. The two lead actors turn in powerful performances as the arguing and confused spouses. Chastain finds a good balance between empathy and firmness as the wife desperately trying to understand

Dream House Title: Dream House Director: Jim Sheridan Starring: Daniel Craig, Naomi Watts, Rachel Weisz Release Date: Out Now

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udiences must be starting to notice the trend that Jim Sheridan’s (My Left Foot) movies have taken. His films have descended from good, to decent, to funny bad, to Dream House over the past twenty-two years. By the looks of things, Sheridan just can’t seem to make a good film that isn’t about Ireland or Irish society.

Dream House revolves around Peter Ward (Daniel Craig, Casino Royale) as he tries to reassemble his life, having recently left a mental rehabilitation centre, five years after his wife and children were murdered.

Peter moves back into his old, now untenable house, to his neighbours’ bemusement and it is revealed that he has, in his grief, created a fantasy world in which his family remain alive and are living in the titular ‘Dream House’. The plot thereafter consists of Peter coming to realise this falsehood and beginning to piece together his family’s murder in an attempt to find out who killed them.

The first noticeable qualm with Dream House is its scripting. Given that Dream House dedicates far too 16

much time to considering Peter’s sanity, and coupled with a script that gets bogged down in holding the viewer’s hand, one is left to wonder whether it would have been more credible as a short film. Nothing about this film clicks; every individual facet, from the psychological to the impressive cast and suburban gothic sequences sound interesting

her husband’s illness. However, it is Shannon who really shines as the tortured father equally afraid of both his apocalyptic dreams and allowing his family to witness his vulnerability.

The film feels just a little too long and moves rather slowly in parts. However, the constant threat of scenes being another of Joe’s horrific dreams and an unending doubt in the viewer as to whether his dreams are really prophecy, or just lunatic delusions, keeps things interesting.

In a Nutshell: Scary nightmare sequences and an incredible lead performance make this psychological drama a real accomplishment.

on paper, but on screen they become a visual mess. The performances from Rachel Weisz (The Constant Gardener) and Craig are wooden and unfocused, despite the fact that they are a married couple in real-life.

The tone and genre of the film is difficult to define. It begins with a horror aesthetic and highly predictable scares, while the second half attempts to be a Kubrick-esque thriller. This film only succeeded in making the other film critics at the screening laugh.

Overall, Dream House will remain a blotch on Jim Sheridan’s filmographic record, due to its appar-

by Adam Kearney

ent lack of structure, emotion and coherent scripting. It is unsurprising to learn that he denied press interviews of any kind following the film. As Sheridan is a UCD Alumnus, many current students may simply forgive him this film, but it is against every fibre of Otwo’s being to do so.

In a Nutshell: Ever wondered why nobody uses the “it was all a dream” plot in Leaving Cert essays? Dream House, that’s why.

by Jack Walsh

top10

film OTWO

My Week with

Marilyn

Movie Schools

UCD not working out for you? Katie Hughes is on hand to guide you through the best schools on celluloid 10. Rydell High School (Grease) The rules here are … there ain’t no rules.

Everything goes, including walking out of a drive-in and dressing up as a tramp to win over your beloved.

9. South Glen High School (Never Been Kissed) Possibly the only school where you can become the clichéd most popular kid in school if you manage to beat the reigning champion of coleslaw eating at his favourite past time.

This is also a school where student-teacher relationships remain as loose as their math club’s principles.

8. Pretty in Pink Here you’ll find a distinct segregation between the affluent and their less-so counterparts. If you’re a whining ginger this is most definitely the school for you, as you’ll have suitors from both camps knocking down your door.

Title: My Week With Marilyn Director: Richard Curtis Starring: Michelle Williams, Kenneth Brannagh, Judi Dench, Emma Watson Release Date: Out Now

W

ith shows like Downton Ab- liant as Olivier, showing a cynical bey and Boardwalk Empire actor who resents this new wave of being the hits they are, it “method acting” infecting his belovseems that audiences are eager for ed profession. Indeed, for the first more period drama. With its cast, half of the film, the plot is based budget and director Richard Curtis around a dysfunctional partnership (Four Weddings and a Funeral), My between these two, both trying to Week With Marilyn was shaping up reverse their public persona (from to be an Oscar juggernaut, consider- great actor to movie star and vice ing the success of The King’s Speech versa). last year. And while it may still perSandwiched between Olivier and form well during award season, it’s Monroe is Colin Clark, played by unlikely to garner the praise Tom Eddie Redmayne (The Other Boleyn Hooper’s King’s Speech did. The cast Girl). He plays the somewhat cliis solid, the sets are stunning but the chéd character of the underachievscript lacks the catalyst it desperate- er in a well-to-do family who just ly needs to transcend from fluffy to wants to follow his dream. However, poignant. once you get past the well-worn arThe film may not be the master- chetype, Redmayne nails the happiece it wanted to be, but it does get less puppy in the throes of Monan awful lot right. My Week With roe’s mercurial personality. Other Marilyn oozes periodic authenticity characters, such as the costume girl and style. A few scenes with Mari- (Emma Watson) and Arthur Miller lyn and her adorers have black and (Dougray Scott) seem to get lost in white stills interspersed throughout, the film, tangled up in one of the capturing the iconic movements subplots that never really go anyand poses of the woman in white. where.

Of course, the setting is only half The script often feels as if it is the battle when it comes to immer- pandering to its viewers, and while sion. Equal weight lies with the cast the cast do what they can, the stellar to portray the cinema powerhouses monologues are overshadowed by like Laurence Olivier, Sybil and of stale dialogue that’s been doing the course, Monroe herself. On this rounds in romance films for much front, the cast excels. too long.

Michelle Williams (Blue Valentine) takes on the role of Monroe and In a Nutshell: Top notch pershe is stunning. She conveys a sense formances are ham-strung by of child-like innocence and naiveté a mediocre script and lack of that sheds new light on the star. directorial flair.

Kenneth Branagh (Hamlet) is brilby Rory Crean

7. Forest Hills High School (John Tucker Must Die) The facilities look great. And they have sports trips away where they put their students up in hotels. What’s not to love?

6. Padua Stadium High School (10 Things I Hate About You) If there’s anything that can possibly compel you to go here it’s the insane house party held in the mega-rich kid’s house. How amazing did that look? And obviously you’ve also got Heath Ledger in a woodwork class drilling holes through books. Swoon.

5. North Shore High (Mean Girls) It has it all: lunchroom class-segregation, the “Cool Asians”, and a principal who regularly wields a baseball bat. Oh, and the psycho Plastics. You go Reader Coco.

4. Third Street School (Recess) Technically made into a one hour movie and can hence be included on this list.

It’s a tamer version of North Shore High School, give it five years and Ashley A will be the new Regina George and Spinelli the closet lesbian, despite that stolen kiss with future drop-out TJ. 3. Forks High School (Twilight) Whether you’re a fan of the Twilight series or not, who doesn’t want to go to a school with four spectacularly beautiful ‘people’ who sparkle in the sunshine and can predict next week’s English test with their innate ability to see into the future?

2. East High School (High School Musical) There’s nothing like breaking into song and dance between classes as you gaze longingly at the dreamy basketball star and thwart the plans of your blonde nemesis and her obedient brother to take your role in the musical. Warning: wrong school for you if you suffer from stage fright.

1. Hogwart’s School of Witchcraft and Wizardry (Harry Potter and the …)

The moving staircases, talking paintings and extensive feasts prepared by those compliant house-elves are nothing compared to actually being able to do magic. You know you’re still waiting for the letter.

OTWO film

The Advent of

Home Cinema

With Netflix coming to Ireland in the new year, Dermot O’Rourke takes a look at how the streaming service is changing cinema

F

rench director Jean-Luc Godard’s postulation that “the cinema is dead” was almost realised with the recent release of Ben Stiller’s new film Tower Heist.

This is not to say that the film was so utterly terrible that the art of cinema was irreversibly damaged (although this is perhaps debatable), and that the medium of cinema has decided to pack it in. The scare was, in fact, the result of an ambitious plan by Universal Studios to release Tower Heist on demand for TV customers in a US test market within a month of its release in theatres. Although the plan never came to fruition, after obvious objections from the movie theatres, it does give an interesting insight into the future direction that studios are taking for the release of new films.

There is no doubt that this proposal will be revisited in the near future and this has allowed for a moment of consideration regarding the implications of such a decision by the studio on the future of movie theatres, film-going, and, more pointedly, the impact it will have on the characteristics of cinema. If releasing new films straight to the consumers’ homes is to be the future for the industry, does this mean that the change in viewing environment will greatly affect a viewers’ experience of a film, and even their relationship with its images and sound? Furthermore, if films are not being viewed in their natural environment - the cinema - does this mean that films will surrender the qualities we deem to be cinematic?

Movie theatres offer a unique 18

cinematic experience that cannot be truly replicated in the domestic environment. The darkness of the theatre, the large screen and surround sound guarantees centred attention from the viewer, and allows a full immersion into the cinematic experience. Television, conversely, is generally viewed in normal lighting conditions, on a smaller screen and with an inferior sound system that consequently reduces the intensity of the experience. For instance, it is critical that a film like 2001: A Space Odyssey is viewed in a theatre environment for the viewer to be fully absorbed in its cinematic

the other hand, are capable of maintaining our attention due, in part, to the differing roles image and sound play in establishing a relationship with the viewer.

While the image is the central reference in cinema it is, in fact, sound that anchors meaning in television and keeps the attention of the viewer.

Sound is used as the principal carrier of information in television and consequently reduces the image to an illustrative role. In situation comedies and cop procedurals, for example, the dialogue soundtrack provides the details to propel the narrative.

These types of shows effectively boil

(l-r) Ben Stiller, Matthew Broderick, Michael Peña, Casey Affleck and Eddie Murphy in Tower Heist qualities, and it is perhaps no surprise that it is rarely (if ever) scheduled as the midweek movie on TV. Moreover, when the television is on, it is frequently not the only event in the house. This leads to constant disruptions of spectator concentration and thus makes it is impossible to establish the necessary voyeuristic contract between the film and viewer. TV shows, on

down to characters talking in a series of rooms leaving images to, only occasionally, add information not conveyed in the soundtrack.

Television images are straightforward, stripped of detail and without conscious technique. The images are only held on screen until the small amount of visual information is exhausted. This results in the rapid cutting characteristic of

TV programs, and is the antithesis of the richness of detail within the cinematic images of 2001: A Space Odyssey and films of the same ilk.

There is a current trend with 3D to encourage spectacle in films to attract patrons to cinemas, but if this new venture proves to be successful for the studios, there is a real possibility that films will be adapted to suit the TV-on-demand market.

This potential domestication of cinema also raises concerns for the element that lies at the core of cinema: the notion of the ‘cinematic’.

But what defines ‘cinematic’ in the context of film? Not all films are cinematic merely because they are shown in a cinema. Rather, it is moments or films that can be uniquely expressed through the medium of cinema. If these are experienced outside of their intended environment or experienced through a different form, such as television, they cease to be cinematic. Filmmakers undoubtedly consider the theatre environment when crafting films, and if future films are to be released for TV there will be less incentive for them to produce essentially cinematic works.

There is no doubt that new technology, such as larger television screens with sharper images, will mean a smoother transition from the theatre to the home for some, but if this proposal becomes a reality it will mean, on the primal level, that cinema will be fundamentally altered through what Godard refers to as the “TV mutation”, and all that is cinema, and indeed cinematic, may become lost as just another channel on TV.

Television OTWO

Fatal Fourway What is the best HBO show?

Six issues in, and George is still the only competitor yet to win a single Fourway – can he regain face in the debate for the best show on television’s prestige network?

The Wire

Generation Kill

Sopranos

Sex and the City

George Morahan

Dermot O’Rourke

Jon Hozier-Byrne

Aoife Valentine

You don’t need me to preach the greatness of The Wire. It’s hardly an original proclamation; if you have any investment in pop culture then you have probably heard every superlative imaginable lovingly affixed to David Simon’s modern epic and by far more reputable sources than me, but one cannot praise this show enough.

The Wire is HBO’s best show simply because it covered a greater breadth of issues with a greater depth of intelligence than any other. When one looks at the pantheon of great shows of the twentyfirst century – The Sopranos, Mad Men, Breaking Bad etc. – one can identify that, at their heart, they are reliant on a thorough portrayal of one man and his double life and that’s what makes them great, but The Wire creates a world stocked with fully-realised characters that comfortably occupy the shades of grey.

The Wire explored the heart of a whole society, not just one man, and exposed it for the cancerous vessel it had become. It felt more visceral than any other TV series, let alone HBO show, that came before or after it, because of its cutting honesty and delicate intricacies. The Wire is not just a show, it’s a worldview.

I feel sorry for my Fatal Fourway counterparts this week. George has still not won a round and this week has chosen The Wire in a desperate attempt to hold on to any kind of dignity. Aoife, on the other hand, demonstrated her complete cultural ineptness this week after being gently reminded that she could not choose Fade Street again. As for Jon, well, I just feel sorry for Jon in general and letting him choose the easy option again this week will probably give him a much needed confidence boost.

This, then, leaves me to pick up the pieces and tell you, fine reader, about HBO’s genuinely best show: Generation Kill. Although not one of the most prolific, it remains the best example of why HBO is the gold standard for modern television programming. The mini-series chronicles the 2003 Iraq tour of the 1st Recon as they invade Iraq in their Humvees, constantly stay frosty, maintain the Marine’s grooming standard and belt out renditions of Avril Lavigne’s ‘Sk8er Boi’.

Generation Kill is by no means a lengthy advertisement for the Marine Corps and is an unapologetic portrayal of the modern soldier and life during war. Generation Kill paints a stark picture of the peculiarities of war and mismanagement of the 2003 invasion.

If you want to truly appreciate the brilliance of HBO programming, it is a must-see.

Excelsior! Victory again. As noble as everyone else’s attempts were (except Aoife’s), our readership have proven their intelligence and good taste once more. In a way, we’re all winners (except Aoife).

Now, on for the hat-trick. The Sopranos is not just the best HBO show, it has been widely acclaimed by critics and academics alike as the greatest TV show of all time. The depth of the characters, the riveting storylines, the shiny tracksuits – The Sopranos has it all.

The Sopranos is one of those exceedingly rare shows that doesn’t talk down to its audience. Did you miss an episode? “Well to hell with you, keep up or get out” says The Sopranos, with a superior tone in its voice. Want to know what happened to that murderous Russian guy who escaped into the woods? “Hope you have a good imagination, ‘cos this is post-modern shit right here” says the disembodied voice of the The Sopranos, mocking you for your penchant for traditional narratives.

So sure, The Sopranos is a jerk, but it’s the best kind of the jerk – the kind that has substance behind the pretension. Anyway, how can almost every critic and academic worldwide (particularly the ones that haven’t seen The Wire) be wrong? Vote Sopranos.

Sex and the City is most definitely the greatest HBO show of all time. It may be a show that hardcore feminists often rage about, and on the face of it, it does look like a show about women who like shoes and have nothing to talk about but their boyfriends and shopping.

What you really get, however, is a show that doesn’t portray women over the age of thirty as spinsters who’ll be left on the shelf for life, but rather, four women who aren’t afraid to be outspoken and open about their sexuality, nor are they afraid to be single.

Depicting the four main characters as strong, confident, intelligent women, and celebrating the importance of close friendship, rather than a need for men in their lives, the show provides relatable, if exaggerated, characters, which have made the series as successful as it is today. So successful in fact, it has two movies.

Take that, other shows.

Having said all that, it’s not totally devoid of humour, the shoes are exceptionally pretty and really, who doesn’t want a wardrobe so extensive that you have to store some of it in your oven?

So good.

Go on the University Observer Facebook page and have your say; what is the best HBO show?

19

OTWO Music

As Napalm Death prepare to go on tour, Conor O’Nolan spoke to the metal legends’ vocalist Mark “Barney” Greenway about recording a new album and the importance of laughing at themselves

F

I love the smell of

Napalm Death in the morning

ew bands embody an entire genre the way Napalm Death do with grindcore.

It’s a difficult genre to try to describe succinctly, but to say it’s not the friendliest of metal subgenres is a dramatic understatement. Its trademark frantic drums, harsh, noisy guitars and shouted or screamed vocals by seemingly raging singers perhaps don’t make it the most accessible of genres. You only have to look at the names of some of the mainstays of the genre, such as Cattle Decapitation, Pig Destroyer, and Anal Cunt, to get a taste for just how in-your-face they can be.

also mixing their live sound for several years before that. “He’s always done good work with us and he’s one of few producers that can read the band like a book,” Mark Greenway, the band’s lead vocalist, explains.

During the nineties the band were signed to a major record label, and after their less than pleasant experiences, they have been careful when choosing who they work with so that they don’t sound overproduced. “It’s very difficult with a band like Napalm because we present [producers] with the sort of raw chaotic sound which isn’t your typical sort of sound, espe-

take a hold of things.”

The band’s wealth of experience in the studio has made them unafraid to experiment. “We do a lot of stuff that most studio owners or engineers wouldn’t allow, like putting mikes right into studio speakers just to get the worst kind of feedback to put on songs, and Russ lets us do it”. This album has been no different as they continue experimenting with their sound. “This time we sped it up, all the ambient stuff we used to do. We used to do it quite slow, so we made it fast, and it worked.”

Earlier this year the band appeared in an episode of E4’s Skins.

“It was interesting, I’ve never done anything like it before, and I just had a brilliant day. I did feel as though the way they pitched it, it was the ‘Metal’ episode, and I think some of the stereotypes it made were a little off point, but on the whole, I enjoyed it”.

While the band were cautious in case they were being used as a novelty act, in the past they have never shied away from TV appearances that highlighted how different they are. “Napalm are the go-to band when someone wants to feature something that sounds like nails going down a blackboard. I’m all right with that, we can laugh at ourselves. I mean, the band has a hugely serious side, but a by-product of that seriousness, ultimately, is for people to be free.

Part of freedom is to enjoy life, you’re only here for a finite time

“Napalm are the go-to band when someone wants to feature something that sounds like nails going down a blackboard.”

Emerging from the punk scene in Birmingham, Napalm Death was the first act to cement the genre’s fundamentals. Their 1987 debut album, Scum, is widely regarded as one of the most important extreme metal albums, a touchstone for grindcore and all extreme metal, even receiving popular acclaim from John Peel and a cover spot on NME. Since then, the band have consistently released works that have kept them at the forefront of the style that they were instrumental in defining.

This May, the band started work on their fifteenth studio album with their long-time collaborator Russ Russell. Russell’s experience with the band comes not only from his extensive studio work with them, having produced many of their previous albums, but 20

cially from the metal end of things.

We want to work with a minimum of fuss.”

The new record is curiously entitled Utilitarian but Greenway happily explained the overarching theme of the record: “It’s like a psychological moral theory, which is strange coming from me because I don’t believe in morality. When you spend all your time considering what your actions might lead to, if you’re that sort of person, you have great periods of selfdoubt, and I wanted to bring that through. I wanted to say that everybody has self-doubt at points and you wonder whether it’s all worth it and think, am I not just treading water? And the conclusion is that it is all worth it, and as long as there are always dissenting voices and dissenting actions, those that do pull the strings can’t

no matter what religion might tell you, you should enjoy it and you should laugh.”

Despite occasional self-deprecation, the band keeps their integrity in check, as Greenway is quick to point out. “There was one instance, where we got asked to do this thing, and if I remember rightly, it was the G-A-Y club in London, and they wanted us to come on stage miming to a Westlife song, and then they wanted Westlife to actually come on behind us, and we were like ‘This is a step too far’.”

Along with the band’s social conscience, they are known for their strong work ethic when it comes to touring, and even after more than twenty years in the band, Greenway claims that he never tires of gigging: “I know it sounds like a horribly tedious cliché, but we play every gig like it’s our last, we genuinely do, and I wouldn’t have it any other way, because then I would get bored if I wasn’t.”

Their most recent show in Dublin, however, was marred by the extreme weather conditions last December. “We did Dublin when it was snowing like fuck, and the ferries had all stopped, and we luckily managed to sneak in there between ferry stoppages. The weather did affect the gig, we did have a lot of people, but a lot of people stayed away purely because they couldn’t get into Dublin town centre”.

The band can only hope to be returning in more hospitable conditions this time around.

Napalm Death play Whelan’s on December 5th. Tickets are priced €20.

Their new album, Utilitarian, will be out on February 29th 2012.

Music OTWO

in pursuit of status Before their sell-out gig in the Academy, Matt Gregg caught up with Chase & Status to discuss Twitter and Britishness

F

or a long time, heavy bass was an underground movement, but it is no longer confined to warehouse raves, and has become a regular chart presence. Leading this charge has been the electronic production duo, Chase & Status. Originally from London, Saul Milton and Will Kennard first started producing music as Chase & Status in 2003 after meeting at Manchester University.

“We formed through a mutual love of DJing first and foremost. That’s why we got into it,” explains Kennard.

“We used to go to clubs and big raves and stuff and just dream of DJing. We were both keen bedroom DJs and that’s how we became friends as well.”

Freely admitting that they learnt little in university before leaving, Milton nevertheless believes their time in Manchester was important.

“It’s a cool city. We were there for six years. We didn’t go to Uni for six years, we barely went to Uni. But it was a really affordable place for us to start learning our trade.”

This British influence is something that has stayed with the band throughout, and it is arguably the defining con-

stant in their crossover genre. Well, that and big bass of course. Despite having previously produced for US stars Rihanna and Snoop Dogg, it was instead the very British voices of London born Plan B and Nottingham’s Liam Bailey who featured prominently on their latest album. The duo explains that the collaboration choices on their

it worked really well,” says Kennard.

“I mean we used a vocal from Cee Lo Green, who’s an American artist, but he was talking about British culture and in particular Brixton in London. He’s also an Anglophile so that felt quite good, but it was a conscious decision and it worked quite well.”

With the album shooting straight

breakthrough album, No More Idols, were motivated by this desire for a British sounding style.

“I think we made a conscious decision going into this album that we wanted to work with a lot of different featured vocalists to keep it a very British featured sounding album because that’s what we grew up on. It gave it a nice sort of theme running throughout and

to number two in the UK charts upon release, it is a decision that has been vindicated. The duo seem rather nonplussed by this success, however, and simultaneously maintain they’re “not famous.” After a brief pause, Kennard continues, “It’s weird. We know our name is well known but as people, we don’t think of ourselves as famous at all. Even when we get recognised, it’s still very bizarre. Like ‘Wow, people know who we are’ – it’s weird. Which is a good thing I think.”

Of course, when a band from the underground scene achieves mainstream success there can be negative repercussions, but the pair believe they have been lucky in this regard. “I think when we were younger we cared a bit more. We came from an underground following and we came through a time when forums and the internet were really influential,” says Kennard. “We’d read comments and take it really badly. Now we’re completely oblivious ... we’ve been quite lucky in a weird sense to have a lot of underground sounding music with hard drum and bass, stuff like that, but managed to retain quite a

“We know our name is well known but as people, we don’t think of ourselves as famous at all. Even when we get recognised, it’s still very bizarre. Like ‘Wow, people know who we are’ – it’s weird”

few fans that we had originally.”

At this point, Milton interjects: “We don’t look at the good or the bad. If someone says you’re amazing, don’t read that because then you start thinking you are. Someone says you’re dogshit, don’t read that because then you start thinking you are. You just have to have the same mentality that we had ten years ago which is just, make some music.”

It’s not surprising then that Milton seems less than enthused when talk shifts to the topic of social media. “Twitter – I do Twitter but I am notoriously grumpy… We’re on Twitter because we have to because if we weren’t on Twitter, you guys would be like ‘Uh you aren’t on Twitter? But everybody in the world is on Twitter!’ I mean it does serve a purpose but I’m not really into begging people to please listen to my music,” he explains. “If you like the music, go and buy it – great. If you don’t like it, don’t. If you want to occasionally hear me grumble about something go check out the Twitter page.”

Milton doesn’t seem to feel that online popularity holds any bearing on musical popularity. “If your music is good, it will sell. If your music’s not, it won’t. Having ten million followers on Twitter because you’re incredibly funny won’t necessarily sell you albums or venues – people will just think you’re humorous. It’s good, a lot of people are getting a lot more out of it than I do, I expect. I would not be on Twitter if we weren’t doing Chase & Status. Saul Milton would not have a Twitter page grumbling about everything and everyone.”

After a quick perusal of their Twitter, Otwo is indeed inclined to agree that their music, not their online grumblings, must be the true source of their fans.

No More Idols is out now.

21

OTWO Music

Beauty and the Beasts “It has occurred to us that our music might be considered pretentious and we’ve decided it isn’t”

Photographer: Paul Phung

In the run-up to Heineken Green Spheres, Wild Beasts’ Tom Fleming discusses love, war and Westlife with George Morahan

“I

think we’ve become more conventional in a lot of ways,” says Tom Fleming, without a glimmer of irony. Musically at least, the Wild Beasts’ singer/bassist has a point, though anyone familiar with Wild Beasts would probably raise an eyebrow at that statement.

Their third album, Smother, sees a quieter and more considerate side to Wild Beasts – sparing, delicate use of guitars, ambient electronics and an increased focus on space, timing and dynamic progression set it apart from the “Grease-y dance music” of 2009’s Two Dancers. Lyrically however, they are still circling the same subject matters – sex, love, masculinity and more sex.

The contrast works to arresting affect on Smother; the restrained musical template serving to accentuate the lyrics. Tracks such as ‘Plaything’ (sample lyric: ‘New squeeze, take off your chemise / And I’ll do as I please’) and ‘Burning’ (with its message of disintegration and rebirth, ‘I’m saved / You pull my fingers out the dirt / You pluck me wriggling from the world’) are proof of the distinct lyrical personas Fleming and co-singer Hayden Thorpe have developed over the past four years. Thorpe, the more eager to indulge the listener in his carnal pleasures, displays a love of bawdy, archaic language, while Fleming explores pain and vulnerability in far more humble terms. Their sensibilities inexorably clash, yet also dovetail rather beautifully.

The same can be said of their sparring voices, though that would be a polarising statement considering the inherent hostility of Thorpe’s aggressively androgynous yelps. With that said, Thorpe’s falsetto and Fleming’s rumbling baritone combine in a way that he can only describe as a “happy accident”, and there are many advantages to having two frontmen (the “Westlife model”, as Fleming puts it. Wild Beasts on stools is “not far away,” apparently). One advantage is the different effects their two voices can bring to a line; “it can be ugly or really gorgeous or rough or smooth. I think so few men sing, like properly sing; it’s the one thing, in a band, that everyone is embarrassed to do and it’s not good enough.”

Admittedly, their lyrics can easily be construed as “predatory and sexist,” but don’t always give an accurate representation of Fleming or Thorpe. “It’s always a fictionalised version of yourself. It is me in that position, but I’m not 22

spreading my soul like butter over the record.”

He believes that having two singers allows them to approach such deeply personal topics from different angles. They can “interrogate” each other on record, but they’re careful of not presenting themselves as “lover boys or Lotharios, or at least not convincing ones.”

In fact, there is quite a disconnection between the man and his words, as Fleming’s lyrics tend to use images of war and conflict to communicate the pitfalls of romance. Tales of enemies slain on Smother’s ‘Invisible’ or the ‘Deserter’ refrain at the end of ‘Two Dancers II’ are a necessity in Fleming’s mind, as the tropes of love are tired and fail to represent how he and many others experience it. “Love is violent ... I think it’s important to not be too soft when you’re writing love songs, ‘cause they’re not soft emotions.”

When speaking to Fleming, one would suspect him to be more suited to a bar stool in the Rovers than fronting a theatrical, Mercurynominated art rock band. Despite their frivolous reputation, the band is not from a well-off background – a common misconception in their early days. He found it absurd that they would be lumped in with “skiffle-y pop” artists coming out of Britain’s finest public schools and it annoyed him to no end that the band would be “branded as posh boys for liking The Smiths.” Don’t even get him started on their reputation for pretension. “I think pretentiousness is a killer word used by the powerful to keep the lowly climbers in their place.” However, he has clearly made his peace with Wild Beasts’ detractors; “It has occurred to us that our music might be considered pretentious and we’ve decided it isn’t.”

Such criticism stems from the great number of literary references littered across their albums. Among them are Frankenstein and Hamlet on Smother’s ‘Bed of Nails’, Thorpe’s ode to the madness of intense monogamy. The issue is further complicated by their use of literary animal metaphors – Coleridge’s albatross, Hemingway’s

bull-fighters etc. There is a dichotomy between the sophisticated and the primal created when they synthesise such images, which Fleming finds fascinating. “[That question of] being a civilised human being and yet, forgive the pun, releasing the wild beast inside you. How on Earth can you be a good person when all these things are happening to you?”

Their studious reputation was cemented on debut album, Limbo, Panto, specifically with the song ‘Please, Sir’, in which Thorpe pleads with his former headmaster to let him to come back to school in return for some “chips and cheese”.

Fleming has no such wishes, “I felt liberated by getting out of school. I just hated being a teenager, growing up and being uncomfortable in my own skin. We’re coming into manhood and it’s a very painful process.”

Upon finishing school, the band relocated to Leeds, and after becoming the toast of London when Two Dancers got a Mercury nod, they relocated once more, this time to Hackney, “not Camden, but still a cliché”. The prize eventually went to the xx. The two bands are friends and it is easy to see how their roles could have been reversed had Wild Beasts won. Instead, they watched on as the xx were whisked away to superstardom in a media scrum. “In the cold light of day, I think it’s better we didn’t win it. I think it’s nice to stay dangerous and remain just outside that sphere.”

Success is creeping up on Wild Beasts however. They were recently asked to remix Lady Gaga’s ‘Yoü and I’ and their singles are being played on Radio 2 by “fucking Dermot O’Leary”, but for all they know this may be their commercial ceiling. That the band are an acquired taste is a statement to which Fleming sneers in agreement. “I think it’s one you have to reacquire. I think we’re asking people to come with us.”

Wild Beasts play the Academy on December 3rd. Smother is out now.

Music OTWO

album REVIEWS The Saturdays On Your Radar

Amy Winehouse Lioness:

The Black Keys El Camino

Mary J. Blige My Life II:

C+

C

B-

C

On Your Radar marks the third major release from The Saturdays, with the girls penning half the material on the record themselves. The band have charted ten top ten hits but are yet to score that elusive number one, and it is entirely likely that they’ll miss the boat again with this effort.

On first listen, On Your Radar is reminiscent of a nineties dance compilation album, which is particularly obvious on the electro-pop singles ‘Notorious’ and ‘All Fired Up’.

The Saturdays are, in theory, a fun pop band, and yet ballads ‘When My Heart Takes Over’ and ‘Last Call’ are the standout songs. Their success is reliant on their vocal talent, which they under-utilise by rarely singing rich harmonies together. This is what sets them apart from sounding like a David Guetta song with a generic female vocalist, something which they would do well to bear in mind.

This posthumous collection of covers, alternative versions and demos will, for brief moments at least, remind the listener why Amy Winehouse received such acclaim.

Produced by her long time collaborators Mark Ronson and Salaam Remi, it fits more broadly into the earlier jazz and blues style of debut Frank, yet its lyrics lack the vibrant wit of that record.

The melancholic ‘Tears Dry’ displays her versatility and the breezy ‘Between the Cheats’ is straight from Motown records.

The contrast of Winehouse’s soulful chorus to Nas’ gritty rap makes a potent formula on ‘Like Smoke’.

Winehouse’s ability lent her songs an almost instant iconic strength, and made albums Frank and Back to Black crackle with emotional depth and musical ingenuity. Lioness lacks the coherent musical direction of its predecessors, and will sadly never compare as favourably for this reason, despite some strong tracks.

Few bands have set themselves a higher standard than the Black Keys. The Ohio rock duo’s last album, Brothers, was a Grammy-winner and a chart hit.

El Camino continues in the same vein as its predecessor; inventive, powerful drumming and bluesy guitar combining to produce raucous rock music.

The opening three tracks have a sound somewhere between Kasabian and early Led Zeppelin. In fact, much of the album sounds like this but ‘Little Black Submarines’ is a welcome switch to loud-quiet-loud songwriting. It draws the listener in with its tender opening, the sparse vocals adding to the emotional effect. The second half of the song springs to life with fuzzy distorted guitar and singer Dan Auerbach approaching a scream.

Despite many of the tracks here sounding repetitive due to limited instrumentation, El Camino succeeds as a good old fashioned rock and roll album.

Mary J Blige’s new record is the follow-up to the neo-classic that was her 1994 album My Life. Seventeen years on, and she is still making pain sound pleasurable. Title aside, it’s less about her own journey, however, and more a reflection of the life and times of the people that surround her.

Although the raw pain of My Life is absent, the album still encounters challenges and triumphs, good times and bad times.

Sonically, it’s a menagerie of ballads, anthems and throwaway hip hop beats. In ‘Feel Inside’ she enlivens a threadbare breakup narrative with vocals full of life-like ambivalence.

Later, she gives ‘25/8’ the energy required to sell its ludicrous lyrical conceit. Being packed with guest stars and top producers does give this album a slick quality, but do not be deceived, it is merely a repackaged My Life, just minus the soul.

In a Nutshell: A very listenable album, if forgettable at times.

In a Nutshell: A lesson in why producing sequels rarely pays off.

In a Nutshell: Just enough to keep The Saturdays a firm pop favourite.

by Rachel Heavey

Hidden Treasures

In a Nutshell: A tighter EP collection would have left a more fitting legacy to an artist of such talent.

by Elizabeth Beecham

Rihanna Talk That Talk D+

The Journey Continues (Act One)

by Dan Moriarty

by Emily Mullen

With Loud still knocking around the Billboard charts, Rihanna hasn’t even let the dust settle before unleashing her sixth studio album, Talk That Talk.

Although it’s less angry and dark than Loud or its predecessor, Rated R, this record is not afraid to be very in-your-face.

Her more dubstep/electronic direction is particularly obvious on ‘Where Have You Been’ and ‘You Da One’ while lead single, ‘We Found Love’, a collaboration with Calvin Harris, is already an inarguable hit. However, ‘Farewell’ seems like Rihanna’s attempt at ‘Someone Like You’, and ‘Roc Me Out’ sounds a lot like she’s just rehashed ‘Rude

Boy,’ both with mediocre results.

Rihanna has never been one to shy away from more explicit themes, but Talk That Talk largely relies on barely disguised, almost laughable innuendos to create interest, and it grows tedious quickly. Perhaps more exuberant and romantic than her last two offerings, it’s sure to fill dance-floors, but ultimately lacks any kind of ‘wow factor’.

In a Nutshell: Filthy, obnoxious and more than a little boring.

by Aoife Valentine 23

OTWO Music

The duffington post This fortnight, our resident music nerd Cormac Duffy looks back on a week that shook the music industry Stuck in a drought of new music, combined with the depressing combination of impending exams and the mid-season cancellation of Community, the music business ended up being the source of most of my entertainment this past fortnight. The once mighty empire of EMI, now a mere bank asset, was torn asunder and sold on in parts to Sony and Universal. If the move bypasses those antitrust regulators, the major label world will now be a triumvirate of Warner, Sony and Universal.

Sean Parker, the guy Justin Timberlake played in The Social Network and now the director at Spotify, used this to make an intriguing, but terribly timed claim. Commenting on his Facebook page, he boldly boasted that due to the music industry saving the work of Spotify and similar streaming services, EMI was probably undervalued.

Before anyone could say “Speaking of undervalued…”, word leaked that Mercury nominee Jon Hopkins received a pittance of £8 for 100,000 streams on the site. The ensuing scandal (sped along by Hopkins’ catchy “Fuck Spotify” quote) led to a withdrawal of music from the streaming service by a range of independent labels claiming that it was damaging sales.

The same day, the US Congress began debating a set of radical bills that would allow internet service providers to block access to sites hosting illegal downloads without having to bring it through the courts. Were these to pass, the ease of downloading would be abolished for all but the expert-minded, threatening to set back the decline of the music industry by years. Not the best news for Google to receive, as it debuted Google Music Beta, which allows users to access their own collections being stored in “the cloud”, which is being touted as supporting the hosting of pirated and illegal files. The supposedly inevitable decay of the music industry now seems uncertain, but really it always has been. I think the oft-ignored wild card in the issue is the lowly consumer.

The shocking truth we all tend to ignore is that even though it’s easier to download music illegally than it is to breathe these days, records and downloads are still sold, often in larger amounts than ‘indie’ acts ever received in the past (see solid sales figures for releases from James Blake, Bon Iver and Tyler, the Creator). It astounds and comforts me to know that people still place a monetary value on sound, to put it in the plainest terms.

What is it that motivates this noble minority?

Detached from necessity, it becomes an act of the consumer’s own volition, their way of making a statement. Purchasing an album these days is a sign of solidarity with the artist, a personal endorsement. With this as the case, maybe the future direction of music marketing is building up an emotional, rather than a cultural caché. If purchasers are being moved by a desire to support the artist, the artist has to be seen as in need of support. It’s one reason I think that smaller, independent labels could rule the future, even if it takes a little help from anti-piracy regulators.

24

mixtape Songs to Cry in the Library to

So you’ve left home and somehow snuck a sleeping bag past Librocop. Luckily George Morahan is here to suggest the musical backing to this dark stretch in your life Specials – ‘Ghost Town’ ‘Ghost Town’ provokes many upsetting images; isolation, the downward economy, empty discos in Father Ted. Combine its funeral procession-like stylings with exam period dread for an embarrassing moment when looking for a spare socket.

Radiohead – ‘How to Disappear Completely’ Just keep saying it to yourself: ‘I’m not here / This isn’t happening’ and maybe, just maybe, for some inexplicable reason, you will disappear completely or the RDS will burn down, or there’ll be some other convenient deus ex machina to dispose of all those nasty exams for you. If not, you and Mr. Yorke can ‘float down the Liffey’ together, and see how that works out.

Smokey Robinson & the Miracles – ‘The Tears of a Clown’ So, you’ve spent the past three months joking around – going out every class night, society night, night night and, ever so rarely, you happen on this ‘library’ Otwo speaks of. Now you’re the personification of exam guilt, but have no fear, Smokey understands. Sit back, relax and let the King of Motown’s soothingly sweet voice wash over you, before you lose your shit in the Short Loan Collection.

Tricky – ‘Hell is Round the Corner’ It truly is, so get back to work.

Jedward – ‘Under Pressure’ Have no fear, dear reader! Jedward have taken time out from saying ‘S’up!’ to each other to remind you of the considerable pressure you’re under. If that wasn’t enough to make you cry, Jedward still exist. That should do it.

The Drums – ‘Money’ If exam pressure wasn’t enough, you’ve just remembered you have to buy enough presents to keep a small principality happy this Christmas. You can deal with your money problems later. Firstly, let all that financial angst out first in the company of your empathetic/sniggering peers.

The Police – ‘Roxanne’ Sure, it’s a well-known drinking game, but ‘Roxanne’ is better seen as an indictment of your future prospects.

Johnny Cash – ‘Hurt’ An old man filled with regret, like the Japanese dude in Inception, but I digress. Look back on the last semester and think of all those 9am lectures you missed, or the times when you couldn’t be arsed to take notes beyond what was in the PowerPoint presentation. It all adds up, does it not? Either way, the Man in Black’s aging, cracked timbre is sure to bring tears to your eyes.

The National – ‘Vanderlyle Crybaby Geeks’ When the exams are over, you can go back to your normal life. That normal life where you ‘live alone / eat your cake’, the National know it well. Allow them to systematically remind you of all the depressing facets of your life.

Enjoy.

Nirvana – ‘I Hate Myself and Want to Die’ Yeah, too far.

The Doors – ‘The End’ Oh yes, oh yes, the RDS is coming for you, let’s make no bones about it. So have an ugly cry and momentarily feel better about the onset of an existential crisis before it hits you... hard. Jim Morrison’s mournful croon will faithfully lead you into the depths of despair the Industries Hall.

Music OTWO

Show Patrol December 1st

Bachelorette· Whelan’s ·8pm · €8 Jimmy Carr · Olympia Theatre · 8pm · €36.60 Pinback · The Button Factory · 7.30pm · €16.50

December 2nd

Gig of the Fortnight

Example

Olympia Theatre · Nov 30th · 7.30pm · €23.90

Example’s latest tour will be swinging by the Olympia Theatre on November 30th. His third album, Playing in the Shadows, was released this past September and landed straight onto the number one spot on the charts. Example’s next single ‘Midnight Run’ will be officially released on December 4th, introducing undertones of dubstep and a much darker feel than his previous material. Any Example gig pretty much guarantees an electric atmosphere, and Example’s DJ skills along with his combination of dance and pop music ensure that having fun is inevitable. Tickets are only €29.30, so this is not to be missed.

November 29th

Gavin Friday · Olympia Theatre · 8pm · €27.90 The Frames, The Mary Janes And Friends · Vicar Street· 7.30pm · €26.00 Mozart’s The Magic Flute · Civic Theatre· 8pm · €25.00 - €28.00 Dimmu Borgir ·The Academy · 7pm · €26 Little Dragon · The Button Factory · 7.30pm · €15

November 30th Example · Olympia Theatre · 7.30pm · €23.90

Katherine Lynch · Vicar Street · 7.30pm · €28.00 Reckless Love · Whelan’s · 7pm · €19.90 Skrillex · The Academy · 11pm · €25

December 3rd

The Darkness · Olympia Theatre · 7.30pm · €27.00 Rainy Boy Sleep · Whelan’s · 8pm · €10 Cry Before Dawn · The Button Factory · 8.30pm · €25 Omid Djalili · Vicar Street · 8.30pm · €28

December 4th Declan O’Rourke · Olympia Theatre · 7.30pm · €28

December 5th

Napalm Death · Whelans · 7pm · €20 Bombay Bicycle Club · Vicar Street· 8.30pm · €20 The Coronas · Olympia Theatre · 7.30pm · €27

December 7th

Friendly Fires · Olympia Theatre ·8pm · €24.90

December 8th

Bitches With Wolves · The Sugar Club · 7.30pm · €10 We Were Promised Jetpacks · Whelan’s ·8pm · €15

December 9th

Fionn Regan · Pepper Canister Church · 8pm · €19.90 Mick Flannery · Whelans · 8pm · €21.50

December 10th The Brilliant Things · The Academy · 8pm · €15 Junior Boys · The Twisted Pepper · 8pm · €17.35

December 11th The Felice Brothers · The Academy · 7pm · €20

December 12th Trailer Park Boys · Olympia Theatre · 8.00pm · €30.00

December 13th

Christy Moore with Declan Sinnott · Vicar Street · 8.30pm · €39.50 · €49.50

December 17th

The Blackout · The Academy · 5pm · €19.50

by Sara Holbrook

25

OTWO

Tell me

something that you are

Prior to his appearance in UCD, novelist Colm Tóibín talks gay babies, Dana, emigration and Starbucks with Sally Hayden

sure is true...

I

t’s not every day you get the chance to chat to one of Britain’s top 300 intellectuals. This was Otwo’s first notable thought this morning, even more so, because this intellectual is most definitely Irish.

Colm Tóibín is rankled about the recent Observer list too, but for a different reason. “I thought 300 was a lot of people, and some of the other people were not very smart at all. If they had said I was one of fifty I would have been happier. They should have ranked us!”

It is twenty-one years since Tóibín wrote The South. His first novel dealt with the topics of emigration and sense of self, themes that are recurring throughout his subsequent works. It is set in Barcelona, where Tóibín himself moved in 1975, immediately after graduating from UCD. A cyclical market and an unprecedented global downturn have ensured that our generation are fleeing the fatherland just as hastily. At the recent Irish Economic Forum Tóibín called this a “tragedy.”

Whilst noting the mind-expanding benefits of spending anything from a year in Sydney to two weeks in Costa da Brava, he points out the serious detriment of the “disaster” of reloca-

“There’s no overt homophobia in political discourse, or the newspapers, or on radio, but it doesn’t mean that anybody longs to have a gay baby.”

26

Photographer: David Nowak

tion in the longer term. “The entire business of permanent migration, of losing your roots and your relationship to the place you were brought up in, and you suddenly think twenty years later that everyone drinks in the same bar as they did twenty years ago. You think everyone at home is the same age as they were when you left, when in fact they’ve got two kids.

“Your dream of home now doesn’t equal the reality. Your entire relationship to your peer group and your family begins to dissolve and change fundamentally, and you end up a decade later coming home less and less, and having less and less connection to home.”

Upon his return to Ireland after three years he found it backward in every way. “To give you one small example, in 1978, when I came back to Dublin, there was one coffee machine in the entire city.”

Now Dubliners are besieged by the epitome of the American coffee dream itself, in the form of Starbucks and its various competitors. However for Tóibín, modern Ireland is still founding wanting. “I think in most families there’s an absolute innate racism where you learn not to say things, but if your son or daughter came home with somebody from a different race you would be very concerned about that”.

The same applies to sexuality, negative attitudes to which still lie latent, the explicitness of which, according to Tóibín, we’ve learnt to “disguise”. “There’s no overt homophobia in political discourse, or the newspapers, or on radio, but it

doesn’t mean that anybody longs to have a gay baby.”

Tóibín’s laugh is as infectious as his books are miserable. During our brief time talking Otwo chuckled, giggled, chortled and guffawed. His latest work is a film script. “I can’t write comedy. This really was a comedy, I swear to you. But I looked at it yesterday and thought ‘we’ll have to get sad music for it now.’”

As a patron and producer of the arts, he is delighted about the recent election of Michael D. Higgins to the Presidency. “He is stylish, he is cultured, he is articulate, and as he said himself, being old was not a secret he was keeping. So [I’m] very pleased with the result, I think he’s a most civilised human being. Perhaps more civilised than most of the people who elected him.”

Having said that, he did wonder if these voters deserved Dana instead. “I think it was a good idea to accuse Martin McGuinness of something, but it was hard to think up of the others. Dana had American nationality, who cares? Mary Davis was on some state board. Yeah, well, I’m on the Arts Council, I was appointed by Fianna Fáil. They needed someone competent, they appointed me.

She didn’t defend herself enough by saying ‘would you shut up’.”

Sensing a prime chance to shape the political future of Ireland, Otwo slyly suggests President Tóibín for 2018. “You think I would tour around the country telling everyone that I thought I had qualities that were presidential? I think self-deprecation is actually fundamental to citizenship. I would hate the National Ploughing Championships. I would hate getting into wellies!”

Three times a Booker Prize potential, Tóibín also has no interest in the “theatre of cruelty” that are awards ceremonies. “I actually knew Anthony Burgess, and he wouldn’t go to the Booker ceremony unless he was sure he had won. It was that year that his wonderful novel Earthly Powers was beaten by some novel

by William Golding, and Burgess just said ‘why does anyone think I’m just going to go and travel all the way over from Monaco and sit there and not win?’”

Though never previously renowned as a breeding grounds for British intellectuals, with the year of the Queen, the times they are a-changing.

“UCD is a great place. I kneel down every morning and thank God I didn’t go to Trinity.”

Otwo tells Tóibín to not give up on the comedy.

Boy ‘n

OTWO OTWO

the Hood

New York rapper Hoodie Allen talks to Donna Doyle about his blossoming career and what makes his music stand out from other rap artists

“I

Currently touring universities in the US, Allen is in the writing process of his first official EP, the first record that will be released by the artist for sale. “The hope is that that will allow me to go and tour the UK a little bit.

It’s something that I’ve wanted to do basically since the beginning of time”.

would call it a nice mixture that we listen to and we wanted to and I wanted to make sure … I was of pop, indie hip-hop.” Very put a new spin onto it … and kind of giving them something that was rarely would you hear a hip- make something that was different bigger and better. Having fans is a hop artist describe their music but also a whole new and possibly really cool thing, especially dedias “nice”, but then New York-born better interpretation for people cated ones … so I wanted to make Hoodie Allen is not exactly like his who prefer hip-hop”. contemporaries.

The record was produced by Opting for witty lyrics and gen- college friend, RJF and released re-blending choruses rather than independently in June 2010. It exan ostentatious charade of bitches perienced unprecedented success, and bling, the artist claims it is his occupying the number one posipersonal life and background that tion on Hype Machine (an online accounts for this vast difference community and aggregator that in tone. “I just kind of have an in- records the most blogged about teresting background, like I gradu- music in the world). “I thought ated college, you know, I left a job we had something that was pretty at Google to do music full-time. I good”, says Allen, “but I didn’t redon’t know if many other rappers ally anticipate that”. To date, the could honestly up and say that”. self-financed video has achieved sure that I wasn’t putting out bullsHoodie Allen’s witty lyrics Stemming from a love of writing over two million views. hit”. Another acute difference in caught the attention of prominent as a young child, Allen says “I would The response to his debut re- the material is that Allen relied less sketch duo Jake and Amir and write stories and rhymes and I think lease allowed the artist to justify on the influence of successful sam- through a Twitter relationship, it kind of grew out of that … I always that self-confessed “leap of faith” ples. “We just tried to do something came to collaborate for the College just had this kind of innate desire to and Allen released his mixtape, that sounded a little more original Humor website in the form of ‘Rap do this”. What changed was his in- Pep Rally in September of 2010. Al- and that was less based on samples Teacher’ – two sketches that porfluence, as storytelling was replaced len, encouraged by the success of … or wasn’t directly influenced by it, trayed Allen as an ineffective rap by personal experience to which his ‘You Are Not a Robot’, continued to which meant writing more of my tutor for the pair. His appearance fans can relate. feature samples from alternative own choruses”. on the internationally established This embraced individuality artists and the track list of the mixStill an independent artist, Al- sketch promoted his previously unwas no more glorified than with tape includes contribution from len explains that the main benefit known name across shores. the release of the anthemic track indie-rock outfits Death Cab for of his unsigned status is control.

On the cusp of what one would ‘You Are Not a Robot’, which sam- Cutie and Two Door Cinema Club. “[It’s nice to be] able to say I’m go- assume will be a successful career, ples the chorus of Marina and the After establishing a core of dedi- ing to do this today and no one can Allen speaks of his future and what Diamond’s track ‘I Am Not a Robot’. cated fans throughout the US, Al- tell me, no you can’t do that, you he hopes to achieve, increasing his The choice of sample is an example len released Leap Year in July. “It have to get someone else’s approval. dedicated fan base and touring furof how the artist has strived to blur took a little longer than I thought. I I just have complete control of my ther afield. “I hope that I will be the boundaries of musical genre. set a bar for myself and I think schedule and my decision-making playing in Madison Square Garden Allen explains how the project Pep Rally was the first time that I process with the music in general, … and have created something really came about; “It basically started created a real fan base … I had fans and that’s a really valuable thing special with my fans that is, you 27 because that’s the type of music who weren’t people who knew me for me.” know, global.”

OTWO What is your most extreme method of procrastination?

Ordinary Level QUESTIONS FOR AND REGARDING

Jarlath Regan

“Instead of doing my last few exams a few years ago, I went to New York for a couple of months”

Ryan Cullen 3rd Year Geography and Economics

1) Jarlath Regan is a stand up comedian, who has featured on The Panel, as well as the Montreal, Kilkenny and Edinburgh comedy festivals. What is the secret to his success? Is it evil magic?

2) Jarlath Regan will be performing at Jarlath Regan’s Big Gig in Whelans on the 3rd of December. Why is his name weird?

3) Jarlath Regan is known for his quick wit, smooth demeanor, and hypnotic sexual magnetism. Which of these have contributed most to his success?

4) As well as his stand-up, Jarlath Regan is also known for his uncanny ability to kick a shoe off his foot, catch it, and talk into it like a phone. Who is he talking to?

“I went down to Wexford, I didn’t want to study, had assignments to do, and I went down all the way to Wexford”

5) Jarlath Regan has just released a new series of comedy Christmas cards, available online. Why does he want to make a mockery of Jesus?

Paddy Guiney 3rd Year Politics and History

6) What is Jarlath Regan’s favourite historical event? Diagrams are encouraged.

8) Does Jarlath Regan have any upcoming gigs, appearances or events? How can we follow Jarlath Regan, perhaps utilizing some form of social networking platform?

“I make guacamole” Harry Moylan 2nd Year Politics

“Creepin’… creepin’ on people” Vicky Ainsworth 2nd Year German and Philosophy

28

“Listening to music on YouTube” Wave 4th Year Veterinary

by Eimear McGovern