O-two Volume XVII Issue 9

O-two

15th FEB 2011 Issue 9 Vol. XVII

The University Observer’s Arts & Culture Supplement

+inside

> INDIE VS MAINSTREAM MOVIES > YOUTUBE COMMENTERS > BIG FAT GYSPSY WEDDINGS > BAND OF HORSES

MICHAEL SHEEN O-two speak to the acclaimed actor about playing Tony Blair and breaking Guinness World Records

Contents

03 REGULARS

SOAPBOX Lauren McKeown is standing on the Soapbox and shouting out loud.

WHAT'S HOT WHAT'S NOT Ali Lee is hot! You’re not. That is all.

SHOW PATROL Gig listings, the height of journalistic endeavour.

04 COMMENT

Paul Fennessy looks at how to fix the country with a handy six-step plan.

05 SPIRITUAL & SEXUAL ADVICE

– Relationships Editor Fadora McSexypants is setting up a helpline to deal with all your sexy qualms, but the best will still make print obviously.

– Better to have loved and lost than never… utter tosh says Mittens.

06 HEAD TO HEAD

The Hozier-Byrne and Burz go head to head on those indie and mainstream movies.

07 GAMES

Time stand still as our team gets to grips with the ingenious Minecraft while Dead Space 2 gets the once-over.

08 INTERVIEW

– Kate Rothwell returns for a travel exposé on Leipzig.

– Having never left Meath before, Amy Bracken experiences a Greek culture shock.

09 WEBWATCH

– Ryan ‘Maccer’ Mackenzie trawls through YouTube for the famous hate comments.

– Love Flash gaming; love Quinton O’Reilly as he details the specifics.

11 FASHION

– Too povo to buy clothes? Natalie Voorheis and Bríd Doherty decide to make their own, and cupcakes too.

O-two

14 HEADLINER

We speak to Michael Sheen on the back of his receiving the James Joyce Award from the L & H.

16 FILM REVIEWS –A movie that has nothing to do with submarines, a flick where a man’s hands are torches (I Am Number 4) and Just Go With It are reviewed this issue.

TOP TEN Heads should roll at the Academy for the ten films in O-two’s list that got Oscars.

TV The secrets behind Big Fat Gypsy Weddings and West Wing hits our Boxing Clever column.

19 FEATURE

Jon Hozier-Byrne is everywhere this issue, except the Oscars. However, that doesn’t stem the flow of his journalistic juices critiquing on the event.

20 MUSIC

INTERVIEWS – A Super Furry Animal, Cut Copy, Hercules and Love Affair, and Band of Horses chat to O-two.

SHUFFLE – Ever fancy breaking up with your partner with a backing track? O-two can help.

WRITE LIKE APES – This is the Apes planet, but you are all invited too.

26 FOOD AND DRINK

– Some cures for the munchies from O-two’s chief food Editor Elaine Lavery.

– Who’s keen for some green? Carol Murphy was and tells the tale of her trip to Green 19.

28 BACK PAGE

– O-two talks to the lead singer of Madisun about their Oasis-style anthemic rock. Oh Yeah!

– We vox, you pop. Worst Valentine’s memories.

15 February 2011

2

Letter from the Eds Yo peeps, Did anyone else get that lingering stench in the air on Monday? Well that was the smell of Love™. The smell that resonates on this holy day has a unique effect on the olfactory senses of everyone.

For those stuck in a loving relationship, the smell was like roses and perfection. For those in a relationship where they share ice-cream cones and lick the cute little bit of vanilla that sticks on the tip of their partner’s nose before going on to French kiss their vertebrae, it smelt like a romantic picnic.

However, for those who are accustomed to eating ice cream by the tub load, it smelt like a truck running them over. Valentine’s Day isn’t for everyone. Some people are opposed to showing open affection towards another human being (pillows not included) and there are those that don’t like the idea of a flying baby with a bow and arrow.

Even though O-two missed the Valentine’s buzz, we decided to overkill the topic some more. Browse our lovey duvvy content as Lauren McKeown gets her soapbox on for a Valentine’s bashing and Shuffle gives you ‘Songs to break up to.’

Keeping up with the times, O-two also gets into Oscars mode as Film Editor Jon HozierByrne gives you the down lows and Stephen Allen chronicles the undeserving Oscars.

Film hits the heights this issue, but Music sets the pace as interviews with Austraaalian band Cut Copy, Hercules and Love Affair while the Super Furry Animal himself, Gruff Rhys, keep the quality high and interests piqued.

O-two would also like to welcome our new tiny pretty Fashion Editor, Donna Doyle, on board and would like to wish her predecessor, Kieran Murphy, all the best.

Kieran really rocked the role and will be sorely missed.

Yours, Emer & Killian

SOAPBOX Not blinded by love or fake holidays, Lauren McKeown lets rip about the day Cupid walks the earth

Valentine’s Day is not to O-two’s taste sadly. Chicken rolls on the other hand…

I

Rant

O-two

am a person who hates occasions. Any excuse for the card companies to pressurise me into forfeiting a fiver reserved for a hot chicken roll imbues me with disgust. Valentine’s Day is in a league of its own on my scale of personal distaste.

Forgive me for sounding bitter, but I just can’t see why the type of insipid, lacklustre relationship that thrives on the exchange of cheap chocolates for a doe-eyed furry rabbit warrants an annual celebration. Studies have shown that the significant other, for whom you’ve just bought a card containing a personalised message from Cliff Richard, is 50 per cent more likely to be cheating on you.

As human beings, it’s not in our nature to be complete monogamists. By tying ourselves down, we have a greater chance of getting the ride, but is it really worth the sheer banality of having to tell someone they’re “the only one for you” when deep down you’re imagining giving your lab partner a veering-on-erotic neck massage? Of course not and neither is a day celebrating the falsities of life worth anyone’s time.

Valentine’s serves a sole purpose and that is to make everyone who is not in a relationship feeling as if there’s something wrong with them. After one breakup I had a very positive attitude. I got my hair done in town, felt brand

new, ready to take on whatever life threw at me. I then reached the vicinity of the red-heartemblazoned hallmark to face an army of love-struck musicians brandishing their violins, killing me softly with their rendition of ‘All by Myself’.

The people who celebrate Valentine’s sicken me more than the day itself. Tweenies who have been “meeting” for over a whole month, online lovers, don’t get me started on the seedy old men casually perusing through La Senza. Most types of lovey-dovey relationships that mark Valentine’s Day are neither exciting nor substantial.

C’mon people, where’s the good old-fashioned love of masochism and love games, of something you can’t have?

Valentine’s Day is merely the feast day of dishonesty and people who live a lie. Those who actually go against the grain and refrain from uttering those three fatal words (unless they mean them) should be commended for not lying to themselves. A good friend told me that nobody would ever want me after this rant was published. I value her honesty.

It’s safe to say that a hot chicken roll will be my Valentine this year. But hey, my relationship with dodgy college food has always been one built on pure, honest love.

WHAT’S WHAT’S

HOT NOT

&

Wondering which trends won’t lead to social exile? Let Alison Lee guide you to the path of social nirvana with the hits and misses of the fortnight

What’s Hot

15 February 2011

What’s Not

3

Rugby fever kicking off

The Coen Noah And brothers all-round The Whale amazingness

Even if you usually reserve the sports section of newspapers for lining your hamster cage, you have to perk up when the Six Nations rolls around.

It’s uplifting to see Ireland not suck at an international sports competition for once.

It’s also an excuse to let loose our inner Celts with a lot of shouting and drinking.

The Big Lebowski, Fargo, No Country for Old Men…The Coen brothers have quite possibly never made a less-than-excellent movie, and their latest masterpiece True Grit doesn’t break the trend.

This old-timey Western features gun-totin’, tobacco chewin’ Matt Damon and Jeff Bridges as crusty cowboys on a hunt for a murderer – what’s not to like?

‘5 Years Time’ was one of those infectiously chirpy, happy songs that’s stuck in your head after the first listen and had you whistling all day. And its four hairy, bespectacled indie dads are by no means one-hit wonders.

NATW have surpassed themselves with L.I.F.E.G.O.E.S.O.N, an equally addictive and shamefully cheery track that never gets old.

The prevalence of Anyone who Election Campaign voted Jedward Posters for Eurovision

Threatening to kill Selina Gomez

Politics isn’t about looks – if it was, the Dáil would be a very empty place. But that doesn’t mean it’s ok to cover every stationary object in every public place in the country with enormous closeups of desperately grinning, panicky-eyed wannabe TDs. Maybe we should copy the UK and make it illegal – or even better, a hanging offence.

Celebrity cradle-snatcher Selina Gomez (18) has been caught fooling around with poor lil Justin Bieber. Besotted, jealous Beliebers the world over are so enraged that death threats have been sent to the doeeyed Selina. Surely they should rejoice – maybe this development will spur Justin on to reach puberty, then fancying him won’t be so screwed up.

You thought things were bad when Dustin represented us in the Eurovision? Then imagine the shame when Jedward end up on stage. With a combined IQ of three and hair that defies the laws of physics, this duo will drag our once-great musical reputation into the dirt. If Dana weren’t still alive, she’d be turning in her grave.

Advice

O-two

O-two Opinion:

How to run the country proper Last week Fianna Fáil proposed radical changes as part of their election manifesto.

This week Paul Fennessy offers some genuinely radical, student-friendly ideas

F

ianna Fáil’s election manifesto, which appeared last week, was quite simply a load of balderdash. There was not one iota of radicality about it. And yes, I’m aware that ‘radicality’ is not an actual word, but get used to it, as this is the type of tone which this article will be adopting from here on in.

Anyhow, the following list comprises of alternative schemes which FF must adopt to appease the muchcoveted and increasingly agitated student market.

And by ‘increasingly agitated student market’, I mean the three paranoid stoners I met the other day who are convinced Brian Cowen was behind 9/11. Therefore, the following list entails six simple guidelines outlining how to manage our humble little country more effectively. Listen up, Enda!

1. Having members of the Dáil conduct all their affairs through Facebook.

I know this idea might sound silly, but can you honestly think of a better way to enforce greater transparency in Irish politics? What’s more, it would be far more convenient way of managing things.

Whether or not a Bill is passed would depend on whether it receives a certain quota of likes.

TDs could outline their policies through a simple Facebook wall update rather than having to go through the painstaking hassle of travelling door-todoor to get their point across.

And if the politician in question is elected, the victory party would not be the usual highly exclusive fare that such occasions normally constitute.

Everyone would be invited through the simple means of a group event invitation. You can thank me later.

2. Ordering politicians to refer to each other exclusively as ‘babes’ or ‘dude’ regardless of gender.

One of the main problems with politicians in this country (and indeed every other country) is that the average person on the street simply cannot relate to them. One means of correcting this problem would be to alleviate the stuffy and frankly outdated formalities which remain rife in Irish politics.

Surely names like Taoiseach and Tánaiste are far too high falutin’ for these auspicious individuals.

They are, after all, only flesh and blood. Just like Anto and Rasher and the rest of us average joes. In

fact, politicians have been scientifically proven to be seven-and-a-half times less intelligent than the average 13-year-old hermaphrodite. So let’s remove them from their high horses, shall we?

15 February 2011

4

6. Replacing the statue of Daniel O’Connell on O’Connell St with one of Sir David Hasselhoff.

Let’s be honest, no one really likes Daniel O’Connell. Let’s be even more honest, no one really knows who he is. The Hoff, on the other hand, is a genuine national treasure. Though his links to this country are tenuous, and at the time of going to print, The University Observer was unable to ascertain whether the Hoff had ever actually set foot in this country, his greatness remains unparalleled.

Not only did the ex-Baywatch star appear in one of the greatest television shows ever made (Baywatch), he also appeared in one of the greatest movies ever made (The SpongeBob SquarePants Movie). Moreover, he improved US-German relations exponentially, after the minor setback in the countries’ relationship owing to World War Two.

Conclusion So there you have it: six simple ways of improving our country. I know they may sound a tad unrealistic and prone to failure, but then we’re more or less doomed either way. So why not give them a lash for the laugh?

3. Implementing mandatory Jerry Springer-style lie detector tests for any citizen to have participated in, discussed, or expressed a passing interest in Irish politics over the course of the past 29-and-a-half years. Those who fail shall be burned.

This rule requires no further explanation.

4. Reducing college fees.

That’s right. There’s no need to check your eyesight. In order to move forward as a nation, we must reduce fees for our education. The reason being – and I’m not sure all those old fogeys known as politicians realise this problem – is that students are perpetually broke. And if they continue to steal our money, students such as myself will lose the ability to spel wurds akuratelly.

Therefore, Gary Redmond must explain to them all that accessories such as books and marijuana should be as readily available and free as running water is to the average man on the street. How could one expect to properly experience college without such basic necessities?

5. Making bankers, banking and any form of transaction via machine illegal.

Bankers. They’re a useless bunch, aren’t they?

Well, at least in the last few years, their performances have been highly treacherous. Come to think of it, were they ever really that necessary in the first place?

Exhibit A: Cavemen. They didn’t have bankers in their time and they got along more than okay.

What’s more, they didn’t have to deal with the stress of this bloody recession. Exhibit B: The animals.

Apart from the cash cow, I can’t think of any other beast or beastling that deals in monetary matters.

Consequently, at the very least, we should look to cut out the middle man (aka the banker) and simply conduct business exclusively through cash in hand. UCD Students’ Union does it, so why can’t everyone else?

Past its sell-by date? The Daniel O’Connell statue was erected in 1882 or 100 years before Knight Rider happened.

5

15 February 2011

Advice

O-two

This fortnight love guru Fadora McSexypants helps to pick up the pieces after Valentine’s went awry Dear Fadora, I think I really messed up Valentine’s Day. I had this big romantic evening planned, but I left everything to the last minute and my girlfriend and I ended up spending the evening in Burger King. I had the Jalapeño Poppers and she had a cry. It was her birthday the same day and all! Help me Fadora McSexypants, you’re my only hope.

Distressed in Dalkey, Leo McKeever, 4th Year Engineering.

Good Evening Leo, Oh Leo, Leo, Leo. All is not lost. Firstly, a box of prophylactics is a fine gift, it shows her you’re assertive and you know what you want, both fine qualities in a man. However, as you know, I’m a girl who stands up for old-time values, and I’m afraid the BK Lounge simply will not do – which is why I’m providing you with my one-stop-shop for getting a girlfriend to fall longingly into your arms; Fadora McSexypants’ Guide to the Perfect Date. With this fool-proof guide, not only will you reconcile with your lover, but you’ll get her as soggy as the chips in the Main Restaurant.

Mystic Mittens

Mittens is watching your future... just don’t look up Aries

Leo

(April 19 – May 13) This week, buy some lottery tickets. Next week, scratch cards. With any luck, by the end of term you will have a full-blown gambling addiction.

(August 11 – September 16) It’s important to live in the present.

You create fewer paradoxes that way.

Taurus

Virgo

(May 14 – June 21) If you ask someone a question that seems deep and complicated, you are probably trying to get into that person’s pants.

Romance tip: just get them drunk.

Gemini

(June 22 – July 20) You will be the victim of a scam this fortnight. For more details, send your account number and mother’s maiden name to mittens@universityobserver.ie

Cancer

(July 21 – August 10) You received four Valentine’s Day cards yesterday, you foxy thing!

Unfortunately, they were all from your mum, trying to make you feel better.

(September 17 – October 30) You have 4.2 days left to clean the kitchen before your flatmates start putting the dishes in your bed.

Libra (October 31 – November 23) Now is the perfect time to ask out that guy or girl you've had your eye on. Just after Valentine’s Day you not only have the element of surprise, but also some bargain bin roses to woo them with.

Scorpio

(November 24 - November 29) Scorpios are now only down to six measly days of existence. You must breed in order to survive! I'm pretty sure that’s how star signs work.

• Pre-game – The perfect date begins long before you pick your beloved up. Appear at her house, first thing in the morning. Gently wake her with armfuls of roses, of both the horticultural and delicious varieties. Just as she realises what’s going on, leave immediately, like a mysterious romantic in the night. This is shock-and-awe romance, and will leave her as stunned as the Rock at Wrestlemania XIX. • Scout Terrain – Before you pick your lady-chum up, go to the bar in which you will be romancing later on in the evening.

Hand a sizeable chunk of tasty cash over to the bar staff, and convince them that whatever you order for the rest of the evening is to be brought to you under the pretence of it being “on the house, Mr McKeever”. This will make you look like an utter big-shot, and make your lady fold under your will like a well-lubricated Stira.

• Intellectual Wankery – Any fool can bring a girl to cinema.

A gentleman will bring his lady to the theatre. This is not as expensive as it sounds; you can talk your way into most amateur shows for free – theatres are desperate to fill seats because, let’s face it, no one gives a shit about theatre anymore. Not only does this make your date seem unique and special, but it makes you out to be some sort of Good Will Hunting-style savant.

Comment on the creative new stage direction and the bold reimagining of the core text. It doesn’t matter what you go to see, this will almost certainly be a completely valid line of utter cock sandwich.

• ABC – Always be closing. No one likes spending money unless they’re getting something in return, and rightly so. Which is why, ladies, if he pays for dinner, you are contractually obliged to sleep with him. It has been mentioned that this is a somewhat anti-feminist viewpoint, and with that I take umbrage. Maybe I’m just old-fashioned, but I believe that if a man holds the door open for me, and stands when I return to the table, he deserves a first-class ticket on the McSexypants Express direct to HJ town.

So there you go Leo. Remember – be assertive, be confident, and most of all, remember the immortal words of Eamon de Valera: “Dev’s gotta get himself a new sweet lid, because if you don’t got the threads you don’t get to bed, and baby, Dev’s dick ain’t gonna suck itself.” Words to live by.

Love and Cuddles, Fadora McSexypants SnM, TnA, HDip. Next week, Fadora looks at the high-stakes world of competitive nude fencing.

Ophiuchus

(November 30 – December 17) You’re so indie even your star sign isn’t mainstream. This fortnight ditch the clear glass nerd specs and start using crutches. SO cool.

Sagittarius (December 18 – January 20) The next few weeks are going to be special even by your high standards. And by special, I mean “special”.

Capricorn (January 21 – February 16) That beard isn’t fooling anyone.

Be proud; embrace your lack of neck.

Aquarius (February 17 – March 11) You may find yourself plagued with self-doubt this fortnight.

Trust yourself. I mean, yeah you’re not that smart and you’re kind of ugly but it probably won’t go that badly.

Pisces (March 12 – April 18) The code word is “Nihilarian”.

You know what to do.

HEAD to HEAD

O-two

15 February 2011

6

Audience figures suggest Titanic is a superior movie to Sideways; however some critics would argue otherwise.

Indie Films Vs Mainstream

With the recent Oscar nominations rewarding a mix of indie and mainstream movies, Jon Hozier-Byrne and Anna Burzlaff tackle the age-old argument: which is better? Let the battle commence Jon: Now, I know what you’re going to say. “Blah blah blah, predictable plots,

blah blah blah, no artistic merit, blah blah blah, Avatar.” Well I won’t hear of it.

Mainstream movies are mainstream for a reason – they’re the movies people want to see. You know, Bambi was a mainstream film. Do you hate Bambi, you beret-clad, heartless monster?

Anna: What’s that sound? All I can hear is “Zuuuuhhhhh”. Must be that your brain can no longer form a coherent sentence, being completely degenerated from watching Titanic for the 20th time. Not only are mainstream movies the opium of idiots, they’re also Hollywood’s most unabashed form of greedy profit-making: as we speak, James Cameron is sitting on a pile of money manically laughing at you all for actually having paid to see Avatar!

Jon:

Firstly, Titanic is a cracking film, as you well know. And yes, Avatar made a lot of money, and it did so because so many people wanted to see it. You know how much money The Room made? That had almost no special effects in it, therefore it’s bad. That ‘film’ is a prime example of why studios exist. You only like indie films because you’re supposed to, because it looks good on your ‘favourite movies’ info on Facebook. It’s total intellectual wankery – “oh look, it’s Ryan Gosling, he’s playing the ukulele and he’s sad”. Brilliant.

Anna: It is hardly a result of indie filmmaking. It’s what happened when some lunatic gave Tommy Wiseau a camera. I can understand why you’d think indie films are for pretentious posers, because let’s face it; any piece of art that asks you to think beyond the point that you’ve finished your popcorn is too much for you to handle.

You have to dismiss indie films to avoid being caught out as the brainless mass of flesh you are.

Mainstream culture as a whole gives us nothing above and beyond the indifferent and the mind-numbing. Indie movies escape the grasp of corporate Hollywood and are therefore free to form their own messages that go beyond plugging commercial products. Mainstream movies gave us Sex and the City 2. Need I say more?

Jon: Here’s a list of everything you need to make an indie film. Hand-drawn

bubble writing on the poster? Check. A massive sense of resentment against your parents? Check. Philip Seymour Hoffman? Check. How exactly do you think indie movies escape corporate Hollywood? They spend millions of dollars trying desperately to make it look like they spent nothing at all. How do you think Jennifer Garner, Michael Cera and Jason Bateman got talked into starring in Juno? Was it because Jason Reitman promised to be their best friend forever?

Anna: Perhaps they decided to be in Juno because of the excellent script and

brilliant characters; they may be mythical concepts to you mainstream moviegoers, but they do in fact exist. While you’ve been off drooling over Robert Pattinson in the Twilight Saga (there’s no use denying your man love any longer), fans of indie cinema have been watching movies which contain relevant and provocative themes.

Complexity and hidden meaning in mainstream cinema reached its height with Alvin and the Chipmunks: The Squeakquel.

Jon: Excellent script? Brilliant characters? I know you’re a habitual drug user, but how high must have you have been when you watched that piece of utter pretentious crap? What you call brilliant characterisation, I call weird for the sake of weird. She’s a pregnant outsider who listens to the Stooges? He’s an awkward runner who likes TicTacs? Sign me up! Oh, and it was written by a member of the sex trade, so it must be great. God damn it Burzlaff, sometimes I wonder. And for your information, I’m Team Jacob.

Anna

You know what, we’ve been tiptoeing around this for a while now, and I’m just going to come out and say it: I’m pretentious and I’m proud. So what if indie movie are ostentatious, bizarre, intellectual try-hards – at least they give us something to talk about.

Spare a thought for the Arts students; where would they be without directors like David Lynch and Vincent Gallo? What would we muse about over our exorbitantly priced coffee? You may deny it, but a world without absurd Jean-Luc Godard references is simply not a world worth living in. Down with mainstream once and for all I say! Truly, what does mainstream give us beyond a pair of disposable 3D glasses?

Jon: I concede, you’re right. Without that kind of intellectual self-manipulation, Arts students would probably be on the dole contributing nothing to society! Wait...

7

15 February 2011

Games

O-two

Dead Space is the place Picking apart the new release, Steven Balbirnie reviews Dead Space 2 giving it ample praise and a few minor criticisms

I

f premise and story was a major factor behind the success of a game, Dead Space 2 wouldn’t win any awards. Taking place three years after the first Dead Space, engineer Isaac Clarke wakes up from a coma to find himself aboard a space station called the Sprawl. Not only is he faced by another necromorph outbreak, but he is also being pursued by government forces and the shadowy Church of Unitology.

So far, so standard. However, thankfully there’s a lot more to Dead Space 2 than just a routine sci-fi horror plot. The sequel builds upon the foundations the original set such as through linked content between games, giving you rewards if you’ve previously played Dead Space or Dead Space Ignition.

The game features all of the old weapons as well as some new ones, such as the rather satisfying javelin gun, which allows you to impale enemies with harpoons. All of Isaac’s equipment is upgradeable, including his stasis and kinesis module, which he can use to freeze enemies and telekinetically manipulate objects.

The loss of the game’s map is irritating, though arguably this factor contributes to the atmosphere of unease and disorientation. Tension is also created by the requirement for Isaac to navigate the Sprawl’s vents, adding to the player’s feelings of claustrophobia and vulnerability.

The most striking improvement, in comparison with previous instalments, is the graphics. Dead Space 2 is visually sumptuous. The first view you get of the futuristic, desolate cityscape of the Sprawl is simply stunning.

Overall, the multiplayer mode is an enjoyable addition, as it is quite different from the main game due to its frantic pace. Like the Left 4 Dead games, players face off against each other as humans and monsters; and as expected, it’s much more fun to play as the necromorphs and hunt down the humans.

One of the only issues with Dead Space 2 is that it isn’t entirely sure what type of horror it wants to be. The first game was a clear action-horror, but the sequel has introduced other elements to the fray.

The tense opening and the fact that early on your only weapon is a torch are elements straight out of a survival horror; but it isn’t long before Isaac’s blasting his enemies away with automatic weapons.

Also, the inclusion of Isaac’s demented visions (of his dead girlfriend) adds a psychological aspect to the horror. But these hallucinations are tame compared to those seen in Eternal Darkness, and as far as psychological horrors for 2011 go, Konami’s Silent Hill: Downpour looks like it will be more mindbending than Dead Space 2.

Overall, Dead Space 2 is a fantastic game. And despite its attempts to introduce psychological elements to the story, it is still primarily an actionhorror – the genre in which its makers specialise.

While playing Minecraft you may find yourself caught in a time warp.

Learning your Minecraft

The dexterity and creativity that typifies the world of Minecraft has enthralled Matthew Jones and provided hours of fun for countless gamers

Y

ou click ‘new game’. After a few moments, you find yourself alone in a world. There is no tutorial, no equipment, just you, your fists and the occasional pig that wanders by. You set about breaking down a tree for wood and picking up stones. You create a primitive shovel and pickaxe and dig into the ground. There is reason for your frantic efforts to build a basic shelter, as when night falls, the monsters come out.

Keep digging and you find some coal, using that and some wood to make a fire, you light up the little cave that you have created. It’s almost dark now, so you seal your walls and get ready to survive the night. In the distance, shambling towards you, come zombies, skeleton archers and giant spiders.

Gone are the gentle pigs of the daytime; the night belongs to monsters.

Somehow, the monsters don’t find you. As dawn breaks they retreat, looking up at the sun, you know you have to create a better shelter and some weapons for tonight. Looking at your watch, you realise that it has only been 24 minutes.

This is Minecraft, an independent game that forgoes all advertising, instead spreading through word of mouth. Created by Swedish programmer Notch, the game revolves around digging and building. It doesn’t sound like the most fun concept in the world, but it truly is.

Using Java programming, Notch has kept

the design simple to prevent any issues from appearing in the game. Its cuboid graphics are oddly retro, and don’t take away from the experience.

Currently, the game is in the beta development stage, which means that those people who have bought the game at a discounted price give feedback to improve the game. So far, there are almost three million registered players giving feedback for updates, which Notch then includes in his weekly updates to the game.

This year, PC Gamer awarded Minecraft with their Game of the Year award, praising its originality. You, the player, are truly free in the game. Want to create a clock or a music player?

Get the materials for circuits and you can do it.

The game is only limited by your own ingenuity.

Seriously, it is.

The entire world is randomly generated and covers a surface area three times the size of the Earth. No two worlds are alike. It is this emphasis on originality that captures the imagination of every player and inspires them to create soaring castles, and anything that takes their fancy.

Ultimately, it’s Lego for grownups, where you can change the landscape and share your creations with an ever-growing community.

Quite simply, if you can imagine it, you can do it.

TRAVEL

O-two

15 February 2011

8

You can’t beat Crete The culture and scenery resonate in the mind of Amy Bracken after her jaunt to the Greek island of Crete

I

expected Crete to be much the same as any of the other Mediterranean resorts – full of beaches, cocktails and gimmicky souvenirs. Although this is also true of Crete, I was truly stunned by the area’s unique culture and breathtaking scenery, not forgetting the fantastic weather of course.

The Cretian resorts are small villages that have been transformed to enter the 21st century, given their plenitude of shops, bars, restaurants and amusements.

And aside from offering mouth-watering cheap food, the restaurants all provide diversity in terms of choice.

The Greek dishes are not to be avoided at any rate, and the extra bonus of a complementary drink at the end of your meal just adds to the effect.

A short stroll away from the restaurants and you will be spoilt for choice in terms of the sheer amount of bars and nightclubs on offer. The price of admission is generally very low, and as with most southern European holiday spots, the clubs stay open until daylight.

While for most students a sun holiday is a repetitive routine of waking late in the day after the night before and spending the day (or what’s left of it) toasting by the pool before doing it all over again that night, a trip to Crete would not be complete without getting a taste of the fantastic scenery of the inland regions.

Coach trips can get claustrophobic, so hiring a car would be recommended (a day’s car hire will cost nowhere in the region of what a night out would). Also be sure to bring a few bottles of water and a camera before you make the journey.

It is especially worth it after the car journey, which

Crete offers more than just booze and nightclubs; it also is home to some of the most exquisite scenery on the planet. enhances the adrenaline rush that hits you when you reach the peak. There isn’t a better feeling in the world than standing at the top of a mountain in the glistening sunshine and being able to see for miles and miles out to sea.

For those of you interested in the cultural aspect, dotted everywhere in the inland regions are isolated churches and monasteries, all of the Greek Orthodox faith. Aside from a few commercial resorts and one or two small cities, once you move away from the coastal perimeter there is a lot of poverty and little signs of

Eastern promise L

eipzig is a city of change. Home to the peaceful revolution that marked the beginning of the end of the German Democratic Republic, it became one of former Eastern Germany’s biggest boom towns after the fall of the Berlin Wall, but its economic success has done anything but taint its charm.

A 600-year-old university is just one of the many factors that draw a huge number of students to the city, many no doubt encouraged by Saxony’s free third-level education. The low cost of living is another enticement, but cheap rent and groceries are not the only reasons that students are prepared to travel a great distance in order to study here.

A vibrant and varied nightlife caters to the diverse tastes of the youthful population, who can choose between ever reliable student clubs and decidedly cooler alternative venues, as well as once-off events outdoors or even in disused buildings. And for a quieter evening’s entertainment, there is of course a wide selection of late night bars and cosy pubs scattered throughout the city.

Yet while the Leipzig nightlife is impressive, the city’s

modernisation. The interesting part is that these remote and quiet regions are often only two or three miles away from the bustling resorts, and are well worth a visit.

Of course, if travelling and culture doesn’t suit your taste, Crete has other areas of interest suitable for 20-somethings looking for some fun in the sun.

However, I recommend doing some travelling and witnessing the truly unique local culture and the fantastic landscape as it will linger in your mind for a long time afterwards.

While offering many historical attractions, Kate Rothwell discovers that there is more to Leipzig than meets the eye

cultural offerings are its prize attraction. In a city where Goethe, Schiller and Nietzsche studied and Bach composed, it would be foolish to expect anything less.

A renowned opera house adorns the city’s main square, ‘Augustusplatz’, which was also the scene for the famed peaceful protests in 1989.

The Nicholas Church is another revolutionary landmark, as it is where anti-GDR protesters gathered before taking to the streets. Its stunning neoclassical interior is worth a look before visiting the nearby St Thomas Church to hear its world-famous boys’ choir perform. Exhibitions in the Grassi Museum and Museum of Fine Arts are goldmines for the artistically appreciative, while those intrigued by the city’s unique, inspiring and at times disconcerting past can indulge their curiosity at the Contemporary Historical Museum.

The ‘Museum in the Round Corner’ makes for a more chilling historical outing, as the building in which its exhibition about the secret police is displayed was once an administrative centre for the repressive state security force. Back outdoors, popular summer activities include

barbequing in one of the city’s numerous parks, or spending hours at the surprisingly beautiful man-made lakes that are just a short bus or bike journey from the centre. During the winter, a fairytale Christmas market takes over the streets. The Leipzig is famed for colder months are as its history, such as the monument to the Battle good a time as any to visit the 91 metre-tall of the Nations, in addition to numerous other ‘Monument to the Battle of the Nations’, tourist attractions. which seems even more astounding when covered in a blanket of snow.

Leipzig is not a typical tourist destination, but part of the appeal of this laid-back gem of a city is that it lies under the radar.

9

15 February 2011

WEB

O-two

Webwatch:

Screw you-tube YouTube has become a global phenomenon. However, Ryan Mackenzie believes it may not be the site’s endless supply of video content which draws visitors

T

he miracle of YouTube lies in its limitless potential. With billions of videos uploaded each year, containing content on almost anything one could think of, the website has become a major source of self-expression. However, as human nature goes, this bottomless well of possibility has instead become a hub of excessive idiotic opinions and overt abuse.

Videos of even the most obscure topics rouse debate amongst YouTube users. The ease in which they can voice their thoughts has led to an explosion of self-righteous arguments which escalate at an incredible rate. However, instead of resulting in offence or discomfort for the neutral reader, these petty and ridiculously derogatory arguments are hilarious.

Even something as insignificant as correcting someone’s grammar or spelling can cause an irrational outburst of rage, such as: “I believe you meant they’re, not their...” rock3r123: @messifan34 “Go f**k urself u piece of s**t!” messifan34: @rock3r123 “learn how to spell you absolute f*****g c**t.

You're clearly r******d!!!!!!!!”

YouTube: A haven for the mentally unstable. rock3r123: @messifan34 …and so on. The site is of course a hotspot for the criminally opinionated. Comments like “Justin Bieber is the messiah” or “Messi is waaaaay better than Ronaldo. I hope Ronaldo dies!!!!” are a familiar sight for YouTube viewers. In this way, the website has become a way for overly enthusiastic teenagers and the fanatics to preach their inflated beliefs and release their frustrations into an unwelcoming public domain.

While it would seem like an ideal way for people to voice their opinions in a calm and safe environment, the anonymity of the site gives rise to ruthless and often cruel confrontation when two (usually wrong and ill-informed) opinions collide.

The end result is a procession of racist, sexist and sectarian slurs which soon divorce themselves from the initial argument – which was probably

about something as inane as Simon Cowell’s song choice for some random X Factor contestant from Bristol – to become something vile, aggressive and downright comical.

It could be said that these arguments represent people at their most honest. Free from the shackles of social protocol and the threat of getting beaten up, commenters let loose and dispense savage attacks with an utter disregard for other people, and abhorrent deep-seated hatred emerges.

Or it could just be that those with enough free time to bother engaging in a fight with random people over the internet about pointless topics are idiots. Either way, these fiery disputes present us with an endless well of entertainment and undoubtedly fail to achieve the ultimate goal of proving their point.

Flash before your eyes Hosting a diverse range of ideas and talent, Quinton O’Reilly looks at the world of flash gaming

F

or a pastime once confined to consoles, the web has opened a lot of doors for games.

When once there were cartridges and floppy disks, we can now just download games from services such as Wiiware and Xbox live arcade and on our phones.

Another area that has benefited greatly from this technological advancement has been flash gaming.

While not an area that immediately springs to mind, it’s quickly becoming a melting pot for new ideas and talent with games being released on a daily basis.

While some are retro games given a new lease of life, the majority of flash games originate from simple or curious ideas, and scratching the surface will uncover a wide collection ranging from the traditional to the bizarre.

Among the collection of games released regularly, one of the more prolific flash developers would be Armour Games whose collection includes Achievement Unlocked. The game parodies the Xbox

system of the same name by awarding you for every action made including moving, dying and opening up the hints page. You’d probably complete it in less than ten minutes, but that doesn’t make it any less fun or enjoyable than games released now.

For developers, the advantages of creating flash games are twofold. Firstly, to produce a game for any console, you require a significant amount of funding and manpower to create a credible product. With flash games, it’s entirely possible to create a polished title by yourself provided you don’t rush it.

The second is that the scope for creativity is much higher as there’s no financial risk in making something offbeat or being hamstrung by consumer demand (there’s a very good reason why many average games get sequels). Yet considering the format in question, the production values can be quite high in some cases.

Ultimately, flash games have been more about experimentation with new and existing ideas and the work and dedication that such developers put in normally shows in the finished project, an aspect that’s normally lost on high-end releases.

It also gives budding or veteran programmers a platform to showcase their talents, potentially leading them onto bigger and better things. The Behemoth’s Alien Hominid and Team Meat’s Super Meat Boy are examples of console games that

Alien Hominid made the jump from flash to PS2, Gamecube and Xbox Live Arcade. once started life on flash and looks like it will be followed swiftly by others.

The easiest place to find these games would be Newgrounds.com, which hosts an active and vibrant community for both flash gaming and animation, and kongregate.com. Yet the best thing about them is their accessibility meaning you can try out many games in a short space of time. Just be sure to kiss your sense of productivity goodbye before you do.

O-two

15 February 2011

10

Against the gloomy backdrop of recession, Natalie Voorheis and Bríd Doherty aim to enliven your wardrobe with some funky and frugal DIY pieces

Spring is finally here, so why not emulate the bloom by cruising into college on a bike pimped out with a wicker basket and a flourish of fake flowers as decoration.

You will need: • A wicker bike basket, available from most bike shops for roughly €25.

• A bunch of fake flowers with stems can be purchased in most €2 stores.

Method: • Separate the bunch of flowers.

• Weave the stem of each flower in and out of the wicker of the basket.

• On the inside of the basket, twist the ends of the stems together to secure them.

Tie rosettes are a quick, cheap and easy way to brighten up and add a bit of individuality to a variety of items. Sew a pin onto the back of a rosette and pin it to a threadbare lapel, enliven a tote bag or even stitch them onto hairbands and hair slides for a nice preppy Gossip Girl look.

You will need: • A tie • Matching thread • A thick and strong sewing needle.

Method: • Starting from the thin side of the tie, make a little twist that resembles the centre of a rose.

Stitch it in place.

•

Continue to twist the tie in the shape a spiral or coiled snake. Stitch it in place, making sure that the stitches are not visible. Continue until you reach the end of the tie or until the rosette is as big as you wish.

• If you want you can also make little tails for it. You can do this by cutting two strips from the leftover tie. Then hem up the bottom to create a triangle-like shape as shown in the pictures.

•

Either sew a little brooch pin onto the back or sew/glue it onto a bag, hairband or hair clip of your choice. Voila! You have a stylish new accessory.

11

15 February 2011

O-two

Bows are a timeless accessory and have been around for centuries. Of late, they have been cropping up across all the high street shops. One day, I happened to saunter into American Apparel and admired a selection of bows. I took one glance at the price label and nearly fainted, and so I decided to go about making my own bow. Below is my guide to getting the American Apparel look at only a fraction of the price.

You will need:

You will need:

• A selection of ribbons of your choice (try Rubanesque in the Powerscourt Centre, Hickeys on Henry Street or Trimmings by the Ha’penny Bridge)

• A desired length of ribbon

• A hairband or hairclip • Fabric glue, needle and thread.

Method: • Tie your ribbon or ribbons into a bow. It can be lovely to use a contrasting ribbon in the centre.

• Affix it to a hair clip or hairband using good fabric glue (I recommend Loctite or Uhu).

• Wear it out and listen to people ask you where bought it and then enjoy telling them that you made it!

Bríd Doherty

Nothing brightens up a dank student flat quicker than a string of colourful bunting. Easy and cheep to make, bunting is a stylish alternative to raggy posters. Vary the colours and textures of your fabric for an individual spark.

• Scraps of a various materials cut into triangles.

• A sewing machine, a needle and thread, or fabric glue.

Method: • One by one, place the triangles side by side onto the length of ribbon, stitching the triangle to the ribbon in a straight line. If you have a sewing machine, this will only take a couple of seconds. Alternatively, a simple running stitch (in and out of the fabric) will work just as well. If getting your stitching groove on seems daunting, never fear; simply glue the triangles to the length of ribbon using fabric glue.

Natalie Voorheis

Visit Bríd and Natalie’s blog at www.craftystudents.blogspot.com

FASHION

O-two

15 February 2011

12

Oscar couture

As the red carpet is rolled out for another Oscar ceremony, Donna Doyle looks at the array of styles the stars will roll out themselves

T

he Academy Awards ceremony is the most glamorous and hugely anticipated red carpet event of the year. Attended by Hollywood’s elite and watched worldwide by 41 million people, it is the perfect stage for any designer to display their finest haute couture on the most inf luential mannequins from the silver screen.

On February 27th, Hollywood plays host to the 83rd ceremony in the Academy’s history, and this year looks set to continue that tradition. From its foundation, it seems that who’s wearing what and the spectacle of the red carpet show is just as important as the awards ceremony itself.

Fashion designers have already presented their latest collections for next season, however it is the red carpet that brings their styles to life. Paddy Power are currently taking bets on the “Designer for Best Actress’s Dress” ahead of the awards – a pretty telling indication of just how important a fashion event the Oscar ceremony is.

Dior is currently the favourite to win with odds of 3/1. Creative director John Galliano’s designs are a red carpet favourite and are frequently worn

by Nicole Kidman and Charlize Theron.

So what can we expect from fashion’s most glamorous evening? One can anticipate the staple array of romantic and ethereal gowns in classic colours – black, white and nude. Trends for Spring 2011, however, boast a colourful palette, so splashes of feminine pinks are likely on the night.

Emerald green was the shade of choice for many starlets, including Angelina Jolie and Mila Kunis, at the recent Golden Globes ceremony, so it is sure to be a feature at the Oscars. Only the perfect hairstyle can complete the look of an outfit, and this season waves are back. Expect to see 70s-inspired big hair take its turn in the limelight.

All eyes will be on the usual suspects as they ascend the red carpet.

Anne Hathaway and Nicole Kidman embody Hollywood glamour; their styles are refined and they always dress with an understated elegance.

Charlize Theron is eternally glamorous and rarely turns out in basic black. Helena Bonham Carter injects some alternative style and spectacle into any red carpet event and is frequently a highlight on the night.

The annual Academy Awards red carpet show is

From zeros to heroes With the physical and mental dangers of size zero becoming common knowledge, Rachel O’Neill wonders if this signals the rise of the plus-size model.

T

Crystal Renn is one of the few models who embraces her plus-size measurements.

he world of modelling is dominated by rail-thin, often emaciated figures – a poor representation of what beauty and health constitutes. Many designers have relied on the argument that clothes ‘hang’ better on thinner models and hence encourage consumer demand.

However, these people are artists and creators by definition.

Adaption is the key. Small changes are, however, being made within the industry. With the emergence of plus-size modelling, increasingly normal-sized supermodels are being brought to the forefront of high fashion. It is the categorising of these women as plus size wherein the problem lies.

The term ‘plus size’ refers to a catalogue of models above the UK and Ireland size twelve. Emme Aronson is credited as the original plus-size model and certainly the first to attain supermodel status.

Her size 14 to 16 frame inspired full-figured women everywhere to embrace their curves.

John Galliano’s designs are a favourite among actresses such as Charlize Theron. the most watched fashion event across the globe.

Haute-couture at its finest is brought to life, and style icons are created. So this February 27th, don your tear-stained debs dress, break out the Chardonnay and watch the ‘beautiful people’ live the American dream.

Miami native Crystal Renn has fast become a fashion icon. On a quest to conform to industry ideals, she struggled to survive as a waif-thin supermodel and battled with anorexia. It was only when Renn learned to embrace her full figure that her career was to soar. Currently the face of Jimmy Choo and with campaigns for Chanel and Gaultier under her belt, Renn has helped guide plus-size modelling into the mainstream.

The increasing presence of plus-size models on the catwalk and in conventional fashion advertising is an inspiring step forward. However, in reality this attraction to the world of plus-size modelling raises some serious issues. Incredibly, Renn’s size-twelve figure is under the average Irish woman’s size 14.

So rather than bucking the trend, she would be viewed by most of us mere mortals as perfectly normal. Is this then a pitiful attempt to placate the curvier women among us, who up until now designers believed to be deprived of any fashion sense just because we need magic knickers to carry off a body con?

Credit must be extended to designer Jean Paul Gaultier. In an inspiring move, Beth Ditto (of the Gossip fame) walked the runway during Gaultier’s spring/summer 2011 show at Paris Fashion Week, at size 28. Gaultier is using his position to exert a positive influence and provide young men and women with credible role models. But his brave move is an exception to the rule.

The real problem is that the labelling of size twelve and 14 as plus size is unjustly considered the norm.

It is simply pacifying critics, and is furthermore alienating the common person from the world of high fashion.

13

15 February 2011

LISTINGS

O-two

Show Patrol February 15th Mogwai – Olympia Theatre – €29 February 16th My Chemical Romance – The O2 – €33.60 February 17th British Sea Power – The Academy – €20 Tutankhamun exhibit – RDS Industries Hall – €16

Mona – Whelan’s – €12 February 18th Example – The Academy – €23.50 February 19th Citizen Cope – Academy 2 – €15 February 20th Lifehouse – Olympia Theatre – €25 Francesqa – Academy 2 – €12.50 February 21st KT Tunstall – Olympia Theatre – €25 February 22nd The X Factor Live Tour – The O2 – €40.20

February 23rd Anna Calvi – The Workman’s Club – €15 February 24th Marco Carola – The Twisted Pepper – €14.45 Glasser – Crawdaddy – €14 February 25th Chapel Club – Academy 2 – €13.50 Fox Avenue – The Academy – €14.50 February 26th Florrie – Academy 2 – €13.50 Mary Coughlan – The Academy – €26 Lighthouse Family – Olympia Theatre – €33.60 February 27th Ben Ottewell – Academy 2 – €19.50 February 28th Plan B – Olympia Theatre – €33.60

Gig of the Fortnight: The X Factor Live Tour February 22nd – The O2 – €40.20 Smack, bang, wow! It’s that time of year again. The time when the cream of the crop from household TV hit X Factor comes to our shores. You enjoyed watching and voting for your favourite acts during the show and even loved viewing the humiliation some showed to gain their 15 minutes of fame, so now live it live in person.

Fresh off the stage at the LG Arena in Birmingham, the stars of the live show will be gunning for another performance and always enjoy rocking up to Dublin. The Irish capital gets one of the first views of the extravaganza, and even before most of Britain sample the show. Following the Dublin dates, the X Factor Live Tour will move onto Sheffield before travelling to London.

- Laura O’Connor

MCD PRESENTS

the SaW DOCtOrS

example Fri 18 Feb 2011-The AcAdemy

TickeTs €23.50 (incl.Bkg.Fee)*

OFF THE KERB PRODUCTIONS

IN ASSOCIATION WITH UNIVERAL

PICTURES (UK) LTD PRESENT

02 apr 11 TUE 01 MARCH 11 - THE ACADEMY Sat Olympia theatre t20.00 (Incl. Bkg. Fee)*

t24.00 (Incl. Bkg. Fee)*

WED 12 OCTOBER 2011 TICKETS €39.20 (INC.BKG.FEE)*

SUN 20 March 2011 The Academy

PLuS

TUE 15 MARCH 11

OLYMPIA THEATRE

TICKETS €32.50 (INC.BKG.FEE)*

UNDER 16s MUST BE ACCOMPANIED BY A PARENT OR GUARDIAN

O EMPEROR Fri 15 Apr 11 - The Academy

g20.00 (Incl. Bkg. Fee)*

THu 17 FEB 11 - WHELANS e12.00 (Inc.Bkg.Fee)*

25 FEBRUARY 11 - THE ACADEMY

FoxAvenueMusic.com

t18.50 (Incl. Bkg. Fee)*

Thu 31 March 2011 Thu 17 Feb 2011 - The academy

t14.50 (Incl. Bkg. Fee)*

€20.00 (Incl.Bkg.Fee)*

e44.20 (Inc.Bkg.Fee)* UNDER 16s MUST BE ACCOMPANIED BY A PARENT OR GUARDIAN

FIND US ON FACEBOOK: www.facebook.com/mcd.productions *TICKETS from Ticketmaster outlets nationwide. 24 Hrs: 0818 719 300. Buy On Line; www.ticketmaster.ie. (Telephone & Internet bookings subject to e3.35 s/c per ticket up to e28.50; 12.5% over e28.50 (max e6.35) / Agents e2.25) Subscribe now to mcd.ie for the latest live entertainment, news and tickets.

www.elbow.co.uk

Feature

O-two

15 February 2011

14

A sheen of excellence Following his recent appearance in UCD, Gillian Temple talks to Michael Sheen about his upcoming film with Woody Allen and his hilarious stint on hit sitcom 30 Rock

S

ome call him the great pretender, to others he is known as a chameleon, while his peers such as David Lan of the Young Vic Theatre refer to him as an “acting animal”. He has achieved great success in theatre and in film by capturing the unique and realistic essence of the characters he plays. Audiences have been won over by his convincing representation of his more iconic roles, from veteran interviewer David Frost to the mercurial charms of Tony Blair.

Yet despite receiving considerable critical acclaim in recent years, Michael Sheen plays down such praise. “We had no idea whether the audience would take it seriously or whether an audience would accept me as Blair,” he admits.

Moreover, it is hard to imagine that the film and

15

15 February 2011

O-two

theatre industry nearly lost this great treasure to Arsenal Football Club. However, Sheen’s father refused to allow him to pursue his football career.

As a result, Sheen endeavoured to follow other ambitions: “Somewhere at the back of my mind I always accepted I was going to be an actor.”

Sheen’s thespian roots stem from the National Theatre of Wales and his studies with The Royal Academy of Dramatic Art. During his second year of college, he developed strong acting skills and was awarded the Laurence Olivier Bursary Award.

Following this accolade, his acting career began to blossom, as he won the role to perform alongside Vanessa Redgrave in When She Danced on the West End. He recalls: “I went into this amazing first job and learned from Vanessa Redgrave and spent six months doing a play with her. It was incredible and it started my career.”

From there on in, Sheen was catapulted into the acting business and has never looked back. One surprising element of this journey was the root of his inspiration for getting into acting. “I think I’m the only actor who got inspired to be an actor by a critic: Kenneth Tynan. I found a book of Kenneth Tynan theatre criticism called A Prospect of the English Stage. I was reading his reviews of Olivia on stage and that’s what made me want to be an actor.

It gave me a kind of something to aspire toward.”

O-two asks about his iconic roles, such as Tony Blair, Brian Clough and David Frost. How is he able to transform himself into these characters with such ease and conviction, and what gravitates him to these roles? “It’s ambiguity that I am most drawn to in characters,” he replies.

“I can only play myself. The only raw material is me, and so when you’re playing a real person, it’s a long process. I can get somewhere hopefully close to some kind of spirit of them, or at least my connection to them. So I’m ultimately playing myself in a different set of certain circumstances.

“It’s a long process for me. I completely immerse myself in the life of the person. Brian Clough was a Sinatra fan and he liked ‘Saturday Night Sunday Morning’, so you find little clues, like knowing those snippets of information.”

Continuing to detail his approach to immersing himself into roles of specific characters, Sheen explains: “With Albert Finney, you watch that film and you say ‘Ah I see, so Clough was kind of basing himself on the Albert Finney character’, so you start to get a sense of how much he was kind of creating a myth of himself and how much he was self consciously playing the role of Brian Clough at times.

“It behoves us all as artists to try and make people more human, to strive to understand people in all their complexity. You put all that stuff together and hopefully at the end of it comes a great performance.”

The common denominator of all these biographical characters that Sheen plays lies in their difficult personas. Pondering the issue, Sheen elaborates on the difficulty playing such unfavourable roles like Tony Blair. “Funnily enough, the more I find out about the person, the less judgemental I become.

“People always say: ‘what do you think about Tony Blair having played him three times?’ I have less and less of an opinion about him. The way I’ve played Blair has always involved the idea of a mask and that one of his tools that he uses in the earlier days.”

In The Special Relationship, it will be Sheen’s third

Feature time playing Blair. Written by friend and colleague Peter Morgan, he is partly responsible for Sheen’s other performances of Blair along with David Frost and Brian Clough, having written the scripts to all these films.

O-two asks about his relationship with Morgan and how he deals with handling the factual elements of these roles: “It’s a very dangerous area I suppose, because people are inevitably going to watch something and partly feel that’s the way things were, so you do have to be incredibly careful.

“It’s not about the person; it’s about the story.

The reason why I’ve played these real-life people is because on the whole, they’ve all been written by the same man.”

Throughout our interview, Sheen shows great enthusiasm in his answers and was only too delighted to cover the many aspects of his career in theatre and film. He fondly recalls stories about Tom Hanks being starstruck by Diane Ross, or his excursion with Javier Bardem to the Irish and Welsh rugby match last year.

Sheen currently resides in Los Angeles to be closer to his daughter Lily, but he has no interest in the Hollywood lifestyle and the film star image. “I don’t really know what a film star is,” he says. “I don’t think of myself as a film star, I think of myself as an actor. Hollywood is the shittiest area you could come to visit. It is a myth, it’s a state of mind, so I think being a film star is like that.”

What is most appealing and inspirational about Sheen’s outlook on the film industry is his enthusiasm to branch out and to educate himself with regards to the different areas of film production. “The more I work in film, the more I start to appreciate other people’s jobs within it. I’m more appreciative of what it takes to make a film and the work and artistry that goes into all the different areas of it.”

Sheen’s current project sees him work alongside the legendary director Woody Allen in Midnight in Paris – a film that is said to be premiering at the 2011 Cannes Film Festival. Other actors have often perceived Allen as difficult and intimidating while working on a film with him. Sheen describes Allen as “fascinating and very funny. He used to make me laugh all the time.

“What I found fascinating about Woody was that he doesn’t let you play subtexts at all. Characters are revealed to what he chooses to write about in each scene, he is a pre-Freudian director. He doesn’t want actors to play what’s going on under the surface, he just wants you to play the surface constantly, and then the revelation of character comes through the actions he gives to the characters in the scenes.”

In O-two’s mind, the whole interview has been building up to quizzing Sheen about his experiences on 30 Rock and working with Tina Fey. Sheen’s execution of Wesley Snipes, which he described as an “English dickhead”, was possibly the most memorable aspect of season four of 30 Rock.

At this point, Sheen becomes especially animated: “It was really intimidating because of Tina Fey. The whole group of writers on it, that are very young, are so sharp and so brilliant. Tina would say: ‘Oh don’t worry about that the script, this time just do whatever you want to do.’ So that was kind of scary but brilliant, as you realise that she writes for you specifically and then the character kind of evolved and got weirder and weirder the more she worked with me.”

Continuing his discussion on 30 Rock, Sheen informs O-two that he would be returning as his Wesley Snipes character in the near future: “I’m really looking forward to going back. We had this idea that we would recreate Wesley Snipes movies, but for my Wesley Snipes.”

Listening to Sheen, it is clear he has a vested interest in 30 Rock and enjoys working with Tina Fey. However, he refuses to be drawn into comparing Allen and the 30 Rock star. “You can’t really compare them, they’re both brilliant and have brilliant minds.

“Woody is an auteur and Tina is a brilliant comedy actress and writer. They both have a sense of being very good at documenting what life is actually like in a brilliantly funny way.

But Tina Fey plays a mean game of Boogle, so maybe she would edge it just for that.”

The immediate future for Sheen sees him return to Port Talbot next week to continue his work on stage with the National Theatre of Wales on a project he has been working on for two years that will premiere over Easter. He

“I don’t think of myself as a film star, I think of myself as an actor” describes it as “a continuous performance that lasts for 72 hours over the Easter weekend.

“It’s a modern secular version of the Passion of Christ taking place all over the town and using the community of the town. It has been a long-held ambition for me, having grown up in that place to go back.” But if you can’t get over to see him in Wales, O-two suggests you indulge in some more quality viewing of 30 Rock season four.

Michael Sheen was in UCD last week to receive the James Joyce Award from the Literary and Historical Society.

FILM

O-two

15 February 2011

16

Same Sandler, different film That sinking feeling Title: Submarine Director Richard Ayoade Starring: Sally Hawkins, Paddy Considine, Noah Taylor Release Date: March 18th

S

Like most Adam Sandler films, Just Go With It could hardly be described as cerebral viewing.

Title: Just Go With It Director: Dennis Dugan Starring: Adam Sandler, Jennifer Aniston, Nicole Kidman, Nick Swardson Release Date: Out Now

J

ust Go With It is a rather indecisive creature.

To a point, it’s your typical Adam Sandler film (silly voices, crude slapstick, he gets hit in crotch a few times), but to its credit, there is some clever dialogue and genuinely funny scenes.

This effort suffers from trying to be a film for teens or adults as well as a family-friendly movie, which rarely works if the filmmakers are anyone other than Pixar. This cinematic identity crisis results in the film never fully committing to one audience or the other, trying to appease both but failing to thoroughly satisfying either.

The film focuses on Sandler’s character, who realises he can pull women by pretending to be married to an abusive wife. Thus, he can enjoy one-night stands with those in their mid-20s while never having to get his heart broken. All goes to plan until he finds the woman of his dreams, and through a mix up and a series of painfully contrived events, ends up having to pretend his assistant and best friend (played by Jennifer Aniston) is his soon to be ex-wife.

To the film’s credit, Sandler and Aniston have a very believable and watchable on-screen chemistry.

However, one’s suspension of disbelief does take a hard knock from the fact that Sandler’s character is supposedly a renowned plastic surgeon. While it doesn’t quite top Denise Richards as a nuclear physicist (only in a Bond film), the only purpose it seems to serve is to explain why he has so much money and to facilitate some more childish, Sandler-style humour.

When the film does embrace the “A” of its 12A rating, it can be quite funny and it’s hard to shake the feeling that if someone other than Sandler had been cast, the more childish elements would be significantly reduced. Yet the remainder of the cast are one of the film’s strongest points. Special mention should go to Nicole Kidman for a rather good comic turn, and one ludicrous sequence involving Swardson and a sheep that was almost a genuine laugh-out-loud moment.

It doesn’t seem fair to call the film terrible, as it has many funny moments, but it is in no way exceptional and a lot of it simply falls flat.

In a Nutshell: Horribly contrived, predictable and rather confused as to what kind of film it wants to be, but still a perfectly perfunctory Saturday night popcorn film.

- Richard Drumm

ubmarine is the debut directorial feature of Richard Ayoade, best known for playing the nerdy ‘Moss’ on The IT Crowd. It is a coming-of-age film dealing with a shy teenager awkwardly attempting to romance the girl he most admires. Now the story may sound like just about any Michael Cera film of the past three years, but rest assured that this is no Judd Apatow production.

Oliver Tate is a 15-year-old boy in love with his classmate Jordana. The film is split into five parts and the first two deals almost exclusively with Oliver’s attempts to win Jordana’s heart. The young boy gets the girl surprisingly early and we grow to like the two leads as we watch their relationship develop in a highly realistic manner. The next three parts of the film focus more on Oliver’s fears over his parents’s failing relationship, and it feels like a shift from a romantic comedy to a more serious family drama. The change in tone is strong, sudden and as such, it can feel like two different films featuring the same characters. We learn more about the characters in the more dramatic section, but the change is jarring and this unexpected transition becomes the film’s biggest flaw.

The Welsh seaside setting is shot beautifully. Abandoned amusement parks and industrial estates become scenes of blossoming romance, particularly in a touching fireworkfuelled montage. Ayoade shows great promise as a director and utilises sound particularly well to build tension in certain key scenes.

When Oliver’s parents first find out about their son’s new relationship, his father tries to give him some advice.

The scene is played perfectly as the actors create just the right blend of comedy and awkwardness so that it quickly merits comparisons to American Pie. Where Eugene Levy gave the definitive ‘awkward dad’ performance in that film, that’s about all he did. The film’s characters are what set it apart from the flood of American teen comedies we’ve seen recently; there are no simple caricatures.

Every character is fully rounded and believable – Oliver’s father isn’t just awkward, he’s shy and depressed, which exacerbates his awkwardness, and we can see echoes of this in Oliver. Jordana isn’t perfect, she’s a manipulative pyromaniac and we even discover why when her own family life is revealed. The film’s biggest asset is the surprisingly realistic portrayal of the principal characters’ bittersweet relationship. They are deeply immature, and when faced with a massive emotional hurdle, Oliver falls, just as realistically and painfully as any 15-year-old boy would in real life.

In a Nutshell: A jarring shift in tone aside, the film amounts to a great beginning of a promising director’s career.

- Adam Kearney

17

15 February 2011

FILM

O-two

Alien vs passiveness

Top Ten: Undeserving Oscars Stephen Allen looks at the worst winners of film’s most prestigious awards 10. Best Actress - Hilary Swank She may be popular but it doesn’t excuse the fact that she has played the same character in every movie. “Hooray, I’m a complete person!” (Tragic death in 10, 9....)

9. Best Original Song: ‘I just called to say I love you’ from The Woman in Red Remember this song? You’ll hear it being sung in horrible karaoke bars. Of course, nobody has heard of that Ghostbusters song.

Why would that win?

8. Best Actress - Sandra Bullock for The Blind Side Ah, The Blind Side. Blind people coming together and making a movie. What? They weren’t blind?! They cast Sandra Bullock and people actually thought she was good?

7. Multiple awards: Ghandi To paraphrase Ghandi: “Honest disagreement is a good sign of progress”. Well, I disagree with this film winning multiple Oscars. See. And people say I can’t be progressive.

6. Best Writer: Akiva Goldsman for A Beautiful Mind They should really monitor the careers of the winners of these awards and take them back if they’re really terrible. Once you write Batman and Robin, I think it’s time to give the award back.

Alex Pettyer discovers his superhuman powers in I Am Number Four.

Title: I Am Number Four Director: D.J. Caruso Starring: Alex Pettyfer, Timothy Olyphant and Dianna Agron Release Date: February 25th

I

Am Number Four is a typical teenage comingof-age film: boy lives alone with his father, boy moves from town to town regularly, boy meets girl and falls in love, boy is an alien with f lashlights for hands. Ok, so maybe it’s not all that typical.

Alex Pettyfer (Stormbreaker) stars as John Smith in this film, which has been adopted from Pittacus Lore’s eponymous novel. John and eight other children were forced to escape their home planet before it was destroyed (in a very, very Supermanesque fashion) when they were infants. These children look identical to normal humans except for superhuman powers that develop as they go through puberty.

As the film opens, we see a child running from unseen pursuers, who is eventually caught and killed. This child was third of the nine, and it is revealed that the same aliens who destroyed their home planet, have tracked the children to Earth.

John realises that as number four, he is next on the list and goes on the run. He is not alone however;

his guardian, Henri, played by Timothy Olyphant (Hitman) accompanies him and they start a new life.

As for the aliens who are supposedly hunting down these children, a less intimidating bunch of people could hardly be found. Apart from one particularly unsettling scene, the aliens have little to do besides very slowly track down these children and kill them. In fact, they aren’t even given names - even the main alien, who has significant screen time, is rather pathetically credited as ‘Mogadorian Commander.’

This sentiment is carried on throughout the film, with no real evidence of character development.

There are some moments of dialogue between John and Henri that buck this trend, but these are exceptions. Alfred Gough and Miles Millar, creators of the television show Smallville: Superman, the Early Years, wrote the screenplay for the film and it seems as though they still have to get the hang of writing emotional conversations.

With all its faults however, it is not a bad little film. The action scenes are well paced, and the visual effects, while not mind-blowing, are competent and decent throughout. Just don’t look for anything revolutionary.

In a nutshell: It’ll keep you busy for an afternoon, but don’t expect it to change your life.

- Matthew Jones

5. Best Achievement In Sound: Transformers: Revenge of the Fallen “But this didn’t win”, who cares? This crappy Michael Bay film got nominated for an Oscar.

What possible good sounds was there in that movie? “Wow! These explosions sound just like explosions!”

4. Best Picture: On The Waterfront Rear Window was also in the running. Nobody?

You chose this over one of Hitchcock’s best movies. I feel like I’m talking to no-one... This is why I need a Time Machine.

3. Best Actor: Robert Benigni for Life is Beautiful Did anyone even see this movie? This guy was also the director, which is never a good sign.

Yet, he won. I’m beginning to think the Oscars are chosen by sentient wheely bins.

2. Best Supporting Actress: Jennifer Hudson in Dreamgirls (Slams head) Really?! I mean cardboard doesn’t describe her well enough. (Slams head again) I thought she was a really shouty tree. (Slams head a third time) I may need an ambulance.

1. Best Picture: How Green Was My Valley Remember this movie? No? Well, here’s a quick review: It wasn’t great. But hey, it’s not as if Citizen Kane was nominated that year. Wait...

TELEVISION

O-two

15 February 2011

18

A TV marriage made in heaven Swarovski crystals, fivestone dresses and whitey Nikies, it can only be Big Fat Gypsy Weddings, writes Natalie Voorheis

A

new five-part documentary series on Channel 4, Big Fat Gypsy Weddings, offers an up-close-and-personal account of the lives of Irish gypsies living in Britain today.

Channel 4 offers unprecedented access to one of the most secretive communities in Britain.

With modern influences threatening the future of the gypsy way of life, this series examines the measures a community will go to in order to keep tradition alive. Behind the caravan door lies a world of surreal extravagance that will have you glued to the screen as the gypsy community strive to prove their pride.

Young gypsy girls marry aged just 17 years old, having remained completely pure until their wedding day. Pre-marital sex is completely unheard of and most brides have never even eaten in front of their new husbands before they tie the knot, let alone lived together.

The process of courtship in the gypsy community centres around a tradition called “grabbing” where the guy forcibly steals a kiss from the girl he likes, while ignoring her frantic protests. This sounds a bit rape-y, and looks it too, but that’s just how it’s done, and is

condoned by the whole community. Once you have been grabbed by a guy, wedding bells are never far off and this is where the TV goldmine begins. Money is no object, and for women who take pride in being reared to be housewives, the wedding day is their moment to shine. The parties these girls plan are, I guarantee, beyond any extravagance you’ve ever heard of.

According to tradition, for example, a truly great wedding dress will weigh more than the grooms father.

It has 35 underskirts, gets you stuck in the stairway, the pink Hummer door and the wedding aisle and leaves permanent scars on your hips due to its weight.

Moreover, it requires you to wear Nikes underneath

it instead of heels, has Swarovski crystals on every available inch and lights up because of the fiber optic detailing. Honestly, none of this is made up.

My personal highlight of the series so far is without a doubt bride Josie’s ‘hoochy’ dancing in her wedding dress to musical artist extraordinaire, Tinie Tempah.

Considering her dress weighs five stone and is wider than she is tall, this girl brings it. It really must be seen to be believed.

Big Fat Gypsy Weddings airs on Channel 4 on Tuesday nights at 9pm. If you’ve missed an episode or simply want to relive the best bits, never fear. The full content is online on 4oD.

Describing the ceremonies in Big Fat Gypsy Weddings as ‘flamboyant’ probably isn’t far off the mark

Boxing Clever – The West Wing In the second part of our series looking at the DVD boxsets you must own, Dermot O’Rourke describes how watching The West Wing makes you a better person

A

t this time of year there is nothing worse than politicians calling to your door. It’s evening time and you’ve just settled down to watch that DVD boxset. You know that one. The one your friend is, unsurprisingly, addicted to and won’t shut up about it until he has everybody within a ten-mile radius of him not shutting up about it. But then suddenly your door bell rings.

You get up to answer it and before you realise your schoolboy error, the local politician has spotted you through the glass. You are now politely obliged to open your door, listen to him bore your face off with politics, and hand you leaflets you don’t want. If this sounds like an unwelcoming scenario, how does a recommendation on a thoroughly addictive DVD boxset about politicians talking about politics sound?

The West Wing Season 1, however, is very far from the mind-numbing politics we’re used to and is definitely better than the boxset your friend has recommended. Despite its realism (for which it has been applauded even by former White House staff) and storylines dealing with potentially dull political issues, the show manages to be very engaging and

completely enthralling whilst avoiding high drama clichés of terrorist attacks and president’s daughter kidnappings.

The show focuses on the President of the United States, Josiah Bartlet (Martin Sheen), and his White House senior staff, as they try to introduce legislation, handle delicate political issues and avoid media catastrophes. Writer Aaron Sorkin (The Social Network) has created some incredibly witty and insightful characters who manage to carry more charisma than any local politician, despite experiencing less than two hours sleep a night.

It is a very dialogue-heavy show, but this hallmark is where the real ingenuity of The West Wing lies. The lines are rhythmic and have a rapid-fire delivery, but do not leave the viewer behind. The dialogue scenes are usually accompanied by a long tracking shot in which the characters walk the corridors of the White House while talking, adding dynamism and energy to what could be visually uninteresting conversations.

Each episode is extremely satisfying. Long story arcs over the entire series intertwine smaller arcs within each episode, which are usually connected by a single

idea or theme. The narrative is combined with a cinematic visual style, which makes each episode feel like a small feature film.

The West Wing manages to humanise politics, and Sorkin makes an intriguing moral conflict out of each important decision the Oval Office undertakes. With likeable characters and intriguing plotlines, The West Wing ultimately offers a welcome escape from the grim reality of monotonous Irish politicians on the canvas trail.

Martin Sheen was the dignified President of USA in the hit show.

19

15 February 2011

FILM

O-two

Oscar the grouch It’s that time of year again. Film and TV Editor Jon Hozier-Byrne fills your appetite for Oscars, previewing the delights and thrills to witness at the 2011 ceremony

D

o you like expensive dresses, tiny golden men and James Franco? Then the Academy Awards 2011 might be for you. This year’s ceremony returns bigger and bolder than ever, but with all the politics, vote-canvassing and questionable decisions we’ve come to know and love.

Not all films, in the eyes of the Oscars, were created equal, and 2011 looks to be a clearer example of this than any year in recent memory. Following last year’s dramatic Avatar versus The Hurt Locker build-up, ten films have again been nominated for Best Feature, the front runners of which include The Social Network, Black Swan, 127 Hours, Inception, The Fighter, True Grit and…oh yes, The King’s Speech.

The Social Network managed to encapsulate the zeitgeist of a generation into 120 minutes. Black Swan managed to contrast the beautiful and the grotesque into one of the most powerful artistic statements of the last decade.

Inception changed the way we consider action films, and pushed the technological and aesthetic limitations of the industry as much as James Cameron did a year before, but this time, in the right direction. The King’s Speech is alright.

This is what makes the seeming inevitability of The King’s Speech win for Best Picture all the more infuriating. As much as critics fell over each to slap director Tom Hooper on the back and push anyone with a medical card and a living memory of the king himself into cinema, the fact remains; The King’s Speech was not exceptional in any way.

If you had to make a list of things the Academy loves, it would read something like this; a non-fiction biopic, a historical setting, a disability (preferably one that in no way disfigures the handsome lead), a class dichotomy, and always, always, Nazis. The King’s Speech isn’t so much a film as it is a shopping list of must-haves to walk away with Oscar gold.

There’s nothing about this film that isn’t carefully considered with the Oscars in mind and nothing about the narrative or the characterisation isn’t specifically designed to take advantage of the aging Academy’s particular tastes. The Academy vote-casters have a large Jewish demographic? No problem. Just leave out the real-life main character’s admirations for Mr Hitler, and suddenly turn the third act into one disabled man’s quest to stop Nazi Germany in its tracks.

But how will Colin Firth’s Bertie resolve the overhanging dramatic question: his terrible stammer?

Well, with the help of a member of a lower class, of

course, thankfully played by a credible stage actor and previous Oscar winner. Best of all, it can’t be criticised as emotionally manipulative, because the film can hide behind the always-flimsy premise of being based on a true story. Throw in oft-snubbed British actors pretending to be monarchs, and you’ve got yourself a full house as far as Oscar is concerned.

Why then has so much time and effort been put into making a film specifically to win gold statuettes? The film is a bare-faced plea for Oscars as is, but that’s before the inter-academy lobbying and ‘for your consideration’ advertising starts. Executive producers Bob and Harvey Weinstein are notorious for doing almost anything to gain the Academy’s favour, and have been described as “master Oscar campaigners”, with all the spurious associations that title implies. The answer, of course, is money.

While the big summer releases, like the fantastic Inception, fade into the background of the Academy’s memory, smaller ‘serious’ films are saved until the precious few months before the deadline for Oscar consideration: December 31st. With these films’s buzz fresh in the Academy’s mind, a small film’s chances are exponentially raised, which means a longer stretch in cinemas, and crucially, a golden sticker to attach to the DVD box art.

Which is why, defying all logic, Tom Hooper has earned himself a nomination for Best Director, in place of the infinitely more deserving Christopher Nolan. Love or hate Inception, you cannot deny it to be one of the most extravagantly directed films of all time, and Nolan undoubtedly makes bolder and better directorial chances than the by-the-numbers filming of The King’s Speech.

Ultimately, Best Director and Best Picture should go to Black Swan and the The Social Network respectively.

Darren Aronofsky and David Fincher are both superb directors with outstanding filmographies, both previously ignored by the Academy in the past. Fincher’s Fight Club was possibly the best film of the 90s, and was nominated only for Best Sound Effects Editing.

Aronofsky’s extraordinary The Fountain was largely slated by the press, and was booed at Cannes.

Will the establishment see through The King’s Speech’s flagrant manipulations, or will the Academy, generally fearful of the new-media outlet The Social Network represents, fall for the Oscar bait so carefully disguised as a historical biopic? Tune in on Sunday, February 27th to find out – but my money’s on the one where the English guy with the stammer stands up to the Nazis.

The Oscars have thrown up some notoriously contentious decisions over the years.

MUSIC

O-two

15 February 2011

20

A cut above the rest Mitchell Scott and Ben Browning of Australian synth-pop mavericks Cut Copy talk to George Morahan about the influence of Werner Herzog and the freedom of self-production

Cut Copy argue that their sound amounts to far more than just background music.

T

o style a cohesive sound that is both indebted to the pop music’s golden past and dance’s glittering future would seem a contradictory and tricky task. Yet on their past two albums – 2008’s In Ghost Colours and current release Zonoscope – it seems Cut Copy have discovered this fine balance.

But when O-two catches up with bassist Ben Browning and drummer Mitchell Scott, both seem hesitant at calling Zonoscope a groundbreaking evolution for the band.

Browning is sceptical of the term at least: “There are so many factors that make a band evolve, but we wanted to reinvent our sound without intentionally becoming a new band.”

Scott cites a change in influences as a reason for the differences between In Ghost Colours and Zonoscope. “The music we were listening to and were inspired by was different this time around. We want different influences to come through in the music.”

Whilst Colours was a pleasant hybrid of psychedelia, dance and indie, certain tracks on Zonoscope clearly display a broader palette of influences. Whether listening to the Kraftwerk-like motorik of ‘Need You Know’ or the floating Beach Boys-style harmonies on ‘This Is All We’ve Got’, it’s clear that Cut Copy have progressed beyond the Modular sound they developed on their debut: Bright Like Neon Love.

Modular of course being the Australian label that spawned a wave of Australian indie-dance during the 00s, with Cut Copy leading the way, but Browning believes that while they are indebted to their label, the band has now advanced far from where they were in 2004.

“The Australian electro-pop sound that developed over

the past five years or so, we’re definitely part of that and the fact that a label can get an identity and a trademark sound is pretty cool,” he says. “I think Cut Copy belongs to that label, but we’re thinking about our evolution as a band more than the label’s.”

However, the allusions to 80s synth-pop that anchored their debut are still prevalent; slap bass and bouncing synths are littered across Zonoscope. Scott fails to recognise the blatant similarities. “That’s one thing that people bring up; our strong 80s influence,” he explains. “It’s not a sound we’re consciously going for. Our influences come from a number of different decades.” Browning’s tastes go even further back and when asked if he thought that the song title ‘Strange Nostalgia for the Future’ was especially indicative of the band’s sound, he could only agree.

“We’re very sentimental about music and its place in society, specifically the album as being important rather than some soundtrack to someone’s Facebook account.

The idea of the album as an art form was at its height in the 60s and 70s, and there are so many albums from that period that we hold in high regard.”

When coming to write their third record, the band had some high-minded ideas they wanted to implement, perfectly distilled by its fantastical title. According to Scott, Cut Copy “wanted Zonoscope to be a word that didn’t exist.

We were trying to create something that was new and we wanted the album to be a world of its own.”

Browning expands on that point rather eloquently.

“Werner Herzog’s Fitzcarraldo was a big influence on this record. So, when we were making the album, we wanted to imagine we were making a film soundtrack or creating a world you could actually view into. So a Zonoscope would be this made-up lens or view finder to this world we created.”

Whereas, In Ghost Colours was produced by Death From Above kingpin Tim Goldsworthy, lead singer and creative force Dan Whitford (in collaboration with the rest of the band) was in charge this time around. It allowed the band to apply some more of those ideas, but the change was not a radical one.

“All the Cut Copy albums have really been produced in a large part by Dan,” he says. “He does a lot of work on the arrangements and the writing, so it was a pretty natural progression to take the reins on this one.”

The decision to self-produce was born of the band’s experience in the studio and Browning believes it proved beneficial. “I think the guys gained a lot of confidence from recording the first two albums and we felt we could take control of this one.”

Zonoscope is a record to be proud and while Browning and Scott are happy with the final product, they are also wary of the band’s lyrics being misinterpreted by critics and audiences alike. “The lyrics and imagery on our record aren’t just about booty shaking; there are allusions to deeper, heartfelt things. Lyrics are always weird because there’s so much interpretational value in them. One man’s deep and meaningful may sound like tripe to someone else.” Either way, Zonoscope is in the public’s hands now, Browning and Scott are looking forward to the next year of touring and care relatively little for the perceptions of critics. “It’s funny how a lot of people pick up on a lot of influences they hear, but are just way off base,” says Scott, with Browning snorting: “According to some, it’s not as instantly accessible as the last record, but I don’t agree with that at all.” For now, the critics and audiences appear to be onside; not that Cut Copy care.

Zonoscope is out now.

21

15 February 2011

MUSIC

O-two

Gruff around the edges Ponderous and laconic Gruff Rhys talks to Anna Burzlaff about his solo work, filming illegal videos and his shampoo bottle collection

W

aiting for Gruff Rhys to finish a sentence can be a laborious task at times. However, when he eventually speaks, the 40-year-old Super Fury Animals frontman and acclaimed solo artist is certainly worth listening to.

Heralded as a Welsh experimental icon, Rhys’s third solo album, Hotel Shampoo, sees a return to a more pop-based sound. The style of the record is epitomised by ‘Shark Ridden Waters’, the album’s lead single. It’s a nautical-themed paragon of lazy summer day listening on an album that specialises in the lighter side of Rhys’s sensibilities.

While Rhys is never one to stick to convention, Hotel Shampoo was born of a more novel concept than most of his albums. With 567 hotel shampoo bottles, 121 shower caps, 28 sewing kits, as well as many more miscellaneous hotel compliments, Rhys found the inspiration for his next release.

“We started touring about 15 years ago and I decided that I was going to build a hotel out of all this stuff,” he recalls. “So I kept collecting until about three years ago, then I started organising them into boxes and it was about the same time as I was writing this record, so I stole the title from the hotel.”

As strange as Hotel Shampoo’s genesis may sound, it doesn’t end there; the hotel in question proved a source of ideas and motivation as the record was coming together. “It kind of helped me finish some of the songs. If I was in doubt, I’d try to think of an imaginary shampoo or shower gel or something. Like ‘Honey All Over’ would be an imaginary shower gel and ‘Vitamin K’ would be some weird biological shampoo.”

One of the few songs to escape the album’s mostly introspective tone was ‘Shark Ridden Waters’, which was spontaneously written with DJ/ electronic musician Andy Votel. “We got into a crazy place in our heads. We got obsessed by the sea, and before we knew it we’d recorded ‘Shark Ridden Waters’ which was quite unplanned.”

For Rhys, one of the most exciting aspects of the single was its video, which he feels to be a Jean-Luc Godard-inspired comment on social networking. “I wanted to make a video about social networking and how people now are sort of living two lives simultaneously,” he says. “I wanted to be in the most ridiculous, lavish scene, you know, but completely ignoring it.”

Filmed in the South of France, the video’s creative process was an unusual one with a low

Since Super Furry Animals emerged on the scene in the mid-90s frontman Gruff Rhys has established a reputation as a genuine musical eccentric. budget, replica guns, counterfeit money and police: “It was just extremely dodgy. They [the police] asked to see the permit for filming and we didn’t have one so they threw us out of the village.

It was mental.”

The whole process of making videos and producing music is extremely different for a solo artist than for a band. While Rhys acknowledges the security being in a band provides, he appreciates the freedom of solo work: “It’s very different, but I suppose the group has been going for so long that it’s given me everything in a

“They [the police] asked to see the permit for filming and we didn’t have one so they threw us out of the village. It was mental”

way, and I love playing with the group, I suppose it’s amazing getting to do something different and recharge the batteries.”

Any worries of Rhys growing tired of Super Furry Animals can quickly be put to bed as he explains that they still have yet to reach their goal of creating a completely unique sound: “It’s a fine line sometimes between making something ridiculous and making something unique without making it completely unlistenable.”

It may sound cheesy, but Super Furry Animals have built their longstanding career upon a core of friendship, a fact which has not only ensured their survival, but also their humility. “We formed after having known each other for a long time. I think it’s that when you start a group as friends, it’s maybe a bit more of a solid grounding than other ways.”

However, for the time being, and with ever burgeoning outside commitments, solo work is the best option for Rhys: “I mean most of us have kids and stuff, and I find myself not able to be in the band and live normally. When I do stuff on my own I can do it at my own pace and take time off. When we’ve all got our shit together, we’ll make the tenth album and tour for three years!”

While children, producing, filmmaking and tours may sound exhausting to some, Rhys is quick to emphasise his laid-back approach towards it all: “I’m lucky enough that I don’t have to have a real job. In that sense I feel quite lazy. I’ve hardly toured in the past two years and the album took three weeks to make, I don’t feel like I’m overstretched.”

For now, Rhys only has to worry about his tour later in the year. While little is definite for Rhys’s future schedule, you can be sure much more is to come from the Welshman. After over 23 years in music, Gruff appears to have changed very little and – verging upon of the release of his third solo album – is as calm and cool as ever.

Hotel Shampoo is out now.

MUSIC

O-two

15 February 2011

22

Band of brothers Band of Horses frontman Ben Bridwell speaks to Jamie Martin about the inner conflict between pleasing his audience and staying true to his art

W

ith their latest album Infinite Arms lauded as one of 2010’s best releases, Seattle’s Band of Horses seem to be taking the reins with great enthusiasm

and passion.

The album fully showcases the talents of their new lineup and the evolution of frontman Ben Bridwell as a songwriter. For Arms, Bridwell has recruited talents such as guitarist Tyler Ramsey and Ryan Monroe on keyboards to give another dimension to the new material as well as old favourites from their two previous albums. Bridwell is sweaty and exhausted having just finished the encore, but he is accommodating and polite when O-two asks for an interview.

It’s clear that Bridwell and the band get a rush from performing live and connecting with their rapidly expanding fan base, but the dedication of their fans can be somewhat of a double edged sword; “Thinking that people would want to get married to the songs because they remember these experiences,” he says.

“It’s incredible to have that kind of impact on people’s lives but that’s also the only thing that screws with me.

There is a bit of responsibility with that, but I can’t let that interfere with what I do to keep it pure for myself.”

It is obvious that the integrity of his songs is the most important thing to Bridwell, but he does not bear that burden alone as Infinite Arms sees input from the entire band in the writing process. “We do demos of the songs once we all get together. It’s like you follow a template. You know what the person is going for so you try to do it tastefully without stepping on the toes of what the song needs. You have to live with this.”

He continues: “This is a documentation of your band and a documentation of history. You have a responsibility to make it as well as you can. So I am trying to find the perfect balance between searching for some sort of idea of perfection but at the same time completely disregarding that whole mentality and just doing what feels good and what sounds natural.

Sometimes what sounds loose is my favourite music.”

While he has a deep admiration and love for the fans, Bridwell strikes O-two as a man who does not pander to other people’s expectations of the band.

There is a front and foremost appreciation for his art

There’s no apocalypse in sight for this horseman. Ben Bridwell on stage.

that is essential to stay true to.

“If there is anything I’ve learned on this third record, it is that some people don’t really get it as much.

Some people wish we could write another ‘Funeral’ [from 2007 debut album, Everything All the Time] or something.

“You have your whole life to write your first record and then you have six months to write your second.

Then you take your time with the third one and possibly sink your own ship. My thing is, whatever comes naturally to you is what you have got to do and don’t think about anything else. It’s art, so why let it be anything else?”

For some songs, like the opening track ‘Factory’ on the new album, the lyrics are simplistic and bare, but their basic nature is what makes them work. Bridwell

“I got a family.

I can support them with my job and I love what I’m doing. To me that’s success”

is strong in his belief that he shouldn’t have to create lyrics that feel inappropriate to his songs.

“I couldn’t do it,” he says. “I even had advice from a really smart producer who heard it. He advised me that the lyrics might be too simple but I can’t do anything other than what I do. I could try but then it wouldn’t be pure,” he explains, before adding: “It’s not written for anyone else, it’s written for me.”

In an industry with its fair share of misguided notions, it is refreshing to see a band with such conviction. It is equally refreshing to meet a performer who does not seem to have an egotistical bone in his body. When asked if he thinks of himself as successful, Bridwell does not list off his musical accomplishments and record sales, but looks to his family and his art as his great achievement.

“Absolutely. No doubt man. I got a family. I can support them with my job and I love what I’m doing.

To me that’s success. I don’t need another rung on a ladder unless it’s just expanding my own musical horizons. It’s only about art; it’s not about money or success.”

So what does the future hold for Band of Horses?

“Having been able to self-produce this last record was liberating as hell, so it would be nice to think that we can continue with that. I don’t know if it’s the right thing to do and I’m not sure if it is the move that we actually will make, but the fact that we learned that we could do it was so cool and it opened up a lot of possibilities for us.

“On this record, I had to showcase Tyler, Ryan, Bill and Creighton. I had to sow those seeds for what is the future. It is really a cohesive unit that I hope will last forever. Luckily, people have received it well and we are very lucky for that, but it is created for us and it’s all about the fact that we are having fun. That’s all that matters man.”

Infinite Arms is out now.

23

15 February 2011

MUSIC

O-two

Write Like Apes This fortnight, May Kay discusses touring, filming, and their continuing obsession with Solpadine

Frankly, O-two doesn’t care about your perfect Valentine’s Day. And since we’re in such a foul mood, we’re going to let Ethan Kiernan guide you through his post-break-up mixtape ‘NOT FAIR’ – Lilly Allen Miss Allen hits her futile ex where it hurts and she’s not shy about doing so. Why just dump him when you could insult the very thing that makes him a man. This is just a brutal deconstruction of the male ego. Horrifying.

‘FUCK YOU’ – Cee-Lo Green Ditch your itch with this chart-topping sensation.

Like O-two, they might not understand all of the words, but they’ll get the gist of it. You can’t make it any more obvious than ‘Fuck You’.

‘NO WOMAN, NO CRY’ – Bob Marley Being dumped is never fun so lift your spirits with this light-hearted reggae wonder. As the old saying goes: there’s plenty more fish in Coppers.

‘IT’S A HEARTACHE’ – Bonnie Tyler This is probably one of the most depressing songs ever written. Your housemates may hate you for this one, but nothing works better than a bit of Bonnie to cure the break-up blues.

‘ALL BY MYSELF’ – Celine Dion Everybody deserves a Bridget Jones moment once in a while. So, throw on the trackies, grab the hairbrush, crank up the volume and indulge in whatever calorific contents you have stuffed at the back of the fridge.

Mmm...Salmonella.

‘BROKEN STRINGS’ – James Morrison (featuring Nelly Furtado)

If you plucked too hard on his “love string”, his heart won’t be the only thing bleeding because of you.

Maybe put this one down to experience.

‘YOU’RE SO VAIN’ – Carly Simon Rub a man’s metrosexuality in his face with this 70s classic. As bad as it may seem right now, if he spent more money on cosmetics than you did, it’s probably for the best.

‘I WILL SURVIVE’ – Gloria Gayner Hell hath no fury like a woman scorned and ‘I Will Survive’ emphatically proves this once and for all.

Gayner’s disco classic is the ultimate post-break-up song and will give you all the courage/senselessness needed to make that ill-fated drunken phone call to your bastard of an ex.

‘I USED TO LOVE HER’ – The Saw Doctors A merry jig to lift your spirits and probably the most reassuring thing you could hear in a situation like this next to “there’s plenty more arse in mass”. ‘I Used to Love Her’ is the perfect tune to motivate you to shower and change out of those PJs you haven’t washed since the break-up, ya dirty scoundrel.

‘DON’T YOU FORGET ABOUT ME’ – Simple Minds One word... CHOON.

‘LOVE SHACK’ – The B52s It’s not really a break-up song but sure it’s a bit of craic. ‘Love Shack’ will put you in the mood to get out, get the shift and get over it.

WE’RE GOING ON TOUR AGAIN! Thank the Gods. It’s been so long. It’s been awful. It’s been boring. My sleeping pattern has gone back to normal and everything. Disaster.

We’re releasing the second record in the UK in a couple months. I miss the taste of 3am Ginster’s slices in my dehydrated mouth. I miss waking up on the floor of the van beside some dried in beans.

I miss waking up in the middle of the night to wild jungle noises that turn out to be the collective snores of four drunken men. It’s very interesting stuff, I’ll record it for you sometime.

There are a few things to do before we leave. The van door is falling off and our bums keep getting sore, because there are metal things rising from the depths of the seats. Also, Lee is pretty high maintenance so we have to remove an entire row of seats in favour of a clothes rail (he has some weird fear of creases). He totally goes into a meltdown.

On the upside, the UK haven’t gone all tyrannical on us about our beloved Solpadine, so we can look forward to fog-free heads the morning after gigs thanks to our fizzy friends.

Hopefully, we’re going to do some gigs around Ireland before we leave so we’re getting some new merch together beforehand. Hands up who’s never imagined having figurines of themselves?

Thought so. You all have!

It has to be possible. The only question I’d have on them is whether or not you’re obliged to stick to your actual body proportions when designing them, because I just don’t see the point in that case. Do you not just usually get your own head on a Barbie body and that’s literally it? No ‘actual proportions’ stuff please.

Another thing to take care of before we leave is a video for the first single ‘Jenny Kelly’. If any of you budding filmmakers are out there looking for a project, make up an easy €0 budget video for us.

We’d love it if you did. I’m unimaginably good at setting tables, but I’m beginning to think that’s where my extreme creativity ends, so I need your help.

Tip: If anyone’s looking for a money-making scheme, how about making an enormous batch of reinforced cable ties. The election candidates all seem to have gotten a raw deal from wherever they got theirs. The streets are paved in posters.

MUSIC

O-two

15 February 2011

24

New York state of mind New York musician Andy Butler chats to Emer Sugrue about the mixed reviews for their latest record and their relationship with super-producer Tim Goldsworthy

W

ith a name more suited to a bodice ripping lady-porn novel than a dance-punk, house group, Hercules and Love Affair have taken the critics by storm and are on the verge of becoming a household name. Starting his career at 15 as a DJ in a Denver club hosted by the epically named Chocolate Thunder Pussy, it was New York where frontman Andy Butler really found his inspiration.

“I moved to NYC in 1996. It was frustrating; I felt that sooner or later I was going to have to make it happen myself. So, in that sense, it was a good kick in the ass for me,” explains Butler.

“In 1996, we had people like Rudy Giuliani [former NYC mayor] who were making dancing a crime. It was a bummer, I got sick of going to lounges to hear music; I was ready to start dancing in a dance club again. But it all changed; there was that electro revolution, bars started getting their licenses back. It revived itself a little bit and even today, it’s still trying to figure itself out.”

Hercules and Love Affair’s eponymous debut album was released in 2008 to positive reviews, with their single ‘Blind’ reaching number one in the UK dance charts. However, their latest offering, Blue Songs, was released to more tentative reception. O-two asks Butler what his thoughts on the album are. “Y’know for a second record, which I had a bit of nervousness about, I think we’ve gotten a fair-to-good reception. I’m not going to write ‘Blind’ no. 2. I have no desire for expectations. I’m not interested in being pigeonholed or trapped in some media corner.”

Butler muses that this current record is more personal; “I think it’s pretty obvious you’re going to hear dance music, there’s going to be moments of disco and revelatory, arms-in-the-air disco,” he says. “There’s also going to be a little more of a sinister, angry, wicked vibe and there’s also this vulnerable and melancholic side to the record. So, in general, the emotional range is different; I don’t even think there was an emotional range on the first record.”

One example of the new emotional aspect is ‘Boy Blue’; a song dedicated to Sinead O’Connor who Butler feels had a profound effect on his music.

“She’s one of those artists that could help those who were afraid to not be so afraid,” he explains.

“Everything about her was just so striking, something so odd yet liberating. She’s being herself in a way that could bring a lot of criticism

Hercules and Love Affair specialise in the type of electro-pop for which New York bands are renowned.

and vitriol. She sang with such rage in a lot of her songs. And the way she was able to channel a lot her pain in her music always spoke to me.”

Other major changes were made from the first album with a change of record companies, from DFA Records to Moshi Moshi, an independent London-based record company. Rumours abounded of infighting and enmity as the reason for the band being dropped, but Butler explains that it was all for the best.

“It was a business decision,” he says. “DFA was part of EMI; EMI was crumbling, EMI started to cut their losses and DFA was one of those losses.

We went by the wayside, but it is a somewhat amicable parting of ways. The animosity within DFA was more between Tim Goldsworthy [DFA co-founder], who was my producer, and James Murphy [DFA co-founder/LCD Soundsystem] who hadn’t spoken in two years.

“Tim essentially left DFA and moved back to England to do things like the Massive Attack record and Goldfrapp. He just severed all ties with the label. I don’t know if one day they’ll make up.”

One of the most distinctive features of Hercules and Love Affair’s work is the constantly changing cast of collaborators. Past contributors have included Kele Okereke from Bloc Party, Antony Hegarty, lead vocalist in Antony & The Johnsons

and Aerea Negrot, a Berlin-based techno artist.

“I think myself and Antony had a very intimate collaboration. We were collaborating on songs in really different ways at different times. There’d be some songs, like ‘Blind’, where I wrote all the words and melody and he just added himself to it.”

Butler views himself more as a melody person and how he likes to shape it as much as possible but had massive praise for those he collaborated with: “In some ways Antony is a shining star; the songwriting ability he has is really amazing. But then I found people like Aerea Negrot. When I first handed Aerea a piece of music, I told her very specifically what I wanted her to sing.

“She’s very improvisational; she comes from performance art. So for the second song, she said ‘just give me the lyrics’. I handed her probably 100 words and in one take recorded the whole thing.

We didn’t edit a thing.”

What with random singers, changing labels and the bizarre mixture of disco and Sinead O’Connor, you would think that Hercules and Love Affair would be a terrible cacophonous jumble, yet somehow it works. Like the city of New York that inspired it, this music has something from everywhere and something for everyone; and it’s overwhelming yet enticing all at once.

Blue Songs is out now.

25

15 February 2011

MUSIC

O-two

CD reviews Album of the fortnight

Artist: Treefight for Sunlight Album: Treefight for Sunlight

Artist: Sea Of Bees Album: Songs for the Ravens

✮✮✮

✮✮

Artist: Elbow Album: Build a Rocket Boys!

✮✮✮✮ It’s a strange time for Elbow; after a decade in the comfy confines of cult-adored obscurity, they find themselves releasing their “difficult” post-fame album. And the differences between Build a Rocket Boys! and Mercury Prizewinning The Seldom Seen Kid are immediately apparent. ‘The Birds’ meanders (seemingly aimlessly) before reaching its glistening peak, whilst the band consciously deviates from the lush, orchestral stylings that made their previous effort such an emphatic success.

Instead, Elbow choose to explore the dynamics of building tension and climactic release to rather dizzying effect.

Of course, some things never change; the band is, for the most part, as anthemic as ever and Guy Garvey remains their anchoring force.

He’s grown into a remarkably versatile vocalist and his bandmates realise the importance of keeping the arrangements sparse enough for him to flourish. Whether compounding wit and heartfelt sentiment on ‘Jesus is a Rochdale Girl’ or harnessing the unassuming beauty of album opener ‘Lippy Kids’, Garvey and Elbow pull it off without losing their everyman charm.

In a nutshell: Elbow’s Kid A. Fantastic.

- George Morahan

The accurate title for this album? Now That’s What I Call Noughties Indie! of course. Yes, barely a year after the decade ended, suspiciously happy Denmark exports Treefight for Sunlight are selling it on in repackaged, processed form.

‘You and the New World’ is the giddy rhythms of Vampire Weekend, without the fun.

A saccharine sweet 60s sound, lifted right off label-mates Fleet Foxes, permeates through the album. It’s all so tritely twee. I imagine it’s a decent approximation of what a lethal dose of Prozac feels like.

However, the terrifying lows are balanced by some creamy middles. ‘Facing at the Sun’ is a functional slice of summer pop and a major earworm. ‘Time Stretcher’ closes the album at a slow pace and gives the melodies room to develop. And at a half-hour, it’s mercifully short.

But make no mistake; this album will do little other than remind you of the superior music it aspires to be.

In a Nutshell: File under – landfill indie.

- Cormac Duffy Artist: Blue Songs Album: Hercules & Love Affair

The debut album from Seas of Bees (known as Julie-Ann Baenziger to her parents) has an intriguingly raw and intimate quality to it.

Centred on the fragile beauty of Baenziger’s voice and complemented by hazy, largely acoustic backing, the results are evocative and haunting.

Album highlights, such as ‘Won’t Be Long’ and ‘Fyre’, best represent the record’s self-described “freak folk”. It’s certainly an enjoyable listen, but – as opening track ‘Gnomes’ attests – it can sometimes verge on shrill.

The majority of the record never veers too far from mid-tempo and Baenziger has happened upon a perfectly pleasant formula. ‘Sidepain’ and ‘Marmalade’ buck the trend and will get your toes tapping, but it’s the ridiculously catchy chorus of ‘The Gold’ that steals the show.

Overall, Songs specialises in ambient and atmospheric vibes that can’t help but draw you in, although it could benefit from a few more upbeat numbers.

In a Nutshell: A seductive slow burner.

- Claire Cassidy Artist: Cut Copy Album: Zonoscope

✮✮✮

✮ O-two actually had to check half-way through listening to Blue Songs that we weren’t accidently listening to the first track on repeat the entire time; that is how forgettable a record this is.

Hercules & Love Affair’s second album could be classified as a genuine 1980s throwback collection of dance-inspired songs, but Blue suffers due to a lack of progression from the group’s debut as well as for the loss of Antony (and the Johnsons) Hegarty as a dynamic vocal presence. Bandleader Andy Butler clearly knows his way around the history of American dance and house music, but the songs rarely rise above loving pastiche.

The album blends into the background, without any standout tracks. If you happen to like 80s beats on a more laid-back level, Blue Songs might help to ease the odd hangover since your brain won’t have to process the changing tracks.

Generally speaking though, the result is rather boring to say the least.

In a nutshell: Inoffensive, yet in no way memorable.

-Sophie Lioe

Zonoscope is the third album from Australian synthpop group Cut Copy. It will sound familiar to many people, not only because of its similarity to their 2008 album, In Ghost Colours, but also because many of the tracks have a definitively 80s vibe running through them, especially reminiscent of the Pet Shop Boys. The style is one dominated by synth beats, but tempered by drums and bass.

The album is certainly a competent offering; featuring upbeat tunes that will stick in your head, such as ‘Take Me Over’. It must be said, however, that it can become overwhelmed by its nostalgic vibe, with the song (and title of ) ‘Strange Nostalgia for the Future’ being perfectly indicative of the album’s sound. Anyone looking for a more modern sound will have to be content with the 15-minute ‘Sun God’ which closes the album.

In a nutshell: An enjoyably retro record.

- Steven Balbirnie

Food & drink

O-two

Midnight munchies

15 February 2011

26

Green 19 is considered by many food connoisseurs to be one of the most reputed eateries in Dublin.

Stop the taxi to get some taco fries with Elaine Lavery’s guide to post-pub provisions

Restaurant Review: Green 19 Looking for the latest culinary hotspot? Carol Murphy samples the food and delights of the trendy Green 19 in the city centre

W

So wrong yet so right: fast food is the archetypal guilty pleasure on a night out.

E

veryone has that one guilty pleasure. Some kind of sick food combination or something they just completely indulge in, to their shame, every now and again. Mine is a medium Pepperoni Passion Pizza from Domino’s. Each time I eat one, I promise myself never again. But this article is not interested in the topic of guilty pleasures; today our attention turns to ‘filthy’ pleasures. Yes, I am talking about those moments of greasy ecstasy that occur after a night on the razzmatazz, usually about 3am.

A quick Google revealed not one, but four Facebook pages dedicated to this filthy ritual: ‘Craving greasy food after a night out’; ‘My favourite part of a night out is the food after’; ‘I LOVE FOOD AFTER A NIGHT OUT’ and for the poor inhabitants of Hereford: ‘We need FOOD after a night out in Hereford’ – a page of petition created by the city’s inhabitants in their plight to find a fast food joint to serve the city’s deprived, starving and needy as they wander the streets by night.

Thankfully we are not so hapless in Dublin’s fair city. With chippers, Indian, Chinese and kebab establishments aplenty, we are spoilt for choice.

All four corners of the globe are represented by the ‘cuisine de nuit’. However how authentic these gourmet delicacies are, I am not at liberty to comment on, since one must be gee-eyed to sample said gourmandise. No guilt, just filth.

Now, I must confess that I needed a little help in composing a list of reputable establishments for

recommendation, as while I cherish memorable evenings spent in places like Chapter One and Patrick Guilbauds, somehow the restaurants I frequent on my nights out don’t make the same lasting impression.

This is clearly no reflection on them; it’s I who can’t handle the booze surely…

So here’s a taster of what to expect: Charlies What: the McDonalds of the Chinese world Go for: chicken balls, chips and sauce Roma II What: a legendary, proper greasy chipper Go for: to find the friends you lost in Coppers Ray’s Pizza What: proper old school-style pizzeria Go for: none of your fancy stone baked, thin base Italian classic topped with Parma and rocket crap Rick’s Burgers What: burgers made by Rick Go for: orgasmic post club, pub, mass, nuclear fallout food Other popular venues include McDonald’s, Burger King, Abrakebabra, Iskanders and the Harcourt Diner.

But a final word of warning in the words of one diner’s experience: “This is the important thing – when you think you had something amazing there the other night, never EVER, go back and see if it was a nice as you remember when you are sober. I have tried this – it does not work!”

hether you’re going for lunch with friends or having dinner with family, choosing where to eat can sometimes be a difficult decision.

Well I may have found the answer in a little haven located right in the heart of town on Camden Street.

Green 19 is a slick, chic and cool little eatery that makes you feel you’re in the middle of the meatpacking district in New York City. It’s difficult to find fault with the place and trust me, I tried.

Everything is effortless, timeless and cool.

Green 19 opened not too long ago, and won the Santa Rita People’s choice award for best restaurant in 2009. Whether you want to stop by for a quick bite, or just chill out and enjoy the funky art and interior while sipping on a cocktail, this is the place for you.

They offer specials on Thursday, Friday and Saturday nights, which is all the encouragement we pennypinching students need for a night on the tiles.

Greeted on arrival by friendly and attentive staff, we were escorted to our table. Reservations are only accepted after 6pm although walk-ins are permitted.

The warm atmosphere is only enhanced by the old school tunes playing in the background.

The menu came on a clipboard, which impressed me before I even looked at what they had on offer.

All main courses are around €10 and which is about standard in this day and age. I’m a fan of good wholesome food, so for a starter I had vegetable soup; honestly I had no complaint as every single drop was delicious.

The main course was duck accompanied by mash and choux croute. It was so tasty and juicy that I actually scraped my plate clean. The portions are quite big which is of course important and food is piping hot on arrival.

After two courses, if you’re feeling daring you might then indulge on their famous warm chocolate brownie with vanilla ice cream. It only cost €5 and was so good that I refused to share any of it. After my meal, I lazed back and enjoyed one or two minty mojitos and enjoyed the company of my friends. Good food, good cocktails and an inviting atmosphere. What’s not to like?

19 Camden Street Lower, Dublin 2 Ireland, Tel: 353 (1) 478 9626 Management@green19.ie.

Mon- Sat, 10am – 11pm.

Sunday, Midday- 10pm.

27

15 February 2011

Theatre

CULTURE

O-two

Clap your cans say yeah STOMP creator Steve McNicholas speaks to Quinton O’Reilly about a production filled with music, energy and random junk

S

TOMP is one of those creations that you’re definitely aware of but never knew. Inspiring a multitude of adverts, shows and other facades of popular culture, it harks back to a day of youthful improvisation where pots and pans became your own personal drum kit.

Mixing theatre, choreography and comedy along with common objects such as bin lids, tubs and water cooler bottles as makeshift instruments, the show’s uniqueness and spontaneity means that it has been going since 1991 and shows no sign of slowing down.

One of the main driving forces behind STOMP’s success is its creator Steve McNicholas. Along with his friend and co-creator, Luke Cresswell, he came up with the idea when busking in their hometown of Brighton. McNicholas chuckles when asked how the show was created, a question that often arises owing to the show’s premise. You would be forgiven for thinking his answer would be short and sweet, yet McNicholas details this tale with a certain fondness.

After both had busked in locations such as Derry, Paris and Amsterdam, Cresswell, who played the drums, began trying to make his role more central to their performances. To do so, he strapped a snare drum around his waist for mobility so he could be at

“It’s as hard as playing a game of football, the injuries the performers get are more like sports injuries than dance injuries” the front when performing.

It was only through numerous moments of improvisation that this busking act began to utilise more common items such as bins; when the Edinburgh Fringe Festival came about, the idea of harnessing this creative streak gained momentum. “[Before we went in Edinburgh], we just went to our local hardware store in Brighton and we bought a dozen dustbins,” recalls McNicholas. “We couldn’t rehearse anywhere in town because it was too noisy, so we pulled the bins up to the top of the hill and we worked out a routine and really that was the birth of what became STOMP.”

STOMP has enjoyed significant success since it debuted in the summer of 1991.

The show was reasonably successful, but McNicholas and Cresswell had only expected it to last for around a year. However, it was not until a tour around Australia happened that they quickly found the show appealed to a much broader audience and began enjoying its success.

Taking into consideration the nature of the show, the sounds and structure of the show play a huge part in shaping the performance. McNicholas mentions that he and Cresswell have certain criteria to decide what works and would benefit the show.

“There’s two things that drive each routine when we go through them,” explains McNicholas. “One is what’s the rhythm? Is it captivating? Is it interesting?

And a STOMP rhythm can’t be a regular beat, it’s not like dance music or regular beats, it has to be interesting to follow a pattern, a journey in that sense they’re almost songlike structures but really more in a way classical structures in that they have to grow and build” McNicholas swears he never categorises the show as dance, but instead sees it as “approaching movement from the standpoint of a drummer or a musician”. The logic behind this description is that the set pieces have “got to have some kind of visual strength to it; it’s got to have something that makes people want to move as well”.

But he’s keen to stress that this dynamism is designed only to complement the music and the music only: “The sounds and music is the most important thing,” he says. “Everything else is a layer on top of

that. There’s comedy, visuals, but if the music’s not right, even if it’s very funny and people are acting out you can say ‘no, bring it back, bring it right down to the music’ because when the music works, the whole show works.”

The show usually consists of around twelve performers with eight on stage at any one time. Some routines can be so complex that it can take four or five months to properly learn them while another area of concern are the physical demands placed upon them: “It’s as hard as playing a game of football, the injuries the performers get are more like sports injuries than dance injuries. It’s very physical, so we can only have twelve performers with every company and we rotate, they rotate.”

McNicholas is appreciative of the success that STOMP has brought him and for the foreseeable future, wants to continue improving and perfecting the formula. Neither his nor Cresswell’s enthusiasm for it has waned with them updating it to keep the performance fresh.

“When we came to do STOMP together, we were really creating something that Luke and I felt we would like to see. If we were going to the Edinburgh festival, it would be really different and really special and we were making it for ourselves as we were putting it together.” When looking at how they got here, you can only imagine that they’ve become their own biggest fans.

STOMP will be showing at the Grand Canal Theatre from March 1-6.

BACK PAGE

O-two

15 February 2011

28

Please Talk!

What is your worst Valentine’s Day memory?

Catherine Murnane, 2nd Year Law with Politics – I got a card from a secret admirer and cried for an hour thinking I had a stalker. It was from my cousin as a joke.

Madisun list Queen and Oasis as being among their influences.

Campus Band Questionnaire:

Madisun

Dane Beattie, guitarist and lead vocalist for Madisun, speaks to O-two about the band’s links with MusicSoc and his penchant for skipping class Who are your members and what do they play?

I’m Dane Beattie, I play rhythm guitar and sing lead vocals. Charles Frisby plays the sax and piano and he sings as well. Simon Flynn plays lead guitar. Sam McLoughlin plays bass and Niall McEvoy plays drums.

Where did the band’s name come from?

It just kind of came to me. We just wanted a one-word name, a big name. I just thought it was kind of catchy.

I said it to the lads and they really liked it, so we went away with it.

Where do you gig?

We gig everywhere. We only started around November, so it’s only early days. We’ve done Whelan’s and all those kind of places. We’re doing the Student Bar soon and we’ve got Oxegen coming up in the summer. We’re trying to gig once or twice a week and we work real hard as a band.

What do you play on your tour bus?

We all would have different influences. It ranges from slow blues to rock ‘n’ roll to classical, as my cousin plays piano. There wouldn’t be anything not included. It’s all types of music; we wouldn’t want to pigeonhole it.

How do you describe your sound?

Melodic rock’n’roll or stadium rock. There are a lot of different sounds. I’ve heard other people say things even we wouldn’t think of. It’s up to the listener really.

How did you join the band?

My cousin and I were writing for about two years and we thought: ‘There’s something there.’ Some of the songs were really good. We just thought we’d get a band going. We kept on writing, trying to do a LennonMcCartney on it. We found a band, I went to college and I met Niall the drummer. He was in a band with

Sam and they broke up to play with us. We went to MusicSoc looking for a lead guitarist at some meeting and we met Simon there. He was the first person we talked to and he was unreal. We started practicing and it just rolled on from there.

What’s the best thing about UCD? I haven’t really been in about 10 weeks; it has been a bit of a disaster. I don’t know, UCD is just great, but I haven’t seen much of it.

What’s the worst thing about UCD? We’ll be diplomatic and say there’s nothing bad about it.

Who you would you pick to play your dream festival?

I would pick different to the rest of the band. I would probably say The Who, The Rolling Stones, and The Beatles. The band would choose Oasis, Coldplay, and Queen with Freddie Mercury. There are loads that we would choose.

What is your dream venue to play?

The dream would be in the same year, weekend sell-out at Wembley Arena and Madison Square Garden.

How do you differ from other bands in UCD? From what I’ve heard about other bands, we work twice or three times harder than any other band. We practice four or five times and try to gig twice a week. I think its 65 per cent effort, and the songs are good enough. We want to get into the studio and do a proper demo.

In conversation with Cormac Duffy.

For more information visit to facebook.com/ MadisunMusic, or their SoundCloud page. Madisun play the Student Bar on February 16th.

Sive Charles, 2nd Year Arts (right) – A boyfriend asked if I’d like to skip school with him on Valentine’s Day, which I thought was very romantic. Turns out he was skipping school anyway as there was a rumour going around his school that someone was going to bring a gun in.

Ruriko Nagasawa, 2nd Year ALC – One year I made homemade chocolates as a gift but then dropped them.

Daisy Onubogu, 1st Year Law – One year I broke up with my boyfriend, who was going to give me a diamond necklace, because he was getting so much stick over our relationship due our age difference.

- Sean Allman