The College Tribune, The Siren, Issue 6, Vol 24

Page 1

College Tribune Entertainment Supplement 23.11.2010

Electric Six Interview Music

Live Review: Caral Bar창t Page 4


Harry Potter & The Deathly Hallows Part 1 Review Page 11


Campus Style Examines UCD Fashion Page 8


playlist Beady Eye: Bring The Light Beady Eye are the last Oasis line-up, bar Noel Gallagher. Their debut single, a free download available from their website (www., sounds just like how you would imagine Oasis without the man they called ‘The Chief ’. It’s a pretty awful single, featuring Jerry Lee Lewisesque piano with (of course) a ‘60s twinge, mixed with Liam Gallagher’s worst lyrics yet, including the immortal “I’m takin’ you drinkin’” and “we’re fuckin’ tough”. Duffy: Well Well Well About to release the dreaded “second album” after her astonishingly successful debut, Duffy’s first single in two years oozes confidence, and also moves on from the sound of Rockferry. Clocking in at under three minutes, this is a more contemporary sound than previous releases, but doesn’t have the smash-hit potential of something like “Mercy”. A good follow-up, but nothing to suggest that Endlessly will be the runaway success of her debut. Michael Jackson feat. Akon: Hold My Hand The fact that Michael Jackson has released a new single was, admittedly, quite surprising. That it was this atrociously bad, however, wasn’t. It sounds like a duet between two guys going through bad times, who want to hold each other’s hands. Need I say more? Interestingly, though, Jackson himself didn’t feel the song was ready when it was recorded in 2007, so it’s good to know that he made at least one good decision in the last 20 years of his life. The Script: Nothing “Nothing” is an apt title for this song. Apparently they’re Irish, but the lead singer sounds like any one of those other millions of English indie singers that sings in a shit American accent. Just sounds like four and a half minutes of a guy whining. by Ciarán Leinster


Christmas Number 1s Ryan Cullen Christmas is on our nation’s depressed lips. With the lighting of tacky streetlights, glittery gifts and music to make your eardrums weep, our spirits are sure to take another drop. Christmas is a time of the year where tradition flourishes, whether it be nationally or family-orientated. When I was seven, my Uncle Terry hanged himself on Christmas Eve and my family didn’t take his body down till the sixth of January, but that’s another story. Music-wise there is always the great fascination about who will grab the Christmas number one slot. Last year in England, the ‘Rage against the Machine for number one’ campaign overtook Joe McElderry, because of the people’s disgust at The X-Factor’s continually shit releases, and against the record company’s use of the talentless karaoke dribble spewed forth (both acts are closely associated with Sony Records, but shush). In recent Irish records, it is now safe to say that it’s one of the only competitions that results in all losers. The Beatles, Thin Lizzy and the Pogues all had their share of Christmas success, but the vast

majority unfortunately should never have been released. In 1974 Gary Glitter shot straight to the top of the charts with “Oh Yes You Are Beautiful”, a powerful ballad, which due to his recent shenanigans, can be viewed in an entirely different manner. After reaching the top on three different occasions, Band Aid’s (a collective of many twats) ‘“Do They Know It’s Christmas?” also tends to annoy oneself during the festive season. Sir Bob Geldof has just confirmed that a fundraising concert for Ireland will be held in Ethiopia this Christmas due to the current economics state Fianna Fail has left us in. Mariah Carey often rapes our radios with her rendition of ‘All I Want For Christmas’, but the song that dominated the Irish charts over the Christmas of 1992 will be forever remain my most hated. My hostility towards Whitney Houston’s “I Will Always Love You” is quite simply unreasonable. The song (probably about her cocaine addiction) never ceases to make me cringe or self harm. Have a nice Christmas break, and remember one thing....turn off your radio!

The Specialist by Aonghus McGarry

Girl Talk

Gregg Gillis, the mash-up mastermind operating under the name Girl Talk, has been getting a lot of press lately. For a couple of hours last Monday, on the same day as an Irish debt crisis, the Pope reversing his position on condoms, and Aung San Suu Kyi dealing with her new-found freedom, Girl Talk was the most searched term on Google. For those unfamiliar with the Pittsburgh native, it’s worth explaining the concept behind Girl Talk and what all the fuss was about. It’s quite simple. Gillis takes older tracks that have either been totally forgotten about, or have become bona fide

classics, re-contextualises them by adding an overlapping, contemporary top 40 sample, and amalgamates the two into something totally different. Cynics would call it cheating, unoriginal and simplistic, but there is undoubtedly something inventive about the way Gillis operates. Take ‘All Day’, the album he had spent two and a half years working on. Gillis’ latest effort was released free of charge on the ‘Illegal Art’ website last Monday, the resulting furore of excitement sending blogging sites into a frenzy of excitement and resulted in the album’s hosting server crashing under the sheer

The Siren 23.11.10

Choice Music Prize by Conor McKenna For those of you who are unaware, Ireland has its own version of the Mercury Prize. It never draws much notoriety however. The prize itself is provided by IMRO amounting to €10,000 for the winning act. Set up in 2005, the Choice Music Prize has failed to capture the attention of the media or indeed the mass public. Proponents of such prizes often argue that they serve to highlight talent that may be overlooked in their absence. This remains to be seen: Speech Debelle failed to make large music sales after winning the illustrious Mercury Prize, and consequently lost her recording contract. The Choice Music Prize loses out to a larger event, the Meteor Ireland Music Awards, although success is not guaranteed by winning either. Choice Music Prize winners Julie Feeney, The Divine Comedy, Super Extra Bonus Party, Jape and Adrian Crowley are hardly household names, though some of their fellow nominees have become so. As with Meteor’s dreaded ‘New Band of the Year Award’, it seems the award is less likely to bring fame to its recipient. The Choice Music Prize should be scrapped. The €10,000 allocated by IMRO would be best spent paying out royalties to small bands who have yet to receive their share. The rise in music blogging means that people don’t have to listen to prizes like these; they’re capable of making up their own mind what is worthy of buying and what isn’t. If a band displays any talent, a music blog will pick them up. In all honesty, we’re more likely to hear about the success of a band through a blog promotion than through winning the Choice Music Prize.

weight of demand. Music geeks quickly went about tracking down every one of the album’s 372 overlapping samples and setting up dedicated sites, listing source material as varied as Britney Spears to Beastie Boys, New Order to N.W.A. Some of the musical blends are a bit hit-and-miss, while others are nothing short of spellbinding. Lacklustre turn-of-the-decade hip hop tracks such as ‘Can I Get A’, from self-proclaimed ‘Greatest Rapper Alive’ Jay Z, are given a new lease of life through a 1980s sample from hyper-obscure New Wave group General Public. On record, Girl Talk sounds like an ADD computer whizz, skipping between samples every 10 or 15 seconds, while his live show tends to be more focused, keeping individual tracks playing for longer, making it ideal party music. In theory it shouldn’t be as exciting as it is. It’s just a guy playing a laptop on stage. This is countered by getting as many audience members they can fit on stage and making it not so much about Girl Talk, but as a collective experience. Gillis dances manically on a table, while his roadies fire endless reams of toilet paper in to the crowd. The show thrives on the audience’s recognition of the samples dropped, and Gillis keeps them in the palm of his hand throughout, whether through a clip of the timeless ‘Where Is My Mind’ by the Pixies or ‘I Want You Back’ by the Jackson Five. Admittedly, it’s all well and good to talk about the creative prowess of Girl Talk, but the mash-up genre as a whole has attracted criticism, Gillis a notable exception. Other talented purveyors of this very 21st century style of music include 2 Many DJ’s and

the one-album-wonder Australian musical collective, The Avalanches. Girl Talk has more in common with these talented musicians than just their style of music. Potential lawsuits have cast a shadow on all Gillis’ releases to date, none of the samples having been cleared by the appropriate record labels, and what with their notorious baying for blood on even the slightest hint of privacy, it’s a real surprise that copyright laws haven’t yet bled Gregg Gillis dry. This fact has been put down by Gillis to not making any money from his releases, having worked as a biomedical engineer before it became viable to make a living from his live shows. If anything, he believes that his sampling just spreads the word about music which the casual listener would not have heard before. This is an argument hard to deny, as many of this writer’s favourite bands have only been discovered through their appearance in Girl Talk records, from Weezer spin-off band The Rentals to 1960’s soul singers The Emotions, both featured on the excellent 2006 LP ‘Night Ripper’. There’s a lot to admire about Gregg Gillis, and despite what many think, there’s more to his music than just layering a sexually explicit hip hop track over a piece of classic rock. His mixes are more intelligent than the naysayers would have you believe, giving new meaning to rap gems or radio-friendly pop music and reinvigorating music that had been disregarded on first release. Not only that, but what with the intensity and enjoyment of his live show, and the excitement generated from his latest release, this writer holds out hope he’ll make an appearance in Dublin soon.

The Siren 23.11.10



The Scoop

Album of the Year 2010 Flying Lotus Cosmogramma by Aonghus McGarry

It should not have been this easy to pick an album of the year. It isn’t that 2010 wasn’t any better for musical releases than previous years. It’s just that Cosmogramma, the third full-length release from LA producer Steven Ellison, was so unrelentingly brilliant that just about everything else seemed to fade away into mediocrity. Under the moniker of Flying Lotus, Ellison has steadily been releasing beat-orientated electronic music for the better part of five years, and his style of production has been mimicked ever since. While his previous efforts had all been frantic computer-based creations, Cosmogramma was a distinct change in direction. Ellison has previously stated in interviews that the two main influences on the album were the passing away of his mother and the avant-garde mindset of his late aunt, jazz pioneer Alice Coltrane. The jazz elements of the album are unmistakably evident among the layers of bass and beats, as Ellison incorporates live instrumentation on many of the tracks, another family appearance coming in the form of saxophonist cousin Ravi Coltrane on the tracks ‘Arkestry’ and ‘German Haircut’. Meanwhile, as many as five tracks employ complex string arrangements. Coltrane’s is only one of many guest appearances that contribute greatly to the record. Radiohead frontman Thom Yorke contributes vocals to ‘...And the World Laughs with You’, and while it would have been easy to let this high-profile appearance dominate the track, Ellison distorts the hazy vocals almost to non-recognition, using them as he would any other musical technique. As with Yorke, the vocals of frequent FlyLo collaborator Laura Darlington don’t overstay their welcome, but are arranged masterfully to complete the wonderful sonic tapestry of penultimate track ‘Table Tennis’. While these guest spots are important in the cohesion of the record, as are the jazzier elements, this is undoubtedly an album by Steven Ellison. No other electronic producer working today could have made such a record and as such, Cosmogramma is a reasonable benchmark to set against all contemporary electronic albums. THE COLLEGE TRIBUNE 2010 CHART 2 – Deerhunter – Halcyon Digest 3 – Big Boi – Sir Luscious Leftfoot: The Son of Chico Dusty 4 – Four Tet – There is Love in You 5 – Arcade Fire – The Suburbs

Album of the Year 1997 Radiohead OK Computer by Simon Mulcahy

1997. The year of Dolly the Sheep, the movie Titanic, and the year that we lost Princess Diana. It was also a standout year for music, with many groundbreaking albums and important artists arising in this year. Most people will remember this year in music as a disgrace, as Spice Girls dominated the singles chart and released their “film”. If you look a little closer though, you will find many hidden gems and soon-to-be classic albums. The album which heads up this writer’s favourites list is the beautiful nightmare that is Radiohead’s third release. Many may disagree saying that Daft Punk, Portishead or Primal Scream had more important albums, but none of these can compare to Radiohead’s effort. Taking the listener into a vivid, intricately designed alternate reality, filled with discordant choirs and unsettling sound effects which fill the gaps between Thom Yorke’s haunting vocals, Jonny Greenwood’s lulling melodies and the wall of sound provided by Colin Greenwood’s bass and Phil Selway’s Drums. The first single “Paranoid Android” still stands as one of the group’s greatest creations to this day. It is a perfect example of why these guys are one of the best bands around. The moment at which the soothing opening gives way to the instantly recognisable riff is an important moment in any fan’s life when heard for the first time. In addition to this, “Karma Police”, “No Surprises” and “Exit Music (For a Film)” contain some of Radiohead’s most memorable moments. “Electioneering” shows a different side to the group that was pretty much ignored in The Bends, even though it has gone on to become one of the defining styles of Radiohead’s work. A personal favourite is the hypnotic “Climbing Up The Walls” which acts as a rabbit hole, leading the listener into the deepest caverns of the disturbingly gorgeous, paranoid world of OK Computer. This album plays like a soundtrack, as songs and musical ideas melt into one another, going from enchanting melodic symphonies (“No Surprises”) to uncomfortable, unsettling moments (“Fitter Happier”), while never losing your attention. Whereas songs such as “Lucky” just crawl under your skin, preserving itself in the listener’s memory. This is what every intelligent music lover should associate with the year 1997; this album gave Radiohead a whole new fan-base and set the path for their inevitable world domination. THE COLLEGE TRIBUNE 1997 CHART 2 - Daft Punk – Homework 3 - Blur – Blur 4 - Spiritualized – Ladies and gentlemen we are floating in space 5 - Pavement – Brighten The Corners)

Album of the Year 1994 Pavement Crooked Rain, Crooked Rain

Album of the Year 1968 TheJimiHendrixExperience Electric Ladyland

According to most fans of the genre you could talk to, Pavement’s ‘Crooked Rain...’ was one of the defining indie records of the 1990s. A lot of albums would be weighed down by accolades such as that, as they become labelled as ‘important’ rather than just fun to listen to. ‘Crooked Rain...’ easily avoids this fate, however, due to the fact that the band didn’t seem to know or care that they were recording their greatest masterpiece. There’s a humour and lightness of touch to the album that few indie bands could match; Pavement were certainly one of the few who could make irony and satirical piss-taking sound exhilarating. Even the title of the album seems to be tongue-in-cheek. This record caught Pavement at the peak of their career. It was an improvement on their brilliant debut, ‘Slanted and Enchanted,’ while maintaining the lo-fi, fuzzy production of that record. While Pavement would go on to make three more terrific albums, there’s an organic quality to this that makes it stand out as their finest work. The songs are incredible, from the opening rush of ‘Silence Kit’ to the final mock-epic ‘Fillmore Jive’ - the most grandiose song Pavement would ever record. The album also contained their biggest cross-over hit in ‘Cut Your Hair,’ the lyric to which, ironically enough, was a sardonic stab at the kind of careerist, dull indie bands that clogged the airwaves at the time. A lot of the band’s most celebrated songs hail from ‘Crooked Rain…’ ‘Range Life’ is the most lyrically direct song Stephen Malkmus ever wrote. ‘Elevate Me Later’ has one of their strongest riffs and a great false ending midway through. ‘Unfair’ and ‘Heaven is a Truck’ are at opposite extremes of the band’s sound, the former displaying them at their loudest and angriest, the latter at their most stoned and laconic. ‘Gold Soundz’ is as close as you could get to the perfect indie song, combining angst, humour and a great melody into something brilliantly poignant. The record’s only mis-step is the penultimate track, ‘Hit the Plane Down,’ and even that is amusingly shambolic. Even with all its positives, ‘Crooked Rain, Crooked Rain’ is greater than the sum of its parts. It’s one of the most enjoyable and exhilarating records ever made.

Some will criticise me for putting Electric Ladyland at the top of this list. Hendrix’s last completed album before his death is occasionally considered to be lacking in comparison to his earlier work, with Axis: Bold As Love often cited as a superior recording.

by Dan Nolan

by Dan Binchy

I don’t care though: I love this album. A feeling of melancholy underscores many tracks on the album, possibly due to rumoured depression and confirmed stress that Hendrix was undergoing at the time. Tracks like “The Burning of the Midnight Lamp” and “1983 (A Merman I Should Turn To Be)” seem to support this with their remarkably slow-burning, contemplative sounds. Then there’s “Voodoo Child (Slight Return),” one of Hendrix’s most famous rock anthems, where he grandstands with his guitar and straddles the line between drug-addled genius and musical deity (“Girl I’ll stand up next to a mountain/And chop it down, with the edge of my hand”). There’s even a story that Hendrix recorded the song almost in its entirety simply by walking into the studio, sitting down, and jamming away without any prior idea of where the song was going. And for a man who all his life thought himself an inadequate singer, Hendrix howls with the best of them. This album encapsulates the zeitgeist of the time; trippy, mind-expanding imagery and wah-wah pedals abound. “The Burning of the Midnight Lamp” even has a goddamn harpsichord playing on it. On “Crosstown Traffic”, another up-tempo number (which would later be covered by the young Red Hot Chili Peppers), Hendrix toys with a kazoo, showing again his willingness to experiment until he got the sound that was in his head. It is this sense of experimentation which truly makes this a great album. This was Hendrix being Hendrix, branching out and moving towards the music he wanted to play. It’s a real shame we’ll never get to hear the finished product. THE COLLEGE TRIBUNE 1968 CHART 2 - “The White Album” - The Beatles 3 - ‘Beggar’s Banquet’ - The Rolling Stones 4 - ‘Astral Weeks’ - Van Morrison 5 - ‘James Taylor’ - James Taylor



Live Review: Paul Weller 19th November 2010, Olympia by Ciarán Leinster It’s impossible to go to see Paul Weller live and not be disappointed; such is the breadth of his 33 year back catalogue. However, last Friday night’s gig probably came as close to perfection as possible. On the fourth of five packed shows last week, Weller played for nearly two solid hours, with just a typical “thank you!” from the ‘geezer’ after most songs. The energy was kept surprisingly high all night, especially given that Weller, currently in his 53rd year, has spent most of the last three years writing, recording or touring. Bursting on stage just before the promised nine o’clock start, he immediately ripped into “Peacock Suit”, one of his highest-placing solo singles, and a classic lad/Dad Rock anthem. The term “Dad Rock” is fitting when discussing Weller and his music, because, looking around at the front of the crowd, I was struck how everyone looked the same. The crowd was almost entirely made of men in their 40’s and 50’s, often accompanied by their wives, and under the influence of over-priced booze. It was quite a sight, watching these geezers going like it was 1977 during Jam hits such as “Art School”, “Strange Town”, “Pretty Green” and, arguably the Modfather’s most famous tune, “That’s Entertainment”, which was easily his best-received song of the night. Weller’s rendition was so good that the crowd chanted the “sha-la-la-la-la”s well into the following song.

But it wasn’t only the Jam songs that got everyone, myself and the old included, excited. From his latest record, Wake Up The Nation, Weller played the title track, high on energy and guitar riffs, to a wild response. “Moonshine”, “7 & 3 Is The Striker’s Name” “Up The Dosage”, and “Fast Car/Slow Traffic” were the other high energy rockers, while “No Tears To Cry”, “Trees”, “Find The Torch, Burn The Plans” and “Andromeda” were also included. It was testament to the quality of this record that these songs were as well-received as some of his stone-cold classics. While his period in the Style Council is (rightly) regarded as the worst of his career, one song has maintained its place in Weller’s live set lists for most tours since the band disbanded in the late 1980s, “Shout To The Top.” Considered a good song, but not a great one, by many; until you hear it live, you cannot fairly comment on its true sound. With guitar replacing piano as the driving force, it turns into a pulsating, oldfashioned rocker, quite distant from its soul/ jazz roots. While the biggest cheer, undoubtedly, was for “That’s Entertainment”, Weller played three songs from his highest-selling solo album, Stanley Road, all of which were top 20 singles, and retain their magic 14 years after their release. He took to the piano, decorated with the artwork of Wake Up The Nation, to play the soulful,

sorrowful “You Do Something To Me”, and “Broken Stones”, a great example of Weller’s classic soul pop, a genre he made his own throughout his solo career. “The Changingman”, played as part of the first of two encores, was definitely another one for the lads, even the lads who were three times my age. However, this gig did not quite reach unimpeachable perfection. While it may sound churlish to criticise a 52-year old for not playing longer, in reality, he could easily have added another half a dozen songs to his set. 22 Dreams, the 2008 album that shot Weller back to popularity and critical acclaim, was especially lacking in representation. From this 21-track masterpiece, he played only “Echoes Round The Sun”, the hazy, psychedelic rocker he wrote with Noel Gallagher. Also underrepresented was Wild Wood, his 1993 album, arguably the best of his entire career. He played only the title track, yet instead of it being the cyclical English folk of the album version, it was more of a soul number, which he sang in between drags of a cigarette. In all, however, it’s hard to fault someone like Weller, who incites so much passion in so many people, for so many years.

Live Review: Caral Barât 15th November, Academy 2 by David Murphy On a busy night for live music in Dublin, I attended Carl Barât in the Academy 2, even though my choice was questioned (at least I wasn‘t upstairs at Diana Vickers). On a cold, windy, but thankfully dry night, I went along hoping that my bias, as a devoted fan of The Libertines, would not get in the way. Barât’s self-titled solo album hit the shelves in October to a somewhat cold reaction from critics and fans alike - “It’s little wonder the album is self-titled. This is not an album for fans; this is an album for Carl Barât.” I, for one, found it to be uninspiring for the most part, yet containing some sincerely heartfelt lyrics in places. Before Barât took to the stage, Sweet Jane entertained the crowd of early arrivals. I stood back to take in this Dublin fourpiece, as they performed their energetic live set full of pulsing, jerking guitars and vocals split perfectly between singers Lydia and Danda. Sweet Jane got the crowd’s attention and set Barât up with an already sweetened crowd. Just before their final track, which provided a rip-roaring finish to a thoroughly enjoyable set, a shady-looking character, with the hood of his trench coat covering his whole face (except that of a very discernible mouth), traipsed past me and headed backstage. As nine o’clock came around, Barât appeared on stage, now donning his leather

jacket. He kick-started procedures with the impressive ‘Je Regrette, Je Regrette’ and his debut single from the current album, ‘Run With The Boys’. From the off, it was evident that many of those in attendance were curious to see how much of The Libertines’ repertoire made it onto the set list, and Barât was not going to disappoint his loyal followers, jumping into ‘The Man Who Would Be King’. The crowd squeezed closer to him as he mumbled a greeting, before unleashing two more of his solo songs, followed by the first Dirty Pretty Things track of the night, ‘Deadwood’. The trend of two new tracks from the solo project, followed by something from his back catalogue, continued. It was easy to see that the crowd, and Barât himself, seemed more alive on Libertines gems such as ‘Up The Bracket’ and ‘Death On The Stairs’, or Dirty Pretty Things’ jumpy ‘Bang Bang, You’re Dead’. The crowd sang every word back to Barât, as he looked more at home jumping around with his electric guitar. For the encore, Barât arrived back on stage on his own and serenaded the crowd with the lovely acoustic ‘9 Lives’, before the rest of the band rejoined him. The mellow encore continued with the wonderful ‘France’ and ‘The Fall’. Then, answering the crowd’s calls for something they too could belt out, Barat dived unreservedly

into ‘Time For Heroes’, to the audience’s sheer ecstasy. He ended the set with the perfect sing-a-long anthem, ‘Don’t Look Back Into The Sun’. Murmuring his thanks to the delighted onlookers, Barât was then led away backstage through a throng of adoring fans. As I finished my pint, I wondered whether the feeling of elation that had swept over me was my bias coming to the fore, but after a brief deliberation, came to the conclusion that it was in fact just a genuinely good show. Yes, Barât came up with the songs everyone urged him to play and performed them with the energy and exuberance we’ve all come to expect from a Libertine. However, he also blended his solo material with his more renowned band material exceptionally well. The solo numbers sounded really great in the intimate surroundings of the Academy 2, with the mournful ‘So Long, My Lover’ standing out in particular after a truly sincere rendition. It goes without saying that any Libertines fan out there would love another reunion with more live shows and new material being released, but until then it is only fair to give Barât’s solo project a chance. His debut album may be slightly underwhelming, but on this evidence, his live show does not disappoint.

The Siren 23.11.10

Live Review: The Walkmen 15th November 2010, Tripod by Daniel Nolan The Walkmen played a set with a blend of older material and songs from their recently released album, 'Lisbon', to an intimate but highly enthusiastic crowd in Tripod. The band's records are invariably artfully played, but hearing them live demonstrates just how adept the band are as musicians. They swap instruments frequently throughout the performance. Pete Bauer, primarily the band's organist, also plays guitar and bass during the gig. At one point, drummer Matt Barrick played with a water bottle, apparently because the band's kit man lost their maracas and shakers. Singer Hamilton Leithauser's voice is even more arresting live then on record. The Walkmen have always seemed admirably unconcerned with becoming an enormously successful band.Their ambition is to make great records and perform them for their fans. Their five albums display a terrific consistency and they have become recognized as a fantastic live band. They live up to this reputation with ease. They create an electric atmosphere as they play, and never neglect the more subtle aspects of the recorded versions of their songs, as many bands do when performing live. As is usually the case, the most enthusiastic reaction of the audience was to the older material, but the songs they played from 'Lisbon' stood up admirably. 'Juveniles,'

They also performed the title track from their debut album, 'Everyone Who Pretended To Like Me Is Gone,' which still sounds terrific nearly a decade after its inception. Fan favourites 'In The New Year' and 'I Lost You', both from previous album 'You And Me', still sound incredible. After they initially left the stage to audience adulation, they returned for the demanded encore. Leithauser thanked the crowd and said, with typical humility, that they

'Woe Is Me' and 'Angela Surf City' were particular highlights.

enjoyable night, and a gig worth attending when The Walkmen are next in town.

had some more songs they ''were dying to do.'' They began with their first ever single, 'We've Been Had,' and moved onto their most celebrated song, 'The Rat.' The ferociously fast and aggressive playing of the song, an anomaly in the band's career, was remarkable to see live, particularly as guitarist Paul Maroon trashed his guitar around wildly, without ever missing a note. The Walkmen closed with the comparatively mellow 'Another One Goes By,' and humbly thanked their delighted crowd once more before leaving the stage. A thoroughly

The Siren 23.11.10



Is He Really Back For Good? by Simon Mulcahy On the 15th of July 2010, the world was shaken to its core as a result of the news that Take That were going to let Robbie back in. Well to be fair, the world was only mildly nudged by the news seeing as it had been in the back of everyone’s mind since the 2006 reformation of the group. The original Take That reunion comprised of Gary Barlow and co. returning to the music scene as what a lot of people thought was an improvement on their previous incarnation. They were ‘cooler’, well-aged, more mature and had a potentially far greater selling power seeing as they still had their now older fans from their boyband days, but now they also had those fans’ kids and a whole new market of teens that would fall in love with their contagious pop grandiose. After the release of their fantastic comeback single “Patience”, the band released their number one album “Beautiful World” and became the first artists to top the UK official single and album charts along with the download single, download album and DVD charts in the same week. Following their second number one single,“Shine,” and the outstanding “Rule The World” written as the theme song for the film “Stardust,” the lads set out on their award winning 49 show world tour. The band had equalled if not surpassed their former glories, as ad campaigns for Marks and Spencers and constant radio-play once again made them

continued on from the success of the last as it became the most pre-ordered album of all time. Another tour followed which became the fastest selling tour of all time, breaking all records by selling all of their 650,000 tickets in less than four and a half hours. They were on top of the world, had the adoring public right in the palm of their hands, and all of this without that Robbie guy. In a strange turn of events, Robbie’s solo career had been eclipsed by his former band mates, which is something that no one saw coming as Robbie was one of the UK’s biggest pop stars for many years after his split from Take That. It was then that he released the down-right ridiculous “Rude-Box” which punctuated his steady decline in respectability. His relevance plummeted following his pathetic attempt at getting down with the kids by disgracing his reputation with a rancid dance album. It seemed like it was all over for the cheeky chappy, but anyone who knew Robbie‘s manner knew he would not give-up and would find a way of extending his career. So for Robbie Williams fans, it was only a matter of time before he was able to charm his way back into the phenomenal success that is Take That 2.0. Forward to the 7th of June 2010, and once again Robbie is feeding off the songwriting talents of Gary Barlow with the release of

a household name across the nation. They could do no wrong and their second album

their joint single, Shame, which did quite by reaching number two in the UK and having

Those Simple Bear Necessities Graham Luby talks to Dan Hosking of Australian band Boy & Bear about their rapid rise, their similarities to Mumford and Sons, and their upcoming gig in Dublin.

more success across Europe. One tries not to label Robbie as a “user” as for a lot of his solo career he was writing or co-writing his own material, but it is hard when as soon as Take That look like they are sticking around for the long haul, Robbie decides to bury the hatchet. The fact that the lads let him back into the group is a surprising move on their part. The only reason I can think of is the added publicity that will come as a result and that they will inevitably shift

more records and seats for their new tour, of which the Dublin show sold out in just over 40 minutes. So in the end it’s all about money, as it always is. The boys hardly want to use Robbie in order to reach out to a larger audience in the hope of stopping world hunger or protecting us from the potential damaging effects of global warming, they probably just want new cars. Can you blame them?

complaining, it’s been pretty whirlwind but it’s been fun at the same time.” One of the past year’s main highlights for the band was supporting their friends Mumford and Sons on the Londoners’ first Australian tour. “We met Marcus (Mumford, lead singer of Mumford and Sons) when he was playing drums with Laura Marling in January of this year… and through that we met all of the Mumford boys, and it just felt really natural with them… it’s nice to tour with people who are such a great bunch of guys.” The cynic among Boy & Bear’s critics

For a man giving off such a vibe of

correspondence takes place, and judging

might jump on them for their similarities

courtesy and gratitude, Dave Hosking

by the lengthy sighs reverberating in my

with the English folk behemoths, but don’t

cannot help but sound like he would

earpiece, Mr Hosking wants nothing more

let the banjos and flat caps fool you - these

rather be out avoiding land mines. This

than to join it. Sweet oblivion is nevertheless

guys have something of their own to offer.

writer doesn’t blame him - even by the

put on hold to pacify this faceless college

“The boys are all multi-instrumentalists.

standards of such a gruelling period for

kid, and I am treated to a cordial and lively

Everyone sings, there’s big harmonies…it’s

The end of November sees the band’s

advantage of his fatigue to throw him

a challenge, and we put ourselves out there.”

maiden foray onto Irish soil, hitting Belfast

a curveball. Asked if he would push an

Aside from some minor elements of

on Sunday the 28th and Dublin’s Academy

old lady down a flight of stairs with the

their music and image, another similarity

2 two days later. Out of any show in Dublin

guarantee of getting away with it, any sense I had of a media-ready façade was dispelled.

touring bands everywhere, the lead singer/ guitarist of Australia’s Boy & Bear has been bled dry lately. Formed in early 2009, the

discussion regarding the band’s journey so far, their upcoming Dublin gig, their relationship with Mumford and Sons, and

past eighteen months have seen the Sydney

maiming the elderly for fun.

between the two bands that stands out is

that night, Hosking suggested why people

five-piece tour Australia three times,

It is clear from the beginning of our

their name. When quizzed about that little

should choose to come and see Boy & Bear.

“What?? No, no I wouldn’t, ha ha ha!”

support Laura Marling in the UK and

conversation that despite the ups and

ampersand, any doubts this writer had about

“I think, because it’s honest, and we don’t

Giggling like a schoolboy, Dave seemed as

Mumford and Sons at home, and secure a

downs of life in a touring band, Dave

Boy & Bear’s integrity are laid to rest by

hide behind anything,” he rattles, before

open to me as he would to one of his closest

Hosking. “Oh, it’s not very exciting to be

hesitating, and confessing that he is lost

friends. Clearly, Boy & Bear are their own

honest,” he begins. “I found a band name

for words. “Hmm, I’m just trying to think

product and their integrity is sincere, and

generator on the internet, and we had just

of some way to sell it to you!” If unique,

how many of today’s rising acts can claim

released this song on (Australian alternative

infectious tunes aren’t enough of a draw for

that about themselves?

Boy & Bear play The Academy on the 30th of November.

contract with Universal. At the time of writing, the peddlers of “a combination of drivey indie folk and choral harmonies” are gearing up to hit the UK

regrets nothing and would rather be doing nothing else. Indeed, he lights up when I ask about Bear & Boy’s progress since forming. “This past year has been pretty

and Ireland, this time in support of their

amazing, to be honest,” he exclaims. “The

station) Triple J Radio… and you know,

you, the band’s human touch alone should

debut EP, With Emperor Antarctica. For

band got together about a year and half

once you find a band name you’ve got to

make this a gig to remember.

reasons logical only to Universal’s merciless

ago, and things have moved much faster

do the Google test to see if anyone around

By this point in our conversation, Dave

PR staff, Sydney is asleep when our

than we thought they would. But we’re not

the world’s got it, and it passed the test!”

seemed just too down to earth, so I take



The Siren 23.11.10

Sexy Trash Tracey O’Connor talks to Tyler Spencer, front-man of Electric Six, about his distaste for promotion, his love of Zen and chasing down Lady GaGa You may not immediately recall the wall-

Albums typically pay homage to fifteen or

bouncing vigour of Electric Six’s 2003

more different genres, while lyrics tend to

releases, but a shrill cry of “Danger! Danger!

be topical, disparaging of modern culture,

High Voltage!” or even the infectious hand

and ludicrously hilarious affairs such as “I’m

clap rhythm from “Gay Bar” ought to

a woman-eating monster with a suitcase

trigger memories of grannies in flashing

full of fire and pink flamingos” or, rather

brassieres being wooed by moustachioed

fitting for these times, “Government man,

gentlemen with alarming packages. Or

important man, walking around at night.

failing that, the sight of six scantily clad

He’s got his whiskey, he’s got his briefcase

Abraham Lincolns fervently pole-dancing

– he’s going to be alright.” These layers of

should have made an indentation on your

insane genius, sandwiched together by the

mind, regardless of the titanium coating it

oozing arrogance of Valentine and Co.,

obviously possesses.

create an audiovisual treat so tasty that pop

Poor memory aside, it is forgivable to

would be stupid not to eat itself.

assume that, following this brief dalliance

Certainly, however many allegations of

with mainstream media, Electric Six were

unoriginality are made against them,

banished to a sort of 80’s revival purgatory,

their fan base is fierce enough to ensure

haunting the MP3 players of those who

the careers of the Six are safe. The band’s

lie on the edge of hip and has-been, and

persistent touring and preference for

possessing the bodies of wedding-bound


uncles the world over. In reality, the band

controversial but highly accessible music

have been amassing a sizable catalogue of

videos rather than singles has garnered

material – since the 2003 debut, “Fire”,

an army of adamant defenders – one fan

Electric Six have released six subsequent

recounts his response to an enquiry as to

albums and a “special collection” of demos.

when the band “started sucking” thus: “I

They have also been shoring up their

answered the only way I know how to…….

fanbase with substantial tours of the globe,

slammed his head into a wall.” Despite the

from Moscow to Melbourne, including

passion of their followers, the group manage

two shows in Dublin. Some haters may

to keep their audacious swagger in check,

question why they still bother, while others

preferring to focus on the art of living life

are stumped by the lack of radio play that

to its maximum potential. “I don’t look at

this self-described “six-headed heterosexual

the type of music we’re playing, I don’t look

being” have received, aside from their

at the effect that it has on people, what I

moment in the spotlight seven years ago.

look at is my bank account and do I go to

The answer to both these questions lies in

bed at night feeling life-affirmed – and this

the adamant refusal of the band, especially

band does that for me.”

lyricist and general band leader, Tyler

In fact, Spencer is a big believer in a Zen

Spencer, aka Dick Valentine, to meet media

approach to life, even if this does not

demands solely to push themselves forward.

appear to assert itself strongly. Rather

They have been accused of being stale and

than attract anger from pigeonholing fans

uncreative, wallowing in their comfort

and detractors alike by fulfilling all of his

zone of parody and disco-cock-rock, but

song-writing desires, he prefers to keep the

to do so is to misunderstand Electric Six

peace by diverting excess material into side-

entirely. Spencer cites his inspiration as

projects. The true value of pseudonyms is

everything, although “mostly women”,

recognized here, giving the band members

and, as affirmed by a note found on the

freedom to merge easily into other

pavement during our conversation, “it

collaborations, with no speculation as to

works”. The group scorn the European

whether the sound would be similar or even


media, especially

the attitude of the person would be similar.

releasing singles, preferring instead to tour

As himself, Spencer is a free agent. Dick

widely and making wacky videos for their

Valentine is “just a character”, even down

songs, which range from the compulsive

to his moustache which, disappointingly,



is “only a prop”. One suspects, however,

Voltage!” to the mind-boggling “Down At

as he discusses women and fighting with

McDonnelzzz”. “This is America; we just

other bands, that Spencer would find it

don’t do it [album promotion] that way.”

difficult, impossible even, to dissociate

The range of styles embodied in their music

himself from Valentine’s sleazy, cavalier

is enormous – “Let’s Go Out Tonight”

manner. But, in true disco fashion, the band

smacks of Joy Division, “I Buy The Drugs”

fully supports the philosophy that more is

could be a show-band favourite vamped

better, be it adopting ridiculous alter-egos

up with synth, while “Pink Flamingos”

or making short films about marginalized

oscillates between grunge and bee-bop.









somewhat If Spencer attempts to live in a Zen manner,

be an American, even citing it as an essential

10 spot in the UK Album Charts is a real

Valentine is all about raw passion and

part of the band’s identity. “We’re sort of an

measure of success, preferring to assess the

sticking it to the man. At the very mention

American hydra.”

group’s degree of focus and ability to keep

of some derogatory comments by other


bands, he gets fired up like the leader of

wholesomeness are the influential Detroit

a rival teenage gang. “Other bands, they

origins of the band. Spencer comes over

give us a lot of guff, they say, y’know, I’m

all misty-eyed when his “animal” home-

gonna go into Electric Six’s dressing room

town is mentioned, unwittingly mimicking

and take a shit in a bag and light it on

souvenir shop slogans in his enthusiasm. “I

fire or something like that, but then they

don’t know a city in the world like Detroit.”

realize there’s six of us and we’re actually

This “unique city” is cited as one of the

pretty big guys.” Although he claims not to

driving forces behind the band’s existence.

care about the effect of the group’s music

“Because of the way Detroit is, and was, we

upon those who listen to it, their songs

were able to keep our band together for

I asked a couple of the guys, ‘We’re due for a year break, would you like to take a year break?’ and they all said ‘No”




a long time without ever making money or having a record deal.” Known as The Wildbunch in their early years, the original group belonged to the same gigging set as The White Stripes and The Von Bondies. So close-knit was this metro-rock scene, which played sub-culture to the dominant hardcore scene, that Jack White collaborated

touring as an indicator of achievement.

I love Lady GaGa, I think she’s great. When I’m in New York I try to hang out in bars that she might go to so I can meet her”

“We treat it as a job and that’s the recipe

with the Six on “Danger! High Voltage!”, adopting the humble persona of “John S. O’Leary” in deference to band tradition.

to success”.

Valentine is the only member left from

This business-like band model lends itself to

the Wildbunch period, and indeed himself

regular reappraisal. “We honestly approach

and Tait Nucleus? are the only remaining

it six month chunk by six month chunk.”

members of the Electric Six line-up which

One gets the feeling that however much

produced the highly successful first album,

the plot might get lost while making music

“Fire”. Despite the failure of subsequent

videos or playing gigs, the group follows a

releases to live up to the sales of their debut,

highly structured routine, generally under

Spencer feels that the group are more

Spencer’s iron fist. “When people have

regularly slate American culture, especially

cohesive, “built for this machine” even,

ideas and whatnot, then all of a sudden it’s

politics and the power of corporations, and

citing “other life goals” and a teetotal, drug-

supposed to be a democracy.” The group

they are so strongly opinionated about US

free environment as the cause of earlier

exercise a high degree of independence

activities in Iraq that there are links to both

splits and line-up reshuffles. “That was a big

from their record label, making their own

opposing and supporting web pages on the

part of the earlier line-up leaving the band,

decisions about how and when they want

band’s site. While maintaining this objective

they certainly didn’t approach it that way

to market themselves. “I asked a couple of

view of his country’s actions, Spencer is

and burned out really quickly”. In fact, he

the guys, ‘We’re due for a year break, would

nonetheless deeply patriotic and proud to

doesn’t believe that achieving the number

you like to take a year break?’, and they


Music all said ‘No”’. This is no surprise given their poor experience with Warner, who “forced” them to cover Queen’s “Radio Ga Ga”, which could be cited as the point at which critics developed a poor opinion of the Six, and the song was the last single to be conventionally released by the band. However, it seems that with Spencer at the helm, Electric Six are more than capable of navigating the stormy oceans of the almost famous. “When the six of us are focussed, anything is possible.” It seems likely that Electric Six will continue to slog away at being absolutely bonkers for as long as they can, although considering that Spencer’s primary other career options consisted solely of being

months after their most recent release, Zodiac. “It sounds like we’ll do another album next year.” Whether lover or hater, it must be admitted that a resume of seven

Other bands, they give us a lot of guff, they say, y’know, I’m gonna go into Electric Six’s dressing room and take a shit in a bag and light it on fire or something like that, but then they realize there’s six of us and we’re actually pretty big guys”

original albums in six years, in the midst of “seven, eight years of touring non-stop”, ensures Electric Six rank highly on anyone’s list of most hard-working bands. If you don’t feel compelled to acquire any of their songs or attend their very reasonably priced show on the 4th of December, reminding yourself of the multi-faceted eccentricity and disarmingly decent music of Electric Six by checking out their videos is perhaps one of the best procrastination activities you will engage in this semester. One viewing of the walking cheeseburger in “Rock N’ Roll

“an androgynous club kid who committed

Evacuation” massaging tomato ketchup

suicide once I woke up and realized [that

into its nipples and you will be raving –

life didn’t work out the way I thought it

raving mad, raving to your friends or just

would]” or “a circuit court judge”, the

list. Spencer is enthusiastic about GaGa’s

does not incite the same degree of worship,

raving with imaginary glow-sticks and the

alternatives to pushing the band forward

eschewing of media criticism. “I love Lady

his “impressive moustache” inspires a great

lights off because you can’t afford UV lights.

seem few. The group are increasingly

GaGa, I think she’s great.When I’m in New

deal of admiration in the “hairless” Spencer.

This is exactly how they keep starting fires.

interested in collaboration with other artists,

York I try to hang out in bars that she might

Come what may, the band already have

with The Edge and Lady GaGa top of their

go to so I can meet her.” While The Edge

their sights set on another album, two



We Wish You a Hairy Christmas The season of Yuletide and festivities is upon us yet again, which means Christmas parties and celebrations aplenty. Laura McNally checks out these current hairstyles and dos that are perfect for this season’s festive outings. Pump up the Volume For the ultimate glamorous party hairstyle, big, bouncy, and beautiful locks are guaranteed to make a statement at your next Christmas event. Babyliss have a range of new products available which are designed to give flat hair volume and body. Babyliss Big Hair works by grabbing the hair and spinning it round a large round hot brush to create fuller looking hair. The Babyliss Root Booster works by crimping sections of the hair at the root, and building volume up in this way.

1940’s Wave For a sophisticated night time look, the forties wave is perfect. This is easily obtained in two ways. Firstly, a hot iron triple barrel tongs perfects this look. These can be purchased in Argos or Boots for about €30 and gives you a crimped, red carpet-worthy hairstyle within 20 minutes. For a more

low-key version of the wave, plait damp hair from the root before bed time and wake up to glamorous locks.

It’s a Curls World Continuing with the theme of big, voluminous hair, curls are a definite winner for Christmas outings this season. Curls can be created by using hair rollers, hair benders or by using heated curling tongs. Babyliss Thermo Ceramic Rollers are heated rollers which can be used to curl the hair and are in Argos for less than €40. It comes with different sized rollers, so you can choose which ones to use depending on how big and full you want your curls to look. Carmen Angel Curls are great for creating big bouncy curls. It works by using steam to curl the hair. Wrap your hair round the barrel, press and hold the button to release the steam, leave for a few seconds and gently unwrap the hair from around the barrel.



By Danny Lambert

From Left: Alan Graham (Age 35) Profession: English Tutor Favourite Shop: Corduroy & Patches Fashion Icon: Declan Kiberd

Kate Morrissey (Age 21) Fourth Year Food & Agri-Business Favourite Shop: Urban Outfitters Fashion Icon: Laura Murphy

Rónán Mc Donnell (Age 25) First Arts Favourite Shop: American Apparell Fashion Icon: Snazzy Professors

The Siren 23.11.10


The Siren 23.11.10


Lanvin for H&M


This week sees Lanvin’s debut for H&M Dublin, but does it live up to expectations? Kellie Nwaokorie investigates. The word collaboration can only mean one thing: design houses teaming with the high street, resulting in beautiful catwalkworthy clothing at affordable prices. One of the most influential designers of the 1920s and 1930s, Jeanne Lanvin, created her own trademark, thanks to her skilful use of intricate trimmings, virtuoso embroideries and beaded decorations in clear, light, and floral colours. So when word spread that Lanvin was collaborating with H&M, hearts soared worldwide. The Lanvin (Hearts) collection shows clothing that doesn’t look or feel like anything that you’ve come to expect from H&M. The collection, more than other H&M collaborations in recent memory, does two things. Firstly, it provides headto-toe dressing, from lipstick to shoes. Secondly, and more importantly, it really does appear just like the Lanvin designs you are familiar with from the runways: a collection of inspired Lanvin pieces at lower prices.

Lanvin’s artistic director, Alber Elbaz, gives an insight to the look: “My work is usually tailored to a very small group of people, but the collection for H&M was about trying to translate the dream of luxury to everyone.” He adds: “It was almost like going back to school for me.” It’s a dressier collection, there are no pants and only two t-shirts, both embellished. It skews a little older than some of H&M’s past collaborations, though not in a way that appears to exclude younger buyers. There are full-on party dresses, fluffy tulle and floral confections with volume, tiers of ruffles, illusion necklines, and one-shoulder looks. These dresses also feel weighty, and if some of the fabrics are sheer, there are built in slips and layers creating excellent volume. Coats are another bright spot, in heavy satins and faux fur. The men’s stuff is as covetable for women as it is for men, the metallic oxfords being particularly swoon-worthy, and one suspects that the sunglasses will be a very affordable

hit. Accessories are one of the best parts of this collection. Elbaz, who started the whole pearl-wrapped-in-tulle trend years ago, is a master of knowing which adornment is just right. The jewellery in this collection is so good it should almost be considered collectible. Bracelets, earrings, jewelled belts, and the incredible necklaces will be everywhere for seasons to come. So far so good. However, there are a couple of grumbles about the collection: the sheer panelling on a few of the party dresses is a strange colour that I suspect won’t quite suit everyone’s skin tone. But maybe that’s the point. Some of the designs also veer a little too far into Madonna’s Material Girl territory.

But the Lanvin team can do no wrong, as along with the collection, they are teaming with UNICEF to raise money for their All for Children Campaign. Elbaz has designed a special organic cotton bag, and while the clothes collection will be sold in around 200 stores worldwide, the UNICEF bag will be available in every H&M womenswear store. Lanvin’s is the fifth bag to have been specially designed for UNICEF and 30% of the price at the till will go to ‘All for Children’. Overall, from the fanciest dress down to their adorably designed four-and-a-half minute video advert, it’s a very thoughtful, careful, and luxurious designed collection. But that’s just my opinion. What’s yours?

Fashion Icon: Isabella Blow With the release of two biographies this year, Róisín Sweeney reflects on the legend that was Isabella Blow. Isabella Blow, fashion stylist and editor, left a lasting legacy after her suicide in 2007. She was a revered character in the world of fashion and an incredible source of inspiration to many of the people who she worked with. She was famed for her incredible eye for talent and stunningly extravagant style. When she worked under Anna Wintour in American Vogue, staff regularly took detours around the building to get a look at her outfits. Blow had a passion for hats, and regularly donned dramatic headpieces by Philip Treacy, one of her many talented discoveries. Isabella was also responsible for other household names such as Alexander Mc Queen, Hussein Chalayan, Stella Tennant and Sophie Dahl. At McQueen’s graduate show, there were no seats left when Isabella arrived. Swallowing her pride, she took a seat on some steps. After the show she told her husband Detmar, “His clothes move like birds. He can cut material like a God.” Isabella couldn’t afford to buy many of McQueen’s pieces outright, so she paid in installments over the space of a year, and bought that entire first collection. When McQueen couldn’t afford a studio or a place to live, Isabella gave him both in the basement of her home. This was the extent of Isabella’s passion for young talent. Isabella was also famed for her extreme expenses on photo shoots, a case in point being her very first shoot for Tatler magazine. The piece was called ‘Place your Pets’ and featured a monkey, a tarantula, and a parakeet.

Isabella realised that the editors wouldn’t allow her the money to pay for the animals, so moved to pay for them on her own credit card, hoping she would be granted her money back in expenses. When the editors asked for a re-shoot, Isabella was found crying in her office because she would have to pay for the rental of the animals again. She was a woman who never allowed for her work to be second rate and believed in breaking all the rules, if that was what it would take to create a beautiful photograph. This month brings the arrival of two new biographies on Blow, as well as news that production has begun on a film based on her life. Philip Treacy confirmed the news of the film to Andre Leon Talley of American Vogue at Naomi Campbell’s 40th birthday party. Talley spoke of the conversation with Treacy – originally from Ahascragh, Co. Galway – on “We had not hugged since Isabella Blow’s funeral three years ago, and he shared fabulous news: He has a producer to do a film on Isabella, and Galliano has already confirmed to play himself.” The fashion world lost an immense talent and creative force, following Isabella Blow’s suicide in 2007. However her mark will be left on every inspired photo shoot, every creative young designer, and every massive expenses bill for some time to come. It is difficult to be unique in the fashion world. It takes a lot to stand out in a world where everyone wants to stand out. But Blow was one of a kind; an elegant, generous, creative woman who will not be forgotten quickly.

Christopher Kane Resort Collection This collection screams cosmic wonderland. The dresses look like individual pieces of art, with some prints resembling molten lava. The line is not without Kane’s usual inclusion of leather and he adds a bit of excitement with some fluffy pom pom sandals.Yum! Om Diva’s Party Dress Workshops George’s Street arcade’s own chic boutique Om Diva are offering a customizing workshop for €25 on the 6th and 13th of December. This two hour class teaches you how to re-vamp and rework old dresses for the up-coming party season. Material and tipples included. Call 016791211 for more info. The Alexander McQueen Exhibition The Costume Institute at New York’s Metropolitan Museum of Art will showcase and celebrate the work of Alexander McQueen this spring. The exhibition will include pieces from McQueen’s collections, his studies at St Martin’s College, all the way up to his last line. The collection will run from May to July.


Fade Street As some of the show’s characters might say, WTF?! Are we meant to think it’s real? Aren’t we? Do we care? The Irish Hills just doesn’t take the biscuit. Taylor Momsen’s Style I’m all for the Goth look, but Taylor always manages to put on one lick of eyeliner too many, and one stud too many. The make-up is wrong, the hair is horribly wrong and the vaj-ay is always a bit too close for comfort. R-Patz says ‘NO’ to Burberry Not only is it ridiculous to reject a billion dollar Burberry deal, it’s not FAIR that we don’t get to see Robert all over billboards and magazine spreads. He’s in the bad books. by Aoifa Smyth


The Siren 23.11.10

Is this hit Saturday night show even about the music anymore? Aisling O’Grady gets down to the nitty gritty & talks Cheryl versus Dannii The competition this year on X-Factor is tougher than ever, and we aren’t just talking about the singing! With Louis’ new face and Simon’s set of radioactive teeth, the competition seems to be more appearanceoriented this year than ever before. As always though, all eyes are watching to see who will win the style war between Dannii and Cheryl. Cheryl may have stolen Princess Di’s place as the nation’s sweetheart, but it is certainly Dannii who is reigning queen of the fashion throne this year. From the first week of the live show, we saw Dannii pulling out all the stops in order to establish herself as the leading lady in the fashion stakes this season, sweeping on stage in an elegant Victoria Beckham floor length nude gown, with pixel print detail. And while it is criminal to repeat an outfit, it’s genius to repeat a designer, particularly when that designer manages to come up with the goods two weeks in a row. Dannii wowed us again in another VB creation, this time in a striking sapphire blue pencil dress. A lady not afraid to experiment with colour is our Dannii. However, the same cannot be said for Cheryl, who seems to be playing it safe with mainly black and grey pieces this year. The Azzaro black jumpsuit with a large bow was a cute effort, but lacked the colour and fresh vibrancy we expected the 24-year-old pop star to bring the show. And while Dannii’s daring Philip Armstrong Gold dress in week five was definitely not the most flattering choice, it was only as bad as the Pucci number Cheryl wore on the same night. Someone should tell her that lingerie is not an acceptable form of dress on a family

television show. Week six affirmed Dannii as champion of the outfits, emerging in a Grecian style, white dress by Carla Zampatti, looking every inch like a goddess. By comparison, Cheryl chose to wear an ill-fitting floor length, sparkly Christmas decoration. Despite being blessed with the kind of petite figure made for wearing strapless dresses, this Cavalli evening gown was just the wrong choice. With fabric the same colour as her skin and very little modesty on the cleavage front, viewers couldn’t help but feel like they were waiting for a re-enactment of that awkward Janet Jackson ‘wardrobe malfunction’ during the half-time Superbowl show in 2004. With regards to hairdos, Cheryl remains loyal to those who are funding her lifestyle – by endorsing L’Oreal’s hair dye of reddish mahogany colour. Although we have to give her credit for being brave enough to have a change in hair colour, we’re not entirely sure if she pulls off the scarlet look as well as Rihanna does. It all gets a bit trashy looking with that drastically long mane of extensions. Cheryl’s Gaga-inspired hair-turban which she donned on results night of week six was far from being dull, limp and lifeless. However, teamed with the dramatic black Georges Chakra gown, it was all just a bit too ‘Morticia Adams meets Minnie Mouse’ to be deemed likeable. Cheryl may have youth on her side, but Danni has accomplished style and elegance with maturity.The last few weeks in fashion seem to have definitely been a bit of a plane crash for Cheryl, one which no amount of Parachutes can save her from.


The Siren 23.11.10

Harry Potter & The Deathly Hallows: Part 1 “These are dark times,” says the fantastic Bill Nighy as Rufus Scrimgeour, as the first half of the seventh chapter in the “Harry Potter” franchise opens, following a rusted version of the Warner Bros logo, both things giving us the impression that this film is going to be a darker and far more sombre piece than any previous “Potter” films. Being the last chapter, “Deathly Hallows” is very much about “goodbyes” and, in that sense, we get to see most of the characters one more time, even if it’s just for brief curtain calls. The final is split into two separate parts, so Steve Kloves would no longer have to attempt to squeeze 800 pages of dense text into a 140-minute movie. Instead, he could let the movie move nicely along at a steady pace, give the characters some welcome depth, and take

Potter and the Deathly Hallows Part 1, he does just that, and the result is easily the best movie of the series to date. Although not being a Harry Potter fan myself, a lot of effort and time was put into the piece to create the scenery and atmosphere almost identical to that described in J.K Rowling’s book. Although entering the cinema with ideas of ‘Hollywood murder’ and the thoughts of previous additions to the series which I found inconsistent, I left saying to myself “That was a lot better than I thought”. Previously, I found the prequels to being as funny as a fire in an orphanage, but I must admit, there were moments of hilarity, as Daniel Radcliffe, Rupert Grint and Emma Watson’s acting skills were put to the test to convey awkwardness of the highest calibre. The Deathly Hallows’ basic

to venture off on the hunt for the Horcruxes (the bits of Voldemort’s soul that must be destroyed in order for the world to finally be rid of all evil) and the emotional turmoil that persists between the friends. Although possessing a Class A cast list, this is the Radcliffe,Watson and Grint Show, and all three actors deliver their most emotional and utterly convincing performances to date – most notably Watson,

greatness. Director David Yates and cinematographer Eduardo Serra have really hit a home run here, blessed with the ability to give each scene the time and attention it deserves.The audience is treated to some of the most stunning visuals, not only of the entire Harry Potter franchise but of virtually any film to hit the screen this year. The film even throws in a quirky animated interlude by animation director

From start to finish, the Deathly Hallows will keep you entertained, but more than anything else, it sets up a fantastic finale. Apart from the movie dwindling for quite some bit during the middle, and sitting for 146 minutes surely can damage one’s health, it manages to hold its own. A must see for Harry Potter fans, but if you’re not of the magical persuasion, the cinematography alone is worth the

the time to build suspense for the upcoming part two. In Harry

plotline follows the story of Harry , Hermione, and Ron getting ready

who, more than any of her co-stars, is poised for post Harry Potter

Ben Hibon, which tells the story of the Deathly Hallows’ origins.

price of the ticket.

Little Shop Ain’t a Horror With UCD’s Musical Society set to entertain the Astra Hall for the week, Colman Hanley previews ‘Little Shop of Horrors’ UCD’s Musical Society bring their

much smaller cast and we’ve been able

Kilty, vocal director for the show, was

depiction of Charles B. Griffith’s ‘Little

to focus on that much more. Our set

keen to stress that the high standard of

Shop of Horrors,’ to UCD’s Astra Hall

is much bigger, our lighting designer

music in the show was due to the hard

this week, in what promises to be an

has been absolutely fantastic, our sound

work and effort from everyone and the

entertaining, show stopping and energy

manager is incredible. I just think it’s

“community presence” amongst the cast.

filled show. Under the direction of

going to be a really really high quality, a

“It’s an interesting play as it’s more

Mark O’Brien and Zoe Reynolds,

really tight show that everyone can enjoy.”

of a rock musical than anything else

UCD Musical Society tell the story of

O’Brien continued that, despite his

because the style of the music and the

the two protagonists, Seymour Krelboin

co-director’s experience with musicals,

energy involved is quite impressive.

(Garrett Rodgers) and Audrey Fulquard

the rest of the ‘Little Shop of Horror’

We’re very lucky this year to have

(Ailish McCarthy) working in a Florists

team were relatively inexperienced

such a dynamic group of singers and

shop, with Seymour infatuated with the

when it came to working in musicals,

there isn’t a single weak person in the

dazzling Audrey.

this however made the production

group, so it’s such a pleasure to work

However during his obsessive frenzy

different to other ‘Little Shop of

with such good singers. The level of

to gain the love of Audrey, Seymour

Horror’ productions. From the props

interest in the initial auditions was

discovers a peculiar plant with ‘human

to the set, to the acting (the fantastic

brilliant and we really got to pick the

qualities’ in his shop (Garvan Lawler)

plant which was specially built for the

best singers and making a great sound

which leads to a number of twists in

musical pictured to the right), the show

for the show.” With such a great cast

the plot. O’Brien, Co-Director of the

is of top quality. However it is the

and team of people working behind

production, commented, “Personally I

music in particular that stand out, with

the scenes, Little Shop of Horror is set

think it’s a much higher quality of show

the cast’s final number, ‘Don’t Feed the

to be one of the best productions of

than the previous musicals because it’s a

Plants’ particularly standing out. Denis

the 2010 year in UCD.

UCD Musical Society’s ‘Little Shop of Horrors’ takes place from Wednesday 23rd of November ‘til Saturday 26th (there is also a Thursday matinee performance at 1:30pm). Doors open at 7pm, show begins at 7:30pm.


The Siren 23.11.10


Still the same locations, Still the same great sandwiches, Still the same great service, And EVEN better coffee than before!

Mon to Thurs 8am – 6pm Friday 8am – 5pm

Bord na Gaeilge

Campus Locations: Architecture and Health Science

Gradaim Bhord na Gaeilge agus Bonn Óir an Chumainn Ghaelaigh 2010/2011

Bord na Gaeilge Bord na Gaeilge and An Cumann Gaelach in Association with the Office of Vice President for Students wish to recognise the achievements of UCD Students and Alumni in the promotion of the Irish language.

Bord na Gaeilge

• Gradam Bhord na Gaeilge / Society Award don Chumann is mó a rinne iarracht an Ghaeilge a chur chun cinn i rith na bliana (gan na cumainn ghaelacha féin san iomaíocht) Bhord na Gaeilge agus Bonn Óir an Chumainn Ghaelaigh 2010/2011 Bord na Gaeilge and An Cumann Gaelach in Association d na Gaeilge with the Office of Vice President for Students wish to an recognise the achievements of UCD Students and in the promotion of the Irish language. elaighAlumni 2010/2011

• Bonn Óir an Chumainn Ghaelaigh / Cumann Gaelach Gold Medal don mhac léinn is mó a rinne iarracht an Ghaeilge a chur chun cinn i rith na bliana • Gradam Bhord na Gaeilge / Student Award don ambasadóir teanga is fearr ar Scéim Chónaithe Ghaeilge 2010/2011

• Gradam Bhord na Gaeilge/ Staff/Unit/Office Award Don duine/oifig/seirbhís is mó a chur le cur chun cinn na teanga ar champas

• Gradam Bhord na Gaeilge / Graduate Award d’Iar-Mhac Léinn de chuid UCD a rinne éacht ar son na Teanga

• Gradam Bhord na Gaeilge / Society Award Details and nomination forms available don Chumann is mó a rinne iarracht • Bord na Gaeilge UCD ( and an Ghaeilge a chur chun cinn i rith na bliana • Cumann Gaelach UCD ( (gan na cumainn ghaelacha féin san iomaíocht) Bronnfar na gradaim i mí Aibreán 2011

umann Gaelach in Association esident for Students wish to ents of UCD Students and • of the Irish language.

dam Bhord na Gaeilge / Society Award Chumann is mó a rinne iarracht

Bonn Óir an Chumainn Ghaelaigh / Cumann Gaelach Gold Medal don mhac léinn is mó a rinne iarracht an Ghaeilge a chur chun cinn i rith na bliana

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