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Editorial

editor@theedgesusu.co.uk theedgesusu.co.uk - Issue 9 - October 2012

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Welcome back to another edition of The Edge for this year. We hope it’s even more enthralling than the last one. It’s been great to personally hear such great feedback about our Freshers’ edition and that people have taken note of all the hard work that the team have put into our redesign and ensuring we’ve got wide reaching content. A particular highlight in this issue is our live section. Many of you will have been well aware of the fantastic talent that has come down to Southampton in the past few weeks, including Bloc Party and the Midnight Beast (pictured) at the Guildhall. Our new reformed ‘Listings’ page will give you all that you need to know about what’s coming up in November. Finally our Film Editor obtained an exclusive preview of Frankenweenie and this makes up the lead review in the Film section. And of course there’s all the rest of our stellar content, so don’t let Autumn get you down too badly. David Martin.

Committee 12/13

Featured Contributors Howell Davies, Alexander Green, Hannah Mylrea, Megan Downing, David Martin, Rebecca James, Frank Andrews, Joe Turner, Matt Timmiss, Barnaby Walter, Grace Pattle, Ellie Gwynne, Ben Soper, Emily Peters, Sam Welch, George Doel, Brendan Westhoff, Dan Flynn.

Editor: David Martin Deputy Editor: George Doel Records Editor: Howell Davies Features Editor: Andrew Ovenden Film Editor: Barnaby Walter Culture Editor: Cally Beckley Live Editor: Megan Downing Online Editor: Tasha Onwuemezi Head of Design: Matt Timmiss Head of Relations: Dan Flynn Head of Publicity: Corinne Gurr Editor In Chief: David Gilani


Contents

editor@theedgesusu.co.uk theedgesusu.co.uk - Issue 9 - October 2012

What’s Inside Issue 9

Records

Bat for Lashes - The Haunted Man Matt Cardle - The Fire Rihanna - ‘Diamonds’

Features Frankenweenie Press Conference Marina and The Diamonds Interview

Film Ruby Sparks Looper

4 7 9 10 12 15 17

Culture House of Lies The Ladykillers at The Mayflower

Live Bloc Party at the Guildhall Big Kids at Joiners

Listings

20 22 24 28 30

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Records

records@theedgesusu.co.uk theedgesusu.co.uk - Issue 9 - October 2012

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Bat For Lashes: The Haunted Man A return to form with her breathtakingly empowering third album Following on from 2006’s Fur And Gold, and 2009’s Two Suns, both of which were Mercury Prize nominated, innovator of British music, Natasha Khan has made an expectedly triumphant return with Bat For Lashes’ third album The Haunted Man. Disenchanted and uninspired after the breakdown of her relationship and the end of touring Two Suns, the album is the result of a quest to once again discover her roots. Fronted by striking album artwork, The Haunted Man is an album of empowerment and symbolisation. Through the album Khan has delicately woven a theme of the importance of being, from the sparse, hissing ballad ‘Lillies’ - inspired by the 1970 film Ryan’s Daughter where she wails “Thank God I’m alive!” to ‘Laura’ where the album crescendos to the moment she cries “You’re the glitter in the dark / Oh Laura, you’re more than a superstar”. The album’s

cover prominently displays the theme of empowerment, representing women taking the burden of the mistakes of men, with a naked man slumped over her naked body. Khan plays the caring figure for The Haunted Man throughout the record as she embodies a maturity of womanhood which was just out of grasp in her previous efforts. Jittery ‘Winter Fields’ is warm and inviting as synths and samplers tinkle away, whilst ‘Horses Of The Sun’ begins with foreboding, militaristic percussion, before flourishing into a joyously satisfying chorus. ‘Oh Yeah’ demonstrates Khan’s poetically playful songwriting ability with themes of hope and lust intertwined, singing “I am hope / And I’m open-eyed”. Guided by vivacious synths and scaling pianos, this feels like an extension of Two Suns which is an engaging, enigmatic sound. The album’s most immediate highlight is ‘Laura’ which was co-written with Justin Parker who also co-wrote Lana Del Rey’s ‘Video Games’. Dainty vocals accompany a sparse combination of chords and gentle riffs from a piano which swell to create a powerful and impassioned chorus. It’s honest and universal as she sings about the world’s loneliest party girl, who could be anyone, but in this case is her best friend. Meanwhile, ‘All Your Gold’ tells the story of being forced to choose between a ‘good’ man and a darker evil. A percussive force drives the song with autoharp, a staccato guitar riff and experimental techniques such as the tapping of forks against glasses of water, giving the track an idiosyncratic edge. The record is intricate, with absolute attention to detail, without being overbearing and excessively produced. It’s inspiring and brimming with an inquisitive energy, without being pragmatic. It’s Bat For Lashes’ most mature record to date, but still seeps spirit and truth. The lyrics are condensed and have been scrupulously chosen to make the purest of music with undeniable honesty. This album is a masterpiece to match her two previous records. Bat For Lashes is one of this country’s most captivating talents. By Howell Davies


Records

records@theedgesusu.co.uk theedgesusu.co.uk - Issue 9 - October 2012

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How To Dress Well - Total Loss How To Dress Well’s sophomore effort, Total Loss, fails to maintain the lo-fi closeness of his early works, but is still an album of intense R&B-infused musical beauty Despite a band name that sounds like a fashion column for a gossip magazine - or even worse, a new Gok Wan tv show - How To Dress Well is pretty out-of-the-box kind of music. Debut album Love Remains was a hybrid of late 80s and 90s R&B and atmospheric ethereal guitar landscapes; its tracks hum along with layers of distorted guitar, multiple sample loops and indistinct vocals in a lo-fi paradise. So lo-fi, in fact, that the music sort of whispers at you like it was home-recorded by a ghost. Luckily, album number two - titled Total Loss - is no different. Tom Krell’s project has picked up exactly where he left off, producing an album of experiment R&B with his falsetto soaring over songs full of reverb haunting melodies. However, this is different from Love Remains; that was, after all, an album about love, whereas Total Loss is about death. “Dear mama, did you try to tell me everything was gonna be safe?” is a line on the gospel-sounding opening track ‘When I Was In Trouble’; a testament to Krell’s own mother. The fact that such a theme is prevalent in the album can clearly be heard with ending track ‘Ocean Floor For Everything’ having a mournful quality of gothic despair. ‘Set It Right’ also reaches the same aching pain in a soundscape of electro loops and piano; ‘World I Need You’ does it with a Sigur Ros-based post-rock feel. Its frosty softness

and pain is felt in every second of the album. In reality, the top 40, slickly produced, R&B influenced feel of ‘& It Was U’ means it sticks out like a sore thumb on the album as a whole; and, in many ways, is one of the weakest songs. ‘Running Back’ similarly is far too R&B-laced with Michael Jackson-esque bleats and a funky swing maintained throughout the track’s entire length. Such a sound will please some fans, but for many it means the album loses it tender and fractured closeness that Love Remains prospered with. Indeed, it’s songs like ‘Cold Nites’ - where both his R&B and ethereal sounds are plain to see - where Krell reaches his peak. Echoes and layers of sound take you on a dreamy spectral journey, whilst a hand-clapping beat overlaps in the background. ‘Struggle’ also has this blend perfectly balanced with its dark soaring electro wave with post-dubstep electronic jitters to boot. The genius of How To Dress Well is that it sounds like music you could record on your laptop at home; yet, 99.9% of people wouldn’t come close to producing the emotive intensity nor artistic quality of Krell. For him, it’s just not forced. True, How To Dress Well is both extremely hipster and pretentious, but with a sophomore effort this good, it doesn’t matter one bit. Alexander James Green


Records

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Matt Cardle - The Fire Matt Cardle seizes creative control for his second album, The Fire, but the result is dull and unimaginative as clumsy power ballads are in abundance The Fire is Matt Cardle’s second albumafter winning the X Factor in 2010. His first album, Letters, received mixed to negative reviews, and wasn’t a huge commercial success. This record sees Cardle seize far more creative control, co-writing all but one of the songs and being credited as producer of the LP. I was feeling positive about what these differences to Letters would bring, but the record dissapoints. Put bluntly, most of the album is very dull. Each track blurs into the next with very few that stand out. Opening track and current single ‘It’s Only Love’ tries its best to be a huge power ballad, but the track fails to pick up and thus begins the monotony of the entire album. Why pick this one as the lead single? It isn’t particularly catchy and is full of clumsy instrumentation. The record then passes through the string-heavy ‘The Fire’ and then to ‘For Every Heartbreak’ - arguably one of the high points of the album. It has a catchy chorus and will no doubt be the next single. However, the brief high point is brought way down by what follows. Soppy ballad ‘Water’ is overly produced, leading to Cardle’s voice sounding like he’s just whining over some synthesised noises. It is every cliched ballad in one, with lyrics like “water, water, tear drops falling like rain” and weird glockenspiel noises; it’s a track I could really have done without.

The album passes through several more Snow Patrol tribute songs leading to the best track on the album ‘Empire’. This is how the whole album should sound. It’s catchy, full of great harmonies and great instrumental lines. If all the songs had been written like this, the album could be great. From the highpoint of ‘Empire’ we get another whiny ballad in ‘All That Matters’; a song which probably got thrown on as they didn’t have enough material. The album finishes with a cover of ‘The First Time Ever I Saw Your Face’, a song Matt infamously sang on the X Factor. The cover is obviously meant to be emotional, but the result is spiritless and unimaginative. I really don’t understand why they decided to put a cover on a 10 track album; maybe to get the interest of Matt’s old X Factor fans back, but it adds nothing to the overall sound. The whole album is Cardle’s attempt to go in a more rock orientated direction, however it really isn’t working for him. No amount of drum fills and guitar riffs can hide the overly edited voice and whiny lyrics. It’s a shame as tracks like ‘Empire’ show what he’s capable of, but then he ruins this with an album of mediocre power ballads. No doubt Matt’s loyal army of followers will buy the album, but he won’t be winning any new fans. Hannah Mylrea


Records

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Bloc Party - ‘Kettling’ Bloc Party have been no stranger to political sentiments over the past decade and ‘Kettling’, the second single from their album Four is no exception. The manic, wobbly guitars from lead single ‘Octopus’ remain and are driven by a heavy, relentless beat that gives glimpses of a band that produced a brash début in the form of Silent Alarm. Kele’s lyrics are particularly harsh and will strike a chord with the disenfranchised youth of modern Britain as he wails “We drop the lighter into the gas / If the whole world is watching us, let them watch us”. While a guitar launches into the distance in the mid section of the song, the song can get a bit too grating and the individual elements of ‘Kettling’ see the track come dangerously close to splitting apart. The abrupt and rash nature of the single will be seen as dynamic with Bloc Party at their most energetic, and their most unbalanced. David Martin

Bastille - ‘Flaws’ Bastille have decided to release ‘Flaws’ as their next single. It has been a live favourite since they started touring and will be greatly received by fans. Hearing it live, you would expect it to already be a single with the fantastic crowd reaction every time it is played. The video was released in early September and it continues on from the video for ‘Bad Blood’ with frontman Dan Smith waking up on a beach in New York. The video continues with the thought provoking interpretation that came with ‘Bad Blood’ as fans try to decipher what it’s meaning and plot has to say. The single was Greg James’ Big Thing in September and I can see why - it’s an instant hit. Bastille fans are eagerly awaiting a debut album which will be released in March 2013. Could they also be on the Sound of 2013 list? We will have to wait and see. Megan Downing

Duds of the Month Christina Aguilera - ‘Your Body’

For someone who has such an amazing range and singing ability, to release a song like ‘Your Body’ is more than a little ridiculous. This takes her too far into the commercial realm, her voice doing nothing to redeem the song. I can’t even say that I think that it would be a good club track because it is too simplistic. Lyrical gems include “Don’t even tell me your name... All I want to do is love your body” hardly poetic. It’s certainly disappointing to see such a talented artist lower herself to such basic levels. Rebecca James

Ke$ha - ‘Die Young’

‘Die Young’ is about partying, getting drunk and living for the moment… A change from her usual politically astute, philosophical stuff, right? Think JLS, think Taio Cruz, think One Direction and you’re pretty much there. Like so many of these songs, it starts with a few bars of guitar, the chorus, then it ‘drops’ and roll on another dance-pop YouTube hit from across the Atlantic. And it will be a hit, we’ll soon know all the lyrics and subconsciously tap along because whether we like it or not, they’ll play this in Jesters. With lyrics such as “we’ll keep dancing ‘till we die,” this is another generic, shallow song from the ‘singer-songwriter’. I can’t help but hope that she soon takes her own advice. Bah humbug. Frank Andrews


Records

records@theedgesusu.co.uk theedgesusu.co.uk - Issue 9 - October 2012

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The Blackout - ‘Start The Party’ I remember going to see The Blackout when they toured their second album The Best In Town back in 2009. A bunch of rowdy Welsh blokes (one with peroxide blonde hair), screaming, shouting and rocking a huge cover of Willow Smith’s ‘Whip Your Hair’ - we loved it. The Blackout’s duel vocalist combination provided angry screams and powerful clean vocals; they came out with big riffs and bigger choruses. The Blackout seemed to have the perfect niche to exploit, heavier than the likes of You Me at Six and Paramore, but not quite ‘emo’ and angry enough to become intimidating. Best of all, The Blackout were naturally fun. It is a shame then that three years later their ultimate party song just turns out to be a big cliché-ridden, genre-less mess, that shoves having a good time right down your throat. It’s hard to know where to begin with ‘Start The Party’. As the video explains, (in far too much detail) that instead of doing a normal music video, the band decide to go and splash it all on a holiday to Ibiza, where they meet up with a certain Pritchard from Dirty Sanchez and have a boozy party on a big boat. It seems like the premise for the video

came even before the song was written so the lyrics “start the party, tell everybody, we’re never going home” must have been very hastily drawn up to not waste all the money. ‘Start The Party’ is a confused attempt at a summer anthem, by a band that made their name playing bonkers gigs at sweaty venues in Wales, not sunning themselves in Ibiza. Even worse is the P.A.R.T.Y section, which sounds like a cameo from Ke$ha, before continuing into more weak riffs and bland verses whilst we have to watch Sean Smith and the gang fall off a banana boat. Maybe though The Blackout have mastered satire, making us look twice at our own drinking culture. Maybe they are warning us of the effects of having too much of a good time. Or maybe you should listen to The Blackout before they became chummy with daytime radio; The Blackout who followed in the footsteps of Funeral for a Friend or Lostprophets not Katy Perry and Miley Cyrus. Obviously opening a gig or festival set ‘Start The Party’ will go down a treat, but when you want to listen to original and interesting rock music, look elsewhere. Joe Turner

Rihanna - ‘Diamonds’ On first listen, Rihanna’s new track ‘Diamonds’ is a bit of a shock, it’s so different to anything she’s done before. With no heavy club riff, no sexy lyrics and a twinkly gentle beat could this be Rihanna turning away from Nicki Minaj and towards artists like Lana Del Rey? Since the song is so different, it’s hard to compare it to any of her other work. Instead this standalone single is a symbol of Rihanna’s versatility: she’s one of the biggest artists in the world and at the top of her game, yet she still isn’t afraid to experiment with her sound. Having said all that, this sound hasn’t quite been honed yet. At times the song is repetitive and it could have done with a heavier backing instrumental to keep it interesting. A stepping stone in a new direction is exciting, but she doesn’t quite pull it off in this initial attempt. 5 stars for effort Rihanna, but 3 for achievement. Matt Timmiss


Features

features@theedgesusu.co.uk theedgesusu.co.uk - Issue 9 - October 2012

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Frankenweenie Press Conference During the start of the press junket, Tim Burton explained the reason for making Frankenweenie – a film he described as a ‘real memory piece’ – using stop motion animation. He had previously shot the film in live action, but he said the thought of seeing the story brought to life in stop motion in black and white and presented in 3D inspired him to start work on it as a full length animated feature film Throughout the questions put to them, the enthusiasm from actors Catherine O’Hara, Martin Short and Martin Landau about the project was obvious. They spoke in depth about creating the characters through voices and pictures of who they would be playing. Martin Short described the process as ‘an ideal working situation for an actor’, as Burton would cultivate a ‘collaborative’ approach to filmmaking and ‘hone and refine’ the ideas people came up with. I asked Tim Burton if he had any thoughts about why cinemas are currently seeing a lot of dark and macabre animated films at the moment (in the space of a few weeks we’ve had Paranorman, Frankenweenie and Hotel Transylvania). He said he didn’t know where the trend was coming from, but added that although people always describe his films “dark”, he himself has never thought of them as dark. After the press conference, a privileged number of people (I was delighted to be one of them!) were taken to a presentation by the animators behind Frankenweenie. Trey Thomas (Animation Director) and Ian Mackinnon and Pete Saunders (Puppet Makers), who were sat behind a wondrous display of puppets from the film, talked us through the methods, designs and ideas that went into making the world of Frankenweenie come to life. They started by explaining to us how the characters were originally conceived. They said Tim Burton was a very specific artist, and oversaw the making of the models and puppets. Sketches of the characters were first created using Plasticine, which helped the anima-

tors establish the ‘broad strokes the cast’, and work out the dynamics of the characters (for example, how the family would look sitting together in their home). The men were asked what challenges they encountered during the production process, and they all agreed that hair on the puppets’ heads was at some points an issue. When filmed under high contrast lighting, the characters’ hair would be a mess of lights and wouldn’t photograph clearly. Production secrets (well, sort of secrets) were revealed when, after emphasising the importance of how the film was made using stop-motion, not CGI, they confessed to having to using computer effects for the invisible fish scenes in the film (see the film and you’ll understand why they needed to be CGI). They said that if they had tried to use puppets like they had in the rest of the film, they would have had to digitise them so much in postproduction, they might has well just use computers from the start. Throughout the day, I was struck by the amount of work and years of painstaking production that had gone into making the movie. The cast and filmmakers all seemed entirely devoted to the various aspects of the film, and seemed to value the experience as something unique; a combination I should imagine comes from working with both Tim Burton and stop-motion animation. Barnaby Walter


Features

features@theedgesusu.co.uk theedgesusu.co.uk - Issue 9 - October 2012

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Confessions of a Stooshe Stylist The Edge’s Grace Pattle talks to stylist and musician Di Barrand With their provocative lyrics and distinctive style, Stooshe are by no means devoid of personality. Stylist and musician Di Barrand is the mastermind behind Stooshe’s unique look. From helping form the band to creating the overall look, Di shares with us just what it takes to be a stylist in todays music industry and even shares a little of her experience as a musician too. How did you become a stylist? I have always been involved in fashion. I didn’t go to the London College of Fashion or have any fashion qualification but I knew I had an eye for it. So I started off as a visual merchandiser for Topshop and then went on to be Style Advisor and then because I’d helped put the girl group [Stooshe] together and created the original image for them I sort of became their stylist by default really. When creating an outfit what’s the first thing you do? So when I styled Stooshe for the Furbee campaign recently I got a brief from the brand. The brand would say ‘we’d like the girls to look a certain way - we want them to be really bright, it’s a children’s product so nothing too sexual.’ So they’re the first things to consider. If I don’t get a brief, which I hardly ever did when I worked with Stooshe, I would just get a list every week of the things the girls were doing. You just take into consideration what it is, so if its red carpet you know its gonna be high end, if its editorial you find out what kind of editorial it is. You really need to see what market you’re gonna hit for the outfit. Then also you’ve gotta think about what the girls are gonna be doing so if it’s a photoshoot obviously they can wear heels; there can be pins at the back [of the outfit]. If it’s live shows or performing it has to be stuff they can move in. And then there’s the weather! What’s your favourite event to dress the girls for? I don’t really like all the red carpet and the high end because people expect to see designer for those sorts of things and that’s not really my style. I much prefer the custom made or original, quirky, one off vintage stuff. So I guess my favourite would be the live shows. When choosing an outfit how much of an influence do the girls have? I’d say it’s 50/50. So they come round once a week and we normally have a discussion. I know what they like, what they won’t wear what they will wear

so I’m really lucky in that respect. It’s a bit different cause I’ve got to try and create an image that the label would like but the girls have their own opinion as well so we have to come to a happy medium with it. They don’t like all their outfits all the time... You’ve had experience as both a musician and a stylist, which do you prefer? Oh my god, I so much prefer being a stylist! What advice would you give to any aspiring musicians and stylists? With the music industry, I’d say try hard but be true to yourself and what you do. It’s always good to take advice but you need to keep true to the thing that you created in the first place and don’t let anybody change it too much. Everyone wants to do it and with reality TV and things like that I think it’s made it available to a lot more people. It’s one of those industries that is very very hard cause you’re only as good as your last thing. It’s not like one of those industries where the harder you work the more you get rewarded. You can work really hard but if the public don’t buy into it it’s tough. It’s the same with styling as well. It’s just all personal opinion. Try not to get too sucked into the industry and just do what you do. Focus on doing what you’re doing; whether it’s making music or making fashion or making art, focus on all the dramatics of it. Just keep out the drama and focus on the talent and the work you’ll do a lot better.


Features

features@theedgesusu.co.uk theedgesusu.co.uk - Issue 9 - October 2012

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An Interview with Mar Howell Davies and Megan Downing talk to Marina How’s the tour been so far? It’s actually been much more enjoyable than the first, because I had a vocal injury, so the first Lonely Hearts Club tour in the UK. This one has been my favourite UK tour that I’ve done. What can we expect from the show? It’s very camp and theatrical. It embodies the Electra Heart character, it’s almost like a musical, even though I hate musicals, so I don’t want to say that. You’re touring the UK at the moment, you’re heading around Europe next month, North America in December and back around Europe in January. Are you ever going to have time off? I do get some time off. You do get weird bursts of time off which suits me fine. So you’re not ‘heading for a meltdown’ like you sing in ‘Radioactive’? Most of the time I feel like I’m on the brink of one, but that’s just the artist life *laughs*. Who actually is Electra Heart, and how has she changed your career? In the beginning I used to make up these names, of drag queens and porn stars, so Electra Heart was just one of many, and at the time I’d had a very unorthodox relationship, and you know when you have a bad experience, and you’re just like, ‘I don’t ever want to be in love again,’. So I formulated this character in order to protect myself from that in terms of writing. When it comes to love people are pretty fucked up really, we all are. How would you explain the writing and producing process of Electra Heart? It was really important for me because it freed me up a lot to write in a different way, I just wanted to have fun as an artist, whereas with the first album I was very strict, I didn’t want anyone to have control, which is great, but I think in my mind I thought that equalled purity in terms of artistry, and pop equals shit. Which is wrong! Some pop is shit but some pop is really good, even if it is factory produced. I couldn’t think of any other female, indie artist who had taken that route, gone from selling my CDs to Rough Trade, to going into Hollywood Hills with Dr Luke. I wanted to use that pop model in a very obvious way, and apply it to my own work to see what would happen.

The songs are really honest and expose a reality of heartbreak that you don’t see in generic love songs. Is that a conscious decision which you made when writing your tracks? I am conscious of it, but it’s just how I write. Even on the first album I was writing in a very blunt, acerbic way. Plus I never really relate to soppy love songs. ‘Teen Idle’ has become almost anthemic amongst your fans now. What advice would you give your teen-self if you could? Oh god, I don’t know. I’m not very good at advice. I was about to say I don’t think you should worry as much, but I think it’s impossible if you’re someone who really cares about your future. I think I definitely should have had more fun but sometimes you can’t. ‘How To Be A Heartbreaker’ is your current single, and it was on the American release of Electra Heart. Is it going to be on a deluxe edition, or perhaps a third album? I hope so. I wrote it just as the UK album was going to manufacturing, so I would like for that to be part of an official album at some point. ...and it’s the seventh part of The Archetypes on YouTube, how many parts are there going to be in total?


Features

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rina & The Diamonds about her latest album and the music business. without the fashion and the imagery, whether that be what I’m wearing, or a video, I feel like everything is really 2D, and I can’t ever imagine style and image not being a part of what I do. If you had to give a suggestion to our readers of any up and coming pop artist anywhere in the world right now, who would it be? I LOVE this guy, he’s called Mykki Blanco. He is an american rapper, who’s like a drag queen. He’s so interesting because he touches on a few of the things that I was doing with Electra Heart, examining archetypes and embodying roles and subverting them. Have you started thinking about a new album yet?

Well, actually I tweeted about 2 months ago that it’s going to be 15 parts but now I’m regretting that *laughs*. Genuinely I think there’ll be about 12, ‘cause you don’t want to drag it out more than it should be. There was some drama the other week with your US record label delaying the release of the ‘How To Be A Heartbreaker’ video because you weren’t pretty enough. Did you find that ironic given the message of the album? Yeah, stuff like that always happens to me… Awww. Well, not the ugly thing, but things that contradict exactly what I’m doing. I didn’t really think it was that big-a-thing, it’s just I didn’t want to go on Twitter - after everyone’s waited all day to see the video - and be like, ‘oh sorry guys, it’s coming soon,’ I just thought I’d tell the truth. I actually agreed with some of the comments they made. It was more ‘beauty work’ that needed done, BUT they wouldn’t give me the budget to have it done, and then on the day, they were like ‘oh this can’t go out,’ so I was like, ‘fucking hell!’ Fashion comes through quite strongly in your music videos and you have a very distinct style, what inspires you to look the way you do? I like feminine clothes but I like using fashion for humour. As a pop artist I see it as the third element, so

I’m always thinking! Even with Electra Heart I started writing it in March 2010, and the album was released in February 2012, so I have started with the third album but I’m taking a different approach this time. I will probably write on my own again for most of it, but I’m experimenting with lots of different ways of writing. So will Electra Heart be involved with that again as a character or is that it for her? No, she’s only one album. Actually I’m starting to feel sad, that I’m not going to wear the heart on my cheek anymore. I keep thinking about the last moment when I put it on, it’ll be this poignant moment *laughs*. But when I was doing the second album I was like, ‘shit, how am I going to do the Family Jewels songs?’, but it was really seamless. I think people who know me properly as an artist rise above the whole ‘Is this a real character? Who’s the real her?’ thing, it’s like, for god’s sake, it’s ART, you’re ALLOWED to pretend. Lastly, how many times do you get proposed to each week? Oh, um, 4? I’d probably say 4 or 5 times a week!

Check the Edge online to see the review of this performance.


Film

film@theedgesusu.co.uk theedgesusu.co.uk - Issue 9 - October 2012

Frankenweenie

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Beautifully creepy, superbly made By Barnaby Walter, Film Editor. Tim Burton’s return to stop motion animation is a terrific success. I am overjoyed to say that Frankenweenie is an endearing, beautifully made, genuinely intelligent little film that will charm both children and adults. It’s made with such love and care and dedication to detail, watching it is like falling into a wondrous and macabre fantasy world – a world where pets can predict the future and dogs can be brought back to life via lightning. The film builds up a loving tapestry of references to cinema, including Universal Horrors of the 1930s (James Whale’s Frankenstein is a clear inspiration), Jurassic Park, David Cronenberg and British Hammer movies. There is even a clip of a Hammer Dracula film, where Christopher Lee walks menacingly into view on a fuzzy TV screen. The story concerns a schoolboy, Victor Frankenstein (Charlie Tahan) who is interested in both cinema and science, inspired by his eccentric teacher (the brilliant Martin Landau). When Victor’s dog is hit by

a car and dies, he attempts to bring its corpse to life using electricity. It works, but the boy’s talent doesn’t remain a secret for long, and quickly turns his life into something of a living nightmare. With a cascade of other superb voice talents, including Winona Ryder, Catherine O’Hara and Martin Short, Burton stitches together a work which never bores and always intrigues. The story does get a little baggy and untamed towards the end, but the strong characterisation keeps it together, and a surprising conclusion lodges the film in your mind long after seeing it. Finally, I must salute the great Danny Elfman for his superb score for the film. He is a long-time collaborator with Burton, and with Frankenweenie he delivers a sumptuous and atmospheric soundtrack that’s full of the optimism of childhood and the melancholy of loss. Listen to it, download it, cherish it. Director: Tim Burton. Disney. PG.

Pusher Pusher, originally a Danish film directed by Nicholas Winding Refn, didn’t need to be remade. If you want to watch a gripping and visually intriguing film about brutal drug dealers, rent or buy the original on DVD. The only good thing about this version is Richard Coyle in the lead, but he doesn’t save the film. If you want a headache, induced by a nauseating combination of extreme violence, repeated shots of cocaine consumption and pounding music, this is for you. Dir. Luis Prieto. Vertigo Films. 18.


Film

film@theedgesusu.co.uk theedgesusu.co.uk - Issue 9 - October 2012

Ruby Sparks

By Ellie Gwynne. After experiencing huge success in 2006 with the likable, quirky-indie movie Little Miss Sunshine, husband and wife directing team Jonathon Dayton and Valerie Faris give us their latest offering in the form of Ruby Sparks. Written by and starring Zoe Kazan in the title role, the film features Paul Dano as Calvin Weir-Fields, a young novelist who having been hailed a genius at the age of nineteen is now experiencing a serious case of writers block. Lonely and socially inept, Calvin’s life and work seem to have come to a halt, when a sudden surge of inspiration leads him to create Ruby Sparks. As he writes the character, he finds himself becoming more and more enamoured with his own invention, until one day he discovers that she has leapt from the page and into his apartment. Though it is easy enough to draw comparisons between Ruby Sparks and a number of other films, in particular Marc Foster’s Stranger than Fiction, the story is more reminiscent of the myth of Pygmalion. The magical element of Ruby’s character hardly matters here, as Calvin represents everyone who has ever idealised another person, projecting their own romantic fantasies onto them whilst failing to see the human being underneath. As soon as Ruby begins to show signs of discontent, Calvin begins controlling her through his writing, attempting to change her rather than recognising the shortcomings in his own character. It is in this sense that the film can be seen as commenting on the ways in which our romantic expectations can impact negatively on our relationships. Far from perfect, the film suffers from being a little too self-consciously quirky and occasionally comes off as just a tad hipster-ish. It also lacks the heart and originality of Little Miss Sunshine. However, Ruby Sparks is more than just a cutesy rom-com and ends up as something far more interesting than the sugary trailer would have us believe. Both leads give solid performances and there are some amusing turns from the supporting cast which includes Annette Bening and Antonio Banderas. But its Kazan’s writing that makes this worth watching, as she manages to raise intelligent questions about the nature of relationships and romantic attachment. Directors: Jonathon Dayton and Valerie Faris. Twentieth Century Fox. Certificate 12A.

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Film

film@theedgesusu.co.uk theedgesusu.co.uk - Issue 9 - October 2012

On the Road

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Desitnation unknown, journey watchable By Barnaby Walter. I wouldn’t be a good the first wife of Dean. She whines, mumbles companion for a Kerouac-esque road trip. Instead and has sex with people. Her performance of enjoying the promiscuity, the late-40s drugs isn’t awful, but neither is it exactly memorable. scene, the fast driving, the extreme weather and the various other delights that came across our The adaptation does attempt to flesh out the female path, I would be forever finding fault with everything. characters and give them more personality than Sex?! With EVERYONE?! Are you mad?? Do you they were perhaps given in the original text. This want to get an STI?! Drugs?! I’d prefer not to go was a good decision, although the film still does to prison, thank-you. Please slow down! We’re – quite rightly – feel like a very manly movie. That going to hit something! Jesus, it’s freezing! I need isn’t to say females won’t like it, but it has a very a thicker jumper. Where’s the closest John Lewis? male heart at its core. It looks at the relationships between men, how they drink together and argue As you can tell, this is a lifestyle I would not cope with. together, love each other, and in some instances But when it comes to watching it played out on a have sex with each other and/or shag each cinema screen, I rather enjoy watching other people other’s partners. It’s an overwhelming experience trying to pull it off. And Walter Salles adaptation of at times, and it’s to the film’s credit it manages the novel that, according to the publicity material, to create such an atmosphere so convincingly. defined a generation is a generally watchable affair. In the end, the focus of the story becomes blurred It isn’t as profound or endearing as it thinks it is, – something which may not have mattered on print, nor does it completely capture the spirit of Jack but the film doesn’t negotiate it well. It becomes a Kerouac’s prose. But it does showcase some collage of scenes and episodes that are interesting extremely good performances; the highlight being to a point but don’t really amount to much. It’s Garret Hedlund as the free-spirit Dean Moriarty, worth the experience for the acting alone, but I the best friend of our main protagonist (Sam Riley). suspect some members of the audience will find the whole thing a little too self-indulgent and uneven. Kristen Stewart isn’t given very much to say, even though she is (rather predictably) all over Director: Walter Salles the posters and trailers for the film. She plays Lionsgate. Certificate 15.


Film

film@theedgesusu.co.uk theedgesusu.co.uk - Issue 9 - October 2012

Taken 2

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By Barnaby Walter. Taken 2 is irritating, preposterous and the script sounds as if it’s been written by a bunch of twelve year-olds who have been given a boxset of Jean-Claude Van Damme action movies as inspiration. It’s actually co-written by Luc Besson, a depressing reminder of how talent can fade. Once again, Liam Neeson kills foreign bad people, but this time Turkey is the location of choice, not Paris. The relatives of the people he killed and tortured in the first film want revenge. The first film had a tight and streamlined structure. It was nonsense, but it told a simple story and kept up the pace. Taken 2 is a mess – the plotting is all over the place. It jerks around, offering up gun fire where there should be logic. The racial stereotyping present in the first film is cranked up to lunatic levels, as is everything else – the corny lines, the car-smashes, the violence (though bizarrely the BBFC awarded it a 12A rating). It’s a poisonous, vacuous and downright appalling mixture of vapid rubbish. I await Taken 3 with dread. Dir: Olivier Megaton. Twentieth Century Fox. 12A.

Looper

By Ben Soper. Looper sees writer-director of Brick and The Brothers Bloom, Rian Johnson once again collaborate with in-demand actor Joseph Gordon Levitt. Set in Kansas in the year 2042, the film follows Joe, a ‘Looper’ who eliminates his targets in an age where time travel has yet to be invented. His targets are sent back thirty years from a time where murder is practically impossible and where time travel illegally exists, which is utilised by criminal organisations. There is only one rule: never let your target escape. But when Joe’s future self (Bruce Willis) is sent back and escapes the clutches of this clean and ritualistic style of assassination, Levitt must track him down in order to ‘close the loop’. Rian Johnson has created a multi-layered story with plenty of imagination to back it up, working both as a neo-noir and sci-fi action thriller. The film does have niggles but when time travel is at the center of a narrative it is incredibly difficult (if not impossible) to get it perfect. What Looper does deliver is awe-striking excitement, great characters and most importantly, it makes the audience think, which is heads above recent bog standard, sci-fi fodder. It is quite easily one of the slickest films of the year. Dir: Rian Johnson. Entertainment One. 15.


Film

film@theedgesusu.co.uk theedgesusu.co.uk - Issue 9 - October 2012

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Archive Review

Funny Games (2007)

By Barnaby Walter. Vindictive. Exploitive. Malicious. Audacious. Psychotic. Neurotic. Subversive. Oppressive. Impressive. Disturbing. Outstanding?... Perhaps. Pointless?....Perhaps. For esoteric and darring director Michael Haneke’s American-based revamp of his own 1997 cult-classic does pack a punch, but why remake our own film? Well, why not? Another question, though- how does a violent film with hardly any onscreen violence obtain an 18 certificate in this day and age? Answer- through strong, sadistic and sustained use of uncompromising threat and humiliation. The story? Identical to the original- a well-heeled family of three’s weekend break at their holiday home takes a turn for the worse when they’re taken hostage by two well-mannered lunatics who proceed to maim and toy with their dignity and lives. Their motives? Non-existent. “Why are you doing this!?””Why not?” It’s all in the name of “entertainment” and “plausible plot development” as Paul/Jerry so satirically states in one of his numerous direct camera convos. The rules, then, of Haneke’s not-so-funny game are often bent to the extent that they evoke confusion, participation and questions as to whether the world

the German director has crafted is based on fantasy or reality, fact or fiction. Discussions between the two nutjobs regarding parallel universes appear to offer a glimmer of reason, and a certain use of a surreal spool back technique three-quarters of the way through the film will leave you wondering whether you should laugh or cry. Either way, Haneke’s resourceful approach to a seemingly simple tale alienates the diegetic world in which it is contained. You don’t have to be a fan of independent and/or experimental film-making to view Funny Games U.S through a set of compulsive eyes, though. Despite the 180 degree rule breaks, prolonged stationary shots, direct camera addresses (“What do you think? Think they stand a chance?”) and rewind stunts, the film itself is compelling and everything the likes of Hostel, Saw and every other mindless torture flick of past and present wanted or wants to be. Director: Michael Haneke. Kaleidoscope Entertainment. Available on BD & DVD. Certificate 18.


Culture

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House Of Lies - Season One Rebecca James looks at new show House of Lies, starring Don Cheadle

House of Lies is brash, crude and features a central character who should, by all accounts, be reprehensible. But yet, he is not, and there is something about this show that pulls you in and refuses to let you go. A warning for the easily offended – this is not the show for you. If you don’t want to see sex acts or nudity, then you should probably avoid House of Lies. But if you can look past its brash exterior, there is something very intriguing about this show. The show, on Sky Atlantic every Tuesday at 10, focuses on a group of management consultants as they travel to different companies in an attempt to persuade them to hire them. Don Cheadle plays the central character Marty, whose actions, particularly in the first episode, could be defined as more than a little morally grey, but yet there is something very charismatic and charming about him that helps you to look past his failings. Kristen Bell finally has a role that she can sink her teeth into and use her acting talents which have been neglected in her recent romantic comedy roles, playing the smart level headed Jeannie, who Marty, naturally, wants to sleep with. The rest of the management consulting team is solid, if a little unremarkable thus far, although this could be because of the lack of focus on them as individuals.

While the show is undoubtedly crude, and focuses deeply on human sexuality, there were moments in the first episode which showed real promise. Marty struggling with how to understand and communicate with his cross dressing son shows promise of a good character. However, there are some points where you question what this show is trying to say. The proposal put forward to the banking client in this episode is fairly seedy, and I wonder whether audiences will connect with the substance of the show, which is to help rich corporations save their money, screwing over the ordinary person in the process. I think a lot of this will come down to the writing and handling of the content. After all, if we as an audience can sympathise with a serial killer in Dexter, and the drug selling chemistry teacher in Breaking Bad then I’m certain that they can sympathise with Marty. But, when it comes down to it, Marty’s character is going to be what makes or breaks this show. He is put forwards as an anti hero, and only if the audience can sympathise with him in the future will it really gain momentum. Verdict: An interesting start, and only time will tell if this show has legs. 7/10


Culture

culture@theedgesusu.co.uk theedgesusu.co.uk - Issue 9 - October 2012

Michael McIntyre Michael McIntyre’s stand-up may not be the most innovative, but its ability to tap into the everyday aspects of British life has unified countless audiences and has helped McIntyre reach new levels of success. In the realm of Mr McIntyre, something as mundane as a kitchen cupboard can inspire stand-up that’ll contort muscles you didn’t know you had, while you try (in vain) to stop laughing. "Showtime", the 2012 arena tour, certainly showcases McIntyre’s talent in creating comedy out of the banal. The performance lasts for two hours, including an interval that McIntyre presumably requested so that he could have a lie-down after the somewhat “energetic” first hour of his set. Happily however, the time flies and you are never left bored. True, the show might not leave its audience in a continual state of side-splitting laughter, but there are moments of comedic genius that compensate for those that don’t pack quite the same punch. McIntyre begins with an acknowledgement of the absurdly early ticket sales for the tour. “I can only apologise; I panicked,” he declares, as he pokes fun at the audience members that may as well be seated in another postal code due to the vastness of the O2. A smaller venue would certainly be preferable: even in my non-vertigo-inducing seat – which yes, I purchased over a year ago – I find myself watching the screens as opposed to the man himself. Facial features are hard to determine in a venue that seats up to 20,000. Yet the size of this venue undeniably pays tribute to the popularity of a comedian who was virtually unknown ten years ago. At times the comedy seems a little tired, but who could launch an arena tour in 2012 without mentioning the Olympics or the Diamond Jubilee? Although these gags might seem a little out of date for an October audience, when the tour began in August the UK was still very much in the clutches of Olympic-mania. And you’ll forgive these dated quips once you see that they pave the way for an imaginatively amusing rendition of Prince Philip and her majesty the Queen hula hooping to Grace Jones’ “Slave To The Rhythm”. The comedy gold arguably lies in one of McIntyre’s lengthier jokes about a trip to the dentist. Just as you regain control of your abdominal muscles, another line spoken as if the comedian was heavily anesthetised leaves you helpless. Further successful japes engage with the awkward aspects of long-term relationships, the difficulty in buying things online and a private game named “pants down” which fails to impress a fellow parent.

The show, which has now completed its time at the O2, continues to tour the UK until 3rd December.

Emily Peters reviews Showtime at the O2 Arena

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Culture Sam Welch explores the most recent adapation of the classic British comedy. This adaptation of The Ladykillers is one I had been looking forward to seeing ever since hearing of the initial West End run. Penned by Graham Linehan (arguably one of the finest TV comedy writers around today) and based on what is a truly classic British comedy, maybe the hype I had created for myself would not measure up to the real thing. Fortunately, my worries were unfounded. The best way to approach the production is as a completely independent entity. The script is entirely different, bar one or two lines, to the original; the characters and plot merely a framework for Linehan to incorporate his own brand of humour. Here all the characters are amplified versions of the originals, almost caricatures of caricatures. Michele Dotrice possibly steals the show as the

culture@theedgesusu.co.uk ttheedgesusu.co.uk - Issue 9 - October 2012

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The Ladykillers matronly but naive old woman Mrs. Wilberforce, unwittingly taking in a gang of criminals intending to plot and execute a heist using her and her home as part of the scheme. As for the villains themselves Paul Brown makes an entirely convincing Professor Marcus, the mastermind behind the entire scheme, starting off cool and seemingly infallible before the incompetence of his accomplices and constant interruptions of Mrs. Wilberforce force him ever more maniacal. Clive Mantle’s Major Courtney is a hysterical performance with more than a hint of John Cleese and Shaun Williamson comes off well as intimidating continental gangster Louis. William Troughton plays youngest member of the gang Harry to near slapstick perfection; perhaps a tribute to Inspector Clouseau, a signature character of the late Peter Sellers who held this role in the original. The only part which falls ever so slightly short of the mark is Chris


Culture

culture@theedgesusu.co.uk theedgesusu.co.uk - Issue 9 - October 2012

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at The Mayflower McCalphy’s portrayal of slowwitted former boxer One-Round, whose dumb guy act comes across as slightly forced throughout. It is however undeniable that a great proportion of the laughs come from the character’s blissful ignorance of how often he nearly gives the game away. Michael Taylor’s set design is also worthy of note. The action has been mostly condensed from a few outdoor locations as well as in and around the old lady’s house to almost entirely inside the house. This means a few neat contraptions allowing for smooth transition between inside and outside, when characters repeatedly climb out of an upstairs window for example, have been masterfully incorporated. This is not to mention the lift away façade of the house, which has small model cars on tracks built in to allow a bird’s eye re-enactment of the robbery in miniature. Script-wise the gag-heavy first half gives way partially in the second

due to the darker nature of the plot; Mrs. Wilberforce becomes wise to their plan after it has been carried out and the gang decide the only way to escape with the money is by dispatching her. The series of attempted escapes with the money and double-crossings that follow does lead to more laughs, just not quite as thick and fast as earlier. Some of the running jokes do occasionally wear thin, notably the more slapstick elements such as Harry’s repeated mishaps with a rotating chalkboard and Mrs. Wilberforce’s uncanny ability to stand on the Professor’s scarf, as well as the aforementioned overplaying of One-Round’s stupidity. Linehan has a self-confessed penchant for large comical moments and farcical style so this was never going to be an exception, and while some moments do feel tired on occasion this for the most part is a great tribute as well as competent standalone piece.

Coming up in Performing Arts Sinfonietta The Autumn concert will consist of the orchestra playing the likes of Rossini L’italiana and Dvorak Czech suite. The concert will take place on Sunday 28th October at 4pm in St Denys church. Theatre Group Macbeth, the classic Shakespeare tragedy is being performed from the 30th October - 3rd November in the Annex Theatre Great Expectations is also being perfomed by Theatre Group. Catch their show between Wednesday 14th November - Saturday 17th November. Circus Soc, Comedy Soc & Magic Soc The three societies perform their Variety show on the 9th and 10th of November.


Live 24 Bloc Party at the Guildhall (17/10/2012) live@theedgesusu.co.uk

theedgesusu.co.uk - Issue 9 - October 2012

One of the most anticipted gigs of this year comes in the form of Bloc Party at the Guildhall. George Doel went on behalf of the Edge to see what all the fuss was about.

The phrase ‘give the people what they want’ may not have been on Bloc Party’s minds when deciding on the set-list for their gig at the Southampton Guildhall. The indie-band played to an over-excited audience who although were treated to a brilliant production, the focus on new material meant a lot was left to be desired. Support was provided by Theme Park, a funk-rock quartet from London. While the band’s sound was pleasant enough, and their performance was pitch perfect, the fact that it sounded like they were playing ‘Club Tropicana’ by Wham! on repeat couldn’t be ignored. Bloc Party opened the set with ‘So He Begins To Lie’, a track from their new album Four which was released this summer to coincide with the band’s return from a hiatus that started in 2009. The crowd erupted instantly and this momentum was maintained throughout the rest of the show. The band jumped manically about their career, flitting from new tracks like ‘Kettling’ and ‘Coliseum’ to old favourites such as ‘Banquet’ and ‘Positive Tension’. One problem with the set was that most of the material came from their new album Four, which although is often the point of a band touring their new material, it felt like a lot of favourite tracks by fans (ourselves including) were missed out. For example only two songs were used from their third album Intimacy, whereas favourites ‘Ares’ and ‘Zephyrus’ were left out in the cold. This meant a lot of the time was spent dancing about to songs we didn’t really know (including the rather dull ‘Real Talk’). Nonetheless, this didn’t spoil the evening but rather soured the experience, like watching your favourite film of all-time on a grainy, VHS copy.

Notable was the bands comfortable on stage nature. Frontman Kele Okereke seemed relaxed throughout and the band gave the impression that they were happy to be there; perhaps this is the group version of make-up sex though, seeing as they have only just got back together. However, in refusing to cater to the audience’s obvious desire of them to play all the classics, the band’s stage presence was often not as electric as it could have been, an example being when they played obscure album-track ‘Day Four’ with an intensity that was embarrassingly contrasted with the audience’s lack of interest. The moments when the audience reciprocated the band’s enthusiasm were unquestionably euphoric, and this was almost always during songs from the band’s pre-hiatus era. A highlight of the set was ‘One More Chance’, a fanfavourite that got the whole crowd singing along to its lead refrain. Other high points were ‘The Prayer’ and ‘Hunting for Witches’, the two song’s dark and intense natures transferring brilliantly to the live domain. The set was ended, after two encores, with the group’s signature tune ‘Helicopter’, by this point the sweat drenched crowd, who had seemed to allow ‘Octopus’ to fizzle out, had second wind and went absolutely mental, ending the night on a high. The gig was great. Despite an over-dependence on their new material, the band played with an intensity and skill that allowed one to easily look over the dud parts of the show. It wasn’t that the newer tracks were worse, they sounded cracking, it just struck us as odd that a band who has actually written ‘I Still Remember’ would refuse to play it…maybe they forgot…


Live

live@theedgesusu.co.uk theedgesusu.co.uk - Issue 9 - October 2012

The Midnight Beast at the Guildhall (11/10/2012) I arrived a few hours early to the familiar venue of The Guildhall and already there were at least 200 fans (mainly teenage girls) waiting in the pouring rain, hoping to catch a glimpse of the gimmick rap trio The Midnight Beast. Made up of Stefan Abingdon, Ashley Horne and Dru Wakely, the boys have gathered a pretty sturdy fan-base over the years and tonight’s turn out is no exception to their other shows. The Guildhall isn’t the best venue for sound quality but seeing as the night’s performance had a lot of visual enhancements it was more than just a music concert. The guys kicked off the show by coming out on stage in suits and balaclavas. Amidst the many backing dancers the crowd was unsure of who was who until the masks came off and the screams were turned up an extra notch. The band opened with the obviously titled ‘I Kicked A Shark In The Face’. The boys bounded around the stage with so much energy you wouldn’t have believed this was their 8th night of the tour. Stefan in particular was literally kicking the air on the chorus. I know that I was definitely having great time so I can’t imagine what the excited teens were feeling. To my delight the set wasn’t just the relatively new songs from their E4 show. They included some classics from way back in the days of their YouTube success such as ‘The Dance Routine’ and the less energetic and more ballad-esque ‘Friends for Never’. The show was enhanced by backing dancers and a screen projection along with costumes and props. Personal favourites of mine throughout the set included the classic ‘Lez Be Friends’ which sounded amazing live, the timing on the chorus was impeccable. They also included my favourite from the E4 series ‘Beggin’ which is really just an absolutely belter of a pop song! They also played ‘Just Another Boyband’ which is actually a very good comment on the state of production in the pop (in particular, boy band) scene. If young girls are singing along to the gimmick lyrics but also learning how manufactured bands like ‘One Direction’ are, it is definitely productive for everyone. They finished the set with an encore of the ‘Tik Tok Parody’ and ‘Booty Call’. The thing about The

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Megan Downing explains how songs about Strategy Wanks and Booty Calls led to an extremely fun night at Southampton Guildhall.

Midnight Beast is that the lyrics are hilarious yet very true to society. They are so attuned to the culture of young adults that fans can see a likeness and identify with it. And also beneath it all there are some musical brains that are very talented and capable. All in all, a great night and never have a felt so at home singing the words ‘Strategy Wanking!’ over and over. I can safely say, a smile never left my face throughout the whole night.


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Preview: Twin Atlantic at the Guildhall (07/11/2012) Brendan Westhoff details how Twin Atlantic have gone from strength to strength and that their show at the Guildhall is definitely not one to miss. After several inevitably sweaty gigs at The Joiners, Glaswegian band Twin Atlantic return to Southampton for their penultimate gig of their current tour. After having a number of their own small venue headlining tours and supporting the likes of Blink-182, My Chemical Romance and Biffy Clyro, Twin Atlantic are soon to start their biggest venue tour to date, playing Southampton Guildhall on November 7th. Two years after forming and frantic gigging, the band released the mini-album 'Vivarium'. Every track on this album is a winner, with the highlights being the enraged 'Human After All' , 'Audience and Audio' and 'Lightspeed', of which a free download can

be found on the band's website. The official debut album 'Free' was released in 2011 under their label Red Bull. Since then, with increased Radio 1 airtime, their climax of their epic song 'Caribbean War Syndrome' accompanying Red Bull television adverts and very recently a remix of their album title track 'Free' sound-tracking Felix Baumgartner Stratos Freefall Mission, Twin Atlantic are getting the recognition they rightly deserve. Known for their extremely energetic stage performances, November 7th is surely a night that any music fan shouldn't miss.


Live

live@theedgesusu.co.uk theedgesusu.co.uk - Issue 9 - October 2012

BIGkids at The Joiners (16/10/2012) I arrived at the Joiners and interviewed Ben and Rosie from BIGkids just before their show. Getting to chat to them before really got me excited for the show as they were so much fun to chat to. They came out on stage, Mr Hudson donning the now famous BIGkids crown (not unlike those you get from Burger King) and Rosie looking fabulous in her fishnets and PVC shorts. Rosie having not really toured before was clearly very excited by the prospect compared to Mr Hudson’s cool and experienced demeanor. They started with ‘Stuck Like Glue’ Rosie brandishing a megaphone letting off a siren sound as she danced around the stage. This set the bar for what was to come. The pop duo managed to get through the majority of their debut album Never Grow Up which demonstrated its versatility and variation. From the older sound-

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The brilliantly fun duo made up of Mr Hudson and Rosie Oddie graced the stage of The Joiners in the form of BIGkids. By Megan Downing ing, beautifully lyrical ‘Good For You’ which has a massively 50s/60s vibe to it, right up to the more upbeat and contemporary songs such ‘Coming Together’ then back to a previous decade with the funky ‘You Are Amazing’ that oozes a 70s disco vibe. With Mr Hudson stationed behind the keys and Rosie bounding around the stage (literally like a big kid!) they make a perfect pair with perfectly poppy duets. If you’re into simple, feel-good pop music, you will love BIGkids. The pair really shone when it came to the sound vocal harmonies and general together-ness onstage. You would think they had been working together for years and years rather than 18 months. It was always really great to see Mr Hudson doing something completely different to what we have seen him do before. His vocal ability shone through with such professionalism and flare. Anyone who has heard Mr Hudson will know his distinctive voice anywhere and it was particularly welcomed at The Joiners. Even though it was a relatively small crowd it didn’t matter, everyone was so in to the music, dancing along to the catchy pop beats. The band included a brass section (to my delight); two wonderfully talented female musicians played the saxophone and trombone, giving the show that extra bit of flare. To put this gig into one word, it would be ‘fun’ and in my opinion I also think that sums up BIGkids in one word. The whole show was energetic, happy and everyone had an awesome night.


Live

live@theedgesusu.co.uk theedgesusu.co.uk - Issue 9 - October 2012

Hot Chip at the Guildhall (16/10/2012)

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Dan Flynn clearly loved Hot Chip’s show at the Guildhall, read on to find out why.

The sentence ‘Hot Chip are one of the best bands making music in 2012’ is a fact. Let me explain; they have a Mercury-nomination under their belt, a truly unique sound, a funny little lead singer, a fantastic but overlooked latest album, and a self-depreciative, cynical edge which means that they are relatable in their ability not to take themselves too seriously. For these reasons, I knew before I even entered the Guildhall, that the band was not going to disappoint.

of die-hard fans, rather than casual listeners. This dedication helped carry the buzz throughout the gig and at no point did it feel like the songs were being played to an uninterested group of people, with the whole audience dancing and singing along to every song. I think the die hard nature of the fanbase that was on show is a testament to the band’s quality; not every artist can fill a venue as big as the Guildhall with people that know their whole catalogue.

Scottish quartet Django Django (I don’t know what the other two members' names are) set the ball rolling effectively with their restless blending of the psychedelic and indie genres. The band received a warm and involved reaction from the audience that I found unusual for a support band. The highlight of their lamentably short set was undeniably ‘Default’, the band’s ability to transfer the song's absurdity to the stage impressed me greatly; a thumbs-up from Dan!

The group’s energy was electric throughout, with the seven members constantly dancing their way around the stage, seemingly being able to perform each other’s roles interchangeably. In particular, front man Alexis Taylor was particularly charismatic, with his impeccable vocals and all white tracksuit proving effective. The band always looked like they were enjoying themselves meaning they, unlike the millions of ‘serious’ bands who suck the energy from the audience with their dryness, made the show greatly enjoyable and, most importantly, fun.

The Hot Chips were greeted to visible excitement from the audience, who were clearly constructed

Highlights of the night are hard to pin down, as it never seemed as if the band played a dud track; as my friend put it, they were ‘fucking tight’. To mention but a few, ‘Over and Over’ was brilliant, performed with enthusiasm and expertise, ‘Flutes’ was fantastic and ‘I Feel Better’ made me feel… better? While the band played a fair amount of older material, they focused a great deal of the set on their acclaimed new album In Our Heads. During the show's encore, the band sent the night off in style, extending their smash-hit ‘Ready For The Floor’ into a 10-minute symphony of noise and destruction. Although the gig was of a consistently high quality, the band's rendition of key member Joe Goddard’s classic tune ‘Gabriel’, featuring vocals from Valentina herself, stood out as the gig’s highlight. Despite the band admitting beforehand that they had never played it live, it was every bit the wonderfully strange dance-ballad that it should be. And Valentina was fit. Overall, it was an excellent night and, as clichéd as it sounds, my only criticism is that the band didn’t play for longer. Hot Chip continue to prove that they are an unstoppable force who exhibit a standard of creativity and professionalism that most bands can only strive to reach. If you missed them, you missed out.


Monday Spector @ Wedgewood Rooms

Listings

3

4

Robbie Williams ‘Take The Crown’

5

The Mou @ The Ma Southam (-10t

Ne-Yo ‘R.E.D’

David O’Doherty @ The Nuffield

Crystal Castles ‘III”

Saturday

Sunday 10

Tues

Monday 11

The Twang @ Wedgewood Rooms, Portsmouth

One Direction ‘Take Me Home’

12

Jake B @ Wedgewo Portso

Green Day ‘iDos!’

Maximo Park @ Pyramids Centre

Jools Holland @ The Mayflower

Saturday

Sunday 17

Mark Ronson @ Old Fire Station

Tues

Monday

A Skylit Drive @ The Joiners

The Civil Wars @ Southampton Guildhall

Palma V @ The J

Macbeth, The @ The (-3r

Matt Cardle ‘Fire’

Sunday

Twin Atlantic @ Southampton Guildhall

29

Calvin Harris ‘18 Months’

October/November Saturday

Tues

Soul S @ The M (-17

Lana Del Ray ‘Born To Die: The Paradise Edtion’

Monday 18

Sonic Boom Six @ Wedgewood Rooms, Portsouth

Tues 19

Little Mix ‘DNA’

Feed @ Portsmout

Rihanna ‘Unapologetic’

Scissor S @ Portsmout


Wednesday

sday

Violets Joiners

30

eatre Group Annex rd)

Thursday 31

Delphic @ Wedgewood Rooms, Portsouth

1 The Crookes @ The Cellar, Southampoton

6

Conor Maynard @ 02 Academy, Bournemouth

Friday

Thursday 7

8

Bat For Lashes @ Pyramids Centre

usetrap ayflower, mpton th)

Mystery Jets @ Old Fire Station, Bournemouth

Wednesday 13

Bugg ood Rooms, outh

Sister Mayflower 7th)

Thursday 14

Friday 15

Motorhead @ Portsmouth Guildhall

20

Sisters th Guildhall

21 Gambit (TBC), Momentum Pictures

Billy Talent @ Pyramids Centre

Thursday

Wednesday

der th Guildhall

16

Armour (12A), Artifical Eye

DJ Fresh @ Pyramids Centre Steel Panther @ Southampton Guildhall

sday

9

Rizzle Kicks @ Southampton Guildhall

Lostprophets @ Portsmouth Guildhall

Argo (15), Warner Bros.

sday

2

Sandi Thom @ The Brook

The Master (TBC), Entertainment

Wednesday

sday

Friday

Friday 22

Mumford & Sons @ Portsmouth Guildhall

23 End Of Watch (15), StudioCanal

The Muppet Christmas Caroll (U), Park Circus/Disney


The Edge (October 2012)  

Second issue of the 12-13 year. Featuring Bloc Party, Marina & The Diamonds, Frankenweenie and The Ladykillers

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