Sophie turner BRIAN COX music Kaiser Chiefs FUNERAL SUITS MOSCOW METRO games DOUBLE FINE PRODUCTIONS TITANFALL REVIEW CULTURE GINA MOXLEY ROYAL HIBERNIAN ACADEMY
letter from the editors
What’s hot & What’s not What’s hot
What’s not hot
Traffic cones outside James Joyce
Come Down With Me
Putting empty packets of biscuits back with the other biscuits
Bees? Maybe we mean beads. Beads?! No, bees are the phylum of arthropods that everybody’s talking about this fortnight. There’s been a lot of buzz surrounding their new collaboration with the Bee Gees. It won’t be a major release, probably just a B-side. Early leaks of the record have sounded like a bee-bop rendition of what it’d sound like if The Hives recorded ‘Just Like Honey’. We’d bee lyin’ if we told you that it wasn’t music fit for the queen. Purchase your bees now before they sell out! The recently-opened megaplex on Dublin’s Capel Street promises all-out family fun and ‘Amusement…!’ If you’re looking for adventure, back problems, tracksuits, white couches, and questionable copyright sourcing, all under the same roof, then look no further than the 7D cinema! Stuck for ideas on how to organise the perfect hent party? Maybe you just need to feel like you’re doing something with your life that’s better than running an illegitimate adventure ride on Capel Street? Well then, head on over now! Tissues are supplied on arrival.
Greetings friend, Do you wish to look as happy as us? Well, you’ve got the power inside you right now. All you have to do is keep reading! With only one Otwo to go now, many would accuse us of starting to rest on our laurels a bit. Luckily, we have no idea what that word means, and have brought you a jam-packed sesh of the best and brightest content we could muster. Games sees reviews of the new Bioshock Infinite DLC, along with the very fetch Titanfall, meaning that if you ever need a bit of mech warfare/steampunk violence, we have you covered. Meanwhile, “Nine Inch” Niall Gosker guides us through the world of the Double Fine studio. Film & TV sees Shane “best office accent” Hannon have a sit down with Brian Cox, who you may remember from such greats like Braveheart and the Bourne Identity. As for Brian Cox, he also starred alongside Hannon in those two blockbusters. Meanwhile, Trampoline, The Doubts and No Limbs, No Limits are reviewed, along with a Top Ten Soundtracks in Film. In our centre feature, Jack “The Kingslayer” Walsh interviewed the absolutely classy Sophie Turner. Despite only being 18, Sophie has become one of the most sought after actresses in the world thanks to her performance as Sansa Stark on HBO’s Game of Thrones. In an ever-expanding universe (literally), Turner talks a lot about what it’s like being on the Thrones set and her character’s evolution; especially after last season’s infamous Red Wedding. Music sees Emily “Vegan Steel” Longworth interview the Kaiser Chiefs, while Sean “Haymaker” Hayes interviews both Funeral Suits and East India Youth. Rebekah “Yoga Pants” Rennick gets acquainted with the Limerick-based band Moscow Metro following the release of their EP Spirit Of A City. In album reviews, the newest releases from SOHN to Mac De Marco get the Otwo treatment. Some say she is the most feared woman in Kildare and Laois. Others say that her can use the 10% student discount on Asos twice when she’s at the checkout. All we know is that she’s Emily Mullen, and this week she has a treat for you. With the Fashion section, it is sometimes very difficult to put into words what exact theme is being given the spotlight on any given week. This is one of those sometimes, you really have to see it to believe it. If all that’s not enough, we tell you what it’s like exploring Prague while conveniently telling you how to properly drink Dead Pony Club. We almost forgot, Mittens, FAH and @tila are back to break you down emotionally, with Orla Gartland ready to pick up the pieces.
Winter is Coming, Jack & Steven
Taking barefaced photographs of ourselves behind a set of shelves is the new charitable craze that’s sweeping the nation’s youths! If you just don’t know what to do with your shelves, and you’re all by your shelf, then you’d better get your shelf together to get on the #nomakeupshelfie bandwagon. Then you can consider your shelf one of us! Be careful of books falling over on to your face though; you’ll have no one to blame but your shelf.
Who or what is UCD trying to prevent or cordon off with the placement of ten orange traffic cones in random positions outside the library? Aside from the outlandish hilarity of when meandering students split themselves on traffic cones, it’s most probable that the University isn’t as amused as we are by falling on our arses. Watch out drunkards, it could be a trap! Be sure to steal all your traffic cones from building sites in wasted misadventures this week.
Damon Albarn recently demonstrated a direct correlation between the use of Class A substances with the presence of TV, saying in interview, “It’s what I found going on in the front room. The telly was on, so I just thought: ‘Why not?’” Since then, a widespread craze has developed amongst the nation’s youths to follow suit, other popular programming has included ‘Hash in the Attic’, ‘Top of the Poppers’, and ‘How it’s K’d’.
Why would you even think that that’s fine? It doesn’t even matter that the biscuits are gone, it just matters that the illusion of biscuits are there. And illusion biscuits are tasteless biscuits. This is potentially more annoying than when headphones get caught on something and then one of them gets suddenly yanked out of your ear. Or like, if you had to play right field for your own team. That’d be shite. Or pogs. Remember pogs? They were the worst.
You will receive an email offering you a job as chief dynamiter for a mining company in Sierra Leone. Based on your current GPA Mittens would strongly suggest that you take it.
You will not find your next fortune to be as disgusting as it undoubtedly will be. You sick puppy. Mostly because you are actually a puppy, seriously mate, who even taught you to read, let alone open this magazine I’m trapped in?
Scorpio Without even running as a candidate in the SU elections you will somehow After a whirlwind escape across the world, you will find out that Malaysia lose to RON. Oh well, better luck are trying out their own version of a next year. It’s not your fault that Lost reality TV show. Worst of all, RON is so damn charismatic. it has nothing to do with the whole disappearing plane thing. Gemini
You will embarrass yourself by commenting on a satire website as though what they’ve posted is serious. Don’t worry, people will think you’re less of a fool if you insult anyone who tells you it’s not real.
Cancer Your petition to get a Duke Nukem 5ever game made is not a clever April Fool’s joke, it just proves that you’re an utterly terrible human being. Shame on you.
Leo Good things happen this week. april fools!
Sagittarius After having the epitome of the best day ever, and whilst walking home in the blistering sun, you will realise that Olaf will melt when Elsa dies. Oh you already knew that? Well I guess I ruined your day, chumpette.
Capricorn Participating in a no make up selfie, you will be picked up by a modelling agency who secretly use your DNA to create a superhuman race of fuck ugly people. You did raise some money for charity though, so Mittens counts this as a win for you.
Mittens knows that you’re a coward but your life will be changed when Aquarius you meet a young girl, a straw Your dreams will finally come true. man and a robot. You’ll end up You will be an actor on Game of being complicit in the murder of a misunderstood elderly woman. You’d Thrones. Your role you say? Oh right, better get some courage before you your in the prologue? Good luck with that one buddy… go to prison.
You will suddenly become aware that cats don’t have belly-buttons. ‘How can this be?’ you ask. Don’t be so rude. Mittens doesn’t ask you about your anatomy.
Whilst walking past a premiere of Noah, you will be mistaken for one of the elephants in the film. It won’t be that bad actually, think about all the partying with Russell Crowe, plus all that elephant poontang.
index 2 Regulars
——————————————— Dazed and confused? Unsure about the present or the future? Well, What’s Hot/What’s Not has you covered for the present while Mystic Mittens reveals your horrific fate whether you like it or not.
4 5 6
——————————————— The true path to Nirvana can be found on this page. And sure weren’t they a great band? Also, Andrew Carolan makes a solid case for why those Hollywood fatcats should stop robbing our money by artificially prolonging film franchises.
——————————————— It’s all about beginnings and endings in games this issue. Karl Quigley looks at Titanfall, the new beginning for the minds behind Call of Duty: Modern Warfare, as Steven Balbirnie bids an emotional farewell to the Bioshock franchise. Niall Gosker also takes a peek inside the games industry magic that is Double Fine’s Amnesia fortnight, providing a true glimpse inside the games development process.
——————————————— Veteran screen star Brian Cox talks to Shane Hannon, while Otwo also counts down the ten best film scores of all time. The Double, Trampoline and No Limbs, No Limits all get reviewed.
——————————————— In our music section this issue, Kaiser Chiefs take some time out to talk to Emily Longworth about work behind the scenes of their new album, and Rebekah Rennick also broadens her public transport horizons through a tête-a-tête with Moscow Metro. Meanwhile, Sean Hayes has a chat with both Funeral Suits and East India Youth. Reviews also give you the definitive verdicts on the latest releases from Little Matador, SOHN, Kaiser Chiefs and Mac DeMarco.
Their Split Parts
——————————————— In our centre feature, star of HBO series Game of Thrones Sophie Turner, who plays Sansa Stark, speaks to Jack Walsh about the evolution of her character, what its like being on the Game of Thrones set and how to not be affected by fame.
Travel & Drink
——————————————— Esther Shan Lin Hor recounts the enchantments of the Central European jewel that is Prague while Cian O’Neill examines the jewel in the crown of brewdog’s beer line up, the Dead Pony Club.
——————————————— Foil, Arms and Hog are back with a bang to try to help you stave off the unwanted advances of the Grim Reaper while @tila is onhand as usual for all the pillaging advice that you could possibly need.
Soapbox— Film Franchises &
——————————————— The penultimate fashion section of the year is here and.. well... it has notions about itself this week as it harnesses the cheesiness of a Top of the Pops magazine to bring you a detailed inner monologue of our models and capture the unique vibes from three of the most popular factions of college style.
——————————————— Actress Gina Moxley discusses her latest theatrical performance with Ciaran Bruder and the trials and tribulations of loving a priest, on stage. On the other hand, Laura Woulfe displays her souvenirs from the latest exhibition at the Royal Hibernian Academy.
——————————————— If you are seeking guidance then, boy, you have come to the right place young wanderer. This issue the fatal fourway argue over this week is who is the wisest of all the sage mentors. Expect deep insights and undignified brawling as you read on.
Venting about his disdain for the unnecessary milking of film franchises, Andrew Carolan asks why there needs to be three Hobbit films Does anyone remember that part in The Hobbit where JRR Tolkien describes the elves’ love triangle with a dwarf? No? Well, that ladies and gentlemen is because the now deceased writer never intended for such, dare I say it, frivolity. The times have changed, however, and we must come to understand that the executives in Hollywood and other film industries across the world need the money ever since pirates decided to roam the internet and the Somailian coast instead of the seas surrounding Tortuga. Therefore when I went to see The Desolation of Smaug (the second film of a 300odd page book), I could only expect as much stretching and distortion of the beloved plot. After all, isn’t more better? More is certainly not better. I will accept degrees of inflation because, let’s face it, these are tough times. I will begrudgingly allow the price of cinema tickets to rise again because ultimately, I want this industry to survive. Like many millions across the world, I love to watch films. They are one of the most enduring and exciting forms of entertainment, and the fact that their creators often rake in barrels worth of money will only help to improve the experience for everyone involved. Where does this trade go wrong then? Until recently, it all seemed negotiable (despite the saturation of certain genres) but with the splitting of franchise-based films into multiple parts, the line has been crossed. One of the most popular cases that seemed to act as a springboard for this recent trend was the final Harry Potter film. It was the highest grossing series ever and with a die-hard loyal fan base, it made sense to split the tightly compacted finale into two parts. I was pleased. I was very pleased, but then others had to follow suit. Breaking Dawn, the last part of the Twilight quartet would have been one fine, terrible movie. Instead, it became two terrible movies. Whereas the Harry Potter films were separated by eight months in their release, this deadly duo stood a year a part, extending the already torturous period in which creepy vampires ruled the internet. I could lie and say that time will tell if this is a successful scheme by film executives. Of course it’s going to be a success. People buying one cinema ticket, their 23rd pair of 3D glasses that they’ll forget every time they go to the cinema, their one bag of popcorn, one large drink, and sneaking in one bag of M&Ms makes less money than people buying three cinema tickets, their 23rd through 25th pair of 3D glasses, three bags of popcorn, three large drinks, and sneaking in three bag of M&Ms. Now, you may shrug and allow these to slip by because sexy dwarves scheming is your passion, but two Mockingjay films is too far. Having re-read the Hunger Games’ finale recently, I can detect absolutely no justification for creative zeal. This particular instance radiates extortion. It can no longer be denied. The question that now remains is whether cinemagoers across the world will come to accept this trend or whether they will sit idly back and allow a sextet of Fifty Shades of Grey numbers to drop. Let’s be honest, we probably will.
Foil, Arms & Hog Guide to Avoiding Death 2: Avoid Dying Harder Do you want to live forever, not just on Facebook but in real life too? Then Foil Arms and Hog have the answer as they present part II of their guide to avoiding death Also, wear novelty onesies all the time. This limits your exposed flesh. If he can’t touch you he can’t get the job done. Gimp suits are equally 1) Do not watch the film Domino starring Keira effective, although the onesie is preferable Knightley — It is so bad it will make you want to because it gives him the impression you are a take your own life. Conversely if you are looking to child and therefore makes it more difficult for him murder someone, but lack the necessary hitman skills to pull it off, then why not recommend the film to go through with the whole thing. Remember that the sun is your enemy. It lures as a fantastic movie to your victim and let the film you in with promises of Vitamin D and then its do the rest. sears your flesh, branding your skin like cattle, marring you for life with freckles. It can flame 2) Avoid catching your neck with your jacket zipper grill your skin, it can set off bush fires and it can — There was a case of this in Guatemala where a young farm hand decapitated himself. Not much else sun-stain photos of food outside chippers. All it is known only that he had just finished work for the has to do is just look at stuff. But it won’t let you look back at it. day, had a hot date in town and was in a rush to zip Ever since the sun found out that it’s at the up his jacket. Fellow workers found him the following centre of the solar system, it’s been like “I’m a day, his thumb and forefinger still clinging to the total boss I can do anything.” Don’t be fooled by zipper indicating that death was instantaneous. those kids’ drawings of the sun with sunglasses on; the sun isn’t cool, the sun is a prick. 3) Never order “Death by Chocolate” — Food Finally, don’t be tempted by Australia’s enthusiasts should be wary of this one that by laidback lifestyle, awesome weather and ordering the “Death by Chocolate” desert you are entering into a contract whereby the restaurant is no beautiful people. Danger is literally everywhere here; from brownback snakes to red back spiders. longer liable if you die from food poisoning due to Sharks, crocodiles, mosquitoes, jellyfish, killer poorly prepared food. bees, giant centipedes and there is even a snail (a snail!) that can kill humans in Australia with 4) Stay away from the Guy with the Cloak and the one stab of its harpoon. Excuse me? Yes, snails in Scythe — Ok so as far as I know he doesn’t have a Australia have harpoons and they deliver venom brain, only an empty skull… So, he’s easy to fool. If 1,000 times stronger than morphine. Good news you find yourself in a position where you don’t feel the best and you think he might be calling over don’t for heroin addicts, bad news for people who like panic. There are many ways to pull the cloak over his being alive. hollow eye sockets. First, rent a flat. You’ll have to buzz him in. Simple So there you have it, yet another completely solution: Don’t. Leave him waiting outside. If you comprehensive way to staying alive forever. For do decide to let him in, then just give him a stack of more on death related humour, go to www. bogus forms to fill in. This will at least buy you 30 foilarmsandhog.ie minutes. Here are some easy steps to avoid dying:
Ever since the sun found out that it’s at the centre of the solar system, it’s been like “I’m a total boss I can do anything.” Don’t be fooled by those kids’ drawings of the sun with sunglasses on; the sun isn’t cool, the sun is a prick
@tila_da_hun Been dealing with da huns problems since 445AD… Ur resident agony aunt & Hunnic Emperor lol! Don’t mess wit my girlos or I’ll wreck u like I wrecked da city of Aquileia . xoxo. Tweet me!
Listen. I just been on de big fat session all week; midterms are fookin’ made fer takin’ the piss, in fairness. Lyk I hav a bout a million essays nd shit to do now cos I didn’t get an’thin’ done durin’ d’break. But lyk, every time I try to say no to the sesh (like a fat bottler, wha!?) I just end up out on the sesh. What’s d’actual story? If I have te drop out, I’ll be cuttin’ off the hand dat feeds de session. Is der any way I can sesh my way outta dis?? Few scoops? Senossi xoxo
I know de way ye mean. To me, sounds lyk yer sufferin’ from an undiagnosed case of Obsessive Compulsive Big Fat Session Disorder. I went through de same ting b4 I came into rule. Sure me and de motts were out on the fat batter most nites, I reckon I nearly lost my life to the razz. I member one time comin’ in from C.U.N.T. nd I was in a fowler cos de bouncer found my bra naggin, I was neckin’ some Windex when me uncle Rugila comes in nd says “Attila, ye absolute fat knacker, get yer fookin act together fer when I’m ded, righ’?” he knew ‘sactly wat I was goin thru. After dat I just learned how to treat work like the session, harness de energy ye use to shotgun cans and focus it on yer essays.
What heresy possesses thee? Wherefore dost thou swipe my identity, ne’er has Attila, leader of the Hunnic peoples, faceth such belligerente roguery. Thy traitorous merriment has incited me to ruine your kingdom, thou accursed youth! Fie. Hast thou not witnessed the searing wounds of my enemies, my legacy does nay lend itself to thy fickle, nonsensical mockery! A thousand rusty spears will pierce thine being until thou art rendered a miserly cadaver. Do not cross Attila the Great! Fucketh sake! Attila the Hun [Translated from Hunnish into Early Modern English using bing.com]
u ok hun?
Wud ye cop d fook on to yerself ye absolute bogey? I’d wreck u in a minute ye complete spa. If ye peeled that bet-down look bird on yer arm offa ye fer 2 minutes and I’ll ruin ye. Dzzzope! ‘nd c’mere anyways, how’r u actualy one de huns? I never seen yer shcaldy face in Twisted Pepper, and I know de girls and dey haven’t seen ye either. If ye ever stall der again pretendin’ ye got something against me I’ll spit in yer eye. If yer actually startin’ on me der, sure stall out to me an’ the girlos in de flats, I’ll smash a bottle of Mickey Finns off yer face if ye get anywhere near me right? Absolute hack of ye! Stay glam, ‘Tila xoxo
Prague—The Dos & Don’ts Explore the cradle of Bohemia with Esther Shan Lin Hor, as Prague justifies its claim to the title of Europe’s hippest travel destination
Beer of the
Dead Pony Club
get thoroughly lost in the world’s largest ancient castle. Spanning 13 centuries, nothing dominates Prague’s skyline as much as the Prague Castle. This sprawling complex includes magnificent gardens, alleyways, churches and royal residences, but its true star performer is the awe-inspiring St Vitus Cathedral. Allow yourself to be overwhelmed by the sheer grandeur of this superb piece of Gothic architecture as it looms unexpectedly above you.
shop at Wenceslas Square, no matter how famed it is as the nexus point of commerce and culture. This admittedly beautiful civic boulevard has ranked as the most expensive shopping street in central Europe. Unless you find satisfaction in shopping at the site of Velvet Revolution and all those movements and gatherings, hold back your inner shopaholic nature and look elsewhere.
pretend to be an architecture junkie for the day by wandering around the Old Town Square. Traipse through the cobblestoned lanes. Savour the feel of being in a magical fairytale land with soaring Gothic towers that rise from the Tyn Cathedral contrasting with the Baroque style of St Nicholas Church. An ever-changing cast of musicians, dance troupes, punks and vendors make the square as colourful as the buildings around it.
get trampled over on Charles Bridge! Yes, it is Prague’s most iconic landmark, but the experience of being elbowed by hordes of tourists is wholly unpleasant. Go at dawn or at night when fewer crowds are present and Prague Castle in the backdrop provides a dramatic vista. Lined by 30 Baroque statues of religious figures, this six century-old bridge peers over the Vltava River.
take in the remarkable Dancing House. Standing defiantly in stark contrast against the classical architecture around it, this fluid structure, which resembles a female dancer swaying in the arms of her male partner, provides a breath of fresh air.
forget to buy or validate your tram ticket in the excitement of your travel. Plain-clothed officers are aplenty, and the hefty 700 KC (more than 20 euros) fine just isn’t worth it. That said, the public transport is reasonably-priced with a 30-minute tram ticket costing less than 1 euro.
get a pint of the brown, frothy stuff if that is your sort of thing. The Czechs regard their locally produced beers as a national treasure. Understandably, there is a great degree of variation when asked which the best is, with answers ranging from Gambrinus to Kozel’s Medium and Pilsner Urquell.
eat in the touristy restaurants, especially the ones in the Old Town Square for obvious reasons. Look out for ‘restaurace’ instead of the English spelling of ‘restaurant’ or ‘restaurante’.
try to decipher the Astronomical Clock; a complicated, ancient ‘orloj’ that purportedly reveals Babylonian time, Old Bohemian time, German time and sidereal time, as well as sunrise and sunset, phases of the moon and the sun’s position in the zodiac. Or, if that requires too much brainwork, just marvel at the ornate medieval craftsmanship. When the clock strikes the hour, bells ring, the Walk of the Apostles commences, Gothic sculptures move, a cock crows and a
trumpeter blast sets off a tourist-pleasing show that almost always culminates in a smattering round of applause from eagerlywaiting tourists.
attempt to walk up Petrin Hill, unless you desire a full
workout. Take the funicular tram, and you will arrive at the top without feeling knackered and fully prepared to climb the 299 stairs leading to the top of the Observation Tower where a panoramic view of the City of a Thousand Spires awaits.
The Brewdog brewery based in Aberdeen has established itself over the past seven years as one of the top craft breweries in the world, making a great selection of ales; and Dead Pony Club is no exception. Dead Pony Club is a Californian Pale Ale with a light, golden colour and an ample amount of fizz. When being poured you can’t help but notice a fruity smell and almost spicy character. This is a subtle warning to let you know that this is a beer to satisfy the hop heads amongst us. While only being 3.8% ABV, the intense hopsiness makes up for any lightness this low volume might create. Having said that, it is smooth to drink and the bitterness is not overpowering. This beer might be the closest thing to a ‘normal’ ale that Brewdog have created, and would be ideal for drinking chilled in the Californian sunshine. For the rest of us, however, it is available in most off-licences in a 330ml bottle to drink in your favourite spot sheltered from the rain. Cian O’Neill
Titanfall Infinity Ward founders Jason West and Vince Zampella, known for the genre defining Call of Duty series, left in 2010 due to conflicts with their parent company. Following their dismissal, half of the studio’s employees resigned, following their founders into what would come to be known as Respawn Entertainment. Their first release, Titanfall, won over sixty awards at its reveal in E3 2013. It was declared as a ‘killer app’ for Microsoft given its Xbox console exclusivity. Other games have attempted to integrate free-running and parkour into firstperson-shooters and failed. Titanfall, however, executes this brilliantly, with on-foot combat feeling fluid and fast-paced at all times. All players are able to sprint and double jump with the aid of a jump-pack and wall-run quickly and easily with just the press of a button. The weapons available for players are standard for any shooter, from rifles to shotguns and snipers alongside a handful of pistols. Not only did Respawn Entertainment provide an excellent movement system, they have implemented a further aspect. Players, or pilots as they are referred to, can call their own Titan into battle; a 24-foot tall mech-style walker. The player can either remain on foot with their titan following, automatically firing on enemy pilots and Titans, or they can enter their Titan and continue the fight with heavier weapons albeit with
Developer: Respawn Entertainment Publisher: EA Games Release Date: Out now Platforms: PC, Xbox One, Xbox 360
the loss of parkour. The customisation for the Titan is just as varied as that of the pilots and all options available are what one would expect from a shooter with a sci-fi twist. Five game modes are present; standard modes such as team-death match, capture the flag, and domination along with others specifically made with Titans in mind. Last Titan Standing, for example is a no-respawn titan death match and Pilot Hunter sees only pilot kills count toward the final score. Players begin in a dropship and fight on foot across the ground, in buildings, and over rooftops with their timer counting down for when their own Titan is available. The game is fast-paced and despite the small player count of six versus six, this allows for instant respawns and a constant flow of combat. Each map is also populated with grunts and spectres, AI controlled soldiers and robots respectively. These serve as fodder for the players while also providing points for the endgame. There is a terrific balance in the gameplay, with Titans feeling powerful, but never invincible. A skilled pilot can take down a Titan with ease and often as much damage can be done on foot as in the cockpit of your Titan. Titanfall is a fresh look at an old and overdone genre, somehow making it fun again. Karl Quigley
Bioshock Infinite: Burial at Sea Available as two separate episodes or as part of Bioshock Infinite’s season pass, the Burial at Sea DLC is the last release from Irrational Games as it was announced earlier this year that the development studio was to be wound down. Burial at Sea sees the series returning to Rapture on the eve of the city’s descent into civil war. Rendered in Bioshock Infinite’s engine, Burial at Sea give you the opportunity to experience Rapture in all of its splendour as a living, breathing world. The first episode starts in a typical film noir fashion with a 1950s Booker DeWitt sitting in his smoky private detective’s office when in walks mysterious femme fatale Elizabeth with a request for him to investigate the abduction of a young girl named Sally. The second episode allows you to play as Elizabeth in a real tour de force of storytelling by Irrational Games as she uncovers revelations that go to the very roots of the entire Bioshock universe. Elizabeth is the first playable female protagonist in the franchise and is arguably the most compelling of the series’ protagonists. In terms of gameplay, Burial at Sea is a fusion of the best elements and mechanics from throughout the Bioshock series. Exploration and optional quests return, as well as the sense of player vulnerability and tinge of horror that Infinite was lacking. In a very positive regression players can once again carry med kits and all of the weapons which
they encounter, however, the trade-off is a scarcity of resources that requires careful management to ensure your survival. These all mark the welcome return of elements that defined the original Bioshock. Stealth has also been revived as a key component of the Bioshock experience, especially when playing as Elizabeth as her equipment and abilities lend themselves towards stealthy gameplay. The new Peeping Tom plasmid gives Elizabeth the ability, while stationary, to observe enemy movements through walls and floors to formulate a plan of attack. For the first time in Bioshock it’s also now possible to perform non-lethal takedowns using weapons such as tranquiliser darts and stun gas. Players can now attempt a ‘no kills’ playthrough for an additional challenge. Aesthetically, Burial at Sea is superb; Rapture is visually enchanting with your first glimpse of the undersea cityscape sure to astound you. The soundtrack is as wonderful and culturally appropriate as has come to be expected, with a poignant rendition of Edith Piaf’s ‘La Vie en Rose’ a particular highlight. The story is gripping and features almost every major character in the franchise in this epic conclusion to one of the series that has defined a generation of gaming. Burial at Sea is a fitting farewell both to a beloved series and the visionary developers behind it. Steven Balbirnie
Publisher: 2K Games Developers: Irrational Games Platforms: Xbox 360, PlayStation 3, PC
Behind the code Double Fine’s Amnesia Fortnight documentary is an essential microcosmic peek into the realities and wonders of game development argues Niall Gosker
Double Fine Productions have been around for over a decade now. Their first act was one of long development cycles and constantly looming financial doom. Psychonauts was a terrific platformer, but it sold poorly and Brutal Legend didn’t fare well enough to warrant its publisher EA funding the proposed sequel. Nine years after their founding and after having only released two projects, both of which failed to recoup enough of their investment, the studio found itself in something of a dire predicament. Luckily in that time digital distribution models, which allowed for smaller scale projects with the potential to reach a very large audience, became more than a viable development method. 2010’s Costume Quest was a game changer and saw Double Fine abandon their previous design ethos in favour of these more bite-sized, but equally engaging titles. This change has paid off handsomely for the San Francisco based developers, who have finally found a development model that fits. If you aren’t familiar with any of their work first hand, there’s a good chance you heard of their important Kickstarter campaign that launched back in 2012. It saw Tim Schafer, the creator of several adventure game classics in the 1990s such as Grim Fandango and Full Throttle, return to the genre he had helped to define with the aptly titled Double Fine Adventure. Along with this was the promise and prospect of a documentary that would, according to Schafer, be a record of its success or failure. This honest look at the development process would be handled by 2 Player Productions, a film-making crew already known for their great work documenting parts of Minecraft’s creation. It was so well received that they decided to turn their cameras to Double Fine’s Amnesia Fortnight project next. The results made for one of the most intimate, compelling, and informative looks at the realities of taking an idea from paper to pixel. The impetus behind Amnesia Fortnight, a companywide game jam, came out of the extended development time of Brutal Legend. Its purpose was to allow the team to step away from a project they had been working on for years and to undergo a creative refresh, a break without taking a break. It proved to be an invaluable endeavour as it not only offered staff who had never led a team before the experience of doing so without the risk, but the tangible results would arguably go on to save the studio from crumbling in the wake of Brutal Legend’s commercial disappointment. Costume Quest was the first project to emerge from Amnesia Fortnight that would go on to become a fully-fledged game as opposed to a mere prototype. This would be the first of many such prototypes developed over the course of Amnesia Fortnight that would eventually be fleshed out. Double Fine then threw open the gates of Amnesia Fortnight to the public, allowing fans to pay whatever they wanted to for the privilege to both play the finished prototypes and see how the
process occurred, with 2 Player Productions behind the cameras once again. In other mediums such as film, there’s a greater degree of light shed on the creative process. There have been numerous works that attempt to draw back the curtain, something, which has only become more prevalent since DVD extras became standard. Game development seems to be much more shrouded in mystery. The problem with video games in this sense then is the added layer of abstraction. Practically anyone can wrap their head around an actor standing on a soundstage reading lines while being filmed. The notion however, that lines upon lines of unintelligible code can produce a game is likely a step too far for most to consider. This is a little misleading and speaks to a larger image problem the medium has had from day one. Video games are so much more than lines of code, with artists, composers, animators all having to come together to make something worthwhile. It’s this problem of balancing accessibility that 2 Player Productions and Double Fine have managed to overcome what is a major milestone in the documentation of game development. The emphasis is less on the mechanics of their disciplines and more on the individuals themselves, personalities front and centre. It’s a good thing the team is so immediately likeable then; their enthusiasm being overwhelmingly infectious. This isn’t just a doorway into how games get made, but also the lives of those making them. As a result, it’s easy to feel involved and to root for the team. Artist Derek Brand’s difficulty in leading a team for the first time lends him a certain underdog struggle status that’s impossible not to get behind. Meanwhile, guest developer Pendleton Ward, creator of surreal cartoon Adventure Time, is there not simply to lend star power to the whole affair, but rather is genuinely passionate about both gaming and his own project. Ward acts as an excellent audience surrogate, his educational journey in game creation mirroring that of the viewer, as he learns about the realities of a process where imagination and feasibility often brush up against each other. The most well-known piece of game development documenting is 2012’s Indie Game: The Movie. It’s an excellent piece of filmmaking in its own right, but a very different beast, focusing on the bigger picture over a longer span of time, while 2 Player Productions are drilling down into the daily, but certainly not the mundane. These are two massively differing approaches, but together they form what are surely two essential pieces of the game documentary canon thus far. Hopefully in the future, the artistic merit of the development process will continue to be demystified in similarly illuminating documentation work.
nine years after their founding and after having only released two projects, both of which failed to recoup enough of their investment, the studio found itself in something of a dire predicament
The documentary, Amnesia Fortnight, can be watched in its entirety for free on Double Fine’s YouTube page
The life of Brian Having made his name on the West End, Broadway and Hollywood, Emmy Award-winning Scottish actor Brian Cox chats to Shane Hannon about his Irish ancestry, his most memorable roles, and his support for Scottish independence
Brian Cox is one of those unassuming actors that made his name in the theatre before breaking into the world of Hollywood as a character actor. Growing up in Dundee as the youngest of five children, Cox joined the Dundee Repertory Theatre at the tender age of 14 before going on to drama school in London at 17. His years of acting experience and deep, smooth voice make him one of the most sought after actors of his generation, his filmography boasting titles from Braveheart to The Planet of the Apes. However, Cox had to bide his time acting on stage before he could break into film and early on was recognised as a great Shakespearean performer, spending seasons with the Royal Shakespeare Company and the National Theatre in the 1980s and 1990s. “I wanted to go into films initially, but because on the British Isles there’s much more of a theatre culture I got caught up in that and I ended up working more in the theatre than in the cinema.” Cox owns the distinction of being the first actor to portray Hannibal Lecter on screen, in Manhunter (1986). The role came about with a stroke of luck. “I did a play on Broadway called Rat in the Skull where I played an Irishman. It was a huge success and a woman who had come to see me interviewed me for Manhunter.” His booming voice helped greatly as he was told to face away from the casting agents when auditioning; he got the part. Cox based his decidedly evil character in Manhunter on infamous Scottish serial killer Peter Manuel, and he has since been inevitably cast as the bad guy in many productions. Notable examples include his portrayal of the genocidal Col. William Stryker in X-Men 2 (2003), the evil Agamemnon in Troy
(2004), and the notorious Nazi Hermann Göring in the 2000 TV docudrama Nuremberg, for which he won an Emmy and was nominated for a Golden Globe. Asked whether he finds it tough to play these characters Cox says, “They’re no tougher than the good guys, but in many ways they’re quite rich because of their flaws so it’s quite interesting to play them.” He wasn’t always happy playing these unlikeable characters, however. “There was one time in my career where I got fed up playing bad guys. And then I realised it was quite a privilege to really get inside someone and see human frailty and why they become a certain type.” As a proud Scotsman, his featuring in the 1995 films Rob Roy and Braveheart were personal highlights. In the latter, Cox played Argyle Wallace, uncle of the main protagonist William (played by Mel Gibson). “I had played William Wallace in a TV drama about 20 years before that in the early 1970s called Churchill’s People and I kind of knew about him. He actually went to school in my hometown and committed his first crime there by killing a 14 year-old boy.” Interestingly, Cox is quite insistent on not watching back over his own work once it is done. “It’s very rarely that I would. My wife has been kicking me up the butt about that and telling me I should see more of my own work.” Although he does concede that he is working on it. “I’ve tended to look at more of my work over the last couple of years, but I’m only interested in the doing of it rather than watching myself do it.” A referendum on the matter of Scottish independence takes place on September 18th this year, and Cox is throwing his support behind the Yes campaign. When asked why he is taking this
stance, Cox replies, “Scotland still has a sense of egalitarianism, which is kind of missing in England. And now the North-South divide is more acute than it’s ever been. The rich in England are getting richer and the poor are getting poorer.” He is of the opinion that “We have to get back to a sense of the particular, which we have lost, not just in Scotland but in British politics generally.” Cox is currently appearing in a West End adaptation of Conor McPherson’s award-winning play The Weir. McPherson actually began writing his first plays as a member of UCD DramSoc when he was a student here. The play also stars Peter McDonald, an actor who graduated from UCD in 1994 and was also a member of the college’s dramatic society. The play is currently selling out at London’s Wyndham’s Theatre. Cox plays an old garage owner called Jack Mullen, a character he describes as “one of your old bachelor types, a bit of a hard drinker and very much a kind of livewire.” He himself describes the play as funny but moving, and since its inception in 1997 the Royal National Theatre in London saw it voted in a poll one of the 100 most significant plays of the 20th century. Brian Cox seems especially adept at balancing opposites; his Scots homeland with his Irish heritage, portraying evil with playing nice, and acting on stage versus on screen. Long may this great actor’s balancing act continue.
Brian Cox is currently starring in the West End alongside Ardal O’Hanlon, Peter McDonald, Risteard Cooper and Dervla Kirwan in Conor McPherson’s play ‘The Weir’ at London’s Wyndham’s Theatre in a strictly limited season until April 19th
There was one time in my career where I got fed up playing bad guys. And then I realised it was quite a privilege to really get inside someone and see human frailty…
No Limbs, No Limits It’s tough being a teenager. It’s even tougher being a teenager when you were born with no limbs. From her appearances on The Late Late Show to her public challenging of Enda Kenny’s government cuts to disability funds, Joanne O’Riordan has made herself known as a fighter for the progress of enabling technology for the wheelchair-bound and in short, an inspiration. Born with the Tetra-amelia syndrome, O’Riordan is one of only seven people in the world to have the condition. However, her lack of limbs has not stopped her or her family ensuring she can live life to the fullest and as independently as possible, namely through computer technology. In 2012, Joanne spoke before the United Nations in New York City to emphasise the importance of progressive technology in the life of those with physical disabilities. With a cheeky grin, Joanne challenges the crowd to make her a robot. Why they should and if they would becomes the burning question, which is the main focus of the documentary. Produced and directed by Joanne’s older brother Steven O’Riordan and narrated by Tony award-winning Irish actress Marie Mullen, No Limbs, No Limits is an informal and intimate portrait of the O’Riordan family and what it means to live life with such a debilitating condition. Using old family films and personal interviews with members of the family, the film is as direct and as honest as possible. Joanne’s parents are frank regarding
Director: Steven O’Riordan Starring: Joanne O’Riordan, Steven O’Riordan, Marie Mullen. Release date: April 11th
their initial dismay upon learning of Joanne’s little studied medical condition and the lack of independence it brings. Tears are shed and words are spoken with unscripted emotion and heavy Cork accents. The axis on which the film spins is, of course, Joanne herself. Witty and endearing, Joanne is a normal and genuinely likeable teenager who enjoys listening to music on her iPod, texting, hanging out with friends and joking about ‘needing a man’ in her life. Where limbs are needed, Joanne makes do using her mouth, shoulders and ‘arms’. That said, the inherent difficulty of everyday tasks is not avoided by the film. Often long lingering shots concentrate on Joanne struggling to brush her teeth or eat a slice of cake reminding us that a good and positive attitude can only get a person so far where real help is needed. This is Steven O’Riordan’s first film and, in places, it shows. A lot. The camera tends to jerk around unprofessionally and some shots are inelegantly framed, but in a film like this, content wins over technique. The heart of the film lies in its representation of Joanne as someone not to be pitied, but rather admired. And rightfully so. In a nutshell A moving and intimate glimpse into the life of Joanne O’Riordan and her search for greater independence. Ellen Murray
Director: Richard Ayoade Starring: Jesse Eisenberg, Mia Wasikowska, Wallace Shawn, Sally Hawkins Release Date: April 4th
Richard Ayoade, a face popularised by his turn in the TV series The IT Crowd, fired an excellent first shot into the world of cinema in 2010 with his first feature Submarine. Four years on, he has returned with a visually compelling and sharply written narrative based on a work by Dostoyevsky. Taking visual cues from filmmakers like Terry Gilliam, The Double is set in a world inspired by 1980s Britain. The story centres on the quiet Simon James (Eisenberg) who works for a huge data management firm. He is the reserved type, floating through life with a repetitive job to help caring for his elderly mother, all the while being infatuated with his neighbour (Wasikowska). He finds himself unmemorable to others until a new person, who happens to be Simon’s doppelgänger James Simon (Eisenberg, again), is employed by the firm. When written down, the plot may sound slightly ludicrous, but it is an interesting ride nonetheless. The story is sharply written, with some excellent black humour on display throughout the film. The contrast between Simon and his double is a compelling one, sucking you in throughout the film’s 90 minutes. The film touches on a number of very bleak and interesting themes; all of which are handled well and with a great touch of dark humour. And this is ignoring one of the most intriguing parts of the movie: its look. The Double looks terrific with its dark and gritty take on 1980s Britain, while meshing it with a cyberpunk, futuristic style. One
doesn’t have to be an expert on production design to appreciate the film’s unique look, right down to the recurring faux-Doctor Who clone that plays on TV throughout the film. The look, alongside the very-sharp editing, makes The Double a great film to look at and experience beyond just the solid narrative. The music on show is excellent as well, with some sharp piano hits ratcheting up the tension as the film reaches its climax. Eisenberg excels with playing the nervous version, the original Simon character, utilising some of those tendencies that made him excel in The Social Network. While Eisenberg usually plays the nerdy-type well, he is less so when playing the brash doppelgänger; a character that doesn’t play on his acting strengths as well. Beyond that, Mia Wasikowska plays the love interest with ease along with the number of fun cameos from various actors ranging from Sally Hawkins to Chris O’Dowd. Certainly, Ayoade has succeeded for the second time as The Double is a very funny, dark comedy that provides some sincere drama to boot. In a nutshell A funny and sharp dark comedy with a great look and feel. Martin Healy
Top 10 Film Scores
Director: Tom Ryan Starring: Aoife Spratt, Audrey Hamilton, Maggie Donovan Release Date: Limited Release
10 9 8
Renowned for its ability to bring the character of Batman to life through fast-paced riffs and suspicious recurring motifs, this is an incredible piece of music.
J aws (1975)
As well as that infamous two-note figure on the double bass, this work also features short, sweet passages on the violins that add to the sense of terror in the most sarcastically sickening way.
Harry Potter (2001—2011) Easily one of the most recognisable film scores of all time, the music behind the movies is essential in creating the sense of enchantment and mystery that we, as an audience, find so appealing about the movies. The actors may be forgotten, the scripts torn up, but the music will live forever.
7 6 5 Trampoline is a new Irish indie feature film set in Nenagh, Tipperary; which follows the story of twenty-something Angie Corbett, who has been offered a teaching position at her former secondary school, but she’s in no position to take it seriously. Angie’s apathy towards her professional life soon forces her to acknowledge what she really wants. The film boasts as much talent as it does heart. Dialogue is unforced and digressive, and there’s an absence of cliché in debut writer-director Tom Ryan’s lines, which allows for great family dynamics and believable on-screen chemistry. Aoife Spratt excels as lackadaisical Angie and Audrey Hamilton radiates as the kooky best friend, Kate, but Maggie Donovan is outstanding as Angie’s wounded sister Jenny. Family is the beating heart of the film and Angie and Jenny are in perfect imbalance as the sister that could afford to care so little about home, and the one who has had to care too much. Donovan brings an intensity to the role that seems natural and deserving. There’s welcome comic relief in the shape of younger brother Alan, an excellent choice in Tadhg Reddy and definitely one to watch. There’s a vagueness to the film, complimentary to Angie’s disconnect, and to young adult life itself as an uncertain place to be. Shot on a meagre budget of €1,000 with the help of the town itself, featuring a cast sourced in part from The Nenagh
Players, Nenagh is presented with a lot of love; featuring stunning shots at the castle and a scene at Lough Derg. As is Dublin, in a gorgeous sequence of Angie leaving by night, among others. Angie lounges on a diving board with no intention of plunging in, meets with her love interest James (Eddie Murphy) in a playground and begins to express her true self when she’s in fancy dress. Ryan uses plenty of thoughtful, playful and masterly devices to cement Angie as a not-quite-grown-up grown-up, something the onesie generation can readily identify with. This is a film with real social relevance. Watching it reminds one of the authenticity of Gerard Barrett’s Pilgrim Hill (2013), and while Ryan examines what becomes of this emergent generation in present-day Ireland rather than the previous one, it still has that organic feel and a sense of the necessity of producing something close to home, a grass roots operation when addressing areas like heritage and the local seems increasingly urgent. In a nutshell For its small-town charm, Trampoline achieves the universal in a story of adjustment recognisable the world over, asking big questions with relative ease, even confronting a recognisable reluctance in young Irish people to pursue their dreams.
4 3 2 1
pirates of the Caribbean (2003)
This particular work does exactly what every film score should: when you listen, you can imagine yourself standing on a ship with Captain Jack Sparrow, sailing the high seas and drifting into the bay of Tortuga.
The Godfather (1972)
Written by Nino Rota, the music tells a story of loss, revenge and ruthlessness. The score of The Godfather captures the Italian-American culture beautifully in a work filled with pride and vulnerability.
Hans Zimmer perfectly mixes sadness and nostalgia to create beautiful, haunting melodies. This is not just the score to another movie; it is an individual work of art, separate from the picture. This is a piece of music that can harrow someone who has never even seen the film.
Star Wars (1977-2005)
Is there anybody on this planet who can’t identify the truly iconic work that is the score of Star Wars? The music is incredible, filling the hearts and minds of so many with fear, thrills and excitement. No matter how many times it is played, it is impossible to forget. What Williams has written isn’t just a piece of music; it is a piece of film history.
Lord of the Rings (20012003)
This is a breathtaking piece of music. While listening, one can feel the emotions of the characters: the loyalty of Sam, the greed of Gollum and the fear of Frodo. Very few scores can so accurately do such a thing.
Requiem for a Dream (2000)
In one thrilling piece of music, Clint Mansell takes us inside the mind of a drug addict, the uncontrollable chaos that rules in a haze of suspended disbelief; the desperation and longing for anything substantial.
Schindler’s List (1993)
Featuring Itzhak Perlman on violin, this score perfectly captures the hopelessness and demoralisation of war, and the heartbreak of one man’s selfless actions to save those who were sentenced to death. John Williams has written quite simply the saddest and most shattering musical score ever to appear in film.
Tara White Ause Braike
â€œI evolve as an actress as Sansa evolves as a characterâ€? With the fourth season of the world-renowned Game of Thrones set to return to Irish television screens, cast member Sophie Turner speaks to Jack Walsh about staying normal outside of Westeros, the character arc of Sansa Stark and the greatest drama lesson in the world
Standing with a sly yet confident smile, and draped in her trademark electric auburn hair, Sophie Turner has rather comfortably sat into her position of fame as one of the new generation of English actresses to have launched her careers in the last few years. As Sansa Stark, one of the star characters from HBO’s TV series Game of Thrones (based on The Song of Ice and Fire series of books by George RR Martin), Turner has been at the forefront of the media for one of television’s most acclaimed shows. With millions watching at home, and even more watching online (along with a notoriously rabid fandom), Turner has shown incredible resilience to the dangers of success, shunning the predisposed idea of youthful wither in face of the spotlight. Regarding the difficulties that young actors are forced to cope and the pressures of public perception, Turner relates her success to her inner circle, and those who keep her grounded. “I haven’t experienced being in the spotlight as much as some young actors, but I think what keeps me grounded are my parents, my brothers, my friends and the producers on Thrones.” From holding court on Vine with her ever present co-star and sidekick Maisie Williams (Arya Stark), rapping on DVD commentaries, to her family’s adoption of Zunni, the dog who played her direwolf, Lady, Turner ensures a carefree and light-hearted response to the vigorous process of production. “They treat me like an 18-year-old kid should be treated and not like I’m anything special, because at the end of the day I’m not, I’ve just been presented with great opportunities in my life and that’s all.” Born in Nottingham and raised in Warwick, Turner as an actor has spent her life performing and maturing at the Playbox Theatre Company. “I first caught the acting bug when I was about 3-years-old. “My mum and her friends used to catch up over coffee and my friends and I went to acting classes at my local youth theatre group. I got into acting professionally through my drama teacher at school receiving a call for young actresses to play Sansa and a few call-backs later, I got the role.” Millions view every episode of Game of Thrones on HBO, and even when the show was in its infancy in 2011, it transitioned to a level of hype that only series such as Breaking Bad can boast. Even now, the show is still surprising people and has become notorious as one of the most illegally downloaded television shows of all time. With the role of Sansa Stark representing Turner’s big break in acting so far, she will inevitably be associated with this role until she branches out into other projects. However, Turner seems very comfortable to continue on as Sansa and is confident in her acting ability. She exudes the exact energies she has always held on something that is almost as natural to her as reading and walking. “My views on acting haven’t changed. I still think it’s just as wonderful and inspiring as I did when I was three. When I step onto set I’m kind of transformed back to my younger self and get all giddy and excitable when I step on.” The story of Sansa Stark has certainly been one that audiences and fans have firmly registered on an emotional level, with the character continually entangled in a myriad of political issues. Raised by the valiant yet politically distant Eddard Stark (Sean Bean), Sansa grew up as a prototype medieval girl, concerned only with the latest fashions and her dream husband. Sansa is characterised by her frailty and innocence in the first season, ultimately culminating as she sees the depths of the Lannister family’s lust
“I evolve as an actress as Sansa evolves as a character. I’ve gone from a somewhat insecure actress to a fairly confident actress. I have no idea what my performance is like but how I feel about acting has certainly changed.” For the first time since the opening episodes, Sansa was presented with the power over her own life, with several choices offered to her. As the jewel of the eye of Petyr Baelish (Aidan Gillen) and one half of the political unity for the Tyrell household (the new major force within the already intertwined politics of Westeros), Sansa took a gamble, and it cost her dearly. Now trapped in marriage to the Lannisters, the Stark and the audience are certainly unsure of her future. Turner loves the role of Sansa, and her enthusiasm is apparent when she begins discussing what the broad storyline and emotional evolution allows her to do as an actor. “I don’t think I’ll ever be able to have a storyline like Sansa’s in my life again. The opportunity to develop a character over a period of [hopefully] seven or eight years is a huge learning experience for me and is so rewarding.” From a career standpoint, Game of Thrones for control, and witnesses her father be executed in has offered a launching pad for the 18-year-old. front of her, in a scene that fully set the tone for the Nominations in the Screen Actors Guild Award and show in its following acts. the Young Artist Award confirmed critical approval, Within the second season, Sansa remains and now commercial approval has followed. shocked at the actions of King Joffrey Baratheon “I have three movies coming out over the next two (played by Irish actor Jack Gleeson), while being years; Another Me which is a psychological thriller psychologically played with by the Queen, Cersei directed by Isabel Coixet; Barely Lethal which is a funny Lannister (Lena Headey), and to the affections of the comedy directed by Kyle Newman and Alone which is Hound, Sandor Clegane (Rory McCann). romantic drama directed by Matthew Coppola.” Turner notes the steady change of Sansa, Turner’s character, who began her journey in witnessing the acts she has witnessed has allowed the northern kingdom, and now finds herself in her to break her role as a stereotype. “Sansa’s arc the southern courts, meant that Turner herself has is just so exhilarating to portray. She’s gone from a moved from Northern Ireland to Mdina in Malta and young, naive, vulnerable girl to a strong, intelligent now Dubrovnik in Croatia. young woman who can hide behind the facade With three units working simultaneously, Turner of her former self. She’s a dark horse and is easily welcomes the challenges that a day on set can adaptable.” bring. “Being on the Thrones is the biggest and best The great power of television as a medium for learning experience a person can ask for. It’s a hectic storytelling has been its ability to show a character’s set and there are always two or more units filming development and evolution, based on the many at one time. It’s so fun and there’s always something situations that a series creator can fathom. Sansa happening.” and her sister Arya are perfect examples of this, One of Turner’s most poignant scenes involved with each actress forced to respond to new and telling the matriarchs of the Tyrell family (Diana unsafe situations. For Williams, it is a growing Rigg and Natalie Dormer) the truth regarding Joffrey, strength and coldness. For Turner, it is a hesitation a crucial scene in the evolution of the family’s to preserve her inner self and not resort to the relationship with the Lannisters. For Turner, the actions of those around her. opportunity to be surrounded by such acting talent Regarding the innate challenges of portraying a is the realisation of a dream, and she can’t quite pick character that has faced an indescribable amount a favourite person who she gets to act alongside. of psychological abuse, and over a sustained “I definitely don’t have one particular actor that I time period, Turner notes, “The challenges of prefer to work with. It’s always a joy working with playing Sansa is just how emotionally heavy and people like Peter Dinklage [who is] hilarious, Nat demanding that it takes a lot of dedication and Dormer who’s just like a mentor to me as well as focus to do justice to her.” Sibel Kekilli. The third season saw the glimpses of Sansa’s “There’s also people like Lena Headey who post-traumatic growth as a character, as she slowly inspires me every time I’m on set with her, and and surely began learning the craft of the politics of Charles Dance and Diana Rigg who are just faultless court, the titular Game of Thrones. With the death of in their performances. It’s such a fun and lighthearted set to be on and the best drama lesson that many of her family members, Sansa’s political use I’ve ever had.” was apparent. With the show’s fourth season approaching, As the oldest living Stark, she is the heir to the Sansa’s future is uncertain. Having been forced northern kingdom, thus adding significant weight to every one of her decisions, and more importantly, into marriage with fan-favourite Tyrion Lannister (Dinklage), and still trapped in King’s Landing, it’s the decisions of those around her. anyone’s guess to what executive producers David Having turned 18, Turner has literally grown Benioff and D.B. Weiss plan for the character in the up with Sansa as a character in her life. Having long turn. that constant thought of adaption in her mind For now, there is no doubt that audiences are has allowed her to progress quickly as an actor. content to witness an acting talent emerge and For Turner, the process of playing Sansa and grow in confidence on their television screens experiencing her growth provides Turner with her episode by episode. own development.
I don’t think I’ll ever be able to have a storyline like Sansa’s in my life again. The opportunity to develop a character over a period of [hopefully] seven or eight years is a huge learning experience for me and is so rewarding
I evolve as an actress as Sansa evolves as a character. I’ve gone from a somewhat insecure actress to a fairly confident actress. I have no idea what my performance is like but how I feel about acting has certainly changed
I definitely don’t have one particular actor that I prefer to work with. It’s always a joy working with people like Peter Dinklage, Nat Dormer who’s just like a mentor to me, as well as Sibel Kekilli… Charles Dance and Diana Rigg who are just faultless in their performances
Turn over a new chief Indie rock veterans Kaiser Chiefs have endured the loss of their founding member, but bassist Simon Rix explains to Emily Longworth how this inadvertently fuelled the creation of their new album
“I think we became the underdogs again. Everybody likes the underdogs, right?” It’s been at least a decade since the Kaiser Chiefs have been in this position. Bass player Simon Rix explains that they welcomed the challenge that making their fifth record presented. It’s been three years since they released The Future is Medieval, and in that time they’ve weathered the loss of their founding drummer and primary songwriter Nick Hodgson, as well as a slew of negative predictions from the spectating media. For a long time, Kaiser Chiefs have been assumed washed-up until proven thriving, and it’s possible that the injection of complete uncertainty to the point of near disbandment was the exact catalyst the Leeds natives needed to make their new record. So, how hard was it to bring out a record while the internet punters quietly kept tabs on their progress? “With the Nick thing… we sort of dismissed it I think, because [people were saying] we’d be over without him because he’s so important and all that other stuff, I think that made us kick harder. We were the underdogs again and I think that was a huge motivation for us to make a brilliant record. So I thank all those people who wrote those articles.” Rix is decidedly happy with their new record, Education, Education, Education and War, but perhaps not quite as confident as bandmate and
native immediately in mind; Vijay Mistry from Club lead singer Ricky Wilson, who self-admittedly took a job on the judging panel of the UK talent show The Smith, one of the support acts to Kaiser Chiefs in their 2012 UK tour. Voice solely for the purposes of self-promotion. “He was my first choice by a mile. Obviously he Last January, Wilson justified the ‘sell-out’ in an interview with NME. “I love my band and I want our had to want to do it, but he was keen, and he’s been great, we selected him not only because he’s new record to get noticed. I know that everyone is going, ‘He thinks he’s going to sell more records and a great drummer, but also because he’s got a great more tickets.’ And that is why I’m doing it. I’m not a personality. He’s very enthusiastic, he’s massively into music, just a very good person to have around.” fucking idiot.” The addition of a new band member invariably For Rix, the priority seems to be his palpable generates fresh energy, but how did they get to thirst for musicianship. Perhaps owing to Nick grips with translating the enthusiasm into the Hodgson’s input as a founding member, his songwriting process? Especially considering that departure carried with it the expectation of none of them had ever taken the task entirely upon disbanding. There are reports that Nick laughed themselves for their previous four albums. the first time he heard that the remaining four Rix likens their circumstances to those of New members were going to continue as Kaiser Chiefs Order, who formed in the wake of Joy Division without him, but Rix doesn’t dwell on the details “Peter Hook said when Ian Curtis died, that Ian Curtis of the split. was the glue, and they had to find some new glue “I love Nick, he was always good. He was one of and I sort of feel the same way about Nick. Nick my best friends and still is. We knew that this year was the sort of person who really put into the band there was going to be a change in dynamic, Nick was a big part of the band, maybe more than a fifth creatively, and sort of someone who really helped of the band, because he did a lot of stuff, so we had us glue it together, to get the ideas to the finishing line, and without him, that’s difficult. to get someone in who could fill the drumming bit, “I thought it was a bit of a mystery, what he did. and equally, each one of us had to completely step But actually it’s not that hard, it’s just a bit of learning up, and fill the gaps”. Finding a substitute member could have been a about it and a bit of work, and it’s exciting; taking a hellish task, but fortunately they had another Leeds keyboard idea or a guitar idea and building it up and
building it up and eventually it’s a whole song that’s recorded, and then it’s on YouTube with a video. “It’s really exciting to be involved, know what I mean? Like we were all there taking a lead on stuff and stepping up into the gap, so we’re all the glue, which is just how it should have always been.” His observation is astute without being overly sentimental. There is a sense that his well-rounded honesty stems from a genuine contentedness with their efforts. Where Wilson’s cameo on The Voice may convey a certain desperation, Rix’s subtle appreciation of their underdog status seems more realistically in tune with their contemporaries. He admits that after Yours Truly, Angry Mob in 2007, there was a change in their music. “On our third record or fourth record maybe we didn’t say that much. The songs were good songs with good lyrics, but they weren’t really about that much. “You round the edges off, because you want to not give anyone any ammunition to say anything bad about you. In this album we’ve decided to ignore that, and really go for it.” His plainspoken aspiration inspires a certain level of newfound confidence. Who needs to sell out to TV when you’ve got this much honesty behind you?
Read the review of the new album Education, Education, Education and War on Page 17 of Otwo
We were the underdogs again and I think that was a huge motivation for us to make a brilliant record. So I thank all those people who wrote those articles
Songs for the dead Mik McKeogh of alternative rock band The Funeral Suits sits down with Sean Hayes to talk about touring memories, maintaining respect and the formula for success
With a name dripping in sombre undertones, it’s easy to assume such melodic inclinations of Dublinbased band The Funeral Suits. Yet, the opposite couldn’t be truer. Friendly and carefree, lead vocalist Mik McKeogh erases any darkened assumptions their chosen moniker portrays. McKeogh is startlingly down to earth. There’s no contrived appearance of artistic flair, no invented story of musical inspiration. All that lies within this Dublin native is simple, direct honesty that is nothing less than refreshing. “I think we just blend guitars and synths in a nice way. I think the music we’re interested in comes across. It’s indie, alternative, electronica, maybe.” While simplicity lies at the heart of this group, success for the foursome has proven to not be so straightforward. Yet there’s no denying the passion that all four members have for their work. “We write every day. We jump over and back between songs. Say yesterday, we spent the whole day on one song. Listening to the one song for six or seven hours. When you’re just sitting there for six or seven hours, the world around you just becomes a blur. I might work on a different song later on, just to break the monotony with that.” The band’s formula for success seems to be coming together as the conversation continues: simplicity, passion, and hard work; the result of which is apparent. Having released a number of well-received EPs, the band released their debut album, Lily of the Valley, in 2012. McKeogh views the journey of going from recording limited edition, independent EPs to a full-scale album as a journey. And its a journey that McKeogh is proud of. “When you record an album, you have a sense of accomplishment, and especially when you go in that fashion. I think that like in any profession, you’re constantly learning. It’s very hard to see the transition because you’re working a lot of hours, but it’s only over time that you see the fruits of the labour. It’s nice.” The band has taken the record across Europe, playing extensively for the last two years. Traveling
Europe, promoting the band’s music is an experience McKeogh has undoubtedly enjoyed. “It’s great. I think people in Europe are very responsive to new music. It’s kind of worked out well for us. We’re very fortunate that we’re able to go to countries like Italy, Sweden, Switzerland, France. It’s kind of vain, but it’s natural as a musician that you want the most people to listen to your music. Being given the opportunity to go to Europe and seeing that there are people out there who like our music.” The formula for success suddenly becomes more complex; simplicity, passion, hard work and now vanity it seems. But McKeogh soon seems to realise he’s indulged talking about Europe for slightly too long now, quickly and unnecessarily righting himself. “Not that people in Ireland don’t like our music. Or that we don’t appreciate the people who do.” As part of Jameson’s St Patrick’s Day celebrations, The Funeral Suits supported White Lies in Dublin’s Ambassador Theatre. White Lies are just one name on a long list of big acts that the band have supported in the past, including The Maccabees, Franz Ferdinand and Passion Pit. But true to his level-headed nature, McKeogh doesn’t discuss these musical heavyweights in great depth, a conversation that could be self-indulgent. Instead, he fondly remembers one particular
tour with an obscure, unfamiliar band. “We played with a band in France last year, from Belgium; they were called Great Mountain Fire. We played nine or ten dates with them. They were just unbelievable. I just thought they were a really good band and that was really big learning experience for us to see them, to be on a tour with a band like that.” The visual side of the band is something that McKeogh is also very interested in. Two close friends of the band, Sean Ryan and Philip Kennedy, look after the group’s music videos and artwork. “These are two people that we would’ve grown up with, as young people in Dublin.” Speaking about their working relationship, McKeogh reveals, “We had a philosophy. We’re passionate about music and here’s a guy who’s passionate about visual art. We don’t feel like we need to come in and tamper with someone else’s work. We like working with people and we don’t like interfering with their work.” With this, the formula for success seems complete; simplicity, passion, hard word, vanity and respect. McKeogh lies separate from his peers, with characteristics of any well attuned, hardened musician. With an undoubting respect for his music, a respect for his co-workers and for his fans permeates through his voice, and it’s this glistening respect that will only help the band to succeed and prosper.
We write every day. We jump over and back between songs. Say yesterday, we spent the whole day on one song. Listening to the one song for six or seven hours. When you’re just sitting there for six or seven hours, the world around you just becomes a blur
On the right track From the unassuming surroundings of Limerick City, Rebekah Rennick chats to Sean Corcoran of Moscow Metro about early beginnings, their brooding sound and the importance of sticking to your guns It depends, what makes you different is what gets people listening to you in the first place. What makes you a star is totally a different kettle of fish Generalised preconceptions of young, up-and-coming musicians are an easy couple of punches to throw. With the music scene drenched in self-indulgent, loitering early twenty-somethings, Limerick based Moscow Metro are a breath of fresh air. Lead vocalist Sean Corcoran oozes quintessential Irish bashfulness and self-deprecating modesty, a demeanour that lies starkly against the band’s trembling, darkened musical endeavour. “As regards playing music, I started listening to bands with heavy bass lines; like The Stone Roses, Joy Division and I then started playing the bass,” says Corcoran. “I kind of realised soon enough that the bass wasn’t really suitable to write songs on, it’s okay but the guitar’s more melodic. We all can kind of play a few instruments in Moscow Metro.” Originating from Limerick, Moscow Metro’s powerful sound, shaped nicely with nuances of White Lies and The National, is not dissimilar to the swelling underground of the Russian transit system from which they stem their name. “The name, yeah there’s a small story behind that,” explains Corcoran. “We were practicing in this place, which was a storage warehouse on a dock road in Limerick. It was cheap and we could play there any time. The floor was a metal sheet and there were just rooms. “We were playing there for a while and it was extremely cold, this metal box surrounding would just vibrate whenever we played! We had it as a lyric or a possible song name on the wall for some reason and it really suited what we were about. We just thought it was a great name.” From Moscow to Munster, the quartet have twisted and moulded an already quite popular sound into something of their own. Like the iconic bands that have emerged from the grey underbelly of Manchester, Moscow Metro found inspiration in their Limerick surroundings early on. “Basically, the band is from Limerick, it was born there. When we all moved here, I felt anyways, as an outsider you look at things from your own perspective. There’s always two kinds of perspectives to it and I don’t know if people would look it the same way if they lived there all their lives. “It would have had a major influence on our earlier songs. On the songs we have at the moment, it mightn’t have the same impact. When you get to a new place, you’re going to have experiences or see new things and that’s going to influence what’s in your mind.” Speaking to Corcoran, his words move faster than his thoughts, yet behind the unintentionally disarming charm lies an obviously aware and sensitive musician. Moscow Metro’s sound is a mature, haunting aroma of startling reality. Their new EP, Spirit Of A City, funded by family, friends and fans alike, lies against the sharp lights of a bustling city
background, echoing both the highs and lows of urban life. “We kind of took a year to just write what we wanted to write; in that year we got things out of our system. We gigged a lot faster and heavier and we saw how people were reacting to that. “It seemed like a natural trajectory, but we didn’t record those songs, we just wanted to see where we’d go. We wrote all these songs and by the end of it we were like, right we’ve got these and we want to release them all and that was it really.” As a whole, Spirit Of A City is simultaneously understated yet stunningly potent. The quartet outwardly speak of truths otherwise left unsaid, yet Corcoran’s modest approach, the reluctant front-man façade is a pleasant surprise. Speaking of the band’s creative process, he says, “I usually would lead the way. I mean, everyone could have it if they want. It comes down to how hard you work, if one person in the band decides they want to work and come out with a lot of ideas, the option is there. At the moment I come up with lyrics and original idea, and then the rest of them will have a look at it. “But it’s not nailed down in this band as to like the bass player plays the bass, and the guitarist plays the guitar, if you have the ability to write something good and everyone thinks it suits, then it’s accepted and encouraged.” With supporting slots alongside the likes of The Delorentos, Funeral Suits and Jape, and not to mention recording time with Rob Kirwan clocked in, Moscow Metro are on a steady trajectory of success and recognition. Yet, it’s difficult to imagine this foursome straying too far from their own personal objective and style. “You can hear it on the radio, the shape of songwriting is changing to suit the 30 second internet style. Some songs are all chorus and it’s just the same thing over and over. Repetition sells, but I supposed what we like to do is ignore that. “It depends, what makes you different is what gets people listening to you in the first place. What makes you a star is totally a different kettle of fish. With us, I write the music that I would like to hear so it’s what we work off rather than what we think is going to sell.” Corcoran’s predetermined approach is an exhilarating arrival to a music scene that falls too often into the greedy claws of the consumerist machine. These brooding Irish lads undoubtedly are here to last and they know exactly what you want, “You’ve got to know your fan-base and know what band you want to be.”
Moscow Metro are playing the Academy 2 on Thursday the 10th of April and releasing their new EP, Spirit Of A City on the 11th of April. Tickets are €7.50 including booking fee and are available from Ticketmaster.ie.
Education, Education, Education & War is the indulgently annoying lengthy title of the Kaiser Chiefs’ fifth studio album. The record sees the arrival of a new percussionist, Vijay Mistry, who replaced Nick Hodgson, the former drummer and primary co-songwriter of the band on previous endeavours, allowing the band an opportunity to take a fresh, and somewhat exciting, new direction on this album. Despite this new lease of life in the band, it’s all very much classic Kaiser Chiefs; it’s standard, blasé Britpop. Managing to strike a balance between sullen, sad melodies and good-humoured tunes. However, as a whole, it’s nothing more than unobtrusive background noise that will undoubtedly become the irritant, unrelenting earworm of the summer. Lead vocalist Ricky Wilson has slipped into the void of no return with a slot appearance on BBC’s The Voice, utilising its mild impact on society’s awareness of music as an opportunity to promote his latest musical endeavour, indicating the Kaiser Chiefs are worried about being forgotten. Wilson’s personal experience of growing up in Britain is emulated throughout the record, particularly on ‘The Factory Gates’, ‘My Life’, ‘Coming Home’ and ‘Ruffians on Parade’. ‘Coming Home’ will be released as a single and it’s certainly worth a listen, although no doubt it will be played a sickening amount of times on your car radio, so maybe hold off until the wave of Britpop dies down.
Mac DeMarco is the loveable, gap-toothed scamp everyone wishes was their best pal. With a Montreal honeycomb vocal and off-kilter swagger to boot, this 23-year-old is the undeniable prince of laid back vibes that will have you in a horizontal position of relaxation within two strums of his guitar. “As I’m getting older/chip up on my shoulder/Rollin’ through life to roll over and die,” opens DeMarco’s third instalment as he sits back, lights a cigarette and lightly questions his existence. The psychedelic, smooth and mature 35 minutes that ensues lies in juxtaposition to the boyish, wide-eyed musician he portrays, with a penchant for Viceroy smokes and Twitter profanities. All twanging rhythm guitar and flannel shirt swaying, Mac has evolved from pantomime sleaze to polished sun-dappled perfection. ‘Blue Boy’ is a swaying moment of pure escapism. Mac’s husky vocals whisper warmly in your ear as he shrugs off not just his own worries, but those of every listener indulging in this succulent record. DeMarco’s coy grin can be felt perpetually, yet it’s this endearing quality that yields his songs from plunging into twee, cringing sentiments. ‘Let My Baby Stay’ stands as a tender plea of recognition while ‘Brother’ is a rich aroma of caressing chord progression and Mac’s growl that swells with encroaching warmth. On ‘Treat Her Better’, DeMarco becomes the all-knowing older brother, advising his male followers to look after their sweetheart and watch out for that mother of theirs; the perfect 21st century hip Renaissance man.
Tremors is the debut album from Viennabased English songwriter and producer Toph Taylor and is the long-awaited follow up to 2012’s The Wheel EP. Taylor has been garnering recognition for himself as a producer remixing artists such as Lana Del Ray and Laura Mvula. This album is very mellow and down tempo, featuring SOHN’s soulful voice drifting over electronic pop beats, which suggest RnB influences. Although the album is initially nothing to shout about, Tremors gently grows on you as you move through the tracks. The first half of the album is so downbeat it borders on dreary. ‘Artifice’ has been getting a lot of attention, mainly through Zane Lowe’s championing of it; while it’s not mind-blowing it’s a competent lead single. The track’s strength is in the powerful vocals as the electronic backing beat is unremarkable. However, things really spring to life in the second half of the album, and all of the tracks from ‘Fool’ onwards have a delightful energy to them that the more sombre earlier tracks are lacking. ‘Veto’ features a very catchy bass beat, while the layered synth repetitions of ‘Lessons’ build into a soaring crescendo marking it as one of the album’s most outstanding songs. The title track brings this LP to a satisfying conclusion. ‘Tremors’ is undoubtedly a diverse track to end on in terms of its style and sound, which is both its strength and weakness. While this variety may appeal to more listeners, the album lacks a sense of unity.
Little Matador may be the new project of Snow Patrol’s Nathan Connolly, but it bears no resemblance to his work with the globetrotting, stadium rock band from Northern Ireland. They start the album with the deskslamming, guitar-driven single ‘Stitch Yourself Up’. It sets the raw, riff heavy tone for the album. The next few songs are just a little bit too guitar swamped, making them sound like the FIFA menu music. Though the songs don’t move out of the driving guitar and drum line area, the album is too short to bore the listener. The work slows and focuses on Connolly’s limited vocals for a while in ‘Give & Take’ but then kicks straight back into the catchy ‘Gimme All You Got’. The guitar and synth collide here to make this the necessary injection of excitement to the album. What Little Matador lack in creativity, they make up for in the energy that comes from their three-guitar fusion of sound. It’s a gritty, underproduced, breakout album and they certainly create a run of form. It’s obvious that Little Matador are a live band. The riffs are catchy, the songs, though a little bit formulaic, are all still exciting and can be described by some as “pump-up, workout music.” Altogether this album is a fast paced and energetic piece of work by a talented, though fresh bunch, of musicians.
Education, Education, Education & War
In A Nutshell It’s no ‘Ruby’ but it’s not far off. Sara Holbrook
In A Nutshell Mac DeMarco is operating on a different level than most of mankind.
In A Nutshell This is an album that you’ll enjoy more if you can ignore the hype surrounding it.
In A Nutshell A confident, heavy rock album from a band who know what they want to play. Add to your leg day playlist. Aaron Murphy
Gartlandia— LA Experiences Checking in from Los Angeles, Orla Gartland talks about her first long haul flight and how everyone in LA is simply waiting for their big break
Earlier this week I flew to Los Angeles (yes, I hate myself too). This being my first time in the States, I was told by well-travelled friends that I was well and truly diving straight in the deep end by visiting the City of Angels first… Turns out they were right. This place is nuts. Having been here only a few days, my insight into the city is limited, but it’s such a bizarrely inspiring place that it seemed a shame not to dedicate a few words to it. A few days back I was sat in Heathrow at some unholy hour waiting to board my first ever long-haul flight. In theory, sitting in the same spot for 13 hours is undoubtedly tedious, but as a first-timer it was all such a novelty for me. I found the mini-individual TV screens so cool I sat through movies I would never have watched otherwise. I ate and drank everything offered to me throughout the flight, whether I wanted it or not; flying regularly with Ryanair makes you pretty stingy. Once I landed, the shift in temperature was immediately apparent. Off with the jumpers (or sweaters as I may now start calling them), and out came the suncream (factor 50 every time, typical ginge). Sun is pretty amazing because it seems to
drape happiness over everyone it touches. My body clock was trippin’ out, but as soon as I stepped out into the warmth, everything was good. The first notable difference for me was the customer service here. As I filled out forms in LAX I was greeted immediately with a huge smile and a “Hey ma’am, do you need any help?” It’s crazy how a gesture as simple as that can make you feel so welcome; a stark contrast to my experience in Heathrow, where I asked to switch seats and the woman at the check-in desk made me feel like the most difficult person on the face of the earth, and that by making her tap a few computer keys I had single-handedly ruined her entire day. I’m still in super-tourist mode, taking pictures of every cactus, restaurant and highway road sign; just wait until I visit Hollywood because I foresee Facebook posts of the sign from every angle. I experienced my first earthquake yesterday, mid-burrito. Everyone was pretty terrified, but the tourist within me was nothing but excited; I figure that surviving an earthquake (no matter how mild) makes me instantly a bit cooler than I was before. The scenery here is pretty surreal. I really can’t get over how much it feels like another era.
I experienced my first earthquake yesterday, mid-burrito. Everyone was pretty terrified, but the tourist within me was nothing but excited; I figure that surviving an earthquake (no matter how mild) makes me instantly a bit cooler than I was before
Looking around at sun-tinted pickup trucks and pastel-coloured houses makes me feel like I’ve momentarily stepped back in time. Cool. As much as I’ve yet to believe it, I’m over here for musical purposes. Ahead of me is three weeks of shows, video-making and songwriting sessions. My immediate fascination with the city led me to question some LA residents that I’ve met and worked with so far. Yesterday I wrote with a guy who described it as a “city of lost souls”; that most people that end up here came from elsewhere, and just didn’t quite fit in at home. Others described it to me as a city of people all playing a part; that those serving you in bars and restaurants aren’t just waiters and waitresses, but budding producers, writers, musicians, directors and actors simply playing a part, following dreams and working away at something big while just doing what they could to get by. I guess I haven’t been here long enough to form any rock-solid opinions about LA, but I can tell that it’ll be inspiring. I’m not entirely sure I quite fit in here, but I don’t think anyone does; maybe that’s the charm of the place.
Radar— East India Youth
With the wave of electronic musicians still crashing heavily upon our shores, William Doyle of East India Youth speaks to Sean Hayes about early beginnings and why you’ll be sick of him by the end of the year As the trend for electronic and synth-pop continues to proliferate, everyone from James You’re in it for some Blake, Chvrches and even Coldplay have suddenly recognition really. It reached for the synthesizers and drum machines. At times, it can be difficult to sieve through was nice to feel kind of the acts worth sticking with and those who will validated. But if they’re fade into blurred obscurity. Yet William Doyle, all positive, that can known on stage as the elusive East India Youth, is adamant that “you’re going to be sick of me by rub you the wrong the end of the year.” In a positive sense, of course. way and start to send “This year is pretty much just exclusively playing live. I’m going on the road at the end of you down paths that March. We’re doing the Olympia Theatre. I’m really perhaps you shouldn’t. looking forward to that. It’s a much bigger stage than I’m used to.” Enjoy the success if it Doyle’s musical inclination is one of obscurity, comes, but always be delving into the music world from an otherwise uninterested family. “None of my immediate shooting ahead to the family played any instruments or could sing. I next creative goal don’t know what attracted me to it.” Doyle claims his instruments of choice weren’t always so high-tech. “I remember getting old ice-cream tubs and playing felt tips pens on them as a drum kit. It all went out of control from there.” Yet the ice-cream tub practice seems to have paid off, as Doyle’s career has been growing from strength to strength. He unusually describes himself as a “sound architect or song gardener”. A curious, if somewhat pretentious, title to use but Doyle laughs it off. “To be honest, that was just some kind of PR thought up. It was a bit of nonsense on my part, but stuff can be read into it.” What should be read instead, though, are the critic’s reviews. His debut album, Total Strife Forever, arrived in January to critical acclaim. Described as everything from “astounding” and “ambient” to “abrasive” and “apocalyptic,” this positive critique is something that Doyle has been welcoming with measured enjoyment. “You’re in it for some recognition really. It was nice to feel kind of validated. But if they’re all positive, that can rub you the wrong way and start to send you down paths that perhaps you shouldn’t. Enjoy the success if it comes, but always be shooting ahead to the next creative goal.” One creative goal that Doyle is particularly proud of achieving is releasing his first record. “Being able to bring that out is an amazing thing to me. It being an actual physical form and having it in my hand as a piece of vinyl is probably the highlight.” Doyle places an importance on keeping connected with fans and engaging with social media. “It’s 100% necessary now. Unless you truly want to be that kind of anarchist and you want to live on the fringes of obscurity. I basically use my Facebook and Twitter accounts as my personal accounts. It’s just me. Hopefully that comes across. But yeah, it’s kind of difficult not to use it.” While the ever-growing electronic, synth-pop genre will undoubtedly continue to churn out new bands and singers competing for attention, East India Youth is worth spending some time getting to know early.
Jamie Mann Studying Sociology & Economics
Wearing: Shirt – Vintage shop, Shoes – Nike, trousers – Penneys, Knitted Jumper – River Island, bag – bought at a reggae festival in California. Style Inspiration: London street style. Biggest bargain: An oversized shirt from Fresh Temple Bar for €15. Most expensive purchase: Barber jacket €200.
1 Paul Dowling Geography & Planning Shoes – TKmax, Trousers – Zara, jumper – TK maxx Jacket – Charity shop, Scarf – H&M, Bag – Mango Belt – Handmade by mother Fashion Inspiration: Hipsters
2 Hannah Nirhian Actuarial & Financial studies Shoes – Massimo Dutti, Shirt – H&M, Polo – Zara Bag – Longchamp, Coat – Zara (sister’s) Fashion Inspiration: Whatever is in the wardrobe
3 Laura Farrelly Nursing Shoes – Converse, Trousers – Topshop, T-shirt – Penneys Jacket – Topshop, Bag –Topshop Fashion Inspiration: Topshop and Cara Delevingne 4 Katy McDermot Science Shoes – Timberland, Leggings – Topshop, Bag – Scaramanga Coat – Topshop, Knit – River Island Fashion Inspiration: Comfort 4 Eoghan Talbot Irish & Geography Shoes – Topman, coat – Topman, Jeans – River Island, T-shirt – Vintage, Bag – Adidas, Watch – Rolex Fashion Inspiration: High street words Emily Mullen Photographs Rory Mullen
Stereotypes With UCDâ€™s fashion becoming more and more individual, this issues shoot attempts to capture the unique vibes from three of the most popular fractions from beloved Collegeâ€™s style
Photographer: James ‘the tash n’ flash’ Brady Stylist: Christin ‘most stylish mot ever’ McWeeney Models: Rory ‘get my good side’ Mullen and Rebekah ‘Rawrrrrr’ Rennick
Royal Hibernian Academy—Souvenirs
A global journey through urban landscapes awaits you at the Royal Hibernian Academy as Laura Woulfe guides you through their latest exhibition James Hanley’s Souvenir series was originally intended to function as background details for larger works, however, displayed as a collective as shown in the Royal Hibernian Academy, the series is elevated to become worthy of artistic criticism in its own right. The paintings in the exhibition function as a visual travel diary for the artist, documenting the different places Hanley visited in single images, which included Rome, Berlin, Lisbon, Washington, Paris and Jerusalem among others. While each of these cities are widely known, Hanley’s representations of particular civic spheres or landscapes are inherently paradoxical, often showing an iconic scene of the area while concurrently, when viewed in its entirety, the differences between the areas become increasingly blurred. One striking correlation within the series is that between the representation of Berlin and that of the small Irish town of Enniskillen. Both paintings show imposing sculptures against a blue sky and while this similarity obviously links the two paintings what is even more interesting is how the sculpture chosen by Hanley to represent Enniskillen is a militant commemorative piece whereas the sculpture chosen to represent Berlin is classical. The relationship between Berlin, a city that was divided in the 20th century, is obviously linking to the similar situation of Northern Ireland where Enniskillen is located, where throughout the 20th century people and land was divided. Considering that the statue chosen to represent Berlin is classical and is accompanied in the composition by a modern jet that dominates the
sky, this suggests a modern future flourishing over a historic past. The sculpture commemorating Enniskillen, however, shows the presence of war is still dominant in the memory of Northern Ireland. In fact, many of the images seem to have correlations with war, which perhaps is used to further demonstrate how the perceived differences between nations are largely constructed rather than inherent. Interestingly, the representation of Hamburg is in stark contrast to that of Berlin, representing destruction rather than renewal whereas the representation of Paris is not the Eiffel Tower as expected, an emblem of the city’s dominance over early modern art and culture in Europe, but an image also depicting a war monument and airplanes, which cast clouds of coloured smoke in the sky representing the French flag. This said, other paintings make no such references; in fact the image depicting Washington, the heart of the American superpower, portrays a modern building against a green leafy background whereas Jerusalem shows well-dressed men standing against a crumbling brown structure. While neither of these images suggest war they do somewhat indicate development and the everchanging characteristics of most cities and countries, which subvert the idea that nationalities, cityscapes and landscapes are fixed and can be sufficiently represented through stereotypical emblems.
Royal Hibernian Academy, ‘Souvenirs’, free admission, closes April 27th
The relationship between Berlin, a city which was divided in the 20th century is obviously linking to the similar situation of Northern Ireland where Enniskillen is located, where throughout the 20th century people and land was divided
One minute we are in BUTLINS, then she’s in a river, then we’re in a kitchen. You know, it’s not a movie Pat. But he says, ‘Sure that’s your job, you figure it out
Actress Gina Moxley chats to Ciaran Bruder about Pat McCabe’s madness, the importance of collaboration in a production and her potential future whirlwind romance with a priest
Having collaborated with Pat McCabe on stage Famed for her roles on the Neil Jordan film The and screen projects before, she emphasises the Butcher Boy and Game of Thrones, as well as for energy, time and need for extensive collaboration numerous theatrical roles over her twenty-year that goes into a McCabe written show, but also the career in theatre, Gina Moxley’s latest role is in utter fun she has doing it. the currently running production of Pat McCabe’s “He’s brilliant, how would you not be happy? I The Bridge Below the Town, marking a return of think he just has a brilliant surreal dark and wild collaboration between herself and the playwright. imagination. When you read the script first you Set in the present day with flashbacks to a think ‘How is this going to be possible?’ One minute more culturally naïve rural Irish town in the 1950s, we are in Butlins, then she’s in a river, then we’re in The Bridge Below the Town tells the story of Golly a kitchen. You know, it’s not a movie Pat. But he says, Murray, a young woman almost broken by her life ‘Sure that’s your job, you figure it out’.” struggles. An incredibly fast moving piece, with actors Pitted against the tensions inherent in small playing multiple roles and taking multiple costumes communities, such as maliciously gossipy village changes throughout the play, the insanity of the wives and the social importance of the Catholic Church, Moxley described the overbearing influence production only served to bring the cast closer of the Church during this period and throughout the together, with everyone seeking to help everyone else out and try their best. play as “being very familiar to a lot of people.” Praise was also heaped on the director, Padraic However, despite all of these problems, with McIntyre, with whom Moxley was working for her the help of her husband Patsy, Golly overcomes first time, and she believed the whole cast and adversity in the most extraordinary way and eventually learns one infallible fact: love will survive crew really benefited from his years of experience as an actor. us all. In summation, Moxley describes the production, Embodying both of the elements that serve as returning after last year’s well-received and wellissues for Golly, Moxley alternatively plays McElroy, reviewed run as, “Actually hilarious, very funny. It’s a gossipy neighbour, and Mrs Miniter, the timid real eedjitty.” What more reason do you need to go? housekeeper of the local priest, who are madly in love. Despite initially denying any personal association with the character, Moxley soon The Bridge Below the Town is playing at the Civic concedes, “that I have never been in love with a Theatre from the 1st to the 5th of April, to book priest. Not yet anyway.” tickets, visit www.civictheatre.ie
Wisest pop culture mentor Inanimate Carbon Rod— The Simpsons Emily Longworth
a status of senior counsel; a role which is generally reserved for the stereotypes of Elderly Martial Arts Master, Meditating Philosopher or Overbearing Jewish Maybe it’s true that this rod made out of carbon is Mother. the only sagacious leader in the fourway running What’s more is that in being a lifeless array of who is insentient, soulless, and a rod made out of carbon. But that didn’t stop it from being the only one carbon molecules, inanimate carbon rod never dies, thereby never creating the inconvenience of having to of our contenders to make it on to the cover of Time Magazine (Vol. 143 No. 6 ‘In Rod We Trust!’), while still be avenged by its best student. By the end of the episode, Homer has learned an having time to win the Springfield Nuclear Power invaluable lesson (“Yeah, maybe I do have the right... Plant’s Worker of the Week award. Is it not enough that the rod safely delivers a NASA what’s that stuff?”) from the rod, understanding that being famous, well-respected and as structurally shuttle comprised of Homer Simpson, Buzz Aldrin stable as composite of carbon films are not the most and Race Banyon back to earth FROM SPACE? In this leadership by example, inanimate carbon rod achieves important things in life.
Whistler— The Blade Trilogy Steven Balbirnie Sporting a distinctive grey mane and beard, setting the hero on his quest with a wise word when necessary, and sacrificing himself only to return later to save the hero in his hour of need, the best wise master is obviously… Whistler, the mentor to Marvel’s vampire hunter Blade. Played by country western star Kris Kristofferson, Whistler is an unconventional mentor as a foul-mouthed hillbilly septuagenarian who can still kick ass and save the day. Kristofferson’s worldweariness makes for a great contrast when paired
with the effortless coolness of Wesley Snipes’ Blade. Despite being the coolest vampire and best vampire hunter in cinema, Blade would be nothing without Whistler, who not only raised him from childhood and trained him in combat but also made all his weapons for him and cured Blade of his need to sink his teeth into some poor git’s jugular. Whistler is a great teacher because, like all true masters, he leads by example. Simply put, Blade is a badass because Whistler was a badass before him. I can guarantee you that no one else on this page would get away with calling Ron Perlman a nipplehead and live to tell the tale.
Uncle Iroh—Avatar: The Last Airbender Jack Walsh
war, and Iroh goes through this ridiculous spiritual post-traumatic growth that sees him drink tea and dish out wisdom in every episode of the show. You all have your own opinions and independent Iroh is the foil to his nephew Zuko, who is trying thoughts, and that’s great, but you’re wrong. I don’t even have to read what you’ve written to know that, to reclaim his honour (HIS HONOUR!) and although Iroh occasionally takes things seriously (when he and you the attractive reader, shouldn’t either. Listen, Uncle Iroh from Avatar: The Last Airbender does, he becomes stupidly powerful), he’s usually hanging out, occasionally changing voices and has literally taught me more about life than any of my real uncles combined. That’s amazing, and very flirting with every mature lady in the four nations. Showing all sorts of introspection, Iroh is sad in equal measures. genuinely the type of person you want to be when Iroh, the luxury-loving and incredibly powerful older brother of the very evil Fire Lord has one of the you’re in your sixties; a sound auld lad helping your nephew track down a demi-god. He can breathe fire craziest journeys in all of American anime. After kind of being evil, his son dies in the 100 years too. Any questions? Nope, didn’t think so. Sound.
Rupert Giles—Buffy the Vampire Slayer Laura Bell In every generation there is a chosen one. She alone will stand against the vampires, the demons, and the forces of darkness. Luckily for us, however, she’s usually backed up by a secretly badass English librarian with a penchant for three piece suits. Rupert “The Ripper” Giles, as he is affectionately known by his witching cohorts, embodies the age-old tale of bad boy made good; dropping out of Oxford University at 21 in order to pursue a career in rock’n’roll, petty crime, and of course, the black arts. Destiny ultimately pulled him back into the fold of the Watcher’s Council as he assumed his crucial
position in both maintaining the Giles family legacy and helping Buffy co-ordinate SAT prep-slayage double bills on weeknights. Though somewhat removed from his childhood dream of becoming “a fighter pilot or possibly a grocer,” Giles manages to prove himself an ever formidable enemy of the supernatural; dispensing advice of both a violent and fatherly nature to his merry band of vamp-staking adolescents, while still finding plenty of time to seduce the ladies, often by claiming to be an original member of Pink Floyd. Giles has game on every level, and it’s time the world (and the Hellmouth) accepted that.
The Back Page “I experienced my first earthquake yesterday, mid-burrito. Everyone was pretty terrified, but the tourist within me was nothing but excited” Orla Gartland checks in from LA
“You’re going to be sick of me by the end of the year” Optimism with William Doyle of East India Youth
“He actually went to school in my hometown and committed his first crime there by killing a 14 year-old boy” Actor Brian Cox talks about his connections to the infamous William Wallace
Flop I used to be part of a team. I used to belong. I used to be a flip-flop. I lost my purpose. I lost my friend. I lost my identity. Alone I am a flop. Alone I have no purpose. Alone I am nothing.
I Voted in the SU Election already
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