VISION'S GIG DIARY
THE FRATELLIS REFORM TO PLAY CHARITY GIG The Fratellis will reform to play at a charity gig on the 15th of June in Stirling, Scotland, to raise money for The Eilidh Brown Memorial Fund. The Glaswegian indie foursome announced the news just eleven days before the date, via their official website, Twitter and Facebook. The Eilidh Brown Memorial Fund maintains a holiday home in the Stirling area for young people who are in treatment for cancer. Although no other dates have yet been released, the band have said this is a possibility. For updates see www.thefratellis.com and for tickets for the 15th June go to www.macrobert.org.
BLACK SABBATH HEADLINE LAST NIGHT OF DOWNLOAD
Metal giants Black Sabbath headlined the closing night of Download music festival this weekend. Formed in 1969 and widely regarded as the creators of the heavy metal genre, this was the band’s only festival appearance of the year. Sunday’s Black Sabbath line-up included three of the original four members with Ozzy Osbourne, Tony Lommi, and Geezer Butler. 2012 marks the 10th anniversary for Download, which also saw Trivium, The Prodigy, Killswitch Engage and, strangely, Chase and Status, in a weekend that was only slightly marred by bad weather.
FLORENCE + THE MACHINE OFFER PRIVATE GIG AT AUCTION Florence + the Machine are auctioning off a private live gig to raise money for a charity which supports diabetes. The highest bid for the private concert of up to 25 people is £7,500 at the time of writing, although it is expected to rise. Florence + the Machine consists of singer Florence Welch and a collaboration of backing artists, and were promoted as part of the BBC introducing scheme in 2009. To bid for the private Florence + the Machine concert go to www.auction.jdrf.org.uk/lots/a-privateaudience-for-florence--the-machine. NINA PULLMAN
jazz at the phoenix
george street, york
azz may cause a large, swing band and horn section, conductor-and-couples-dancing-to-Glenn-Millar-at-a-garden-party-type-thing to spring to mind. Or, then again, it may not spring to mind at all. Whatever you may, or may not, have imagined, jazz night on a Wednesday at The Phoenix is a valuable opportunity to see an alternative side to the York music scene. Tucked away in a back room of the deliciously authentic, eighteenth-century pub, The Phoenix is a jazz quartet playing to a crowded room. The tables have large, gloriously atmospheric candles placed in the centre, around which cluster the audience, principally made up of locals and students. The band, clad in a casual mixture of hoodies, t-shirts, jeans and trainers, are quite simply, mesmerising. Whether it was the pianist, moving at an incredible speed over complicated jazz and blues scales with the ease of an expert, or the double bassist, eyes closed, at one with his instrument and spiralling off into an ecstasy of jazz improvisation, it was clear that they were utterly oblivious of the audience and completely absorbed in the moment. It may not get you raving until dawn, but as for relieving the weight of exam stress, jazz at The Phoenix may just be what you need. NINA PULLMAN
Campus: >Wednesday Week 8 Halifax College yusu.org/shop >Thursday Week 10 Derwent College yusu.org/shop
- Faxival Tickets £4.50 - BigD Tickets £26 -
York: >Tuesday 10 July - Howler The Duchess - Tickets £8.50, £10 OTD - 0844 477 1000 >Friday 13 July - The Undertones The Duchess - £15 - 0844 477 1000 >Friday 10 August - Panda Cubs Fibbers - Tickets £5 fibbers.co.uk The rest of the UK: >Monday 18 June - Kate Nash Brudenell Social Club, Leeds - Tickets £16.50 - gigsandtours.com >Wednesday 18th July - Paloma Faith - Somerset House, London - Tickets
In the Limelight... Lianne La Havas La Havas has been on the edges of musical hype for the past year. Previously a backing singer for Paloma Faith, she is now establishing herself as a solo artist. In April she was the opening act for the Bombay Bicycle Club tour, before commencing her 'Lost & Found' tour in May. She is an artist to watch and her album Is Your Love Big Enough?, is released on the 9th of July. This will ensure a new and bigger fanbase for La Havas whose talent has already secured her a place in the 2012 music scene. Listen to the latest single 'Forget' to hear her edgy and modern sound, and 'No Room for Doubt' to hear her subtle charming quality. I have no doubt that her popularity will not only soar but she will be a steady fixture on playlists throughout the summer. Catch her playing at Wilderness festival in Oxford and Bestival in September. NIAMH CONNOLLY.
N O I S VI SIVE LU C X E
oodstock is a 12 hour music festival in aid of RAG charities. It will be divided into two stages of music and performances by societies of the University. A suggested donation on entry will go to RAG and its chosen causes. It was founded in 1992 by students at York University and is one of the biggest summer events on campus: 2012 saw almost 1,700 students enjoying the outdoor festival. It is named after the 'Woodstock Festival'(3 days of peace and music) near New York on 15-18 Aug in 1969. It will take place on Saturday Week 9 and Vision can exclusively reveal this year's exciting line up...
23rd JUNE WEEK 9 OUTDOOR STAGE LINE UP 12.00 12.30 13.00 13.30 GS 14.00 14.30 15.00 15.30 16.00 16.30 17.00 17.30 18.00 18.45 19.30 20.15 21.00 21.45 22.30
ACS Climbing Tress Livvy Verseau Down by Waterside/Ellis Tim Robson Dandy and Delions Vanbrugh Paradise Jukes of York Dan Muroz Beats and Pieces Jargon 4 Montego Bay Marzec Group Replica Sounds Taming The Savage Red Hot White Chuck Jager Ambulance Kings Parade
INDOOR STAGE LINEUP 12.00 12.30 13.00 13.30 14.00 15.00 15.30 16.00 16.30 17.00 17.30 18.15 19.00 19.40 20.15 21.45 22.30 23.15
Glee Singers Gospel Choir Ballet Rev Rock Yorks Got Talent Happily Ever After Lithuanian Dancesport The Rich teas Cheerleading Dance Soc 9 Monkeys Black Sky Paradise Tim Edwards Benedick Gibson Time Shortage Simulation Big Band Game Theory
Jukes of York We spoke to Jonny Gilchrist and Matt Costello from the band Jukes of York, who will be performing at Woodstock, about their festival experience & why Woodstock should not be missed What do you think makes Woodstock a worthwhile event? Matt: "Woodstock is great because it isn’t collegiate or divisive in any way; it’s all about bringing the whole University community together. The best thing about Woodstock is that there’s no sense of competition or pride involved. Highlights from last year mostly revolve around my housemates staggering back home and having a good laugh in the sun." Jonny: "I think the sheer breadth of talent on show at the event makes it really worthwhile. There’s all kinds of bands on all day, from straightforward rockers to jazz and funk and soul and indie." How long has your band been performing gigs? When did you start? Jonny: "We’ve only been gigging since January of this year after we formed in November 2011, but we’ve been getting around quite a lot and hitting the schedule pretty hard." Matt: "Yeah, we’ve only been gigging 6 months but we’re enjoying it, hitting the gigs like there’s no tomorrow and trying to work up a rep." Who are you most looking forward to seeing/what are you most looking forward to at Woodstock? Jonny: "I’m most looking forward to just rocking out and beating the skins up! I might take a drum solo every five minutes too…" Matt: "I can’t wait to play 'Tie Your Mother Down', because the whole song is just amazing, it has such a great feel to it and I love it. I’m really just looking forward to getting up there and trying to put on a good show, hopefully we can get people dancing and grooving and singing and in the mood for a good time!"
The Vaccines - 'No Hope'
itting somewhere between Dylan and Doherty, The Vaccines’ new song is not breaking any boundaries vocally. Nor is it a vast step away from the stuff of their debut album. There is a sense of lyrical monotony and the same old arrangements: loudness, acoustic break, lyrics: repeat. Lacking a catchy reprise, ‘No Hope’ is not a bad song, it just doesnt have the originality of songs like ‘If You Wanna’. The Vaccines have never stopped touring or playing at festivals. Hardly surprising then that the new song is not entirely original. If this song is indicative of their upcoming album, there is little – if not ‘No Hope’ – for the Vaccines. MARTIN WAUGH
The Temper Trap - 'Need Your Love'
ith a hint of electro-rock and distinct, if repetitive, vocals, Australian band The Temper Trap are making a slightly more mainstream entrance. The chorus is strong but the recurring phrase "I need your love", whilst undoubtedly catchy, does little to distance the record from similar and more mediocre songs. The extended guitar and drum solos are slightly out of sync with the constant repetition of the title phrase, leaving the record with an inharmonious and incomplete feeling. Whilst it would work perfectly well as backing music for television shows, that alone singles it out as an underwhelming record. RACHEL LONGHURST
The Black Keys - 'Dead and Gone'
he latest release from The Black Keys, ‘Dead and Gone’, is a track that, more than anything else, simply oozes strength. The heavy, rhythmic drum beat gives the track a reassuring purpose throughout and its catchy, anthemic chorus makes this a single that will not be discarded after just one listen. Despite its name, this is a song that seems made to motivate. Its uplifting beat is perfect whether you’re trying to get in the mood for a party or simply trying to get out of bed. A worthy follow up to the popular ‘Lonely Boy’. ALEX FINNIS
Diagrams - 'Ghost Lit'
he second single from Diagrams is a rich, relaxing journey through psychadelica. The beat-driven sound of jangling guitars and minimalistic hooks are layered beautifully with Genders' soothing vocals, reminiscent of Elbow's Guy Garvey. Lyrics such as "We are killing ourselves with the softest smiles” suggest an altogether more ominous tone to this fascinating song than it's smooth exterior would suggest. This track, indeed the entire Black Light album, is a slice of individuality that is missing from a lot of modern music. FRED NATHAN
an awesome wave
neck of the woods
hink The XX crossed with Bombay Bicycle Club. Think 'folkstep'. Think the alternative niche in an already alternative genre. Alt-J are anything but predictable. Their debut album An Awesome Wave swoons through acoustics and echoing vocals; it is at once light, airy, heavy and brooding. The opener ‘Intro’ demonstrates the variety of the album. A prolonged instrumental gives way to Joe Newman’s distinctive, dramatic vocals. Lyrically, there are hints to the quirky, alternative sound the band has developed. Refusing to show their faces during the band’s early stages, they reject the expected and embrace the alternative. Alt-J is the shortcut for a delta sign on Mac. Triangles are Newman’s “favourite shape” - they are also the symbol for change. The band does not fit into any one genre; they represent something entirely new ('folkstep”'they call it). Lyrics like “til morning comes, let’s tessellate” indicate a sense of carelessness. Hinting towards their disdain for the ordinary, it is this attitude that shows hope for Alt-J. An Awesome Wave is a consistently good album. That’s not to say there
are no standout songs: for me ‘Breezeblocks’ and ‘Dissolve Me’ are excellent (the album has some of the most imaginative track names). The only disappointment comes in the closing track: ‘Taro’ simply fades out, lacking impact where the rest of the album hits you with heavy bass breaks, contrasting the fragility of Newman’s voice and frequent acoustic interludes with XX-like rhythm and keyboards. Trying to pin Alt-J to a certain genre or even compare them to a few established bands is a pretty useless exercise. An Awesome Wave is a tide of musical innovation. Alt-J is alternative but accessible. It’s hard to say what kind of impact the band will have, but so far their popularity is growing quickly. It’s now a case of waiting to see how big of a splash An Awesome Wave makes. MARTIN WAUGH
ince their 2006 album, Carnarvas exploded onto the scene, Silversun Pickups have gone from strength to strength, with tracks like ‘Lazy Eye’ and ‘Well Thought out Twinkles’ showcasing the bands easy-listening LA vibe and propelling the foursome beyond their Silver Lake roots into the indie- rock stratosphere. With this in mind new offering Neck of the Woods encapsulates their relaxed lyricism whilst suggesting a new, more digital edge which pushes the boundaries, yet retains their uniquely Coachella brand of cool. The early release of ‘Bloody Mary (Nerve Endings)’ produces an interesting tonal conflict evocative of old school Smashing Pumpkins or Violent Femmes. Though that is not to say, the album is channelling the 90s, rather nodding to it politely and sending it on its way. Indeed, this contrapuntal range of sounds and voices echoes throughout the entire record with ‘Busy Bees’ and ‘Dots and Dashes’ adding a dash of sunshine to an otherwise hazy collection of relaxing harmonies. Frontman Brian Aubert has described the album as like “a horror movie” and whilst the spook factor is
what we saw from the cheap seats
hat We Saw From The Cheap Seats is the sixth studio album from the Russian born American singer-songwriter Regina Spektor. Variations in style within an album aren’t things that worry Spektor, and indeed there is nothing new here. In the first single from the album ‘All The Rowboats’ she produces an electropop feel which surprisingly seems to go well with her usual emotive vocal line. However, this track stands in stark contrast with the intimate piano work that Spektor is so well known for. The album also includes a new version of a song from her second album ‘Don’t Leave Me (Ne Me Quitte Pas)’, initially just ‘Ne Me Quitte Pas’. The new version is much more of an instrumental celebration compared with the delicate solo piano of the original. Like much of the album, it may have a slight tendency to be over produced, but in many ways the record is an experiment for Spektor, and as a brilliant songwriter she certainly has a perfect platform to take chances and mix things up. This album displays that excellently. For me, one of the album highlights
evident in ‘Simmer’ and ‘Skin Graph’, the vibrant melodies that hearken back to the band’s vintage vibe stand out beyond the element of frightful fragility. An interweaving of old quality with new influences consistently harmonise, producing an album charged with a combination of potential and chilledout sound. It is this fusion that endears the record to the ear, retaining introspection, but with a rock undertone that excites and entices in a way entirely summed up through 'Bloody Mary’s' parenthesized “nerve endings”. Though entirely natural to expect greatness from a band who have amassed an impressive half a million sales to date, Neck of the Woods delivers on its promise, retaining the homely element of the band’s earlier releases whilst breaching new and exciting territory.
is the slow piano ballad ‘How’. This is a new take on the love song that I wouldn’t have expected from Spektor, and her execution makes it hard for anyone unfamiliar with her work to realise that this is a new direction for her. Another highlight, ‘Patron Saint’, is a more familiar style, but that doesn’t make it any less of a well-constructed piece of music. This is a song made with all we might expect from her: soaring vocals, steady drums and of course a stabbing piano line. Most musicians reinvent their style with each album but Spektor seems able to do it song by song. I feel this album is a great display of her ability to find new sounds, but is still true to her musical roots. This is an album which will both quell the nerves of her devoted fanbase and cause it to grow exponentially. MICHAEL COOPER
adyhawke has returned two years after her successful first release. Entitled Anxiety, Ladyhawke’s second album doesn’t evoke the most confident feelings. Obvious questions arise, "can this live up to the first?" Second albums secure an artist’s longevity, and naturally second albums have their own challenges and pressures to live up to, so it was interesting to see the direction Ladyhawke went in. She admitted her unease in releasing a second album, hence the pushed back release dates and the title Anxiety. 'Paris is Burning' and 'My Delirium' stand out as pinnacle tracks in the primary album that emphasise Ladyhawke’s talent and breakthrough onto the music scene. So what’s changed? The sound has converted to become less 80s and more slick, grunge pop. 'Sunday Drive' is heavy on guitar and electronics, similar to the less imaginatively named lead single of the album, 'Black and White and Blue'. 'Vaccine' has a punchy and memorable sound, but its repetitive and its lack of lyrics demonstrate the tracks lack of originality. This is also my opinion on 'Blue Eyes': it begins well, with a strong beat,
and electrifying synths that are constant in the chorus, but Ladyhawke’s tedious “nananana's” become a drag and leave the track distinctly average. 'Vanity' creates a melodious sound which contrasts with the previous tracks, but it still falls on the darker side of pop, discussing “self destruction, self obsession” but once again. It drags: “Vanity Vanity Vanity, yea yea yea” (repeated over 15 times in the song). The album has potential but it just never seems to take flight and subsequently seems to live in the shadow of the first release. Anxiety just doesn’t have a set of peak songs that hold the album together, something that her first release did have. Therefore, it becomes a sound that is tedious and won't satisfy the listeners craving for something more distinctive from Ladyhawke. NIAMH CONNOLLY
Louisa Hann talks to the newest addition to art rock When asked where the seemingly elusive band name Zulu Winter originated from, a surprisingly blunt and straightforward answer came from the band’s guitarist, Henry Walton: “Frustration, boredom... we wanted a name that didn’t say much about anything. It’s just two random words together.” This relaxed attitude seems to have been carried over into their career as an up and coming band, despite much of the hype the band have been receiving of late. Their new album, Language, was released with independent label PIAS Recordings early last month, and the band was clearly excited to unleash it on the public. They describe the method of recording and releasing albums as a “frustrating process. You have to sit on a record for a long time and wait for the mechanics of industry to take effect.” In this way, the band’s more free-spirited attitude towards the creation of their music counters the rigid restraints of the music industry. However, that’s not to say the record is not polished: “The nature of songs changes loads when we’re writing. Everyone goes away and works on their individual things.” With the band working meticulously on what each member has written in this way, it seems apparent that the four-piece is focused on their craft, rather than the ins and outs of the music business, or their own status and individual egos as members of a band. The origins of Zulu lie in Oxford, as the band formed and started their early career there. I asked whether the Oxford music scene has had any effect on their sound, as the city has seen bands such as Foals, Jonquil, Youthmovies and This Town Needs Guns come to the musical fore, all taking on a distinct art-rock sound, often verging on or appropriating the jaunty rhythms of math-rock. Zulu, however, seem to have let all this pass them by, admitting that while they were in Oxford (before moving to London), there was “not really much going on. There was no real scene there and we didn’t hang around with other bands. We’re cer-
tainly more insular than others.” This isn’t indicative of any will to separate themselves from musical circles: Walton acknowledges that “being a part of some kind of scene can help hugely. For us, it just hasn’t happened that way.” This purely adds to Zulu’s appeal, however, having burst onto the scene merely through their own abilities and merit. It seems difficult to actively dislike any of Zulu’s songs. The band is currently supporting Keane on tour, who have a distinctly different, perhaps more showy style to Zulu. Their likeability is bound to attract many of the Keane fans. They admit that “there are some hardcore Keane fans not bothered about anyone else. We’re seen as a bit of an inconvenience really... but some of them seem friendly and often come up to us interested in our music.” In my opinion, this shows a distinct lack of musical snobbery in an a
group of people merely wanting to spread their creations to anyone and everyone. This desire to please the crowds they play for pervades their performing style,
"THE MANCHESTER CROWD IS MORE CRITICAL, WHILE BIRMINGHAM IS ALWAYS UP FOR LISTENING TO MUSIC" shown by how they analyse different personalities of crowds between cities. “Some cities are definitely harder to play. For example, the Manchester crowd is more critical, while Birmingham is always up for listening to music.” I ask whether they alter their shows for festivals, as they have an entirely different atmosphere to standard venue shows, with a far greater proportion of the crowd having never listened to their songs before. “You have to be careful about it. If you get it wrong you could easily lose a crowd.” Walton reveals how the band tackles this problem however, describing their aptly named “disco set”, consisting of all the same songs, but with a faster, dancier feel. “We keep the crowd up and dancing.” On the subject of festivals, I asked which festivals the band is particularly excited about being a part of this summer. “I’ve wanted to play Field Day for a long time,” states Walton. “It’s about ten minutes from my house. I’m also excited about playing The Secret Garden Party. We played the first ever one as a different incarnation.” So the group have had experience of this kind of things before, although not to the extent they are experiencing it now. This festival season will certainly prove whether they have the musical prowess to continue to bigger and better things. There’s certainly plenty of opportunity to catch them, with the band playing at Field Day, Isle of Wight
and Bestival, among many others. To finish off my interview, I asked about any new and upcoming bands he is particularly enjoying listening to recently. He picked up on new bands Alt-J and Outfit, both of whom Zulu have previously played with, have released records on the same labels, and both of whom encompass the type of alternative rock Zulu seem to be channelling in their own music. Perhaps the band is more recognised within a musical scene than they, themselves, realise.
coldplay EMIRATES STADIUM, london
concert I will never forget; Coldplay played an incredible set to a 60,000 strong crowd at the Emirates Stadium, leaving little to dispute as to why they have had such success over the past 12 years. Entering the stadium, the colourful stage alongside the graffiti art backdrop of their lyrics gave the distinct impression of being invited into their playground. This feeling was only further compounded during the set, with simple yet effective staging of fireworks, huge confetti guns and the whole
THE MILK 02/06/12
audience being equipped with radio controlled wristbands which lit up at “appropriate moments”, providing an electric atmosphere. The band gave an energetic performance from the very start and proved to be a tight knit group who clearly loved to perform, and even several downpours of rain didn’t dampen any spirits. Opening with ‘Hurts Like Heaven’, they followed with a cleverly thought out programme combining a variety of their past and present hits, barely leaving a moment when the whole stadium wasn’t singing along. Particular highlights included ‘Charlie Brown’, ‘Fix You’ and ‘Clocks’. Although we came to see Coldplay as a group, it was hard to deny that Chris Martin stole the show. Proving to be a true and versatile musician, whether playing on his iconic brightly painted piano or running around the stage, he was a real front man and on several occasions left his fellow bandmates in the shadows. On reflection it seemed apt that on leaving the stadium our ears were left ringing with the sounds of "para, para, paradise". BECKY MURSELL
he Cockpit in Leeds boasts an air of intimacy and a dark and atmospheric underground vibe. The simplicity of the stage and its lack of ostentatious props allowed The Milk to shine and demonstrate their raw talent without having to hide behind an extravagant stage set. Lead Vocalist and guitarist Ricky Nunn kicked the gig off with an introduction to the band, followed by an epic performance of ‘Broke up the Family’, the pulsation of which seemed to run through the walls of the venue. Guitarists, Lee Gresley and Luke Ayling complemented the vocals with their insync tender production of a constant melody and bass, further heightened by Mitch Ayling’s construction of an impressive array of percussion. The band went on to perform some more recent favourites such as ‘Everyday is a Reminder’ and ‘Mr. Motivator’ to some of their bigger hits such as ‘All I Needed Was Danger’ and ‘B Roads’. ‘B Roads’ in particular saw the diverse audience go into some form of hypnotic trance, engaged in what appeared to be the most favoured song performance of the night. Despite the diversity of the audience which consisted of teenagers, intimate
heir comeback tour was set in motion with an intimate lastminute show at Warrington’s Parr Hall in May. Ian Brown and the boys got things underway in earnest on Saturday, delivering their unique brand of indie psychedelia to Barcelona’s Razzmatazz club. Judging by the audience demographic, there must have been quite a convoy of planes taxiing to the runway at Manchester Airport. It must have all been very bemusing for the locals, used as they are to leaving it rather later before heading out for their Saturday night fiesta, as the doors were thronged by short-haired fellow Brits entering at 8pm. The culture clash rather continued within the venue. Anticipation mounted as fans who had hoped twenty years for this moment and soon the predictable football chants began to rent the air. The Stone Roses walked out on stage to a wall of noise. As soon as the crowd heard the first riff of 'I Wanna Be Adored' issue from Mani’s bass amplifier, they went into a frenzy, many yelling the bass line at the top of their voices. Brown wielded a tambourine in each hand, shaking them venomously at the
audience whilst singing with characteristic swagger; Squire seemed happy for him to take the limelight, more intent on ensuring his guitar sounded as clean now as it did it 1989. Late in the gig, having brought out classics such as ‘Waterfall’, ‘Fool’s Gold’ and ‘She Bangs the Drums’, the guitar introduction of the classic 'Love Spreads' received the biggest cheer of the night and the crowd began to dance away without a care in the world. Fittingly for this comeback tour, the band chose to encore with the timeless 'I am the Resurrection'. Mani, John Squire and drummer Remy playing the entire five minute instrumental from the eponymous first album rounded off an absolutely fantastic evening. With the band leaving the stage after an emotional group hug, they bowed to their baying loyal fans, delighted to be back. WILL BARNES
couples and middle aged groups of men and women. There were copious amounts of humour incorporated into the music. At the beginning of ‘Picking up the Pieces’ everyone was made to ‘get low’, and made to stay on the ground until the beat picked up, which then saw the crowd leaping into the air almost incessantly for the remaining songs. The Milk ended their set with an encore of their cover of ‘Galvanize’ by The Chemical Brothers, leaving the audience simultaneously satisfied and reluctant to leave after a short, yet constant sixty minutes of extraordinary talent. HENNA ISHAQ
craig charles & young knives
the stone roses razzmatazz, barcelona
the cockpit, leeds
y01 insideout festival, york
nsideOut festival presented York with a diverse selection of bands and DJs against a family friendly backdrop of real ales and fairground rides. Although all of the acts were excellent, it was predictably the two headliners who had the biggest impact, with BBC 6 Music presenter Craig Charles dominating with his DJ set, while noughties indie trio Young Knives attracted a younger crowd with their energy and enthusiasm. The Young Knives played a selection of new and old, although the best crowd reaction always came from the songs released during the indie-rock heyday of last decade. ‘Weekends and Bleakdays’ proved to be immensely popular, a promising sign that good old-fashioned guitar rock still has a place in today’s dubstep-oriented musical landscape. As a long-time listener of his 6 Music funk and soul show, it was a pleasure to see Craig Charles bring every ounce of energy and joy his shows are known for to this small field in Askham Bryan. With a set heavily featuring remixes of funk and soul classics (find 'The Reflex' on SoundCloud for a taster), Craig teased the audience with his chopped and changed edits of the tracks we
know and love. When the chorus to ‘Play That Funky Music White Boy’ finally arrived after ten minutes of tantalising hints, the crowd of hipster parents, excitable children and drunk students hit the roof. His set was a panoramic view of all things funk and soul from the last forty years, with true classics and unknown gems cropping up throughout. InsideOut managed to provide entertainment for a large cross-section of York’s residents without compromising on quality or diversity, a feat made more impressive by the fact that this was its first year. It is easy to see InsideOut becoming an annual highlight of York’s ever-growing musical calendar. JACOB HARRISON
SEVEN Nights of Cheese York’s never been criticised for having too few cheesy pop venues, but here at Vision we wanted to make all your musical dreams come true. Is it possible to go a whole week without ever hearing music that doesn’t have an accompanying dance or wasn’t played at your primary school discos? In
York, the answer is no. So why not embrace your inner cheesy pop every night of the week?!
With a atmosphere akin to that of the recent ‘Live and Loud’ event, Goodfest is set to be an unmissable event this year on the 16/06/12. Benjamin Francis Leftwich is headlining, and countless other hot talents performing throughout the day. Free pizza, a BBQ, free candy floss, bubble tea and Krispy Kremes are but a few of the mouth watering food available. With a shisha den, bouncy obstacle course, ‘Goodricke’s Got Talent’ and performances from York Brass Band and fire jugglers, you won’t be left unsatisfied. The evening sees a silent disco being held alongside a bar in the nucleus; definitely not an event to be missed!
13/06/12 sees the arrival of the biggest event of the year in Halifax College: FAXIVAL! Faxival is packed full of entertainment from start to finish with live acts performing all day! Some notable acts include ‘Taming the Savage’ and ‘Taking Down Skye’, making another impressive line up in the summer colelge event. The event also boasts an array of huge inflatables such as a 45ft assault course, a surf simulator, a bungee run and sumo suits. In terms of the food and drink available you won’t go hungry, as Faxival will have hog roasts and an ice cream van to name but a few in addition to a cocktail bar. There will also be the unveiling of Halifax’s new mascot!
This year’s Big D event sees Derwent and Langwith colleges being transformed into the magical world of ‘NeverlanD’. The different areas in which the event will be held have been inspired by the world of Neverland: London, The Lost Boys' Hideout, Mermaid Lagoon, Hook's Pirate Ship, and the Indian Camp. With 1,800 students in attendance and three stages, BigD is set to be bigger than ever before, with long-awaited for performances from Roll Deep and Reverend and The Makers. With the aforementioned acts and theme, it is clear this event will be spectacular and not one to be missed. NeverlanD is on the 28/06/12.
Henna Ishaq takes a look at the variety of end of year celebrations offered by the colleges on campus this year, consisting of top quality entertainment, activities and food. These festivals are a great alternative from the usual trek into town for a night out!
Alcuin Summer Fete
The annual Alcuin Summer Fete is known as a family friendly day that is held in the Alcuin quads. Entertainment and activities on the 16/06/12 consist of an inflatable bouncy castle and sumo suits - after all, no big party is complete without them! The Summer Fete coincides with ‘Alcuin’s Got Talent’, so the fete won’t be short of entertainment! Activities will include a coconut shy, lucky dip, guess the sweets, and name the teddy. To add to the fete feel of the event, there will be performances throughout the day which will consist of a variety of local bands and DJs.
So Longwith Langwith
So Longwith Langwith celebrates the end of not only the academic year, but the end of Langwith’s time on the HesWest campus. After 47 years, Langwith are joining Goodricke on HesEast. 16/06/12 sees an epic celebration in Langwith college, consisting of cheap drinks, as well as top-notch food! Langwith will be providing outstanding entertainment including standup comedy, and the opportunity to partake in samba dancing! This epic celebration is set to be a reunion for Langwithians past and present to not only reminisce and rejoice, but to enjoy the end of an incredible fortyseven years on HesWest!
JAMES SUMMER FORMAL
Subsequent to the sensational Quad Dash last weekend, James College continue to make summer as exciting as possible. Their formal event on 24/06/12 will consist of a champagne reception, wine throughout the evening, canapé, nibbles and chocolate fountains, followed by an awards ceremony for outstanding James College students. The event sees over 350 attendees ranging from distinguished guests from the University and the Student’s Union to James’ sports teams and first-year students. James College are certainly ahead of the crowd when it comes to summer spectaculars!
Zena Jarjis looks at some of the more bizarre effects alcohol can have on our behaviour. Wich type of drunk are you?
The Phone Drunk
The Phone Drunk will spend most of the night on their phone and will do considerable damage whist TUI-ing (Texting Under the Influence), usually involving embarrassing texts to an ex. Phone Drunks are also responsible for all the badly spelt drunk statuses all over Facebook. If you see a Phone Drunk in action, do them a favour and take their phone from them.
The Sharking Drunk
Usually male and most commonly found in Willow, the Sharking Drunk will stop at nothing to pull. The Shark's desperation increases as the night goes on. He (or occasionally she) will begin the night by picking a single target and shamelessly flirting, but will be physically throwing him or herself at absolutely any potential conquests in the vicinity by the end of the night.
The Amnesiac Drunk
Everyone forgets the odd thing after a night out, but some people are guaranteed to forget every single detail of every single drunken night. The Amnesiac Drunk will wake up the next morning feeling ashamed but will have no idea why. If you are friends an Amnesiac Drunk, you will spend an entire morning watching them squirm whilst you give them a detailed account of the previous night.
The Emotional Drunk
Determined to make their problems everyone else's problem, this type of drunk will probably spend the night trying to have a deep meaningful conversation with anyone who will listen: taxi drivers, bouncers, strangers in the toilets - no one is safe. It is also likely that the Emotional Drunk will have a meltdown on a night out and will start weeping over their unresolved father issues.
FILM Vision charts the ups and downs of Simon Pegg's career so far...
H O T
Are they taking over the world (of cinema)?
Rory McGregor says
Shaun of the Dead (2004) An oxymoronic mesh of wit and scares, this horror-comedy remains one of the highlights of Pegg's career.
Hot Fuzz (2006) Pegg proves once again that he is the master of comedy in this entertaining homage to buddy cop action- thrillers
Run Fat Boy Run (2008) Despite a predictable formula, Pegg delivers an uplifting performance in this fast-paced comedy.
Catherine Gobert-Jones says
The quantity of superhero films being released around the summer period isn't a reflection of the Superhero genre, but rather a fault of the film industry itself. The summer is blockbuster season and thus the season where the most money is garnered by films, hence the presence of the big action flicks. However, it's not quite so simple, and superhero films are certainly not all released in one period. It is true that the market has been saturated with superhero films, but one only has to look at the ingenuity of release dates to see that the studios are trying desperately not to step on each others toes and make sure that consumers can see as many superhero films as they want. The biggest action superhero blockbuster this year, The Avengers, wasn't even released in the blockbuster season - it was released in April. This was certainly to monopolise on a superhero/action film absent area and cash in on the hype surrounding the film. Chronicle and Ghost-Rider: Spirit of Vengeance were released in February, but catered to two separate audiences so weren't really competing. It's true that this summer Spiderman and The Dark Knight Rises will maybe affect each other's sales, but any two ACTION films, not specifically super hero films would. This isn't a reflection of one genre, but of the industry as a whole. Releases tend to be centred around certain points - big action films crammed around the summer and the artistic dramas around the Oscars in an attempt to build momentum. That's not even mentioning the post-award season dry spell where studios dump all their worst films. So to end on a horrible cliche - don't hate the player (or superplayer) hate the game.
This blockbuster season there’s one thing everyone can agree on: the film industry’s gone superhero crazy. With the recent release of The Avengers, and the upcoming release of The Amazing Spider Man and The Dark Knight Rises, people everywhere are excited for what looks to be an unforgettable summer for film. And this trend of superhero blockbuster doesn’t look like it’s going to end for a while, with the announcement of a new Iron Man film and an Avengers sequel being released. However, by producing a large quantity of films of the same genre at the same time, I can’t help but think that the film industry has accidently created a type of internal competition that will be far more deconstructive to the popularity of superhero films than constructive. At a time where cinema prices are escalating, we no longer go to see every film on offer, and instead may choose between our favourite superhero films, thereby causing a split in the superhero genre’s clientele. Consequently, by saturating this genre, the film industry may cause people to come away from these films comparing them, rather than commenting on them. In my opinion, the flood of films in this genre may lead to a fall in the reception towards superhero films, as we begin to think of them as a normal occurrence. This could lead to fall in positive reception towards otherwise quality films, as we become bored of them, rather than taking them for what they’re meant to be: exciting, entertaining films, perfect for a summer blockbuster.
NEWS C O L D
Paul (2011) Described as "Lazy fun" by TIME magazine, this is a film that teeters on the edge of brilliance but is let down by a formulaic plot.
Voyage of the Dawn Treader (2010) Replacing Eddie Izzard as the beloved Reepicheep, Pegg was lacklustre with mouse-like charisma.
From Hollywood to Bollywood Nila Madhab Panda, who had his directorial debut with the award-winning I Am Kalam, has reportedly approached Richard Gere about his next film. Apparently the film will be about world food security issues and Panda said that he had approached Gere with the intention of having him as the film's narrator. Nothing has been set in stone and no contracts have been signed, but Panda told the Hindustan Times that he plans to make this bigger than any film he's ever made before. This is not the first time Gere has been linked to Bollywood - he was previously set to be in Leena Yadav's Teen Patti in 2010, but probably was glad not to as film critic Anupama Chopra called it a "train wreck of a movie."
What's next for Wes? After the critically acclaimed Moonrise Kingdom, director Wes Anderson has already begun spilling the beans on his next venture. Anderson claims that the script for his next production is already written with a 'non-showbiz' friend. The story concerns a 'crazy' main character who has his own personal mind-reader and a teenage assistant. However, Anderson claims he is yet to choose his leading actor, but it's likely it will be one of his recurring favourites.
Land of the free, home of the Brave Brave is set to put Scotland on the map for holidaying Americans. The film is expected to be the highest grossing film about Scotland ever made, and the mystical world created in the visuals will fill film-goers with an ethereal picture of the country. In an effort to take advantage of this, Scotland's tourism board is undertaking one of its largest ever marketing campaigns to piggyback on the film's likely success. Disney and Pixar seem to be openly inviting it too as Scottish First Minister Alex Salmond has apparently flown to Hollywood to attend the premiere.
A Fantastic Fear of Everything Simon Pegg's latest film, whilst often more confusing than amusing, is an entertaining romp through Hackney, writes Alysia Judge
idden in the tangled mass of the world wide web exists “The Phobia List”, an index so extensive it references fears from the loathing of bellybuttons (Omphalophobia) to an aversion of peanut butter sticking to the roof of your mouth (Arachibutyrophobia). “The Phobia List”, then, does exactly what it says on the tin. On the other hand, debutant Director Crispian Mills’ film A Fantastic Fear of Everything is misleading in its choice of title: its lead hero Jack (Simon Pegg) does not fear 'everything' in the dark, dingy corner of Hackney he inhabits. He fears launderettes. This is an unfortunate phobia for the ex-children’s author who, branching into the world of serial killer literature, is due to meet a Hollywood Producer but has no clean clothes for the encounter. After attempting to wash and dry his clothes in the gas oven (you can imagine how that turns out) he reluctantly ventures into the depths of his greatest fear, the local launderette. Here, Jack must face all the unimaginable horrors a pack of 'Bold 2 in 1' can muster. The problem with this film is not an awful lot else happens. You can forgive the first half hour spent following Jack around his squalid flat in his saggy underpants because Simon Pegg is just so brilliantly funny. Edvard Munch’s priceless artwork ‘The Scream’ needs Jack's terrified face superimposed over the shrieking figure's visage – Pegg packs more expression than an expressionist painting. His ability to arrange his face into a kaleidoscope of shock is second to none. But eventually the film must leave the claustrophobic confines of Jack’s lair to venture forth into Hackney, and it is here that the cracks begin to show. Suddenly, Mills (both writer and director of this dark
comedy) flails. The movie spirals into absurdity that, whilst entertaining, borders on silliness. The problem is, outside the controlled enclosure of his flat, there is simply too much to be afraid of. Yet Jack cannot possibly fear ‘everything’ because he quite happily walks down a dark alley, late at night... in Hackney. Ultimately, A Fantastic Fear Of Everything suffers from too vivid an imagination. Its surrealist comedy is one of its greatest strengths, but trips the pacing up as Jack's erratic wanderings don't just distract from but replace the storyline. In short, the film quite literally loses the plot. One of the highlights of the movie, however, is the beautiful animated section where Jack tells the story of one of his children’s fiction characters, Harold the Hedgehog. In detailed stop-motion, the scene plays out like an Oliver Postgate animated children’s programme, complete with a cheery soundtrack and rhyming dialogue (used to great effect when Harold snarls at another hedgehog, “Now look here my friend, I must be blunt, you’re pissing me off you prickly…. Idiot.”) The whole animation is a tribute to the surreal, an example of how this film plays with expectations and pushes the boundaries of comedy. A Fantastic Fear of Everything, whilst not fantastic, is a bold attempt at parodying the psycho-killer genre. With strong performances and moments of comedic genius, what it lacks in coherency it makes up for in laughs. Filmed from the point of view of a neurotic creative, of course the plot is bound to stutter in places alongside the quirks of his troubled mind. Still, if you can stand the lurches, this is a film worth watching and a worthy addition to the Simon Pegg cannon.
Casa De Mi Padre
Dir. Ben Drew
Dir. Matt Piedmont
ll Manors is Plan B aka. Ben Drew's first foray into directing. Portrayed in previews as a violent social commentary on London's youth culture, it lives up to its billing throughout. From an innocent child being shot by another in a gang revenge attack, to babies being left on trains and sold on for £8,000, Ill Manors certainly is not a film for the faint-hearted. Viewers will walk out of showings, as a couple behind me did, but for those who stay, a stunning and shocking directorial debut awaits. Six interweaving storylines may confuse viewers at first, but the eventual result is a satisfying and rich plot set on a backdrop of six new tracks from Plan B. Riz Ahmed, as Aaron presents the most complex character, is a wannabe hardman with a conscience in amongst the relentless, violent and unrepentant attitudes of others. Meanwhile, Lee Allen, in his first feature film appearance, puts in an accomplished performances as the drug dealer and gang-land overlord, Chris. Ill Manors isn't a cosy 121 minutes to share with your cinema date, nor is it something to watch with the more squeamish members of your family, but as a directorial debut with a micro-budget and several untested actors, this truly is a stunning feature. The message that resounds is the one that opens the film: "We are all products of our environment. Some environments are just harder to survive in." Oliver Todd
Dir: Crispian Mills, Chris Hopewell
asa De Mi Padre depicts the struggles of Armando Alvarez, (Will Ferrell), a Mexican cattle rancher, as he battles to save his father's ranch. The return of Armando's brother Raul, (Diego Luna), a sleek, successful international businessman with a new fiance, Sonia (Genesis Rodriguez), in tow appears to herald the end of the ranch's financial difficulties. However, after Raul's business dealings turn out to be on the wrong side of legality, the two brothers find themselves at loggerheads with Onza, Mexico's premier drug lord, (Gael Garcia Bernal).To add to this complication, their fraternal relationship becomes complicated by the fact Armando has fallen for Sonia. The success of this film is largely down to Ferrell's ability to portray a serious persona against a backdrop of amusing material. In addition, Piedmont's ridicule of low-budget Mexican cinema, with Alvaro and Sonia, in one scene, for example, are quite clearly riding on fake horses on wheels, provides further comedy. However, I feel he does this once too often and the additional fact that all the dialogue in the film is in Spanish may put some viewers off. It's hard to grasp the full impact of the witty one-liners when you're squinting at subtitles. Consequently, though amusing, this film falls just short of a five star rating. Will Barnes
Dir. Nicholas McCarthy
s horror films go, The Pact is not that scary. Ignoring a few sudden bangs, it fails to raise the pulse. Nonetheless, it does do a good job of avoiding the farcical haunted-house traps that these sort of films can fall into, and the mystery in the plot is tied up with a series of surprisingly satisfying twists. Following the death of her mother, Nicole (Agnes Brooker) returns to her childhood home to discover a series of creepy happenings. Subsequently, she then disappears during a Skype conversation with her young daughter. Nicole’s moody sister, Anna (Caity Lotz) arrives on the scene and tries to determine the cause that is terrorising her family. The Pact also makes interesting use of the internet. Skype, Wikipedia and smart phones are carefully weaved into the plot and Google Street View even becomes a channel to the ‘other side’. Yet the film’s excitement to parade these new and innovative techniques means that occasionally the internal logic falls to pieces. In reality, The Pact is a pleasantly warped murder mystery with a convenient supernatural element. To keep those that came for the screams happy, there is one gory scene, a sequence of (unnecessary) telekinesis, and a tense face-off finale. But these moments are anomalies. The plot moves on at steady pace, playing with your expectations, offering misdirection in a digital rethink of the oft-repeated scary house set-up, but will ultimately leave you somewhat underwhelmed.
Similar Spideys Times change but posters don't
Spiderman 2 (2004)
Amazing SpiderMan (2012)
N O I S I TELEV LGBTV
Vision's TV News The hottest TV gossip!
SIAN GARDINER looks at the lack of gay representation on modern television
Claire Hogarth & Sian Gardiner After airing five hours of Jubilee coverage, the BBC has been criticised for its broadcast of the Queen's big day, branded variously as "mind-numbingly tedious" by Stephen Fry and "celebrity-driven drivel" by MP Rob Wilson. The Queen however looked pleased, being seen to smile on various occasions. Following her break from Albert Square, a Kat fight looks like it could be brewing as Kat Moon returns to make sure Roxie doesn't get her claws into Alfie after her recent declaration of love. Who will win the fight for the Queen Vic landlord? Neither of these ladies seem the type to back down. Mel B of the Spice Girls is set to take a place on The X-Factor judging panel when they come to Manchester for this year's auditions. Hailing from the North herself, Mel has commented that she's sure there will be "lots of talent in the north of England", and, fresh from her stint on The X-Factor Australia, she is determined to find a winner. Looks like the "No carbs before marbs" mantra has paid off as TOWIE's Italian Stallion Mario has reportedly proposed to on/off girlfriend Lucy on a recent trip to Marbella. TOWIE bosses were apparently keen to keep the proposal under wraps to boost ratings, but holiday goers spotted the loved up couple before the ring was whisked away.
In 1987, Eastenders became the first ever UK soap to screen a gay kiss a fairly inconspicuous peck on the forehead - but its pre-watershed, prime-time slot ensured maximum controversy. Viewers branded the scene "filth" and cruelly dubbed the show "Eastbenders", with questions even raised in parliament over the portrayal of a homosexual relationship on a popular family show. Clearly, in the time that has elapsed since the late 80s, television has progressed leaps and bounds in its representation of gay characters, in line with changing attitudes. In recent years, the BBC has commissioned research into its portrayal of gay, lesbian and bisexual people - a move many see as far overdue. Usually referred to as the comforting ‘Beeb’ or as the even cutesier ‘Aunty’, the BBC came under fire from queer human rights group Outrage! in the 1990s after Radio 1 was allowed to play music advocating the murder of gay people, prompting them to rename the British institution the ‘British Bigotry Corporation’. Yet in spite of the subsequent demand for wider and more appropriate gay representation, homosexuality is still vastly underrepresented on TV, and when there are references, more often than not these come in the form of jokes playing on stereotypes of effeminate gay men. American TV bosses seem to have recognised the need for gay characters on the small screen, seeing their numbers soaring in recent years. One of the first American sitcoms to normalise the appearance of gay characters was Will and Grace, which first aired in 1998. The portrayal of Will’s straight-laced lawyer character alongside the more flamboyant Jack ensured the likeability factor, as well as the ability to identify with the cast- no matter if the viewer was gay or straight. There is evidence to suggest that these types of programmes aren’t simply entertaining us, but also changing
attitudes towards homosexuality. Even Mitt Romney, the Republican Presidential candidate, is said to be a fan of Modern Family, currently one of the most popular shows on American TV and one which features a gay couple with adopted children. More and more gay couples are appearing on our screens, often proving popular with audiences rather than attracting complaints. Long running medical drama Grey’s Anatomy features a married lesbian couple, and recently won a GLAAD (Gay and Lesbian Alliance Against Defamation) prize for helping to raise LGBT awareness, whilst Glee has been applauded for tackling many issues affecting teenagers today. Television has certainly proved itself to be a powerful tool in terms of changing attitudes towards homosexuality. With gay couples featured on TV, those who experience little exposure to homosexuality are able to recognise from the comfort of their own armchairs that being gay is not such an alien concept, and may find gay characters relatable in spite of their sexuality. One of the most important tasks is broadening the mindset of those who assign gay people to a certain category. Characters in recent years seen to have helped bust stereotypes include Kevin of Brothers and Sisters, and Ted of Queer as Folk - helping the public see that a gay man is not necessarily an overtly feminine man eater. American network Showtime has been particularly progressive in this regard, producing the first show in television history to chart the lives of a
lesbian community. Before The L Word, lesbian characters barely existed on television. Viewers don't have to do any second guessing over sexuality, since The L Word features the complex and exciting lives of a tight knit group of lesbians, making their lives seem wholly relatable and not sweeping the idea of sex under the carpet. The show paved the way for Britain’s answer to the popular series: the BBC’s Lip Service, which, though praised for its normalisation of gay and bisexual women, was still deemed too risqué for the mainstream, and relegated to the ‘edgier’ BBC3. Even today, these are two of the only shows to present the gay community, and lesbian characters still remain few and far between on our screens, even in comparison to the number of gay men. While Ellen Degeneres is undoubtedly one of America’s most beloved chat show hosts, she is also the most famous lesbian to grace our screens, since there are very few who make it to the mainstream. While viewers embrace the flamboyant personalities of the likes of TV presenters Alan Carr and Graham Norton, there are still many who would prefer not to see past this camp persona and keep it ‘behind closed doors’. Despite the progress made in recent years, television producers are still hesitant in their portrayal of gay characters, and fearful of being too up front about homosexuality; while Modern Family may well be a popular show, the main gay couple are rarely seen to demonstrate any physical affection. Gay characters are still vastly in the minority, and a tendency towards the 'token gay' approach remains, as well as the virtual nonexistence of gay characters of ethnic minorities, or the concept of bisexuality. TV bosses owe it not only to the gay community, but the viewing public in general, to make sure that gay characters feature prominently, and are afforded the same drama and happiness as their heterosexual counterparts.
TV Guilty Pleasures: What Vision Can't Stop Watching Name: Judith Marzo Deputy TV Editor Guilty Pleasure: Chockywockydoodah
"This show is a chocoholic's dream, watching it whilst eating some chocolate is the ultimate treat."
Name: Alex Finnis Deputy Editor Guilty Pleasure: Made in Chelsea
"If I could ride across the desert on a camel with Francis then my life would be complete!"
Name: Alysia Judge Film Editor Guilty Pleasure: Snog Marry Avoid
"I just love hearing POD's dulcet tones chirp 'Run phase 1: The make under!'"
Name: Jordan Lloyd Scene Editor Guilty Pleasure: Nigella Bites
"The highlight is when she gobbles up the food at the end!"
GAME OF THRONES Monday 9PM - Sky Atlantic
s it draws towards the end of its second series, Game of Thrones can boast a legion of fans. The HBO fantasy series opened in 2011, and is based on the novels by George R. R. Martin which are collectively known as A Song of Ice and Fire. The commissioning of a third series and the success of the first, which won a variety of awards, suggest that this is a series worth watching. The storyline follows several different plotlines as the struggle for control of the Iron Throne of the imaginary land of Westeros takes place across seven kingdoms, and Westeros is threatened by external forces. The multiple storylines are engaging, and frequent reminders of identities and familial connections ensure that confusion is largely avoided. The characters are well developed and varied, which provides ample opportunity for viewers to find a favourite. Tyrion Lannister is an example of the complex characterisation that makes Game of Thrones so compelling. Whilst he is part of the cruel Lannister family, who are involved in murder and incest, and is frequently engaged in scheming and manipulation, his friendship with Bronn and his mistress Shae shows a more likeable side, as does his assistance to the prisoner Sansa Stark. Peter Dinklage was awarded an Emmy for his portrayal of Tyrion, and his fellow cast members are similarly deserving of praise. Although the instant melting of gold over a small fire in an early episode may be factually dubious, this is nitpicking considering just how good this series is overall. Game of Thrones is not just for medievalists and Lord of the Rings fans, and anyone who likes a good drama, or even a good fight scene, should give it a chance.
Monday 9PM - E4
evenge is sweet." Glamorous and dark. The scene opens with the harsh sound of a gunshot; a body drops to the beach floor, setting the tempo for this fast paced drama. This action packed premiere promises everything you'd expect from a drama: deceit, greed, money, good looks, murder and revenge. You’ve got your blonde badass beauty, the evil ‘queen', the hunky prince charming, the comical best friend, the spoilt princess, the cheating husband and the millionaire electronic genius. Set in high society Hamptons, episode one sees a gorgeous Emily Foster move in to the beach house next to Victoria Grayson, the reigning Queen bee of the Hamptons. We later find out that Victoria is one of the many Hampton residents who were involved in the heist to frame Emily’s father, staging his arrest on the grounds of fraud. It is Emily’s intent to seek revenge from every resident that played a part in her father’s arrest. This first episode shows potential to develop into a captivating series. It has a void that could fill the void left by Desperate Housewives follwing its finale. Character to love - Mr. Daniel Grayson. I’m talking mouth-watering deliciousness. Character to look for - Emily Foster. Although we sympathise with her father’s loss, her vengeful and unpredictable character is somewhat off-putting for the viewer. Whilst your other shows are on hiatus or have stopped for the summer, Revenge offers a potential substitute to help pass the long summer days, whether the weather holds up during the break or not.
Rhian McLaughlin Judith Marzo & Lucia Linares
Reality Vs Reality Your Summer TV... Reality is king in the world of TV. With shows like Made in Chelsea and The Only Way Is Essex bringing a combined total of over one and half million viewers each episode, this is the time for scripted reality. The cultural impact these shows are having is phenomenal. Young teenage girls all over the country are said to have picked up the slogans “Shut arrrp” and “bye, babes”. These 'stars' are everywhere promoting their brand with products like vajazzle kits and tanning lotion. The TOWIE look is all the rage, and maybe the cast of Made in Chelsea can give them a run for their money with the ‘posh’ look. This doesn’t mean to say that other forms of reality like talent shows are fading from the limelight, in fact The Voice UK blows both of these shows out of the water with a staggering average of 7 million viewers each episode. Not to mention the huge ratings (and dosh) shows like Britain’s Got Talent and The X-Factor bring in every year, as well as the superstars they have created. In the face of all these shows, we have to ask, which ‘reality ‘ is the best? The bordering on fake reality show or the melodramatic talent show? With the creation of The Hills, it seems like lately we’ve been bombarded with shows based on the real lives of real people (with help of a few scripted moments here and there) all over the UK and the world. Constructed reality allows us to peoplewatch from the comfort of our own homes, without being deemed ‘stalkers'. In most of these shows (think Keeping Up With The Kardashians and Jersey Shore) we get an insight into a lifestyle that for most of us is far-reaching or obscure. If the Kardashians weren’t already wealthy and in the public sphere, they would never have made it to our screens, and would probably have been living in obscurity somewhere in the US. As interesting as these types of shows are, however, they do have a limited shelflife and popularity soon starts to decline once they’ve been splashed all over the tab-
loids. It happened to The Hills and Laguna Beach, and according to some reports, it’s now happening to TOWIE. The producers keep choosing ever more outlandish storylines and rivalries until eventually these shows become more fake than real. Audiences aren’t stupid, they can sense when they’re being lied to, so they slowly lose interest and ultimately just stop watching. The better type of reality shows are the ones based on talent. Shows like The X-Factor and Britain’s Got Talent let us choose for ourselves who we like and want to see for years to come. It has already proven to be a successful method as many ‘superstars’ have been made from these processes. One Direction and JLS have become famous worldwide, proving that an audience do know better than some random producer about what will be successful on an international scale. Talent shows have a longevity that other forms of reality clearly don’t. American Idol is now on its twelfth season, with ratings remaining as high as ever. The expansion of talent shows into areas other than singing, (think Next Top Model and So You Think You Can Dance) shows that talent shows have a recipe for success and many continue to follow and support the 'stars' after the show is over. Let's face it, it’s always better to support someone for having an actual talent than someone who is famous just for being famous.
With three long months to kill, these are our top TV picks to keep you entertained over the Summer holiday...
The big event will finally be upon us, and if you missed out on tickets for the 2012 London Olympics fear not because the BBC will be airing all 5000 hours of competition from various channels, starting with the opening ceremony on July 27.
Charlie Sheen just keeps on 'winning'-he's back after his infamous departure from Two and a Half Men with new comedy Anger Management, which first airs in late June. Loosely based on the Jack Nicholson film of the same name, it will be interesting to see whether or not 'the crazy is gone', as Sheen has claimed.
Luckily for football fans, Euro 2012 will be shown on both the BBC and ITV. Both broadcasters will share live coverage during the group stages, Quarter Finals and the Final itself, while the BBC will show both Euro 2012 Semi-Finals exclusively live.
The hotly anticipated new comedy Girls from HBO, the network that brought us Sex and the City, airs this summer, bringing us what is reportedly 'a window into a generation.' Written by young talent Lena Dunham, who stars in the show and created it with the help of Judd Apatow, tune in to see if this controversial comedy is to your taste.
Richard finds himself drawn towards a group of hedonistic classics students in this popular campus novel. However, a horrifying mistake causes blackmail and violence to tear them apart, and nothing will ever be the same again.
Author Flannery returns from New York to attend the wedding of famed Southern beauty Cookie Himmell in an idyllic portrayal of existence in Southern America .
The Great Gatsby:
The Party is Over
The trailer for Baz Luhrmann's new adaptation of The Great Gatsby has been released and I must admit, I am very excited to see this film. But it is not just the promise of exuberantly wild party scenes and gorgeous 1920s costumes I am looking forward to, but the repackaging of the source material for a post-credit crunch audience. The novel is set in the summer of 1922. It is the 'roaring twenties', the optimistic period following WWI; young American men, aware of the short length that life can be, returned from duty with money burning in their pockets. It is the age of prohibition, of shady gangsters and corrupt cops; of decadence beyond means. With the power of hindsight, we also know the hedonistic lifestyle couldn't last. Carelessness and greed meant that on a certain Black Tuesday in 1929, the global markets collapsed and the party ended. History repeats itself. As we all know, there was another recent Global Financial Crisis. The good times of the 'noughties', were brought to a sudden halt in September 2008, when stock markets plummeted worldwide. We are constantly reminded of our times of austerity, the age of the credit-crunch. Therefore, to read The Great Gatsby in 2012 is to read through the lens of recession.
A masterpiece of magical realism. Garcia Marquez explores the loves, lives and loneliness of the Buendia family over 100 years.
F. Scott Fitzgerald creates a world of vivid characters. Our narrator Nick Carraway works in the bond market. He introduces us to the fictional New York district of West Egg, home to the newly made millionaires, one of whom is the eponymous Jay Gatsby. A man with a murky history, it is Gatsby's " g l e a m - ing, dazzling parties" that make him famous. And there is Daisy, Nick's wealthy second cousin who, despite being a married woman, is the object of Gatsby's admirations. T h o u g h she yields to Gatsby's ostenta-
tious shows of affection, she fails to face her responsibilities. We also meet Daisy's friend, Jordan, who is a sportswoman supporting dubious moral values. And finally, Daisy's husband, Tom, the arrogant bully with the assurances of wealth and family money. These characters appeal to modern readers so much because it is easy to see in them the 'us' of five years ago. The narrative of our recession has taught us to not trust the man in the bond market who deals in abstract money. We know the stories of bankers who are arrogant bullies with dubious morals and who fail to face up to their responsibilities. Still smarting from the crash, we sense with a special understanding, the storm which Gatsby's world is about to face. The Great Gatsby may be an amazing love story and it may contain the most excitingly written party descriptions in the history of literature, but the reason we keep on going back to it is the money. It is enormous wealth that gives the characters the ammunition to selfdestruct. Fitzgerald shows us what too much money does to a person. He shows us how stupid we were, and how stupid we will doubtlessly be again.
D I C TAT O R L I T E R AT U R E
Cloud Atlas presents five stories written in the style of an unfolding Russian doll. Each tale has its own distinctive voice, and yet somehow blends to make a dazzling panoramic whole.
As readers we may be familiar with increasingly popular genres such as chicklit or misery-lit. But how about dictatorlit? When asked what springs to mind when describing a dictator, the word torturer may be more apt than tortured artist.
In this classic backpacking tale, Richard, tired of the homogenised travelling experience, stumbles upon a map to the legendary beach. However, things turn out to be not quite as idyllic as they seem... Philip Watson & Joanna Barrow
Out of the recent rise in public interest surrounding events unfolding during the Arab Spring and the steady succession of toppled dictators, the genre known as dictator-lit has emerged. Despots such as Muamar Gadaffi, Saddam Hussein and Kim Jong-Il are just a few of a number of creatively minded dictators who have penned, or at least claim to have authored, not just memoirs but fiction. Take for instance Saddam Hussein's bestselling novel Zabiba and the King. Whilst the fact that this book was a best-seller and later adapted into a musical suggests a successful and recommendable read, it has been largely slated by western critics keen to explore the genre. In his review
of the novel, the author and critic Daniel Kalder claims that the book is simply a "torturously extended metaphor for the relationship between the people and the ruler". The book wasn't even a best-seller in its own right, but instead thanks to the authoritarian power of its author, allowing it to be placed on the Iraqi school syllabus. If this "allegorical love story" is not being read for its inspiring romance or impressive prose, then why should we be interested in exploring the creative outpourings of dictators at all?
appealed to or been marketed at history students or amateur criminal psychologists are making their way into the mainstream, as seen in the popular rise of sexual abuse case studies in miserylit. Is any work of literature by a dictator, from Hitler's aggressive Mein Kampf to Gadaffi's laughably over-stated short stories, to remain a controversial literary taboo?
The recent surge in popularity for unsavoury genres, such as misery-lit, suggests that as readers we are becoming ever more intrigued by real world horrors. Just as misery-lit or horror stories could construct for the reader the image of the monster, within dictator-lit lies the possibility of an insight into the psyche of a real life tyrant.
As interest in dictator-lit rises, it's worth wondering whether and why the works of such infamous men capture our interest and if it is morally right to publish their literature. Could Gurbanguli Bedrymukhamedov's Book of the Soul be the next big summer read? Or could Kim Jong-Il's writing find a new level of appreciation amongst literature buffs? Although this may seem about as likely as their authors posthumously receiving the Nobel Peace Prize, popular genres have surprised us before and could very easily do so again.
Books which may have previously only
Poetry Parnassus This summer, 204 poets from around the world will take part in a one-off festival of poetry readings, performance and debate. 'Poetry Parnassus' is the brainchild of Simon Armitage, which grew from modest beginnings as "an idea on the back of an envelope" to possibly "the biggest gathering of poets in history" (The Guardian). Poets from each of the competing Olympic nations will travel to London to revive a forgotten Greek tradition, where a certain breed of writers known as epinikia would recite specially commissioned poetry to honour the victors of the ancient Hellenic Games. Yet this international event will have a distinctly British character. Armitage, who is the artist in residence at the Southbank Centre, aptly described the event as "a big sort of fair, where people are bringing their wares and putting them on display". Instead of a hotdog stand, you’ll find a ‘Poetry Takeaway’, where poems are made to order. If you’re looking to win some prizes, go no further than ‘You Punch
Are Women's Only Shortlists good for literature?
Firstly let me iterate that I am an ardent feminist. However, I am also realist, and the reality of the situation is that the publishing industry is still a gender biased one. After all, when Marian Evans began publishing her work in 1800’s, it had to be under the pseudonym ‘George Eliot’. While we’d all like to believe we live in a more enlightened society, over one hundred years after Eliot’s death, Joanne Rowling had to go to print as ‘J K’, ostensibly in order not to alienate half of her young audience. If such brilliant female authors are still labouring under gender prejudice, it serves to reason that gender segregated shortlists should be considered as a step towards an egalitarian world. Feminism is about gender equality rather than a female supremacy. Separating the shortlists would serve to protect both male and female entrants and judges from unhelpful accusations of discrimination, or of the inclusion of ‘token’ male of female entrants. As there is no feasible way to ensure identity/gender anonymity for the entrants, separating the shortlists is the only way to eliminate unhelpful and petty debate about measuring the value of men and women’s work against each other. It should not be considered a final solution, or an act of sweeping the issue under the rug. Instead, by removing negative contention it would serve as a stepping-stone towards a gender neutral judging system. India Block
Like Keats’, the literary e q u i v a lent of ‘Test Your Strength’ at the launch event ‘Rain o f P o e m s ’ , which is only the 6th of its kind, in which 100,000 poems will fall from a helicopter onto the Jubilee Garden. It is an event which has the potential to re-establish an ancient connection between poetry and performance, ceremony and celebration. The poets have all been nominated by the public of their home countries, so are well-placed to express the voice of their respective nations. While the best sportsmen in the world battle it out in the stadium, the best writers in the world will demonstrate the continuing relevance of the spoken word. Poetry Parnassus will run from 26 June to 1 July. Each poet will contribute to an anthology called ‘The World Record’, which comes out on 26 June. Tickets are free, so if you happen to be in London, it should be well worth a visit. Elizabeth Bingham
Lest We Forget Alice Oswald’s new epic poem Memorial is less a reworking of Homer’s Iliad than an “excavation” of it. Rather than focus on the story everyone knows, Oswald recovers the hidden narratives of the Trojan War and captures the stories behind the names of those who fought and were killed – working back over the fleeting details of their lives from the single moment of their deaths. In weaving these stories together, Oswald has managed to create a poem that is simple and primitive in its sorrow, a lament which captures the rawness of grief without idealising the glory of death in war. Oswald claims that her fascination with Homer extends back to having first read the Iliad at sixteen and has continued to return to Homer again and again, enthralled by the enargeia or “bright, unbearable reality” of his poetry. It is this enargeia that Oswald describes herself as trying to retrieve in writing Memorial. Having stripped away the plot of the Iliad, Memorial draws to mind a list of the war dead on a cenotaph. And yet to describe it as merely a list does not give full credit to the power and poignancy of the poem. The poem is beautiful yet elegiac in its recovery of the honour of the death of each individual. The soldiers seem to step forward briefly into view, before disappearing again into oblivion, so that the poem accumulates, rather than progresses.
By restoring the lives of the soldiers, Oswald brings to life the men behind the names – there is the farm boy, away from home for the first time; the brave hunter who is killed by a single spear; a pair of brothers who fall together on the battlefield. Everyone is someone’s father or son. Oswald gives flesh to the names and gathers them in a scattered mass of humanity The beauty of Memorial lies in its orality as much as its language. I would recommend listening to the audio recording in addition to reading the poem if you can, in order to appreciate the full impact of its repetitions and images. Even better if you can go to see Oswald recite it in person – delivering the whole poem completely from memory, Oswald does not so much read Memorial as give a harrowing and memorising performance of it, so that the images stay with you long after she has finished speaking. Ellie Swire
Esteemed authors Toby Litt and Ali Smith identified some of the writing entered into the Orange Prize for Fiction as "disappointingly domestic, the opposite of risk-taking." Whilst the prize recognizes many talented female authors, it may unfairly provide a gateway for some substandard literature. Literature must be considered regardless of gender in order to heighten competition. Roland Barthes, a famous literary theorist, argues "the birth of the reader must be at the cost of the death of the Author." In other words, literature should be judged on individual merit, its importance is to be sourced within the effects it has on the reader. The problem with the Orange Prize is its enforcing of gender identification; it directs the reader to consider literature in the light of who it is written by. If a work is good enough it will stand up for itself, demonstrated by the success of female writers in other competitions- in 2009 Hilary Mantel won the booker prize for fiction with ‘Wolf Hall’. A gender-specific prize implies that female authors will not address the same issues as male authors, and the subject of the fiction will be feminine based. This is detrimental; a female author can experience writing fiction just as a male author can. Therefore literature prizes should simply be about great writing.
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(the basics) By Dan Cornwell
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Don’t get me wrong; quantum computing is a long way off. When it does come though, it will change the face of computers as we know them. Here’s what you need to know: What are quantum computers?
What are the implications?
How far off are we?
What is recognised as the first computer, the Turing Machine built in the 1930s by Alan Turing, who was an English mathematician and computer scientist. He created the basic format that we still rely on today. This is a system which reads an input, its ‘bits’ as being either off (0) or on (1). The wonderful thing about quantum computers though, is that instead of having bits as either 0 or 1, the particles inside a quantum computer, known as ‘qubits’ can be both 0 and 1 at the same time. The magic happens when you have several qubits at the same time. Consider this: a classical computer with two bits can, at any one time, have any of these combinations: 00, 01, 10, 11. A qubit can store all four of these possibilities at the same time. Physicist David Deutsch calls this their ‘parallelism’. In this way, quantum computers could be exponentially more powerful than classical computers if using the same number of bits or qubits –in a three bit computer, the quantum alternative would have eight possible states, in a four-bit there’s sixteen and so on. The fundamental principle is this that your computer at the moment can only do one calculation at a time, even though it can do this very fast. The phenominal thing about Quantum computers however, is that they could do millions at once.
The idea of having a new wave of computers that so outpace the old ones is both exciting and terrifying; though it would be fun to have civilian computers that are, from our point of view, almost infinitely power-
Quantum computers are still very much in the experimental, if not theoretical stage. However, there have been several developments in the field that show that we may be heading in the right direction. Over a decade ago, in 2001, IBM developed a very basic quantum device which was able to find the prime factors of numbers; a process which plays a key role in cryptography. The method they used, ‘Shor’s Algorithm’, named after the mathematician Peter Shor, was put into use on a silicon chip by the University of Bristol in 2009. In February this year, IBM released an enigmatic statement in which they said they were ‘on the cusp of building systems that will take computing to a whole new level.’ The ways of constructing quantum computers have been wildly diverse: diamonds, drops of liquid and molecular magnetics have all been used as platforms on which to build, and while this wide range of possibilities may make the idea seem imminently within our reach, the reality is that they go to show that quantum computing is still very much in its infancy.
ful, the fact is that many of our societies’ most important institutions are based on complex computer codes (algorithms) that could be broken in seconds by a quantum computer. Banking and defence for example rely on their algorithms being especially difficult to crack.
MAX PAYNE 3 - The Review Rockstar's Max Payne 3 had the difficult task of being compared to its predecessors. Part 2 in particular had a great story behind it, told through its unique comicbook format. The games also had a trick to be copied ad nauseam slow motion, or
'bullet-time'. So has this most recent instalment lived up to hopes and expectations? Sort of. Though it has developed its story-telling style, with cutscenes being done well with the help of moving panels with occasional speech bubbles, the story just isn't as good - the most interesting character in the game is Max, and he is almost passive throughout the first few chapters, making it difficult to really invest in him. The gameplay is also not as revo-
lutionary as it was: aside from its dodge and slow-motion dimension, it is a little generic, and the way you play it doesn't particularly change through the game. It's all saved though by being beautiful to look at. Though graphically not that complex (and reasonably welloptimised for you PC gamers), the camera following your final bullet in a gunfight and the death animations as well as all round impressive style, despite everything else, make it a joy to play the game. A worthwhile purchase despite the limited changes to the franchise.
Create your own PC for under £300! THIS WEEK: THE MOTHERBOARD AND THE GPU
The Motherboard The motherboard is effectively the heart of any system and it is crucial that you get this right. Everything you see from the HDMI or USB ports on the back of your PC to the hard drive and processor rely on a compatible motherboard. Having stayed awake throughout the night to find you the best, we recommend the Asus P8Z68-V LX. It is a bargain at £75, packing heavyweight features with the most up-to-date Intel CPU support, up to 32GB of DDR3 ram, HDMI support and 6 USB slots (two of which are USB 3.0). This motherboard really is a steal for the price and rivals motherboards well into three or four times its value.
The GPU The GPU affects anything that relates to visual elements on your system. Whether its getting a nice high definition resolution when playing a movie or sharp graphics when playing a game, you'll need a powerful GPU regardless. In tech terms, bottlenecking is when one aspect of a PC that severely hinders its performance on the whole, and the GPU is commonly a bottleneck (in fact , it is currently bottlenecking the laptop this is being written on). We suggest the Radeon HD 7750. A great internal graphics card that fits nicely into one of the many PCI express slots on the Asus motherboard. At £75, it looks pricey, but it will be able to provide that much needed processing when utilizing graphics.
By Vish Nithi
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The View chat to Ben McGladdery F ew bands these days embody both folksy sing-along tracks with classic rock and roll attitudes. The View manage to pull this off with charm and ease, balancing their party lifestyle with a certain, ‘come on down, join in’ accessibility in both their music and their personalities. I had the pleasure of chatting with Kieran, the band's bassist, about their upcoming tour, their humble beginnings and thoughts on music piracy. Hailing from Dundee in Scotland, the band certainly shot up from their inauspicious beginnings to achieve great heights in the music industry. A sense of their working class grit and hard graft is prominent throughout each album, from the early tunes up to today’s more confident and immodest offerings, suggesting that they have discovered what works and are sticking to it successfully. Their catchy, upbeat sound stems from a range of different musical directions, which Kieran muses on, saying, “We like all sorts. Oasis, Beatles, Stone Roses, Sex Pistols – shit like that”. Perhaps this is to be expected from a indie band like these boys, but spread around the band each have their own individual tastes, from folk exponents Fleetwood Mac to rapmetal heroes Rage Against The Machine! Most will no doubt recall The View from their blistering debut back in 2007, with their debut album Hats off to the Buskers shooting to number 1 spot in it's first week. Their debut single 'Same Jeans' reached the UK top 20: “I’ve had the same jeans on for four days now” remembered fondly as a hallmark of every dance at school discos back in the day, not to mention the fact that they sung about a topic close the heart of many students (Is it just me, or is 4 days perfectly acceptable?). Kieran quips “It was just the way we were living at the time, just hanging about, you know? It was a long time ago mind!” But unfortunately, for whatever reason that was the bands high point, leaving them struggling to match their previous success since that time. With critics slating both their second and third album, Which Bitch and Bread and Circuses, everyone hopes that their fourth offering Cheeky for a Reason delivers the as much success as their debut. “It's a little bit more rootsy, but it’s still pretty energetic. People have been saying it’s a little more grown up”. Quite fair! A quick YouTube of “the view cheeky for a reason” provides you with three live performances; ‘Hold on Now’, ‘Bunker’ and ‘How Long’. 'How Long' kicks off with the catchy chorus line – “How long has it been since you fell in love with a boy like me?” With lines such as these the track screams instant anthem, strongly suggested by the fact I was already singing along six seconds in! Peter Reilly suffuses the track with his Fleetwood-esque licks on lead guitar, propelling it to an undoubt-
edly legendary status. Perhaps this single, released at the same time as the album, really does put the cheeky in ‘Cheeky for a reason’. C o n t r a s t i n g l y, ‘Bunker’ showcases a much more mature element from the Dundee band. Throughout a mellowed sing-along sense is combined with a rhythmic chorus that keeps you singing along, and entertained. When considering their latest music video, for single ‘How Long’, the track has amassed considerable scrutiny for its depiction of serious matters such as rape and domestic abuse. In an interview with a Scottish paper, front man Kyle compared it to The Prodigy's highly controversial video 'Smack my Bitch up'. Such a
"We're kinda lucky in a way; we always seem to be playing."
video is bound to attract a lot of attention, whether this is smart move for the band or a dangerous mistake that may alienate some fans remains to be seen. Yet I still yearn for the formerly floppy-haired Scots jumping around the stage in a youthful, euphoric stupor once again. From there we arrive at what can arguably be considered The View’s trump card: their live shows. The energy they put into them legendary amongst their fans. Since headlining large festivals like T in the Park back in 2007, they have entertained a varied mix of huge crowds and more intimate venues. “We’re kinda lucky in a way; we always seem to be playing. Sometimes small venues, sometimes big venues, we’re quite easy going that way and I kinda like that because they’ve both got their charms, the smaller gigs are great because they’re more intimate and you can really see everyone having a good time.” That sums the band up in my eyes; they really are there for the fans. They get
their buzz from performing their music and giving the audience a show, bouncing around the stage screaming til their throats give out and producing a spectacle to remember regardless of the size of the audience or venue. Popular shows are on the horizon this summer, including festivals like Rockness, where the Scots will be playing the Clash arena on the Saturday date. Known as regulars on the festival scene, The View will be looking forward to kicking off their tour at this huge venue. However they have definitely taken time to remind us that they haven’t forgotten their loyal student fans! Kieran explained: “Nah, I like student gigs man! They’re well good! Always look forward to York!” Come the 14th, Kieran, Kyle, Peter and Steve will be commandeering the dark depths of The Duchess' dungeon stage. As any regular (or anyone who’s visited The Duchess before for that matter) will know, that bodes for a lively evening to say the least! Expect friendly mosh pits, crazy dancing and copious amount of long hair being whipped back and forth, to coin a phrase. Finally, when questioned about musical piracy, Kieran seemed not too fussed about the whole matter. Asked whether they’ve found it difficult he tells me “You can barely notice the difference really, but
it’s a double edged sword, you've got poor people who don’t have any money but still wanna buy music. If people can get it for free they’re gonna take it, it’s like a drug ain’t it, people start off, then they stick with it.” Not quite a call to go out and pirate their music, but an interesting take from someone deeply entrenched in the industry. It certainly seems they don’t receive much from Spotify or similar sites, as upon enquiry Kieran had no idea what income they received from these companies, nor did he seem to care! By going to see them live on June 14th, your money will be much better spent, and you will have a better time than surfing Spotify to listen to their music! With support from the Manchester 6-piece Folks and tickets costing just £14, I will definitely be putting in an appearance and suggest you grab your ticket too. Regardless of whether this album turns out to be the bands saving grace or their swan song, what is consistently apparent with The View is their commitment to the quality of their live performance and their willingness to work hard and embrace all the experiences that comes with working in the music industry. With the promise indicated by their past success, the anticipation of their new album and the excitement of their York show, I hope they can live up to their true potential and we can see the best of these hardworking, fan-devoted individuals, such a group deserve every bit of success they get.
S N IO 20 QUEWITST H:
FISH ON PERCUSSION
1. Welcome to York! So you’re playing Salvation later tonight – how many times have you played York now? I’ve played Salvation about a dozen times before, doing UV nights every month or so. Others as well – Gallery, Revolution... I’ve got around! 2. So would you ever consider playing the legendary Willow? I’ve heard of that place! I’ve heard it’s somewhere you end up at the end of the night. Sure, why not?!
4. How did you get into club percussion? It’s quite unusual... Obviously I started off just playing drums, but then started working doing promo work and helping at club nights. Then I started to think about integrating my own musical interests, and started playing free gigs and having chance meetings with people in the club and dance industry. 5. How important are the visuals in your shows? They make a big part of the experience and we’re always looking to make bigger and more exciting shows.
3. How long have you been playing drums for? Since I was about 6. I’ve had about 19 years training.
Maddy Pelling and Louisa Hann talk to Britain's Got Talent Semi-Finalist and York nightlife regular 'Fish on Percussion' about clubbing in our humble city, Rocket Toms and snogging David Walliams...
6. So you’ve managed to rack up 3000 likes on Facebook, and you appeared in Britain’s Got Talent – have you ever been recognised in public? Well there was this one time in H&M... but not really. I only really get recognised in clubs. People see me with the bongos and they know it’s me. 7. Which cities do find have the best club scene? York of course! Seriously.... London is a whole new world, while with York you get to know people and recognise faces. You know these people are having a good time. 8. Were you the first person to think of LED bongos? Yes... but people have copied them since! 9. Britain’s Got Talent judge, David Walliams, said he loved your hair. If you could swap hair with any of the judges who would it be? Oh God... it’s not going to be Simon is it?! I’d have to say David. We have quite similar hair! 10. Can you tell the difference between Ant and Dec? No! They’re lovely guys, though. They make you feel like you’re really at home and they’re just like your mates, really. 11. We all know what the live shows are like from the comfort of our sofas – what’s the atmosphere like when you’re actually there? It’s a lot smaller in real life. With the audience there it just feels like you’re playing a gig, despite the camera there playing out to thousands of other people.
Scene Editors: Jordan Lloyd & Maddy Pelling
Deputy Music: Louisa Hann & Martin Waugh Books Editors: Philip Watson & Joanna Barrow
14. If you could collaborate with anyone musically, who would it be? Without a doubt David Guetta. I know I’ve made it if I work with greats like him. 15. What’s been your weirdest experience with clubbers? Stalkers. I had a girl at my last show whose camera literally followed me wherever I moved, and she was right at the front of the stage. 16. Snog, Marry, Avoid: David, Simon and Amanda? Hmmm... Snog David, marry Simon and I’d have to avoid Amanda! 17. What’s the best act you’ve seen recently? Swedish House Mafia in Ibiza. That was amazing. 18. How much say do you have over your set and the effects employed? I often make suggestions such as what dancers I want amongst other things, but I don’t have control. The set people know what they want and will go ahead with it. They copied David Guetta's idea of the post box, which was annoying.
17. What’s the best act you’ve seen recently? Swedish House Mafia in Ibiza. That was amazing.
19. "Who is your favourite ever drummer?" I'm a fan of Thomas Lang, love how he's both technically good and visually impressive to watch...check out a video of him on YouTube and you'll see what I mean!
12. Here’s a difficult one: what’s your favourite percussion instrument? Hmm... bongos are far too obvious. I’d have to say my rocket toms. Just for the name!
20. So what’s next for Fish on Percussion? Travelling, gigging, going up and down the country to get my name out there and get my stuff well known. I hope to be playing bigger and better gigs soon.
Music Editors: Niamh Connolly & Nina Pullman
13. Would you ever consider playing a show without sunglasses on? Definitely not! They’re part of my act. I can hide behind sunglasses and have a habit of pulling weird faces when I’m on stage, so I can cover this up and really get in the zone.
Deputy Books: James Carr
TV Editors: Sian Gardiner & Claire Hogarth Deputy TV: Judith Marzo Film Editors: Alysia Judge & Rory McGregor
Deputy Film: Will Barnes & Catherine Gobert-Jones Nightlife Editors: Ben Huckle & Henna Ishaq Deputy Nightlife: Zena Jarjis Tech Editors: Dan Cornwell & Vish Nithi