York Vision 205 - Scene

Inside March 9 - Issue 205

The Whip Little Comets Simon Reeve

Difficult to swallow?

Indie rockers LOS CAMPESINOS talk to Scene about growing pains, self-important bloggers and their uncanny resemblance to a certain love-it-or-hate-it foodstuff...

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AVERY KICKS JANE'S ADDICTION ANOTHER week, another moody, eyeliner wearing bassist quits an alternative band.

Eric Avery, a founding member of experimental heavy metallers Jane's Addiction, has announced that he is leaving the group after 25 years.

Avery announced

his intentions to leave on the unbiquitous Twitter stating 'with equal parts regret and relief, the Jane's Addiction experiment is at its end'.

The group have been a mainstay ofAmerican alternative rock since 1988, when their debut album, was certified two times multi-platinum.

Relations between Avery and the group have often been strained however with the bassist first leaving in 1991. After a highprofile 2008 reunion and recent tour of austrailia it appears Avery is finally quitting for good, hinting that he plans to pursue solo work.

The rest of the band can console themselves with newly confirmed plans to collaborate with former Guns and Roses bassist Duff McKagen.

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RACHEL PRONGER reveals all the latest news and gossip from the music industry

PUSSY OUT

LIFE is looking far from purrfect (sorry, I have to fulfill my pun quota) for the Pussycat Dolls this week as two members announce they are leaving.

Kimberly Wyatt (the one with short hair) and Ashley Roberts (the blonde one) have proven that its not just moody indie blokes who have been getting itchy feet re-

cently by confirming that they will no longer be performing with the charttopping former burlesque troop. Roberts commented via twitter (surprise, surprise) that she had had an 'amazing ride' but now intended to pursue a solo career

and continue with acting projects. Wyatt was less positive stating that 'money and fame can't buy happiness' and adding fuel to rumours of tension with lead singer Nicola Scherzinger over her increasing dominance.

Meow.

BLUFFIN' WITH HER MUFFIN? LADY GAGA has surprised some by proving to be an outspoken ambassador for safe sex.

Speaking at a lipstick launch for Mac Cosmetics , Gaga (real name Stefani Germanotta) argued that sex education was the most important weapon against HIV and AIDs. The singer, also suggested that girls

should not rush into sex and instead save themselves for soemone special. The comments are a challenge

to conservative commentators who have crticised Lady Gaga's provaocative routines and revealing outfits and accused her of being part of the oversexualisation of teens.

Its always more interesting to get sex education from someone wearing a high cut sequinned leotards and absurdly huge shoulders.

YOU'RE SO DAVE AS anyone who has ever ventured into Little John's on karaoke night will know, 'You're So Vain' is an infuriatingly catchy disco classic. Now for the first time Carly Simon, the song's writer and performer, has revealed the identity of the song's subject.

For years speculation over the song's central nacissicist has yielded nothing, with everyone from Mick Jagger to Cat

Stevens being suggested. Now, in an interveiw with Uncut Magazine Simon has revealed that in a new acoustic version she whispers (recorde backwards to add to the mystery) the name of her object of scorn : his name is David.

Whilst this new evidence is hardly decisive it narrows the search to egoinflated Daves of the era: could it be David Bowie? David Cassidy? David Hasselhoff ?

The search continues....

REGAN'S TOP FIVE

...Rock Biopics that should be scheduled for release this year

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THINGS OF LEON

Having gone from Southern upstarts to Globetrotting superstars in a matter of years, the Followill clan give film-maker Joe Swash unadulterated access to their private lives. Having watched the band struggle to form a sentence, Swash makes the inspired decision to shift the focus of the documentary to the band's possessions.

The film will give fans a rare insight into the band's choice of socks, the contents of their fridge and even their collection of vintage thimbles. With the expectation to gross in excess of £73 at the Box Office plans are already in place for a similar film focussing on cricketer Phil Tuffnell- working title Phil Stuffnell.

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V FESTIVAL

Following hot on the heels of the untempered hedonism of the Glastonbury and Woodstock documentaries comes V Festival. Fearne Cotton's directorial debut captures the Staffordshire bash's most decadent moments. Shooting the pictures on Cotton's LG proves an inspired decision as it provides an intimate yet contemporary feel to a series of outrageous incidents including a man “buzzing” off red bull, a pillow fight and a backstage party hosted by Scouting for Girls.

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ANTHONY KIEDIS: LYRIC ALL SORTS

The Red Hot Chilli Pepper's frontman is the author of such lyrical gems as “When my best friend died I couldn't get my car port clean”, or “Intercourse with a porpoise is a dream for me”. In this insightful documentary Kiedis discusses the writing process and the influence that come to bare on his lyrical writing. The DVD is scheduled for release in March with plans to give away exclusive replica copies of Kiedis' notebook, complete with ample space for personal use.

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BRANDON FLOWERS & THE HUMAN CONDITION

On his band's smash 2008 hit 'Human' Brandon Flowers in a display of Ivy League contemplation asked: Are we human? Or are we dancer?. In this sure fire hit Flowers teams up with The Biological Research Council to finally resolve whether Homo Erectus are predominantly human, or indeed predominantly dancer. Using cutting edge technology Flowers analyses the brains of well known Humans and well known dancers in order to find which of them dominates. This film is more Nobel prize than it is Golden Globe. Fascinating.

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AT HOME WITH THE LEWIS'

Shot in the scorching summer 1958, this intimate film documents the idyllic home life of Jerry Lee Lewis and thirteen year old wife Myra Brown, who is also Jerry's cousin. In many ways the pre cursor to The Osbournes, this warts and all documentary reveals Jerry to be a loving husband, if a little kinky. Watch the smitten couple joke about the incestuous nature of their marriage, play with their web footed son and become excessively experimental in the bedroom

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jaime

electronic

riley

reviews this week's...

sweat

SINGLES

music

Scouting For Girls

This Ain't a Love Song

Nu-Rave is dead - so what next for THE WHIP? Katy Roberts chats to Nathan Sudders about the Manchester band's future.

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ands nowadays are forever pigeon holed into a specific genre.

No longer can we define music by pop, dance, or alternative, Songs now have to be narrowed down until they are summarised by a couple of descriptive words. Most bands shun the labels, but The Whip's Nathan Sudders is more than happy to provide his own, describing their sound as "Electronic sweat music".

Hailing from Manchester, the band comprises of Danny Saville, Fiona 'Lil Fee' Daniel, Nathan Sudders and Bruce Carter. After forming in 2006, The Whip became lumped with the nu-rave lot alongside Klaxons et al. But, instead of going global with their peers, they released their first album X Marks Destination to a more muted reception in March 2008.

Success came in singles 'trash' and 'Divebomb', which were featured on the Kitsune Maison Compilations 3 and 4.

Their track 'Muzzle No.1' appears on the soundtrack for the FIFA 2009 video game and 'Trash' must surely have bought in healthy royalties after it became a familiar sound on adverts and soundtracks.

It's not only marketing execs who love the Whip, Peter Hook, of new wave 80’s band New Order, has claimed to be a big fan of the band. Unsurprising really, as The Whip have often been likened to Hook's band. Nathan understands the obvious comparison, and admits "we're a live band from Manchester doing dance music the same as they

Out 28th March

S Photos: Natalka Talka

were".

Yet, he continues; "whilst New Order can definitely be described as an influence, a band of that success in the genre cannot be ignored, but we didn’t set out to sound like them." Instead, Nathan cites a far broader spectrum of influences - from recent house hold names such as Daft Punk, Felix Da House Cat and Soulwax, to past greats such as Fleetwood Mac, Supertramp and the Beach Boys.

A successful combination in terms of success, as The Whip have toured across the world. "We've been very lucky to travel the world, playing many venues", he explains, "the best to date being Tokyo, Japan, where the audi-

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ence’s are unbelievable - they go crazy!”

Which songs are best to play live?

"I love playing 'Blackout' and 'Fire', and we do a remix of a Black Ghosts song called 'Anyway' that gets everyone going".

Having played to 27,000 people on the Other Stage at Glastonbury last year - an experience Nathan describes as "indescribable" - the band have developed a thirst for adventure. Keen to travel, The Whip are hoping to head to Thailand and Russia, "they really like to party over there!"

Are the exotic locations better than here in rainy England? “The weather is better and they give you more booze to drink!", Nathan cheekily explains.

The Whip are currently touring with fellow Mancunians The Courteeners. "We've become good friends with them over the last two years", says Nathan, and adds "they're a great band and Liam Fray (vocals/guitar) is a great lyricist".

However, the busy touring schedule has not stopped them getting round to writing new tunes. The Whip are beginning work on a new album. "We're working with different producers to get the sound as good as possible, it's important to get this right. We have 20 songs to record and the best 12-15 will end up on the album."

So far, the album is coming along well explains Nathan, "it's definitely something to look forward to!" We will have to wait and see what genre they come up with next.

couting for Girls, the band that sold 850,000 CDs off the back of one good riff, are back.

This time, they don’t sing about their desires to be Britain’s favourite 007 spy, but more originally, about saying goodbye to a failed relationship. Maybe she wasn’t so lovely after all.

The single has initial hints of Manic Street Preachers as it opens with driving guitars and violins, however the piano plonk style still remains their signature. Stride’s Leona-esque wailing mixed with emotional strings during the bridge is reminiscent of Robbie’s early songs, but without the depth that has proven so successful.

To be honest, as with Kaiser Chiefs, there’s a limit to how many ooo-ing and arr-ing vocals we can stand, so give up the game, lads – this is goodbye.

Goldfrapp

Rocket Out 8th March

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ecently, I was introduced to Goldfrapp’s Seventh Tree. It’s a truly beautiful album.

The opener, Clowns, is a warm rush of acoustic charm with gorgeous, gentle vocals. It’s about the closest a song can get to wrapping you up and giving you a hug, if you discount Elbow’s Seldom Seen Kid. Consequently, I was really excited to hear Goldfrapp’s latest single, 'Rocket'. I wondered if they’d revert to electro-dance or remain more down tempo. As it turns out, it’s definitely electro. The single begins with stabbing synths, a relief to those who found their last album slightly dull. The progression is very Van Halen and very 80s and it’s all very carefree.. but it just doesn’t go anywhere.

The chorus is pretty catchy but nothing special.

Sadly, it’s forgettable, as it doesn’t quite fall into the mainstream or niche bracket. Sorry, Alison.

Win tickets at:

Cheryl Cole

www.yorkvision.co.uk From the 14th to 18th of June the UK’s biggest student music festival ‘Beachbreak Live’ will be gracing the shores of Wales. What’s more – we have 2 tickets to give away – so get onto the Vision website and enter.

This year’s festival has with smooth sounding, synth-pop maestro Calvin Harris as one of the headliners. Ellie Goulding's weightless Tracy Thorneesque vocals and glistening pop beats will be making the tripto Wales .

Also on the line-up are dub-step legends and Vision favourites Scratch Perverts, who will grace the stage with Yorkshire’s electro big bass ragamuffin Toddla T!

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Growing from just 1000 students in its first year to 5000 in its second and 10,000 in its third, Beachbreak this year will see a whopping 17,500 UK students flock to Wales for tonnes of sun (hopefully), sea, sand, surf and music.

At just £89 for a ticket (www.beachbreaklive.com) for three nights of musical mentalism, the festival will be accompanied by some rather random activities. These include skiing (on the onsite dry ski slope), wakeboarding, coasteering and for the more tame – horse riding.

The best thing for us Yorkies is that Beachbreak have organised an optional extra of buses from York straight to the

Parachute Out 15th March

festival.

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he first Geordie WAG, Cheryl Cole, rose to fame back in 2002 as one fifth of the superstar fivesome, Girls Aloud. Now she’s on our screens at least once a day, advertising products that give your hair a sun-like shine, judging reality television, winning BRIT awards and just generally looking stunningly beautiful. Is there anything this girl can’t do?!

Seemingly not. Cheryl’s 'Parachute', although not as strong as 'Fight For This Love', is pretty much everything you want in a pop song. It’s a bit lacklustre but after further listening, will likely progress onto your iTunes favourites. Well, if you’re into slightly slow, reflective pop music.

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TOWN & COUNTRY Rachel Pronger

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ntil recently my view of country music was pretty much restricted to Dolly Parton and Billy Ray Cyrus singing 'Achey Breaky Heart'. Whilst I don't think many people can argue that the apparently age defying Parton is pretty fabulous, it is easy to see how Cyrus, and his worryingly precocious perma-tanned offspring could turn you off the whole genre. In Britain country music has often been a figure of fun, hampered by prejudices such as mine and forever associated with republican rednecks and plaid clad lumberjacks.

However, things are beginning to change.

The Oscar nominated ‘Crazy Heart’, starring Jeff Bridges as a washed up country music star, can contribute much of its success to the many scenes of live country music that punctuate the film giving it a sense of authenticity and purpose. The success of Taylor Swift, recently nominated for five Academy of Country Music Awards and chief victim of Kanye West-gate at last year’s MTV Video Music Awards, is significant of country music’s growing international success.

The situation has always been different across the pond. In America, the genre’s birthplace, country music remains serious business, shifting millions and regularly crossing over into the pop charts. For the yanks it is a universal genre with juggernauts such as Parton, Lyle Lovett and Emmylou Harris maintaining chart success alongside younger emerging superstars such as Swift and Carrie Underwood. Now that the new wave of country stars are beginning to enjoy mainstream chart success it seems likely that country music is going to become ever more inescapable even in the UK. Perhaps the biggest challenge to the country cynics is that the genre has had a staggering influence on popular music on both sides of the Atlantic. For artists such as Bob Dylan, Elvis Presley and The Beatles country music and its many influences and crossovers, such as rhythm and blues and skiffle, was instrumental in their early musical development.

Country influences can be heard from many critically acclaimed artists from the lo-fi acousticism of Cat Power to the bluegrass infused songs of Bright Eyes and Wilco.

As folk enjoys a high profile revival with artists such as Mumford and Sons and Laura Marling, our tolerance for banjos, fiddles and harmonicas is increasing. As we Brits rediscover our penchant for a good hoe down it seems the coast is clear for a country invasion.

Watch out, the hillbillies are coming...

ellie goulding lights Out Now

ew could deny that Ellie Goulding, winner of the influential BBC sound of 2010 poll and the Critics Choice Brit award, is this year’s most hyped act. The problem with all the hype that befalls women breaking through in the current singer/songwriter saturated scene is that it invites comparisons that many can’t live up to. Comparing any idiosyncratic female who writes their own material with Bjork and Kate Bush, undeniably the queens of quirk but also impressive musicians, seems unfair and reductive.

Goulding deserves credit for creating a distinctive sound even if her debut 'Lights' doesn’t quite live up to the expectations placed on her.

On paper at least Goulding ticks all the right boxes.

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The distinctive voice is there, poppy but delicate, a cross between early Joanna Newsom childlikeness and Lisa Hannigan’s powerful husk. The early singles seem promising with Under The Sheets and Starry Eyed offering infuriatingly catchy synth laden vignettes. On repeated listens other tracks also stand out such as This Love (Will Be Your Downfall) which builds upon vocal layers to create a rather gorgeous choral effect.

However, although there’s nothing offensive about Lights there is undeniably something missing. Goulding has a pleasingly distinct sound but at the album lacks sufficient changes in intensity and the relentless waves of pretty electro-noise can make you feel like you’re

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being beaten over the head with a Dido album. Goulding classifies herself as folk pop crossover but it soon becomes apparent that by folk she means nothing more than the odd acoustic guitar, a relief for anyone fearing an album full of electric fiddles but a little disappointing all the same.

The key problem however is a lack of developed melodies. Goulding has strong ideas and lyrics but at times these feel undeveloped and aimless. At worst, on tracks such as The Writer, Goulding sounds like little more than generic euro-pop. Overall Lights is not a failure but, perhaps inevitably due to the absurd build up, it is a slight disappointment. Bjork need not worry.

Rachel Pronger

THE COURTEENERS

Los campesinos

FALCON

Romance is boring

Out Now he Horrors cunning method of releasing a rubbish debut album to lower expectations for their second worked wonders. Surprised critics mistook a distinctly average album to be a masterpiece because it wasn't quite as shit as the first.

After the abysmal first Courteeners album, St Jude, it seemed the Manchester band had the same idea. The critical reception of Falcon has been impressive - four stars from Q and eight out of ten from NME. These supposed purveryors of good taste actually enjoyed listening to it.

So is Falcon actually a decent record or were expectations so low that even a fart would have been an improvement on the debut?

It seems to be the latter.

It says everything when the main problem with an album is the lead singer. Gobby frontman Liam Fray murmurs and drones over every song like a hobo in the corner. It's excruciating how flat and lifeless he sounds.

It's true that Bob Dylan doesn't have the strongest voice either, but he has the lyrics.

Fray doesn't. The 'every-

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man' social observation style lyrics sound like he's reading a 16 year old's diary, but instead of a funny and sweet Adrian Mole style character, he's a pretentious irritating git.

And that is pretty much all there is to the album. It is devoid of melody, personality, originality, everything that an album needs. The drums and bass play the same thing over and over again. The production drenches everything in echo in an attempt to create an anthemic quality, but instead drowns out anything that could be more than average. The only good thing about Falcon is that it is instantly forgettable.

It's a boring album, with boring songs, singing boring lyrics about boring things, with boring bass, boring drums, and boring guitar.

It's boring and it saps happiness.If people think the X Factor is ruining the music industry, listen to this.

If the album is a falcon, Liam Fray is a tit and The Courteeners are a dirty smelly pigeon - the rodent of the music industry.

Right, review over, I can go delete this dross off my iTunes.

Jim Norton

Out Now

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he things that spring into mind when thinking of Wales fall somewhere along the lines of sheep, strange scary languages, sheep, and music.

Wales has produced some great musicians such as Tom Jones, Pete Townshend (The Who), Stereophonics, Lostprophets, (even Josh Fisher of CHMS’ RENT) and Los Campesinos don't fail to live up to this reputation. Romance is Boring will seem familiar to previous fans with front man Gareth Campesinos’ lyrics still incorporating your typical melodramatic subjects of life, love, death and sex and still framed by crashing instrumentation.

Though Gareth’s shout at ravaged relationships and ruined romances may sound like perfect conditions for an emo album, the band, formed whilst students at Cardiff University, manage to keep the album uplifting throughout utilising wicked beats and a subtle bass line.

This new abum is step forward from their twee 'love it or hate it' 2008 debut. The seven-piece group appear to have found their sound.

The overall vibe may be

impressive but it has to be acknowledged that the individual tracks tend to blur into one, hitting you in a wave of sound rather than always being individually distinguishible. Nonethelss this wall of sound is compensated for by the sheer excellence of some standout tracks. 'In Media Res' opens the album nicely , a good old fashioned anthemic shout-along. 'There are listed Buildings' and the title track 'Romance is Boring' are brilliantly inspired songs whilst 'We’ve got your Back' twists itself to lead into a wellproportioned, sturdy ballad.

Tracks such as these raise the album far above Los Campesinos! previous efforts.

This album has a lot to offer, stylish and well realised if at times slightly derivative with traces of FOB and MCR emo sentimentalism mixed in with heavier Green Day brand punk. Overall, an uplifting listen despite the typical lost love lyrics.

So you broke up last Valentines? Romance is Boring!

Dan Chatfield

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16th February '10

The Chapman Family ME handpicked three of the hottest bands tipped for the top this year and it’s refreshing to see how different each band are. The tour came through York in cold February and each band tried their best to warm up the crowd.

First up was The Chapman Family; four Teeside lads delivering dark lyrics and beats deeply rooted in Punk rhythms. Steering clear from mainstream Indie, the band are not to everyone’s taste, yet the growing crowd at Fibbers seem to warm to them

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Fibbers, York

Frankie & the heartstrings

and by the end of the set have been won over. It is this awkward Post-Punk style which the boy’s capture that has won them a spot on the famous SXSW festival in America this March.

Frankie and The Heartstrings are up next. Quiffs and spray-on jeans are a-plenty as the quintet takes to the stage; think Orange Juice (the Scottish postpunk band) meets Grease the movie and you’re half way there.

Front man Frankie Francis steps it up a notch, killing it with his Elvis-like footwork and effortless

style. With their catchy, lyrical, awkward pop Frankie and The Heartstrings are ones to watch out for.

It would seem however that tonight everyone that makes up the relatively young Fibbers crowd is here for one band – Little Comets. Even before they make it to the stage the crowd anticipates their set chanting “this one’s for dancing” (a crowd favourite) at every hush in the music. From the first beats of Mark’s drum the crowd pogo up and down and only grow with en-

LITTLE COMETS

Little Comets

ergy as the set progresses. Every one of Little Comets songs is single worthy – each one a musical vignette with contagious up beat melodies. Chanting and dancing is compulsory at a Little Comets gig as is proven in York tonight. The typical rough ‘mosh pit’ is transformed into a hot bed of ‘whooping’ and jamming as the crowd dance along to cautionary tales of girls named ‘Joanna’ and ‘Mathilda’. Amid playing the likes of ingenious ‘One Night in October’ and the single ‘Adultery’, the band occa-

Then Nihal from Radio 1 found out and mentioned it on Radio 1.

MH,D- People think we don’t eat wheat for health reasons, but it’s actually because we can’t shop there anymore!

Rob Coles (Vocals/guitar) - A friend of mine was on MSN and her name was ‘Le Petit Comet’ in French. I wanted to know what it meant so I put it in a translator and it was ‘Little Comets’. Apart from being completely embarrassed that I should have known what it meant I thought it was a good name for a band.

So, the NME tour, how has it gone?

Are you enjoying being back out on the road?

RC- It’s really weird because this is the last night and it only started on Monday - and all the gigs have been close to Newcastle so it hasn’t felt like a tour. We’ve gone home every night which is a shame because we got on well with Frankie and The Heartstrings and The Chapman Family.

How would you describe your sound and who are your influences?

Have you always used the washing line onstage?

MH - We mess around trying to get percussion into the live set. When you’re trying to play and you’ve got something in your hand it’s really hard to put it down and pick it up. So Rob came up with the idea that instead of smashing it on the floor we would try to hang it from the ceiling and me being able to tie ridiculous knots…

RC- Matt’s a sailor so he could tie really good knots.

sionally reach up to a washing line strung across the stage, from which percussion instruments hang among the odd kitchen pan.

The band are polished yet feel raw, mixing these basic percussion sounds with complex riffs.

As their set comes to an end it’s safe to say that Little Comets have firmly marked their place on this year’s NME Club Special Tour and with that we excitedly head home for the night in anticipation for the next stop on the tour – Leeds.

Clare Harrsion

Backed by Radio One and signed by Columbia Records, 2010 seems set to be the year when LITTLE COMETS make it big. Clare Harrison caught up with the band in Leeds as they hit the road on the Club NME Tour.

So Guys, who came up with the name and why Little Comets?

Matt Hall (Bass) - We try to make it very percussive and melodic. Quite light in a melodic sense and happy but then against that the lyrics are a bit darker.

RC - We all have really varied musical tastes, but sometimes we might get influenced by a book we’re reading or where we are rehearsing or by a story we hear - anything really! I read an interview with YeaSayer the other day and they said that when you’re growing up you’re just a product of all your influences.

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What does 2010 hold in store for Little Comets?

MH- Not like a naval sailor though, I used to sail boats.

MH- We also thought about a percussion chair. Like a chair on wheels. Mickey is an absolute health and safety pigeon because as soon as we had the idea, he was like ‘you can’t do that because it might fall mid-gig and hit someone in the face…’

RH- (to Mickey Coles, guitar)-You’re quite happy to come up with ideas for disturbing the peace in public places but we can’t hang a washing line on stage!

Talking of disturbing the peace in public places you’re famous for your spontaneous gigs (on the Metro and in Marks & Spencer) Do you play them anymore or are you still in trouble with the police?

"

wE'RE quite happy to disturb the peace in public places but we can’t hang a washing line on stage!"

"

Mark Harle (Drums) - We can’t do that Marks and Spencer thing again because the last time we did it we got a lifetime ban.

MH- We didn’t realise that many people were going to be there. We were playing a gig in Newcastle and we thought we’ll put on Myspace that we were going to be in Marks and Spencer in the bakery isle.

RC- Some festivals, release the album in June or July, and write a new album. We want to call the album ‘In Search of the Elusive Little Comets’.

Which acts would you recommend our readers check out?

MH- Yeasayer.

RC- Animal Collective, Grizzly Bear, Deastro- he’s mad. We did a tour with him, he’s from America and he came over.

Our first gig was in Bristol and he went to Brighton! We had to look after him for the whole tour because his band left him the night before he was due to fly over. So he did all gigs as a one man act with a laptop and he didn’t have anywhere to stay so we adopted him for two weeks.

MH- He’s a Master of Storytelling.

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Fionn regan Fibbers

14/02/10

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word of warning: it is ill-advised to attend an intimate gig on Valentine’s Day unless you are accompanied by your other half. Fibbers on 14th February was lovely, crammed with beardy men spooning eccentrically dressed girlfriends, but the romantic atmosphere got a little overwhelming for my (definitely platonic) friends, particularly when the couple behind start-

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ed enthusiastically getting off in my friend’s hair.

In fairness, the hushed vocals and raw lyrics of opening act Benjamin Francis Leftwich were undeniably conducive to the romantic atmosphere, with Leftwich successfully channelling the likes of James Yorkston to create charming if slightly samey acoustic songs. After an uncomfortable pause spent listening to the couple behind me discussing their sex-life, it was a relief when second support act Danny and the Champions of the World took to the stage and knocked the crowd out of their torpor with their energetic, rootsy country.

Pleasingly dressed like 1970s hillbillies, a feast of corduroy and checked shirts, and with a suitably grizzled Bruce Springsteen channelling front man, it was a disappointment to discover that they hailed from South London rather than rural Ohio .

Despite this strong support the night was undeniably Regan’s, who, despite his diminutive height, 1960s bowl cut and endearingly awkward stage presence, had the crowd hooked from the outset. The move from pastoral folk on his debut to fiery agitprop on The Shadow of an Empire has prompted comparisons with Bob Dylan’s infamous conversion to electric

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guitar but there was no one shouting Judas this time. Although the delicacy and elegance of Fionn’s early songs has been lost, there is a liveliness to his new material, with its grinding beats, howling vocals and embittered lyrics that proves captivating, particularly on singles ‘Protection Racket’ and ‘Genocide Matinee’ and the wonderfully sleazy ‘Coat Hook’. Material that can sound a little rough and unsubtle on CD proves captivating live and praise is partly due to tight support from Danny and the Champions with the albums more contemplative songs in particular, such as 'Violent Demeanor', benefitting from a new intensity.

Nonetheless, the highlight of Regan’s set is when he dismisses his backing band to perform alone. ‘Put a Penny in the Slot’ is a startlingly beautiful highpoint, with a slower tempo drawing attention to wonderfully literate lyrics and adding a layer of introspection and that is a striking contrast to the politicised fury on ‘Empire’. The crowd are noticeably disappointed when Regan leaves but are placated by an encore of ‘Be Good or Be Gone’ that has the audience singing in unison. All in all solid proof that Regan has successfully navigated a difficult musical U-turn without alienating his loyal devotees.

Rachel Pronger

and Coldplay and interesting lyrics to songs with amusing titles, such as ‘Honk’ he managed to make even the most determined grown-ups break into a smile.

Alice Ostapjuk followed with another acoustic set, and despite having only played the guitar since last April, her inexperience didn't show. Her covers of ‘Halo’ and ‘Russian Roulette’ stood out, although her mash-up of songs didn't quite work out quite as seamlessly as I’d hoped.

The night began to slow as Rachel Dade took to the stage. With bells on her feet, a banjo and an aversion to using the mike, initially Rachel appeared strange, but the originality of her songs proved mesmerising. Members of the audience described how they felt in a trance-like state listening to her, as short songs entitled ‘Following the Geese’ and ‘Yuki Dayo’ floated over us.

Clearly good friends Alessi and Rachel sung a duet and entertainingly reminisced. Alessi reminded me of Norah Jones in her vocal style, offering a kind of easylistening that has become unfashionable in a scene recently dominated by sassy outspoken eccentrics.

The expressions she pulled during ‘The Witch’ and her apologies at messing things up in ‘Money’ only endeared us to her. I would definitely recommend seeing her support Laura Marling on her upcoming tour.

For only £5 this gig was a welcome change to a night out in Ziggys. As a purely acoustic female dominated night, this music wouldn’t be suited to standing up in Fibbers, but it was perfect for the more tranquil Basement, which I would definitely consider visiting again.

Jennifer Rose Hammond

LISTINGS

idioteque Fibbers

20/02/10

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he past few years have seen Idioteque become one of the most forward-thinking club nights in terms of bringing varied and innovative electro acts to York. And with a line-up featuring up-and-coming deep bass masters L-Vis 1990 and Ikonika this term looked to be no exception.

On a sold-out event, expectations were high, and the warm-up acts rose to the challenge. A creative set blending 2 step and funky from homegrown York talent SimonSays set the tone, while fast-paced dub and grinding electro from SDUK & Contrast and an exciting wobble set from Tindall paved the way for L-Vis' York debut. An inspired set combined his signature deep bass and surprisingly subtle vocal cuts, with a balanced blend of new material, his remixes of Diplo and Benga, and crowd favourites 'Pon De Floor' and '128 Trek.'

Rising star Ikonika followed up with a delve into dubble step, and mixing a mind-bending range of genres seamlessly in the final set of the night to cater for every taste in her exuberant audience.

The reaction from the crowd throughout the night testified to its success, with one particularly enthusiastic member announcing that "the bass is so good I could eat my own face." In any case, I think it is safe to say that a thoroughly good time was had by all.

Catherine Sinclair-Jones

alessi's ark The Basement

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24/02/10

hen I walked down the steps into the Basement, hidden underneath the City Screen, it struck me that this was a venue for grown-ups: no Fibbers-esque Skittles vodka around here. Thankfully, the music was able to live up to the relaxed candlelit atmosphere and I wasn't left disappointed. Joshua Savage opened the night and did a sterling job despite being the only male on a bill dominated by females. With original covers of Oasis

Faithless 02 Academy 26/02/10

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he O2 academy was full to capacity with fans and an almost tangible buzz. Only at a Faithless gig would there be such a varied mix of people with old, young, indie kids and hardcore ravers all under one roof. The Faithless sound-system was unrelenting with some of the most exciting DJs of the moment such as John Dahlbeck, Funkagenda and Alex Metric keeping fans on their toes with an eclectic mix of dance, house, electro and techno spread across the two floors.

However the climax of the night came when Maxi Jazz, Sister Bliss stepped out onto the stage filling the room with their presence. They immediately broke into their set with obvious confidencem, not pausing for breath. They played songs spanning their entire career including crowd favourites 'Insomnia' and 'We Come 1' but also some off their forthcoming LP Calling All the Faithful. The crowd were hooked onto every nuance in the music with Sister Bliss providing the beat, teasing the crowd whilst Maxi Jazz delivered his instantly recognisable vocals, the intensity of music ensuring total focus was on the stage. The night continued until the early hours with other DJs filling the stage delivering only to those strong enough to last!

Stephen Barbagiannis

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LOS CAMPESINOS

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’m suddenly hit with an alcoholic head-rush (care of downing an ill-advised pint of York’s own ‘Viking Ale’ three minutes prior), and I can’t remember a single thing I’d planned to ask. Tom Campesino – the band’s chief guitarist – smiles politely from across the table whilst I attempt to banally flick through my notes. Unable to formulate a question which draws back the curtain on his deepest creative process, I vacantly smile and force myself to just say something to get the ball rolling: “So… having fun?”

In retrospect, I think that question had more significance than my dizzied brain realised.

Los Campesinos, a band which were previously synonymous with sugar-coated guitar riffs and chanting choruses about literary figures, have been achangin’; their most recent album, Romance is Boring, marks a pop-rock antithesis of sorts.

Words like ‘moody’, ‘discordant’ and ‘dark’ keep being slapped onto it, birthing mixed reactions from critics.

“The main goal was to try and write songs which would be more interesting over a longer period of time; trying to delay the sense of gratification you get with some of the older stuff ” Tom tells me; “We've now deliberately tried to spread those accessible moments out, instead of trying to force them down the listener's throat.”

Some commentators (Pitchfork, NME, etc) see this delayed-gratification approach as advancement into deeper and more interesting textures, while others (smaller music blogs and my personal bible, ‘All Music Guide’) mourn the death of accessibly bouncy tunes and furthermore chide the band’s newfound ‘maturity’ as a cynical ploy to suit music-industry expectation.

Gareth Campesino, the band’s lead-singer (although he protests the title, “I sing but I'm not a singer!”), looks like he’s dressed for a nuclear winter; he keeps his hands in the pockets of a large puffy coat, wearing a thick hoodie underneath while sporting a hunting-cap. I ask him whether keeping guaranteed warmth is part of his preperformance requirements and he replies with a grin, “Nah, just

Gareth wrapped up for the cold february night

Joe Burnham chats to indie darlings Los Campesinos about their new 'mature' sound, bad reviews, and file-sharing...

Photo: Jon Bergman

because I'm a wuss!”

Gareth is a little contradictory in explaining how the album’s critical reception has affected him. At first he happily recalls the positive responses: “The places where it's important to get good reviews from - or we'd like to get good reviews from have been incredibly flattering”.

After a few moments though, he backtracks to a slightly cautious tone: “We don't put out records unless we have the upmost faith in them, so to a certain extent I can read bad reviews and not really get down about them. This is the record that we wanted to make. And the state that it's in now is perfect. Some person who works part time for a webzine saying ‘I don't like it’ doesn't really matter”. Upon that, he summarises: “There's like ten people who I want to hear the record.

Just close friends and people whose music I like myself. So as long as they like it, they're the people you care about liking it”.

Tom takes a slightly more light-hearted stance on the matter: “We're sort of a marmite band and we've made a marmite album, so it's obviously not going to be for everyone. Sometimes

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e are a marmite band and we've made a marmite album - it's not going to be for everyone!

PR people will forward you the good reviews saying you've done a good job and quietly forget about the bad reviews. I think me and Gareth both get Google Alerts and both read most reviews. Every now and then we'll be like "Did you read that one?"

Rob Campesino, a York-graduate and recent addition to the band’s touring line-up, adds: “I used to do the music reviews for Nouse - and I used to pan bands all the time without any feeling. We knew that, although we had a website, there wouldn't be any major repercussions, unless the paper was sent out to press people. But now if anyone says anything bad about you on the internet, you can find it and track it down - which can be depressing!”

Still, I was curious about the band’s feelings on the public’s interpretation of their new direction. Speaking to Tom, I mention that a large selection

rtists are entitled to mind filesharing . They invest time and money making it. it's only fair people are prepared to give some thing back.

- Gareth Campesino, Lead Singer

- Tom Campesino, Guitar

Tom and Ollie interviewed next to a bin... classy!

of their Youtube commentators seem negative and disappointed with the band’s newly-found pessimism. “I don't think we ever saw ourselves as a happy or sad band - you hope that things are a little more complex” Tom replies, perhaps upping his guard.

“We always tried to embrace the paradoxical elements because Gareth’s lyrics were often quite dark and they'd contrast with the upbeat elements of the music.”

But can we expect an everincreasing array of misery and despair? “To me, the change just

felt like a more organic, natural development” Tom replies, "It's only when I go back now and listen to the first album I realise how different it sounds.

We didn't sit down and decide ‘let's sound like this’, it just happened.”

In the latter part of 2009, Los Campesinos became the latest victims of the internet’s filesharing community. Their entire album was leaked and promptly posted to a number of torrent websites. “It's really upsetting” Tom says, "Because you want to be in control of how you present your material to other people.

But it's got to the point where you're seen as stupidly idealistic to even consider that as a way for it to happen". Gareth shares Tom’s sentiment, adding that the leak was “Incredibly disappointing. It's our creation, our thing, and I think we should at least be entitled to choose when people hear it”.

However, that doesn’t necessarily mean the band is soured on file-sharing completely. Gareth’s statement on the matter seems delicately political: “I think there's a real distinction between downloading generally and leaks. Downloading is a far bigger kettle of fish that I'm no where near intelligent enough to consider.” A handy sentiment; when it comes to filesharing, a musician’s condemnation tends to collectively rally the internet against their favour (Lilly Allen suffered this fate last year), whereas any acceptance of it threatens to put you on nasty relations with your record label. “Well…” Gareth begins, after I suggest his ambiguity is intentional, “It's a very honest answer. I think an artist entitled to mind filesharing because they invest time and money in making it so it's only fair that people - if they want to hear it - should be prepared to give something back”.

Tom’s response seems a little less prepared, albeit still with an agenda of sorts: “I can understand why people do it - if you can have something for free why would you pay for it? It just becomes a charity otherwise. I used to download illegally - but since I've seen the effect of it on bands and the industry, I've made a concerted effort to stop doing it. Once you start paying for music, you make sure that it's something you really want, and you put more effort into enjoying it and listening to it because you've made that commitment”.

So, can we expect plenty more activity in the future? Gareth responds optimistically: “I hope so. I think we've been going for four years, and had three records, so I'd like to think we're slightly past being a flash in the pan. I think it's exactly the sort of thing we'll stop when we get bored, or when we get boring. As soon as it stops being fun."

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Philpotts's Clash of the Cartoons top 5...

Stefan Philpotts picks some important holes in the hugely hyped Avatar. He gives his top 5 reasons why it doesn't deserve to be nominated for any Oscars...

5. The Sequel James Cameron has confirmed there will be more films to comes, so this is now becoming a bloody franchise. I can’t really see where else Avatar can go, apart from repeating the same plot again.

Humans return, create havoc, tragedy strikes, Jake and friends win. But it's okay, Cameron says they might explore the moons surrounding Pandora. So expect the exact same film you saw, only now there’ll be brand new crazy animals and plants doing wacky things inches from your face.

4. The Antagonists To say Cameron’s movie isn’t effective would be a lie, it’s just that does it through clichéd characters. The antagonists of the film are probably the worst example. There’s the ‘we’ll achieve our goal by any means possible’ military and the ‘look, I’m practicing my putting in my office’ corporate guy. Colonel Quaritch as a result has become such a caricature of the military that he makes the film comical. This guy has lines like ‘I want this mission high and tight. I want to be home for dinner’. He will run out into a poisonous atmosphere with no protection if he has to, and his eventual death isn’t that far off from that of a child playing Cowboys and Indians. In other words he really milks it. The actor playing Quaritch has even hinted that the character might return in the sequel, stating ‘You think those two arrows in my chest are going to stop me from coming back?’. Cameron has simply picked out a couple of Chuck Norris facts and created a character out of them.

3. The Protagonists Again, a guy in a wheelchair, a group of scientists and a culture that is one with the environment. Really…

Martin and McLarney tackle the clasWalt's American classics and Miyazaki's

sic animation debate over Japanese masterpieces.

Anime

Disney Don't mess with Disney. The House of Mouse is one mean mutha. And you'd be surprised just how much it's responsible for. Ask a child who made The Little Mermaid and they'll either say they don't know, remind you they're four and promptly scream for their parents, or they'll answer: Disney.

Not Hans Christian Andersen, who wrote the bloody fairy tale. Ask your mate what they're watching tonight. Desperate Housewives? Owned

by Disney. Scrubs? Disney. Lost? Yes, you would be without Disney... But the heart of the late Walt's conglomerate business has always been its 2D animations. It's done itself a huge favour by acquiring Pixar to pick up the 3D-slack (getting nominated for Oscars and such), but Disney's own greats are films of princes and princesses, unconventional and extremely effective storytelling and awe-inspiring visuals. Anime can be gorgeous, but Disney never fails.

The sheer amount of talent that goes into each of its productions ensures this. The Princess and the Frog, reviewed opposite, demonstrates that this medium of storytelling is as timeless as it is beautiful. The Princess reminds us of Disney's reach when it comes to location as well - from deep beneath the sea, to the African wilderness, to New Orleans in the midst of the Jazz Age - each one hand-drawn to perfection. It is for this reason and so many more that Mickey holds a piece of our hearts in his big, white-gloved mouse-hand. The first film I can remember seeing at the cinema was The Lion King, and I'm sure I'm not the only one. It may have had its day, but Disney isn't done, and it will continue to set the bar for animation, it would seem, for quite some time yet.

Hmm, I'm a few words short.

Hakuna matata!

2. The Sense of Déjà vu Avatar is basically a mixture of Pocahontas, The Last Samurai and Dancing With Wolves BUT IN SPACE!!!!!! Everyone's said it, even Cameron has.

But there’s one more film. Think about it. Two people meet, from different cultures, or maybe classes, fall in love, and then are struck by a great tragedy, be it in the form of a massive tree being destroyed or an iceberg. Avatar = Titanic.

Okay, there’s no doomed ship, but Rose basically makes the same journey as Jake, discovering this new world (the lower class), falling in love with it, and eventually shunning the world that Angry Men (1957) has rightly she was brought up in. Therefore, what’s the been regarded, by critics, fans point in Avatar? A means of simply satisfying and moviemakers alike, as one his massive ego until he releases his documenof the greatest films ever made. The tary on unearthing Jesus’ body. plot is a simple one; a single member of a jury labours to convince the other 1. The Na’vi eleven of the possibility of the innoCameron puts a lot of effort into making the cence of a boy accused of murdering Na’vi as loveable as possible. Firstly, they have the nose and ears of a cat, and who doesn’t love his father. This simple but powerful tale explores the nature of crimes of cats? Secondly, they have massive passion, of truth and of modern justice puppy dog eyes, and who systems, the reliability of memory and doesn’t love dogs? Lastly, the victory of rationality over prejuthey have human features dice. While it was originally written in as well, and who doesn’t 1954 in the form of a teleplay, adapted love humans? Those for the stage in ’56 and realized on film Na’vi can’t be savages, a second time in 1997, it is in the 1957 they must be a peacemovie, however, that this powerful and ful species. I want to brilliant story is most definitively told. be a Na’vi. Hooray It’s clear that director Sidney Lummet’s environment. Boo low-budget origins in TV prepared technology. Oh, him well to create the stripped down, Cameron, how topical you are... Twat.

Tom Martin

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t’s not an easy task defending Hayao Miyazaki’s masterworks to the globe conquering Disneys that dominate most people’s childhood. However I’m not talking about the box office success or the huge franchises that Disney controls. I’m talking about the creative genius of his works, particularly Spirited Away, Princess Mononoke, My Neighbour Totoro and Kiki’s Delivery Service. Sure, works such as Beauty and the Beast are incredible artistic animations but Spirited Away takes you to a world where characters and scenes are so imaginatively realised that you can’t help but be awestruck. In Spirited Away alone there are stink Gods, babbling kimono clad frogs, soot beasts, Haku the glorious, noble river dragon, and many more. All weird and wonderful beasts that are rendered in a minute detail that’s astounding.

Miyazaki’s old-school hand drawn characters and scenes are so meticulously rendered, that more than one viewing is essential.

The detail is especially mind blowing considering that out of the 144,000 cells that made Princess Mononoke, 80,000 were attended to by Miyazaki. Yet Miyazaki’s films aren’t all style and no substance. For example Princess Mononoke’s story has simplicity and force with captivating images to back a gutsy narrative. It’s also a story that ends in reconciliation; a more subtle finish than your typical good triumps over evil. My Neighbour Totoro is bound to pull on heart strings as Mei and Satsuki escape to Totoro’s world of innocence, a contrast from the real world where they are forced to grow up.

So Disney may be the mainstream favourite but Miyazaki’s films are underdogs that should not be dismissed. The very fact that all Studio Ghibli films are not funded by multiple franchises or merchandise can only be a good thing. As Miyazaki’s art keeps its surprising and original flair instead of the Disney characters that we are continually bulldozed with. There’s no need for catchy songs or gimmicks, as these captivating narratives and stunning visuals keep you going back for more.

Jenny McLarney

Have you seen...?

12 Angry Men (1980)

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minimalist feeling characteristic of the film, all of which (with the exception of two very brief scenes) takes place in the same small room. Despite this lack of variation, the picture remains compelling and engaging; with its plot unfolding in a sensationally gripping way.

The screenplay is superbly written; the dialogue is emotive without being corny, sharp without being gimmicky and rarely does it come off as dated.

The writing is noticeably lean; (perhaps with the exception of one brief conversation) not a single line of dialogue is superfluous or merely decorative, it all serves to gives more dimension to the movie’s plot and characters. And what fantastic characters!

Although their names (bar two) are never given, each character is as engaging and distinctive as the last, each bringing their own quirk, prejudice

dir. Sidney Lummet

or insight to the proceedings and this powerful characterisation is practically established within each of their first few lines. These characters are brought to life through the superbly convincing acting of a predominantly little-known cast. Henry Fonda (Once Upon a Time in the West), leads the film as the rational and compassionate architect that labours to convince his fellow jurors, brilliantly playing, once again, the role of the plain-speaking idealist. The film was also directed with great skill and taste; the full weight of the seriousness of the situation is slowly illustrated, tension is steadily built through the movie and sporadically pierced by the explosively dramatic moments that punctuate it.

Brilliantly written, directed and acted, this classic film is truly a treat and one that you have to see!

James Anderson

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dir. Tim Burton

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im Burton once again introduces us to another world, this time Underland (a.k.a.

Wonderland) in his re-imagining of Lewis Carroll’s books. With Johnny Depp (Mad Hatter) and Helena Bonham Carter (Red Queen) leading the cast alongside newcomer Mia Wasikowska as Alice. Nineteen-year-old Alice once again enters Underland, seemingly oblivious of her childhood trip. Alice goes on a journey to become an adult and re-gain her “muchness” (heart) after the death of her father, whilst battling alongside the virtuous White Queen (Anne Hathaway) to end the reign of the tyrannous Red Queen.

This is a typical Burton gore-fest, with the Jabberwocky and most of the beheaded drawing gasps from the audience. Burton characteristically balances these scares with cute, loveable characters such as the loyal bloodhound Bayard (Timothy Spall) and great

The Lovely Bones

Dir. Peter Jackson

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adult humour, with the biggest laughs coming from the March Hare and numerous one-liners.

Danny Elfman’s score is atmospheric, emotional and aptly fits each scene.

Although Burton alludes to Carroll with the Jabberwocky, Red Knights and the final battle on the chessboard, for fans of Carroll there seems to be an omission of a lot of his riddles and quirks that would have been a great addition to this film.

Nevertheless, it is obvious that Burton wanted to create his own vision of a sequel to Disney’s original animation, and he ultimately draws inspiration and creates a composite adventure from both of Carroll’s Alice-based stories.

Star performances include Matt Lucas, who both charmed and teased the audience as the infamous Tweedledee/Tweedledum, and Stephen Fry as the Cheshire Cat. Expect to see more of outstanding newcomer Wasikowska, but predictably Depp and Bonham-Carter steal the show. Depp

ike the oxymoronic statement of the title, Alice Sebold’s 2002 bestselling novel contained bold contradictions for a novel – on one hand it was a realistic drama about the horrific circumstances of a paedophile murdering and raping a teenage girl and how her family comes to terms with their loss; on the other it was a sentimental look at how even in the most insurmountable odds, people are able to pull together and help one another.

Peter Jackson is not known to flinch at difficult adaptations of books, but even so, after directing such huge epics over the past decade, how would he cope with this personal and deeply touching story? For the most part the answer is “fairly well”. The life of Susie Salmon (Saoirse Ronan), the soon to be victim of tragedy, is brought vividly to screen in the first half hour with nostalgic touches of the 70s – from the yellow bellbottoms she wears to the seemingly wholesome suburbia she lives in, there is a real sense of what her ordinary day to day life is like,

It's been a strong year for animation.

Up is the first animated film up for the Best Picture Award at the Oscars since 1994, and Disney has capitalised on this by producing a film that does what Pixar has always been able to do: combine animation with genuine class. Of course, Disney doesn't seem so good at doing that in

LISTINGS

portrays the Hatter as a romanticmadcap, capturing the affections of the audience, and this is contrasted brilliantly with Bonham-Carter’s cruel, infantile Red Queen, who yearns to be loved.

Overall, Burton again shows his mastery at creating exciting and enjoyable, yet typically bizarre, films. This film is a must-see of 2010, with a superb composition, cast and score. Just forgive the flaws and see Burton is getting back on to, nearly, his best.

with, as she states, bad things just happening to other people.

Whilst fans of the book will argue that the integral scene where Susie’s neighbour Mr Harvey (Stanley Tucci) murders her is played down to fit in with the (frankly odd) 12A rating, Tucci’s mumblings and creepy delight in trapping his victim beforehand add enough uneasiness to the scene to make it work. Nevertheless, soon after this the contradictions in The Lovely Bones become an apparent problem.

The Lovely Bones, in both book and film, breaks the convention that if there is a narrator speaking, they have to be alive by the end in order to recount the tale. Here instead, Susie narrates looking down at her family from a limbo between earth and heaven, unable to move on from their lives. Whilst the book deals with this in a complex manner, as Susie dwells not only on the important aspects of earth but also aspects that, as a 14 year old girl, are important to her, the film is unable to bring the same amount of detail to this otherworldly narration. This therefore makes

nts, Rob e m e l C n Dirs. Ro Edwards

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Sarah Green

the parts where the film switches back to the real world, and Susie’s father’s (a well cast Mark Wahlberg) increasingly desperate attempts to find her killer, much more interesting.

Consequently, whilst there are occasional exciting set pieces as the noose around Mr Harvey’s neck tightens, including one fun Rear Window-esque sequence, the point of the story is almost entirely lost – Susie’s poignant struggle between watching her family’s lives evolve and moving on completely is skirted over for the picturesque, if ultimately not as worthwhile, graphics of her fantasy landscape. Perhaps the book just grapples with too many varying concepts to make it into a well balanced film, so that unfortunately, Jackson’s adaptation, whilst still more than just a by-the-numbers serial killer thriller, is stuck in its own limbo between compelling creditability and vague sentimentity.

3D (Bolt was no Wall-E), so, like the fools who made Coke Zero a reality, they went back to the good stuff after trying a weakened version - the good stuff in this case being 2D. The visuals of The Princess are fantastic.

Disney's great animations have always taken place in beautiful locations, but so often mystical and magical that a trip through their eyes to 1920s New Orleans is a refreshing and genuine pleasure. Refreshing too, was the spin on the story: its heroine, Tiana, is not a princess, nor does she have any desire to be. Take that, bloody Cinderella! Tiana just wants to own a restaurant. She don't need no man. But then along comes a prince, obviously, and in all fairness, they have her fall in love with him as a frog first, but it is no less predictable. Bruno Campos and Anika Noni Rose let the film down a little with decent

Laura Cress but not spectacular performances, upstaged by Jennifer Cody as Tiana's mock-princess friend, Charlotte, and Jennifer Lewis, playing the delightful Mama Odie.

What really sparkles about The Princess is not necessarily its visuals, its musical offerings (which stand out from previous Disney films, perhaps to their own detriment) or even Disney's gosh/shock/wow-factor for making a film with an Afro-American at its heart (Oprah or no Oprah). It's the sight of Disney characters, drawn in the same lovable style as ever, and the touching class of the story told, which reminds you of all the greats Disney has given us: these are things thatThe Princess does royally.

Tom Martin

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Haven't watched the box?

We do it for you...

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he recently aired season finale of BBC3’s Being Human saw the death of one of the three core characters, Annie who, as a ghost, was admittedly already dead. My initial horror was swiftly abated however, when it became clear that the likelihood of Annie staying dead is very slim - an arc focused on rescuing her from purgatory was niftily set up in the penultimate scene. It was the reassurance of Annie’s survival, combined with the cheeky resurrection of magnificent vampire villain Herrick (who despite being torn into pieces by a werewolf was able to make a full comeback in the closing shot) that left me pondering the actual mechanics and feasibility of killing off characters.

The compact cast of Being Human leaves little leeway for any sane writer to kill a main character. The death of any one of the primary trio would change the dynamic of the show to such an extent it would barely be recognisable as the same programme. Many shows deal with this problem by having a vast cast of extras whose job essentially is to die. Horribly.

The fate awaiting all those dressed in a Red Shirt on Star Trek provides the most infamous example of this method. A dangerous mission involving Kirk, Spock, McCoy and a randomly chosen Red Shirt extra? No prizes for guessing who won’t be beaming back up.

An alternative solution seems to be to have so many main characters with so many disparate storylines that one death barely affects the overall plot. Over its 6 seasons, LOST has perfected this technique.

To date 5 of the original 14 characters have been killed, and including those who had significant recurring roles, the death toll rises to over 25.

For some writers though, character death is a treasured plot tool, one employed despite the unavoidable impact on the show dynamic. Joss Whedon is among those famous for merciless treatment of main characters. His body count is so excessive some fans have taken to avoiding Whedon projects, fueled by the legitimate fear that their favourite characters will die. The only casualty free Whedon series is Firefly and that’s because it only ran for 14 episodes before FOX cancelled it.

So what’s best? Comfortable banality or consistent emotional trauma? It’s a tough call. Personally I would go for tension every time. What can I say? I live life on the edge.

Teja Pisk

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BBC 666 MUSIC

KNOW! Another column that now just goes on and on about that cutting down the BBC to size thing, shutting down the things that aren't value for money such as the radio's indie service BBC 6 Music. People with long hair in their 30s must be in disgust. If you haven't had time to make up your mind and gallavant on your twitter about the charade, never fear as there are two bandwagons you should be jumping on right now. You can either be screaming "OH JESUS CHRIST OUR MIGHTY LORD you cannot get rid of THAT BEACON of modern broadcasting" and start twittering in capital letters. Or you can be a munipulating Rupert Murdoch type who thinks that the CONSERVATIVE PARTY ARE AMAZING, so the BBC must be slimmed and watered down to a single guy moving levers up and down in a cold dark room whilst wearing a bow tie. Whatever your opinion may be, as there is a recession and, y'know, we have to stop drinking our tall soy chai lattes, changes and cuts need to be made somewhere. As the suggestions put forward so far seem to be more unpopular than Simon Cowell weeing on your great grandmother's grave, let me be your Director General and make on some suggestions that will save the network millions... no wait BILLIONS. Screw the BBC Trust and kick that Twitter... this is my proposition to make everything working again.

Licence Fee AWAY!!!

1. Introduce the time in the middle of the day when the BBC says BYE BYE and goes to sleep for a few hours. It used to work. At one time the BBC television screen used to run out of programmes, the screen used to turn blank and then come back on for the Magic Roundabout several hours later. Within this time you would have washed some clothes by hand, peeled some potatoes over the sink using a blunt knife and had occasionally hidden under the stairs due to some impending air-raid. By bringing it back now it will not only save the network LOADS of cash, but it would also give us tonnes of extra opportunities. The timeslot would provide an excuse for us to have a little nap during the day, the ability for us to bitch to our housemates that there is literally nothing on, and it even makes it possible for us to look at the old BBC testcard (you know the thing that has that girl with the chalkboard sit-

ting there) and judge whether the girl's eyes have moved if we look away as well as judge whether it can ever be possible that she can still be alive.

2. Never make any new programmes on CBeebies. Four year olds don't care about any new shows nor have the memory to think about what they did the previous day. All I remember from my young life is eating fish fingers with mushy peas on

the side every Friday night, fighting with my sisters about who deserves to drink out of the special taller yellow cup (that holds a slightly larger quantity of water than all of the other cups in the cupboard) every meal time, being run over by a dog on my way home from school once and flying down the stairs skidding on my bottom roughly three times each day. Children want something on TV that has bright colours, silly voices and lots of lots of screaming regardless of when it was made. Trust me, when these elements of a show comes together they are as giddy as kippers. In fact, I want five year olds in ten years time to wonder why on earth they spent hours and hours watching Arthur and Rugrats thinking that they were the greatest shows ever

when in fact it is now so boring that you think that everyone who made it was deeply sad, blind, amazing, divorced or drugged up to their eyeballs on ketamine. It is a right of passage...

3. Record all of the BBC News Bulletins on the 1st January of each year, to then repeat every single day of that next year.

Recession. Recession. Recession. War. Blah blah blah. No difference.

4. Put adverts on the BBC. Yes I know this is a controversial move, but I think it can work if we, the people, are the directors choose what happens within them. They just foot the bill. You always watch that rugby match just because of that good looking guy who always scores a try after going into that scrum thing? (That previous sentence highlights my in-depth rugby skills). Make him get half naked and talk about car insurance for five minutes.

Think of it. Phil Tufnell can get hit in the go-nads by a giant mouse trap whilst he screams about the benefits of ringing NHS Direct. It is possible to put everyone on BBC Four on helium. We can also see if Lady Gaga's head is so strong after wearing all of those head dresses that she can sustain an entire grand piano.

I'm not sure whether she would have the ability to talk about low fat spreadable butter afterwards but they are paying, so it's public service broadcasting.

5. Replace the continuity announcers with parrots, or drunk people from the street, or just Morgan Freeman. He can make any show sound good, and sexy and inviting. "Coming up next, Jeremy Vine examines the trade barriers that are affecting New Zanzibar's healthcare accountants livelihoods." Our hearts would just melt.

6. Instead of having idents or promos for up-and-coming television programmes, just flash up the words YOU CANNOT ESCAPE. THERE IS NO WAY OUT. More people will watch. And if they don't, close the borders.

7. After CBeebies have closed for the day, launch pay-per-view CBoobies.

8. Remove all of the toliets in all of the studios to make all the shows faster.

8. "If you put on your 3D glasses, viewer you can now watch them topless".

Job done. What's next? Poverty? Right...

scott bryan

The Screen Grabs by Nicola chapman

Rian? Is that you? Giving out beauty advice on Snog, Marry, Avoid?

Avatar 3D concept misunderstood by some.

Norris shocked by Rovers toilet fun times proposal from stranger.

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A Little Help From My Friends Why beat up your mates in games when you can work together?

Take a look at some of the best Co-Op games through the ages.

Smash TV: Arcade, Midway (1990) Non stop waves of foes out for blood, a small room with no escape, landmines fencing you in, and nothing but your gun for company. A second player will not only give you more firepower, but you'll have someone to watch your back as the endless horde push ever closer...

Available for download from Xbox Live Arcade.

Gunstar Heroes: Sega Genesis, Treasure (1993) Treasure is known for creating vibrant and wacky games, and this scrolling shooter is probably the most famous.

Clearing a path through the madness with a friend is exhillarating... until you start fighting over items.

Available to play on the Wii's Virtual Console.

Kirby Superstar: SNES, Nintendo (1997) The second Kirby game with a Co-Op mode, Kirby can turn foes into contollable allies by swallowing them, letting the computer or a second player take over. All of the 'Helpers' play in a slightly different way, and you'll soon find a favorite. Not too hard, but a thrill to play.

A remake, Kirby Super Star Ultra, is available on the DS. Phantasy Star Online: Dreamcast, Sonic Team (2001) Before World of Warcraft, online RPGs were very different. Set in a distant future, players form teams of explorers and mercenaries to investigate the mysterious planet Ragol. The arcade-like gameplay made things frantic, and teamwork is tantamount to survival - later stages are rock hard!

A PC version is free to download at www.schtserv.com Litte Big Planet : Media Molecule, PS3 (2008) The popular platformer with puppets is both competitive and co-op. You have to have friends around to be able to solve some puzzles, but there's still a 'winner' at the end of a level. You could be nice and help people out, or you can RUIN THINGS FOR EVERYONE. Do you play nice and help pull switches, or do you push them into a fiery pit and laugh?

Resident Evil 5: 360/PS3, Capcom (2009) The latest installment in the Resident Evil series (ignoring remakes), this rendition offers a robust coop game with online play. Having a friend in the mix adds new dimension to gameplay, where co-operative actions and an item sharing system help you survive the Infected onslaught, and melee combos have you look good while doing it.

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Ace Attorney Inestigations: Miles Edgeworth new Ace Attourney game is worth your Investigaton: (DS) Objection! The Nathan Blades has the evidence to prove it...

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nce upon a time, there was a wonderful game called The Secret Of Monkey Island, by Lucas Arts. It was a charming adventure of witty pirates, snappy dialogue and an inventory of silly items. Beginning a wave of puzzle adventure games like it, the genre gained a cult following until... everything ground to a halt. Lucas Arts moved to games that boasted more action, and it seemed like the genre had died. Until the Nintendo DS arrived on the scene. Its touch screen was perfect for point n' click-style gameplay, and with some very good games to back it up, it seems that the puzzle adventure is back, and here to stay.

If you own a DS you've probably played a few by now - especially the quirky Ace Attorney games from Capcom. A strange take on murder mystery stories, you play as the defence attorney Phoenix Wright (and for one game, his successor, Apollo Justice) as you save your defendant by breaking down testimo-

nies, showing evidence, and yelling "OBJECTION!" into the microphone. While the games didn't have incredibly flashy graphics or highoctane gameplay, they made up for it with great writing and very likeable characters. However, after four games, both the fans and the Developers themselves felt things were getting a little stale. Enter stage: Ace Attorney Investigations. this time focusing on Phoenix's longtime rival, Prosecutor Miles Edgeworth, while the witness interrogation and evidence slinging remains, being able to run around the crime scene we're investigating, and a new 'Logic' clue deduction system do makesthe proceedings different from the previous installments, but a feeling of it being just a little too similar to the previous games threatens to make things stale.

This extends to the plot and characters, too. Ace Attorney Investigations is filled with cameos and references from the previous four games, and although it gives the game

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D

erided through accusations of being derivative, unoriginal and gratuitously violentm the horror genre often receives short shrift within the gaming community. Despite this, its longevity and - perhaps more importantly - its commercial success has aided its attempt to claw its way into the mainstream.

Originally a way for programmers to fill games with poorly simulated gore, the horror genre quickly moved into a vein of heavily atmospheric and dark survival game play.

The success of Resident Evil (PS1, 1996) twisted the genre in a new, more subtle direction: players became more vulnerable, immersed in a world of tension. The games departed from ballsout action, emphasizing restraint and evasion over the traditional values of straightforward beat downs.

Worlds became more sinister as the games replaced comical B-movie bloodshed, and created a real, tangible sense of fear. In short, they became ‘proper’ horror, with all its disturbing trimmings.

Anyone remember the infamous opening sequence of 1999’s Silent Hill: the anxiety of the run into town, the sombre and edgy tone? It set the bar for horror games

some continuity, it's obvious that a lot of the game is pitched to existing fans, rather than being a gateway to new ones. Even Edgeworth himself doesn't get very far before running in to old acquaintances, but his withering and sarcastic banter should be fun for everyone.

It's a solid entry to the series, and although it might exist solely for the fans (who might also find it a bit easy), that's all the more incentive for those who haven't experienced the series to track down the earlier games - you won't be disappointed.

Joseph McDermott gives us a fearful history lesson on the Horror genre. You're not scared, are you?

and proved that there could be an artistic element to violence. Games no longer tried to glue you to your seat with a stream of gore, but instead relied on a player’s emotional investment. When exploring the dilapidated town it could be scarier to discover an empty street than a horde of zombies. Lest we forget the creeping static of the character’s radio to alert us to the presence of some unholy enemy.

By the early Noughties, the genre was accused of feeling 'formulaic' - unsurprising, as any casual gamer would have trouble telling their Alone in the Dark from their Silent Hill. As a result, the games became mired in puzzle-solving. The fear factor, the genre's top priority, gave way to intricate riddles and conundrums.

Games became slow and turgid affairs that were more likely to bore than terrify. Anyone who spent hours hoofing it up and down the empty corridors of Resident Evil: Code Veronica to find the code for some bizarre music box, devoid of any interaction, would be inclined to agree that the genre had lost its way.

However, like any business, when sales dropped, something had to be done. The arrival of a new generation of consoles had developers

go back to the basics: immersive atmosphere. Xbox 360 classic Condemned: Criminal Origins was a console debut game, and borrowed heavily from Silent Hill - leading the gamer back towards a murkier and more disturbing psychological horror. The game featured an ambience so dark and distressing that a flash of shadow or unexplained scrape sent chills up the spine. Realism and gritty violence played a central role in the story of a single police officer on the trail of serial killer. A new importance was placed on reflexes, contrasting with the slow movements of the protagonist. It also took cues from CSI, allowing players to investigate the well crafted yet degenerate crime scenes. Sudden combat scenes have their share of gratuitous violence, but it's used sparingly to great effect.

The unique selling points of horror games have now bled through the genre gaps and what was once purely horror has crept into action, adventure and even RPGs. Bioshock, Left 4 Dead and Fallout 3 all share in the immersion, the vulnerability and tension of horror. Long awaited release Alan Wake is the next step in horror gaming, moving from the simple, linear level structure to a more sandbox-style world (though not to the extent of GTA or Prototype). Revolution has become second nature to the genre; the only thing we can now expect is the unexpected.

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Don't Miss...

W

ith it's long history and alluring atmosphere, it's not surprising that the city of York has a rich literary tradition. The city is associated with a huge number of writers, ranging from Dickens and the BrontĂŤ sisters to Kate Atkinson (born in York) and Charles Whiting. The city boasts many literary landmarks including the birthplace of W.H. Auden. It also has a wonderful selection of independent bookstores tucked away in it's narrow, cobbled streets.

The York Literary Festival aims to celebrate this history through a variety of events, many of them free. Over ten days, a huge variety of events will take place throughout the city including readings, talks and writing workshops. The highlights include: March 18: Poetry, storytellers and songwriters open session (The Rook and Gaskill, Lawrence Street): An open mic night for musicians, writers, poets and storytellers, hosted by York student haunt, The Rook and Gaskill, it looks to be a brilliant night of stories and tales. If you fancy having a crack , performers get a free drink!

March 22: Jim Crace reads from All That Follows (Waterstones, Ousegate): The author of a number of critically acclaimed books, including Continent and Being Dead (winner of the Whitbread First Novel award) reads from his upcoming novel All That Follows, which tells the story of a man bullied into following his fantasies about life as a revolutionary.

March 23: York Amnesty International present - Freedom for Sale by John Kampfner (Quaker Meeting House, Friargate): One of Britain's most prominent political writers discusses the terrifying loss of freedom he sees in modern-day Britain, from the increasingly widespread CCTV surveillance we are subjected to, to "the most stifling libel laws of any equivalent nation."

March 25: Kate Atkinson in conversation with Roger Clark (York St John University, De Grey Court Lecture Theatre): Kate Atkinson, author of several prize-winning bestsellers including When Will There Be Good News? and Behind the Scenes at the Museum, discusses the writing process and her novels.

March 26: A Night of Erotic Poetry & Prose (The Black Swan Peasholme Green): A more lighthearted (and quite possibly hilarious) evening, featuring a free drink on entry, spot prizes for the best outfits and readings of erotic literature.

Various Dates: York Literary Walks: A tour of the city taking in landmarks connected to the many writers associated with the city through the ages, from the BrontĂŤ sisters to W.H. Auden to Kate Atkinson. The perfect way to get enjoy the sights of York in the Spring sunshine, (hopefully) whilst learning more about our city's literary heritage.

For

a

full

programme,

see

the

website:

www.yorkliteraturefestival.co.uk

Caitlin Potter

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treet Psalms represents seven

years worth of creative output by young poetic visionary, James D. Quinton. The collection states itself as self consciously developmental in style and maturity, as Quinton reflects on themes of fragility, hope and despair. To this end, Street Psalms is an appropriate title. Many feel ashamed of how modern poetry can be presented in anthologies as secular prayers; but Quinton unashamedly exploits the tradition, subverting traditional florid eulogies, to bare, cold phiBy James D losophy.

Quinton His epitaph is from G.K. Chesterton: 'The riddles of God are Xplosive Books more satisfying than the solutions of man.' Towards the start of the RRP: £6.99 book, this seems an obscure choice, since Quinton's poems seem to seek answers. The style of these poems will be familiar to all ponderous

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adolescents: 'and as I contended/ with the onset/of a frost the/ evening that had just/passed now felt like/ a lifetime ago' The sublime way Quinton captures the meaninglessness of student life in a metaphysical context makes for enlightening reading to we who relate so whole heartedly to his perspective. The rolling rhythm of his prosaic poetry is reminiscent of William Carlos Williams, whilst being true to Bukowski like subject matter. There's also a distinct sense of Britishness to everything Quinton writes. He uses the backdrop of London, The Clash and the weather to accentuate his melancholy.

To Quinton, realism in its most genuine state isn't shameless, it's full of shame. He seems apologetic in his poetry, claiming to be 'searching' for what can only be redemp-

Take Five: Mother's Day

by Natasha Holden

Robert M Munsch - 'Love you Forever' RRP £4.95 (Amazon)

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t may seem a little odd, as a student, to be considering giving your mum a children's book as a gift, but you'll have to trust me here, this book will tug at any mother's heart strings (and apron strings). The book starts with a mother rocking her newborn back and forth, singing that she will love him forever, and progresses through the child's life as he grows into a young independent man.

Following through the times of frustration and devotion associated with raising a child, until it ends with the son holding his own child singing the same song that starts the book. A beautiful tale that'll show your mother that despite you growing

up and becoming independent, the enduring nature of the love shared between mother and child is always there. Although there is some controversy associated with the book, as the mother at one point goes to her fully grown son's house to cradle him and sing once again, giving it a slightly dysfunctional image, it also reinforces the idea that no matter how old you are your always going to need your mummy.

Charlaine Harris - 'Dead until Dark' RRP £6.99 (Amazon)

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he vampire fad is at an all time high, and if your mum is one who swoons at the idea of Edward from the Twilight series, then she'll love this romantic mystery by Charlaine Harris. Dead Until Dark is the first of the Sookie Stackhouse / True Blood series, following the young barmaid's turbulent love life with an outcast vampire in small town Louisiana. Based in the

Janine Turner - 'Holding her head high' $20.00 (www.janineturner.com)

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he ideal gift for any single mother, this inspiring book offers insight into the lives of thirteen lone mothers across the centuries.

These women have been abandoned, divorced and hurt in unimaginable ways; however they find the courage to continue on through it all with the help of a little faith.

Including the tale's of a wartime

widow, a mother of slavery, and the widowed Belva Lockwood - the first woman to run for president - this story explores the social implications for both the women and the children.

Be warned: there is a focus on faith throughout the book, so if you're not one for that kind of thing, then this may not be for you.

However, the historical aspects of it are truly fascinating.

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Deep South, when vampires have just 'gone public', this novel deals with the prejudice and discrimination typically associated with small towns such as this.

Sookie Stackhouse's difficulty in controlling her impulsive telepathic abilities, makes dating a no-go and causes most people to fear and avoid her, until the arrival of Bill - he's tall, dark and brooding, and best of all; she can't hear his thoughts, but there's one catch.

He's dead. When a series of murders start to occur, the first being one of Sookie's co-workers, her life is turned upside down as she embraces her talents and strives to hunt down the killer that would make her his victim. Less than three hundred pages long, this novel will encourage you to laugh in the face of Anne Rice's superior, upper class vampire society with her original working class, down to earth characters.

Dennis McDougal - 'Mother's Day' £9.99 (Second hand from amazon)

ow if your mum isn't one for soppy love stories or emotional presents then this would be ideal. Based on a true story, the tale follows the murder of two daughters by their jealous mother. She has her sons hold their sister down while she brutally beats her until sh falls unconscious and shoves her into a locker, abandoning her there until she dies. The tale also describes how she dug a bullet out of another daughter's chest, without any medical assistance, and when she didn't recover, the poor, delirious girl is doused with gasoline in the woods and set fire to by her own cold hearted mother and brothers.

This devastating tale of brutality was kept under wraps for nine years until the youngest daughter finds the

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tion. Through the development of the collection, we feel that he is submitting to a self imposed loneliness.

Though the development of the collection is noticeable, Quinton's poetic force is unwavering. Where he finds beauty, he does not linger upon it. He allows one image stand with all its own power: 'Mike tried to talk to me/but I only heard music/coming from his mouth' By the end, the sheer rawness and emotional force behind some of the pieces offer themselves so readily to the reader that you are left wondering whether the depths of that part of Quinton's life have been forever plumbed dry.

Alexander J. Allison

Catherine Cookson - 'The Maltese Angel' RRP £6.99 (Amazon)

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f your mother is anything like mine, she'll be a sucker for this book, by one of the greatest writers of love stories known to woman-kind. Easily one of Cookson's best books to date, set in northern England, looks at the tale of a young farmer, Ward, who defies all expectations of him by marrying a dancer, Fanny, rather than the woman everyone expects.

Daisy, who believed herself to be his future bride, turns vengeful, but this is only the beginning.

This book promises a rollercoaster ride. When Fanny dies unexpectedly and Ward slips into insanity, he is left to raise their two daughters. One, Jessie is sorely unloved by her father, and the other, Angela, is later raped by three village men and burdened with a child as a result. It then follows the life of Janine, the child, who is hated and nearly killed by her grandfather, and despised by her now crazy mother. As always, Cookson brings the characters to life with her astounding narrative and wonderful writing.

courage to speak up and tell of the violence and rage that caused the death of her two sisters, and which may have led to her own. Not for the faint hearted, this book focuses on one woman's insane jealousy of her own flesh and blood and the heinous crimes that she commits.

I won't lie, this is a very pricy book, so my advice is buy it second hand - she'll nver know! Enough to shock and appall any mother.

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Com e Fly With Me...

With 5 long weeks to fill this Easter, Louisa McLellan looks into how to escape for a few days...

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f you are looking for an easy trip from York without flights or passports why not head to the east for one of the coastal towns? Robin Hood’s Bay is an old smugglers' town on the coast, with the tide working its way up the small streets in the evenings. This is a perfect destination if you are short of time and just want a small, relaxing get away. With a beach and a variety of walks or trails to entertain you, followed by a very nice selection of pubs to chill you out in the evenings. It really is the perfect get away for those of you staying in York.

If this Easter you were hoping to get rid of your snow blues why not head over to continental Europe to try and remember what spring should feel like?

Spain holds many beautiful cities, any of which would be a joy to visit, especially if you can get to one of them for the Easter weekends.

With huge parades to celebrate this holiday, they really are amazing events. However, if you can’t make the Easter weekend itself don’t fear! Why not head for a city break in Madrid? There's plenty of bargain flights around if you search, and this city holds a massive variety of things to do. There are three large art galleries, the Spanish National Library, as well as the magnificent palace. If you want to relax there are a variety of markets. The Sunday ‘Rastro Market’ in La Latina has been recommended to me: a large chunk of Madrid is cut off and stalls selling almost everything appear. With so many things to do, there is definitely something for everyone!

Why not go further afield and head to the North of Africa to Morocco?

The country is buzzing with students and locals alike during the holidays, due to the Morocco Hitch, and is an absolutely amazing place to visit.

You can travel into the Sahara on camels, head to a beautiful beach or spend hours getting lost in the markets. I went to Morocco last year, and spent most of my time in Marrakesh, and absolutely loved it! Sleeping on top of roves every night is an absolutely incredible experience, and I made so many friends there the time was truly unforgettable. From Marrakesh you can easily get to a variety of places, from the Sahara to the amazing mountain ranges. My piece of advice would be not to pack too much before you go because you will want to fill your bag with goodies once you get there! So go get haggling and go have fun in a completely different culture!

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Maryja Morrison explores the ins and out of this chocolate season...

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t is around this magnificent time of year (as the sun makes a desperate comeback!) that the secular and religious combine in a string of closely united celebrations. Firstly, we have Mardi Gras, otherwise known as Shrove Tuesday, (or Pancake Day!), quickly followed by Ash Wednesday and then a few weeks later, Laetare Sunday, known to the populous as Mothering Sunday... and that's just the run up to Easter! However, whether Easter for you means Jesus' resurrection, or perhaps instead, a characteristic overload of chocolate bunnies, (or indeed a healthy combination of both) Vision Culture has unravelled this season of fasting and feasting to bring you a mixture of helpful 'Did you know's! * For Christians, Easter is the year's most important Feast. It is the oldest celebrated feast in the Christian tradition and marks Jesus' resurrection from the dead after his death on the cross (on Good Friday) in atonement for the sins of the world. * Mardis Gras ('Fat Tuesday'): This is quite possibly the most famous Tuesday of the year as it heralds the amazing opportunity to have a meal made solely of pancakes! However, why, historically, is it pancakes we're making? Why not chocolate muffins? Answer; to have a final feast on (and use up!) the ingredients that were usually given up for the duration of Lent, such as sugar, fat and eggs.

Mardis Gras is then fol-

With Lent well underway, Ste

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EggSploring Easter lowed by Ash Wednesday which is marked by the reception of ashes in the form of a cross on the forehead. This is a reminder of our human frailty and need for repentance. The following season of Lent is then used as religious preparation for Easter in the form of giving up extra indulgences and taking on extra opportunities for prayer. * Laetare Sunday (4th Sunday of Lent)/Mother's Day!: When translated, this Latin name means 'Rejoice' and marks a break from the austere period of Lent. In the 16th Century, it was customary returning Christian folk to their Mother Church, most usually a Cathedral, on this day. Hence people were said to go 'a-mothering'.

It is now better known for being the time at which that lovely bouquet you were going to buy for your Mum now costs 3 times the amount it should! * The tradtitional Lamb for Easter Day: The Lamb is symbolic of the Paschal Lamb (from the Jewish tradition) which was sacrificed. This then becomes synonymous with the Christian tradition of Jesus' sacrifice on the Cross * One a penny, two a penny...

Hot Cross buns: Although people aren't 100% sure who started the Hot Cross Bun craze (n.b. they're best when they're sticky on top!), historically they are made and are eaten on Good Friday, which explains the cross on top. * What came first, the bunny or the egg?: Most usually immortalised in chocolate, these two figures are used to represent fertility, springtime and (perhaps most in connection with the Christian tradition), new life. Painted boiled eggs are also a traditional gift in many Easter European countries with egg-rolling then a fun option! * Why 40 days?: Its not that the early Christian Church randomly took a shine to the number 40 (although many things happen in 40's in the Bible!), but rather that this number symbolises different events, including the period that Jesus fasted for in the desert prior to starting

40 Days and 40 Nights?

t's that time of year again, in the run up to Easter people are talking about what they have decided to 'give up'. I am from a Catholic background, but am now a committed atheist. I grew up with Lent, everyone in school would give up sweets or chocolate for three days and then forget all about it and move on. The more committed amongst us might make a couple of weeks, some would even manage to give the money they have saved, on their particular vice, to a charity of their choice.

One of the main things that struck me since moving to uni is the amount of people that give things up over this 4

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Kenny wonders if it's all worth it...

week period despite not being Catholic themselves. This got me wondering whether Lent was worthwhile as a test of your own will power, rather than as a religious sacrifice.

I suppose trying to improve your self discipline can only be a noble cause, but part of me thinks if you can do without these things for 4 weeks, why not go the whole hog and give them up all together? After all no-one ever gives up things that are good for them, it's usually beer, cigarettes or chocolate.

his Ministry and the traditional number of hours Jesus was in the tomb for, proceeding Easter Sunday. Traditionally, Sundays aren't counted as days of fasting which helps us to remember that as opposed to being a battle of the bulge, the period of Lent is a time to rethink our priorities in life! * Celebrate in style...the carnival way! Carnivals are widespread during the run up to Lent (culminating in Mardi Gras) with many countries around the world taking to the streets in an impressive array of material and colour!

Perhaps we should take a leaf out of Belgium's book, where the City of Binche celebrate with around 1000 dancers lining the streets from sun-up to sun-down whilst strains of the traditional carnival songs can be heard for miles.

Or why not head to Cyprus where the celebrations last for 10 days prior to the start of Lent. Masked balls and Carnival kings are only a few of the diverse traditions on offer during the festivities! Then there's Venice which plays host to some of the most famous annual celebrations ever. No surprise therefore that they mark the auspicious occasion with a reel of Venetian mask wearing balls and parades through the street. France also joins in, to the tune of the Carnival of Nice which lasts for 2 weeks and constitutes parades of flower-covered floats and flashy nighttime light displays. Nevertheless, above all of these reigns Brazil's 'Carnaval' in Salvador de Bahia. According to the Guinness Book of Records this is the biggest street party ever with around 2 million people joining in! Personally, however, I prefer the sound of what the UK has to offer...a Shrovetide Carnival which kick starts the busy carnival calendar.

Taking place in Cowes and East Cowes, on the Isle of Wight, it is not only the very first carnival of the year, but one of the UK's last remaining pre-Lenten ones!

So with Easter fast approaching, make the most of all that's on offer be it fasting or feasting bunnies or buns. We must admit, Easter is well worth waiting 40 days for!

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Review

Maryja Morrison

PROFILES Cesca

Position in Fusion: President Why she got involved: "I love Fusion, it brings together all the university, it's not just models and dancers... most of the clothes have been designed and made by students and this year we have Makeup Soc helping us too!"

Q: What were the highlights in the run up to fusion?

Danielle: Definitely in the last two weeks, where things started to come together and you got to see what other dancers and models were doing. When the show is run through and you see and hear everything, it definitely spurs you on to make sure your scenes are the best they can be.

Anish: That sense of satisfaction when everything comes together and looks good… and all the banter that goes on during rehearsal.

Cesca: The whole experience; getting to see everything fall into place, from the orignal ideas to the final show! And so many people being involved!

Q: And the low-lights?

A: Nothing really, aside from the bumps and bruises, but they come and go.

Anish

Position in Fusion: Dancer Why she got involved: "Fusion gives us a chance to participate in something which allows us to exercise what we love doing; dancing!

It’s also a good opportunity to meet people!"

D: The morning after a rehearsal when you literally can’t move anymore. Body parts start aching that you didn’t know you had! The final week was undoubtedly the hardest. Up until then there had been rehearsals pretty much every day since we started, but with so many scenes and so many people involved they didn’t feel that intense.

C: The last week! Up until then you can be organized but you can’t anticipate what will happen up in the final lead up!

Q: How many hours did you guys have to put in to get all of it perfect?

A: I’d say I had about 40 hours of rehearsals in weeks 5 to 7. In the week before Fusion, rehearsals were a lot more time consuming, with a runthrough every day going into the early hours of the morning, however, all in a concerted effort of making the show amazing!

Danielle

Position in Fusion: Dancer Why she got involved: "This is the second year I’ve been involved and I guess I wanted to be in fusion again because of how much fun doing the show was last year."

C: The committee was selected last July so since then I’ve been doing it the whole way, from the basic ideas, to auditioning everyone to this final run up!

Q: Has it been a fun experience?

D: Fusion definitely is an experience everyone should be involved in at some point while they’re at York!

There’s a lot of student talent on campus, from the choreographers to the performers; and with 300 people involved this year, there’s probably no better way to display it than to be in Fusion.

C: Definitely! The good thing about Fusion is each year it takes another step up! People don’t ever know what to expect from it! Previous Fusions’ didn’t have a story going throughout like this one, and because we twisted traditional stories, the choreographers were really able to express themselves!

Sarah Hele Bolwell letsn you in on th

e little s

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20 Questions

Simon Reeve (born 1972) is a British adventurer, TV presenter, author, political commentator and all-round travel legend. Having started his career as a postboy for a national newspaper, Simon has since became an expert on global terrorism.

In the past 6 years he has travelled to over 70 countries for a number of BBC documentaries, including Tropic of Capricorn and Equator.

Simon Reeve 4) Who is the most interesting foreign leader you've ever met?

President Voronin of Moldova. When I met him, he forced me to down multiple bottles of Moldovan cognac! Let's just say he was still standing while I was gone under the table...

5) What's the best way to get an upgrade?

I don't know, I've never had one! If anyone knows, contact me.

Interview by Paddy Harte and David Elliott

1) What was your longest journey?

It was for filming my last telly programme, Tropic of Cancer. I travelled to 18 countries over 6 months.

2) Where would you never go?

I have no idea. Because of my job it would be professional suicide to say!

3) What was the worst illness you have ever got?

Malaria, which I got in the tropics. I also got meningitis as a child.

6) What's your least favourite airline?

Can't remember the airline, but it was when I was flying out of wartorn Dubrovnik. I thought there was oil leaking out of the engine, but the air hostess informed me it was only hydraulic fluid.

7) Name your travel essentials.

Torch, a Leatherman knife and reading material. I get so bored on those 10 hour journeys, I just have to have something to read.

8) What's the best thing to do when lost in a foreign country?

Look like you know where you're going.

There's a lot of people who want to liberate you of your money.

9) Who is your travel hero?

Bill Bryson, I like his writing style.

LISTINGS

10) Where would you advise students to travel to this summer?

Madagascar, it's spectacular on every scale. It's like the Galapagos Islands, but bigger.

11) Where would you pick as home?

Britain. You can't dismiss the UK. We're fortunate enough to have a democratic government and easy access to things like water. If I had to choose somewhere else, it would be Denmark.

12) What was your proudest moment?

My wife agreeing to marry me. Also, winning the One World broadcasting award for outstanding contribution to world understanding.

13) What's the most scared you've ever been?

In Mogadishu, Somalia, we had a group of armed mercenaries looking after us.

They bumped into another rival group and everyone pulled their guns on each other. I really thought we were all going to die!

14) Do you ever travel without a TV crew?

Yes, with my wife, short haul and usually by train to reduce our carbon footprint.

15) What's the furthest you've been from home?

Mentally, it was in the deserts of northern Mauritania, days from any civilization. We were cooking food around a campfire when a nomad came from nowhere. We gave him some food according to nomad tradition and then he disappeared again. It was like being on another planet.

16) Does travel ever lose its appeal?

No, there's always something new to experience.

17) What's the worst native dish you've ever eaten?

Zebu penis soup. It was full of gristle and I still feel sick thinking about it.

18) How do you decide where next to go?

With Tropic of Cancer, the line pretty much dictated it. However, a great website is seat61.com - brilliant ideas for train travel.

19) What's the next country you would want to visit?

France, by rail, to see my brother and his beautiful family.

20) What's your next TV programme?

Tropic of Cancer, starting this Sunday on BBC 2.

Picks of the week See it for yourself...

Wednesday 10 Thursday

11

UNIVERSITY CHOIR 7.30 pm @ York Minster

PARANORMAL ACTIVITY 7.30 pm @ P/X/001

The stunning polyphony of Haydn's The Seasons is set to fill the equally magnificent interior of our very own York Minster in the return of one of the year's most anticipated events. The 250-strong University Choir receive able support from the Northern Sinfonia and a sprinkling of internationallyrenowned solo voices.

Prepare to crap your remaining clean pants. Paranormal Activity, filmed on a miniscule budget in one house, nevertheless manages to tweak just about every scary bone in your body.

Test audiences have apparently been physically sick. And if that hasn't sold it...

Tickets: Studnets - £5, available at the box office in the Music Dept.

HAVE I GOT NEWS FOR YORK 7. 30 PM @ V/045 Have I Got News for York is one of campus' most enduringly popular events, and Wednesday's show has a Fusion/election theme to spice up the tried and tested formula. Confirmed guests include Fusion's Will Boothe and election pundit Ollie Lester.

Tickets: £3 otd

16

GLEE SINGERS 7.30 pm @ St. Helen's Church Heresy! Some might insist that Glee belongs on a Monday night, but trying telling that to genuine Gleeks. The real thing hits York and if you're expecting ridiculous dance routines and teen pregancies you may be in for a disappointment. GleeSoc will instead treat you to a mix of light-hearted medleys and more serious-minded choral works.

And that's how Sue C's it.

Tickets: £3 otd

Sunday

Tuesday

Wednesday 17

14

UNI SYMPHONY ORCHESTRA 7.30 pm @ Jack Lyons

GENERAL FIASCO @ Fibbers

Some hideously talented musicians show us mere mortals once again that there's more to playing an instrument than bashing out Breakfast at Tiffanys on a battered acoustic guitar. Stravinsky's joyous Petroushka takes pride of place, supported by Elgar's famous Cello Concerto in E Minor and Danzón No. 2 by Arturo Márquez. Bound to be a stirring performance.

Northern Irish indie rockers General Fiasco are the next in a long line of like-minded acts to tear up Fibber's cosy surroundings, but there's a good reason that the venue is famous for the genre. General Fiasco have so far supported such acts as Snow Patrol and the Pigeon Detectives, but expect them to stop playing second fiddle soon.

Tickets: £6 advance/£7 otd

Tickets: £6 advance/£7 otd P

Wednesday 24

Scenesters

THE AUTOMATIC @ Fibbers

Scene Editor David Elliott

Wales finally contributes to the British cultural scene (in a manner of speaking) with the Automatic, who apaprently have released something worth touring for since 'Monster'. Slander aside, the band is supporting its third LP, Tear the Signs Down, so expect some new tracks alongside the old favourite(s).

Music Editors Rachel Pronger Jim Norton

Tickets: £9 advance/£11 otd

Film Editors Tom Martin Jenny McLarney TV Editor Scott Bryan TV Deputy Teja Pisk Games Editor Nathan Blades Books Editors Natasha Holden Caitlin Potter Culture Editors Louisa McClellan Maryja Morrison