Scene Issue 232

sam lee the joy formidable

swim deep Illustration: Niamh Connolly

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MUSIC NEWS Daft Punk release 15 seconds of new music ahead of much-anticipated album release.

The Who’s Pete Townshend apologises to seven-yearold girl for swearing at her during Canadian show.

Further ‘Harlem Shake’ antics as group of fifteen Australian miners fired for performing the dance.

Nicky Minaj fires both her make up artist and hair stylist in attempt to be taken more seriously.

Massive Attack to end three year hiatus for the Manchester International Film Festival.

French electronic dance veterans Daft Punk have released a tantalizing 15 seconds of new material, on a mysterious new television commercial broadcast in America.

It included neither album title nor release date – just Daft Punk’s glitzy logo, rotating slowly and an image of the two DJs’ trademark headgear.

The band are due to release their fourth album some time in the near future, their first full-length release since 2005.

The advert gives no title, but the band are doing well at building up the album’s hype.

The Who’s guitarist Pete Townshend has been forced to write a letter of apology to a seven-year-old, after it came to light that he told her and her father to “fuck off ” during a live concert in Hamilton, Ontario.

Townsend’s fury was supposedly sparked by a placard that the girl waved which read, “Smash your guitar, Pete!”

He took the microphone to request that the fans refrain from bringing their children to shows, before mouthing the fated words in front of the whole crowd.

The infamous ‘Harlem Shake’ dance that has taken the world and YouTube by storm has caused further upset as fifteen Australian miners have lost their jobs for breaching safety regulations by performing it underground.

The miners who worked in the Agnew Gold Mine in Western Australia, are now left without the six-figure salaries they earned from working at the mine - despite some of the workers not actually participating according to reports.

Perhaps this could be the end of the shake’s popularity...

Flamboyant popster Nicki Minaj has reportedly fired her hair stylist and make up artist, in an attempt to be taken more seriously as a musician.

The news comes after a series of controversial feuds with stars such as Mariah Carey, and much reported tantrums for reasons such as the grass outside her trailer at T in the Park being too long for her liking.

It remains to be seen whether this re-styling of her once flamboyant and controversial image will gain the respect she desires.

Massive Attack are set to end their three year hiatus, after being added to the line up for the Manchester International Film Festival.

The band have not played a live show since 2010, and the Film Festival is set to be their only live show in 2013.

The band will be collaborating with film maker Adam Curtis, made famous by documentaries such as All Watched Over

by Machines of Loving Grace.

They will play the show at the Mayfield Depot, specially set up for the festival, for which tickets are selling fast.

OPINION

THE RISE OF DEEP HOUSE MILO BOYD EXAMINES THE EMERGING HOUSE SCENE IN YORK

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t’s hard to say whether Deep House is back, or simply never left and has now re-emerged into the mainstream’s conscience in the last couple of years. With its dreamy vocals hovering across a regulated bass line, Deep House has, like most fresh and distinctive sounds, a long history. Generally considered to have emerged in the ‘80s through the pioneering work of pleasingly named innovators Mr Fingers and Frankie Knuckles, Deep House became, and has once again become, the reserve of the musically inclined whose desire to dance doesn’t quite stretch to the full blown fist pump.

For those who refrain from the real, non-Revolutions based clubbing scene, dance music is easy to typecast as a somewhat shallow aphrodisiac for the pilled up raver,

and impossible to consume in any other context.

Whilst this may be the case for the drop based rave scene, first popularised by The Prodigy and recently reworked by Skrillex,

Good To Me. The problem, and the genius of Deep House, is this lean towards the gentle. For some, the refusal of artists such as Cyril Hahn and Roger Sanchez to guild their cli-

“Consistency in tempo and mood allows the properly configured person to drift to the fringes of a trance like state.”

Deep House is a far subtler affair.

Infused with a tonal sound most noticeable in the modal jazz progressions of Miles Davis’ Kind of Blue, post millennium Deep House layers subtle, muted riffs to form a relaxing air of dissonance. One of the most enchanting examples of this form is Chris Malinchak’s So

maxes with anything more than a chord change, or at particularly left field moments, an extra highhat, renders Deep House a dull affair. For the increasingly numbered minority however, consistency in tempo and mood allows the properly configured person to drift to the fringes of a trance like state.

By way of comparison, if the live band is your typical Hollywood comedy, funny at the beginning, dull in the middle and heart warming at the end, Deep House is Simon Amstell’s Grandma’s House; fashionably underplayed but quietly brilliant throughout.

Despite York not being the most reliable barometer of musical success (the small music scene rendering Milli Vanilli and Bangers and Mash the only viable choices for the discerning jiver), the popularity of Deep House is undeniably on the rise. Whether or not the idea of standing next to the heartregulating speakers of Fibbers on a Wednesday night is your idea of fun, Deep House is most definitely worth its weight in increasingly valuable music gold.

MILO BOYD

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Singles

YO1 FESTIVAL: 5th may Bringing a diverse range of new and exciting artists to york racecourse, YO1 festival is sure to be a day to remember for the york music scene. the company behind it has already been causing a stir, but with more diversity it promises to be an eclectic day with something to satisfy everyone’s tastes. steph barnsley looks at some of the line-up’s highlights.

Primal Scream ‘2013’

Yeah Yeah Yeahs ‘sacrilege’

alunageorge Gracing the main stage is London electro duo AlunaGeorge, comprising of vocals from Aluna Francis and production by George Reid. After a slow start on the musical track, they recently scored a nomination for the Critic’s Choice award at the Brits this year, and were the runners-up in the BBC’s Sound of 2013 listing. Now they’ve got a successful collaboration with Disclosure under their belt and an imminent album release, it is plain to see that these two have a fantastic year ahead and the potential to go very far.

T serious sam barrett

Scoring a spot on the Bison Coffee Stage, Leeds boy Sam is ready to bring his modern twist on bluesyfolk to the crowds gathering on the Knavesmire. He has a kind of Tallest Man on Earth vibe, but what makes him so unique is that he mixes the traditional American blues and country approach with lyrics about his Yorkshire homeland; and all with the showmanship of a 12 string guitar.

paws This Scottish garage-pop/rock outfit are taking to the Please Please You stage, to showcase their lo-fi sounds this spring. So far, their gig venues have included a friend of a friend’s bathroom and on top of a double decker bus, as well as T in the Park. Their imaginatively named album Cokefloat! was released last year, and is reminiscent of the 90’s pop-punk scene, full of youthful angst, which will surely bring energy and rawness to YO1.

haracteristic of the YYYs, ‘Sacrilege’ begins serenely, with plucked strings overlaid by Karen O’s ethereal vocals. Brian Chase’s irresistible drum rhythm drives Nick Zinner’s signature guitar work - simple, without a note wasted. O’s vocals rise and fall between quavering high notes and strident punkrock shouts, and halfway through the song, seemingly out of nowhere and hitherto unknown to the YYY’s musical arsenal, bursts forth thunderous, backing vocals. “Sacrilege! Sacrilege! Sac-ri-lege!” they chant, providing a resonant backdrop that O’s vocals counterpoint violently and brilliantly, and as it reaches its crescendo, the song is a glorious, post-punk prayer.

If this is a taste of what is to come from the YYY’s forthcoming album, it is safe to say fans will not be disappointed.

PHILIP WATSON

Balthazar

drawling Arcade Fire-esque vocals. Just as you’ve got used to that dissonance, they hit you with what sounds like a panpipe solo and haunting rising harmonies.

It all blends together to create an eclectic song that is somehow simultaneously relaxing and energising. You can imagine it as the soundtrack to a TV show for the post-Skins generation, where instead of dropping pills, binge drinking and domestic problems, effortlessly cool teenagers do wholesome activities in the great outdoors.

It’s a gloriously original bite of musical joy, give it a listen, it just might be a foundational song within your summer soundtrack.

JO BARROW

‘DO NOT CLAIM THEM ANYMORE’

lulu james With influences spanning Jamie Woon, Drake, Eminem and James Blake, Geordie girl Lulu James is bringing a touch of tenderness to the festivities, with what has been dubbed as ‘melodramatic dubpop’. With an EP coming out at the end of April, she is definitely one to watch if the title track, ‘Rope Mirage’ is anything to go by.

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he new single, ‘2013’ from alternative rock band Primal Scream, has already been described by NME as “maybe the most important song of the century”.

It is a brilliant piece of music. It starts with unsettling keyboards which lead into raw, grinding guitars and a saxophone melody, which I cannot seem to get out of my head. The lyrics do not pull any punches: they seem to make bold statements about the society we live in, calling for a revolution, speaking of a “peasant underclass” and “Thatcher’s children”. Primal Scream are certainly not being discrete about their political stance. There are two versions of different lengths.

One is accompanied by a very harrowing video. My only qualms with this track involve an over-use of reverb. I look forward to hearing the album.

MICHAEL COOPER

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althazar’s ‘Do Not Claim Them Anymore’ is a weird song. From the funky rhythmic opening that demands headbopping along to, it immediately undermines your expectations with its

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ALBUM REVIEWS TALK TO ANGELS THIS BROKEN HOME

KAVINSKY OUTRUN

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ndoubtedly for French electronic artist Vincent Belorgey (who creates music under the alias Kavinsky), the release of his album Outrun could not have come at a better time. His song ‘Nightcall’ featured on one of 2011’s most praised films, Drive, and since then has achieved a sort of cult status, while Belorgey has been cultivating Kavinsky’s reputation as a cartoon zombie racing car hero. His image being splashed across EP and single covers, adding to the mystery and metropolitan heroism of the character and his music.

The premise of the album is one which tells the story of this character Kavinsky, a man in the mid-’80s with a broken heart who inexplicably turns into some sort of zombie. The fact that the album is built on this story, however, soon starts to feel like an irrelevant idiosyncrasy as you listen further into the record. Lyrics are few and far between, and there is little development in terms of musical style. This is not to say that the album is not enjoyable, however. The atmosphere of a 1980s action film, which Kavinsky creates with strong synthesiser sounds and slightly silly narrators, makes it an interesting listen. The gem of the album is ‘Nightcall’, the song which arguably

T got Kavinsky where he is at the moment. With help from Brazilian singer Lovefoxxx (from CSS), ‘Nightcall’ is a genuinely moving piece of music, laced with dream-like sound effects and a spooky synthesised voice. Lovefoxxx’s vocals bring in some much-needed softness to the whole affair, and it works brilliantly.

It is easy to see why Kavinsky is perfect for movie soundtracks, as proved by his forays into the film world, which have been greeted with much acclaim. However, as a full-length album, ‘Outrun’s’ aims are perhaps a little misplaced. The whole thing certainly sounds like a film soundtrack, and one of the excellent things about this is the association and memory of the films they are attached to. As a listener of ‘Outrun’, you can often feel that something is missing because of this.

LOUISA HANN

he four piece band from Bradford open their debut album with the steady track ‘Keller Drive’, which sets the scene for the blend of contrasting sounds and passionate lyrics shown throughout the entire album. Lead artist Craig Kaye’s distinct voice adds to the deep vibe of the album, creating a contrast against the energetic beats.

The first track off the album, ‘Brain Man’ consists of a blend of drumming and epic guitar playing and the lyrics on every track depict a different set of emotions, from elements of frustration, anger, sadness and hope.

‘Hickory Dickory’ creates a more uplifting sound, the lead vocalist’s powerful voice being felt throughout the album with the constant beat of the drum and keyboard playing, creating a continuous stream of electric sounds.

Though the album consists of hard rock, touches of pop rock can felt throughout. ‘He loves Cilla’ and ‘She’ are more light-hearted tracks, adding more to the melancholic mood of the album, but still maintaining heavy sounds that avoid the tracks from being too melancholic.

A more upbeat track like ‘Enemies Closer’ consists a blend of different feelings and sounds, ensuring that there is not a moment of dullness. The track

JOHNNY MARR THE MESSENGER

HURTS EXILE

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ith the release of his debut album The Messenger on the 25th of February, iconic guitar legend and former Smiths member Johnny Marr has evidently returned to the musical fray. Inevitably, then, considering his past musical affiliations, Marr’s first solo effort certainly has a lot to live up to. It is well known that solo efforts are a notoriously risky business; there is the ever-present danger that such albums can be perceived as mere spin-offs. Marr’s The Messenger however, quite bucks this trend, and the results are tremendous.

Marr dispenses with any perfunctory introductory textures at the beginning of the album, diving straight in with opener ‘The Right Thing Right’.

Fast-paced and pounding, this proves to be a wise choice; indie-rock rhythm couples with ol’-fashioned, rock-n-roll drums to create an intense and promising start. ‘European Me’ is far more complex in its musical anatomy, echoing back to Marr’s time with the Smiths, but with a refreshing angle. Fears of a novelty album are cast aside at this point. From the first three tracks, it is quite clear this album can hold its own in the vicious musical arena of indierock.

Things get heavier with ‘Upstarts’

‘Real’ continues a deep sense of desperation, being notably a more steady sorrowful song. One of the stand out songs is ‘The Unravelling Emotional Boy’, which continues this sorrow, echoing the strong sense of heartbreak.

The track ‘I am King Here’ returns to a more energetic sound. More experimental sounds used in ‘Head Full of Noise’, ‘Off the Radar’, and ‘This Broken Home’ go in hand with the many songs of the album, which consist of these high beats and twist of different emotions.

Bonus tracks ‘Lead Balloon’ and ‘Gdr 92’ finish off the album, continuing the unique and distinctive sound of the band. ‘This Broken Home’ is an album that mixes slow, fast, hopeful and melancholic sounds, and is perfectly laid out, always bringing something different to each track.

DIANA RIGG

T and ‘Lockdown’, Britpop bangers which rely on Marr’s flawless compositions rather than production wizardry. The title track slows the pace to a degree, with more versatility in Marr’s musical style, but things shudder slightly with ‘Generate! Generate!’, which isn’t nearly as an exciting song as the title would have you believe. The next highlight comes from ‘Sun and Moon’, with some terrific contrasts between the dark bass line and the furious guitar work. The album carries on solidly, but lacks the variation needed to really bring the album to a resonant end.

While some of The Messenger’s songs lack the simplistic beauty of the finer pieces of Smiths-era Marr, this album is nevertheless a terrific solo debut, and once again marks Marr as a powerful musical presence in the world of modern music.

PHILIP WATSON

he second studio album from English synth-pop duo Hurts is named Exile. This album is a real bag of tricks in terms of style and genre, a quality that has its positive and negative aspects.

The opening track ‘Exile’ really is a triumph, and it is easily one of the best tracks on the album. It contains everything that is good about the genre; catchy lyrics, a good hook and a brilliant build up to a crescendo.

The vocal prowess of the album is also excellent; the third track on the album ‘Sandman’ surprised me very much. At first I did not think it was the same band as the first two tracks. It has a R’n’B quality to the melody, and a very mainstream pop chorus which is not really to my taste; but it reveals a diversity to their musical style, which stops the album from being repetitive as some synth-pop albums can be.

Other stand-out tracks on the album include ‘The Road’ and ‘The Cupid’.

They could not be more different musically, however: ‘The Road’ is a thumping pop ballad, that alternates between mellow verses and explosive choruses, while the latter is more of a Scissor Sister-esque sex-funk number, with a slide guitar part always thrown into the mix just for safe measure.

This is not to say that this album is not free of cheese – naturally, it would not be a synth-pop album without an orchestrated bridge. This appears in the song ‘Somebody to Die For’, but a bit of cringe-worthy music never did anyone any harm.

Having said all this, I did get a slight sense of repetition, and it was sometimes hard to differentiate between songs. They are well-executed, but I would have been happier to see a shorter album with more raw originality. This is, all in all, a very satisfactory album.

Although it’s definitely not a classic, it certainly ticked a lot of boxes in good and bad ways. I’d have to say that even though ‘Exile’ is not a contender for my favourite album of the year, it definitely is a strong second album for the Mancunian duo.

MICHAEL COOPER

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SWIM DEEP Martin Waugh chats to the Birmingham Boys making waves in the music world

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band of names, Austin (vocals), Cavan (bass), Higgy (guitar) and Zachary (drums) sit down opposite me in the oddly furnished backroom of York’s Duchess venue. Their tour manager Max a character in his own right - wanders off, drawing the curtain around us- something which would have been a secluding gesture had it not been for the ongoing soundcheck frequently interrupting conversation. However, the band seemed unfazed by such a trivial upset.

Swim Deep are a refreshing band. They are not just a group of guys doing grunge for the sake of making noise, but a group of friends writing feel-good songs about things that matter to them. Frontman Austin describes their genre: “it’s emotional, inspirational… all the ‘als’ except abysmal.”

Their brand of sun-kissed pop is youthful, but there are hints of more mature elements to their work. This is seen in their latest release, ‘The Sea’. It swells with joy, while Austin’s challenging refrain “Who’s got something, got something to say?” reflects the ideology of the band: people can change the way they think and feel for the better.

The idea for the song came about while at Great Escape festival. He told me: “We had a good time at Great Escape, it was the first time we gigged well and it was one of Cavan’s first shows. The song is all about going to the sea, down to the beach, that kind of escapism.”

The B-side to ‘The Sea’, a hazy cover of Led Zeppelin’s ‘Down by the Seaside’, shows the band’s capacity to make more subdued, poignant tracks. “We wanted to do something that pushed us musically,” says Austin. “Our songs are fairly simple compared to Led Zeppelin’s”. Higgy agrees, “It’s a great song. I’m proud of it; I think we did it justice. It was real fun taking that song and making it our own.”

The band’s name also reflects this apparently coincidental nautical theme. “Me (Austin) and Higgy used to go swimming a lot when we worked at Morrisons, I don’t really know how that’s relevant though. We wrote this song called ‘Swim Deep’ and after so many shit names we chose that. There’s really good imagery behind it; water’s a great thing you know, you need it to live.”

Swim Deep is one of many bands arising from so-called ‘B-Town’, the up-and-coming Birmingham music scene. The likes of Peace and JAWS are also making waves (no pun intended), and people are finally noticing the appeal. With Peace securing the coveted opening spot on NME’s Awards Tour and Swim Deep/JAWS both signing record deals, B-Town is on the up.

“We haven’t been home in a while, but it’s nice to know that other people are putting together bands because they know we’re having a good time,” explains Austin.

“I hope that they’re gonna write good songs and do it justice kind of thing. It’s a real good feeling, because it’s our mates. We’re all just a bunch of mates doing well, doing what we want to do. It’s real fun.”

Austin’s hopes for B-Town highlight its

charm; everyone seems to be friends and genuinely having a good time. Interestingly, the scene’s name was coined when Cavan and Peace frontman Harry Koisser tweeted it to Zane Lowe for a joke. However, the name is no longer appropriate. With bands sprawling the Birmingham area, Higgy reveals its replacement: “we renamed it the other day to West-Madlands, it didn’t seem right seeing as a lot of us aren’t even in Birmingham,” a fitting description for the scene; especially since most of the bands involved are, in the best possible way, quite mad.

“We’re all just a bunch of mates doing well, doing what we want to do. It’s real fun.”

I ask the band about their influences. Zachary’s response is predictable: “it’s more what influences us,” to write such happy songs. It’s hardly surprising that the band don’t look to imitate other artists but seek out their own styles- it’s a genuine feeling you get from their songs, not one of recycled vocals and false-emotion.

“I rarely listen to a band and think I wanna make it sound like that,” says Aus-

tin. “It’s more like what you feel. We always write good songs in the winter.”

After I question the contrast between winter songwriting and such sunny sounding songs, he admits: “It’s really strange, I know. I guess it’s just because we’re feeling a bit more cosy.” Higgy adds: “when it’s summer you listen to more music, you just wanna enjoy yourself.”

This is the second time the band has played at The Duchess, following their tour with Spector last autumn. I ask the band how it feels to return but at the top of the bill. “We loved touring with Spector, it’s strange being back without them, but good.”

Talking to the band about the fans waiting at the doors upstairs, they are excited by the thought of people being so keen. “As long as they like the music and get what it’s about, it’s real nice,” explains Austin. “It’s great to have fans and real cool that people are mad for music; I dig that, the superfan.

I’ve never been a superfan of anything, that’s why I like it.”

“They’re weird, they’re always going through our litter!” adds a suddenly excitable (and suitably drunk) Cav. The conversation moves to the band’s favourite artists. I ask who they’d most like to play with. Cav jumps in again: “Red Hot Chilli Peppers!” with Zach agreeing. Guitarist Higgy settles for Led Zeppelin, while Austin leans towards Pink Floyd, before exclaiming: “You two’d be in the same band then wouldn’t you!” An initial look of disappointment between Cav and Zach is followed

by smiles all-round…“OK we’ll have to play with Red Hot Chilli Peppers too then.”

Very much their own band, Swim Deep do not try to be something they are not.

Rightly enjoying early success, they have yet to reach the depths of their talent. And with chemistry as strong as theirs, the band is bound to last.

As the gig opening gets nearer, our conversation draws to a close. I have time to ask the guys about their post-gig exploits last time in York.

“Willow? The Chinese disco!” Austin just about remembers. The rest of the band’s memories returning, “It’s fucking sick there,” says Cav sobering up on coffee, “I like that place, last time we went we were all a mess.”

“I just remember prawn crackers… but I hear bad things about them,” Higgy looks away.

Although understandably tired, this is the first time everyone is talking. Having fun may be what this band does best. “We got really high and were all standing in a line on the stairs laughing and falling over,” Zach eventually remembers.

His final words remind me of their hallmark refrain from ‘Honey’: “Don’t just dream in your sleep, it’s just lazy”. I can’t think of a more appropriate way to describe the band than that. ‘West-Madlands’ could have easily become a clique of NME poster boys, but with genuine interests at heart it is a promising pool of talent… and Swim Deep is currently making the biggest splash.

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LIVE REVIEWS SWIM DEEP

AMY MACDONALD

20/2/13 THE DUCHESS

2/3/13 THE BARBICAN

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wim Deep have experienced a meteoric rise recently, catalysed by the popularity of Birmingham’s ‘B-Town’ movement and their endearing mix of grunge style and uplifting, joyous pop. Considering this, the turn out for their show at the Duchess in York on the 20th February was a surprisingly disappointing affair. The band have played the venue before while on tour with neo-grunge hipsters Splashh. The numbers they experienced at this show were far greater, but the Brummy boys did not let this dampen their spirits for their very own headline show, as they interacted with the modest crowd and played their songs with gusto.

A mention must go to one of Swim Deep’s support band before going into their own performance, however. Sheffield boys Best Friends played a lively and engaging set, demonstrating an array of good tunes straight from the newest ‘90s hipster revival, very much along the same vein as Swim Deep. The rapport between the two bands was clearly quite special, as during both of their respective sets, they praised each other’s music and ability to party and have a good time, which (despite apparently nursing hangovers) they surely did.

O Swim Deep’s set list was not particularly extensive, as they do not have a large number of songs to go on, so the band made sure the most was made of each song. Uplifting pop tune ‘Honey’ was well received by the crowd, as looks of appreciation appeared on most of their faces, and a group of young girls who had camped out at the venue doors before they opened, squealed and took photos on their phones. This sort of fan seems to be one the band are used to, which is not surprising given their youth, good looks and laid back attitude. The set ended in a rendition of their perhaps most popular track, ‘King City’, which was unexpectedly heartfelt and finished up the show on a definite high. It was in this way that the size of the crowd was rendered irrelevant, and Swim Deep gave York exactly what it wanted.

LOUISA HANN

n Saturday 2nd March a filled auditorium at the York Barbican greeted Glaswegian Amy MacDonald, who was playing in this city for the first time in six years. I held my breath with anticipation as the figures appeared from the blackness, ready to cheer when she was revealed in bright lights on stage. However, the first sight they actually got were some slightly older men all in checked shirts, skinny jeans and waistcoats… nope, not lumberjacks, just her support band. Must be a statement. Anyway, after a few slightly perplexing moments of my life, MacDonald appeared with her guitar and her unmistakable vocals, and the crowd loved it.

A true presence on the stage, Amy delivered first class performances of singles from her previous three albums. Her vocals were flawless throughout the whole of the set, enhanced by her rhythmic guitar playing clearly folk influenced.

Favourite performances included ‘Mr Rock and Roll’, ‘This is the Life’ and ‘Run’. These have been some of her most famous hits, and her live versions of them were not disappointing. A further small acoustic set was performed, including ‘Love Love’, dis-

bird

BASTILLE

22/2/13 the duchess

10/3/13 leeds stylus

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hannelling influences such as Kate Bush and Warpaint, Bird are a hypnotic three-piece band from Liverpool who graced an intimate audience with their haunting presence at the Duchess venue a couple of weeks ago.

Adele Emmas, the lead singer of this trio, is a real life, modern day Siren. Her ability to not only hit but maintain ridiculously high notes is both astounding and hypnotic.

But that’s not to say the other two members are redundant. Sian Williams provides some amazing guitar skill as well as gorgeous, lingering harmonies.

The standout song in the set to me was definitely ‘Ophelia’, the title track of their latest EP. The harmonies are stunning and, seeing it live especially, the lyrics take you on a journey through an intricately woven story.

The commanding drum beats from the only male member of the group, Alexis Samata, also add a great deal of intensity to the arrangement, especially when building up to the dramatic close which leaves you really wanting more.

After signing to Jack To Phono Records, playing a UK tour and a sold

A out EP launch back in 2012, the band have since built up a large, loyal fan base in their home town of Liverpool and other areas of the UK alongside releasing successful EPs. They were also featured as The Guardian’s ‘New Band Up North’ in December 2012, saying “Liverpool trio BIRD are creating music that’s hauntingly beautiful and forcefully captivating.

“Their poetic lyrics take your mind on a journey making you feel like you’re walking around in a gothic novel.”

Bird are a band of dark beauty, with the intense harmonies and lyrics to not only give you goose bumps but to leave you feeling haunted for hours afterwards, with their other worldly sound. It would seem that, like their namesake, the sky is the limit for the shoegaze trio.

STEPH BARNSLEY

n eruption of screams and the darkness swallows the stage as the lights go down. Drummer Chris, Bassist Will, Keyboardist Kyle and, finally the lead man, Dan, appear and roars explode. They are straight away in to their first song ‘Bad Blood’, beginning their massive set list of 16 songs, and, immediately, the crowd is infused.

Soon after the shy and polite lead introduces the band on to the stage, they charge in to ‘The Silence’ as the atmosphere progressively grows. ‘Overjoyed’ then coolly soothes the atmosphere, and I have never seen such dedication from a crowd to scream every word in unison. Things hit an apex soon as ‘The Weight of Living Pt. II’ and ‘Laura Palmer’ kicks in, once more sending the crowd into an uproar of energy. ‘Sleepsong’ dazzles the crowd with Dan Smith showing off his ability to astound with the fantastic tones of his voice. ‘Poet’ and ‘What Would You Do?’ afterwards forces the atmosphere of the crowd to hit breaking point. It was a testament to Bastille’s skill at capturing their live audience.

From here things only improved as the band show off their plethora of talent. ‘Oblivion’ was the emotion-

playing Amy’s seemingly underrated vocal ability and talent. Two notable performances were covers: a sprightly version of Jackie Wilson’s ‘Higher and Higher’ and an excellent, stripped back version of Bruce Springsteen’s ‘Dancing in the Dark’. It was brilliant. and then there was dancing. Lots of dancing. From two audience members in particular. This was a highlight of the evening, even for Amy herself, who showed her appreciation for these hardcore fans. The audience was unbelievably diverse, from the five year old who was sitting behind us to 15 year old girls who idolised the artist. This range created a truly electric atmosphere under the brightly coloured lights.

Her talent was well represented through her performance, and even got me on my feet. Still not sure about the whole checked shirt thing though…

KATIE MOLLOY

al highlight, and as ‘Icarus’ opened Bastille revealed their inner film geek with audio from Requiem for a Dream.

Kyle and Dan began to reminisce about Leeds Uni prior to the climatic ending, Bastille hitting the spectators with ‘These Streets’, ‘Things We Lost in the Fire’, ‘Rhythm is a Dancer’ and ‘Pompeii’, all of which we are actively encouraged to join in with.

They leave but the crowd’s chants of ‘Encore!’ brings them to storm on to the stage sending the audience into mass exhilaration. ‘Get Home’ once again hits the emotional strings, but is overshadowed by the pure ecstasy that ‘Flaws’ brought as Dan ran through the crowd, sending shockwaves throughout the crowd. Once returned thanks the crowd for the night and I can honestly say only one thing - thank you, Bastille for an unforgettable live experience.

ALEX KILLEEN

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STAGE

On Centre Stage...

INTER-UNIVERSITY DRAMA COMPETITION YORK

NEWCASTLE

Dog Days

In this edition, Stage give you an exclusive preview of what to expect from the participating Universities in this year’s Inter-University Student Drama Festival.

The Inter-University Student Drama Festival is a celebration of the best University level drama in the country, and this year it will be held here at the University of York.

This year the prestigious festival will be judged by independent adjudicators Dominic Allen, Dan Wood and Joe Hufton of Belt Up Theatre Company.

Not only do students have the opportunity to go and see these fantastic plays this week, but there will also be a range of different workshops for anyone who is interested to go along and enjoy.

In The Limelight...

Scheme

GLASGOW Skin

On August 22nd 1972 John S. Wojtowicz robbed the chase Manhattan bank in downtown Brooklyn. It should have taken ten minutes. Eight hours later it was the hottest thing on T.V. A month later it filled six pages in Life Magazine. Two years later it inspired an Oscar nominated film. 27 years later it was an acclaimed art exhibition. 41 years later, it comes to York.

Led by Wojtowicz himself, the cast of 9 attempt to re-enact the robbery “as it actually happened”, though they quickly discover this is not as straightforward as it first sounds.

The participating Universities in the competition this year are divided between comedy and intense drama, and this entry is sure to offer some comic relief for the audience.

Job interviews are tricky. We squirm, we exaggerate and sometimes we even lie. Four young graduates, however, are about to find out that interviews get a whole lot worse when Charles Bancroft is in the room. ‘Scheme’ is a hilarious new comedy, set in the office of the most inappropriate interviewer of all, which aims to amuse and enrich the audience.

Glasgow University’s Drama Society STaG enter ‘Sk[in]’: two monologues performed simultaneously to the Inter University Drama Festival; a different approach to that adopted by the other entrants.

‘Shy Twink’ (I think…) confronts what it is to be young, confused and sexually bemused. Meanwhile ‘Here, Me’ is the bitter lament of a woman who wishes she’d just finished the job – until then, she’s nothing to do but perfect gruesome selfdescriptions. It promises to be hilarious, heart-breaking and downright dirty.

ROYAL HOLLOWAY

UCL

BRISTOL

Darkness Invisible

Blood Lullaby

Disaster has struck the earth. Blind and alone, Francis is dying... or so they keep telling him. Deep underground, a group of storytellers have banded together in the aftermath of the destructive events that took place. They steal anything they can in order to survive, but to do so they must dare to venture up into the world above. ‘Darkness Invisible’ follows the decisive events that take place one night, wherein magic and mystery become reality in this strange underground world.

Francis, now battling for his life, watches on as forbidden stories long forgotten come to life.

Bristol’s showcase is ‘Blood Lullaby’, a play about our delusions of love and relationships, the universal plague and blight of romance, and the distortion of the ‘happy family’ model in our contemporary society.

Audrey and Chris are a couple going through the motions; they both know that something is missing. Over several years of hedonism and self-conscious bohemia, they have convinced themselves that the nuclear family life is not for them. As their life as a couple slowly grows sour, a long harboured secret drives a wedge between them.

Search

Disaster strikes in ‘Search Party’, Royal Holloway’s entry to this year’s competition, as a boy goes missing from a holiday camp site. Search parties are sent into the surrounding area to try and find the lost boy before it’s too late.

This play follows three very different men, as they are forced to put their differences aside, and work together to recover the lost boy. Robin is an elderly retired man; Tony a man whose life revolves around his family; and the third man, Frank, is the youngest member of the search party.

Takeover Festival Takeover is a series of three one week festivals, which takes place annually at the York Theatre Royal. The YTR staff handover the proverbial ‘reins’ in this week to a team of young professionals, aged 18-25, who organise and run the festival. Takeover exhibits a range of work not normally available in York, from touring dance companies to workshops for aspiring theatre makers.

So why should you go? First and foremost, it’s a festival by young people for young people and the shows on offer reflect this. There’s your standard drama fare, but if that doesn’t tickle your fancy there’s spoken word by internet sensation Mark Grist, mind control by Doug Segal and poetry by Carol Anne Duffy. On the Sunday night there’s the ‘Imaginarium’ which is where St. Williams College is transformed into a promenade of performances – a unique theatrical experience with performances in every room.

If that doesn’t sound good enough: if you’re quick enough Takeover has a number of free tickets available and the tickets are generally heavily discounted for students. As the team is made up entirely of young people, York students can also get involved in future Takeover festivals as backstage staff, come to Takeover in March to find out more!

A full programme is available on www.takeoverfestival.co.uk; tickets are still available, and the festival will be running from 19-24th March.

NEXT TERM FOREST

THE LESSON

THE BROWNING

THE VERSION

AFTER THE END

LITTLE WOMEN HEDDA GABLER THE NIGHT THE OF THE BURNING PESTLE

MUSIC STAGE FILM

BOOKS TECH SPOTLIGHT 20 QUESTIONS

FIL Les Misérables

Brokeback Mountain

The Dark Knight Rises

The Princess Diaries Bride Wars

One Day

Alice in Wonderland

The Devil Wears Prada

Anne Hathaway’s career-o-graph

2009

2005

2011

2012

WHAT’S NEXT FOR MARVEL? THOR: THE DARK WORLD

IRON MAN 3

After the events of The Avengers, Tony Stark feels dejected. Is he a hero? Is his Iron Man suit responsible for saving New York? The film looks to see Robert Downey Jr. undergoing a severe crisis of identity just as his greatest enemy enters the fray, The Mandarin. Portrayed by Sir Ben Kingsley, this foe is Stark’s ultimate nemesis from the film’s comic book origins.

Directed by Shane Black rather than series regular Jon Favreau, Iron Man 3 will mark the beginning of what Marvel is calling ‘Phase Two’ of its films which will lead directly into The Avengers 2 in May 2015.

NEWS

April 25th, 2013

Back in Asgard, the God of Thunder faces a new threat in the form of the Dark Elf Malekith played by ex-Doctor Who Christopher Eccleston. Natalie Portman is set to return as Jane Foster, as will Odin himself: Sir Anthony Hopkins. As Thor retains possession of The Tesseract after the events of The Avengers, presumably the post-credits sequence showing major Marvel villain Thanos from Whedon’s film will be paid off through a more thorough introduction of the character. Expect to be treated to Chris Hemsworth’s golden locks back on the big screen later this year.

Radcliffe and Watson: The Fairy Tale Couple Emma Watson is currently in cahoots with producers of Disney’s live-action version of Cinderella, which is to be directed by Shakespearean star, Kenneth Branagh. Cate Blanchett has already been confirmed to play the wicked stepmother and filming is set to begin this year. Daniel

Radcliffe may also be stepping back into the world of Victorian gothic horror as Igor in a new adaptation of Frankenstein, following the surprising success of The Woman in Black in 2012, where he played the role of lawyer, Arthur Kipps.

Serkis’ Animals Gollum actor Andy Serkis has spoken out about his role in Dawn of the Planet of the Apes and Animal Farm. With his adaptation of Orwell’s novel in the early stages of production, he revealed that he wants to approach the source material as a “fairy tale and fable.” He also looks

CAPTAIN AMERICA 2

November 8th, 2013

Subtitled ‘The Winter Soldier’, Chris Evans will again don the star-spangled shield in this sequel.

Following on from The Avengers, Cap has to adjust to the modern world while being forced to confront his brainwashed friend James ‘Bucky’ Barnes. Under the guiding hand of Avengers’ director Joss Whedon, like all of these ‘Phase Two’ films, Captain America 2 will see its hero isolated on a path to self-discovery. The team has been separated before its return in 2015, and it will be joined by another group in the shape of James Gunn’s Guardians of the Galaxy in August 2014.

April 4th, 2014

Anchorman Nemesis Named Far removed from his leading role as Prince Charming in Enchanted, James Marsden has recently signed on to play Ron Burgundy’s arch-enemy in Anchorman: The Legend Continues. Filming is scheduled to start in Atlanta in March, and

Marsden is the latest addition to Ferrell and McKay’s news team cast. The former Versace model will play a rival news anchor who threatens to steal Ron’s distinctly burgundy thunder.

Fox to Star in Ninja Turtle Franchise forward to seeing how his ape equivalent, Caesar, will be able to bring “an accord between the apes and the surviving humans” in the sequel to Rise of the Planet of the Apes.

Megan Fox has teamed up with the producer Michael Bay, and is set to get down and dirty in the sewers as the female lead in Teenage Mutant Ninja Turtles.

The pair have had to patch up their differences following her fallout with the Transformers’ direc-

tor in 2007 and her string of unsuccessful roles in comedies such as This is 40 and Jennifer’s Body.

Jonathan Liebesman is set to direct a liveaction version of the popular 90s cartoon, which is predicted to be a box office hit.

MUSIC STAGE FILM

BOOKS TECH SPOTLIGHT 20 QUESTIONS

REVIEWS

Stoker No, it isn’t directly related to celebrated author Bram Stoker. Or vampires. Or really, anything supernatural at all. Stoker follows the titular family’s dynamics mutate dramatically between India (Alice in Wonderland herself Mia Wasikowska) and Evelyn (Australia’s Nicole Kidman) after India’s father passes away and the mysterious Uncle Charlie (Watchmen’s Matthew Goode) appears. What follows is a twisted, unnerving and deviant journey into the unhinged psyches of the film’s central characters.

If not explicitly tied to the literary Stoker, the film owes several of its motifs to literature. An isolated, empty house sets the stage for the tale, and the independence of its female protagonist harks back to the powerful starring women of gothic fiction. Indeed, the m o s t compel-

Cloud Atlas

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he eagerly awaited film adaptation of David Mitchell’s Cloud Atlas has done the novel justice. Despite changing arguably its most innovative and defining feature - its structure of six stories interrupted at their climax and then reintroduced one by one - the film achieved an emotional resonance potentially out of reach for the novel’s linear form.

Mixing the character’s story-lines together, despite possibly being confusing at first for a viewer unfamiliar with the story, allowed for more powerful visual and aural links to be made and therefore created a greater emphasis on the story’s central theme: the interconnectedness of individual lives across time.

The differing genres and settings of the story-lines perfectly complimented each other to create a film that is never dull or slow but is instead at once beautiful, tragic, and incredibly funny. This feat is helped by the incredible performances of its main cast who each, often unrecognisably, appear in multiple roles across the different stories (my favourites being Tom Hanks as an angry Irish thug and Hugo Weaving as the imposing female matron of a nursing home).

As long as you can deal with a few moments of extreme gore (which despite their shocking nature do feel necessary) and the initial confusion potentially caused by the switching story-lines, the film gradually builds to an impressive climax that makes the 172 minutes worthwhile. Though this movie does not quite reach Cloud Nine, it is a thoroughly good attempt at what has long been considered an ‘unfilmable’ novel. 7/10 Cat Mitchell

ling aspect of the film for me was the way it sets up a Hamlet-esque family scenario: India’s mother becomes appears infatuated with her husband’s brother remarkably soon after her spouse meets his end. While the Danish prince developed an intriguing relationship with his mother, Stoker subverts this idea by having India instead draw closer to her intruding uncle. Of course, this has a number of fresh psychological consequences that reverberate throughout the rest of the film.

As the rabbit hole deepens, however, the plot begins to rapidly unravel and the cracks in the script reveal themselves. Plot points push up against each other awkwardly, and the film rather runs away with itself. Revelations come thick and fast after the midpoint, each more improbable and

Safe Haven

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inconsequential than the last, and the film sputters towards its contrived conclusion.

Characters similarly lose direction: as backstories are revealed and mysteries unceremoniously solved it becomes more and more apparent that what lies beneath isn’t as compelling as first promised.

Still, this is a strikingly beautiful film.

The direction is elegant and purposeful; each shot seems imbued with clarity of meaning and starkness of purpose. Lashings of stylistic quirks evocative of horror films layer parts of the film, and though used sparingly there are a few genuinely tense moments. Lighting is frequently spectacular, bold block colours appear starkly vibrant, and the costume design is excellent throughout. Special mention should also be made of the music.

Composed by frequent Darren Aronofsky col-

hus far Nicholas Sparks has reaped the benefits of half-decent adapted screenplays bringing his fanciful Chic-lit to the big screen. Alas, the attempts to match the success of the first film The Notebook have not been met; however it is debatable whether the bond that myself, and all other female viewers formed with newly famous Ryan Gosling could ever be trumped.

The newest instalment Safe Haven is the worst of the bunch; a romance that fails to pull on any heartstrings.

The plot focuses on Katie (Julianne Hough) and her move from Boston to a small town off the coast of North Carolina. We are given a glimpse of her ‘dark past’ at the beginning of the film and it is revealed that she is living under a false name to hide from her abusive husband. The spark between Alex (Josh Duhamel) and Katie is relatively non-existent from the onset and their attempt to form an attraction results in overacting on both their parts. The caring widowed father of two makes the gesture of taking her canoeing, where it starts to downpour.

Though this scene is virtually identical to one in The Notebook, they are dissimilar in the sense that Katie and Alex lack any passion.

Then to add insult to injury, the plot twists at the end of the film are so outlandish that it makes the whole film laughable. Any part of me wishing that Katie and Alex would live happily ever after vanished. Largely there is something comforting about the romance genre; the audience want the hero and heroine to end up together, and normally they do. Safe Haven for me was the exception- I wasn’t really that bothered. 3/10 Katherine Hibberd

laborator Clint Mansell, the score brings a subtle off-kilter undertone to the production and is instrumental in constructing Stoker’s unique atmosphere.

Wasikowska plays India with a haunting style that leverages her innocence to hint at darker undertones. Matthew Goode’s piercing stare makes the unsettling Charlie more affecting, but the way the character is written means he ends up having surprisingly little to work with. Kidman’s Evelyn is suitably cold, and it’s been over a week now but I still can’t get the image of her bloodshot eyes out of my head.

Stoker is startling and subversive. It’s outwardly intricate but ultimately a little unfulfilling. If you like your fiction gothic and your thrills psychological, it’s worth a look but don’t expect to fall in love. 6/10 Jamie Macdonald

Hansel and Gretel: Witch Hunters

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his fantasy adventure from executive producers Will Ferrell and Adam McKay contained none of the charm or comedy of Shrek or Stardust and fizzled down to a awful lot of running around in the woods. The concept of a grownup Hansel and Gretel wreaking revenge on witchkind following their escape from the candy cottage- and Hansel’s diagnosis of Type 2 diabetes from sweet consumption- did have some kind of appeal. However, a combination of false American accents in what is meant to be medieval Bavaria, anachronistic dialogue, unnecessary gore, uninspiring 3D effects and distinct lack of humour made Hansel and Gretel: Witch Hunters less a modern fairy tale adventure than a soggy, blood-spattered mess.

Instead of cheering on the angsty siblings as they sought revenge for their childhood trauma, I was busy wondering how to avenge the two hours of my life that I would never get back. Though I hate to say it, the acting was entirely bland from academyaward nominee, Jeremy Renner and Gemma Arterton, whose stunning performances in The Hurt Locker and Tess of the d’Urbervilles were utterly eclipsed. Overall, a promising concept was made entirely convoluted and incoherent by a script peppered with irritating outcries of “awesome”, and an uncalled for amount of exploding witch heads. Grimm viewing indeed.

2/10 Sophie Taylor

MUSIC STAGE FILM TV BOOKS TECH SPOTLIGHT 20 QUESTIONS

TELEVISION The death of teen drama

TINA FEY

ANGUS QUINN looks at the changing face of teenage dramas...

Firefly

ries is riddled with clichés. It would seem that high school is no longer enough. Offshoots from the typical teen drama scenario have stolen the dynamism and innovation that marked the earlier shows.

For example, The Vampire Diaries uses school as a background for the supernaturally charged existence of its characters. Likewise, Pretty Little Liars, another hugely successful teen show, only uses high school as a backdrop for the show’s intriguing

BY

Fox cancels Firefly

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Number of times boarded:

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separate times “ ten percent o’ nothin’s still...let me do the math here.. ”

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1997: SNL After two years at Saturday Night Live, Fey became SNL’s first female head writer and won a Writer’s Guild of America award for the show’s 25th anniversary special in 2001.

2004: MEAN GIRLS Fey wrote and starred in teen comedy film Mean Girls, playing divorced teacher Mrs Norbury, the voice of reason in an environment of bitching, backstabbing, and catfights.

Fey created and starred in the acclaimed show based on her experiences on SNL. In 2009, the series was nominated for 22 Primetime Emmy Awards, the most in a single year for a comedy.

st a bb e d, o

Number of crew members aboard ship:

After seven years of success, hit sitcom 30 Rock has come to an end.

ZENA JARJIS takes a look back at the career of the show’s creator: writer and star, Tina Fey.

2006: 30 ROCK

ot

14 $800,000

Fox network’s Internet reputation

NUMBERS

Number of episodes produced Year aired: 2002 before cancellation: Year set: 2517 Money raised in charity screenings of franchise:

5

central mystery.

The Carrie Diaries is less than ten episodes into its first season, but it already feels stale. We can guess where every relationship and every storyline is heading, and where’s the fun in that?

When you could have vampires stalking the hallways or hunting a murderer in between classes, it isn’t hard to see why a brand new, normal teen drama is already a failure. Why watch the diary of a girl when you could watch the diary of a vampire?

s l ic e d

are perhaps less relevant to teen audiences.

However, The Carrie Diaries, which only began in January, is already in trouble.

With love triangles, a melodramatic high school and attractive leads, The Carrie Diaries, has everything that has made teen dramas successful. It has even tried to emulate the quirkiness of a 1980s setting. But the show is a failure. Its ratings are poor and critical reception has been negative.

Why is the show failing to succeed like previous shows?

It seems to critics that The Carrie Diaries is simply boring. Its storylines have already been acted out in a dozen different shows, and the se-

sh

S

ince the debut of Beverley Hills, 90210 in the 1990s, the teen drama has been a prominent genre on TV screens around the world. Shows like One Tree Hill, The OC, Skins and Sugar Rush have become extremely successful through their ability to relate to teenagers.

Lately, however, their success has been waning. Skins and Gossip Girl were both cancelled in 2012 after six seasons, and 90210, a revival of the series that spawned the genre in the 1990s, has seen falling ratings and poor reception in its latest season.

This might seem natural though. The shows are long-running and with the move of setting to university,

2008: SARAH PALIN Returning to SNL as an actress, Tina Fey played vice-presidential candidate Sarah Palin in a collection of sketches which quickly became NBC. com’s most-watched video ever.

2012: BOSSYPANTS The autobiographical comedy charted her rise to fame, from her childhood in Philadelphia to her success with both SNL and 30 Rock.

MUSIC STAGE FILM TV BOOKS TECH SPOTLIGHT 20 QUESTIONS

Editorial

Endorsements

Vision’s TV team recommend the animated shows you need to watch

Archer

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The show is a side-splitting tale of incompetence, from the masochistic secretary whose name might be Carol, Cheryl, Cristal, or Karina, depending on whom you ask, to the downright creepy Dr. Algernop Krieger and his virtual Japanese girlfriend. Every character, no matter how minor, is a mess in their own way and probably addicted to alcohol, sex, or bear claws.

What makes the show great, though, is the writing. There is no other show on TV that combines one-liners, pop culture references, and euphemisms in such a precise, well-timed manner. It’s no exaggeration to say that every piece of dialogue is memorable and quotable. When I first discovered the show, some of my friendships devolved into non-stop Archer references.

But that might say more about the friends I choose than it does about the show.

Now in its fourth season, the series seems to be losing its steam and consistency. But having said this, that shouldn’t stop you from spending a night curled up in your bed with Archer, watching magic unfold.

As the man himself would put it, “Phrasing, boom!”

Karl Tomusk

In a show fuelled by the idiosyncratic relationship between weird parents and their weird kids, the true joys of Bob’s Burgers exist in the parent-children relationships, as much as they do in its myriad of puns.

For this is a show that relies heavily on puns, from an ever-changing specials menu (“It’s fun to eat at the rYe-M-C-A”), to the names of competing businesses, including the jokes delivered by the characters themselves. Yet no matter how many times the specials’ menu changes or how many neighbouring businesses go asunder (“Meth I Can Methadone Clinic”), the series finds its best moments at the hands of the endearingly insane Louise, and her attempts to stir trouble in the Belcher household.

However, puns and shenanigans can only go so far, and so it becomes clear that the show’s real strength resides in its cast.

Ranging from Archer’s very own H. John Benjamin’s deadpan rendition of Bob, to

What’s more, American Dad is considerably more politically-orientated, and concerns everything you could conceive

Kristen Schaal’s effervescent portrayal of young Louise, the jokes are delivered perfectly, even when they come in a package as harmless as middle child Tina’s monotone teenage laments.

While the first season was arguably no different from the tropes of Family Guy, the subsequent seasons are where the show truly shines, thanks to sharper writing, which relies on premises driven by the family’s incompatible chemistry and outlandish setbacks to their business.

And, really, if a show has the likes of The National and St. Vincent lining up to perform covers of songs sang by the characters, who are we to disagree about its quality and entertainment? I recommend you check this out.

Joshua Gisby

As Told by Ginger

A

Sure, the humour is once again a mixture of insightful witticisms, biting satire and odd bursts into toilet humour but, rather than the chaos of Family Guy where the plot seems to revolve around the jokes, here the opposite is true. The flashbacks are almost totally absent and instead each episode features a structure and character development that is normally missing from the first show. Okay some of the episodes fall a bit flat but nevertheless, there are considerably more hits than there are misses, and when it’s good, it’s brilliant.

Bob's Burgers

ob’s Burgers provides a glimpse into the Belcher’s efforts to keep their burger joint afloat, while trying to maintain the appearance of a seemingly flourishing (yet totally dysfunctional) family workplace, no thanks to the mechanics of its incompetent family members.

American Dad t first glance, Seth MacFarlane’s American Dad looks a carbon copy of his other show Family Guy, what with the same animation team, the same disjointed family dynamics, the same inyour-face presentation of the father, Stan Smith, and the relationship between Roger the Alien and Klaus the Fish working in much the same way as Stewie and Brian Griffin. So yes, in many ways Family Guy and American Dad are similar, you might even argue that it’s Family Guy in fancy dress, but I believe that American Dad will eventually reveal itself as a superior cartoon to its predecessor.

B

terling Archer is a man of simple taste: booze, women, and turtlenecks; a man whose charisma would leave James Bond bawling tears of jealous bewilderment. This is a secret agent who will stop at nothing to contain Soviet communism, as long as it doesn’t interfere with his drinking and never-ending quest to find his father (who may or may not be the head of the KGB).

Archer puts the viewer right at the heart of American espionage during what we assume is the 1950s. It revolves around its eponymous hero, a narcissistic agent working for his overbearing mother at ISIS, the world’s most inept spy agency.

Run by Mallory Archer, the agency divides its time between covering up her less than legitimate relationship with the KGB, and serving as the family’s personal piggy bank.

A

about the USA’s current state of fear mongering and distrust, placing it beneath a microscope and parodying it mercilessly.

Stan Smith is a coarse depiction of all that paranoia rolled into one and some of his outbursts and overreactions are hilarious.

Only time will tell if American Dad can outlive the shadow of its far more successful big brother, but like the relationship between Futurama and The Simpsons beforehand, it’s often a far funnier and considerably more focused show that deserves a wider audience.

With nearly eight full seasons under its belt, American Dad will keep you laughing until Family Guy is a hazy distant memory of the past.

Will Arkle

s Told By Ginger is an animated teen drama which ran from 20002003 on Nickelodeon, and a favourite for many of our generation. Melissa Disney voices Ginger Foutley, an angsty teenage girl who records her daily adventures in her journal. Other characters include Ginger’s best friends Macie, a green-haired and socially awkward girl who snorts a lot, and Dodie, a fast-talking reputation-obsessed gossip. The three are joined by Ginger’s neighbour and eventual boyfriend Darren, her wise mother Lois and her mischievous younger brother Karl.

Unlike most animated shows aimed at young people, especially on Nickelodeon, As Told By Ginger deals with serious issues like absentee fathers, caffeine addiction and mental illness. The episode ‘And She Was Gone’ is especially dark, since Ginger writes a poem which leads her friends and family to believe that she had depression. Other episodes see Ginger almost die of appendicitis, as well as the death of a major character. The characters also age and change outfits, which is highly unusual for a cartoon, adding a different dimension.

The most memorable episode of As Told

By Ginger is probably ‘Come Back Little

Seal Girl’ in which Macy insists on dressing up as a seal girl for the school talent show, singing “most folks think I’m not real, ‘cause I’m half girl and I’m half seal.”

Although As Told By Ginger is aimed at teenagers and young adults, its inclusion of adult problems means that it can be watched by any age group, whilst Karl and Hoodsey’s misadventures ensure that younger children can also relate to the programme.

As Told By Ginger ran for four seasons and four television films based on the show were made: Summer of Camp Caprice, Foutleys on Ice, Butterflies are Free and The Wedding Frame.

Zena Jarjis

MUSIC STAGE FILM TV BOOKS TECH SPOTLIGHT 20 QUESTIONS

Er Ist Wieder Da

Books Events Diary Tuesday 12th March, 8pm Lizzi Linklater Lizzi Linklater Presents…

Spoken word event City Screen Basement Bar

Monday 18th March, 8pm Carole Bromley A Guided Tour of The Ice House Spoken word event Upstairs at The Black Swan

Oona Venermo examines Germany’s controversial new best-seller

P

ublished in November 2012, Er Ist Weider Da (He’s Back) is a novel by German author Timur Vermes. Set in 2011, Hitler (yes, the Nazi dictator) wakes up from a prolonged slumber in Berlin, having fallen asleep in 1945. The novel follows his movements through motions of modern day life in Germany.

Vermes told German media that: “The fact is we have too much of a stereotype of Hitler. He’s always the monster...But in reality he continues to spark real fascination in people.”

This fascination is what Vermes tries to feed. It has been met with mixed reviews. Whilst some critics argue that the novel shows the past is well and truly the past, others admit that “we laugh but it’s a laugh that sticks in the throat.” Which makes you wonder, is it ever okay to laugh at something like this? Although the events surrounding Hitler occurred nearly 70 years ago, a lifetime by some measures, the horror of the Holocaust still stalks us. Mass murder is not and never will be a laughing a matter. But maybe 70 years is long enough to at least begin to mock the man behind the action?

Tuesday 19th March, 3pm Kathlene Postma Create Characters, Not Caricatures Workshop Skell 128, York St John University

Tuesday 19th March, 7.30pm Martin Carthy and Peter Robinson Crime and Ballads Performance National Centre for Early Music

Wednesday 20th March, 8pm

Vermes’ characters laugh at Hitler, making him a YouTube sensation on a par with Gangnam Style. The reader is supposed to laugh with the characters. However, I can’t help but recognise a darker side to Vermes’ novel. The end shows Hitler debating whether to start a political party of his own, essentially demonstrating that anyone could rise to prominence and power if they gather a large enough fan base, which is, quite frankly, a terrifying concept.

Tony Hawks Round Ireland With A Fridge Film and Q&A City Screen Picturehouse, York

Wednesday 20th March, 8pm Will Self in conversation Author talk Temple Hall, York St John University

Thursday 21st March, 10am York Walk: A Stroll Through Literary York Discussion and walk Outside Museum Gardens

Thursday 21st March, 5pm The Yo Ho Ho Show Performance Upstairs at The Black Swan

books@yorkvision.co.uk

lowing support from a tabloid newspaper, he lands a career in politics, persecuting litterers and speeding drivers. The story follows with a dramatic encounter between Hitler and a group of neo-Nazis after which he winds up in hospital.

Following kind words of support from his fans, and after his rise to fame as a television sensation, he ponders whether he should start a political party of his own.

People recognise him but believe he is a lookalike and his racially fuelled monologues are received with humour. Eventually, he lands a place on a TV show and proves to be a success, achieving YouTube stardom. Eventually, fol-

The novel has topped best sellers lists in Germany simply because it features Hitler, not because it’s a comical, well written novel. We, as sane socially aware people, cannot even begin to fathom how a human being is capable of such levels of cruelty. The lack of understanding drives our fascination as we strive to search for a rational motive behind his actions and Vermes’ novel, although entirely fictional, feeds the public’s hypnotic fascination with Hitler and the legacy that surrounds him.

Rudyard Kipling Alex Cochrane-Dyet looks at Kipling’s legacy following the discovery of fifty lost poems

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early 80 years after his death, manuscripts containing 50 new poems by Rudyard Kipling have been discovered by a US scholar, and will be published this month. An exciting time for fans and scholars alike, these new texts will trigger a critical revision of the British Victorian writer, already celebrated for his short story collections. Famous for The Jungle Book and Just So Stories, as well as his poems, which have remained popular for the last century.

For contemporary literary critics interested the cultural legacies of colonial expansion, the major debate surrounding Kipling lies with his relationship with British Imperialism in India.

Born in Bombay in 1865, Kipling’s work largely deals with imperialist issues, and as a result Kipling

has often been neglected or condemned by scholars for his imperialist political views. In addition to this he was described as the ‘prophet of British imperialism’ by George Orwell, influencing perceptions of his work, and the place that they hold in literary history.

More recently, however, Kipling’s treatment of British colonialism has been seen as problematic . He was not simply a supporter of British Imperial rule, but also as an interpreter and a man who recognised the inherent tensions and contradictions of colonialism with anxiety. There is hope that this new body of poetry will add to this debate concerning Kipling’s place in literary and cultural history.

MUSIC STAGE FILM TV BOOKS TECH SPOTLIGHT 20 QUESTIONS

Is it possible to misinterpret a book?

Zoe Halpern argues that any interpretation is valid

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t is impossible to read a novel without interpreting it. Reading is not a passive activity but an active engagement with the text. Each and every reader brings his or her unique perspective, background, education, heritage and culture to the text. This allows the reader not just to have their beliefs confirmed but also challenged. Moreover, it makes for interesting discussion and debate between readers of the same piece.

Franz Kafka’s stories are a testament to the importance of the reader’s interpretation. His absurdist images invite the reader to explore and speculate.

For instance, his best-known work The Metamorphosis, about a man who wakes up and is curiously transformed into an insect-like creature. This event, and the story surrounding it could be interpreted religiously, autobiographically, psychologically, anthropologically or nihilistically. The array of interpretations is what makes Kafka timeless.

While giving preference to the reader’s interpretation liberates a novel, prioritising the author’s intent imposes limits.

Either a single author’s view or a manyvoiced readership can be highlighted. On the one hand, advocating that the reader should simply take t h e author’s opinion u n q u e s t i o n i n g ly encourages them to be less creative and critical. However, encouraging the reader to interpret, enables

them to enquire, decode, and analyse. As a result, one’s ideas are facilitated in maturing and developing. For example, what makes Life of Pi, so compelling is that the author, Yann Martel, explicitly states that the reader should interpret his novel as they want. The book ends, leaving you to wonder whether the whole tale was literal or allegorical.

What is more, the author themselves may be unaware of some of the symbolism within their own novels. In Literary Theory and Criticism, Patricia Waugh writes that literature is “fundamentally entwined with the psyche”. This idea bears resemblance to Freud’s dream interpretation. This involves a subject’s dream consisting of a series of surreal, seemingly unintelligible images being decrypted by a specialist. In the case of interpreting literature, the author becomes the patient, while the reader plays the psychoanalyst.

This approach allows the reader a fascinating window into the human psyche.

The value of reader interpretation doesn’t just hold true for novels but for theatre, film, music and art alike. The reader encounters the world of the fiction, not the world of the author. Giving the author total jurisdiction over their novel quells the reader’s analysis, and stops reading being fun. As Roland Barthes says in Death of the Author, “a text’s unity lies not in its origin but in its destination”.

Agony Aunt Answers...

I

Rebecca Cowper believes that books are often misunderstood

have always found it strange that people seem obsessed with trying to interpret books in new, and frankly sometimes just plainly incorrect, ways. I spent most of English GCSE wondering why To Kill a Mockingbird was suddenly being said to represent everything from Bible passages to McCarthyism.

Harper Lee herself is famous for not choosing to comment on interpretations of her sole novel, apart from when she stated that “Surely it is plain to the simplest intelligence that To Kill a Mockingbird spells out in words of seldom more than two syllables a code of honour and conduct”. Or, in other words, why over-complicate interpreting something that is really quite a simple message about respect and being a good person? Of course you can argue that the most important person in relation to any book is the reader, s o their interpretation can never be wrong. But how about when the author categorically states that an interpretation is nothing to do with what they intended?

Take The Lord of the Rings for example. J.R.R. Tolkien was known to be strongly anti-Stalinist, calling him “that bloodthirsty old murderer”. As a result, people seemed to think he couldn’t possibly write books about elves and dwarves without this having a deeper anti-Communist message. Why this should be the case is beyond me, particularly since Tolkien himself stated that “Such allegory is entirely foreign to my thought.”

This isn’t the only interpretation that Tolkien has rebuked. At different points he counteracted claims that The Lord of the Rings was anti-Nazi, with Sauron representing Hitler, and that the One Ring was an allegory for the Atomic Bomb.

Most recently, with the release of the Lord of the Rings films and the rise of eco-criticism, in conjunction with increasing awareness of global warming, it’s the interpretations of The Lord of the Rings as an allegory for man’s reckless destruction of the enviroment that have been circulating. Whilst there are several passages that place an emphasis on the purity of nature, global warming was not a concept when Tolkien was writing the books.

I’m not arguing that any sort of deeper meaning is wrong, or that straying at all from what the author originally intended is misinterpretation. I’m simply saying that there is a possibility of misinterpretation sometimes.

If I suddenly announced that the Very Hungry Caterpillar was conveying a message about the development of capitalism, I’m fairly sure people would tell me I was reading far too much into a really good children’s book. Therefore I don’t see why there can’t be misinterpretation when it comes to slightly more complicated novels, just because it is supposedly always down to the reader.

Our resident Agony Aunt, Lucy Walters, omnisciently solves the problems of literature’s well-known characters

Dear Agony Aunt,

Dear Unstable,

I was left at the altar. It ’s been a few weeks and I really feel like I should take off this dress and do something proactive . I can’t stay like this forever! Sounds like something from a Carol Ann Duffy poem. I have moments when I’m ready to forget the past, get myself some new clothes and meet a new guy! But I also have moments when I think there’s no point in anything and I should stay in my dress and make life miserable for everyone else . I don’t know what path I should chose: revenge on my ex by getting super hot, or revenge on all males.

Yours.

Take the dress off and move on! To hell with your ex! What does he know? Go out there and get yourself some new gear and then hit the town. Nobody will remember some douche ditching you at the altar if you turn up in a deep red satin number and dance the night away! Don’t waste your life on some guy who clearly has no taste at all!. Also, if you’re reading this whilst wearing your smelly old wedding dress, please move away from any naked flames! You don’t need a man to be yourself. Have fun and don’t subject us to what is possibly the most depressing narrative since Macbeth!

Yours, Agony Aunt

Unstable , Satis House

MUSIC STAGE FILM TV BOOKS TECH SPOTLIGHT 20 QUESTIONS

Technology

Top tech tweet of the week:

Chi-Hua Chien @chchien

Mar 4

Google’s launching self-driving cars and a computer embedded in your glasses. In other news, facebook is redesigning its newsfeed again.

Kickstarter: the clever idea for clever ideas.

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n days gone by, if you dreamt up what you thought was the next big thing, you’d have to find somebody rich to help you turn that dream into a reality. They’d give you a load of money in exchange for an unreasonably large percentage of your future revenue and rake in the cash from the success of your own hard work. Not ideal, really.

It’s not your standard “pay this much and get this amount of the company”

Then came the internet, with its habit of disrupting time-honoured traditions. Kickstarter is its answer to getting brilliant ideas off the ground.

It’s a website-based funding platform where people with prospective projects pitch to the internet. If the mysterious people of the interwebs like the idea, they can pledge money in varying quantities to fund the project in return for rewards determined by the pitcher. It’s not your stand-

ard “pay this much and get this amount of the company” sort of thing. It’s more along the lines of “pay this much and get first dibs, or get a special t-shirt, or an exclusive colour of the product”. Clever, right?

One of the many success stories of kickstarter is the Pebble Watch. It’s a digital watch with an eink display that is about as customisable and funky as a Mr. Potato Head. You can download apps that can link to your phone to show caller ID, facebook notifications, emails and just about whatever else you want. It can also track your runs, control your music and tell you how far you’ve whacked a golf ball.

Oh, and it can also tell you the time. Useful.

The idea was pitched on kickstarter in midApril last year, and five weeks later it had received over 10 million dollars worth of pledges from over 60,000 different sources. In return, these gen-

Game reviews Ni No Kuni (PS3)

erous people of the internet got early bird orders of the pebble as well as the ability to vote on a new, exclusive colour. It’s this kind of novel approach to rewarding investors that really distinguishes kickstarter from any other sort of crowd-sourcing format, and helps it foster a bit of a community spirit.

About as funky and customisable as a Mr Potato Head

But how else is this better than the traditional model? Well, it reduces risk all round. The traditional model requires you to find a rich patron, and then persuade him to shell out a large sum of money.

Kickstarter projects spread out that large sum over a huge body, making it cheaper to bear for everyone involved: would you rather shell out a couple of grand or a fiver on someone’s idea? From the perspective of the investor, you’ve reduced your po-

The Pebble Watch

tential losses by investing only a small sum of money, and from the perspective of the pitcher, you’re not permanently indebted to, or reliant on, some rich person in a suit.

It also makes it a lot easier to find potential investors. Anybody can have a good idea, but the majority lack the means to find that patron. Through kickstarter, however, you can connect directly to a group of like-minded people who are looking for something new and interesting to get a hold of.

You might think it sounds too good to be true.

You’d be mistaken, though.

Almost 90,000 p ro j e c t s have been proposed, with slightly under half getting funded successfully. That’s about £350m of investments, in sums of £5 or £10. It’s even been called ‘the most important tech company since Facebook’. High praise indeed.

Greg Hinds & Mike Dunnett-Stone

On February 20th, Sony announced the Playstation 4 and the internet subsequently exploded. It didn’t matter that most of the big reveals had been previously leaked, it turns out news of the touch-sensitive controller, sharing features and sheer brute force was enough to send imaginations reeling into overdrive. The ball is now in Microsoft’s court: a reveal of the next Xbox can’t be far away. But what do we want to see on these new consoles?

Power

This is the obvious one but remains the most important: the next consoles should see a massive increase in computing strength. This fundamentally leads to much more beautiful and immersive experiences. But as well as this we’d also like to see some of this extra juice go into improving multitasking and making our digital adversaries much more cunning. The time has come for us to be outsmarted, outclassed and challenged in every aspect of our gaming.

Motion re-think

Motion controls have always had a contentious relationship with so-called ‘core’ gamers at best. Wiis sit dormant, gathering dust in vast quantities across the land, and Kinect never really set the world on fire. We want innovation combined with rock-solid accuracy and fidelity in the next wave of motion controllers. We want them to enhance experiences, not just make us in constant danger of knocking over fine furnishings and face-planting the floor.

T

he charming result of developer Level-5 and juggernaut Studio Ghibli’s efforts, Ni No Kuni is the ultimate love letter to the golden age of JRPGs (Japanese Role-Playing Games). Back are the sprawling world maps, endless hours of dungeon crawling, and tactical combat choices, yet there are changes that solidify the game as more than an homage to previous classics in the JRPG genre.

At the heart of Ni No Kuni lies the story of griefstricken Oliver, a young boy who embarks on a journey with his plushy/mentor, Drippy, in order to defeat the evil wizard Shadar and to bring back his deceased mother.

It’s a standard story of the powers of good overcoming the menace of evil through unwavering kindness and friendship, yet Ni No Kuni manages to make Oliver’s travels much, much more than a generic outing. It does this not only thanks to a remarkable cast of characters and a heartwarming story but, more importantly, by tweaking the standard mechanics of JRPG combat.

In a genre that subsists on level grinding and random encounters, the battle system feels fresh and intense by combining the workings of Pokémon, with real-time combat. The main caveat here is that other party members aren’t the sharpest wands in the coven, displaying a proclivity to drain mana as soon as possible, along with an incapacity for self-defence.

What do we want from next-gen?

On the visual aspect, obviously the game looks fantastic. Not only is the cell-shading unlike anything you’ve ever seen in a video game, but the art direction and level design make it the closest anyone has ever come to being in a Studio Ghibli film, coupled with a sweeping soundtrack composed by longtime studio collaborator Joe Hisaishi.

Not only a fantastic JRPG, Ni No Kuni is the perfect expression of what makes Studio Ghibli click: it encapsulates the cloying sweetness of My Neighbour Totoro with the fey and otherworldly quality of Spirited Away, displaying that unending heart required to make a game a classic, something it is sure to become.

Joshua Gisby

Connectivity

In a post-Facebook world we want to be connected to everything and everyone. Sony’s plans to allow us to stream our games online and embarrass ourselves thoroughly are compelling, but we want more. We want our consoles to be humming away quietly streaming a game to our computer while we sit in the kitchen. Allow us to plug controllers into our phones and we could play full-quality games almost anywhere. The possibilities are endless.

MUSIC STAGE FILM TV BOOKS TECH SPOTLIGHT 20 QUESTIONS

S P OT LIG H T

the joy formidable A

rriving at the underground venue of The Cockpit in Leeds, (it quite literally is underneath a bridge), I find myself not entirely sure of what to expect from my imminent interview with Welsh alt-rockers The Joy Formidable. Despite being active for a mere six years, with their high-powered, thunderous brand of rock, the band has rapidly gained a reputation that is indeed, formidable. Their first fulllength studio album in 2011, The Big Roar, was met with impressive critical acclaim for its raw and visceral style, and their latest album, Wolf’s Law, sees the band retain this fundamental musical aggression, while placing a greater emphasis on more ‘polished’ textures and sounds.

On the origins of the band’s unusual name, Rhydian said: “It comes from gut instinct, it doesn’t need to make literal sense.

We’re fans of language, it could have been a song lyric.” He describes that the name thematically suggests the push-and-pull between dark and light, and he emphasis that “It is certainly not to do with joy! We’re not always happy- [the name is] hopeful but recognises darker times.”

Continuing with the theme of naming, I ask what the influence behind the new album Wolf’s Law is, and what the significance of the album’s name is, to which he replies: “It’s a scientific term - how bone adapts to stress that you put on it. It’s a fitting motif, really.” He suggests that the album focuses on rediscovering the self, and reconnecting spiritually. He adds: “The Big Roar was a turbulent time for us. Ritzy’s parents were going through a massive,

chat to Phillip

long, drawn-out divorce and we were on top of each other in a tiny studio. [The new album] is about the need to not waste time.”

We moved on to the subject of the album’s artwork, which is very striking, depicting a dead wolf lying on a sandbar with a conflagration of vibrant flowers bursting forth from its corpse. It is a genuinely beautiful piece of artwork, and the image powerfully expresses the themes about which Rhydian talks. He describes how the artwork is actually a genuine painting by New York artist Martin Whitfoorth, remarking: “We came across [Whitfoorth] in New York, and fell in love with his paintings. We always do our own album artwork; it has to speak on some level of the music.” The band and Whitfoorth collaborated in his art studio in Brooklyn, and he describes the teaming as “a great collaboration, no egos, no bullshit.” After its completion, Rhydian tells me that the artwork was actually later displayed at an exhibit called Empire in Los Angeles, and that the band felt that they had to buy the piece- “it felt wrong not too.”

As I have said, the band experiences a great amount of critical acclaim with the release of their debut EP A Balloon Called Moaning and especially The Big Roar, and I ask Rhydian if the band was expecting this level of acclaim, and how they reacted to it.

However, he dismisses the critics, telling me: “You’ve got to switch off to criticism.

Music is really subjective, and ultimately you have to believe in what you’re doing.

We’re very proud of everything we’ve done; nothing is half-hearted.”

Also remarkable is that, as relative newcomers to the arena of popular music, The Joy Formidable have supported a number of major bands, most recently Muse on their 2nd Law tour in October and November of last year. I ask Rhydian how it feels to be supporting a band of Muse’s calibre, and how it feels to be playing to huge stadium crowds. He replied: “We’re used to it. We’ve toured with Manic Street Preachers, Foo Fighters, Paul McCartney, so we’re used to bigger stages. It doesn’t matter what size crowd you play to - you have the same connection with the audience, whether playing to 10 or 10,000.”

“You’re always standing behind what you write, we’re always looking forward, to the next chapter in life.”

Having travelled so far from their first performance at the ‘BBC Introduces’ stage at Reading Festival in 2008, I enquire as to where Rhydian sees the band going now, after Wolf’s Law. “You’re always standing behind what you write, we’re always looking forward, to the next chapter in life. We don’t want to repeat a formula, it always should be different.” He lets slip that the band are working on a Welsh language EP,

Watson

Rhydian’s first language and Ritzy’s second. They also have plans in the pipeline to score a film and maybe even some dance projects. He added: “We haven’t been to Australia yet, and many places in the East; we’d love to perform there.”

On their biggest musical influences, Rhydian is surprisingly indifferent, suggesting that rather than having any direct influences upon their music, each band member has grown up with different tastes which has, musically speaking, shaped who they are. “All three of us have totally different tastes. Matt [our drummer] is a massive Zapper fan, and he’s really into experimental jazz. I grew up with Hendrix, Zeppelin, you know; Ritzy grew up with the ‘great’ songwriters like Springsteen, Cohen, Bob Dylan.”

Taking a mildly less sycophantic route, I suggest that some critics have suggested that the songs on Wolf’s Law are a lot more ‘polished’ than those of The Big Roar, and are not always positive about this, suggesting that the music has lost some its characterising rawness. Rhydian dismisses this as Wolf’s Law being “a more focused album. There is no wrong or right way with music. It is turbulent, claustrophobic and aggressive in parts, the aggression is still present. We achieved exactly what we wanted to achieve with the album. I don’t see what ‘polished’ even means- it’s all to do with sound.” He emphasises his earlier point of having to tune out criticism, as all music is subjective-, commenting: “there’s no such thing as good music or bad music.”

Thus, whether the album can be described as ‘polished’ is irrelevant, but Wolf’s Law is undeniably more explorative in its musical scope. On what prompted this change, Rhydian says it was “a natural progression. We used an orchestra on The Big Roar, and [in Wolf’s Law] we toyed with harpists and piano pieces. It evolved naturally and we didn’t force it.”

Perhaps what The Joy Formidable is best known, and praised, for is their highenergy live show. I ask Rhydian if, as a band, their music perhaps lends itself better to live performances than it does to studio recording. “I see them as different disciplines”, he explains, “there a different aspects to each one. When people see a band live, they don’t want a replication of a CD; we celebrate this difference.” He insists that live performances have to be “intense in some way- we don’t like bands that just ‘go through the motions’ when they perform. I guess it’s a bit of a punk ethic, really- to get the audience going as much as you.”

With the interview at an end, I bid my farewell and leave the venue. I am struck

by Rhydian’s earnestness- he’s aware that negative criticism exists about his band, but to him this holds no currency at all, and neither does positive. His attitudes are as uncompromising as the music of The Joy Formidable, and they are out to please nobody but themselves. But, if people like them anyway, well that’s simply an added bonus.

MUSIC STAGE FILM TV BOOKS TECH SPOTLIGHT 20 QUESTIONS

2 0

Q U WITH EST I O N S SAM LEE

tHE MERCURY PRIZE NOMINEE ANSWERS SCENE’S BURNING QUESTIONS 1. What is your most inspiring song on your new album?

It’s got to be ‘My Ausheen’ (my Old Shoes), as that was learned from my teacher, the late great Scottish traveller Stanley Robertson.

2. If you could meet three people (they can be dead or alive) who would they be?

Joni Mitchell, song collector Alan Lomax and Ethnobotanist Richard Evans Schultz.

11. What’s your favourite poem, and why?

The whole of Hejira by Joni Mitchell.

12. What is your greatest ambition?

To discover unseen Paleolithic cave art.

13. Tell us a secret you have never revealed before...

My mother once dated Pavarotti.

3. If you weren’t singer what would your profession be?

I’d be an anthropologist.

14. Who made you the best cup of tea you have ever tasted?

Grandma made it best.

4. What does this year have in store for you, can we expect another album release in the near future?

Definitely for a new album, probably recording this over the next 12 months, and loads and loads of concerts. From here on we will be gigging loads over next nine months.

15. The best song in the world is...

The song of nightingales in the woods in May.

5. You are clearly inspired by travelling, if you could go anywhere in the world where would you go?

I’d love to spend more time exploring the Amazon.

6. How do you think your Mercury nomination will help escalate folk music as a genre?

Far more people are experiencing my album and folk song for the first time and not looking elsewhere for more folk music to enjoy.

7. What has been your proudest achievement in the music industry?

I think being the first ever British folk artist to get to number one in the world music charts (in its 21 years life span).

8. Who do you predict will take 2013 by storm?

This is the Kit - musically speaking.

9. Greatest night of your life?

I am hoping it’s yet to happen, but I’ve had fun trying so far.

10. Who would be your dream headline act at a festival?

Fela Kuti.

Music Editors: Martin Waugh & Louisa Hann Deputy Music: Michael Cooper & Katie Molloy Stage Editors: Kathy Burke & Rory McGregor Deputy Stage: Will Westerman & Sam Thorpe-Spinks

16. If you could be any character from a fairytale who would you be?

I ‘am’ the big bad wolf.

17. Who or what has been your greatest muse?

The sun, I never can’t smile when it shines.

18. What is your party trick?

I can swallow lit matches without burning my mouth.

19. If you could be a superhero who would you be?

I used to love my Spiderman suit as a kid, so I will have to choose him. I still love climbing trees.

20. What advice would you give to students interested in the industry?

Look at it as a life long relationship and not an industry, you have to make it your passion first and then a career.

Scene Team Scene Editors: Niamh Connolly & Zena Jarjis Film Editors: Jamie Macdonald & Sophie Taylor Deputy Film: Nick Burke & Katherine Hibberd TV Editors: Josh Gisby & Karl Tomusk

Deputy TV: Will Arkle & Ghazala Jabeen Books Editors: Alex Cochrane-Dyet & Morenike Adebayo Deputy Books: Rebecca Cowper & Oona Venermo Tech Editors: Jamie Macdonald & Mike Dunnett-Stone