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Day: 25 October 2011

Live: Metronomy @ Academy 2

Written by Tom Hickman on . Posted in Music.

Metronomy
Academy 2
26th September

5 stars

After endlessly touring the continent’s finest festivals for what seems like an age, Metronomy tonight revealed what a well-oiled machine they are. The band finally gained the recognition they deserve via their nomination for this year’s Mercury Prize and The English Riviera is tonight showcased in all its definitive glory. A strong candidate for album of the year, the entry riff from every track is greeted by a chorus of cheers, while lead tracks ‘The Bay’ and ‘The Look’ nearly bring the house down. What’s more, the group’s notorious light show has moved on from what were somewhat humble beginnings to now being an integral part of the performance.

Having sold out Academy 3 within days of tickets going on sale, this gig was sure to be moved to it’s larger neighbour, and Academy 2 proved to be an ideal location. With the place full to bursting, the foursome provide a show with enough energy to power a small country. Nevertheless, Metronomy are dressed to the hilt and an air of cool emanates from them throughout the entire evening.

The constant 80s pop shuffle of the crowd is only broken by a mass of bodies storming towards the stage upon the playing of first album classic ‘You Could Easily Have Me’. My only gripe could possibly be that this was indeed the only offering from Pip Paine (Pay The £5000 That You Owe). But that does not detract in any way from the overall spectacle, instantly danceable numbers from Nights Out litter the setlist, and the evening is drawn to a close perfectly by an energetic rendition of ‘Radio Ladio’.

It is true; Glastonbury exposed the south-coast crooners to possibly not be the desired material for the Pyramid Stage, so obviously questions could persist about their ability to fill larger venues. Nevertheless, after tonight the only issues that come to my mind are:

Are Metronomy the most tight-knit performers around? Is ‘Heartbreaker’ the most perfectly layered pop song? Is bassist Gbenga Adelekan the coolest man on the planet?

By the way, the answer to all the questions above is yes. Bloody brilliant.

Column: Loutallica

Written by Tom Geddes on . Posted in Music.

Collaborations between bands have always been a bit of a dodgy area. Granted, the odd few seem to work, despite your conscience screaming that it’s wrong (see Aerosmith teaming up with Run-D.M.C. and smashing the original ‘Walk This Way’ to pieces),  but the vast majority just sound shit and ultimately are shit (see the endless stream of trash Fred Durst popped up on in the noughties.) But over the course of last summer, one such coming together was announced that greatly distressed me; Metallica and Lou Reed.

If you are sane, the first question you ask when you see this isn’t the usual, “Hmmm, I wonder what that will sound like?”, but rather “Who is this album being made for?” Are there vast numbers of Velvet Underground fans out there screaming for a bit more stadium metal behind Lou Reed’s voice? Are there Metallica fans who feel deprived having just one set of croaky vocals, a decade or two past their prime? Of course, there are neither; the only reason for these strange bedfellows to unite, lies in pure ego and self indulgence. Reed wants to seem more extreme than he now is and yet, his attempts ultimately likening him to a balding, middle-aged man who just bought a leather jacket and a motorbike. Metallica are also having their own little midlife crisis. Desperate to undo nearly thirty years of rebellious, beer swigging attitude and be seen as credible, they’ve decided to enlist one of the greatest vocalists in living memory, with the ironic side-effect of sapping the credibility out of all involved.

Let me be honest with you now. Every judgement I made on this car crash of an album, I made before seeing any details, hearing any songs, reading any interviews or observing the artwork, but in turn, nothing I’ve seen in the slow reveal since has changed my mind at all. In fact, every time I hear a new detail about the album or hear an extended sample, I do so getting steadily more depressed about the impending result. The most distressing detail about the whole album is the concept; yes, it’s a concept album by the way. The album is called Lulu, and charts the story of a dancer and her relationships. If that didn’t interest you enough, it also involves Jack the Ripper. If that still didn’t interest you, it’s worth noting that, ultimately, this is the score for a failed reworking of century old German plays Earth Spirit and Pandora’s Box. Whilst this is the exact quirky territory you may expect Reed to cover, I really wonder what Metallica were thinking.

When they and Reed played together at their induction to the Rock and Roll Hall of Fame, did they really see this as the logical next step? If so, why? Surely inspiration cannot be so dried up that, not only must they recruit an outsider, they do so bringing no ideas and perhaps more importantly not shooting down ridiculous ones Reed gives them. ‘The View’, a number in which Reed talks over plodding riffs, was released to near universal groans, seemingly proving every sceptical comment thrown Lulu’s way to be correct; which brings this rant to the point I wanted to make. Sometimes it is just better to focus on what your fans want. Now, I’m not saying that Reed or Metallica should pander to the masses and put out what they feel is a terrible album, but surely, they want to keep in the favour of long term supporters. By putting out Lulu, not only have they put out a potential flop, but they’ve also pissed in the face of fans waiting patiently for a real new album and that shows just how out of touch with their audiences both are. Collaborating with somebody your fans probably don’t like, on an album they didn’t ask for, in turn delaying the album they want.

Album: Justice – Audio, Video, Disco

Written by joe smart on . Posted in Music.

Justice
Audio, Video, Disco
Edbanger Records

1 out of 5

Remember Justice? Yeah? Well you’re in for a treat then, sort of. The French duo that took electronic music by storm with their first, and critically acclaimed album † have returned with another album that is set to follow the same formula and change the face the of dance music again. Or is it? After listening to Audio, Video, Disco, it’s clear much has changed.

After the power-hitter that is Justice’s new single ‘Civilization’, the album fades. Too many songs just come and go without any real consequence; in fact, at least a third of the album sounds like it could be backing music for a shit remake of Crystal Maze. For those of you looking for another ‘Phantom Pt. 2’, a song that stood out amongst the other stellar tracks on the first album, you’re out of luck. The duo have cited Queen, The Who and Black Sabbath as influences on this LP, and whilst it’s clear that a homage to these artists exists in some of the tunes – especially the 80s guitar riffs in ‘Parade’ and ‘Newlands’ – it’s unclear as to whether it actually works for them. It often sounds confused. It seems too far removed from what made their first album great – towering drums, haunting, deep base – replaced with MGMT-style vocals and too many faceless instrumentals. It appears to be an altogether more inoffensive listen, which is sad, really. You certainly won’t find a ‘Stress’ on this record.

It will work for some, but not for me. For those who want to hear the Justice of old, avoid this album. If you simply can’t go without listening, brace yourself to be under-whelmed and slightly gutted.

Album: Sungrazer – Mirador

Written by Tom Geddes on . Posted in Music.

Sungrazer
Mirador
Electrohasch

4.5 out of 5

Europe, at least for the last three or four years, has been the place to go for fuzzy, psychedelic, underground riffs. Small bands, such as Colour Haze, Graveyard, Asteroid and Kamchatka, have flown the flag for the genre over recent years, but in Mirador, Sungrazer have stepped up to challenge all comers.

Heading up their first full length, ‘Wild Goose’ is a confident jaunt between swaggering, semi-distorted riffs and calm, seemingly endless jams, setting up a real feel for where the album is taking us. What follows is a succession of jam like tunes with long instrumental parts, leading up to crushing choruses, all helped along the way with the odd pedal effect. Trippy parts are scarcely few and far between either, with title track ‘Mirador’ an easy song to get lost in, even through some of the more crunching parts.

Worth noting also is that this is an ‘album’ album; rather, it is not just a collection of songs with no common thread. From start to end, Mirador travels in a seamless direction, washing over you all the more effortlessly in the knowledge that this is, for all intents and purposes, one solid piece of music. The real testament to this album however is the effect small, seemingly inconsequential flurries, hidden away among instrumental sections, can have. On the second spin, you may find yourself awaiting a three second long progression of simple chords, all because of the hypnotic effects and mixing of the album.

With the acclaim many critics gave to Sungrazer’s self titled EP last year, it was interesting to see how their debut full length would match up to the merits of the former. The answer is easily. Mirador is an album that is, as ludicrous as it may seem, simultaneously relaxing and exciting. Simply amazing.

Thrashing About

Written by Jane Kilpatrick on . Posted in Theatre.

Three out of five stars

Conor McKee’s ‘Thrasher’ seemed even from the foyer to be fit the Royal Exchange Studio’s image of being slightly ‘younger’, and edgier than what one might expect to find in its theatre space. The woman queuing in front of me at the box office certainly seemed to think so; she looked relieved on behalf of my friend when he was told there were no more tickets available. ‘Thrasher’ had sold out to a very specific audience, the type that does not need to ‘enjoy’ a play as long as they get to discuss it afterwards. With this in mind, ‘Thrasher’ certainly delivered what it promised: a challenging play, available to be discussed with cast, writer and directors after the show. I admire the idea of the Exchange to engage with an inquisitive audience, and ‘Thrasher’ did provide plenty of discussion, but I cannot help but think that McKee probably wrote it after a very long break-up; it was not the happiest of plays.

‘Thrasher’ was created by McKee out of three short plays written separately, and came together as an interesting look at how people interact within and without their chosen relationships. The original script included 12 characters, as opposed to the six in this production. The smaller cast allowed the audience to grasp the characters’ dependence on their existing situations; although they were unhappy it was clear that they had run out of other options. We follow six characters through one day inManchester, exploring their motives and emotions and how they affect each other. McKee’s script, although rather miserable, did very skilfully set up three or four very believable, relatable relationship dynamics, despite only showing the audience a few hours of the characters’ lives. The question of why each character remained in these relationships was cleverly emphasised by a sparse, uncluttered set that did not physically distinguish between scenes. There was a distinct lack of personality on set which focussed the audience on understanding the actions of each character, and made it visually more understandable that they thought they had cut off any alternative.

The cast itself produced six very clear, convincing characters. The dialogue was very well delivered to make the audience sympathise even with the characters that weren’t very likeable. The dynamic between the six characters, Lee, Jenny, Vic, Colin, Chloe and Frank, presented three who were much easier to blame for the unhappiness onstage, and three who appeared much more passive and victimised. Several monologues allow the audience to understand how each character could have allowed themselves to get to their current situations, but this understanding was rather well challenged by the idea introduced very early on that ‘people don’t change, they just change their rules’. Throughout the performance we are reminded that each of these characters has cut themselves off through the choices they have made; it comes across as quite a frightening prospect that even the ‘victims’ have got themselves into such unhappy situations. In the final scenes of the play it is interesting that the more aggressive characters, both of whom paid another character for sex in previous scenes, end up happy and comfortable together. Although they have perhaps ‘betrayed’ each other the most they are also the most honest, albeit unpleasant, of the characters. While the audience may want Lee and Jenny to be happier together, the final scene- a repeat of the opening scene with a few extra lines added on the end- brings the audience to understand why the decisions each character made throughout the play prevents them from understanding each other.

Set in Manchester in the context of drinking, drugs, office jobs and parties, ‘Thrasher’ makes quite a clear point about communication and motivation in modern life. Throughout the play the most common prop is a mobile phone, and much of the dialogue is made up of ‘half conversations’, often two such conversations happening simultaneously. The actors make these conversations very convincing; fortunately this technique does not at all fall flat and is actually quite effective. One scene set in a call centre shows Vic and Colin struggling to have an argument while they each try to sell life insurance to a string of different customers. Jenny tries to organise appointments for her home massage business while her boyfriend Lee struggles to talk his way out of debt and into jobs next to her. The dynamics of these two relationships are quite cleverly shown to be lacking in communication; the words are there but none of the characters can quite communicate and understand each other like they used to. The remaining two characters, Chloe and Frank, are equally plagued by their phones; Chloe’s mother incessantly calls her about church while Frank ignores messages from a woman asking after him. The presence of these ‘invisible’ voices gives the audience the idea that these characters are running from their identity and the community they have set up for themselves: McKee emphasises the idea that the characters are trapped.

‘Thrasher’ is an unrelenting look at modern life and its relationship with money, age, sex and innocence. Each character is isolated by one aspect, for instance Chloe’s faith in God is unrelenting but she feels as though she doesn’t ‘understand’ anymore, that she is cut off from reality and craves ‘warmth’, by which, it is clear, she means sex. Jenny’s apparent agoraphobia increases her dependence on Lee but also her awareness that he is rarely there for her, while his lies about their financial situation show that he is motivated by money, but also by maintaining their relationship however he can. Throughout the play is communicated a sense of control and of memory, in each scene the use of names is very apparent. Lee will use Jenny’s name to try to establish a personal connection that used to be there, while Vic will use Colin or Chloe’s name as a means to establish her status over them, to control the outcome of the conversation. McKee’s script quite cleverly establishes the habitual relationships of the characters even while turning them on their heads to portray people’s real motivations and priorities.

Despite being a rather unhappy watch, ‘Thrasher’ delivered a positively challenging and brave performance. Luckily this was followed by a very lovely recital on the double bass by composer Michael Cretu, which emphasized the happier outcomes of the final scene.

Trasher ran at the Royal Exchange Studio from 28th September to 1st October

 

Interview- Michael Mayhew

Written by Alice Hughes on . Posted in Theatre.

Fresher’s week 2010. A bunch of nervous freshman bustle into a lecture hall for an introductory lecture. Welcome to Manchester Drama department. I am your lecturer, you are my students and this is what you will be taught. Half way through, a mysterious scruffy figure wearing baggy trousers and a tweed hat stumbles into the hall. He plonks himself somewhere between the lecturers and students, sniggering to himself whilst noisily fumbling in his pockets. Who is this man whose uninhibited nature intoxicates us as he tells us to forget about lectures and so called “required reading”, to venture off the Oxford Road, to explore and to “do”. The answer is simple yet indefinable. The answer is Michael Mayhew.

A year on I find myself walking down a cobbled alleyway lined with old, rehabilitated Morris Minors. I end up next to the last garage on the street, nervously calling out under the crack in the door. With the great theatricality of a stage curtain, the garage door slowly rises, revealing feet, legs, torso and then finally the man himself, as a whole; Michael Mayhew, defined by some as performance artist, but more importantly to him, as an organism, a living breathing, “doing” human being.

When asked to define himself, Michael replies; “I think the things that happen to you shape who you possibly are and you have a series of decisions to make about who you want to be.”

From day one Michael Mayhew lived outside the box. Born and raised on a “seedy fairground” with an uncle as an all-in wrestler and a dad who drove dirt-cars, it was not only his back ground that set him apart from the rest. Experiencing a “horrific” accident when he was a kid Michael broke his legs and his arms leaving him an invalid for a period. In a more socially segregated time, with much discrimination against disabled people, Michael’s role as an outsider was further confirmed.

Determined to explore these formative experiences, Michael rejected the family business and attended the radical Dartington College of arts. Dartington’s focus on a performative and multi-disciplinary approach to the arts catalyzed the evolution of his ideas. It is the influence of this particular education system which prompted what he represents. A system “which asked you to ask not what something is but the possibilities of what it could be.”

“It was just… standing still was dance which was electric for someone who just had two broken legs”

Unfortunately, Michael claims that this particular ethos of a very open education system has, since, been diminished, eroded and attacked by the “establishment” and doesn’t exist anymore. “The establishment has swallowed up every subversive aim that has been thrown at it, and has made it its own”.

Theatre was Michael’s first love, but he felt uncomfortable with the hierarchical system within it, everyone has their particular roles, the set designer makes the scenery, the builders build, the actors act and the rehearsal process is meticulously planned out in advance. “It was departmentalized structuring and that’s not for me”. Leaving conventional theatre behind, Michael decided to dedicate his work mainly to the exploration of performance art.

Mayhew accepts that performance art such as his own provides a fundamental change to conventional theatre, but as part of an “evolutionary process”. He believes the role of an artist is to reflect and question our culture in order to understand where we are. It is a “barometer of our times and you can’t blame the barometer for the weather.” This aspect of art is, he claims, a deeply historical tradition which has always been a fundamental underpinning of society. “You can’t pin it down and so the academic can’t own it, it’s a very fluid thing.”

Art is for Mayhew, incapable of categorization. His own art has taken place in many forms, or different “language, patterns and structures” as he describes it. He has won awards for dance, traditional theatre and writing and is currently nominated for a British composer award even though he can’t read music or play an instrument. Why shouldn’t one be able to practice multiple means of expression and test the pre-conceived boundaries the so-called “establishment” has created? What defines what he asks?

When asked why this is art and not theatre, and is theatre not art? He replies yes! It’s all art! For Michael, the creation process is a very holistic process “and that’s not hippy, that’s just about being complete”.

In keeping with his ideas of completeness, Michael’s life has come full circle. Nearing fifty, and after years of travelling he has finally decided to return home to Manchester. “This city shines with people saying I’ll give it a go. What if? Why not?” and it is “full of musicians who can’t read music”.

Michael wants to introduce Manchester to performance art with his new performance piece In Remembrance performed on 11/11/11; a date, the significance of which, not only relates to Remembrance day, but also the rarity of the three elevens. “I took one look at this date and thought I’ve got to do something!” he says, “You cannot let that date drift by and not recognise it as completeness”.

So, its 11 artists, in 11 hours, performed on 11/11/11.

But while the structure is complete, the substance within the structure is, in true Mayhew style, unknown, secret and ever changing. It is a holistic package of the unknown, loaded only with humanity. But humanity, he claims, is unpredictable and constantly in flux. All Michael would reveal, and all he probably knows of the performance, is that 11 artists will arrive at Platt chapel on the 11/11/11 and for 11 hours they will remember, but we don’t know what and we don’t know how.  The only way to find out is to go along and experience it for ourselves.

As I take my leave from this strangely unsettling man, I am confused but oddly exhilarated. His ideas are slightly incomprehensible and at times arguably pretentious, yet I can’t help but feel perplexed and liberated. I am left with his final words echoing within my head.

“You can go, I got a plan, but actually the world starts changing around you. So you have this plan, and the structure of the work is happening, but actually there are things that will start happening that you haven’t written down, that you haven’t pre-empted and you haven’t expected; and those are the things that will change your life. And that’s what this work does.”

Performance will be held at Platt Chapel on 11/11/11

Tickets are available at www.inremembrance.org.uk

Album: The Drums – Portamento

Written by Hugo Nicholson on . Posted in Music.

The Drums
Portamento
Moshi Moshi/Island Records

2 out of 5

Just over a year since the release of their critically acclaimed, self-titled debut, The Drums are back with Portamento, their palpably unremarkable second effort. Given the turbulence of the band’s recent past (losing a guitarist, and dealing with the upheaval that came with it), you might expect Portamento to be musically a very different record to The Drums. It isn’t: it merely sounds like a moodier re-run.

Despite this, ‘Book of Revelation’ is still a strong opener, retaining the melancholy catchiness and infectious bass of their first album. “I’ve seen the world, and there’s a heaven and there’s no hell”, lead singer Jonathan Pierce assures us during the chorus; unfortunately, listening to the album’s other 11 tracks arguably proves the opposite. By the time we reach the fourth track ‘Money’, the album’s first single, the songs already begin to blend into a bland musical sameness. Although the slower tempo and softer, less frantic vocals of ‘Searching For Heaven’ do introduce some progression, the band then revert back to their usual quick, poppy style for the remaining five tracks. ‘If He Likes It Let Him Do It’, with its Morrissey-esque vocals (heard throughout the album, most obviously in ‘Money’), quickly becomes annoying, and Pierce’s whining voice on ‘In the Cold’ doesn’t take long to start grating.

The word ‘portamento’ is an Italian term denoting a vocal slide between two pitches, but despite its connotations with change there is little to be found here. Few of the 12 tracks on Portamento are actively bad, but most are lazy and uninventive, which makes the album a frustrating listen. Pierce’s lyrics in ‘Hard to Love’ perhaps sum up the album well; “I would never hate you, but you’re hard to love” – except in this case, it’s very hard.

Student crushed to death in nightclub

Written by Ellen Conlon on . Posted in News.

A young woman has died in a “stampede”, in a Northampton night club.

Two others remain critically ill and at least eight people were treated for minor injuries, all thought to be the result of crushing in the Lava & Ignite nightclub.

Nabila Nanfuka, 22, is believed to have suffered a heart attack after being crushed on a landing area halfway down a staircase.

She studied leisure and tourism at Northampton University.

Up to 1,300 students from across the UK attended the event, DNA Presents Wickedest Wickedest, a hip-hop and R&B night.

It was due to go on until 4am but at 3.30am managers began moving everyone towards the exits.

James Adetula, who attended the event says, “It was ‘everybody the coaches are leaving, make your way to the exits,’ so everybody went for the exits. The next minute the fire alarm went off and everybody started panicking. There was obviously a stampede of people in there when the fire alarm went off.”

Over 2,500 people have joined a Facebook page set up in memory of Nanfuka.

Emergency services said they were called to the club shortly after 3.30am. Supt Andy Cox of Northamptonshire police said that officers will be working with the club, the event’s organisers and local authorities to work out exactly what happened.

Officers will also look at CCTV footage from inside and outside the club.

Lava & Ignite issued a statement saying the venue would be closed temporarily. Northampton Council will carry out a review of the club’s licence.

A spokesperson for Luminar, which runs the club, said the company would “cooperate fully with police to find out exactly what happened.”

Album: The Kooks – Junk of the Heart

Written by Jon Taylor on . Posted in Music.

The Kooks
Junk of the Heart
Virgin Records

2 out of 5

Love them or hate them, The Kooks’ 2006 debut album Inside In/Inside Out was admittedly packed full of catchy, toe-tapping pop songs, tracks like ‘Naïve’ and ‘She Moves in Her Own Way’ helping them become every schoolgirl’s favourite indie band and secure two top-ten singles. Fast forward five years and The Kooks return with third offering Junk of the Heart, hoping to make amends for 2008’s critically, and commercially disappointing Konk.

It’ll come as no surprise to most then, that this album once again fails to live up to the mark. Junk of the Heart comes across as a record made by a band who have clearly lost their way, as well as their relevance. Luke Pritchard’s lyrics appear weak, and even his distinctive voice disappoints too, especially in opening track ‘Junk of the Heart (Happy)’ when he struggles to cram in an extra syllable during a cringeworthy chorus of “I wanna make you happy/I wanna make you feel alive.”

The Kooks are clearly desperate to record another ‘Naïve,’ and have pulled out all the cliché 2011 indie tricks in the book. ‘Runaway’ takes a more synth-pop/electronic direction, but like most of the album sounds weak and is instantly forgettable.

There are some high points here, ‘Is It Me’ is as catchy as some of the band’s earlier material and is an obvious choice for lead single despite once again being lyrically poor, whereas other tracks such as ‘Killing Me’ start off promisingly, only to be let down by weak choruses. With this record it seems hard to imagine the Kooks reliving their ‘glory days’ of a few summers back, especially considering that the fan base that propelled them to arena status are now much older and wiser. Junk of the Heart shows The Kooks to be a band who are desperately running out of ideas.

Album: Anthrax – Worship Music

Written by Tom Geddes on . Posted in Music.

Anthrax
Worship Music
Nuclear Blast

4 out of 5

Over the last twenty years, Anthrax have seemingly been the laughing stock of the big four. Metallica had the record sales, Megadeth the pure technical excellence and Slayer had the heavy. Anthrax meanwhile would be off adding guitars to Public Enemy’s ‘Bring Tha Noize’ and changing their frontman every twelve seconds; within the past three years alone, they replaced short time vocalist Dan Nelson with previous vocalist John Bush before deciding to bring back another former vocalist Joey Belladonna. Needless to say, the long awaited Worship Music is make or break time for Anthrax, and they know it.

Long before the intro Worship is over, you realise that Worship Music is going to be the heaviest set of tunes Anthrax have put to record for a long, long time. Smashing you over the head with crisp riffs and, to Belladonna’s credit, still rather powerful vocals, this isn’t the celebration of Anthrax’s past that it could easily have been; more so, it is a statement of intent for the future. ‘Fight ‘Em Till You Can’t’, whilst on paper a ridiculous number about fighting off singing zombies, turns out in actuality to be one of the catchiest thrash metal songs for what seems like an age. But the big treat to find on Worship Music is ‘In The End.’  Both knowingly ambitious and surprisingly delicate at parts, this is where Belladonna really shines through and silences any critics who called for the brief John Bush reunion to be ongoing.

With Metallica noodling around with Lou Reed, now is a perfect time for Anthrax to pounce with the album of their career. With Worship Music, they may just have done this. Heavy, melodic, catchy and confident, it’s time to give Anthrax the respect they deserve.

All abroad!

Written by Richard Crook on . Posted in Features.

My reaction to the idea of the Study Abroad study abroad scheme is the same as most students. Genuinely believing “that’d sounds really interesting I’d love to do that,” then never taking any initiative to actually go for it. But this is a crying shame, for it is a once in a lifetime experience that we should be embracing. So, to try and show you what you’re missing, these are a collection of first-hand stories.

University of California, Los Angeles
Shaurna Cameron

My trip was to the one and only Los Angeles, CA. Initially when I arrived I was taken aback by the palm trees and the friendliness of the people. I was called ma’am so many times that I started to believe that people thought it was my name! But when I stepped out of the airport and into the immense heat that envelops Los Angeles it was love at first sight. After a year in rainy Manchester, feeling the sun beating down on my back was great.

In terms of academics I am finding that everything is more relaxed. You’re allowed to eat in lectures and ask a lot of questions without being told to wait until the end of class. Professors encourage you to come to office hours and are more than happy to help with any issues you have. They especially love an English accent!

Although losing the familiarity of Manchester is a little hard to get used to, I can honestly say that I could complete my degree in LA. You miss your friends for a while but everyone is so polite it’s easy to meet new people.

I think Manchester could definitely benefit from the sense of belonging that UCLA students feel to their university. The “Bruins”, as they are known, see their university as a family despite the fact that it so big. If Manchester’s students had that kind of kinship it could make for an even better experience.

Have I got any advice for people thinking of studying here? Well, firstly Americans find the English accent really difficult, so make it easier on yourself by learning the idioms. Throw out your trousers and embrace the pants!

Also, you come here not knowing anybody and you can’t go home on weekends. As such, I’d really encourage you to make an effort to speak to people and take part in the international programs, clubs and activities the university offers.

Study abroad is not just something that looks good on your CV. It’s an opportunity to mix with a wide variety of people from different backgrounds and hopefully learn things about yourself that you never knew before. If for nothing else coming to UCLA gave me the opportunity to meet Spiderman in Hollywood!

Sydney University
Imogen McRoberts

Welcome to Sydney University. ‘Arrive and thrive’ is the motto, which repeatedly rolls off the tongues of the very witty, very helpful and very ‘Australian’ Study Abroad team. However, at that point I was more thinking ‘Hello bed!’ with the jetlag. The first two weeks were a daze, a hazy blur of confusion. Frustrating though it was, it was also very thrilling. Upon arrival I was struck by an excess of warmth from various different people from an array of ages and backgrounds. I thought, “You don’t find this in England, no one’s that helpful.”

Since being here, I have discovered the wonders of good weather and the impact that has on University life. There is usually a free BBQ somewhere on campus and a range of activities and events going on throughout the semester, much of which take place outdoors. Walk to classes and there is music is playing; kids are flyering about one issue or another, free t-shirts during the elections and free sweets. Even the most British of Brits couldn’t moan about that.

Probably the most enjoyable aspect of life at Sydney so far has been the diverse subjects I have been able to take. Whilst being here I have studied MEN: Masculinity, Mateship and Men’s Lives (yes boys, we’re on to you!). This seems to be a subject that, although not strictly Australian, has much focus within Australian intellects. I have also taken two subjects with regard to the Indigenous people of this country. One about their contemporary art and another regarding their place in ‘Modern’ society. These two subjects have opened my eyes and my mind to an issue I would have never been aware of. I have been introduced to some amazing Australian culture, whether it is film, art or people in general. It’s a far cry away from the stereotypical Ozzie that I had preconceived before I arrived! There is some truly inspiring creativity taking place here.

In my semester break I took a ten-day holiday and without exaggeration, it has been one of my favourite holidays yet. I went up the coast, chasing the sun and found the beaches and the sea. There were three main parts to my travel, a sailing trip, a tour on Fraser Island (‘Oh no, a Dingo ate my baby!’) and lastly to Byron bay, the land of love and freedom! On this adventure I met some beautiful people, mostly backpackers but the few Ozzies I met were gracious and generous. This includes the three inbreeds who were attending a wedding – ‘Yeah we’re, like inbred, you know. It’s kinda weird but we’re a close family.’ The trip made me want to travel and see the rest of Australia because it is so large and so diverse from place to place.
Overall, the experience I’ve had in Australia has been heart-warming. I have had the opportunity to interact with people from many parts of the world and have been shown generosity beyond belief. Although I have missed friends and family, it is important to step outside one’s comfort zone and by doing this in Sydney, I have reaped many rewards!

Singapore University
Oliver Reynolds

I arrived in Singapore on 29th July 2011, as term starts in early August here, flying straight from Ho Chi Minh City and thus experiencing a double culture shock as Singapore was unlike either Vietnam or the long-distant UK. A megacity-state with a population of 5 million: ultra-clean, green, organized, urbanized, modern and overwhelmingly humid.

I was shown around by my Welcome Buddy, but spent the rest of the first day milling around trying to infiltrate a group of exchange students or else target a loner and form my own group. I found one in the shop at my new halls, but as I desperately tried to start a conversation with him I discovered he was the 14-year-old brother of another student! After that fail, I just went back to my room to unpack. Luckily, I met my next-door neighbour, a Canadian guy called Sam, who introduced me to his new friends.

From there it was fine, as I’d done the whole meeting people and heavy socialising in Freshers’ Week (or Welcome Week is it nowadays?) in first year.
The first couple of weeks felt like being in Disneyland. We went to the well-kempt Botanic Gardens, to a beach party on the heavily-manicured and artificial (but nonetheless fun) Sentosa island, hiking round the MacRitchie Reservoir Nature Reserve among cute, yet teeth-baring, macaques and sampled a collection of very plush but extremely expensive nightclubs (where I purchased one bottle of Tiger beer for $20 – or £10! It was no Fifth Ave).

Singapore has so many laws, including no spitting, public speeches, jay-walking, or smoking/drinking/eating on the immaculately clean MRT (metro) system. I frequently forget about the no drinking law, which incurs a fine of $250 (even for water), always glancing around guiltily and hoping nobody will report me. Yet on the other hand, drinking alcohol in the streets is perfectly legal, as is prostitution. It’s a bizarre country of contradictions.

The National University of Singapore campus itself is absolutely stunning: dotted with exotic banyan trees and set among gentle hills with hi-tech and state-of-the-art academic and sports facilities all served by (usually) efficient shuttle buses, which also visit the main halls of residence.

Finally, arguably the best thing about Singapore is the incredible opportunity to travel around Southeast Asia very cheaply, taking budget airlines and staying in hostels even just for the weekend due to its proximity to some of the world’s best travel hotspots. It’s only halfway through the first semester and I’ve already been to Malaysia, Brunei, Bali, Java and Bintan (Indonesia) with trips to climb Mt. Kinabalu and tour Thailand on the cards. And I’m not at all rich, especially after having my wallet (and all cards) stolen in Bali.

The food is immense, the culture diverse, the transport cheap and efficient and most of all it’s a very safe city. It makes a pleasant change from living in Longsight.

University of Tennessee
Jessica Higham

Before I left Manchester for Knoxville, Tennessee I thought it would be no competition. I have always loved Manchester and felt that it could never be kicked off its number one place in my heart. It was a case of city vs. campus, my own room vs. sharing, and rain vs. sun (though that latter competition wasn’t too hard fought).

However, Knoxville surprised me and won me round. Those who know me know that this took a while – I was incredibly homesick for the first month or so and found it hard to be somewhere where I only knew a few people, but I don’t think I could have been anywhere more welcoming. The school spirit at Tennessee is mega, and possibly something Manchester could take on board. Everyone is dressed in swathes of orange, with big T’s emblazoned across their chest. You can’t avoid it and it definitely helps that you feel a part of the university.

Sharing a room might seem outrageous to most people back home, but you really do get used to it. Yes, you have to learn to embrace the other person’s alarm and their strange sleeping habits, but after a month or so it becomes second nature. In fact, when I came home to my room it felt strange to be on my own. You get so used to having someone else there. There was one thing at Knoxville that I didn’t succumb too, and that was the backpack and gym shorts combo that everyone sports. When we arrived in Knoxville it was snowing, so I went for the shorts and tights look that many of us in Manchester wear when the weather gets a bit chilly. The stares I got. They had barely ever seen tights before, let alone paired with shorts. If you ever have a doubt about whether you’re fashionable or not, head on over to Knoxville and be put at ease, they adore the English way of dressing (not to mention the accent).

If going to America on study abroad has done one thing for me, it’s completely boosted my self-confidence and what I know I’m now capable of. I would recommend it to everyone, even those home birds who think the idea is a bit daunting – you do come home eventually, and when you do you’ll feel like a new person.
Jess Higham, American Studies, went on exchange to the University of Tennessee at Knoxville in semester 2 last year.

If you are feeling inspired by any of this and would like to find what options you might have to study abroad as part of your Manchester degree, then here’s a date for your diary! The annual Study Abroad Fair will take place Tues 25 October, 12 – 4pm in the Whitworth Hall. There you can chat to Manchester students who’ve already been abroad on exchange as well as Study Abroad Unit staff to find out more about the programme. There’ll also be representatives from the Study China and Seoul Summer Study programmes, and the Careers Service who can help advise you on internships abroad/ postgraduate study abroad. Do remember though, the application deadline for many destinations are 15 December 2011. For more information see: www.studentnet.manchester.ac.uk/studyabroad or email: [email protected]. Nothing to lose by having a look.

Live: Shadowsphere @ Warehouse Project

Written by joe smart on . Posted in Music.

‘The Beginning of the End’
Warehouse Project
17th September

For some, Warehouse Project is a passion, for others, a religion. In what will be its final year at Store Street, WHP have devised a refreshingly different line up which still maintains a comfortingly familiar feel to previous years.

An example of this would be ‘The Beginning of the End’, WHP’s first outing this year. Manchester favourite Skream was steady, not monotonous or boring but consistent, rather than spectacular. Jackmaster offered a more enthusiastic effort, and despite being lumbered with the latest set time of 4am, his quirky and often frantic persuaded many to jump out of the cloakroom line and stick around.

SBTRKT, having released his critically acclaimed self-titled LP this year had much to live up to. Despite an energetic effort, and some inspired mixing, a faulty soundcard somewhere in the depths of his set-up hampered his rhythm, with blotches of silence plaguing the set from start to finish.

Hudson Mohawke was one of the highlights despite drawing smaller support than expected, dropping some beats from his new EP Satin Panthers, which were as unusual as they were crowd-pleasing.

So far, those who had attended the night had been treated to an above average Warehouse, decent slots from all DJs were complimented by a friendly, if a little quiet audience. Then came the arrival of the Shadowsphere, and everything changed.

DJ Shadow’s electrifying display utilised what appeared to be a startlingly complex and detailed light show, centered around a giant orb, almost floating on stage. Taking the shape of a baseball one minute and the Death Star the next, you were hurtled from one banger to another at breakneck speed – scarcely leaving any time to catch your breath.

Shadow’s mesmerising performance was undoubtedly the highlight, with admirable support from a stellar line-up. If WHP has started how it means to go on, it can only mean they are going to leave Store Street with a bang, rather than a whistle.

Column: Top of the Flops?

Written by Tom Hickman on . Posted in Music.

Over the summer I made it my main ambition to maximise whatever spare time I had to catch up on a couple of years of lost literature. Whilst at university, your free time tends to be far better spent trawling through the depths of BBC iPlayer’s back catalogue for something that doesn’t feature Michael McIntyre, or the latest addition from Brian Cox. In spite of going out with good intentions, I soon caught eye of Alex James’ autobiography sitting on the shelf whilst at a friend’s house. I decided to ditch my half-hearted attempts to challenge another Jane Austen and instead learn of the Blur bassist’s incessant quest into drink and drug-fuelled self-indulgence. I took great pleasure in reading of his relentless hedonism throughout the nineties, as he ferried himself from gig to gig, bar to bar, and woman to woman. But what resonated with me more than anything else was not his lifestyle or his constant globetrotting, but how much it meant to him (as a relatively unknown artist) not just to perform on Top of the Pops but more so, to be featured in Smash Hits! magazine.

Both institutions have since ceased to exist, as they both ended production shortly after the turn of the millennium, an ode to the digital age of free downloads. The demise of the top 40 chart has coincided with this downfall, and obviously the declines have been widely attributed to the influx of digital music and its ready availability on the internet. Although NME is still considered by many to be the ‘indie bible’, there has not been a publication that represents popular chart music. And even this sacred offering has seen an unremitting decline in sales in recent years, with the magazine now only having just over 33,000 copies in circulation (as of June 2010), a figure 53% down on the 72,500 of 2003.

With the recent release of magazine ‘We Love Pop’, we have seen an attempt at a return to the days of old, as hoards of teenagers follow their favourite pop stars’ every move. Nevertheless, with this release comes a series of pertinent questions: Will it survive or did Smash Hits! get out at the right time? Has music journalism begun the slow death march towards non-existence?

As the musical juggernaut that is The X Factor enters its eighth year, I’m struck by not just the sheer number of past acts that feature in the upper echelons of music’s hierarchy, but the utter dearth of talent in popular music away from the said programme’s endless production line. I know it’s an easy copout to belittle the X Factor culture within contemporary music, but the constant stream of (attempted) Mariah Carey replicas are going a long way to eradicate any sort of individuality within music. Long gone are the days of a voice and a personality being what you needed to succeed in pop music. You’ve just got to wear a suit of lamb chops or writhe around in skin-tight leather and you’re halfway to getting yourself a number 1 single. The removal of the joy of being young and talented instead being replaced by a “tick-box of what the marketing department wants, with a liberal dash of clod-hoppingly obvious sex on top.”*

Gone are the days of every adolescent etching the Ziggy Stardust lightning bolt across their face. Gone are the gender bending days of Culture Club. Tulisa Contostavlos’ extensive musical achievements are now the adjudicator for what deserves to top our charts and mould the teenage generation. Looks like I might have to dig that old Jane Austen out again.

*Quote – Clair Woodward (Sunday Express)

Vice Magazine launches at Deaf Institute

Written by Edmund Alcock on . Posted in Music.

When: Tuesday 25th October, 8pm – 3am

Where: The Deaf Institute

Boys and Girls, a very, very fun party is coming to town on Tuesday.

Vice: [mass noun]

* immoral or wicked behaviour: an open sewer of vice and crime
* criminal activities involving prostitution, pornography, or drugs: a mobile phone network is being used to peddle vice
* an immoral or wicked personal characteristic: hypocrisy is a particularly sinister vice
* a weakness of character or behaviour; a bad habit: cigars happen to be my father’s vice.

According to my editor, myself and all other decent professional journalists, what I just inserted above is cheating, disgusting journalism and downright laziness. You may think so too.

However! As I am writing this in relation to Vice Magazine’s new launch night at the Deaf Institute on Friday, I am taking free reign in journalistic customs and etiquette – just as Vice would love me to.

In case you are unaware of this anti-establishment, disruptive and highly contrary publication, they happen to be super funny too.

Born in Quebec, now living in NYC, Vice is the king of the bizarre satire in the western world, nay, the Globe.  Like their 27 country worldwide magazine, this night is also free, so there is no reason to not come along and check out what’s on offer.

A new force in ‘future pop’, Purity Ring descends upon Manchester for their first ever gig in the UK.  A hot topic from the streets of Manhattan, they represent Vice’s hometown for good reason. Only a year old, their stammering beats and synth loaded tracks are ever growing in popularity of progressive pop, and are building a catalogue toward a forthcoming 7” and an album within the next 4 months. “Hopefully” by January, says front man Corin Roddick.

Not only that, but the wonderfully named  Boredom are playing as are the melancholic Greatwaves.

Vice are also giving away free American Apparel goody bags for the early birds ‘pon arrival, and what’s more, are also giving away drinks tokens at www.vice.com/issuelaunch. Woohoo!

But what I’m most looking forward to is good ol’ North American college favourite – Beer Pong.

God Bless.

Manchester Young Greens off to a Flying Start

Written by Ceri Wills on . Posted in Societies.

Written by Manchester Young Greens

 

The student population of Manchester is Greener than ever before. At the University of Manchester freshers’ fair in late September, approximately 185 students signed up to become members of the newly founded Manchester Young Greens student society. It seems likely that the principled and consistent stance of the Green Party against the rise in tuition fees carried out by the coalition government has played a role in this apparent surge in Green student support.

A committee of ten members has been established, and several projects are already in development. Notably, the Young Greens are working with other environmental societies to start up a student food cooperative which will – in the words of committee co-chair, Nick Wilkinson – ‘not only combat climate change, but also student poverty by supplying students with affordable food. The Young Greens don’t just agitate for change. We are bringing the change right now.’

What’s more, a food recycling campaign is underway, to supply appropriate food recycling bins to students who do not possess them and to encourage those who do to use them. Manchester Young Greens will be participating in the Student Union’s Climate Action Week, find them in the Students’ Union all this week.

Outlook Festival 2011

Written by Hugo Nicholson on . Posted in Music.

Outlook Festival

Fort Punta Christo, Pula, Croatia

1st – 4th September


Standout Act:

With over 800 artists booked over the 4 days of the festival, choosing one standout act is an extremely difficult task. Everyone had a favourite, and for me this was Jah Shaka, of the South East London-based Jah Shaka Soundsytem. His 6-hour set on the final night kept people going long after they would otherwise have been able to; it was nothing short of phenomenal.

Biggest Flop

This title must surely go to Skream; perhaps the only impressive thing about his appearances on either the Main Stage or the boat party, which he was supposed to be hosting, was his ability to drink. During the latter, this skill rendered him unable to play at all, while on the Main Stage it led to him being forcibly removed, numerous times.

Surprise Package

For those that hadnˈt heard of them, Manchesterˈs very own Broke ˈNˈ English (who run their own night, Ballin’ On A Budget, at Mint Lounge) played one of the most surprisingly good sets at Outlook this year. Whether you’d heard of them or not, they were sublime.

Atmosphere

Despite having to queue for almost everything, the official campsite, overlooking the clear and bright Adriatic Sea, was a beautiful place to be during the day, with various performers playing sets on the beach from sunrise to sunset. The abandoned fort, venue for the late music (6pm to 6am), was indescribable, and the individual venues in and around the fort were all superb in their own right.

Worth the money?

Completely.