Skip to main content

Day: 25 March 2013

Interview: Drenge

“I’m not really sure.” Drenge frontman Eoin Loveless is being quizzed on their decision to adopt a Danish word for a band name. Younger brother Rory, who with Eoin comprises the Sheffield outfit, interjects, “We do like Danish things, Danish films…Dogma 95”. It’s well-documented that the twosome fancy themselves as connoisseurs of avant-garde cinema, and their fascination with Denmark originates from a school exchange. It was on this trip that they were introduced to their band name: “when we were playing football with the Danish lads, they began shouting ‘Drenge, Drenge!’ Later, we learnt that it meant ‘boys’ in Danish, and we just thought it seemed fitting.”

Despite their rural origins in the Peak District’s Castleton, Drenge have carved out a name for themselves in Sheffield. When asked why they gravitated towards performing there, they explained that although they “live directly between Manchester and Sheffield, it was just the fact that transportation links to Sheffield are tremendous. If we lived on the other side of the hill we would probably find ourselves in Manchester a lot more.” They’re irked, though, by the typical comparisons to other Sheffield bands: “guitar-playing bands always get compared or contrasted to the likes of Arctic Monkeys – it’s an honour to be compared to a band like that I suppose – but we have never been propelled to do this for any commercial reason. Our progression so far has happened organically”.

Varying descriptions of Drenge’s sound have them down as being sonically similar to The Black Keys, Bromhead Jackets and Milburn. When asked why their music is hard for reviewers to pin down, Rory offers the explanation that “because we listen to a lot of different music and our songs vary quite a lot in style, we haven’t become pigeonholed as part of a particular genre, I don’t think. We continue to write songs that don’t always fit contextually with what we were like as a band originally”.

Being only two in number, there’s obvious limitations to consider, especially onstage. “In the live sense, we are restricted. Before touring, we spent two weeks in the studio before coming out on tour, and stuff we produced there we could never produce live. We used a piano for example, that’s what it’s all about – experimenting and learning what were about. But we don’t want the current line-up to limit the music we can make”. Nodding in agreement, Rory divulges that “if in the future we feel it’s limiting, then it is definitely an option to being someone else in.”

No one could accuse the brothers of being sentimental towards each other; they confessed that “after touring, we will go a few days without talking”. When offered the comparison of a strenuous relationship similar to that of the Gallagher brothers they laughed, claiming “we don’t put it on for the media façade as Oasis do”. Eoin openly admitted that “we argue, but we get over it and besides we can throw a punch, but we don’t hate each other. Just the other day Rory hit me with a piece of plastic!”

Since signing with the Infectious label, which already boats an impressive collective of acts, including Alt-J, Drenge now appear to be making strides in building rapport with the press. The brothers admit that interviews “don’t come particularly naturally to us”, given their retiring, introverted manner, but recognise the opportunity that a record label offer. “We’re thankful to have the opportunity to support the bands we have done like The Cribs and Mystery Jets, so we’re more than happy to deliver and promote for our record label”.

In the past year, Drenge have covered the circuit, mainly as a support band for a number of prolific bands, and when asked whether touring with such established acts has taught them any ‘tricks of the trade’ Eoin responded positively. “Oh yeah, you learn so much, from the way they treat their audience to the way they make music on the stage, there’s a lot to take in”. “We once supported Tribes, Mystery Jets and the Vaccines in a cave that was literally next to our house,” Rory recounts fondly, when asked what has been their most enjoyable gig in their short time as a band. “There was always the All-day International Psychedelic Festival too though, it was great – crowds of people in tie-dye, big beards and hats, it was like something from the 70s”.

It does, however, appear that the rock n’ roll lifestyle once a staple for bands on tour is largely cliché nowadays. As Rory revealed, “It’s up to you really. It can be like that if you want it to be, but most bands these days are conscious about having to get up the next day and drive to the next place…sound check…play another show. Half the time, it’s easier not to have a wild one”.

As our chat neared its conclusion, matters turned to their debut album, Bloodsports, which was released a few days prior. “Release dates mean nothing these days” Eoin said dejectedly, “the album was live weeks before anyways, it’s almost like the release date is the day we can stop pretending and talking about the album and begin to concentrate on our next work”. There’s certainly a humility about the duo; “we don’t want to be rock gods or idolised. Ideally, everyone would leave the gig inspired to start their own band. We just want to prove that anyone can start a band and that we don’t need to work in an office all our lives.” Somewhere in that is a message for us all.

Men of steel

Having finished the first episode of Netflix’s new original series, House of Cards I have condensed my notes into two truths. Firstly, I am going to awkwardly crowbar a Usual Suspects reference into this article. It’s happening. And secondly, good tailoring will make you look like a country-maker.

There is an air of calculated understatement that pervades Netflix’s first foray into original programming, House of Cards. Beau Willimon’s dialogue is pithy, Eigil Bryld’s cinematography is clinical yet involving, and director David Fincher continues to find his way into my articles. Meanwhile, the master of understatement, Kevin Spacey returns to TV as the hardened veteran, Frank Underwood. In keeping with the theme of measured actions, Underwood’s wardrobe overwhelmingly communicates the idea that power is incompatible with the peppy Scout Sixteen brand of ‘fashion for the fashionable’.

graphics8.nytimes.com

As I delved into the world of Capitol Hill’s hardest hitters, it struck me how incongruous a dandy would be in this setting. Frank Underwood’s demeanour is ruthless and he has a wardrobe to match. Amongst the swathes of box-cut suits, Spacey’s tailoring is second to none. Offering just enough give, but aggressively. His use of colour is subtle, if present at all; blue and greys offset with stark white shirts constitute a wardrobe that is eminently versatile. One feels Frank Underwood could dress blindfolded and still look bombproof.

 This quest for adaptable clothing prevails in the real world, where politicians do more than walk briskly down corridors and look stern. In his Vanity Fair style profile last year, Barak Obama stated, “I’m trying to pare down decisions. I don’t want to make decisions about what I’m eating or wearing. Because I have too many other decisions to make.” World leaders like Obama, Medvedev, or Boris Johnson look cool because they genuinely cannot spare the time to care. There is unequivocal ‘dopeness’ to a well-tailored navy suit and a strong pair of Allen Edmonds that secretes authority.

gq.com

Finally, I would like to wrap this up the way I started it, with some truth. I still enjoy the peppy, Scout Sixteen ‘fashion for the fashionable’. As far as I’m concerned, lifestyle shots of tweed might as well be sartorial apotheosis. Secondly, House of Cards is a fantastic reunion between Spacey and Fincher and can be found on Netflix. Additionally, the show involves 100% less decapitation than Se7en the duo’s previous collaboration. So, you know, bonus. Lastly, if you want a job in the White House, the devil is in the sartorial details.

I guess I’m just trying to say, the greatest trick the devil ever pulled was convincing the world that a mediocre fit will get you a job in congress.

Mass Effect 3: The Citadel

Is this the DLC you’ve been waiting for? If you wanted a serious addition to the plot that shines new light on the universe or a new ending, then sadly you’re going to be quite disappointed. Alternatively if you are, like me, someone who wants to get to spend more time with characters you’ve known and loved for the entire 6 year span of this series, then this is the ultimate swansong for the Mass Effect series.

The entire point of the DLC clearly is to give you the chance to reconnect with all of your previous squad mates in one final hurrah and as per usual Bioware’s execution of storytelling is brilliant. The main story arc is simple. It has a cheesy, yet welcomed twist and helps bring out the best jokes in the DLC.

The DLC is separated into two main components: combat and conversation. It is clear that combat wasn’t the main focus this time around, but the new enemies have interesting new tricks and the new combat simulator stands out of the many mini games littered around the new area. The real stars are the returning characters and their multi-layered interactions with you and more impressively, with each other. The unending references and jokes are shamelessly self-indulgent, but the execution is so perfect that fans will be playing through it multiple times to find all the hilarious variations. The set pieces are exciting and meaningful, ranking amongst some of the most memorable moments in the entire series.

From the shooting, to the story, and most importantly all the fun you have with the characters, the emphasis on fan service means that fans will love almost everything this DLC has to offer.

Retro Corner: The Operative: No One Lives Forever

No One Lives Forever is a first person shooter borrowing from the kitsch and camp 60s spy genre. You play as Cate Archer, a Scottish femme fatale who certainly has a touch of Bond about her. She’s an agent for UNITY a secret international organisation tasked with stopping terrorist organisations bent on taking over the world. In No One Lives Forever, Archer is tasked with stopping H.A.R.M, a terrorist organisation full of colourful characters. Including mad German opera singers and kilt wearing Scots.

The game garnered much critical praise for its implementation of stealth sections and multiple ways of completing every level. You can take the stealthy option and use a wide array of gadgets to distract enemies; alternatively you can run in guns blazing.

Bond has Q and Archer has Santa who provides her with a set of gadgets based around feminine beauty products. Her lipstick doubles as an explosive grenade, perfume bottles hold poison gas and sunglasses detect land mines.

No One Lives Forever keeps you guessing. You are protecting an ambassador in Marrakesh one minute, riding your Triumph motorcycle out of a volcano base another, and stealing an antidote from H.A.R.M’s space station the next.

Having a female protagonist allowed the game to stand out from other spy fiction. Despite being smart, good-looking, and resourceful, Archer must be better due to the social climate of the time. She gets more flack when things go wrong, and has to fight for the chance to prove herself to her superiors.

No One Lives Forever is a funny game, mining the seemingly ridiculous 60s spy fiction like The Avengers. However, the developers separate it from the likes of Austin Powers by putting storytelling first and letting the comedy come naturally.

Whether you’re looking for an FPS that doesn’t take itself too seriously, or stealth sections that aren’t mind-numbingly tedious, I can heartily recommend Monolith’s No One Lives Forever.

Server chaos renders Sim City unplayable

EA’s always online Sim City has enraged fans of the series as server problems rendered the game almost entirely unplayable. Fans took to the web to voice their rage, negative user reviews on Metacritic flooded in with the game averaging just 1.7 out of 10. The server issues lead to Amazon temporarily pulling the title from its store.

EA’s PR response to the disaster was rapid and while mostly helpful, the spin often beggared belief. Senior Producer Kip Katsarelis explained on EA’s forum that “What we saw was that players were having such a good time they didn’t want to leave the game, which kept our servers packed and made it difficult for new players to join”. EA have also attempted to win back angry fans by offering them a free EA game, which they can redeem on EA’s Origin store March 18 onwards.

Initial server issues are beginning to be resolved, with EA increasing servers by 120 per cent. This has led to the number of disrupted experiences falling by 80 per cent according to general manager Lucy Bradshaw. However the fact that for some the game remains unplayable raises questions about the decision to make the game always online.

Sim City has traditionally been a single player experience, but EA’s new release scrapped that in exchange for online multiplayer. Cities now compete across regions with multiple users interacting in real time. Still, making the game always online seems a drastic measure, considering that most of the features could function in solo play.

Always online is seen by many users as a means of restricting piracy by requiring every user to be logged in. However being always online requires that the publisher is also always online. Recent history, including the disastrous launch of Diablo 3 suggests this is rarely the case. Publishers will have to decide whether or not the benefit of reduced piracy will outweigh the risk of a massive PR fail when the system inevitably crashes.

Live: Deap Vally & Drenge

6th March 2013

The Deaf Institute

Drenge: 7/10

Deap Vally: 8/10

The music-hall of  The Deaf Institute was set for a night of contrast with the performance of two bands at different points in their musical journey: newcomers Drenge and bill-toppers Deap Vally.

The modern day vestiges of rock ‘n’ roll music that is Deap Vally may as well be poster-girls for Californian fine living, with their sun kissed tans glowing with the sort of charisma that only Americans can seem to produce. Billed alongside were the pasty skinned, introvertly shy sluggers of heavy punk, Drenge. Despite the unusual pairing, together they promise to re-write the rulebook on two-piece rock ‘n’ roll bands.

Drenge duo Eoin and Rory Loveless lack the stage presence of their American counterparts, but that dearth of vigour is compensated for by a cultured rock ‘n’ roll display worthy of a band twice their age. The two brothers unleashed a whirlwind of ripping guitars and ribcage rattling drum rolls during a frenzy of amp feedback. They flew through a set that comprised tracks from their debut album Bloodsports, with the iconic track ‘Dogmeat’ inviting the audience to experience the lead singers trademark snared vocals.  Upon exiting the stage, there was no question that these particular angry young men are surely destined for bigger stages than this.

The same attitude was not spared when the Deap Vally girls Lindsey Troy and Julie Edwards swaggered on stage. Their carefree demeanour reminds us that girl-bands can be angry too, a niche largely unexplored by the majority of female artists around today. Don’t be fooled by their Californian summer apparel – glitzy tassel crop-tops, cut-off denim shorts and bouffant hairstyles – they are strictly badass. A neglected crowd under Drenge’s stewardship was soothed by Lindsey’s attentive appreciation, taking her own commemorative photograph and sparing some time to banter the audience before delivering ‘Lies’.

Over the course of ‘I Can Hell’ and ‘Drought’, Lindsey got to grips with the unbridled rawness of her vocals, developing an almost southern drawl that was hauntingly reminiscent of Dolly Parton. Throughout, Lindsey was in masterful control of her guitar and teased out blues riffs which, coupled with the unbridled primal display of Julie’s drumming, gave the proceedings a distinctively southern-rock vibe. Continuing their sultry performance, the ladies dedicated ‘Walk of Shame’ and ‘Creeplife’ for the girls in attendance, a comment that earned a jeer of understanding. Closing out the evening was the appropriately-titled ‘End of World’; rounding off an evening that saw two of the most promising new punk bands on the circuit prove that the hype seems justified.

The good, the bad and the denim

Taking on men’s tack was a fun challenge, and I went interactive this week and donned what could nearly have been described as a denim suit. I had the jeans, shirt and jacket: the deathly hallows of denim.

Fortunately as I dressed myself I was thankful that I had a mixture of three different denims. This was the one redeeming feature in what had the potential to be a deeply disturbing outfit.

Meeting my friends for morning lecture I expected the worst. I got a simple look up and down from one who merely uttered “Why?” Others were a bit blunter with straightforward abuse. Needless to say I was a bit shocked by the amount of people who liked it. My Instagram and Twitter had a lot more positive than the odd and confused looks I got from wandering through the Students Union. I had even convinced myself that I was possible able to pull of this look – we all have these moments of fashion blindness though.

picture: Melissa Malala

Unfortunately, I am not Justin Timberlake (and fortunately not Britney), so I think it’s a wise move to steer away from the double or triple denim for the time being. Unless of course you can find me a denim cowboy hat lying around in Affleck’s Palace somewhere…

 

picture: ohnotheydidnt.livejournal.com