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Month: December 2013

Interview & Live: The Virginmarys

22nd November

Academy 2

7.5/10

The last ten years hasn’t seen many rock bands make a mark on the UK music scene with much noticeable success. However, fresh off winning ‘Best Breakthrough Act’ of the 2013 Classic Rock Awards and winding down a headlining tour, The Virginmarys may be the exception. The Macclesfield-based rock group played a sold out homecoming show in Manchester at the Academy 2, and I caught up with the band before their set to talk about their recently released debut album, the importance of live music and the best Travelodge they’ve ever stayed in (answer: York- “they had superior rugs”, lead vocalist Ally Dickaty explains).

The Virginmarys, who have been playing together since 2006 and pride themselves on being “the real deal” who have “done what [they’ve] always wanted… without fitting to any specific genre” released their debut full length Kings of Conflict this past year on Wind Up Records after recording four EPs in three years on their own. The band cites their previous DIY experience as the “only option” they had at the time. However, their time spent crafting their songs paid off when they were finally offered a record deal, as they were signed “for the album they had already created”, Dickaty explains, as opposed to being moulded into a specific type of image or group. He explains the necessity of “being in it for the right reason”, and when asked what piece of advice to give out to bands starting out, the whole band resoundingly emphasizes the need to “avoid TV talent… like the X Factor”. This commitment to authenticity resonates throughout the band, especially when it comes to their stress on live performances. Kings of Conflict was recorded completely live, and the band cites the extensive time they’ve spent on the road as essential to “capturing the live essence” that is so important to them. However, when it comes to the band’s favourite aspect of being on tour- “sausage rolls and red wine, definitely”, says Dickaty, and the rest of the band agrees.

The Virginmarys spent the summer touring America, concurring the experience was “mind-blowing [and] a great time”. They also have supported Queens of the Stone Age in Germany, which was “pretty awesome” drummer Danny Dolan divulges. It’s a step up from watching them perform live as a kid, apparently, which Dolan claims was “really disappointing”.

In the meantime, the band has been “writing loads”. But that doesn’t mean they won’t be appreciating their time off post-tour, which guitarist Matt Rose claims will entail “watching a lot of Game of Thrones and drinking a lot of alcohol”. So what can be expected out of their sophomore album? “Well, it’s going to be better than the first album”, says Dickaty. “There’s a tendency for progression within second albums and I’m sure we’ll do the same”. While it may not be featured on an album anytime soon, Dickaty talks about his hip-hop influences, citing the “poetry” in hip-hop lyricism as influential to his own writing.

The band is currently on tour with Vox Empire, a band they were referred to through their agent. “Their guitarist has only been in the band for two weeks”, Rose explains, “but you’d never know it. It’s been awesome watching them come together”. Vox Empire does indeed live up to Rose’s hype, playing a half hour set of solid, energized rock. The Virginmarys are understandably excited to play a homecoming show and the “positive vibes” they anticipate at such a gig live up to these expectations. Opening with ‘Portrait of Red’ and playing such favourite singles as ‘Just a Ride’ within the first few songs, they keep the crowd high-energy from the get-go. Rose as a drummer particularly steals the show- his precise and focused beats keep everyone from band members to gig-goers animated, and his skill as a drummer is obvious.

The Virginmarys have just put out a stripped down acoustic album, and therefore the lack of acoustic numbers selected to lighten up a set heavy with rock and roll is surprising. Dickaty says the choice to put out the acoustic version “has gone over really well”, and therefore the band’s preference to overlook pretty much anything acoustic in their live set seems to be an odd choice. However, all the members have stressed the importance of pure rock and roll, and if this is what The Virginmarys are going for, it’s impossible to admit that they don’t do it well. The shows ends with calls for an obvious encore (why bands pretend to leave the stage when they have yet to play their most famous single is something that remains unclear to me) of ‘Bang Bang Bang’, and the show ends with a fittingly resounding crash.

Live: Gary Numan

14th November

Academy 1

7/10

Upon entering the gig, one can’t help but notice two distinct sections of the crowd, those there for the old hits and those who are industrial/Gothic fans. Therefore, it would be a difficult task to strive to please all of the audience. But Numan doesn’t just conform to what we’d expect. The name of his new album Splinter (Songs from a Broken Mind) emerges onto an impressive set of screens amidst dark and heavy synths breaking into ‘I Am Dust’, the first single from the new album and it’s in the same vein as his more recent past releases with perhaps a slightly heavier feel.

The new material is intriguing with vast textures and thick guitars leading the band. However, it’s not until the oldie ‘Films’ is performed that the crowd becomes awakened. This is reflective of the whole performance; it’s firmly of his industrial era styling, with the odd 70s/80s classic. However it’s a formula that works, one may even say that it feels somewhat odd when an old song is performed, not because of the quality but because Numan has moved on. He’s is a pioneer of electronic music, one cannot expect him to stand still with a dated sound, although, I often found myself longing for the analogue vulnerability of a late 70s Moog synthesiser. Nonetheless, the core elements of Gary Numan remain in his music: foreboding synthesis with quavering staccato vocals. ‘The Calling’ has an immaculate string section which rounds off its industrial nature. “Lost” and “Love Hurt Bleed” are also stand-out tracks from the new album.

The crowd has to wait until the encore for ‘Cars’ and ‘Are ‘Friends’ Electric?’, which despite being encompassing sing-alongs, looked to be a matter of process for Numan, they’re by a different artistic personality. Numan has now found his true musical identity and it shines through in his performance.

Live: Fenech Soler / NYPC

15th November

Gorilla

8.5/10

Though the night was young and opening band Duologue just winding down their set, the excitement of the gathering crowd was palpable. By the time supporting band NYPC (formerly New Young Pony Club, who seem to be embracing the minimalist trend on their third album, paring down both their name and number of band members) took the stage, a large crowd had gathered, those in the front mere inches from the performers on stage. NYPC didn’t disappoint, performing a high-energy set of their danceable yet emotive dream pop, effectively setting the stage for headliners Fenech-Soler even as their set was cut a song short due to time constraints.

The collusion of the three bands performing proved an intelligent choice, effectively layering on higher and higher energy sets. Taking the stage with the new single ‘Last Forever’ off their recently released sophomore album Rituals, Fenech-Soler launched into a 14 song set list that managed to maintain the crowd’s liveliness and enthusiasm throughout. Lead vocalist Ben Duffy continually engaged with the crowd, and the whole band seemed deeply immersed in the performance, a sentiment that was infectious. Fenech-Soler mixed in strong visual elements that added to the vibe of the gig, such as the flash of impounded drums and colourful background lighting that provided an appropriate aesthetic to the electronic pop sound of the band. This didn’t distract from Duffy’s solid vocals that carried over the packed room.

In a lengthy set heavy with new tunes, Fenech-Soler’s ability to maintain the crowd’s interest was impressive. Rounding off the set with popular singles ‘Stop and Stare’ and ‘All I Know’, when the lights came back on there was the quality of the end of the night at a nightclub, when nobody is ready to stop dancing.

From The Vault: Queen – Sheer Heart Attack

EMI

Released 8th November 1974

Long before Freddie Mercury donned the ill-advised ‘tache and steered Queen into cheesy-pop waters, Sheer Heart Attack shocked the music world into the cardiac arrest its title suggests. Coming slap-bang in the middle of that holy trinity of albums, sandwiched between Queen II and A Night at the Opera, this is Queen at the height of their creative powers, when the record inner sleeves were still proudly emblazoned with “no synthesizers!” and their sound was all the better for it.

The fairground music opening may suggest otherwise, but ‘Brighton Rock’ wastes no time in establishing Queen’s stadium-rock credentials with a mouth-watering guitar interlude that’s as sweet as the song’s confectionary namesake. Often extended to fifteen minutes in their live shows, it’s a solo that could only ever be envisioned and performed by May and his wild mane of hair.

The sound is slightly more commercial rock than its predecessor, the fantastical Tolkien-esque ramble with fairies and ogres imbued with black and white symbolism, and ‘Killer Queen’ sees the band at their most accessible. Clocking in at three minutes, it combines May’s rich guitar riffs with the sumptuous harmonies that so define Queen’s sound, all underpinned with Mercury on grand piano. It was the band’s first real hit single, made all the more surprising by the fact it was about how “classy people can be whores as well”.

What makes Sheer Heart Attack such a complete album is the diversity in its sound. The theatrical rock of Queen II hasn’t been discarded completely; ‘In the Lap of the Gods’ kicks off with a screeching high-note followed by warm harmonies and soaring falsettos, all overlaid with dramatic stormy sound effects. Brief ditty ‘Misfire’ couldn’t be further from such an elaborate composition, but its bright melodies contrast perfectly with the aggression of ‘Flick of the Wrist’, a song that launches scathing attacks on the band’s former manager and provides acerbic comment on the industry as a whole: “Prostitute yourself he says, castrate your human pride / Sacrifice your leisure days, let me squeeze you till you’ve dried”. ‘In The Lap Of The Gods… Revisited’ closes the album in emphatic fashion with a powerful harmonic refrain and a cacophony of noise. It’s a fitting end to Sheer Heart Attack, a record worthy of its place in the pantheon of truly classic albums, which rightly appointed Queen into rock royalty.

Live: Ghostpoet

19th October

Deaf Institute

8/10

Understanding the unique blend of music that Obaro Ejimiwe, otherwise known as Ghostpoet, creates is often difficult. Sometimes grimy, usually dreamy, often melancholy and always, always achingly cool. Straight away, in the packed, darkened room at the top of the Deaf Institute, he proves it.

For the first timers in the sweaty crowd, it’s easy to be unsure of what to expect. Peanut Butter and Melancholy Blues and Some Say I So I Say Light are both albums that feature an understated quality which works wonderfully when listened to through headphones, on the bus, or to generally make mundane daily activities more exciting. Although it is this style that has made Ghostpoet’s music so successful in the last year or so, it creates a doubt about whether his live performance is going to be quite as riveting.

Reassurance arrives in the form of Ghostpoet strolling to the stage in a black hood, flanked by a small band, and kicking off the drama in seconds as he launches into a catalogue of songs from both of his albums. Shadows and red and blue lights flare up against the walls as the movements of the crowd slowly evolve from approving nods to full on dancing, right at the turning point that is the quirky beat of ‘Plastic Bag Brain’.

His music doesn’t only translate well, but is completely transformed into a mesmerising live performance, with signature echoing vocals and the ethereal choruses of ‘Survive It’ and ‘Meltdown’ provided by backing singer Clare Uchima. The chilled-out lament that is ‘Meltdown’ has a tender quality that would be particularly difficult to capture live, so it’s given a complete makeover- the keyboard gets turned down and the drum beats and emotion get turned up. The energetic atmosphere is infectious as once again, Ghostpoet smashes every expectation.

Live: San Cisco

16th October

The Deaf Institute

6/10

A mixture of of carefully made up teenage girls and boys cluster around the stage alongside what could be their middle aged Mums and Dads in anticipation to see San Cisco at The Deaf Institute tonight as the youthful indie-pop quartet near the end of the UK section of their European tour.

At their best San Cisco play a fun and lively set made up of their quickest, catchiest, and brightest singles such as ‘Golden Revolver’ and ‘Awkward’ which lead singer Jordi Davieson introduces as a song “about stalking” to cries of excitement from many of the word perfect crowd. Bathed in a cherry light, it’s easy to be won over by their cheeky smiles and banter, especially between Jordi and Scarlett. Yet their performance lacks edge and Scarlett’s vocals are occasionally out of tone, especially on opener ‘Lyall’ with its rollicking fun fair melodies.

Before the encore they play ‘Fred Astaire’ which could be an apt, mid-tempo, offhand finale to their coolly delivered set. They come back on to do their rendition of Daft Punk’s ‘Get Lucky’ and despite the excitement, there is an irony in a cover being the best received song of the night. Although, this is tempered slightly by the crowd’s fervour for the energetic riffs of ‘No Friends’ which they finish on.

They thank their support act Furs. Jordi tells the audience that they’ve sold out of merchandise so instead they’ll be hanging around after to meet fans. He leans forward to the crowd but draws back before they can touch him. Jordi praises the crowd “well done”. Like the jumping up and down on the sprung floor it’s all just a little too easy, nevertheless it’s fun.

Live: Young Kato / The Propellers

12th November

The Ruby Lounge

6.5/10

Young Kato, as well as supporting act the Propellers, are two young bands who have both nailed the niche on radio-friendly indie pop. Young Kato especially has been on the receiving end of much hype and exposure with singles such as ‘Drink, Dance, Play’ being highlighted on the Made in Chelsea soundtrack as well as recently headlining the first ‘Played in Chelsea’ gig in London. However, despite “up and coming” citations and much recent exposure, there was an unexpectedly small crowd at the Ruby Lounge where the bands performed.

Supporting act Propellers, whose infectious choruses of songs such as the band’s first single ‘Midnight Kiss’ and new single ‘Meow’ have won over many, were not helped by the fact that they played to a vaguely interested crowd rounding out under 30 people who were clearly there to see Young Kato, and there was an aura of ambivalence that could not be overcome. However, in some ways, their performance outshone that of Young Kato’s, who at times seemed like they were merely going through the motions, despite having several fairly well-established singles to draw upon. Tommy Wright, lead vocalist of the band, spoke afterwards about the theme of ‘celebration’ that has gone into the writing of his band’s songs, but an element of that was definitely missing.

However, in their relatively short time together the band have managed to procure some dedicated fans, as one woman was spotted with a tattoo of Young Kato lyrics (‘we drink and we dance and we dance and we play’)- “our first tattoo”, Wright cites. Both bands did make themselves accessible after playing and if nothing else, it’s clear their charisma, pretty-boy looks and down-to-earth attitudes coupled with an understanding of what makes pop songs work will continue to garner them fans.

Why students join cults

Students and graduates should be the least likely to join a cult, yet in almost every cult the vast majority of recruits are well-educated graduates or students. Take the recent case of the Maoist cult accused of keeping women as slaves, almost all of the women in the cult were either students or recent graduates. One member Sian Davis who died in 1997, was a high-flying law student studying for a Masters degree at the London School of Economics before she was recruited. Another, Aishah Wahab was an overseas students who won a Commonwealth scholarship to study surveying.

Why do well-educated people like Sian Davis and Aishah Wahab, join groups which anyone with the slightest amount of common-sense should be able to see through as utterly crazy mumbo-jumbo? Ian Haworth, founded the Cult Information Centre, a charity which provides advice and information about cults for victims, their families and friends and the media.

“It flies right in the face of what most people would imagine. Most people that are smart assume that cult victims must have a big problem to gravitate towards a cult. That means the smart people believe that they don’t need to put up defences, they think it would never happen to them, they think it would never be relevant to them and they are even easier targets that they would have before.”

Haworth encourages people to guard against cults even if they think they’d never expect to believe  themselves. When first asked why students join cults, Haworth stressed that students do not join cults rather they are recruited. He argues that cults rely on a series of mind control techniques to trap recruits into the ‘invisible handcuffs’ Theresa May spoke about.

On the Cult Information Centre’s website they list a series of 26 techniques you must guard against. These include hypnosis, peer group pressure, isolation, and metacommunication (the act of impacting subliminal message by stressing key words). Every cult is different and some only use ten techniques while others may use all 26. Haworth stresses that people are recruited by these techniques rather than by any allegiance to a message. However, Haworth is careful not to use the term brainwashing.

“Brainwashing was the word used to describe what happened to prisoners of war in Indo-China and Korea, [with mind control] you are not being held physically, you are not being taken by the enemy wearing army fatigues and being locked up. On the surface you appear to be quite free, but psychologically you are being held. So it’s much more powerful and much more sophisticated.”

The Cult Information Centre offer information on how to deal with friends and family if it appears that they are being recruited into a cult.

“Expose the cult as much as you can – as long as they are not already controlled by the cult. It is easy to underestimate the speed of the influence. You have got to be sure that they are not already involved, because a cult member will be very quickly programmed to understand that anyone who is critical is full of negativity or is an agent of the devil or something like that.

“When family and friends are critical they fall into a trap, the cult member becomes alienated and it becomes difficult to talk to them after that.”

Once someone has been recruited Haworth advises against being directly critical but suggests other ways to reveal the true nature of the cult playing on the very techniques the cult uses.

“You need to be as loving and kind as possible, you don’t attack the group head on. You don’t say it’s a good thing, you don’t say it’s a bad thing either. But instead of saying ‘Hey! That group is as phoney as a three dollar bill look at what is said about them on this website.’ which would cause them to become more alienated from you.

“You might say instead ‘Hey! I know this means a lot to you.’ now you’re not saying its a good thing, you’re just pointing out it means a lot to them and it does. ‘Tell me, I’ve been trying to get my head around this.’ Cult members have been programmed to see themselves as the elite and you as a non-cult member are a mere mortal and nothing else. They like to understand that they can lord it over you, so you can play to that by saying ‘Hey! I’ve been trying to get my head around it all, I had a look on the internet the other day. Why are these people being so critical on their website about your group. Why are they saying these things?’

“So you and your friend now are looking at why these critics are saying things, so you’re on the same side. You’re trying to reactivate the person’s critical mind with this process. That could be achieved in a day, it might take a week, it might take a month, it might take ten years. But the good news is that there’s no reason why you should fail.”

While cases such the Maoist ‘slaves’ may never be fully explained, the Cult Information Centre highlights the way cults recruit members not through persuasion but through psychological coercion. Students should be wary, if you think you’re too smart to ever believe in such nonsense and let your guard down, you might be just smart enough to be recruited.

Overseas students speak out against UKBA monitoring

Overseas students are vital to universities. The huge fees they pay, which can be in excess of £20,000 per year, provide an essential source of funding for universities such as the University of Manchester. Given the huge contribution they make, you’d expect the Government to roll out the red carpet for them. In reality, many feel they are under constants surveillance by the UK Border Agency and no longer feel welcome.

To challenge this contradiction, overseas students at the University of Manchester have launched a campaign to raise awareness of the UKBA’s heavy handed monitoring policies.

“On one side, we have a university that is very welcoming and all our classes are very welcoming, but at the same time we have a discriminatory politics from the government that make us feel very unwelcome,” said Chilean physics PhD student Tania Sauma.

The main target of the I’m Not Welcome campaign was the UK-wide surveillance and monitoring of international students. American cultural studies PhD student Patrick O’Shea explained the policy, “This is a policy that originates from The Home Office, it’s administered through the UK Border Agency and the distinct schools of the University.

“It might differ in the way that it’s administered, universities might choose to do it differently, but all UK universities are obligated to monitor their non-EU students.

“This is part of a broader set of overseas student policies which go into an even larger set of anti-immigration policies of this government.”

When Tania Sauma arrived in the UK to begin her studies, the situation was very different.

“It all started last year, I arrived in April 2012 and everything was fine then. But things changed very quickly after the London Metropolitan case. After that all the Universities were asked to monitor the students.”

At London Metropolitan University a large number of overseas students, who were primarily coming for language courses, were on either fraudulent visas or were not completing the terms of their visas. As a result, London Metropolitan were stripped of their Highly Trusted Sponsor status which allowed them to sponsor applications for student visas from international students.

Overseas students, including the ones that had not come on fraudulent visas were being punished for the University’s lax behaviour, they were told that they had 60 days to either find a new place of study or leave the United Kingdom. For London Met this was disastrous, the University relied heavily on revenue from overseas students. While the UKBA eventually reinstated the University’s Highly Trusted Sponsor status, the damage had been done.

Patrick O’Shea explained that, “What’s happened since then is a crackdown on all the overseas students across the UK in universities. So the UK Border Agency and the Home Office have been putting pressure on the universities and have obligated them to start monitoring the attendance [of overseas students].”

Overseas students now have to periodically check in to prove they are not violating the terms of their visa. The system varies from university to university, Tania’s cousin at university in London has to sign in every week while at Manchester students are required to sign in every three months, although until recently they were required to sign in every month. If for whatever reason they cannot check in, they are sent a threatening email.

“If we do not hear from you within 5 days of receiving this email we will have no alternative but to request that your absence be reported to the UK Border Agency (UKBA). This will mean that your permission to remain in the UK will be curtailed and you will have to return home as soon as possible (but definitely within 60 days). If registered, you will be withdrawn from your course at the University.”

Patrick compares it to being under house arrest or benefits, where you are regularly forced to sign in.

“Our big opposition to it is not just that it makes us feel unwelcome, which is the immediate impact, but in the larger picture it has repercussions for the way the university system across the UK will be affected in terms of attracting overseas students,” he said.

The visa restrictions on overseas students will be expanded to cover not just students but overseas scholars as well.

“There was an 80 year old historian from Algeria who got denied his visa to speak at a conference. He was invited by Oxford, not Manchester Metropolitan, but Oxford. This is happening across the country. The Anthropology conference organised here, was organised by a Manchester University professor called John Gledhill. He was cited in a Guardian article, he had a really hard time organising that conference and getting people from outside the UK to come in and speak.” Patrick said.

“I think it is harming academia in general,” added Tania.

The I’m Not Welcome campaign were quick to point their grudge is with UK Border Agency not the University.

Patrick said, “It is not the school. In fact, you can tell when the school language ends and the UKBA language begins, because it becomes more threatening. It basically says that if you don’t come in within five days we will report you to the UKBA, your visa will be revoked, your programme will be cancelled and you have to leave the UK within 60 days.

“This is in the middle of your programme, many of these came to me when I was in the middle of writing up the final version of my thesis in the final months of my programme. It was a very stressful period and they said we were going to deport you if you don’t come in within five days.

“It is not a hard thing to do, but essentially what it constitutes is another mechanism for the Home Office and the UKBA to be able to deport us if they see fit. It’s a way politically for them to be able to look good for the right wing politicians and the people who want to get tough on immigration. Targeting international students is an easy way to do that because there are not a lot of repercussions.”

Tania said she felt “powerless”. In her case she went on holiday for one week, she’d notified her PhD supervisor that she was taking a week off. When she came back she had two emails from the school.

“One said ‘Tania, congratulations you have just got funding from the school for your experiment.’, then another email from the same secretary said ‘You will get deported because you have missed the International Student Census’. I thought okay, this doesn’t make any sense. Why are they funding me, if they are going to deport me, if I am being so dangerous or doing something so wrong, why would they fund me.

“We realised that the University is not willing to do this. They are just doing it because they have to.  There is no need to do this because we are actually being monitored by eProg, which is the online system for PhD and Masters students, and the undergraduates have to report into tutorials.”

Patrick stress ‘we are duly monitored, as PhD students we have to have monthly meeting with our supervisors. In some respects, we always have to be monitored. All these threats come before our visas actually expire. They basically say that we are going to terminate your visa early.’

While the monitoring is the focal point of the campaign it is not the only policy directly affecting overseas students. Once undergraduates and masters students finish their programmes, if they wish to stay in the country, they are only given two months to find a job which makes over £20,000 a year, if they cannot they have to leave the country. The employer also has to be able prove that a Briton couldn’t have been employed for the same role. The whole system is absurd, we educate some of the best and the brightest in the world, yet we only give them two months before we kick them out. Recently, the government have decided to extend the period for doctoral students who can now extend their visa for a year for £400.

There are several proposals currently being discussed that could make the situation even worse for overseas students. One is to charge overseas students £200 to use the NHS, and another more severe proposal would require overseas students pay a £1000 non-refundable deposit to confirm their place at a University. This would apply to all overseas students, and would require them to pay even before any scholarships had been given out. For Patrick and Tania these policies would be too much.

“I wouldn’t be here” Tania said and Patrick concurred that he wouldn’t likely either. This isn’t just an issue affecting overseas students alone. If these proposals go ahead and people like Tania and Patrick choose not to come universities will lack a key source of revenue and will devalue our universities as they would no longer be able to attract the best talent in the world.

“I have a scholarship from my government, I am absolutely funded by the Chilean government. I get nothing from the UK except the use of the NHS – I only went once. I could be anywhere else in the world because of my academic profile and because of my government funding. I just don’t want to be treated this way. If I had known things would have been like this I would have gone to France.”

The I’m Not Welcome campaign will hold their first public assembly on Monday the 2nd of December at 6pm in the Council Chambers. To find out more about the campaign, you can visit their facebook page: https://www.facebook.com/imnotwelcome/

Voting and Russell Brand’s revolution

So far in my life I have always thought of the right to vote with pride. As something which people had sacrificed their lives for, I was not going to give up having a voice in our democracy easily. But after watching Russell Brand a few weeks ago on Newsnight and then reading into the debate which has ensued, I started questioning what my eagerly anticipated opportunity to vote in 2015 would actually achieve. I felt naïve in my fervent attitude towards the whole process. I also felt disheartened; would my vote be able to make the slightest difference?

When Paxman questioned Brand’s reasoning for never voting, he replied “I’m not voting out of absolute indifference, weariness and exhaustion from the lies, treachery and deceit of the political class that has been going on for generations now.” Brand continued his argument in an article for The Guardian; “The only reason to vote is if the vote represents power or change” stating that at the moment we get to “choose what colour tie the liar who leads us wears.” For students, the overwhelming lack of choice for 2015 rings loudly. We may choose between a party who has given us five years of austerity; a party who left the country in an economic mess or a party who have lost every student vote they gained at the last election after completely u-turning on their fees pledge. The option of not bothering seems increasingly appealing.

But, what will disengaging from the democratic system achieve? How do we stand with a voice for change in our democracy if the government does not need to do anything at all for our vote? Paxman, who was initially dismissive of Brand, has now come out and revealed that he once did not vote because the choice was “so unappetising.” He went on to add that he felt “uncomfortable” after doing so and that “we ignore the democratic process at our peril, because otherwise power is wielded by the rich and strong for the benefit of the rich and strong.” We need to stay involved in this democratic system, precisely because it still is in some part a democratic system, which has to listen to calls for change. If we ignore it then it will move further away from the democracy we dream of.

Much of the current disillusionment with the weight of a vote stems from a flawed voting system. People should stay involved in politics precisely so they can change this. The appeal of abstention is much due from the lack of parties that represent our interests – why, then, can we not select ‘none of the above’? Some countries have already made this an option in their own elections, most famously in Russia, where such votes led to new elections in 1991, breaking the Soviet Union. Personally, I believe that democracy is not reputable without the option to vote against as well as for the existing parties. This would mean we could actively, democratically call for change. Politicians would be more motivated to actually represent the views of the people who could reject them.

None of this can be achieved unless we work within the present system, remain heard, and then use that voice to bring about change. After ticking a box on the ballot paper, we should no longer remain silent for the four years; we should lobby for electoral reform and change. If we don’t vote, what cause do those sitting on the benches of government have for listening to our petitioning for the better world we dream of?

One of Brand’s main reasons for doubting the electoral system is that democratic choice has collapsed through the influence of corporate powers. Major corporation’s interests are now fundamental in pretty much every decision our “democracy” makes. This past week the Guardian revealed that the government’s new subsidy system for gas-burning power stations is being created by an executive for ESB International – who builds gas-burning power stations. G4S’s contract to run immigration removal centres was extended, despite ongoing allegations of fraud. In the light of these scandals it is no surprise that Brand’s assertion that our democracy is a charade has resonated so extensively.

I worry that by giving up we will be green-lighting big businesses to continue dominating politics. Russell wants to create a revolution that will stop this kind of morally corrupt behaviour. We live in a country so focused on profit that it gives the businesses that create it free reign to work how they choose, a country which cuts welfare benefits while these businesses grow and a country where disparity between the rich and poor is overwhelming. This won’t end if we separate ourselves from the democratic process.

Change is desperately needed. But the change will only come about if we work first of all, however much we detest it, within the restrictions of the present system. The government will do everything it can to maintain the status quo and the easiest way for them to do that will be if we all disengage ourselves from politics. But let’s surprise them; let’s force them to listen to us.

 

Should students be responsible for their friends’ anti-social behaviour?

 

Currently being reviewed in the House of Lords, the new and improved version of the Anti-social Behaviour, Crime and Policing Bill looks set to become law by Christmas 2013. The UK government is making the controversial decision to criminalise behaviour that is considered as simply a “nuisance or annoyance” to the dismay of many.

As a result of a Manchester City Council suggestion, one of the more controversial amendments to the proposal is the possible measure to punish tenants holding a party whereby their party guests indulge in anti-social behaviour afterwards. The offence would extend to post-party antics that do not involve the tenant or the house itself.  Irfaan Bhankarally, current third-year student in Actuarial Science and Maths agrees to this idea in principle, “I would not want to be held responsible if anyone coming from a party at my place does not behave according to norms even after leaving, but if I induced this behaviour in any way, by for example providing alcohol, I have to hold my hand up and be held accountable to a certain extent.”

Silviana Patrascu, a postgraduate student in Translation and Interpreting Studies vehemently disagrees, “It does sound a bit extreme. Warnings and fines are probably the best way to implement punishment on such occasions. Getting kicked out of your house for something you have not done?  No way that’s fair!”

However, the Anti-social Behaviour Crime and Policing Bill, goes even further in antagonising young people. It offers a pledge to obliterate anti-social behaviour from the streets but in more ways than one. The scope of actions included as anti-social has unequivocally been widened and this has not gone unnoticed by campaigners who are against the bill. “We are concerned that children and teenagers will get into trouble with the law just for being annoying, and that it will penalise them from doing things that all children do as part of growing up – playing in the street, kicking a ball around in a public space or hanging around with their friends,” responded the chief executive of the National Children’s Bureau, Dr Hilary Emery, when asked about the proposal.

The thought of children as young as 10 being liable to such public disturbance reprimands raises many questions about the future use of ASBO style responses under the new bill. Rather than creating a safer environment for the community, it can have an adverse effect and increase the communication barriers between the police and youngsters. Cleveland’s chief constable Jacqui Cheer even points out the fact that some of the public nuisance created these days might be a result of previous legislation to close down places where teenagers could gather, “What is anti-social to one person is just what I did and what many young people do. We’ve closed down a lot of places that people are allowed to go to. We’ve fenced off school grounds, but where do people collect? I’m not saying that we will tolerate behaviour that is harassing, that is making people feel fearful… that is our job. But we need to be careful where the line is.”

The generation gap between the current Parliament and the young population is becoming glaringly obvious with this legislation and others like it. It does make sense to increase protection for the community, but that would mostly be useful for actual crime rather than being overly dramatic about public disturbance and ephemeral anti-social behaviour. As Conservative MP James Wharton suggests “I would be concerned at anything that might send out a message to young people to commit anti-social behaviour. I speak to people in my constituency who experience this kind of behaviour and it can have a significant impact on communities. I am confident that the new legislation will give the police the discretion they need and I will be voting for it.” As Mr Wharton is one of the youngest MPs in parliament, this shows just how far off the mark they might be in assessing the current situation. It would rather make sense to review each significant case over and above a more flexible baseline legislation to protect against anti-social behaviour.

Mistakes happen, even more so when growing up. Criminalising such actions can only go as far as providing immediate peace and quiet.

Police find body in Withington

Police and ambulance crews discovered the body of a man outside a block of flats in Withington shortly before 2pm today (3rd December), following reports from members of the public.

Police cordoned of the scene, on Tatton Grove, next to the Red Lion pub on Wilmslow Road, for two hours. An ambulance and forensic van came and went.

A police officer at the scene told The Mancunion that the circumstances were “not being treated as suspicious at this stage.”

The identity and age of the man remains unknown to the public. Detectives have begun an investigation into the circumstances of his death.

Cornerhouse Pick of the Week: Jeune et Jolie

Many may find François Ozon’s Jeune et Jolie, just a little bit ridiculous. On the surface it performs its stereotypical duties as a French movie perfectly. Sections of the film divided by the music of Françoise Hardy, cigarette smoke billowing out of Parisian windows, self reflection and sensuality. If this film was, as it may appear, about sex and prostitution then it fails to answer many questions about these subjects. Marine Vacth, who plays the films lead Isabelle, is perfectly positioned as both vulnerable yet disarmingly beautiful, yet her escapades as a call girl result in her learning very little about the dark side of the sex trade.

The films emotional stakes are also strangely muted. When her mother and step father are made aware of Isabelle’s practices, the drama doesn’t change in pace as one would expect. Instead they absorb the information, and build it into their complex familial dynamic. It was at this point in the film that I, watching on, realised that perhaps it wasn’t a movie about sex at all – rather a movie about age. Isabelle is a 17 year old who decides to become a prostitute after a rather disappointing holiday romance. From this point on, all the men she sleeps with are far older than she is. The value they see in her is shallow, her youthful beauty and purity. Yet this dynamic reflects poorly on her clients in her encounters with them. Her innocence makes them seem far older and more grotesque. Even the more sympathetic client, Georges, who we learn enough about to almost like, appears sallow skinned and selfish.

Yet Isabelle’s youth and beauty is not always portrayed as innocent. The older female characters view it as something altogether more dangerous. Her mother does not understand where she went wrong, and even becomes jealous when she overhears a flirtatious exchange involving her husband (Isabelle’s step father). Family friends become equally nervous around her, not wanting to leave Isabelle alone with their partners. She becomes a constant threat; no longer naive, now knowing.

Isabelle’s trajectory is one of skewed maturity. Towards the beginning of the film Isabelle’s mother tells her that she too was rebellious in her youth. At this point her mother has no idea that her daughter is a prostitute and is merely hoping to encourage her to get out more. She wants rebellion, but within reason. As an audience we are similarly fooled by the beginning of the film that shows Isabelle in a suit, gliding through a hotel foyer. She looks older, with make up and formal clothing. At a glance it would appear that this is perhaps two or three years later, showing Isabelle in a career. We then discover that the time passed is only a matter of weeks. This new level of sophistication makes our previous assumptions hard to recognise. Much like the seemingly ridiculous French film about sex, that matures beyond recognition.

Album: Tegan and Sara – Heartthrob

Released 29th January, 2013

Warner Bros

5.5/10

Canadian indie pop duo Tegan and Sara’s latest album, Heartthrob, is quite the departure from previous albums. More electro pop than indie rock, they seem to have distanced themselves substantially from their roots. However, as catchily flowing as Heartthrob is, the almost total loss of the sound that defined the duo throughout their many past albums is a shame, as it seems they’ve shifted into one of the all-too-many radio-ready and pop-friendly groups of the 2010s.

There’s a sense of bitterness and longing radiating through the upbeat electronic beats of Heartthrob (see tracks such as ‘I Was A Fool’ and ‘How Come You Don’t Want Me’). One thing Tegan and Sara have not lost is their honest, relateable lyrics, which are best articulated on tracks like ‘Now I’m All Messed Up’, with lines such as “Now I’m all messed up / wondering where you’re leaving your makeup” or ‘Goodbye Goodbye’ (“I can’t live with / all these things I would say”) that any angst-ridden teen or twenty-something could easily play on repeat. Still, there seems to be some confusion between what could be dance floor anthems if not for the fact that their content encases such a negative sentiment.

Another flaw in the album seems to be this one track mind of the lyrics. Heartthrob doesn’t seem to adhere to any sort of storyline progression, ending on the track ‘Shock to Your System’ in which the last line reads “What you are is lonely” – essentially summing up the entire album, and the song itself isn’t that exciting rhythmically either. As cliché as it sounds, all the songs sound the same, and while I’m all for progression and development in bands, it’s a shame that a band that’s been around as long and accumulated so much critical claim as Tegan and Sara has come to this.

Interview: Pokey Lafarge

You may have seen Pokey Lafarge’s set on Jools Holland’s NYE Hootenanny a couple of years ago, or on David Letterman. He has caused waves in the world of contemporary Americana with his progressive and unique blend of American roots musics. His music links archaic styles such as Polka, Calypso, Ragtime, Country blues and Appalachian folk with early Jazz, to create a theatrical performance which transports his audience into another era. He is supported by a five-piece band of virtuosic multi-instrumentalists playing antiquated instruments such as the washboard and kazoo, alongside brilliant brass and wind players. I picked Pokey’s brain about revivalism and the peculiar quality of the old, as he picked at Southern fried chicken in the green room of Manchester’s Gorilla before the evening’s show.

This dynamic character looks like he has just stepped out of a smoky 1930’s Jazz club, rarely appearing without a 3-piece suit and tie. On stage he plays the role of both musician and entertainer, and his caberet-esque jests with the crowd at Gorilla embued the modern venue with the swinging vibes of a speakeasy. “I’ve always liked music that has a lot of character. I wanted a bouncy feel, and jazz goes along with all of that” Pokey tells me. With the addition of the wind and brass for Pokey’s latest eponymous album, the music takes on a more playfully jazzy feel. “Being a bandleader and a songwriter will entail a certain amount of ambition and vision, of course. The fact is I’ve been wanting to play with a bigger band ever since I started making music, it’s just more colours to paint with.”

Conversation strayed to the marginalization of ‘old’ and authentic ‘folk’ musics in preference of contemporary styles at European festivals these days. “We played some big festivals this summer, and we’ve been getting great exposure and exposing people to music they would never otherwise hear” Pokey explains. “I think it’s refreshing for them, especially when you go to these festivals and you’re just hearing guys with laptops. It’s so often like a wall of sound geared behind a singer and a product, and not always necessarily rooted, sincere and honest expression.”

“You hear me play, you know I’m from America” Pokey offers. He is proud of America’s rich musical heritage, which stems from the cultural melting pot that emerged as settlers from Europe brought their own music that over time merged with the native musics of slaves from Africa. A prime example of this was the introduction of the guitar, brought to America by Spanish immigrants, to African folk songs to form the key ingredient in ‘the blues’. The echoes of this fusion can be heard in almost all contemporary music. “You’re not going to hear a lot of West African music, or calypso or Latin music at festivals these days” Pokey muses, “because of course in the Western world, in the most sincerely humble way, American music does reign supreme. Thankfully I think there’s a reason for that.”

I quizzed Pokey about his formal dress and the old-fashioned style of both his clothing and his music. “Some things just happen to have been unfortunately popular in the past, for example a higher standard of dress and appearance. To me it just seems like common sense. It’s a manner, and a matter of having respect for yourself and the people around you.” Pokey is more interested in heritage and history than vintage: “people are concerned with where their food comes from, and it’s the same with music and dress. Is that a vintage thing? Fuck no. It’s just common sense.”

Despite using old styles of language and standard folk and blues references, songs such as ‘Close The Door’ from his latest self-titled album take a contemporary political stance, in this case critiquing the privatised health service in the States. Pokey doesn’t want ‘to confuse anybody: “Lyrics should paint a picture that people can understand. I have things that I want to say, I want it to be like a conversation.”

The gig at Gorilla was a real tour de force of instrumental prowess and rebellious authenticity in an age that has marginalised ragtime and swing music. But Pokey Lafarge and his shoestring band don’t just give the music a new lease of life. Speaking to Pokey truly was like stepping into a time machine. He profoundly embodies the style and values of a simpler time, and is truly devoted to bringing old music to new ears. American depression-era music has never felt fresher; I recommend you check it out!

Live: Gold Panda

26th November

Gorilla

9/10

For an electronic artist, it is refreshing to see Gold Panda take on an evening show akin to bands. For the standard that artists should make electronic music, then DJ or play a live set late at night in a club, he truly is in a league of his own. For this live show is much more than DJing his own tracks off his laptop and twisting a few knobs. He strips back his original productions to the bare bones and restructures them fully, Derwin is busy and engaged for the duration of the show. He is a shy character, not darting his eyes up once to measure the crowd’s reaction or seek any kind of approval.

His album released back in June, Half of Where You Live was met with mixed reviews. I personally put that down to the fact its complexity requires a few listens to interpret and appreciate what he’s trying to portray. He opened with ‘We Work Nights’ and ‘Brazil’, rousing the room with additional anthemic ornaments. His tracks have been described as a kind of musical storytelling, and his live versions gave these stories a fresh context and different characters. The recurring edit he would make were new segments towards the end of tracks. They sounded so unrelated to the main body that I was fooled into thinking it was a new track coming into the mix. He would then deliver a reprise of the chorus – it was delightful in so many ways.

The highlight for me was his live rendition of ‘You’, one of his hits from Lucky Shiner released back in 2010. He tapped the riff out live on a pad, screwing with it, even pitching it down to the original sample from which he sculpted it. He played through a variety of edits of the main sequence and bridges, each sounding as fresh as the next – the atmosphere peaked by the final reprise. I must note that something wasn’t quite right about Gorilla’s sound system; it lacked the power from subs to really deliver the warm sweeping bass lines featuring on Gold Panda’s tracks and was lost in the overhead PA speakers as a muffled roar. I can’t take anything away from him, only from Gorilla. He has successfully brought live electronic music into an evening show context, moving his work away from the late night clubs where live electronic music is usually showcased. He has separated himself from the pack and I hope other artists follow his lead.

Top 5 Songs… about Clothes

Chris de Burgh – Lady in Red

Electric drums, the gentle guitar riff played with overbite, classic synth, and Chris’s smooth ‘mmmms.’ You cannot get any better. Literally; it’s Partridge endorsed you know.

Weezer – Undone (the Sweater Song)

Made when Weezer were on the precipice of the frat-rock genre. If only they stopped at this song about pulling a sweater thread until there’s nothing left, instead of going on to record ‘Beverley Hills.’

Velvet Underground – Venus in Furs

‘Venus in Furs’ is drone music with a mysticism fetish and very few chords. It sonically aches with its story of love and obsession.

The Cramps – I Wanna Get in Your Pants

Imagine the dancing in Dirty Dancing was actually as sleazy as everyone in the film pretended it was and multiply by a factor of surf. Perfect rock ‘n’ sleaze.

Pissed Jeans – Caught Licking Leather

I have no idea what they’re on about. The drums march on, but everything else bleeds in and out of the track in a fantastically noisy fashion. Brilliant.

Opinion: Why Everyone Should Listen to Jazz

Listen to a conversation on any bus on the Wilmslow road bus corridor on a Monday morning and you’ll be beguiled by stories of students’ hedonistic weekends. Most often the conversation turns to “how sick the DJ was at the house party” and a discussion of the various genre-defying mixes that emanated from the oversized rig ensues. Yes, we take the music we hear on nights out very seriously, and a culture has evolved where people go to house parties to hear a specific DJ.

Here in Manchester we’re lucky to be able to experience great quantities of quality dance music almost everywhere we go, but how many of us actually think about where it comes from and what it actually is? You may be able to guess where I’m going with this.

If you think about it, practically all the dance music we come across is in some way indebted to jazz. Sounds like a sweeping statement, but starting with Disco each consequent movement has taken an element from jazz and incorporated it into its sound, from the obvious sampling of jazz breakbeats in hip-hop to the more subtle incorporation jazz harmony into deep house.

I’ll illustrate this with some examples. Why not start with one of the first ever disco records? Manu Dibango’s ‘Soul Makossa’ (1972) is a prime example of how jazz rhythm has influenced dance music. Here we see the emphasis placed on 2 and 4 of a four beat bar, rather than the typical 1 and 3. This has been an important feature of ‘swing’ rhythm in jazz from the 1930s onwards.

Moving on 40 years and elements of jazz are used by many House, Techno and Trance musicians. Examples range from the explicit sampling of jazz musicians themselves (such as in St. Germain’s album Tourist) to the more subtle incorporation of swing rhythms into most Techno tracks (that certain bounce you can hear is what a jazz musician would call swing) – I could go on but word limits are restricting so you’ll have to trust me.

But why does this mean that you should listen to Jazz? Isn’t it outdated and elitist, and anyway that’s why we’re seeing so many modern reinterpretations of it? Put simply, no. The reason why you should listen to Jazz, like so many of your favorite artists have, is because many of the themes and underpinning concepts behind Jazz are still relevant today. Rebellion, anger, oppression; these are the things that make it so exciting and so current.

Jazz has inspired musicians of consequent generations. Surely this must be down to the fact that they felt something within it is so valuable that it must be preserved for anyone who hans’t been exposed to it?

So, go to Matt and Phred’s on a Monday Jam night to see the local talent (there’s lots!) and go find out which jazz artists inspired your favorite DJ to see what kind of Jazz you may be into. I promise you’ll be intrigued, if not delighted.

From the Vault: Slint – Spiderland

Released March, 1991

Touch & Go

With Slint playing one of two ATP headlining shows in Manchester’s Albert Hall last Thursday (28th November) then going on to play ATP’s End of an Era Holiday camp at the weekend, this seems a better time than any to look back at why Slint were such an important band.

Formed from the ashes of seminal punk outfit Squirrel Bait in the late 80s, Slint put out their first release in 1989. Recorded by Steve Albini, Tweez was an interesting albeit imperfect album, straddling the line between Squirrel Bait and what was to come, leading to what was ultimately a bit of mess, despite the meticulous Albini’s presence.

Nonetheless Slint persevered, and in 1991 they released their masterwork. Comprising of six tracks and running for a total of just 39 minutes, Spiderland wastes no time achieving its vision. Each track contains a fully realised narrative (barring the instrumental ‘For Dinner’, which sounds like a precursor to Radiohead’s ‘Treefingers’). Vocalist Brian McMahan mumbles his way through each story, accentuating the words with strained singing on the beautiful ‘Washer’, or even turns back to his hardcore days such as the shouts on ‘Nosferatu Man’ or the famous “I miss you” refrain that ends the album.

Instrumentally, each track features intricate interplay between each band member, with the guitars weaving in and out of each other as they explore their sonic palette. To a synesthete, this music conjures only black and white, the photograph taken by Will Oldham that adorns the cover acting as a gateway to Slint’s beautiful, creepy world.

Many vouch for Spiderland’s influence on the creation of post-rock yet, much like Talk Talk’s later work, there are very few instances of others really trying to work with the Slint sound besides perhaps Chavez, Mogwai and fellow Kentuckians Rodan. Slint contains within itself an entire reality, one designed not to evoke necessarily positive feelings, but for one to immerse yourself in and think.

Spiderland is a vital document of underground music at its most challenging yet listenable, and will forever remain a timeless and singular work.

Interview: MS MR

I catch MS MR after a British-style blowout Sunday lunch before their show in the evening in Academy 3. Despite feeling slightly lethargic, they seem eager to tell me about the band. They reminisce about the last time they were in town: “We did a show in Manchester in the middle of summer and it was so hot that we literally melted” Lizzy says smiling, “but it was one of my favourite shows I’ve ever played with the most energetic crowd, I even stage dived”. Max cuts in to add, “well yeah, you could say that, I looked on twitter after the show and someone had posted ‘the show was so great and Lizzy landed on me’ [they laugh].”

Lizzy and Max both attended Vassar College in New York, but it wasn’t until after they graduated and got back in contact that MS MR was eventually founded. This was only in 2010, and they’ve achieved a lot in the last three years, the last two of which have been touring worldwide. Max says “We’ve been on tour for two years and we only have two weeks left. I’m looking forward to getting home, but we’ve had the best time”.

But in their recent rise to success, they haven’t forgotten their humble beginnings. Max explains; “We had a keyboard, a laptop and one microphone and that was it” and Lizzy adds “We didn’t even know we were going to make a record. It was just me and Max in Max’s closet turned studio”. With this, Lizzy turns to me and continues “We were doing it around our day jobs. I think that pressure of time meant that we had to be really focused and efficient. So we didn’t really know we were a band until we had a collection of songs and we were like “Wow”. So we put out and EP and started getting some industry attention and then things sort of…snowballed”.

Interestingly, the band was signed having nearly a full albums worth of songs already up their sleeves. “We got signed and went to the studio and we already had the tracks so all we had to do was mix the record. It was a very powerful position to be in because we’d had the opportunity to completely define our musical and visual aesthetic ourselves before bringing other people into the process” says Max. Their dedication and hard work paid off and their debut album Second Hand Rapture, released in May 2013, received a very positive reception.

They both agree that they’ve really captured MS MR’s identity in the album. Their pop sound is distinctively defined by their dark wave sensibility and catchy melodies. Lizzy describes her lyrics by suggesting they are “often philosophical or introspective and metaphorical”, and says “I’ve even pulled inspiration from things like Gothic literature [laughs]”, all of which have contributed to the almost eerie style of captivating tracks like ‘Bones’ and ‘Dark Doo Wop’ that appear on the album.

“There are a lot of styles, genres and time periods that we draw from and are inspired by” Max suggests, emphasising that “we pride ourselves on being a mixed media and collage orientated band”. This forms a particularly unique facet to the band, evident from their Tumblr which chronicles some of their inspirations and influences, serving as another creative outlet in addition to the music. “It started as a tool to help us define our aesthetic and now it’s continued to be an on-going mood board that’s been with us from the very beginning” Max concludes. “The music comes first, and that’s where our interest is dedicated”, Lizzy interjects, “but I think it’s fun to see how your vision can be executed across different platforms to develop and extend the identity of the music and the band”.

As part of their busy tour schedule, the pair performed at festivals throughout the summer. In amongst their summer highlights, Max says “We had an amazing time in Splendour in the Grass in Australia, it was wild. There were thousands of people there and they all seemed to know the lyrics” and Lizzy adds “it was definitely our Beyoncé moment.” And when I ask them which festival they enjoyed the most, they pause, look at each other and unanimously declare “Glastonbury”. Lizzy says “It was awesome. Chic were my favourite, honestly it was so much fun. All different age groups full on dancing all together. It was just so much fun”.

It seems that MS MR have been busy for so long they’ve forgotten what it’s like not to be touring. They’ve been soaking up every minute, however, and are excited to see what is in store for the band in 2014.