Skip to main content

Day: 26 November 2014

Club: Welcome to Gorgon City @ WHP

Written by Bianca Boorer on . Posted in Music.

7th November

Store Street, Warehouse Project

9/10

I’d never been to WHP before nor am I an avid House fan – but that’s all changed now that I’ve broken my Warehouse virginity. Entering into Store street, car-park-by-day/rave-den-by-night, is like being transported into Manchester’s underground. The vibe you feel when wandering through this smoky dark space – with its flashing lights, thumping bass and copious numbers of people – is quite liberating. The line-up also showcased local Mancunian DJs such as Northbase and Mediate as well as many others from all around the UK with the exception of B-traits who’s from Canada.

Walking into Room 1, and after queuing outside for a considerable amount of time, Kidnap Kid was in the middle of his set. People were mainly queuing up for the toilets and getting bottles of water to set themselves up for the night. The floor really started to lift off when Bondax came on, throwing out bangers like ‘Giving It All’and ‘Baby I Got That’. They ended with my new found favourite ‘All I See’ with the crowd were screaming along to the lyrics.

The main act, Gorgon City, came on shortly after escalating the crowd’s excitement. The graphics were on point with crystallised 3D heads and a Medusa-like floating head with tentacle hair.

The night wasn’t over after Gorgon City – it was just getting started. Room 1 was where all the action was happening. Waze and Odyssey were on next with their famous remix of ‘Bump and Grind’ keeping the momentum going followed by B-traits who was one of my favourites of the night with tracks like ‘Fever’ reverberating through the audience. Redlight ended the night with his main tracks ‘Get Out Of My Head’, ‘Lost in your Love’ and ‘9TS (90s Baby)’ as well as some new unreleased material.

Room 2’s vibes were a lot heavier with trippy triangular strobe lights. I managed to catch My Nu Leng banging out tracks like ‘Levels’ despite spending majority of my time in Room 1. I did also catch Zinc and MC Tippa at the end of the night with their remixes of dance tunes which had the crowd throwing all kinds of shapes. Even the security guards were dancing along whilst searching for dubious-looking druggies. The overall energy of the night was palpable from start to the am finish. It’s events like WHP which make you realize there’s no place like Manchester.

Review: Edward Scissorhands

Written by Nicole Tamer on . Posted in Theatre.

It is hard to believe that a story of such creativity like Edward Scissorhands was an original script, especially in our time, in which most films are book adaptation or sequels. The film was based on a drawing of Tim Burton, who worked closely with Caroline Thompson to invent a modern fairy tale inspired by stories such as Frankenstein and Pinocchio. Matthew Bourne, the director of the stage adaptation felt himself instantly drawn to the film when he saw it for the first time and especially Danny Elfman’s score made him think of dance choreographies and inspired him to present Edward Scissorhands on stage.

The production is a visual masterpiece due to its intricate stage design and a plot that draws a line between the original screenplay by introducing a back story of Edward’s creation. His creator based him on his son that was struck by lightning while holding a scissor, making him a creation based on grief. It is essentially a story of acceptance. Edward, being left to his own devices, has to overcome the prejudices against his scissor hands and has to show that he is worth a place in society by proving his usefulness only to realise that a wrong accusation can destroy his reputation.

During the Q and A session after the performance, Matthew Bourne emphasised the importance of creating a unique approach and he wondered if it is possible to separate Johnny Depp’s character from the original Edward Scissorhands. They definitely succeeded in giving the production their own touch. The biggest contrast between the film and stage performance was that it was set in the 1950s, which worked very well because the mindset of America’s suburbia was even more conservative at that time and an outcast surely harder to accept in society.
The highlights of the evening were the ice dance and the final scene.

Q and A session. Photo: Nicole Tamer

Anyone familiar with the film will remember the hauntingly beautiful music accompanying the realisation of mutual love between Edward and Kim while kissing in the snow in front of an ice figure. The stage production managed to portray Tim Burton’s mysterious atmosphere perfectly in those scenes, which was sometimes missing throughout the play. The costumes were a definite strength of the production, especially the dancers who played bushes and were unrecognisably covered in green leaves, leaving the audience perplexed about their ability to see through their shrubby costumes.

Dominic North’s strong performance managed to communicate Edward’s naivety and motoric inability with subtle, but effective mimicry. As a lost boy in a world of gossip and barbecues, he gains the sympathy of the Bogg family, treating him like a son and he later experiences strong emotions towards their daughter Kim, charmingly portrayed by Katy Lowenhoff. Dominic North was inspired by Buster Keaton, Charlie Chaplin and other silent film stars in order to make Edward a tragic figure without uttering a word and he clearly succeeded. The appreciation for his performance grew more when he admitted the difficulty of dancing with the heavy scissors gloves on his hands, which seemed entirely effortless throughout the evening.

He furthermore worked very closely with Caroline Thompson and Tim Burton had to give him green light because Edward Scissorhands is a very personal story to him since he based the character on his childhood; he always felt out of place and like an outsider. Tim Burton even came to one of the performances and apparently liked it. The film composer Danny Elfman initially wanted to write more music for the stage production, but he was too occupied with other projects. It was then decided that the successful composer Terry Davies would be responsible for additional scores, making up half of the music onstage.

The ending of the performance offered a surprising conclusion very different from the film and the actors were given a standing ovation while snow poured down from the ceilings upon the delighted audience. The dance production certainly lived up to the expectations and many questions were asked in the Q and A session, demonstrating the interest it evoked in the viewers. It was a wonderful spectacle of a modern fairy tale with its own touch that enchanted young and old at the Lowry.

Review: Othello

Written by Camilla Lindner on . Posted in Theatre.

Modern music at the beginning of the play and the setting indicate from the start that Shakespeare’s tragedy ‘Othello’ is a modern adaptation. The Frantic Assembly and Theatre Royal Plymouth production at The Lowry in Salford does not put the audience into a 17th century setting in Venice, but places them into a filthy Northern pub full of gang members during the race riots of 2001 in Yorkshire.

Shakespeare’s timeless themes of jealousy, paranoia, otherness and distrust are represented well in the production. The sinister choreography underlined by blaring music is melted together in scene settings changing from the pub to the dark street, where fights take place.

Othello, played by the talented Mark Ebulue, is married to the fair lady Desdemona (Kirsty Oswald). But because of societal prejudice, they are not supposed to be in love. Cassio, poignantly portrayed by Ryan Fletcher, therefore tries to turn Desdemona black. Iago (Steven Miller), Othello’s lieutenant, helps Cassio in doing so. The audience quickly notices that he is the one, who is the catalyst of the plot. He spins a web of lies for his own enjoyment, while other characters have to suffer and even die.

Due to Shakespeare’s timeless topics and modernised costumes consisting of jogging attire and trainers, and the Northern accents of the actors, the play manages to resonate with the young audience. ‘Gosh that was amazing’, one teenage girls said while leaving the performance. But the question remains if the play was too modern and thus failed in dealing with current issues. Adapting Shakespeare should also mean to question the representation of men and women and not to portray them in an inflexible, gendered and rather conservative way.

Male brutality and superiority were emphasised on stage and the role of Desdemona was portrayed as a character lacking intelligence. Emilia was the only character who tried to break out of the fixed boundaries with the outspoken well-known sentence about the relationship between men and women: ‘They are all but stomachs, and we all but food, They eat us hungerly, and when they are full / They belch us’.

The play managed to impress young and old and the performances of the actors despite the portrayal of not so modern gender stereotypes.

Stressed skin saviours

Written by Mancunion on . Posted in Fashion & Beauty.

We’ve all been there – sat up until the early hours of the morning (or all night) faced with a blank Word document and a matter of hours until your submission deadline. Whilst we sit in the stuffy library knocking back energy drinks and surviving on a diet of Sainsbury’s meal deals our skin is the last thing on our minds; but the result of this writing rampage can take its toll, leaving its marks on our faces in the weeks to come. Whether your skin is dry and flaky or oily and spot-prone, we have the solution.

Dry – You may already be noticing the effects of the harsh winter on your skin; combine this with stress and you’ve got yourself a recipe for a skin disaster. This calls for a heavy-duty moisturiser that can keep your face protected and prevent flaky, itchy skin. Avene’s Eau Thermale Avene Rich Compensating Cream is great for boosting hydration without clogging pores, and its non-greasy texture provides the perfect make up base. For intense moisturisation, use a mask that can be left on overnight. Try Clinique’s Moisture Surge Overnight Mask and let it do the work for you as you take that well-earned rest.

Photo: Boots Photo: Clinique

Oily – Oily skin tends to face a different set of problems. Stress and lack of sleep can cause an onslaught of spots, resulting in the application of more makeup and the start of a vicious cycle in the battle against bad skin. A good cream is essential for targeting breakouts – Vichy’s Hyaluspot Cream reduces spots within a matter of hours and also helps to prevent the lingering marks they tend to leave behind. However, spot treatments can result in over-drying and a peeling effect. La Roche-Posay’s Effaclar H Multi-Compensating Soothing Moisturiser was created to counter this exact problem, containing the essential ingredients for moisturising without producing an excess of sebum and a greasy-sheen.

Photo: Escentual Photo: Boots

 

Live: Orphaned Land

Written by Emily Castles on . Posted in Music.

Academy 3

5th November

7.5/10

The lyrical preaching of religious unity and anti-war ideology conflicts with the haunting reality that the members of Israeli band, Orphaned Land, face on a daily basis back home. From a country which has faced never-ending wars, the band actively advocate unity.

As singer and founding member Kobi introduces the song ‘Brother’, he dedicates it to all Arabs, claiming that regardless of religion they are all, effectively, of the same descent. This was mirrored in one of the most anticipated and well-received songs ‘All is One’ with Kobi singing “Who cares if you’re a Muslim or a Jew?” complete with his finest Bhangra dance moves. The band equally turned to England for inspiration for the groundbreaking song ‘Truce’ which related to the Christmas day truce of World War One where the two sides stopped war in order to play football; the band expressed their amazement and wonder at such a marvel. The band’s sound is extremely unique: the melodic voice, heavy distortion and Arabic influences make them hard not to love, and impossible to ignore.

Formed in 1991 but only recently securing the current line-up, the Israeli metal heads have been around for some time. It was perhaps their recent winning of the Metal Hammer Golden God Award and mind-blowing performance at Bloodstock Open Air Festival 2014 that led to them falling into the lime light for good. This was around the time that everyone began to take notice. With an incredible, unique sound and powerful and influential lyrics—rarely found in contemporary metal bands—Orphaned Land seem to have exploded onto the metal scene and one can only presume they are going to be huge. Think the next System of a Down!

Club: Hi Ku presents Daniel Wang

Written by Elliot Coen on . Posted in Music.

24th October

Joshua Brooks

8/10

I always get a fuzzy feeling going to a club night that I have never been to previously. This was to be my first outing to a Hi Ku event, as far as memory serves me. I take pleasure in going to a party with an open-mind and this was doubly true on the 24th, as I hadn’t had the pleasure of experiencing Daniel Wang play in the flesh before that night.

I had, however, watched one of his sets on YouTube beforehand. Emphasis on the ‘watched’ there, as Daniel Wang is more than just an aural performer when he DJs. Shapes are being thrown at every transition; the man never stays still. It is highly infectious too. The whole room was moving and there was seldom a phone poised to take a selfie all night; it was what I imagine parties were like 20 years ago.

Daniel Wang’s lengthy experience with his craft was apparent within his first few selections. He was in no rush. Beginning with some funk and disco gems, which I certainly couldn’t identify, he then moved on to the piano-laden house that he became famous for back in the 90s. Some of his mixing slipped here and there but, honestly, no one cared. The party went on and the tracks were so captivating that the technical aspect of it did not matter.

Joshua Brooks is a venue I have frequented many a time over the last few years. It looked especially great on the night, with extra mood lighting and psychedelic visual projections on the wall. The crowd was great and the atmosphere was intimate. Overall, a brilliant night out!

Live: Vevo Halloween Party

Written by Katie Burns on . Posted in Music.

1st November

Victoria Warehouse

8/10

The day after Halloween, a zombie uprising took place in Trafford Park. Loudhailers announced the closure of roads for military use, and people walked around in those decontamination suits they have on Monsters Inc. This isn’t the set of some shitty b-movie though, it’s Vevo’s 2014 Halloween Party.

The Victoria Warehouse is the first Halloween event ever that I actually found scary. The venue was transformed into a Halloween hell, including a maze of horrors that the braver members of the crowd had to endure before they got to the stage. For the scaredy cats, there was also a passage right along side it that had nothing worse than a bit of fog and some worrying screams.

Over 4000 undead revellers flocked to the sold-out event, and were treated to sets by Labrinth, Rixton, Ella Eyre and Gorgon City. Despite the announcement on the day that headliner Sam Smith was unable to play due to having “totally lost his voice,” the party went on regardless, with Gorgon City taking over headline duties.

Even before the show actually began, the atmosphere was electric, and only partly due to the amazing venue and how it was set up. The rest of the atmosphere was all down to the crowd, and how excited they were. However, the party really started when Labrinth opened up the show with a rockier rendition of his massive hit ‘Earthquake’. The singer-songwriter delivered an amazing set from start to finish, which included all the hits he is known for.

Next up came Manchester boyband Rixton, all dressed up in superhero outfits, which they quickly jettisoned when it started to warm up. These guys are pretty much everywhere at the moment, but before their set I’m pretty sure I had never heard their music. All in all, they were just a row of stools short of going full boyband, with harmonies and audience participation all over the place.

Also in character was Ella Eyre, who was some sort of stunning cat/bat hybrid. At first there were a few issues related to hearing her over the backing music, but when they were resolved she delivered a blinding set, with a much more chilled out vibe than previous acts.

Gorgon City, along with a few friends, closed up the event. The duo were joined on stage by singers Zak Abel and Laura Welsh, and together they brought a great night to a close.

Live: Neon Waltz

Written by Samuel Higgins on . Posted in Music.

October 23rd

Gorilla

4/10

Playing support to ex-Doves duo Jez and Andy Williams’ new creation Black Rivers were the rising Scottish six-piece Neon Waltz. No more than a hundred watching but nevertheless much was expected from the faithful in attendance.

Generally however the setlist was marred by poor quality audio with intense, overpowering drumming drowning out both the vocals and additional guitar and organ contributions. In short, although six graced the stage, you could only feel the presence of one.

There were moments however where the band broke through such sound problems and appeared to win the crowd over. ‘Sundial’ proved quite the hit with good collaboration from the catchy lead guitar line in conjunction with an organ melody which resonated well with onlookers from the front to the back.

Disappointingly though the band were let down by the acoustics from the venue of which were arguably not befitting of five instruments and a sole lead vocal. Also, given there were six on stage, those familiar with Gorilla will be aware of the lack of stage space and it will not be surprising to readers that at times the performance lacked the energy which the sound levels demanded.

All in all top marks for effort but little can be said for the performance itself.

Album: Alice Cooper – Raise the Dead: Live From Wacken

Written by Joe C. Evans on . Posted in Music.

Released October 22nd

UDR Music

4/10

Alice Cooper Live from Wacken is ballsy and loud, and if you don’t like that why would you buy an Alice Cooper album? Well I don’t like that. This album serves only to evidence the irrefutable fact that everything Alice Cooper has ever released sounds exactly the same. Like a high schoolers high on volume and distortion, Cooper and his backing band launch through the shock rock singers back catalogue to the applause of the audience, but to the horror of me!

There are good songs in Cooper’s locker. It would be unfair to suggest that ‘No More Mr Nice Guy’ or ‘Poison’ aren’t canonical works in the rocks discography. A huge failing of this album is Cooper’s apparent penchant for shitting on cornerstones of popular music.

His combination of ‘Schools Out’ (his most famous song) and ‘Another Brick in the Wall’ is 7 minutes of wall of sound murder. He also covers ‘Break on Through’, turning a Doors classic into (you guessed it) a wall of sound. The Beatles are next, Cooper’s ‘Revolution’ interpretation finally answering the question of what Oasis would have sounded like had they have gone the whole hog with their Beatles impersonation.

Cooper can roll out celebrity friends like Johnny Depp all he likes, but using voodoo to reincarnate Jim Morrison on stage wouldn’t have saved these covers.

Cooper has his audience and based on the screams in between songs they love him. That or the post production’s use of canned cheering was liberal to say the least. Wacken is hardly a festival that screams out for bands exploiting subtlety in their output, and so Cooper’s combination of raucous music and wild stage show is perfect for its environment.

The DVD makes for a funny watch, Cooper defying age, strutting around making Mick Jagger’s descent into old age look graceful. Overall it’s the output of an artist at the end of his career but you know what, it’s been a long innings at the top. Cooper’s clearly doing something right.

Live: James Blake

Written by Dinesh Mattu on . Posted in Music.

8th November

Store Street, Warehouse Project

8/10

Alongside his outfit 1-800 Dinosaur, James Blake took over Manchester’s Warehouse Project to deliver a quite literally breath-taking set.

In anticipation, I gave Blake’s two albums a listen and admittedly I can’t say it ever caught my attention, it’s great reading music, kinda nice to put on if you’re feeling a bit edgy, but want to relax. Frankly, I was fascinated at how James Blake and Overgrown were so critically acclaimed upon release. However, after seeing him live I understand the plaudits he received, justifiably so, his live set gives a whole other dimension to his sound.

Stepping out with a guitarist and a drummer, Blake sits at his keyboard and starts to twinkle and work his fingers round a looped sample, before layering on some synthed chords. The drummer leads the instrumentation, his percussive snare fills give the opener a trap-kind of feel. Gradual energy builds, the looping vocal sample and beat climb to an inexplicable drop that literally reverberated through my nose and ribcage and probably altered my heart-rate. ‘Air & Lack Thereof’ is reminiscent of something Hudson Mohawke might’ve produced, the bass pulsates frantically  throughout my entire body and the sound is so very far from the sombre night I’d grown to believe I was in for.

Thankfully, the dub and bass-heavy songs such as ‘CMYK’ and ‘Voyeur’ are completely contrasted by the solemn ‘Measurements’ and ‘Retrograde’ in a setlist that is eerie and experimental, and sits well with the cool kids of Manchester.

‘Wilhelm Scream’ is the penultimate track and the clincher for me. Blake’s falsetto is tremendous and the support from the guitarist and the drummer are equally matched in a constructed and atmospheric escalation to a near-hypnotic climax. It’s minimalist and intricate, and reminiscent of the vibe of the set.

Blake’s sound is unique and unlike any electronic music I’ve heard before. Detached yet sincere and honest, the intimacy on record is given a new life by his live performance. Whilst his sound becomes somewhat tedious in the downtempo parts, I don’t think my heart-rate could’ve lasted one and a half hours of face-numbing bass.

Live: Twin Atlantic

Written by Hannah Brierley on . Posted in Music.

28th October

Manchester Academy

8/10

Twin Atlantic stepped out on stage opening the show with ‘The Ones That I Love’ slowly lulling the crowd into calmness, before breaking that and busting into ‘Hold On’ which completely changed the vibe and kicking up an absolute storm. They upheld and maintained this by going on to play ‘Beast Of Myself’, which definitely got the loudest interaction from the crowd. ‘Fall Into The Party’ and  ‘Be A Kid’ swapping from ballad to anthem but never losing the crowds interest. There was such an electric ambiance about their set and the way they were playing, which rubbed off on the crowd and continued through the night.

The Scottish band went on to play a mix from both their last album Free and new album Great Divide which went down very well. There were however a few technical faults during the middle of the set, and lead singer Sam McCrusty even forgot one of the songs and had to start over three times to which he said: “My humblest apologies for being a dick,” and let everyone boo him in comical style for three seconds. However, their mistakes didn’t put off the rest of their performance with an absolutely crazy drum solo from Craig McNae during ‘The Ghost of Eddie’, which definitely didn’t let anybody down.

Another highlight from the set had to be the acoustic version of ‘Crash Land’ with Barry McKenna on the beautiful cello and McCrustys moving vocals, everyone in the room with a lighter or flash in the air, the aura was absolutely magical. There was then a steady build up of familiar songs leading up to the end of the night, concluding with most recently popular ‘Brothers and Sisters’ and then ‘Heart and Soul’ finishing the night with an absolute bang.

Interview: Twin Atlantic

Written by Hannah Brierley on . Posted in Music.

After waiting two years for one of Scotland’s most successful rock bands, Twin Atlantic, to return to Manchester, they finally performed at Manchester Acadamy on Tuesday 28th October. Twin Atantic last performed whilst touring with Free, their second album in 2012. They have now released their long-awaited new album Great Divide in August earlier this year. Before the gig, I spoke to bassist Ross McNae and drummer Craig Kneale.

As I walked into the room, both Ross and Craig quickly rushed to pause their Fifa game, laughed and then got their serious faces on. I firstly asked them what their favourite track of the new album was and why. They both agreed on ‘I Am An Animal’. “When we first started out we felt we had to act and perform in a certain way to fit our genre. With this album we had a lot more fun and I think this song really represents that.”

When asked who was their biggest influence for this album, Ross quickly blurted “Miley Cyrus” and after a few confused seconds he explained: “No, seriously, for Great Divide we were influenced by people in the pop music industry. People who go and just have fun with what they do. Especially because pop music is something we’ve always shy’d away from. It was fun to make that transition.”

“I don’t think you should have guilty pleasures” Ross went on to say. “You like what you like and you don’t what you don’t. You should never be ashamed of what you enjoy… Unless it’s racist or something.”

Twin Atlantic performed on the main stage for the first time at T In The Park this year. “Yeah it was crazy, we love playing at festivals because its such a good way to branch out to new people, they’re so much more hectic and you get to have more fun playing because you just let go a little more. Before we play at festivals we get in a little huddle and we knock heads three times. I don’t know why, but it’s just become a tradition I guess. This one time it was my idea that we do a bit of yoga and meditation before we played. Like all sit down in a circle and hold hands but it didn’t really work though and it just calmed us all down instead, which isn’t what we wanted,” Craig said, shaking his head. “However there’s something about playing at smaller venues. Knowing that all these people have turned up just for you, there’s something really special when you can see all the fans singing along and know every word. That’s pretty awesome.”

However, being a band that’s been around for so long, what is it that annoys you when you’re at a gig? ”It’s relatively annoying when people are talking when we’re playing. Also when people are filming the whole thing, I understand taking a few photos but when people are filming it all the time, they’re missing out on the actual experience just so they can watch it later. Which is a shame, but at the end of the day they’ve paid to be there, I guess they can do what they want really!”

I proceeded to ask them if they could be stuck in a lift with anyone, who would it be and why? They both sat and thought for a few seconds. Craig answered first. “Funnily enough, when I was younger I was always scared that if you got stuck in a lift with someone, that the oxygen would run out. So I’d have to kill them to stay alive. It would have to be someone I hate… but I don’t really hate anyone so I don’t know.” After which Ross replied “well I mean you could take this one of two ways, I could say Taylor Swift and then let it be weird, or I’d like to be stuck with someone interesting like Julian Assange.”

Ross went on to say, “or maybe Jesus, and be like are you alive? Yes or no?” Craig bounced from this—“Jesus, is God your dad? Yes or no?” to which Ross joked, “Jesus, did God shag your mum? Yes or no?”

Finally, if you had any advice for anyone who is starting out in the music industry, what would it be? “Come hell or high water,” Ross stated, “you’ve got to put your all in from the very get go. You’ve got to forget college and university and that dream of becoming a chef. You’ve got to give it all your time and emotions and put your all into it, no one is just going to hand it to you.”

Live: Eagulls

Written by Will Ellis on . Posted in Music.

1st November
Sound Control
9/10
‘Tough Luck’—the title of Eagulls’s opening track might be the best description for the attitude of Leeds’ finest post-punk band. The jangling, Marr-esque guitar intro heavily contrasting the barely comprehensible wail of vocalist George Mitchell. A man with the pale gaunt of Ian Curtis.
As the set progresses and the guitar gets heavier: the individual sound that make Eagulls who they are. With each song there is a sense of complete hopelessness in the realisation that you’re completely fucked; they are the sound of the disgruntled English worker in 2014. This might not seem the kind of doom and gloom that will liven your spirits on a rainy Saturday in Manchester, but there’s something in the comradery of the audience. A communal acceptance that everything’s gone shit and there’s nothing we can do about it and that’s just fine.
Marching through the set with a constant swagger, the band launch into 2013 single ‘Nerve Endings’, arguably the song that named them BBC Radio 6’s Steve Lamacq’s favourite band of that year. A sentiment shared by many in the crowd, moving furiously as Mitchell spits out each lyric over the droning music. The band, dressed all in black, dimly lit by a projection of a bleak cityscape have a bleak gothic look that feeds an energy possessing the eager crowd.
As the set draws to a close, their agitated nature erupts into an energetic rage taking on the persona of the final song ‘Possessed’. Leaving with no goodbyes and no encore Eagulls defy convention and courtesy, but you wouldn’t expect anything else from this band. A cold and emotionless end to their largest UK tour to date. No sentiment. Just the bleak message of a band that by rights should only get bigger.

Live: Future Islands

Written by Amelia Ellis on . Posted in Music.

1st November

Manchester Cathedral

9/10

“I told my Dad I wouldn’t swear too much,” says Samuel T. Herring, gazing around the cathedral. “I’ve got to say this is one of those most beautiful venues we’ve ever played in.”

In deadly combination, and probably Pitchfork’s wet dream, Future Islands played in Manchester Cathedral on 1st November at Columns Festival.

If you haven’t heard of them yet, you’ll most likely have been in a heavy coma or maybe into Calvin Harris, as 2014 really has been a year of no escaping. The band is from Baltimore and is comprised of three weird men with even weirder moves who look a decade older than their 30 years. Ever since that iconic performance of ‘Seasons’ on the Letterman show, the trio are only spiralling in success. And after eight years and with four albums in tow, it seems rightly so.

There is little introduction after the vocalist waltzes on stage, preceded by bassist William Cashion, Gerrit Welmers on keys and touring drummer, Michael Lowry.

The darkness of the cathedral provides careful intimacy between band and crowd as the bass of ‘Back in the Tall Grass’ begins. The transformation takes place. If you’ve watched said Letterman video, you’ll know what I mean. His hips gyrate, he sucks his fingers, he caresses his body like his anaconda don’t. He weaves this between singing into the eyes of every immediate crowd member; now I know what it is to see a grown man melt.

The other band members are mostly static; Welmers bobs about, pressing each key daintily, as though made of porcelain. Cassion is skilled at prohibiting any emotion from his face, but even better at playing the bass. Importantly though, it doesn’t seem out of boredom. This is how they do things. Live, the show is really about Herring. It’s about his performance and creating a connection with their audience.

The band move quickly through songs through the hour set. Pop gems of the latest album contrast with brooding dark moments from previous records. It reverberates throughout the cathedral, generating a weird amalgamation of sugary, haunting music.

‘A Dream of You and Me’ is great. Almost uncomfortably honest, he wants to show us exactly what this song means to him. ‘Seasons’ not so, seeming a little detached from the band, the connection perhaps blurred after the many times they’ve performed it.

Then there’s the synth-heavy ‘Walking Through that Door’. It’s intense and erratic, and as the synth climaxes Herring raises his hand up to the rooftops, stares into the distance and lets out a guttural roar. Ethereal swirls of light are projected onto the stain glass windows, a red light glows on his face. He looks completely demonic.

It’s a massive juxtaposition next to ‘A Song For my Grandfathers’, after which he cries. He cries twice in fact; like a toddler, his big face crumbles, his lips wobble, it’s grisly raw emotion and it’s fascinating to watch. His energy is a wonderful relief that makes you wonder why no other performer allows us this honesty.

But although unadulterated and unembarrassed; you wonder how anyone can sustain giving so much, so relentlessly. The show was wonderful and sets the bar way high for the future of musical performance. But in this temperamental moment of success, it’s worth considering how the band will manage to maintain their trademark honesty whilst remaining genuine.

Live: Daniil Trifonov

Written by Orlaith O Byrne on . Posted in Music.

29th October

Bridgewater Hall

8/10

What did I learn from attending my first ever classical music concert? When you’re told it’s a 7:30 pm start, you had better be in your seat at 7:30 pm. There’s no contingency time for stumbling in 40 minutes late, beer in hand at this joint. I miss the pre-show murmur and take my place as the lights dim, the pianist enters, sits and immediately sinks his hands into the keys. I am observing the instant stillness of the audience before I direct my attention to Daniil Trifonov.

Back in school when GCSE music required me to struggle through the embarrassment of not having practised for my violin lessons, my teacher could only bear to remind me of one thing. I was to imagine my instrument as an extension of my body, and I would learn to play like my violin was an extra arm. Watching Trifonov reminds me of this, his head bowing to the delicate melody of Beethoven’s last sonata. Arpeggios crescendo and wake him to full posture, his shoulders roll with the rumble of his left hand and his hands spring with the trills of Bach’s Fantasia and Fugue. In other words, Trifonov’s body mirrors the music he plays. Occasionally he raises his chin slowly upwards to catch the gold glow of the Bridgewater Hall lights, as if in prayer.

He builds tension with long pauses and at times I almost make the terrible mistake of starting to clap before he’s done. At the interval I hear sophisticated 50-somethings buzzing about his technical skill. I wonder if with my first experience of a classical concert that Trifonov has set the bar too high.

In any case, Trifonov, exhausted by his performance, has shown his worth to Manchester. His piano is his body, his breath is his metronome.

Live: Fuse ODG

Written by Robert Firth on . Posted in Music.

27th October

Club Academy

7/10

Following on from an electric year which has seen him win Best African Act at the MOBOs for a second year running, Fuse ODG brought his T.I.N.A (that is This is the New Africa—not his sister) movement to Manchester for an energetic yet intimate performance at Club Academy.

Warming up the crowd were a number of acts associated loosely with the afrobeats genre (think electronic beats mixed with grime and a sprinkling of Ghana) that Fuse ODG spearheads. Assisted by an MC, they swiftly oiled the buzzing audience’s limbs with a mixture of quick tunes and obligatory crowd participation. Fuse ODG fans are fanatical, and the girl who dared go on stage and get a song name wrong—‘Million Dollar Girl’ instead of the correct ‘Million Pound Girl’ was heckled off with shouts like, “she doesn’t fucking know the words, why is she here?”

Fuse ODG almost let the crowd boil over with anticipation but eventually every other word the MC said was about girls being worth a million pounds and Fuse ODG ambled on to the stage to ‘Million Pound Girl’ which drove everyone into a hip-shaking, booty-wiggling competition. The carnival vibe continued through Fuse’s early songs, probably reaching it’s peak in ‘T.I.N.A’  when dancers swayed around with Ghanaian flags: Fuse’s new Africa just wants to enjoy itself.

The party atmosphere was tempered towards the middle of the set with the digital infused afrobeats giving way to laidback rhythms of much of his yet unreleased material from debut album T.I.N.A, notably ‘Bucket Full of Sunshine’. His fantastic backing band, The Composers, ensured that despite the milder tone the set acquired that it remained its interest with thrilling drum solos providing segues between songs.

‘Azonto’ and ‘Antenna’, whilst good, failed to spur the ecstasy in the waning crowd. Here Fuse’s presence was notably lacking and if he had controlled the show more, the atmosphere of the latter half of the gig may have felt less like a club half an hour before it closes.

The crowd went wild again when Fuse announced that ‘Dangerous Love’ would be his last song and this is when what afrobeats is all about came through. I’ve not been to many gigs where you can get the overwhelming feeling that you’re at one with everyone in the room whilst feeling like you can dance your feelings out however you like, sober, without getting shoved into or stood on.  Maybe that’s the essence of T.I.N.A.

Classic Review: Un Chien Andalou

Written by Zack Heera on . Posted in Film.

Directed by Luis Buñuel and co-directed with Salvador Dali, this surrealist film is unlike anything you will ever see in a classic film. Slicing eyeballs, dead cattle and gender swapping, this film was decades ahead of its own time, yet surprisingly not many have seen it. This film is quite intimidating at first and seasoned film reviewers have trouble understanding it but I encourage anyone to see it. This intense journey of lust and sin is one of the most outrageous pieces of art anyone will see. To watch this film you need to completely open your mind and change your perspective on the notion of ‘narrative’; after you watch Un Chien Andalou it is impossible to ever forget it.

The entire film plays like a dream—it will no doubt confuse its audience but that’s to be expected. Like a painting, the film is open to interpretation but it is more than meets the eye. The film opens with a man sharpening a razor, making sure it’s sharp by testing it on himself and cutting his thumb nail. He then makes his way to the balcony where, looking up at the moon, he places his fingers on the eyelids of a woman (who appeared out of thin air) spreads them apart, takes the razor and cuts right through her eyeball, juxtaposed with a shot of a thin cloud passing in front of the moon. Many believe that the moon stands as a symbol for the woman’s virginity and that showing the image of a thin cloud passing by it, along with the image of the woman having her eye cut, is symbolism of the male taking the virginity of the female in the film (if you’re ever writing about sensory cinema this film is a great choice).

The film raises questions about how we live as a society and what prevents us as people from enjoying indulging in whatever we want. Another great sequence is when the male character is trying to chase after the female (around eight minutes into the film) but is held back by rope, to which are attached two priests, two stone tablets, two grand pianos with two dead donkeys nestled inside them. My interpretation is that the male character ‘wants’ the female, he ‘wants’ to be with her and to have her for himself but things such as religion and social class and wealth are holding him back and preventing him from ‘having’ her. This film was one of the main driving forces behind the surrealist movement of the late twenties and, surprisingly, was welcomed with great reception by audiences, even though it was an attack on the Church at the time. The film is either a genius commentary on social anthropology or a bunch of nonsense, but—love it or hate it—you’ll watch the most controversial film ever to be created. Oh, and did I forget to mention it’s French?

TV Binge: The Thick of It

Written by Ben Sutton on . Posted in Film.

“Come the fuck in or fuck the fuck off!” Words that could only come from the mouth of the Thick of It’s crazed, sweary mad man Malcolm Tucker. The Scottish psychopath of spin, portrayed brilliantly by Peter Capaldi, is the main attraction of The Thick of It, a show about the cock-ups caused by the incompetent men and women of Westminster.

The show starts by focusing on the seemingly useless and pointless Department of Social Affairs where the equally useless and pointless but loveable minister Hugh Abbott tries and fails to not mess things up. He’s a man who barely has any sleep, never gets to see his kids and only gets to take a dump as a sort of treat. It shows how all these incompetent politicians we mock and hate are actually human and may genuinely be good people deep down. But it doesn’t stop us laughing at their tragic personal and professional lives.

A few more ministers pass through DOSA as the show progresses to show the battle between the two main parties trying to win petty battles against each other as well as a general election. The humour doesn’t just come from sweary Scotsman, but also from the wit of right wing MP Peter Mannion, Nicola Murray breaking down and craving ketamine, and the whiney squabbles between the pathetic Phil Smith and Oliver Reeder. It all comes together to become one of the greatest British comedies ever made and will be an instant favourite to anyone who watches it.

The Thick of It is available on Netflix in its entirety and I assure you it won’t disappoint. Anyway, “Fuckety bye!”