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Day: 23 November 2015

Interview: False Nines

Manchester based indie-rock band False Nines are an up-and-coming group who have gained notoriety from numerous plays on BBC 6 Music. Their sound is an infusion of each member’s unique influences, which range from Belle and Sebastian to Led Zeppelin. Active since 2013, they have quickly carved a name for themselves, making it onto 6 Music’s Marc Riley pick of 2014 list and more recently gaining well-deserved recognition from Steve Lamacq.

I met lead singer Aaron and bassist Jake in the Castle Hotel pub, where their debut single launch gig is planned to take place. The Castle is a rather cosy place which fits only 80 people. Jake joked that they chose this smaller venue to “make the audience look bigger!” Although obviously excited by their increasing reputation, both band members were modest and charming, even going as far as to pay for my drinks! And so with a drink in one hand, and a pen in the other, I learned of their unlikely rise to prominence.

False Nines is comprised of four friends: Aaron, Jake, lead guitarist George, and another Jake (Jake B) on drums. Their “how they met” story is a modern tale involving Twitter and a mutual love for the same band. Jake and George had been friends for many years, playing in various different groups, when they found themselves without a singer. What better way in this social media age to find one than to tweet an advertisement to one of your favourite bands? The band Jake tweeted was Field Music, who‘s subsequent retweet garnered the attention of singer Aaron.

It all started out as a bit of fun, but a year in to honing their sound and ‘messing around’, they made a considerable splash on the music landscape due to a chance encounter with radio DJ Marc Riley. The story goes that George handed Riley a demo of ‘Call it Wrong’, and he played it on the way home in his car and took an instant liking! He called the boys up, told them he was going play their song on his 6 Music show, and sure enough, False Nines found themselves on national radio. Bassist Jake described this as the catalyst for their careers; from here, independent record label LDN signed the band and started working with them to release their first single.

Manchester is renowned for its football as much as its music, and False Nines’ name unites the two, referring to a player whose role is more than what is printed on their back, who gives more than what is expected. Appropriate, given what four lads with only day jobs and dreams have managed to achieve.

False Nines launch their single ‘Can’t Afford to Wonder’ on the Thursday 26th November at the Castle Hotel, Oldham St, Manchester.

To learn more, follow them on Twitter @False_9s, on Facebook at /FalseNines, or take a look at their website.

 

Remembering a Genius: George Best

On the evening of the 25th November 2005, George Best, as he had done throughout his career, drew the crowds to Old Trafford. Only, this time, Old Trafford was not lit up by the artistry of the Irishman, for that was now a mere memory to those supporters, many who had placed bunches of flowers among the railings facing the statue of his previous manager, Sir Matt Busby, in memory of the Belfast boy who had just died at the age of 59.

Andrew from ‘Stretford End Flags’ (SEF), a Manchester United supporters group, summed up his feelings at the time of the news: “It was a sad day when George passed away. I never saw George play, but like all United fans, I’ve seen the footage, and he was magic. It was sad that alcoholism took over his life and that he suffered from what is an illness.”

I too, did not see Best in his heyday, and what can one write about Best that has not been penned hundreds or thousands of times before? One simply runs out of superlatives available to anyone trying to describe what he could do with the ball, and the goals he scored. The football world had lost what one can only describe as a genius.

Best was born on the Cregagh Estate in Belfast. Having started playing for the local boys’ team, word spread about the dockyard of a talented skinny teenager, quickly reaching the ears of Bob Bishop, Manchester United’s Northern Ireland Scout. Bishop organised a match for Best to play in and, despite being only 15 and up against a team of 17 year olds, Best bagged a hat trick. Subsequently, Bishop contacted Matt Busby and said, “Boss, I think I’ve found you a genius!”

Best was brought over to Manchester as an apprentice of Manchester United, but had trouble settling in to his new surroundings. In fact, Best would have packed it all in and headed off back to Belfast had his father, Dick Best, not spent time with his son in order to persuade him to stay in Manchester. Who knows what would have become of George Best?

As Best progressed through the United ranks at the Cliff Training ground, the Belfast boy began to gain a host of admirers among the United staff, and Best would turn professional on his 17th birthday in May 1963. On 14th September 1963, with injuries forcing his hand, Matt Busby gave the 17-year-old his league debut against West Bromwich Albion at Old Trafford. By the end of the season, Best was a regular in the side and also helped the club to an FA Youth Cup title. He followed it up by being part of the 1964/65 title-winning team, missing just one game out of the 61 that the Reds played that season. It was his partnership for years to come with Bobby Charlton and Dennis Law that would be immortalised in United’s history as ‘The United Trinity’, appreciated by the statue outside the ground.

From then on until the 1970s, Best tormented defences at home and abroad, creating goals and newspaper headlines on a more or less match-by-match basis. A second title followed in 1967 and perhaps his crowning moment was a year later in the 1968 European Cup final against Benfica, where he gave the Reds a 2-1 extra time lead en route to a 4-1 success. He was United’s top goal scorer that year with 28 goals, and was crowned the Professional Footballers’ Association Player of the Year and European Footballer of the Year. Best would remain United’s top goal scorer for the next four years.

However, it was in these next 4 years that the world of George Best spiralled downwards, earning suspensions and missing games, not to mention the women that came and went. By the early 1970s, frustrated that the team wasn’t being strengthened, he began to miss training sessions, and his problems grew worse. Falling out with the newly-appointed manager Tommy Docherty, Best parted ways with the club in January 1974.

But as he rightfully asked, we should remember Best for the backpage headlines, and not the front. His moments of genius will never be forgotten, and what glorious memories they were. Best scored 136 goals in 361 appearances and holds the post-war record for the most goals by a United player in a single match—six in an 8-2 FA cup Fifth Round mauling of Northampton Town.

Wednesday 25th of November 2015 will mark 10 years since Best passed away, and Manchester United will be lining up against PSV Eindhoven of Holland, in a crucial Champions League group stage match. Just as Best lit up Old Trafford, supporters are being called upon by SEF to light up Old Trafford. As the clock ticks onto the 7th minute—Best’s iconic number—supporters are asked to turn on their mobile phone torches and to light up all of Old Trafford.

Best’s sister, Barbara McNarry, fully supports the tribute and had this to say: “During the darkest days of the troubles in Northern Ireland, George brought a shining light to so many people. It’s very humbling to know that this light has never gone out or even dimmed. Fans not just at home, but in Manchester and many other places around the world continue to honour his memory and support him in death as they did in life.

“Old Trafford will be lit up on the 25th of November in fond memory of an ordinary man with an extraordinary talent. Thank you to the Manchester United supporters for this beautiful gesture.”

Many, when asked whom the greatest players of all time are, would point to Pelé and Maradona. But it speaks volumes when they both openly admit that George Best was indeed, the best, and it will be this banner, made by SEF, which will be displayed on Wednesday night.

The Banner that will be displayed on Wednesday night. Photo: Stretford End Flags

What Difference Does it Make?

It’s 2015, and Britain has just been announced as the fifth richest country in the world. Our economy is growing at a faster rate than any other G7 member, and in May we saw Surrey, where the average house price sits comfortably in six figures, receive a £27 million boost from the government.

It’s 2015, and in the fifth richest country in the world, over 1.1 million people rely on food banks. Child poverty is becoming ever more prevalent, and Manchester has suffered a funding cut of £28 million.
It’s 2015 and we live in one of the richest countries in the world. Yet Britain swung to the right, and inequality has taken off.

***

Little over six months have passed since the Conservatives won a majority in May. Funding cuts to Manchester, a Labour stronghold, have resulted in the closure of over 600 independent charities and agencies; mental health services, drug and alcohol support groups, and children’s programmes are just a handful of the resources lost in recent months. The North—home to some of the country’s most vulnerable—has been hit hard by austerity. The Tories, who claim to be ‘a party of working people’, have introduced policies that disproportionally hit those on low and modest incomes. For many of Manchester’s women and children, life under a Conservative government has become almost gruesome.
Concealed by the shiny skyscrapers and designer shops of Cathedral Street lies a struggling city, where one in five children live in extreme poverty. A proportion higher than in any other area in the country—and at a shocking 120 year high—some of the worst affected live little more than a stone’s throw from our own University. Poor childcare provision in Hulme and Moss Side has resulted in over 50% of children living in poverty and ‘wishing for cleaner, safer, housing’.

A recent visit to the impoverished area of Little Hulton—where 46 per cent of children live in poverty, putting it in the worst 2 per cent of wards in the country—demonstrated the scale of the problem first hand. Boarded up windows and littered streets characterise a deprived area that sits in the shadows of the city centre’s bright, sparkling skyline. A weekly youth club, run entirely by volunteers, is the extent of activities available to children, who spend the rest of their time on an estate they describe as ‘scaffy and full of shootings’.

Loneliness, anger, sadness: all words that those as young as 12 are using to describe a life blighted by poverty. Cuts to social services provide them with little opportunity to escape; knowledge of higher education is scarce and job opportunities are few and far between. It then comes as no surprise to hear that a staggering 4,500 Manchester children run away from home every year. For the cold, dangerous, unforgiving streets of Manchester to seem like their only option is heart-breaking. We’re leaving our children at a serious risk of being harmed, of ending up homeless. In Manchester, in 2015, it’s almost an epidemic.

***

It’s hard not to notice the city’s homeless crisis. There was the Ark shelter near to the University, another that sits adjacent to Piccadilly Station, and many more dotted across the city. Cuts to frontline services including housing, citizens advice, and mental health and drug support are responsible for the sharp rise in the number of rough sleepers in Manchester. According to council statistics, last November there were 47 people who spent their nights sleeping outside. It has recently been revealed, however, that the number is now nearer to 100, with the potential of being much higher; the government does not count rough sleepers if they lie on a bench or against a tree. Even more shockingly, the homeless are not counted as rough sleepers if they are awake when the authorities do their count.

As child poverty levels rise, as more and more become homeless, and as austerity measures continue to hit Manchester, it is also women who are at risk of being left behind. The imminent threat of tax credit cuts is only going to make life harder for females in the Manchester area; with public sector jobs (an industry in which women make up 77 per cent of workers) due to be axed and cuts to legal aid and social security looming, we’re going to see women having to bear the brunt of measures to pay off Britain’s deficit. The UK recently slipped down to a disappointing 26th on the World Economic Forum’s Gender Gap Index, sitting below most other European Countries. Without swift and effective action to address gender inequality, we will see the UK falling even lower. Perhaps it is due to low representation that we as women have become the bearers of austerity; despite record numbers of us recently coming into office in Parliament, they still remain under-represented in the top levels of British society, with only 29 per cent of all MPs being female.

The Students’ Union’s Access All Areas programme offers looked-after children an insight into University life through a day of workshops and activities in order to encourage further education. “Girls like me don’t want to study”, 11 year-old Destiny announced at the end of the most recent session: “Because we don’t know any girl scientists or professors.”

***

It’s sad to see a city so prosperous being broken by austerity. ‘The child poverty capital of the UK’, a recent headline reads, as Manchester City Council’s grant for school uniforms becomes the victim of even more budget cuts. Thankfully, in these times of difficulty, the North demonstrates it’s resilience in a truly ‘Mancunian Way’.

Children’s charity Wood Street Mission, determined to make living in Manchester about more than survival, has stepped in to launch ‘SmartStart Manchester and Salford’, aiming to distribute £1 million worth of uniforms to children—enough to provide for every child living in poverty. A scheme funded entirely by local residents and businesses, SmartStart hopes to eliminate the negative impact that having incorrect uniform and PE kit has on a child’s school performance. It may seem small, but is crucial if the young are to grow up and break the vicious cycle of poverty.

And while a handful of locals work with Wood Street Mission to help children out of poverty, a small army of volunteers feed the homeless—overlooked for sleeping on benches—as part of the newly founded ’Breakfast in Bed’ street life project. Each morning they cross the city, handing out tea, coffee, homemade bacon butties, fruit, and cereal bars to rough sleepers. A little gesture, but one that goes a long way: “We do want to make life easier for the homeless—that’s what we set up for,” reflects Jamie Whittaker, who launched the project in January. “It was freezing cold and we thought, they deserve a bit of food, they deserve a bit of dignity. So we had a meeting in the town hall, we told [the council] what we do, which is that we go around feeding people.”

As female unemployment rises, wages fall, the pay gap widens, and benefit, household, and living cuts rise, women face a daily struggle to keep themselves and their families from slipping deeper into poverty. 45 years after the Dagenham women workers fought for equal pay, we see increasing parts of our economy fuelled by cheap labour, with more than one in five earning less than a living wage, and two-thirds of these being women.

However, in Manchester, in the day-to-day battles against poverty and underrepresentation, we are fighting back. Women are playing a leading role in the movement against austerity, evidenced by the huge number of us in the 100,000-strong anti-austerity demonstration outside the Tory party conference at Manchester Central in October. Although it seems that political leaders are not using the nation’s resources in the interests of the majority, it is clear that the people of Manchester are not waiting for authorities to act, but are prioritising the abolition of poverty in their own way.

Photo: Craig Sunter @Flickr

Two years ago, three things drew me to Manchester: the music scene, the media scene, and the city itself. A creative hub where cheap theatre is made and enjoyed, where you’ll find bands playing at midnight in the gallery, and yoga classes on Sunday mornings in the museum. Cheerful and lively; it’s a student haven where all night libraries gaze across the street at all night parties. The city is home to what DJMag describes as ‘the best club in the world’ and regularly has internationally renowned musicians playing alongside newcomers in a perfect example of Manchester’s accepting, engaging culture. A culture that, following the results of May’s general election, is sadly being threatened.

The most deprived areas of Manchester remain unchanged, proving that poverty and homelessness are at their most dangerous when they become almost normal. It is these same neighbourhoods that have borne the brunt of government cuts since May, and, as the council tries to deal with this entrenched deprivation, they are confronted by an onslaught of hurdles thrown up by the cuts that austerity entails—of which there are many more to come. For children, women, and the homeless, many basic services are a lifeline, and the demise of these services will serve only to entrench deprivation further.

Despite all the challenges, the people who rely on local services, and the authorities who deliver them, understand their value and appreciate the role they play for the deprived and affluent alike. With vital services under threat, the council is going to have to innovate and stretch its budget to aid those most in need. Yet due to constant cuts, the resilience of local services cannot be stretched much further. If we want Manchester to remain as sparkly as its skyline, it’s up to us, as students, to campaign to keep the city’s lights from going out. In the words of Benjamin Disraeli:

“What Manchester does today, the world does tomorrow.”

 

Craving & Saving: AW15 beauty must-haves

Photo: https://www.cheapfullcoverageautoinsurance.com/how-much-does-full-coverage-cost/

I don’t know about you, but I tend to find that I always want to buy more makeup around this time of the year. I’m not sure whether it’s due to colder nights or the constant Christmas collections being released, but there’s something about the autumn and winter seasons that just make me want to stock up on berry and plum shades with lashings of glitter and shimmer thrown in. However, with Christmas just around the corner, and the next loan instalment still two months away (boo), money can be a little tighter than it was in September. To lend a helping hand, I’ve chosen some of this season’s hottest makeup picks and found bargain dupes for them—meaning you can afford to treat yourself to a few extra goodies.

1. Charlotte Tilbury Matte Revolution Lipstick in ‘Glastonberry’ vs. NYX Soft Matte Lip Cream in ‘Copenhagen’

Ahh… the perfect berry lip shade that everyone is lusting after at this time of year. The beauty bloggers’ fave—and possibly the most beautiful-looking lipstick I’ve ever seen—the award goes to this Charlotte Tilbury number. However, at £23 per lippy, it’s practically a week’s worth of food (or a Warehouse Project ticket). Nevertheless, NYX have a similar shade in the form of their Soft Matte Lip Cream in ‘Copenhagen’. Although it’s not an exact dupe, it’s pretty similar, and it will still give you that dreamy berry shade that you’ve been dreaming of. NYX has recently been stocked on Boots online, so it is now really easy to get a hold of. Plus, at £5.50 a tube, it won’t break the bank.

Saving: £17.50.

Craving, £23 Photo: Charlotte Tilbury Saving, £5.50 Photo: Feel Unique

2. Urban Decay Naked Palettes vs. Makeup Revolution Iconic Palettes

Now these have to be the best dupes I have ever found. The ‘Iconic 1’ is a perfect dupe for the first Naked palette, ‘Iconic 2’ matches the 2nd, and ‘Iconic 3’ is a replica of the 3rd. Not only are the colours in each palette in the exact same order they appear in the Naked palettes, but they are also of similar quality and have an equally great colour payoff. At just £4 per palette, you can afford to buy all three beauty products—even before your next loan comes in—and the variety of shades will see you through every possible look you may want to try this holiday season. Sure, the packaging isn’t as pretty, but with a £34 saving you can’t really complain. So, before asking for your favourite Naked palette for Christmas, I’d highly recommend giving these a try. You can get 9.5 palettes for the price of one Naked palette—you know it makes sense.

Saving: £34.

Craving, £38 Photo: Debenhams Saving, £4 Photo: Makeup Revolution

3. Hourglass Ambient Lighting Blush in ‘Mood Exposure’ vs. Max Factor Creme Puff Blush in ‘Nude Mauve’

My favourite blush for this time of year has got to be this beautiful plum shade blush from Hourglass. It just looks so perfect with a berry lip! However, at £28 a blush, it’s not exactly student-friendly. But never fear, for Max Factor have coughed up a very similar colour in the form of ‘Nude Mauve’ for just £8.99. They both have a marbled effect to them, which gives you a lovely mix of colour and glow. This shade is also perfect for giving you that natural flush look that everyone desires. Again, the packaging has got nothing on the Hourglass one, but once it’s on your cheeks, you’re not going to be looking at what packaging it comes in.

Saving: £19.01.

Craving, £28 Photo: Liberty Saving, £8.99 Photo: Superdrug

That’s a grand total saving of £70.51! What’s not to love?

Live: Warehouse Project – 50weapons Finale/Modeselektion

Store Street

8/10

It was always going to end this way, but what would techno be without the ever-building anticipation of the inevitable? After 50 releases over ten years on their record label 50weapons, Modeselektor brought their label side-project to a close with one last night at Manchester’s very own Warehouse Project. Other producers connected to the imprint have come along for the ride, including Dark Sky, Shed and Truncate, here to bury the crowd in the deepest beats of the releases.

But before our favourite Germans can even get the party started, the English and Americans show them how it’s done through a moody DJ set from Dark Sky, followed by Clark’s analog live show with mind-bending oscilloscope visualisations to boot. Although a strange choice to follow in a prime-time set, Truncate played a low-key but suspenseful list, building up the psychic anticipation within tonight’s audience—a pleasantly spacious crowd due to the night not being completely sold out. In a dense space like these brick vaults beneath Piccadilly, it’s easy for the vibes to quickly sour with the tight surroundings…but not tonight. As WHP audiences come, this one is bubbling away at the top.

Unsurprisingly, the night climaxes with an all-out live set from supergroup Siriusmodeselektor playing a mix from Siriusmo and Modeselektor’s back-catalogs. Having the trio onstage recreating humongous tracks like ‘Berlin’ before savagely smashing them to pieces in brutal breakdowns that sent the audience crazy, felt like a refreshingly unique and special moment for all of their dedicated followers here tonight. The warm, fuzzy bounce of their signature bass was proof that even the most serious of German techno could still be fun and playful, too. Rodhad followed and continued to rip apart preconceptions with a beautifully minimal but melodic set. For any who heard it, it would be impossible for all but the snobbiest haters of techno to resist staring at their own feet and dancing in silent appreciation for two, maybe three hours.

Review: The Lady in the Van

During the 70s, a travelling woman who called herself Mary Shepherd parked her van on author and playwright Alan Bennett’s driveway, where she stayed for the next 15 years.

This eponymous Lady in the Van is the subject of the mostly-autobiographical book which Bennett wrote, now adapted into this hilarious yet touching film, directed by experienced Bennett adapter Nicholas Hytner, who headed up both The Madness of King George and The History Boys.

Alex Jennings plays Alan Bennett—young, gay, and living in Camden—times two, presented in a dual role as the Alan who ‘lives’ and the Alan who ‘writes’. This provides a nice opportunity to portray Bennett’s struggles with himself, which come, on the whole, from being over-polite and lacking in confidence.

Jennings captures the essence of a worrisome Bennett, slightly out of place in an area where the neighbours talk behind each others’ backs and have a predictable air of aiming to seem charitable, so long as they don’t actually have to go out of their way to do so.

The film cleverly portrays the writing of the very story being told, with certain sections bookended by the more cynical writer Bennett pointing out that that part never actually happened, no matter how much the living Bennett wanted it to. He also remains adamant right up until the end that he’s “not going to write about this,” owing to his desire to be a more serious writer and focus on something other than old ladies.

Alan Bennett’s unique style rings out across the film. In his instantly-recognisable Leeds accent, he talks of the terrifying mundanity of his own life, reluctantly discussing faeces, social work and singledom. His reluctant allowance of the lady to stay in his driveway seems partially to stem from a latent desire for something atypical to happen in his life—something writer Alan regularly accuses him of.

Dame Maggie Smith plays Mary Shepherd, the nomad with a far more complex and interesting history than it might at first seem. Smith has played the lady before, taking up the role of the dishevelled, belligerent woman in 1999.

Her performance is stellar, displaying the layers upon layers of guilt and façade that Mary Shepherd carried with her, being a self-imposed fugitive following an incident that started her travelling.

The film has powerful moments regarding how we treat the elderly or poor, and the rare moments when Miss Shepherd is the happiest—painting her vans a sickly yellow or racing down the street in a wheelchair, Union flags streaming behind her—are in fact some of the most emotional, reminding us that many people are far too proud or self-serving to give someone seen as crazy or dirty just a little bit of help.

It also has an all-star lineup, with every actor from the original stage production of the brilliant History Boys (all except the late Richard Griffiths) making cameo appearances, some as one-night stands for Bennett. Special mention must go to the brilliant Frances De La Tour, who plays a kind and witty lady of leisure also living on Bennett’s street.

Roger Allam plays Bennett’s neighbour whose “keeping up with the Joneses” self-interest and one-upmanship belies some sympathy for the tatty-clothed, raucous, foul-smelling temporary resident of the street. Over the 15 or more years of her residence parked on the street or in Bennett’s driveway, the families she originally offended grow to really feel for her.

Other big names include Domhnall Gleeson and Jim Broadbent, though nearly all of the aforementioned stars of the screen play the smallest of parts, perhaps as a sentimental nod to the real Alan Bennett’s artistic history.

The Lady in the Van is both humorous and heartfelt, encapsulating the essence of Bennett’s writing by including it within the story. The interplay between the two main characters is funny, warm and realistic, and the film is, overall, a triumph.

4/5

Review: Prem Ratan Dhan Payo

Prem Ratan Dhan Payo translates to ‘receive a treasure called love’. This unsure love matrix leads Maitihli, a young princess engaged to Yuvraj Vijay Singh—a prince of Pritampur due to be crowned king—into a matter of confusion, because the Prem Diwali portrays all of the things that a commitment to love can probably achieve. The Prem Diwlai is a go-lucky stage actor who tries to fix a time to meet Maitihli, whom he is in love with. A situation arises where he is requested to provide cover for Yuvraj, impersonating him to his fiancé, so as to protect her and the public. The reason being is that Yuvraj has suffered a malicious, pre-meditated crash. This leaves him unconscious.

The Prem Diwali is a helpless romantic who assembles notes on character traits that Maitihli is not happy with and tries to please her in any way. He tries to bridge a long, broken gap between best friends and brothers and sisters. All of this he does for a fairytale family and princess, giving love and commitment unwittingly and receiving little in return for himself. Whilst he the non-regal character could do so much more with the community, instead he gives unwitting devoted love that is unsure.

This movie is not a typical fairytale, but it describes the kind nature of genuine Indian folk. The production was not great; with scene setting changes, it did not follow through cohesively at times. This is evident right from the beginning, where straight after the preliminary musical scenes, the film cuts straight to a tense scene with no corresponding flow. The Security head of Pritampur Palace, Sanjay, and Diwan Sahib, are the original proposers of Prem giving cover for Yuvraj whilst in hideout. Diwan Sahib provides a fair just-doer character that symbolizes kindness in an uncle, adding some element of comedy and fun. This is something that the Indian folk would be touched by in a political era of dominators’ rule.

Whilst Sanjay is a more serious figure with a smaller amount of smiles received, on the whole this movie creates a love paradox that is unwitting but loving. It delivers on the aspect, mirroring a lot of emotion perceived within some far-eastern lands. Love needs to be simplified, yet needs to become incredibly intellectual.

2/5

Chibi-Robo! Zip Lash – Review

Nintendo’s holiday line-up for 2015 is more than a little lacklustre, to say the least. While Xenoblade Chronicles X and Mario & Luigi Paper Jam appear to be shaping up very well as must have titles for this Christmas, the rest of Nintendo’s November/December line up is a bit sub-par.

You have a Mario Sports title that looks and feels a bit empty in its current state, and a game designed specifically to sell Nintendo’s new money-maker, Amiibo. But among all the big names of Mario and Animal Crossing comes one of Nintendo’s more obscure IP: Chibi-Robo. Chibi-Robo! Zip Lash for Nintendo 3DS is the fifth game in the Chibi-Robo franchise but you would be forgiven for not knowing that. Only three of these games have ever graced our shores and along with this one, only the first title saw a proper retail release at the very end of the GameCube’s life-cycle.

While the original title was very highly praised, from what I have read the series has gotten worse as time goes on with Zip Lash being the worst of the bunch. Now, Chibi-Robo! Zip Lash is my first Chibi-Robo game, so I have no legacy to compare it to, but, in my opinion, Chibi-Robo! Zip Lash is not that bad of a game; not amazing, but not terrible either.

The biggest complaint I heard about Chibi-Robo! Zip Lash was its ‘drastic’ change in genre. The previous titles were 3D adventure/platformers, but for the latest game in the franchise, the genre jumped dimensions into the 2D platformer genre. This was most likely done because Nintendo is all about 2D platformers and they sell, so they were hoping to finally make Chibi-Robo a bestseller.

As a 2D platfomer, Chibi-Robo has all the basic moves you would come to expect. You can run, jump, crouch and roll. Unlike the Super Mario series where jumping is Mario’s major way of attacking, jumping on enemies in Zip Lash only stuns them and allows you to jump higher. Instead, to defeat your opponents you must use Chibi-Robo’s special gimmick: the Zip Lash.

The idea of the Zip Lash is a new idea for Nintendo but not for gaming in general. Fans of Capcom’s Bionic Commando series may notice a lot of similarities between those games and this one. The Zip Lash is used for near enough everything in this game and its versatility is very high. The Zip Lash has the ability to attack enemies, destroy blocks, bounce off walls, tether onto orange surfaces (which Chibi-Robo can then pull himself over to, or use to swing across gaps), control vehicles, pull objects with blue surfaces towards him, open chests to get money and snacks, and grab collectibles like coins that are out of reach. The Zip Lash mechanic is used a lot, so Nintendo needed to make sure that it worked perfectly, and thankfully they did. The Zip Lash is easy to use, and the option of using the d-pad makes aiming even more accurate.

Photo: Nintendo Co. Ltd., skip Ltd.

Most platformers represent health either by a bar or just giving the player a set number of hits before they die. Chibi-Robo instead uses a number scroller which represents Chibi-Robo’s power. Chibi-Robo actually runs on batteries and so every so often he needs to use his Chibi-plug in order to connect to a socket and restore all his strength. These sockets can be found through-out the level, often placed around check-points. This unique health bar also doubles over as a timer meaning Chibi-Robo’s health is always going down; however, despite this, I never felt any pressure.

The timer moves down so slowly and the plug sockets are so frequent that health was very rarely an issue. The one exception to this can be found in the vehicle levels which are by far the worst part about the game. Every world has at least one vehicle based level from a bunch of balloons to a skateboard to a submarine, and these range from OK to unbelievably frustrating. The two reasons for this are the constant draining of your power which now changes from a snail’s pace to a cheetahs forcing you to pick up power-orbs, which would be manageable if it was not for the second problem: that some of these vehicles are ridiculous to control. The balloons are the worst offender of this as they are painstakingly slow, not very well explained, and extremely inaccurate.

Another issue with this game is the level select which just feels dumb and unnecessary. Rather than letting players chose their levels, or even just move in chronological order, the game provides you with a carnival spinner filled with numbers from 1 – 3. Whichever number it stops decides how many spaces on the ‘world map’ you move and so this means you could easily skip over a level and have to go all the way back again, possibly repeating levels on the way.

I heard some people try and justify this spinner, saying it is not that hard to stop the spinner on the number you want, and while it is true that I only had issues with it a few times, I think that’s just the problem. I should not be having issues with just choosing the stage. The addition of a spinner feels completely unnecessary, like it was just added to make the game more original without thinking of the consequences, which is just poor game design.

A part of the game that has good game design are the two power-ups: Fire Chibi-Robo and ice Chibi-Robo. These temporary power-ups give Chibi-Robo the ability to melt objects, walk on lava, freeze water and destroy all enemies by touching. They work really well, naturally fitting in with the rest of the gameplay, and do not require the player to learn a new control-scheme like the vehicles do. Unfortunately, the power-ups are hardly used through-out the entire game, often appearing as one-off gimmicks for a stage which is a shame, as I feel the game would have been a lot better if there was more focus on these power-ups rather than the rubbish vehicles.

Photo: Nintendo Co. Ltd., skip Ltd.

The plot and music was all fairly simple but also very forgettable. The also goes from the NPCs in the game which are more annoying/terrifying than charming. These NPCs ask Chibi-Robo to collect real world sweets, like Fruitella, in order to unlock costumes. This is fine except it also has problems in its implementation. You can only give 3 snacks to each toy per level, and the toys randomly jump from level to level so you will never know if you have the right snack they want when you meet them. This forces you to replay previous levels and feels more like padding.

Thankfully it is entirely optional. Another optional feature is the amiibo functionality which is surprisingly large for this game. By using nearly any amiibo you can unlock a Smash Bros style trophy of Chibi-Robo posing as the amiibo character, which is a nice feature, but to even unlock these trophies you need to use the Chibi-Robo amiibo to unlock the trophy lottery. It is through this lottery that you can also unlock a whole additional world which means there is some substantial, optional content trapped behind the amiibo.

Despite all these issues, I still enjoyed Chibi-Robo! Zip Lash, for the most part. I was still motivated to play through it but I am not sure if will ever go back in the future. It certainly made me curious to try the other games in the franchise and I hope one day that Nintendo re-releases it on the Nintendo eshop. If you are a big fan of platforming titles then you may get some enjoyment from Chibi-Robo as the game is not bad. However, if your not a huge platforming fanatic then Chibi-Robo! Zip Lash may bore you fairly quickly.

Feature: Should we boycott Marvel?

Should we stop giving the MCU our money?

This comic book based franchise effortlessly trumps box office records with each release, but don’t be fooled, Marvel Studios is no hero. What they’ve done since the early 2000s is capitalise on a few film successes and create an age of superhero films. In doing so, they’ve emptied out your pockets and ruined mainstream cinema. So much money goes into these films on production cost and endless advertisements that any competition will have a tough time getting funding in Hollywood, and due to the compliant swarms that keep eating this stuff up, they just repeat the process.

The new Avengers film, Age of Ultron, is a great specimen to highlight the flaws of Marvel. Little seems to go into writing the script—if not a cheesy joke, then characters are found with underwhelming lines. This does nothing to build suspense or make me, a member of the audience, care for these obnoxious heroes. When Marvel films take the approach of being self-aware and the actors in them don’t take the script too seriously (as was the case in Guardians of the Galaxy), this can produce the outliers in what are mainly bad films.

Marvel seems to have a problem with making action look gripping or anything of consequence. With entire cities being wiped off of the face of the planet and the bad guys outnumbering our heroes by about a hundred to one, it’s actually an achievement of how poorly executed Marvel’s action sequences are. It’s not that they’re predictable, it’s that the events don’t seem to carry much effect. Only one good guy was shown to have died in this new Avengers film, and he was bad for most of it!

“But everyone loves them!” Popular doesn’t mean that they’re good in any shape or form. Case in point, One Direction are currently the bestselling artists in the world. Their music must be revolutionary then, right? They’ve just cornered a market and stayed there due to their abundance of money and willing followers.

There’s an easy way to stop this plague of superhero flop—please boycott and show Marvel we’re no longer accepting films that treats us like idiots.

 

Or should we just accept them as a bit of fun?

No matter how casual your interest in cinema may be, the influx of Marvel films and the development of the Marvel Cinematic Universe (MCU) during the last decade have been ubiquitous. Whilst superhero films may have become a little oversaturated in the last few years, the popularisation and rejuvenation of their much-loved comic book source material is something we ought to embrace, not least because Marvel’s cinematic outputs are generally hugely enjoyable and amusing. Despite criticism for their formulaic structure, even the most well-versed film fans surely need the opportunity to let off steam, and simply enjoy a high-octane superhero adventure, without any strings attached, every once in a while.

With Marvel recently expanding their repertoire to Netflix, they continue to experiment and adapt to a wider audience, veering away from their family-friendly reputation with the critically-acclaimed Netflix original series Daredevil, as well as the hotly-anticipated noir detective drama, Jessica Jones. Their recent and upcoming outputs have also taken steps to include a far more diverse and representative range of characters than ever before. Deadpool director Tim Miller revealed, when discussing the matter in a recent interview, that the titular character within the film is pansexual. Indeed, Marvel has made strides in recent years to provide stimulating and engaging characters with an appeal that transcends both age and gender, generally receiving encouraging responses from fans and critics alike in the process.

It’s easy to be critical of corporations like Marvel, which produce movies for the masses, the same could easily be said of its rival companies, such as Disney—who are just as prolific and occasionally inconsistent. Marvel films are often just simply entertaining to watch, there’s no reason why such an appealing branch of blockbusters shouldn’t have its place on the silver screen. Indeed, it has become increasingly common to see Marvel films appearing amongst the list of Academy Award nominees each year. Admittedly they don’t fall on the same scale as other films which have more thematic depth and artistic ingenuity. But we ought not to judge so harshly and analytically, and simply take Marvel for what it is: Fun!

Review: Burnt

John Wells provides us with the story of Adam Jones (Bradley Cooper)—an arrogant yet passionate Michelin star chef, who aims to re-establish himself in the culinary world in London after his hedonistic past in Paris. Not only are we taken on Adam Jones’ mission to earn his third Michelin star, we are also invited into his life of romance, revenge and redemption. Despite the promising plot and talented all-star cast at John Wells’ fingertips, the film oozed a disappointing amount of potential.

The familiar story of a troubled character, who intends to rebuild their previous success after their past of self-destruction left them desperate, is executed well by the fluctuating regression and progression throughout Adam Jones’ journey. The subplots—involving competitors and romance—appear to be included as spare parts due to their shallow exploration by John Wells. But they successfully support John Wells’ intentions to enhance Adam Jones’ ruthlessly manipulating and intimating character. Although the unexpected arrival of the end credits followed an unsatisfactory ending, I was left with a completely changed opinion of the main character.

Bradley Cooper’s admirable depiction of the Gordon Ramsey inspired character, is unsurprising from the thrice Oscar nominated star. Cooper explores an array of emotions throughout the film—from extreme anger to reluctant emotion, which created an exciting tone to the film due its psychologically conflicted protagonist. In addition, the bilingual script, which wavers between French and English, enables Cooper to demonstrate his linguistic skills; while also adding an element of realism to the film. Furthermore, the reunion of the critically-acclaimed American Sniper couple, Bradley Cooper and Sienna Miller, encourages us to expect big things from the relationship between their characters in the film.

However, not only does their romance play a small part in the film, it also does not seem to come across very naturally. As Adam says to Helene in the film, “you’re the only girl I know.” This line is precisely what their relationship appears to be driven by—John Wells has almost forced the two eligible characters into an unnecessary romance. Not only does Wells take advantage of Cooper and Miller’s characters, he fails to exploit his exceptional cast: Emma Thompson, Uma Thurman, Lily James (Cinderella) and Omar Sy (Intouchables). These renowned actors encouraged an expectation of promising performances—yet their limited appearances in few scenes led to disappointment.

Considering the culinary theme of the film, the numerous closeups of world-class dishes and intense detail in the cooking is expected and welcomed—particularly for those self-confessed foodies out there. The film reveals the high-intensity atmosphere of Michelin star kitchens in various scenes, providing us with an insight into a world that many of us would find foreign. Discovering the behind the scenes action always evokes peoples’ interests—and this film successfully reveals the pressure and intimidation in the kitchens that many customers wouldn’t be aware of when dining at a Michelin star restaurant. This film is an accurate representation into a world that has such a great passion for food, encouraging people to appreciate the care that goes into the dishes served to them in established restaurants throughout the world.

I would recommend this film to Bradley Cooper fans who are appreciative of his impeccable acting skills, foodies who are interested in the concealed world of first class cooking, and experts in the Michelin star field. However, the film’s disappointing use of remarkable actors, an underwhelming plot and a forced romance prevents Burnt from reaching the full satisfaction promised.

3/5

Live: Hallé 12/11

The latest concert in the Hallé Thursday series was a varied and interesting one, with a broad scope of Romantic, emotionally-charged music. Arguably, the concert was watered down a little from the usual programme due to the presence of four classes from different primary schools as part of the Hallé’s initiative to cultivate interest in classical music in young children. Despite seemingly enjoying the music at the beginning, by the end of Beethoven, fidgeting was at a summer-holiday-6-hour-car-journey high.

Despite these (forgivable) distractions, the conducting of Nicholas Collon was energetic, demonstrating good control of the orchestra and keeping a laudable balance of sound throughout the whole concert, especially impressive when adding the solo playing of Jian Wang’s cello into the mix. His springy and spirited conducting was only outdone in vigour by the waving arms of the primary school kids.

Strauss’s ‘Till Eulenspiegel’s Merry Pranks’ was first up, a tone poem chronicling the adventures of the cheeky trickster Till Eulenspiegel (ironically appropriate considering the unusual presence in the audience). This was very well balanced, with the orchestra producing a resonant, warm tone.

Following this was Saint-Saen’s ‘Cello Concerto No.1’ featuring the solo cello of Jian Wang. Wang’s presence was immediately felt, despite his small stature, with amazingly intricate, technically expert playing. This initial surprise was then surpassed with the depth of feeling in the second subject, showcasing Wang’s true range, from melodically animated to emotionally resonant. This continued on into Dvorak’s ‘Silent Woods,’ which served as another showcase of Jian Wang’s expert solo playing, and Nicholas Collon’s control over the orchestra with a constantly appropriate balance.

Following the interval was the main event, the longest piece of the night, Beethoven’s ‘Symphony No.7’. Premiered in Vienna at a charity concert for soldiers in December 1813 with Beethoven himself conducting, the second movement was encored immediately at the time and still maintains its impact today. It was definitely the highlight of the work, building in intensity and emotion. The entire symphony was played beautifully, demonstrating once again the quality of the Hallé.

My only criticism is that there wasn’t more.

9/10

Live: Real Lies

Soup Kitchen

25th October

8/10

Real Lies’ Manchester show fell both at the end of the first UK tour and on a Sunday night. They would be forgiven being completely burned-out shadows of their former selves. A slightly subdued set would even have been acceptable. But this isn’t how Real Lies play ball. The tour concluded the same week that they released their (brilliant) self-titled debut album, and they were determined to go out with a bang.

Despite the set being quite short in length, it proved ample time for Real Lies to demonstrate their exciting potential as well as the broad range of genres that feed into their music. Ska-infused opener ‘Dab Housing’ gets the crowds moving, as does follower ‘Seven Sisters’, with its beat borrowing heavily from modern dance music. ‘One Club Town’ sounded surprisingly good in a live setting, and while it’s impossible to separate its sound from influences like The Streets, it would be unfair to say that Real Lies are stuck in the past. Arguably, Real Lies are carving their own unique genre—post-rave. The spoken word on tracks like ‘Deeper’ and ‘North Circular’ perfectly encapsulate the drabness of a bus journey home after a night out, or the comedown at the end of big weekend. ‘North Circular’, the band’s first track to be released last year, proved to be the highlight of the night, its combination of spoken word over the thumping beat truly being an explosive combination. Once again, it’s hard to ignore similarities to groups such as New Order and the Pet Shop Boys, whether they were influences to the band or not.

Unfortunately the pint-sized choruses of ‘Lovers Lane’ failed to make an impact, which was a shame. While this is partly due to the off-key singing of the guitarist, I think that the intimate size of the crowd certainly can’t have helped. The absence of ‘Gospel’, a late gem in the album featuring an awesome ravey vocal sample, was also disappointing. Apart from this omission, the tracks sounded amazing, and it is great to see a new band so polished at such an early stage.

While closing track ‘Sidetripping’ works as an album closer, it doesn’t work so well live, leaving the night on a slightly bum note. However, the band had spontaneously decided to play it after calls from the crowd to carry the gig on, so this can perhaps be forgiven. On this note, the crowd on the night were excellent, their reaction to each track creating a euphoric atmosphere that clearly energised the band and repressed their self-confessed hangovers. In addition to the music, the creative set up of the gig saw the band playing against a projected backdrop of gritty footage of London, which created a really cool atmosphere visually as well as sonically. The slightly tatty basement of venue Soup Kitchen proved to be perfect for Real Lies’ gritty sound. With Manchester’s heritage and current position as the dance music Mecca of the UK, we can’t help but feel Real Lies may have found their spiritual home.

TV Binge: Top Buzzer

Forget Breaking Bad and Narcos—unsung mid-noughties comedy Top Buzzer is the perfect drug program that you’ve never heard of. Starring James Lance as yuppie-music-producer-turned-part-time-weed-dealer Sticky, and a young Stephen Graham as his scouse sidekick Lee, they both, with varying degrees of success, try to run a small drug business together, making for a hilarious little TV series ideal for lazy viewing.

First airing on MTV in 2005, Top Buzzer was never destined for big commercial fame. It is, however, a shame that it has not been picked up by on-demand platforms such as Netflix, because it is a great independent series that’s funnier than a lot of the shows you can watch on E4 today.

Set in gentrified North London, it follows posh DJ Sticky and his lethargic stoner flatmate Lee in their ‘top buzzer’ flat as they experience the many pitfalls and pleasures in dealing cannabis to their eclectic clan of mates, including a predatory Scottish gangster, young attractive drama student Daisy, and So Solid Crew and Top Boy star Ashley Walters’s grime artist ‘Buggsy’. (Also spot the cameo appearance from two famous Madchester icons…) The cast work brilliantly to make this little comedy function, particularly Lance and Graham together, because they form an excellent comedy duo as Sticky and Lee. Stephen Graham’s acting career has ballooned, and deservedly so since his role as thug Combo in This is England and his menacing portrayal of Al Capone in Boardwalk Empire, but it’s great to see him shine in a comedy role too, and fit the part of a loveable scamp.

Like many TV series it takes a few episodes to get used to the style of Top Buzzer. At first the intrusive, loud splicing of soundtrack can prove a bit irritating, and the scenes can move a bit too quickly, but by the time you get used to the set-up and start laughing, the scrappy beginnings will be long forgotten.

The humour in Top Buzzer is perfect; ranging from subtle cultural references to out-and-out slapstick comedy, it’s a laugh-a-minute program that could easily cheer you up when you have nothing to do. One particular scene: when the buddies’ friend Carlton argues that Daisy will not appreciate a particular strand of weed, he says ‘It’s like giving Lee a 64’ Chateau La Tour’, to which Lee responds ‘I don’t even drive…’.

Overall, Top Buzzer is a light-hearted, hilarious subtle show with a stellar comedy cast. Unfortunately, its lack of presence on any online or on-demand platforms means it may be one to hunt down in the depths of HMV or Amazon, but if you can, it’s definitely worth the watch. It’s surprisingly warm and heart-felt for a show that depicts the antics of two petty drug dealers. The script is so understated yet clever, and with such a treat of a cast, it’s bound to have you thoroughly entertained.

HOME Pick of the Week: Tangerine

It is Christmas Eve and on the grimy streets of Los Angeles transgender prostitute Sin-Dee (Kitiana Kiki Rodriguez) has just been released from prison only to find out from her best friend Alexandria (Mya Taylor) that her boyfriend/pimp has been unfaithful to her during her time on the inside. What follows is a grimy crawl through the underbelly of the decidedly unglamorous side of the City of Angels as Sin-Dee goes on the warpath in her search for answers and vengeance. Much of the conversation surrounding Tangerine has centred around the fact that it was shot entirely on an iPhone 5, with some assistance from an added lens, rendering it an intriguing companion piece to Danny Boyle’s Steve Jobs. More of a budgetary necessity than anything else, the low resolution aesthetic is a superb choice for this intimate, social-realist drama, capturing all of LA’s urban decay with a hand-held, frenetic energy that gives the film a sense of palpable energy.

Tangerine is poised to become the go-to edgy answer to “what’s your favourite Christmas film?” and the festive elements go beyond juxtaposing the sun-soaked squalor of the LA streets with the wintry, wholesome Christmas decorations scattered around the city. Instead, Tangerine carries on in the grand tradition of holiday filmmaking as a tender exploration of the importance of friendship in difficult times. The relationship between Sin-Dee and Alexandria is fascinating, and the film bristles with vitality whenever the two are on-screen. Watching them tear through Hollywood, leaving behind them a wake of chaos, is a joy, but the pair also exhibit an intimacy that implies a wealth of shared history. They bicker and fight, but when the chips are down, it’s clear that there is real love at the centre of their tumultuous relationship. Though Rodriguez and Taylor are certainly the film’s stars, and are responsible for bringing to life two of 2015’s most memorable characters, a portion of the film is also dedicated to Armenian cab driver Razmik (Karren Karagulian), a family man with a penchant for what Alexandria and Sin-Dee have to offer. Director Sean Baker is wholly non-judgmental in his presentation of Razmik and finds real pathos in a character who could have easily been played up as a sleaze or a figure of ridicule.

Yet, despite exhibiting a keen eye for capturing on-screen emotion, Baker never allows Tangerine to descend into sentimentality. A sub-plot involving Alexandria singing at a bar avoids the obvious narrative beats whilst still remaining deeply affecting, and the film’s ending offers no contrived lifelines for its protagonists. Though certain scenes suggest Baker might be exploiting his subject matter for shock-value, the presentation of life and love in the most desolate of places makes Tangerine one of the most interesting and charming films of the year.

5/5

Top 5: Songs in Scorsese

5) The Ronettes – ‘Be My Baby’ (Mean Streets)

Partially tainted by those insurance flogging meerkat bastards, this classic number’s original scene-setting usage is its most powerful. It accompanies the home-recording-style opening credits, creating a jovial atmosphere to shots of Little Italy’s mobster inhabitants. They embrace their surroundings with plenty of Italian charisma and tradition.

 

4) The Animals – ‘House of the Rising Sun’ (Casino)

Sound and vision are brilliantly aligned here by Martin Scorsese. The sparse guitar intro begins as the on-trial mob bosses decide the fates of potential informers. The song builds to a frantic keyboard-led instrumental section, which is matched by a rise in the action’s tempo. Hit after brutal hit ensues to the tune of the vocalist’s howl. The house always wins.

 

3) The Rolling Stones – ‘Jumping Jack Flash’ (Mean Streets)

One of many inclusions of Jagger and Richards’ music from Scorsese’s films, but also one of the strongest. Johnny Boy (Robert De Niro), the maverick of the gang, is introduced strolling into the bar with a woman under each arm. He oozes cool as the verse kicks in to this early Stones classic, and it’s clear he’s the centre of all attention.

 

2) Cream – ‘Sunshine of Your Love’ (Goodfellas)

Goodfellas contains a plethora of moments elevated exceptionally by its music, but this is something else. Jimmy (De Niro) encapsulates pure evil in plotting a kill using only a stare as Eric Clapton’s immortal riff plays in the background, Jimmy only interrupts his wickedly unhinged gaze to take a drag from his cigarette. A moment where he appears equally cool as he is deranged.

 

1) The Rolling Stones – ‘Gimme Shelter’ (The Departed)

Keith Richards’ gritty guitar licks perfectly reflect the Boston street backdrop during The Departed’s opening sequence, where an inspired piece of Frank Costello (Jack Nicholson) narration confirms him as a badass from the get go. The powerful female backing vocals are a more than fitting soundtrack to Costello’s atrocious acts, which win him a grip over the Massachusetts capital.

The Bad Truth behind Destiny’s Development

When science fiction shooter Destiny released in September 2014, it was clear that something had gone wrong. In the months leading up to its release, grand promises were made, hyping up the already anticipated title. Destiny was described as a visceral, shared world shooter—the first of its kind, established in a rich story-driven background. Roughly two years ago, Bungie COO Pete Parsons explained in an interview: “We want people to put the Destiny universe on the same shelf they put Lord of the Rings, Harry Potter or Star Wars.” Tragically, the final product was an underbaked package.

The grand story promised was largely absent and what was there was mediocre at best and incoherent at worst. Missions were dull and repetitive, and the endgame loot system was little more than a miserable grind requiring monotonous repetition of already repetitive endgame content. This was particularly surprising considering the games heritage. This was a game developed by Bungie, creators of the critically acclaimed Blockbuster franchise Halo, one of the defining games of the sixth generation. So what went wrong during the game’s development? Bungie, and publisher Activision, have so far remained tight-lipped about the rocky development of Destiny, and the only evidence of the game’s haunted past has been a few leaks mostly from internal testers of the game.

That was until just over a month ago, when Kotaku published a profound article regarding Destiny’s history. The article, despite its length, is well worth a read, as some shocking revelations are unveiled. The only reason this information is available is due to leaks from people claiming to be current Bungie employees who are risking their jobs and potentially court action to put this news forward.

Photo: Bungie, Inc., Activision Publishing Inc.

“Two years ago, something went wrong. Destiny’s writing team, led by the well-respected Bungie veteran Joe Staten, had been working on the game for several years. They’d put together what they called the ‘supercut’—a two-hour video comprising the game’s cinematics and major story points. In July, they showed it to the studio’s leadership. That’s when things went off the rails, according to six people who worked on Destiny. Senior staff at Bungie were unhappy with how the supercut had turned out. They decided it was too campy and linear, sources say, and they quickly decided to scrap Staten’s version of the story and start from scratch.”

Unfortunately, for consumers this is an example of the increasing influence that disassociated managers have over creators, and in many cases this negatively affects the gaming experience. Ironically this is not the first time that this has happened to Bungie. In November 2004, Halo 2 was released, developed by Bungie and published by Microsoft Game Studios. The title was critically acclaimed upon release and is often praised for laying the blueprint for online console shooters. However, one aspect which was repeatedly criticised for years afterwards was the games cliff-hanger ending. In order to prevent spoilers, I’ll just say that the story didn’t have an inherently bad ending, but rather it just stopped without resolving any of the earlier conflicts in the story. The reason for the abrupt ending was literally because Bungie had run out of time to finish the game, and they had to meet the deadline imposed by Microsoft.

However, this scenario represented a failure, ultimately on Bungie’s part on missing a deadline. At the end of the day, the team on the ground so to speak, had complete creative control over the project. Destiny on the other hand represents something more insidious, businessman taking control over an artist’s job. “In the summer of 2013, just over a year before Destiny came out, the story got a full reboot,” according to six people who were there. Bungie ditched everything Joe Staten and his team had written, reworking Destiny’s entire structure as they scrapped plot threads, overhauled characters, and rewrote most of the dialogue. “In the coming weeks, the development team would devise a totally new plot, overhauling Destiny and painstakingly stitching together the version that’d ultimately ship a year later, in September 2014. The seams showed.”

Critics and fans alike believed that the game felt rushed despite its apparent four years in development. One common complaint was the lack of compelling endgame content, and if you want to be harsh, content at all. That’s because Destiny as we know it was largely put together in a year, according to the employees. What I find incomprehensible about this story is that the studio’s leadership essentially rejected a story, which despite its flaws, was an actual tale with an apparent beginning, middle and end. Juxtaposed to the complete lack of any story in the final product, and the subsequent lack of content, this was a fatal error. It is important to bear in mind that this leak is not in any way verified, but details of this haunting tale add up, and has helped shed some light on this game’s troubled past.

Album: Grimes – Art Angels

Released on November 6th via 4AD

The fourth album from artist Grimes—real name Claire Boucher, is nothing short of perfect. With her last album, Visions, charting at #67 in the UK, Art Angels is currently sitting pretty at #26.

Art Angels comes after Boucher’s reported scrapping of material for the album earlier this year after the preliminary release of the single ‘REALiTi,’ a song that was intended to be thrown out with the other material but managed to feature on the digital version of the album—though completely remastered from its original demo.

Despite this, it doesn’t stick out as a totally misplaced album track, but it does manage to stress the melancholy Boucher must have felt before she started creating the new material that eventually made it to the album: “Oh baby every morning there are mountains to climb/taking all my time/oh when I wake up this is what I see/welcome to reality.” It’s interesting that she chose to save this song, as the rest of Art Angels is an incredibly upbeat, signature weird-pop performance that we’re used to hearing from Grimes.

The album is a real development from her past work, with Boucher having taught herself guitar, drums, ukulele, and the violin—all to feature in the new material. The overall sound we get from this is a warm and explosive 90s nostalgia episode—particularly heralded in the first official track released from the album, ‘Flesh Without Blood,’ an instantly catchy “fuck you” anthem. Yet, at the same time, the track holds that special dash of insanity that Grimes likes to birth into all of her music, and it shows off the creative eruption that symbolises the rest of the album.

It’s brilliant to see Boucher finally embracing her fantastic vocal ability on Art Angels, no longer relying so much on the extensive mixing and reverb we heard in Visions. It’s particularly evident on ‘Belly of The Beat’—a song which is in itself, self-descriptive, as listening to the upbeat hooks feel as though you’re present in the party of her creating the ‘beat.’ Grimes manages to keep her beautifully haunting vocals present, but also demonstrates immense flair and flow in the way she sings her story.

Interestingly, Art Angels has been criticised as a very ‘chart worthy’ piece of work—and that’s not necessarily a bad thing as it shows Grimes is becoming much more accessible than before. However, Boucher is clearly unhappy with this accusation towards her new sound, as she tweeted on 8th November “there is so much beauty in music. I wish perceived commercial ambition was not the topic sometimes.”

Grimes’s last album is brilliant, yet very dark—Art Angels has embraced the passions and extensive talents Boucher has and it’s created a really explosive, captivating listening experience. We can still feel a connection to her past with ‘Life in the Vivid Dream’ and ‘World Princess, Part II’ as they hold stronger electro, darker themes than the rest of her album. What may be the best track on the record is saved until the last: ‘Venus Fly’ which features Janelle Monae, has a fantastic mix of house, grime, pop and synth— and is sure to become one of the most loved tracks from the album, along with ‘Easily,’ a soft edge piano-driven melody about a past breakup that defends how great Grimes is, now on her own, without her former counterpart.

Listening to the album feels like an electrifying journey around the total theme park that is Claire Boucher’s head. This new wave of Grimes’ sound demonstrates the best of her ability, and her best is utterly overwhelming—Art Angels is a clever and exciting musical masterpiece that has been a long time coming, and boy should you be glad it’s arrived.

9/10

Album: Shane Filan – Right Here

Released on 25th September 2015 by East West Records

6/10

I would never call myself a Westlife fan, but I have no objection to their music; I wouldn’t leave a room if it came on. On these terms I agreed to review ex-member Filan’s second solo album: Its tracks might not blow me away, but I probably wouldn’t find them objectionable.

My prediction turned out to be more or less correct. Nearly every one of the songs, on its own, I could listen to with no complaint and, maybe even some enjoyment. However, ten in a row is hard work. I listened while working, and every now and then would sit up and think, is this a new song or still the last one? I really don’t know. That’s how similar they are. The one song I really don’t like is ‘I Could Be’, his duet with Nadine Coyle, which feels like a bad Irish Eurovision entry: stereotypy Celtic music mixed awkwardly with pop and meaningless lyrics.

That being said, finding really deep lyrics anywhere on the album is pretty hard. Before listening, I flicked through the album notes and randomly selected a lyric to see how uninspiring it would be. It was, I kid you not: “Remember when we watched the sunrise, The nights we’d lay beneath the stars?” (from ‘Beautiful to Me’). Oh, Shane.

I’m not slating this album. There is a large demographic whom it will appeal to—those who like cheesy, simple love songs with a folksy influence. The fact that Westlife did so well demonstrates that this demographic exists and is large. Additionally, there are a few songs that I may return to. The title track is quite nice and could possibly pass for a Take That effort (which is a compliment; I’m not a great Take That fan either but at least Mr Barlow can write songs). ‘Your Love Carries Me’ sounds like a hundred other songs, ‘You Raise Me Up’ especially, but is very listenable. One other thing: Filan sings with feeling. He really seems to mean every word, even when the words have little meaning, and his earnestness considerably lifts this album as a listening experience.

Right Here will be a dream for some people, and I can imagine very painful listening for others. Just don’t expect to have your outlook on life transformed.

Top 5: ‘Hidden gems’ of online shopping

As great as the brand Goliaths are for releasing covetable items daily, the field of online shopping is extensive, and it is well worth having an off-piste foray into the less well-known shops for fresh inspiration. Here is a rundown of some of the hidden gems at the best lesser-known websites on the market:

1. Runway Bandits (found at http://www.runwaybandits.com/)

Photo: Runway Bandit

The ethos: Soft-focus, with monochrome and block pastels. Featuring elegant girly with collars, dresses, and skirts.

If it was a person: Collects ‘texture’ cushions, especially Mongolian ones, and likes Yankee candles. Least likely person to fall over in a puddle.

Best of: The Silas dress or the Narth Dress.

 

2. Olive Clothing (found at http://www.oliveclothing.com/)

Photos: Olive Clothing

The ethos: Casual heritage. Much knitwear, including knitted hats and jumpers, styled with tartan skirts. Baggy, stripy layers under dungarees.

If it was a person: Has a beard/dates a beard. Most likely to be surrounded by exposed wood, bookshelves, coffee, and lots of literature. When being photographed will always look somewhere other than the camera lens.

Best of: The Corduroy Pinafore dress, every single one of the striped tops, and for men, the Brixton Beanie.

 

3. Front Row Shop (found at http://www.frontrowshop.com/)

Photo: Front Row Shop

The ethos: Eclectic, no definitive overall ‘vibe’ other than being streets ahead of trends. PU skirts, faux fur coats, and tapered trousers.

If it was a person: Unpredictable. Pursuer of wide-ranging hobbies including: chess-boxing, life drawing, and panto society. Most unconsidered dancer you will meet.

Best of: Robot Resin Earrings, Navy two-piece ‘Spliced’ dress.

 

4.     Beyond Retro (found at http://www.beyondretro.com/en/)

Photo: Beyond Retro

The ethos: The vintage holy grail. Every clothing imaginable, beaming between ’20s Flapper Girl to ’90s Grunge. Extra special lingerie section including vintage slips and bed jackets.

If it was a person: Has perfected pin-up victory rolls and the Gibson girl, and is in demand for their in-depth knowledge of fashion evolution. Has been to every Itchy Feet night at Mint Lounge and teaches Swing dance classes.

Best of: The range of leopard print faux fur coats, or the entirety of the ‘Gothic Regal’ section.

 

5.     Nasty Gal (found at http://www.nastygal.com/)

Photo: Nasty Gal

The ethos: Every item is a ‘statement’, bold verging on Rihanna. Chains, rips, laces, deep thigh slits, sequins, and flares; sounds anarchic but looks amazing.

If it was a person: Has a wall calendar just for house parties. Has already clocked the ‘glitter roots’ hair trend and bought the tools ready for take-off. Is fiercely protective over their cat, and once drunk-ordered it a tent.

Best of: Katarina Mesh Blouse in beige, or the ‘Renaissance Woman’ Bell Sleeve Velvet Top

PLY

When advising new contributors on what to include in a review, I tend to say the same four things: layout/decor, service, food, atmosphere. These headings more or less encompass all one needs to know about a place.

However, not everyone cares about all of these things. Some love what’s on their plate, but don’t care if they’re sitting on a gold throne or a Hessian bean bag. Some love the music, and are indifferent to hostile service. Some want it all, but to make it easier to digest the expanse of comments under each heading in reference to PLY, they are split here visually into slices of information.

 

LAYOUT.

It’s not until

you look around that

you realise how big PLY actually

is. Up a few stairs and through a door,

you’re faced with a large bar taking up the

majority of the front-facing wall. The middle has a

few low sofas and chairs for relaxing on, and either side has

long tables suitable for large parties and creative

events. The right side with high chairs that

seems to mark the spot for after-work

drinks, the left more suitable for

casual dining and creative

pizza-box doodling. PLY

has a second level,

which outskirts

the

perimeter,

making for a more

private and intimate setting

for those not wishing to mingle in

large open space. For those with work to

do, PLY also has an area designated to reading,

complete with a colour-coded bookshelf.

 

SERVICE.  Everyone who works

in PLY is also a really big fan

of the place. The staff are

friendly, upbeat and

so ready to plug

their own

establishment.

Customers are always

greeted with a smile and are

attended to in a timely fashion. Any

questions will behappily answered and

requests always welcomed; even the tap water

is served in a quality glass with ice, straw and a sprig of mint.

When such care is taken with no money involved. that

really shows a genuine attitude in a place.

 

FOOD.

PLY are the  proud owners of a

unique mirror-balled

disco pizza oven,

the object

responsible for

its production of

irresistibly chewy sour-

dough Neapolitan flatbreads,

all topped with a range of gourmet

ingredients. From porcini mushroom with

garlic oil to fennel sausage and wild broccoli,

courgette taleggio and flowers, confit tomatoes,

rocket and goat’s cheese. Gluten Free dough is also

available, confirmedly as chewy and delicious as the real

thing. Drinks start from a range of bubbly draught

beers to a well-stocked fridge of carefully

selected bottled varieties such as the

Beaver Town Gamma Ray pale ale

and ABC Crate Digger coffee

stout. Wines have been

chosen to comple-

ment the food

and the

atmosphere,

and a range of in-

house cocktails such as

‘Kid in a Sweetshop’ reflect

PLY’s playful and creative nature.

 

ATMOSPHERE.

PLY is more than just a bar-restaurant, it is a

creative space that plays host to exhibitions, artwork,

and youthful eclectic parties. Due to the many areas sectioned

around the venue, there is a sense of being in a school workshop, an

art day where the staff are the supervisors (also serving beverages)

and everyone is encouraged to think outside the box. Customers

are encouraged to get involved with the displays and have

some down time for artistic thinking. At the moment

they’re exhibiting pizza-enthusiast Scott Wiener’s

box artwork, where, on the opening night,

people could meet Scott and have their

own go at designing a luxury

takeaway container.

Previously, there

has been a DJ-

style pizza

booth

where patrons

could animate their

own topping-designed

slip mat. PLY’s vibe, put simply,

is fun.

 

26 Lever Street,
Northern Quarter,
M1 1DW

plymcr.co.uk/