Skip to main content

Month: November 2017

ASOS try before you buy

Online shopping is truly a gift to us all. However, if you’re like me and never know whether something is going to fit you unless you’ve been able to try it on in a few sizes, it’s not always ideal.

As a financially unstable student, forking out a larger sum of cash from your bank account so that you can order 2, 3 sizes “just to be sure” is inconvenient especially when that money is missing until your returns are processed.

Similarly, if you have an event to go to and you need to try on a few different styles but have to narrow down your options because you cannot afford the lump sum in the short term.

Sometimes it might even turn out to be a better option to actually drag yourself out of bed and go to an actual store. Imagine that, actually having to interact with people whilst shopping!

However, hope is not lost. Our trusty ASOS online fashion store has come up with a new scheme to help us fashion lovers avoid disasters like these.

Available on their free app, the ‘Try before you buy’ scheme allows you to order items to your home but only pay for the ones you keep, at no extra cost.

‘It’s not possible!’, you might say, but it’s true and here’s how it works: You order any item that takes your fancy from the ASOS site as all products are included in this new revelation; the items are then delivered to you and you can have a massive try on of all your options and take your time deciding on which you want to keep.

Meanwhile, you haven’t been charged any fees or hidden interest; once you have decided which items you want to return, you have 30 days from the date that your order was dispatched to go onto Klarna pay later, which is the payment services website through which ASOS is processing their payments.

To pay you must be over 18 years of age, have a UK mobile number, email address and home address. Finally, to return the items that you don’t want as normal using one of ASOS’s free return options including Hermes Collection from your home so you never even have to leave the house.

As quoted in Cosmopolitan magazine, Nicola Thompson, Global Trading Director at ASOS said: “We are constantly looking for new ways to improve the ASOS experience for our 15.4 million customers around the world.”

We know people love the option of paying later only for the things they keep and are excited to introduce this to customers shopping on our app in the UK.”

This new scheme has truly revolutionised the beauty of online shopping forever and we’re very excited! After all, isn’t it all about doing as much as possible without having to leave the comforts of our own beds?

Interview: A Chat with Flyte

Having just got back from the European leg of their tour, I had a chat with Flyte, to see how their lives have been since the release of their debut album, The Loved Ones.

After a quick run to the reduced section of Sainsbury’s, a very hungry Sam Berridge invites me in to meet the band. Before playing an amazing set later that night at the O2 Ritz, the band are all cosied up in their dressing room, ready to talk about music, books and friendship, the core three!

The origins of the band are incredibly romantic. Will Taylor, Jon Supran, and Nicolas Hill all met when they were “little uns” however, they then reminisced about how met Sam: “he was busking down in the London underground, it was very romantic it sounds like a Richard Curtis rom-com, and it was a lot like that.” Sam adds “I was even singing Ronan Keating.”

After a brief hello from Nick, we start to move on to the friendship behind the band. Will confidently describes that “we are best friends, it’s corny but true, we sleep together in the same bed.” As Nick tucks into a packet of Prawn Cocktail crisps, I begin to speculate if this is a band ritual, and if not, what the band does. “Not a single ritual but we do read Harry Potter to each other and do the crossword.” This then sparks a conversation about the best Harry Potter book and there is uncertainty between Goblet of Fire and Prisoner of Azkaban, but Nick does try to push Half-Blood Prince. “Nah, Goblet of Fire has everything,” finalises Will.

When thinking back over Flyte’s discography, it’s clear to see a true evolution from early upbeat EPs to the peacefully cheerful LP. I asked frontman, Will Taylor, what’s changed: ‘I think we wanted to keep our sense of melody, but [The Loved Ones] is a result of us following our natural instincts to the nth degree. We didn’t compromise creatively, not that we did before but we were trying to please people rather than ourselves.’ When asking further about this, the band all seem to agree that: “The best way music gets made, is when the artist is trying to do it for themselves.”

A few days prior to the release of their debut, they released the first track ‘Faithless’, which garnered an exciting and widespread response. Talking about what that reception meant to them, for a song a-long-time waiting in their repertoire, Will states: “We knew people liked that song for a while. It means a lot to us because it was an early song for us. Also, we lost our minds with it because it had been around so long. It was a relief when we put it out there, it was good.”

In more recent days, Flyte has been travelling all over Europe. Sam seems the most excited by the travel: “We just did our first Europe tour which was awesome, on a sleeper bus, which is a new experience!” “Again sleeping in the same bed together,” adds Will.

The tour started as soon as the debut had been released and I asked them how headlining their own gigs for so many dates went: “To headline for so long in the wake of the album is an amazing vortex to go into, you don’t look up, you just play night after night, it’s kinda a hypnotic experience” And Flyte continue to tour from now until late February as support for The Lemon Twigs and Lord Huron. Coming off the high of their headline tour, I ask if they are enjoying ‘looking up’ again and Sam says that “it’s gonna be nice to play to new audiences.”

A quick look at the lyrics for the band’s work, it is clear to see literary references in many places. When asking if there is any meaning behind this, the band state that they are all avid readers and Will mentions that “Books can be a good jumping off point for a song if you want to be inspired by something,” while Sam adds “you have to steal from somewhere so you might as well steal from literature.” After a brief laugh about this potential treason, Will mentions that the band takes its name from an Evelyn Waugh novel, “there’s a theme to that [Brideshead Revisited], that translates across the whole record.”

Before saying goodbye, I ask if they have any book recommendations for their fans, Will is quick to say, “I’m reading Goodbye Columbus, which is a good coming of age book,” while Sam is desperate to add Harry Potter and the Prisoner of Azkaban. While the conversation of the best book series re-rears its lovely head, Will quickly adds, “we’re big Lord of the Rings fans” and here is where we seem to disagree. But take words of advice from Jon, he mentions something at last and it is that, dear Flyte fans, “you don’t need to read Rings.”

Flyte’s debut album ‘The Loved Ones’ is out now and they will be supporting The Lemon Twigs and Lord Huron until early next year.

Record Reappraisal: ‘1999’ by Prince

Wednesday, October 27th, 1982, the date that a 24-year-old Prince Rogers Nelson released his fifth  and most successful studio album of an illustrious 40-year career. In a tumultuous reality starring Ronald Reagan and Margaret Thatcher fighting wars aplenty, the world didn’t look too different as it does today in 2017. 35 years on, and in a similar global climate, it’s more than fitting to give 1999 a thorough revisit, to see if Prince can once again provide salvation.

The title track, and opener, ‘1999’ prints the mosaic theme of the record. A robotic distortion slurs “Don’t worry, I won’t hurt you/ I only want you to have some fun.” Ahead lies kaleidoscopic musical expression and odes to freedom, both politically and sexually. Prince uses layers of funky guitar riffs, synth basslines, and fast-paced drumlines to imbue that decadence is the only cure for impending doom.

He never fails to couple this impassioned instrumentation with cogitative lyricism. In ‘Little Red Corvette’, incredible vocals take centre-stage in an ensemble cast with Prince playing all the roles. Power breaks through every beat of the track, be it the Corvette metaphors, the guitar play or the way it intertwines seamlessly with his pure falsetto. The track is a good example as any to see why Prince is revered.

The following tracks of the first half, ‘Delirious’, ‘Let’s Pretend We’re Married’ and ‘D.M.S.R’ (Dance.Music.Sex.Romance.), allow musical innovation to take hold of the reigns and The Purple One experiments heavily with drum-machines and synthesisers – relatively new advancements.

On ‘D.M.S.R.’ he chants “Everybody get on the floor/what the hell did you come here for?” as the keys pop away in the background. He shows that he likes to orchestrate the night and he clearly has the ability to do so. From the musical manipulation to the enchantments, Prince was there to create a revolution and every race was invited as he calls upon different demographics to follow his dancefloor chorus.

Taking a left turn, his lyrical mindset shifts towards introspection on the second half of the album as Soul shines through on ‘Free’. “I’m just glad, I’m just glad I’m free, yeah/There’s many a man who’s not,” Prince cries. He’s come back to singing, and with that, he preaches gratitude and equality.

Wading through eight-minute long, 80s synthpop anthems can take its toll. But then the incredible mind of Prince is able to bring more conscience to his music, after screaming “I wanna f*** the taste out of your mouth.” earlier on. With exception of ‘All the Critics Love U in New York’, the closing tracks infuse more emotion to the funky feel of before. Nevertheless, most of the emotion Prince displays is sexual desire.

On reflection of the hour-or-so journey, it’s hard not to feel both amazed and shocked. The contrast in his lyrical content, the range of instruments mastered and the power of his expression would look like a Jackson Pollock painting if graphically interpreted. But the intention of the album is bright as day: Prince wanted to give life, hope, and love to his fans, every way possible. And so, he presents himself a million ways over, without any fear.

Perhaps, the most mesmerising aspect of the LP is the level of control and understanding Prince has in both his music and lyrics. He can express himself effortlessly through any instrument, as his voice takes the form of guitar and synth solos throughout, yet the feeling created is just as clear.

I can only imagine the inner workings of his mind to be like a black hole. Feeding on every genre present (funk, soul, rock), then using whichever instrument he would like to churn out a complete tapestry of all the political and social emotion he feels. In its day it would have been revolutionary, now it’s timeless. Prince truly was the greatest modern musician of all time.

 

9/10

Live Review: Declan McKenna at The Ritz

Monday 23rd October 2017, The Ritz

18-year-old indie rocker Declan McKenna performed in Manchester on the 23rd of October as a major leg of his UK headline tour. Only weeks after he surprised many as the secret guest performance at Neighbourhood Festival, the singer-songwriter crossed over Whitworth Street from Gorilla to The Ritz to perform the biggest show of his career.

Photo: Jack Greeney

The queues outside were long and the crowd young and drunk, enough to be jumping around for a rather so-so performance from warm-up act ‘Feet’ at least. An excitable atmosphere stirred up amongst the standing crowd and when Declan finally entered onto the stage, the rest of his band already in full swing, I was left hoping the screams wouldn’t bring down the building around us. He opened straight away hitting the hits, belting out ‘The Kids Don’t Wanna Come Home’ followed by unanticipated album favourite ‘Make Me Your Queen’.

After a few lesser-known songs from his debut album ‘What Do You Think About The Car?’ were swept by (but not quite under the rug), Declan brought the show to a midpoint pique in energy with a forceful, extended rendition of ‘Humongous’ which then flowed seamlessly into ‘Isombard’. It was certainly a live performance, not just a live recreation of the inside of a studio: a facet many far more experienced bands too often neglect. The maturity and creativity required is surely a sign of great things to come.

Photo: Jack Greeney

Ending on ‘Paracetamol’ and then finally, finally ‘Brazil’ were particular highlights: a particularly strong end to the show, each and every lyric roared back from the audience. It’s astounding to think that a song was written and released by someone at the time aged 15 is clearly well-devised enough to still resonate with audiences today, long since its 2014 World Cup-condemning lyrics have lost all temporal relevance. Not only that but, at a pure baseline level, how brilliant a tune it is too.

Photo: Jack Greeney

The set overall was short: the band played only 12 songs including the encore, a rather terse total of little over an hour. This is only to be expected, however, from a musician at the very fledglings of his career. Chosen as Glastonbury’s Emerging Talent 2015, and now just 18 years old, this is a performer touring headline shows around the country after the release of only a single album’s worth of songs. If there was a slight feeling that we were left wanting more, there is surely solace in the thought that that ‘more’ is sure to come: Declan McKenna is a man on the rise.

7/10

Liam Gallagher announces huge home-coming

For those of you who are still waiting for that Oasis reunion, you might still be waiting a while. But in the meantime why don’t you see 50 per cent of the iconic manc two-some (arguably the better half, but I’ll let you decide).

It has just been announced that rock n’ roll icon and our kid,  Liam Gallagher is coming back home to play a huge special performance at Emirates Lancashire Cricket Club in Manchester. As we already know all too well he is one of the most recognised figures in British music, his show will be an attitude-filled performance (and hopefully a few potato peelers too) fuelled with tracks from his acclaimed debut solo No.1 album As You Were. Tickets for this unmissable show will go on sale on 9am Friday 24th November.

Coming from the suburbs of Manchester and now releasing one of the biggest albums of 2017, Liam Gallagher very own homecoming next year is not to be missed. With a catalogue full of global hits, fans can expect recent singles ‘Wall of Glass’ and ‘For What It’s Worth’ as well as the Oasis classics such as ‘Rock ‘N’ Roll Star’ and ‘Wonderwall’ to provide huge sing-along moments that will add to Manchester’s already iconic history.

With a full supporting, exciting line-up still to be announced, the special one-day event will take place on Saturday 18th August 2018, which has hosted landmark nights of music including the record-breaking One Love Manchester. This is guaranteed to be the stand out rock show of the summer.

So come on, roll with it, but DON’T take your time. Make sure you’ve set your alarm for 9 am Friday, 24th of November, But make sure you set it a bit early if you need a little time to wake up…wake up. (Sorry I’ll stop now)

 

For more information please go to:

https://blog.ticketmaster.co.uk/music/liam-gallagher-announces-huge-manchester-show-36145

Live Review: The Killers

Monday 13th November, Manchester Arena

The Killers’ long awaited return to Manchester has come and the Arena is rammed full of eager fans of all ages for the first of their two tour dates here.

The set starts with the rumbling bass of ‘Wonderful Wonderful’, the title track of their newest album. Storm clouds gather on the big screens as Brandon Flowers joins the band on stage, immediately having the full attention and total command of the crowd as he croons the lyrics– “I will give thee great cause to rejoice.”

This is followed by another new song ‘The Man’, a groovy and swaggering number with arrogant lyrics that bring out Flowers’ charisma and charm.

He is a remarkable frontman, radiating energy throughout the fast paced two hour set and singing in a way that makes the audience feel like he is addressing them personally. Despite this, his humility shines through as he thanks the crowd and tells them that  “true nobility is being superior to your former self.”

The band pays tribute to Manchester, their ‘musical home’ as Flowers cites New Order, Joy Division, The Smiths, and Oasis as some of his inspirations. They dedicate ‘Be Still’ to the victims of the Arena bomb attack; it is a spine tingling and poignant moment as the arena fills with phone lights.

The Killers hail from Las Vegas and this is certainly reflected in the glitz of their show. The visuals are stunning, ranging from neon cowboys during ‘The Man’ to theatrical slow-mo running sequences taken from the music video of ‘Run for Cover’. There is plenty of confetti, sequinned backing singers and even a costume change: Flowers dons a gloriously tacky gold suit and aviator sunglasses towards the end of the set.

The band also brings out old crowd favourites such as ‘Smile Like You Mean It’, ‘Human’ and stampeding hit ‘Somebody Told Me’, which has the crowd fist pumping along.

Songs from their second album Sam’s Town also get a good airing and the crowd is thrilled by Flowers announcing the re-addition of hard hitting tune ‘This River is Wild’ to the set list, a decision they made after playing the album in full in Las Vegas on its 10th anniversary last year.

They inevitably finish the set with classic indie club banger ‘Mr Brightside’ (my life ambition to see it live has been fulfilled). Predictably, the audience sings every word effortlessly. It has aged well, and will continue to in the future, just as I am sure that Brandon Flowers and The Killers will continue to go from strength to strength: I can’t wait for album six to arrive.

8/10

Murphy becomes the Champion of Champions Champion

It’s how things are. People don’t want five days of Test cricket, they want 20 overs of hit and giggle. I heard it through a great Vine. Less, inexplicably, is more.

Barry Hearn, who you like on the sly, has taken this approach to the great art of snooker since he took it over in 2010. Best of 7s proliferate, matches with no intervals and thus very limited narrative. Besides the endless, identity-less Championship Leagues and Players Tour Events, tempting deal holiday destinations with the word ‘Open’ suffixed, events we all know are for the bookies’ benefit, two tournaments stand out.

First, the Snooker Shoot-Out, introduced in 2011. It’s a straight one-frame knock-out contested by the top 64 (although Ronnie, understandably, usually can’t be arsed), with a 15, then 10 second shot clock and a maximum of ten minutes per match. The crowd are pissed and loud and there’s a raft of other pointless rules drafted in from pool. This was all well and good before it became a ranking event this season – players’ hard-earned points rendered null following a bad break-off against Nigel Bond.

The other event to represent this is the dear old UK Championship, one of the traditional Triple Crown events, along with the Masters and the World Championship. The UK has been reduced from best of 17s to best of 11s and has subsequently lost a lot of prestige. For my money, this week’s Champion of Champions event is now the third biggest in the sport.

What a name. The Champion of Champions. So brash, so brazen, so Hearn. But of course it’s worked. And what a tournament it’s been. The qualifying criteria is a little sketchy (I wouldn’t be too surprised if they shoehorned in Jimmy White for next year’s instalment after his victory in the UK Seniors), but we ended up with some of the world’s best players, and Mark King, playing snooker of a proper distance. One round of best of 7s to separate the wheat from the chaff and then we’re away with best of 11s.

Snooker takes a long time to watch but if you sit down and concentrate it will reward you with the most unbelievable tension and drama. Ultimately, it comes down to this: there’s big money on the table and you can see them feel it. In Sunday’s final Shaun Murphy and Ronnie O’Sullivan battled it out for £50,000.

I don’t like Shaun Murphy. I don’t think many people do. He’s sanctimonious and overweight but boy is that cue action as smooth as silk itself. Qualifying as last year’s Gibraltar Open champion and very much unconsidered, he crept up on the final. Nondescript wins against Mark King and Michael White put him in the semis against Luca Brecel, who overcame the un-overcomeable Mark Selby in the previous round. From 4-2 down he won the next four with a 131 break along the way to take the match 6-4. Luca Brecel sleeps with the fishes.

Still, no-one really expected Murphy to beat O’Sullivan over 19 frames. Ronnie is having one of those spells. His world ranking of 7 is only so low because many tournaments in the new crowded season are beneath him. Sometimes he deigns to play, and often he wins. This week he’d been unstoppable. Cruising past Neil Robertson and crushing poor old John Higgins 6-0 – that was sad – and  easing past the very underrated Sheriff of Pottingham Anthony Hamilton (who, wonderfully, came out to Carter the Unstoppable Sex Machine’s Sheriff Fatman) in the semi.

The afternoon session began with a pair of almost-centuries from Ronnie to put him 2-0 up. The next four fell to Murphy. When Ronnie’s playing well, his timing is so great that he makes a different noise to other players (NB – Federer is the same in tennis. This should be the criterion for the much too bandied about term ‘sporting genius’). But there’s not much more satisfying a sight in snooker or elsewhere than Murphy thwacking in a long one, even though I don’t like him. When you really hammer it into the middle of the pocket it can be intimidating; when he’s playing Ronnie, who he never beats, it’s a won’t-lie-down gutsy statement of defiance.

How often have we heard this said: “How often have we heard it said that the last frame of the session can set the tone going into the evening?”? Thanks to ITV4’s commentary team we heard it said again at about four o’clock on Sunday afternoon. 4-4 with one to play, and Ronnie looked like having clinched it. But he missed a red with the rest by so far that it should’ve been called a wide and an error-strewn frame went to Murphy.

Still, what is 5-4 when you’re playing to ten? One frame, big deal, the Rocket come out this evening with the crowd cheering him on and wrap it up in two hours tops. Only 5-4 became 6-4, 7-4, 8-4. With one frame before the mid-session interval, Ronnie badly needed it. And he collapsed over the line, scrapping away and with the cue ball curiously out-of-position. No rhythm. But 8-5 it was going into the mid-sesh.

We know what both of them were feeling because we’re human, and that’s what makes snooker so great. Murphy was worried about cocking it up. O’Sullivan has the wood on Murphy, particularly over long-distance matches. Thrice at the World Championships (13-7 this year, 13-3 in 2014, 13-10 in 2011). Murphy has also not had a good time of it recently. Anyone in the game recognises the steps a previous major contender takes on their way to slipping out of the top 16, and Shaun is several along them. His career needs a boost.

Ronnie will have been wondering what went wrong. He should’ve walked this the way he’s been playing all week. But he knows 90 per cent of the audience want a comeback and he knows if he can get one back, then another, then suddenly he’s favourite and Murphy will wilt.

Murphy took the first to make it 9-5, but, as they always say, it’s so bloody difficult to get over the line. The whole sport requires immense concentration and immense stillness. You can’t think about anything else and you can’t shake. So when there’s fifty grand on the line it’s hard to keep it together. So it went 9-6. Then, with a 108 break, it went 9-7. Another clearance for 9-8 and we’ve seen this script before.

Leave the Murphy ultras to one side and everybody wants a decider. And it looked very much like we were going to get one, O’Sullivan just needing a moderately tricky green into the middle for effectively 9-9. “The game’s all about fractions.” Murphy cleared to take it. It was, in one sense only, a victory for the little man.

Track Cycling World Cup pedals into Manchester

From the 10th to the 12th November, Manchester welcomed a plethora of cycling talent. From Olympic and World Champions, to an emerging group of young talent, hundreds of cyclists descended on the city’s UK National Cycling Centre. For one weekend Manchester played host to not only its usual resident of British Cycling but to guests from around the globe, as the second round of the UCI Track Cycling World Cup got underway on Friday afternoon.

The velodrome proved the perfect venue for the event, balancing a level of extravagance you may expect for such an event with the informality guaranteed in such a closely packed arena. The relaxed atmosphere allowed spectators to observe from within touching distance of the riders, as they banked up the steep corners of the track. Meanwhile warmups and equipment preparation became unavoidable and intriguing viewing. By the end of each day’s session a sense of familiarity, impossible in most major sporting events, formed between spectator and rider.

Admittedly it takes some getting used to the infamously intricate and imaginative race types. The ‘Madison’, ‘Keirin’, ‘Omnium’ and ‘Scratch’ all mean little to the average audience member. Those of us unfamiliar with the sport, save for during those two weeks of passionate support and expertise that roll around every Olympic year, were forced to desperately flick through our programmes and skim read through the rules as the countdown for the next race ticked down. However once rules were at least partially understood, it made for an electric weekend of racing.

The event, the second of four this season, featured a number of British riders, including several Olympic athletes and medal winners, mixed in with much young talent. However, the big names weren’t always the talking point. A notable oddity of the tournament is the acceptance of non-national teams, often sponsored or supported by their country’s cycling body but competing as a separate squad.

Used by Team GB to field academy riders, Team Breeze and Team 100% Me are an example, with the national team using the opportunity to include more riders. Team 100% Me’s Callum Skinner, silver medallist in the individual sprint at Rio, picked up a Bronze medal in the 1km time trial, coming agonisingly close to the one-minute barrier at 1:00.868. It was a barrier that Australian star Michael Glaetzer managed to break, a record at sea level, coming in at 59.970s, a promising result in preparation for the Commonwealth games next year on his home turf.

Of the non-national teams developing in the world of track cycling, most notable is Team KGF. Comprised of a quartet of amateur riders, who live, eat, and train together in Derby, while funding everything largely out of their own pockets, Team KGF are making an increasingly big name for themselves in the sport. Having won the team pursuit at the National Championships in January, followed by a seventh place finish in the opening World Cup event in Poland, they came to Manchester with hopes high.

A close heat, employing some unorthodox tactics, put them through to the Bronze medal race. Then, spurred on by an enthusiastic crowd, they went head to head with France, unfortunately being pipped to the post in the final 500m to take fourth. For a team with their limited resources and numbers, employing tactics to utilise their strengths to their maximum, it was an impressive effort, and they will go forward even more inspired to succeed.

The standout star of the event was Katie Archibald. The Olympic Gold Medal winner in the Team Pursuit impressed in both individual and team events in Manchester. Friday night saw her go head to head with American star Jennifer Valente in the Omnium, cycling’s multi-race event, in which Archibald is the current World Champion. The elimination race, one of cycling’s most entertaining, saw the two battle it out until only they remained, with Archibald summoning a final sprint finish to knock out Valente, putting them 2nd and 1st respectively.

Finally, with little separating the two, they headed into the points race, a 20km race with points awarded every ten laps for contesting sprints. Anyone’s game. Archibald took charge quickly, doing her best to stay ahead of Valente and reduce the 6 point margin between them. With ten laps to go, and double points on this last sprint, Valente still led by a single point. Archibald kept Valente behind her as she sped round the track, the roar of the crowd following.

It was not until the final lap that Valente moved into another gear, as she slowly worked her way past Archibald, taking pole position over the finish line and claiming Gold. A bitter-sweet result for Archibald, but no doubt inspiring. She went on to help GB to Gold in both the Madison, alongside teammate Elinor Barker, and the Team Pursuit. With the Madison now an Olympic event, Archibald will face an interesting dilemma as to what to pursue for Tokyo.

With their win in the Team Pursuit the women finished the event on a high, joining the men’s team and giving Team GB a total of three Gold medals, and five overall. Germany topped the event’s table, with sprinter Kristina Vogel taking home three Golds, in the Sprint, Keirin, and Team Sprint. Elsewhere Wales’ Jonathan Mould took silver in the 15km Scratch Race.

It was a successful event not only for British riders but for the sport in general. Team GB’s stars will go on to the next World Cup in Milton, Canada with expectations high. As, we can hope, will Team KGF. Already shaking things up in British Cycling, there seems no signs they’re going to stop, and with several notable retirements and temporary absences within the GB squad, they’re certainly getting themselves noticed by coaches, looking to fill those gaps before Tokyo in 2020. Meanwhile Manchester will look forward to the National Track Championships in January.

UoM made to rue unfortunate late own goal

Fresh from an 8-0 cup win, UoM were hoping to bring some of their cup form into the league where they have a had a difficult time. The side had lost their opening three league games and found themselves rooted to the bottom of the Northern 2A table.

The home side started the better and looked to go ahead in the early stages. A half volley wide from Katie Newton was a sign of their opening dominance.

Any momentum they had came to a swift halt though as the number 10 of Central Lancashire picked up a painful injury. A trapping of the ball between two feet saw the number 10 come off worst and she fell to the ground, audibly hurt from the coming together. A lengthy stoppage ensued as the first aid team were called over.

With the injured player now off the pitch, Lancashire were forced to play with ten men for a period as their substitute ran through her warm up. It was during this period that Manchester looked dominant. Seeing plenty of the ball, they looked to press home their woman advantage.

With 13 minutes on the clock, Manchester did make the most of their extra player as they got the opening goal of the game. Good play from Olivia Abbott allowed her to pick out Elise Skeldong in the box. Skeldong controlled the ball and calmly placed it low into the right of the net and beyond the keeper’s reach.

After the goal, Lancashire returned to having 11 players as their number 14 replaced the injured number 10. Back on level terms personnel wise, the game shifted to a more even contest.

In contrast from the opening game of the season where she played in defence, club captain Megan Clarkson was this time operating in a midfield role and her advanced position up the field allowed her one of the best chances of the first half. A cross found an open Clarkson in the box but she could only head the ball onto the crossbar in a let off for Lancashire.

After the attempt, Clarkson was involved in a smiler incident that saw the Lancashire 10 leave the field. Two players going for the ball seemingly jarred Clarkson’s foot but she played on.

Just after the half hour mark, the visitors had their equalisers. In what was an even game up to that point, UoM were the ones creating the better chances but the away side was more clinical. Their number 11 collected the ball and placed into the net to tie proceedings at 1-1.

Two minutes later and it was again the number 11 causing danger for Manchester. A pass through the middle of the defence, a particular weak point for the home side, found the number 11 who proceeded to slot the ball past the keeper in a near carbon copy of her first goal. The quick fire one-two seemed to deflate UoM and they went in at half time 2-1 down.

The opening stages of the second period brought more disappointment for UoM as Clarkson picked up another injury. This time however she was forced to leave the field and Manchester brought a substitute on.

Despite the loss, UoM started in a similar vain to the first half and looked to find an equaliser. Grace Cunliffe saw her shot saved and Katie Newton’s shot went narrowly wide from outside of the box.

With the goal advantage, Lancashire were seemingly happy to sit back and hit on the counter. This was driving dangerous for UoM and in particular the pace of the visitors’ number 11 who was looking for her hat-trick.

Lancashire’s coach looked to solidify their lead by dropping their tall number 9 into midfield and having their number 2 chase any loose balls up top.

Manchester continued to push for an equaliser and in the 69th minute they got it. Abbott was given time in the box to finesse a ball into the left inside netting of the goal. It was a great finish that set UoM up to go on for a winner.
Both teams now were pressing for a winner with Lancashire’s number 9 and 14 seeing their attempts go just wide while Manchester struggled to get in to the opponent’s box.

With less than ten minutes to go, Manchester suffered a horrendous piece of luck. A low drilled cross from Lancashire was cleared by the UoM defender only to hit the post, rebound back onto the defender and then it to the net. This is the second time this season UoM have been on the wrong end of an unfortunate own goal and the goal visibly deflated the side.

Unable to create any real clear cut chance in the dying embers of the game, UoM lost the game 2-3. Their fourth league defeat in four. On the balance of play, a draw would have been a fair result and UoM will be hoping their luck changes in the near future.

EA deserves no praise for lowering microtransaction costs

EA have cut the in-game cost of playable heroes by 75 per cent in Star Wars: Battlefront II.

The change comes amidst widespread outrage from fans after realising that in order to obtain the more popular characters like Luke Skywalker and Darth Vader players would face a 40-hour grind — if, that is, they don’t open their wallets to speed things up.

People were understandably angered by this anti-consumer implementation of microtransactions, designed for the specific purpose of wearing down players’ willpower with unreasonable in-game costs.

Attempting to quell the rage of players in the first few hours of the information surfacing, EA’s community team took to Reddit, arguing in a comment on one thread that the obscene grind is intended to fill players “with a sense of pride and accomplishment for unlocking different heroes”.

Pride and accomplishment. That’s their story, and they’re sticking to it.

Here’s the thing though — allowing players to simply buy a reward other players have worked for completely devalues that reward. How can a player show off content they earned as a badge of ‘pride and accomplishment’ if there are other players in the lobby who simply dropped £50 on microtransactions for the same result?

No, a sense of pride and accomplishment is what you get when you hear that this comment from EA quickly became the most downvoted in Reddit history, with a score of -678,000 at the time of writing. For context, the second most downvoted comment of all time only has -28,000 — and is a specific request asking for downvotes.

This record-breaking customer dissatisfaction is of course what triggered the 75 per cent reduction in Hero prices, with Executive Developer of DICE John Wasilcyzk detailing the decision in a blog post labelled ‘Change will be a Constant in Star Wars: Battlefront II’.

They’re not lying about this part, at least. Change certainly has been important to Battlefront II — but this is not necessarily a good thing for the consumer.

The ‘change’ EA favours is the superficial kind that allows them to dodge controversies to keep their insulting free-to-play microtransaction model in a full-priced game. The kind of change implemented as damage-limitation to carefully manage headlines, steering them from “EA Exploits Players” to “EA FIXES Hero Costs”.

We saw this exact same superficial backtracking when players of the beta complained of the pay-to-win loot box mechanics which allowed players to buy game-changing bonuses like extra health or faster cooldowns to give them a tangible advantage over non-paying opponents. In response to the backlash, EA simply made some minor changes like removing the higher-tier bonuses from loot boxes and presented this as a pro-consumer fix.

For those doubtful that Battlefront II’s multiplayer is still one built around microtransactions, Star Cards offering player bonuses are still acquired through loot boxes. Meanwhile, blogger ‘STWOR Strategies’ calculated it would take 4,528 hours of gameplay or $2100 dollars of loot boxes to unlock everything. Players are even forced to wait until the next day to earn credits from arcade mode, undoubtedly to force them back into the multiplayer combat specifically designed to encourage loot box purchases.

EA has mastered the art of creating something initially so sleazy, so diabolically anti-consumer, that the dialled-back version — though still terrible in its own right — becomes palatable by comparison.

So the reduction of hero costs is not the meaningful fix EA would have you believe, but rather a plaster over a gaping wound. Hopefully, the ongoing negativity surrounding the game is evidence of a breaking point for consumer tolerance of predatory microtransactions in videogames.

If Battlefront II was EA seeing how far they could push it — they have their answer.

Alan Shearer’s BBC documentary puts spotlight on dementia and football

Dementia used to be a taboo topic in football. Whether it was an unwillingness to acknowledge that a key aspect of the beautiful game was actively harming its players or a general misbelief over the relative lack of research, the FA was slow to react to the reports.

Alan Shearer, a man famous for heading balls into the backs of nets, set about investigating this increasingly important topic for the BBC in a documentary called ‘Alan Shearer: Dementia, Football and Me’. In it, Shearer describes the lives of former pros after they retire and in particular that of Jeff Astle and Nobby Stiles.

Astle was a player for West From that died in 2002 at the age of 59. The significance of Astle’s postmortem was the corner ruled that his death was caused by the repeated heading of footballs, the first time a medical professional had made such a link. The Professional Footballers’ Association (PFA) commissioned an inquest but it was stopped before any major conclusions were found.

After the documentary aired, the PFA said that children under the age of 11 should be banned from heading the ball, a common practice in the United States, until further research was conducted. The hesitancy in which the PFA and FA has had in terms of funding research has met little progress has been made since Astle’s death.

Cognitive neuroscientist Dr Magdalena Ietswaart commented after the documentary that, “we do not yet know whether there is a definitive link between football and dementia. This can only be discovered by carrying out research in this area. Scientific developments open up a new approach that is achievable but requires a robust funding drive.”

Throughout the documentary, Shearer appeared to grow increasingly frustrated at the lack of movement from the FA, UEFA and FIFA. The scientists he spoke to all made it clear that they lacked the funding needed to conduct proper research and so the link between dementia and heading remains hypothetical.

One of the most emotional scenes in the documentary was when Shearer spoke to John Stiles, son of Nobby. Nobby Stiles was part of the 1966 England World Cup winning squad and video of him dancing with the trophy across the Wembley pitch remain with many. Nobby developed dementia in later life and now lives in a home. “I’m utterly convinced that heading the ball in training is responsible but that’s only my opinion” his son said.

Nobby’s struggle is seen by some as a great failure of football. The fact that a member of successful England and Manchester United teams was left behind. He was forced to sell his winners medals so he could “leave something for my family,” but the real frustration appears to be at the lack of research done to prevent, or better understand, future cases like Nobby.

The families of Stiles and Astle have made it clear, more research needs to be done into this. The misconception that because the balls are lighter now there is a less of a risk is wrong because they travel at greater speeds. While the FA, Premier League, UEFA and FIFA continue to revel in record profits, surely now is the time to put some of it towards saving players’ lives.

Manchester Swimmer Breaks European Record

The BUCS Short Course Swimming Championships is the first major event of the university swimming calendar. From the 10th to the 12th of November, over 1,700 students representing universities from across the country congregated at Ponds Forge International Sports Centre in Sheffield. With both Olympic and Paralympic athletes competing, it promised to be an exciting weekend of competition.

The team from Manchester made a significant improvement on last year’s 24th place result, finishing 10th out of 92 universities in the overall points standings.

A stand out performer on the Manchester team was para-swimmer Grace Harvey, who smashed the Women’s SM7 200m Individual Medley European Record in a time of 3:09.71 — with 759 British Disability points — to take silver. A University of Manchester Sports Scholar, Harvey also scooped bronze with 710 points in the multi-disability 100m Freestyle behind teammate Rosie Bancroft — 744 points — who took the silver medal in a time of 1:05.64. Bancroft brought home her second silver of the weekend in the 50m Freestyle, scoring 758 points with a time of 31.00.

Sports Scholar Ashley Hogg had a successful meet, competing in the Men’s 400m Freestyle, 400m Individual Medley and 1,500m Freestyle distance events placing 7th (3:57.60), 8th (4:27.57) and 6th (15:37.31) respectively. Bailey Hairsine also put in a strong performance, closely following Hogg to finish 10th in the 1,500m Freestyle in a time of 16:17.31 and 11th in the 400m Individual Medley stopping the clock at 4:36.43.

Jamie Ingram – a third Sports Scholar — qualified 9th for the Men’s 100m Butterfly final, improving on his time in the final to finish 6th in 54.46. Ingram also qualified alongside Jacob Lea for the 50m Butterfly “B” final, racing to 1st and 4th place finishes in times of 24.44 and 25.12 respectively.

Elsewhere, the Men’s 4 x 50m Freestyle Relay qualified for the “B” final. The quartet of Ingram, Hogg, Afonso Sequiera and Lea clocked a time of 1:34.78, improving on their time in the heats to place 5th.

“I’m very proud of the whole team,” says Girls Captain Frances Garnett. “With four para-medals, swimmers continuously making the finals and placing in the top 10, it’s been a fantastic weekend for University of Manchester swimming.”

The team can now look forward to the BUCS Team competition and the BUCS Long Course Championships, which is part of the multi-sport BUCS Nationals weekend taking place in February next year.

 

England’s opening Autumn International a “grindathon”

On Saturday England played the first of three Autumn Internationals against Argentina at Twickenham. The end result was a 21-8 victory for the Red and Whites but the performance told a far different story.

Head Coach Eddie Jones called the game a “grindathon”, adding that they were “off the pace a bit”. This was the first game in eight months so there was understandably going to be a little bit of sluggishness but perhaps the entire 80 minutes is a little much.

Around the hour mark flanker Sam Undersell conceded a penalty to which Jones slammed his notebook down in frustration. The performance was much more akin to that of their footballing counterparts and uncharacteristic of a side that has won 20 out of 21 test matches with Jones at the helm.

The match began in England’s favour. George Ford missed a first minute penalty with the kick rebound off the crossbar but thankfully was given a second opportunity six minutes later to make it 3-0. The lead lasted only three minutes before Emiliano Boffelli levelled the game up. Another bit of Argentine indiscipline led to the third penalty in the opening quarter of an hour and Ford converted a second time to put England back in the lead 6-3.

In the 22nd minute Mike Brown bravely leaps to catch a high kick but a challenge from Joaquin Tuculet leaves him in a heap on the floor. As Brown receives treatment the referee reviews the footage and deems it worthy of a yellow card. In my opinion Tuculet has his eyes on the ball the whole time and so a sin bin seems a little harsh. Brown is forced off the pitch from the injuries he sustained in the collision and is replaced by Semesa Rokoduguni.

A minute later the extra man helped England score the first try of the game with Nathan Hughes touching down following a wonderful pass from George Ford. Unfortunately he missed the conversion hitting the post. The remaining 17 minutes of the first half passed by with almost no incident except a fifth England penalty which Ford converted putting the score at 14-3 at the break.

The second half somehow found a way to be less enjoyable than the first. England struggled heavily and couldn’t seem to find their groove, Argentina on the other hand were unwilling to take advantage of that, hardly troubling them. It took 26 minutes before substitute Rokoduguni scored a try to award the first points of the half.

It was referred to the TMO as the try in the corner wasn’t clear enough for the referee. Sure enough after some deliberation it was awarded and Ford converted, extending England’s lead to 21-3. With two minutes to go it seemed Jones’ team was going to shut out Argentina and they wouldn’t score a try but they finally managed it on the 30th phase. In a fashion true to the spirit of the game the conversion was missed and all the fans went home miserable.

The statistics tell the same miserable story too with Argentina controlling a whopping 62 per cent possession and England forced to make twice the amount of tackles. The lack of desire to win or play any sort of cohesive rugby cost Argentina with them only scoring a singular try despite having a grip on the game.

Try scorer Semesa Rokoduguni’s day was especially important. Not only was this just his third cap after a debut three years ago but he served in Afghanistan as a British Army Lance Corporal. Following the game’s conclusion he said “It’s one of those emotional days but it’s an honour to represent the army as a whole.”

Next weekend England come up against Australia, who finished up 29-21 winners against Wales. Eddie Jones and his team will be feeling optimistic that they can beat the Wallabies losing one of their last seven meetings. You can watch the game from 3pm on Saturday on Sky Sports Action or Sky Sports Main Event.

Album Review: Maroon 5 – Red Pills Blue

They say that bands exist on ‘life cycles’ that come and go with the years. However, this is not the case for Maroon 5. They have brought us hit after hit, banger after banger since 2001. With songs such as  ‘She Will Be Loved’, ‘Moves like Jagger’ to ‘Sugar’, which no doubt we have all heard thousands of times through the years. Maroon 5 have cracked the recipe for creating incredibly catchy songs which remain stuck in your head for the foreseeable future. Their most recent release, Red Pills Blue is no different.

If we strip it back, the underlying themes link back cleverly to the title. The choice of either focusing on the sometimes painful reality of the world, or living within a blissful ignorance. Listen to the contrast between the soulful electronic ballad ‘Denim Jacket’  to the blunt, snappier tune ‘Plastic Rose’ and you’ll see what I mean. The 15 tracked album flows nicely, jumping between each scenario.

Whilst the album has proven that the band has evolved extraordinariliy over time, constantly moving with the times and giving the people exactly what they wanted, they have still found a way to incorporate their distinct sound within the heart of the album, in classic Maroon 5 style. Adam Levine’s vocals are, as you probably already know, are something quite incredible. Red Pills Blue has managed to intertwine their roots with an extra dose of blue-sy jazz, which can be heard especially in the outro for ‘Closure’. In addition they have also experimented with synths and electronics in such songs as ‘Best For You’ and even with a twinge of reggae vibes in ‘Visions’.

But in contrast to prior work Maroon 5 have teamed up for six out of the 15 tracks which is more than they have ever done in previous albums. These clever collaborations with the likes of SZA for the electro-pop track ‘What Lovers Do’,  A$AP Rocky pops up for an appearance in the sultry ‘Whisky’. Future also collaborates with the American band in their second single of the album ‘Cold’, which was released earlier this year. Even Kendrick Lamar for the huge hit ‘Don’t Wanna Know’ which was released in October in 2016. I’ve got to say that it is these twists and surprises that completely add a new element to Maroon 5’s album.

All of the tracks on this album bring something exciting and new. It is clearly evident that Maroon 5 has long left behind its Songs About Jane days and are still one step ahead and still making waves within the music industry. It is so nice to see that despite a lot of experimenting and change, that the band have not lost that spark that made them so good in the first place.

Here’s to the past 16 years of Maroon 5 and lets hope that there are still many more years to be celebrated.

 

7/10

Warm Laundry – new record label alert

One day Joe Taylor was doing his laundry and the genius idea hit him: everyone loves warm laundry. Don’t they? And so Warm Laundry records was born. The label is definitely off to a good start. Tiernan Banks also assisted Taylor in setting up the label and they recruited their pal Theo Cooper to fully kick-start what is now the start of something great.

WL’s aim is to push small artists and hopefully provide some funding into their first recordings. In the future, the aim is to produce records. The artists signed to the label currently are friends both from musical and other encounters. However, the label wants to stick with the idea that if they see potential in someone new and interesting, they’ll follow through.

So I went to the event on the 11th October at the Eagle Inn, Salford to see what Warm Laundry are all about. Firstly I was mind boggled by the fact that Salford is literally next to the Arndale Centre. (I have been uber-ing to Hidden for no reason?!) So although Taylor referred to it as “far from the student bubble” in our interview – it was definitely worth that tiny bit of extra effort. Three different acts performed, Cavernzz, 60s Space Engine and Chappaqua Wrestling – who were celebrating the release of their EP 1.

Each of the acts was different in their own way, and there was a lot of talent on the stage. There was a variety of styles performed by all the artists and it was overall really refreshing to see new and independent talent.

Cavernzz was up first. He maintained a fixated stare throughout his performance, meaning you could not take your eyes off him. The focus was incredible, as was his original performance and sound. If I was to compare him to someone, I would say he’s a smoother version, Jake Bugg. I got the same, drawn back, stripped-down kind of vibe and it was a bit hypnotising. The performance was just Cavernzz and his guitar. Very easy to listen to and a great performer. The audience was completely engrossed throughout the entire performance.

Photo: Jodie Bryant

Second up were the 60s Space Engine and everyone was just baffled (in a good way) by what was going on. There were sounds coming from every point of the stage; the band members were constantly moving around pressing different buttons, making different sounds – I loved the spontaneity of it. This group definitely drew on the likes of John Hopkins, Air and Youth Lagoon but also it was original and like nothing I’d ever seen before.

Photo: Jodie Bryant

And finally, the headline act, Chappaqua Wrestling. These guys definitely have the potential to do really well. If you are a fan of the likes of Hippo Campus and the Hunna, you will love Chappaqua Wrestling. My favourite track and performance of the whole evening was ‘Only You Could Know.’ Skilled guitar playing and catchy lyrics, they brought the whole night together very well at the end. Happy and upbeat, but not too poppy — I can see them breaking into BBC Introducing.

Photo: Jodie Bryant

Overall, the crowd and general atmosphere were a clear sign of how well WL pulled off the evening. Everyone left in good spirits and safe to say a few of us missed our 9ams the next day (whoops). Keep at it WL! Speaking to Joe, he said the event was “probably our favourite one we’ve done so far. People were very positive and we thought the venue was brilliant.”

For more WL info check out their Facebook Page

 

Review – Paddington 2

There’s a moment of “mild peril” in Paddington 2 that sweeps the franchise firmly into its PG rating with a sense of earned sincerity and genuine danger that has become rare in the type of family friendly adventure fare we usually see on the big screen come Christmas time.

As with the first absolutely charming entry into the franchise, British icon Paddington Bear finds himself in danger during the last minutes of the third act, and the effect is devastating. In a packed cinema, several soft cries of children could be heard, accompanied by the gentle soothing of parents and guardians, fully aware of the narrative tropes, assuring their children that everything was going to be alright.

A swell of intense worry and relief was felt throughout the audience, the type of feeling usually reserved for the most well-crafted of action or thriller films, yet director Paul King achieves this with a CGI bear. Leaving the multiplex misty eyed and smiling, I could only think of how many kids Paddington 2 will teach to love cinema.

Featuring a Hugh Bonneville, Sally Hawkins and Hugh Grant giving his best comedic performance in years, this instalment sees Paddington finding the perfect birthday present for his Retirement Home for Bears bound Aunt Lucy, only to have it rudely stolen by washed up actor Phoenix Buchanan (Grant). Though Nicole Kidman’s villainous turn in the first film derived surprising humour from her pairing with soon to be ex-Doctor Peter Capaldi, the casting of Hugh Grant is a stroke of genius that transforms Paddington 2 into a near perfect tribute to British cinema.

Less a direct comment on Grant’s role as Richard Curtis’ muse, Buchanan is a perfect meta-commentary on middle-class luvvies who became awfully good at one particular thing, only to have their fame and success teetering when their age caught up with them and their eye for good roles became a little less sharp. With riffs on Split and A Series of Unfortunate Events, Buchanan is an ingenious twist on the master of disguise villain convention, an actor who has become deranged with the multiple personalities of his former roles.

The master plan is suitably ludicrous enough to see Paddington engage in numerous scenes of slapstick humour, masterfully crafted considering the limitations a CG construction creates, and dry wit that the voice of Paddington, Ben Whishaw, is perfect for. There’s a danger in family films, pressured to appeal to both adults and children, for the more mature jokes to consist largely of innuendo, double entendre and thinly veiled visual sex jokes, but writers King and Simon Farnaby (who reprises his role from the first film in maybe the funniest scene) are aware that the likes of Aardman have perfected this art.

Instead of crude attempts to shock the parents into snorting, Paddington 2 is packed to bursting with social commentary, physical gags, politics, mid-life crises, punctuation and grammar, surrealism and subversion. The best moments happen during the film’s second act, after Paddington has been framed and mistakenly sent to a prison that, thanks to Paddington’s presence, quickly turns from the prison in The Grand Budapest Hotel to, well, The Grand Budapest Hotel itself. Borrowing Wes Anderson’s symmetry, trolley shots and colour palette, the referencing may be overt, but the story beats and humour are fresh and consistently succeed in squeezing out multiple laughs each take.

A couple of moments of lazy green screen work and stiff action prevent the final set piece from polishing the movie into kinetic perfection, but the pay-off is resound and the writing retains its charm and consistent laughs all the way to the final moments. Though Star Wars will have final say in December, Paddington 2 is surely the perfect Christmas movie to see this year, certain to melt the frosty residue of Justice League, lift the spirits from the dour atmosphere of Murder on the Orient Express and provide the enthusiastic chuckles that Daddy’s Home 2 and A Bad Mom’s Christmas certainly won’t.

4.5/5

To hear more of Lucas’s thoughts, tune in to Take Three on Fuse FM’s Mixcloud page.

Review – Stranger Things 2

Netflix delivered a surprise hit last year in the form of Stranger Things, a colourfully nostalgic miniseries that riffed on the works of Stevens Spielberg and King. Though criticisms of the show being derivative and pandering were well-found, creators and directors the Duffer Brothers managed to spin a tightly plotted arc with distinct enough iconography and charming characters to differentiate it satisfyingly from the material that proceeded it.

Fans were thrilled by the familiar yet effective Demogorgon, shaken by the untimely death of Barb and utterly won over by the core group of four kids, affable and authentic enough to rank alongside King’s childhood ensembles in The Body (Stand By Me) and It. Most importantly, we were introduced to one of television’s most promising new stars with Millie Molly Brown’s Eleven.

Expectations were inexorably high following the announcement of a second season, which seemed to promise a shedding of its more overt 80s-inspired plot devices and visual riffs, in favour of a further look back on the works of HP Lovecraft. A cosmic entity has set up camp in a parallel dimension seemingly directly underneath the Earth’s crust and has begun haunting Will with visions and possessions. An eldritch, arachnid horror looms over the red sky of the Upside Down, and the kids run around

Though this premise is tantalising, especially given the dismally low number of media adaptations of Lovecraft’s work, it’s disappointing that after just a couple of episodes it’s clear that the narrative of Stranger Things 2 is largely a tribute to Gremlins, Aliens and The Goonies. A forgivable sin had the characters not been rendered incompetent and the plot needlessly complex in order to contrive the references into making a semblance of sense. Action-packed, witty and as emotionally sound as before, it’s just a shame that the world created by the Duffer Brothers is still treated as second rate when compared to material that we’ve seen before.

The fiery, Carrie-esque experiment Eleven is left frustratingly passive for a number of episodes, until a late-season chapter The Lost Sister demonstrates an attempt of originality that falls completely flat, and doesn’t bode well for the inevitable day when the well of 80s references dries up. Unconvincingly gritty, garish and ostentatious, this episode introduces a number of characters who would look more comfortable in a video game or lower-tier comic book whom you’ll pray never to see again.

It’s discouraging that the first narrative thread outside of the main action and characters appears to be establishing a poor riff on the X-Men franchise, in place of what was a brilliant opportunity to contradict the series’ naysayers and prove this universe has something original up its sleeve.

Saving the day are David Harbour’s Jim Hopper, the gruff and level-headed Chief of Police who undergoes the most compelling conflict in this season, and Joe Keery’s Steve Harrington, a natural fit in his new extended role as paternal role model and saviour of the younger kids, a vessel for much of the series’ humour and, unfortunately, unneeded romantic drama.

New characters Max and Billy are intriguing enough, though the former remains a blank slate to justify exposition and teenage romance, the latter a surprisingly effective satire of the psychotic Stephen King bully until the last episode. Sean Astin’s bumbling Bob is similarly unimportant, harmless and lovable if he hadn’t provided some of the season’s most egregious moments of character incompetence.

Until the last episode of series one left threads loose and questions unanswered, fans speculated whether Stranger Things was intended as an anthology series, its title rooted in the generic and the pulpy, referential nature of the style and narrative seeming perfect for a show that would deliver a different tale every year, like a more literate and likable American Horror Story. Indeed, it’s a shame this isn’t the case.
Though the characters are still just as lovable, the writing consistently witty and the pace never dragging, its dependence to deliver on the promises of its first series eventually feel very belaboured.

Anyone expecting a departure from its 80s pandering will be sorely disappointed, as Stranger Things 2 presents its references without meaning or intention to represent a moment in American filmmaking with a heartfelt awareness that shows like this couldn’t exist without Spielberg, Donner, Zemeckis et al. laying the foundations. Instead, despite a stunning cast and production value, this season has the makings of an obligatory sidestep towards what will hopefully be higher prospects.

3/5

To hear more of Lucas’s thoughts, tune in to Take Three on the Fuse FM Mixcloud page.

Live Review: Airbourne

Australian hard rock band Airbourne came to Manchester Academy to perform the very last leg of their 18-month tour before heading back down under. The most “Dad-rock” band imaginable drew the most Dad-rock crowd: denim, double denim, and denim again. If you weren’t wearing a band t-shirt so black it sucked in all the light surrounding it, you were out of place.

Photo: Jack Greeney

Right from the start, Airbourne was an absolute assault on the senses: stage lights brighter than Einstein, decibel limits and eardrums alike shredded to pieces. If the band were feeling any effects from a year and a half on the road they certainly didn’t show them. Silhouetted on stage, the scraggy, bobbing messes of post-shoulder length hair whipped around, and amps were thoroughly jumped on.

Lead singer and chief shirtless guitarist Joel O’Keeffe, in particular, was an absolute riot. During one particular outrageous solo, he was picked up and ferried around the onrushing crowd on shoulders, smashing open beer cans, soaking and blinding anyone within a thirty-mile radius.

The stagecraft was intoxicating: often literally so. Cups of beer were thrown into crowd-members on shoulders (utterly fulfilling when the last cup was finally caught); and before ‘It’s All for Rock and Roll’, a tribute the late Lemmy of Motörhead (a longtime friend of the band who also appeared in their music video for ‘Runnin’ Wild’), an actual bar was pulled up on stage, to pour out litres of whisky as a toast.

Photo: Jack Greeney

You get the feeling O’Keeffe could riff up and down on that simple pentatonic scale forever without it growing old, a few blues notes thrown in for good measure. His shout-singing too was right on the mark, a vocal technique I can only imagine is honed by drinking a cup of broken glass before the show than walking about barefoot on lego around the stage. It was not a performance that could be described as ‘tight’, but this was in no way to its detriment: when the whole ethos of the band is “wild and free” it can surely only add to the emanation.

Almost every song was extended to twice its length to accommodate various vigorous instrumentals: other than ‘Too Much Too Young Too Fast’, which was gone, rather too fast. Otherwise, the tried and tested ACDC formula of grooving basslines overpowered by pounding, open guitar chords never grew dull: and the ridiculous, instrument mashing finales to each and every song remained truly convincing right to the curfew. Airbourne, and this whole of this genre of hard rock and roll are just brilliant at giving you exactly what you want. You don’t want the song to end, but just as you think it will, that surely it must, the outro will go on forever and ever and then launch into another chorus, louder than all the rest of them. It’s visceral.

Photo: Jack Greeney

Closing the show, O’Keeffe shouted in a thick Aussie drawl that as long as they’re still alive and playing, rock and roll will never die. This rip-roaring show left the impression that, in that case, they might never stop. After all, there’s always room for another guitar solo. And another chorus. And another guitar solo.

9/10

Top 5: Best Sax Solos

1. Careless Whisper — George Michael

Very little needs to be said about this George Michael masterpiece — the song reached number one in twenty-five countries. Ask anyone to name “the saxophone song” and this is what they will say. The song has gone on to be covered by countless artists, and served as inspiration and material for the YouTube classic Sexy Sax Man.

2. Baker Street — Gerry Rafferty

This twice gold-certified mega-hit from Scottish songwriter Gerry Rafferty started what is known as the “Baker Street Phenomenon” — after the song’s explosive rise to popularity, there was a massive surge in saxophone sales. Saxophonist Rafael Ravenscroft, who played the iconic riff, stated that it is in fact out of tune.

3. Who Can It Be Now? — Men at Work

Better known for the Australian national anthem ‘Down Under’, Men at Work get inside the mind of a paranoid shut-in in this 80’s pop classic. Unlike the others, the saxophone in this track has a particular ‘talkative’ quality which gives the song its unique sound.

4. Let’s Stick Together — Bryan Ferry

Bryan Ferry’s take on this 12-bar-blues classic from 1962, also recorded with its alternate lyrics by Canned Heat (as ‘Let’s Work Together’) features bouncy saxophone throughout, and a toe-tapping solo.

5. Midnight City — M83

The only entry on this list from this millennium and the lead single from their sixth album, M83’s ‘Midnight City’ combines a great retro feel with a catchy — if screechy — hook, and ties it all together with some subtle sax.