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Month: May 2018

Live Review: Gang of Youths

Gang of Youths may not be a household name just yet, but coming off the back of their stunning sophomore album Go Farther in Lightness, the Australian band seems to be headed in a direction that can only lead to international stardom.

Three songs off of Go Farther… made it onto the Triple J Hottest 100, 2017 — all three were in the top 10. The entire album is a thoroughly enjoyable listen as they blend a musical style that is familiar and accessible with hard-hitting lyrics about the struggles of life, death, and that weird period of time in between.

It seems that the band had a somewhat awkward time translating this album into a live setting however, with certain bits of instrumentation (such as string ensembles) missing from the performance. Nonetheless the band covered up any holes one could nitpick out of the performance with resounding enthusiasm, whipping the crowd into a frenzy at multiple points throughout the performance.

It would be impossible to mention Gang of Youths without directing the conversation towards David Le’aupepe. Although his name doesn’t yet carry the weight of some of history’s most iconic frontmen (think Bon Scott, Joe Strummer, Freddie Mercury), Le’aupepe would strut, dance, and throw himself around the stage with a fluid bravado you would expect to see only amongst the ranks of world famous musicians. The energy he brought to the performance was sensational, and with every little action he made you could see the passion coursing through his veins.

Between and during songs Le’aupepe would frequently engage with the audience with waxing and waning levels of both aloofness and gravitas. This was a man loving every second of his job. There were many light-hearted moments such as taking a fans phone in order to take a selfie, or how he climbed into the crowd and made his way all the way to the back in order to dance with some of the fans. Many Australians had turned up in the crowd to support the band, but everyone in that audience was stood in unity, laughing, loving, and singing along to some of the best rock and roll anthems that have been written in recent years.

However the performance became more sombre at several turns. He prefaced the track ‘Persevere’ with a solemn recounting of the tracks inspiration (the death of keyboardist David Anderson’s unborn child) and how that changed his life and perception of life. At another point he reached out to those who may have been struggling with depression, mentioning how it was four years from the day he attempted to take his own life and pleading to anybody who needed to hear it that they should find somebody they trusted to talk to.

Gang of Youths write their music with a great focus on duality. Amongst all the dancing in that crowd were dark thoughts, people reaching out and clinging onto the music and the solace it brought them. From the black and white colour scheme associated with their artwork to the poppy upbeat nature of songs featuring dark lyrics the band were presenting both sides of a coin and how in life for all of us we can’t escape the bad side, but that doesn’t mean the good side has left us. That is, if you buy into what Le’aupepe sings about. At times the performance did seem cheesy, and the lyrics seemed like cliches. But when the notes rang true they resonated around the room.

With so much time spent on Le’aupepe’s antics, it is important to highlight that although he was the most standout member of the band, he by no means carried the performance. The music was extremely tight, and although other members of the band didn’t quite throw themselves around with the gusto of their frontman, they all brought a high level of energy and played off each other extremely well.

This was just the first night of the tour, but the band showed no signs of rustiness. Much like the tour, it also feels that Gang of Youth’s rise to stardom is only beginning; they are definitely a band to keep an eye on.

Live Review: TWIABP&IANLATD

The World Is A Beautiful Place and I Am No Longer Afraid to Die might just be the most long winded band name ever. It’s okay though, they commonly shorten it simply to “The World Is A Beautiful Place”. Still a bit of a mouthful? Acronymize it as TWIABP.

The six-piece hailing from Willimantic, Connecticut took the stage at Rebellion last Thursday. If you are unfamiliar with their music, they fit right into the same indie/emo niche that bands such as American counterparts At the Drive-In, Explosions in the Sky, and This Will Destroy You have been championing for the last 20 years. For a British comparison, look no further than Mogwai who have been massively influential over the genre.

With so many members in the band, they naturally had a large presence up on the stage, looking over the close-knit crowd. However, this didn’t keep them from delivering a performance that was very intimate and personal. Lead vocalist David Bello, a man of great stature who on stage appeared larger than life, was having a heart-to-heart conversation with his audience song by song.

Beginning the set, he sheepishly whispered into the microphone an introduction: “Hi, we are The World Is a Beautiful Place…”, akin to a school boy who had been called up for a presentation he had done absolutely no preparation for and knew he was going to have to wing it. Bello’s gentle nature was one of his most endearing features, and a smile would light up his face whenever the crowd applauded after a song.

For most songs on the set, Bello sang with a soft croon, coaxing in the crowd, drawing the onlookers in with a soft intensity. As this intensity reached its climax, the band would explode into a sweet cacophony, guitars intertwining around a thumping rhythm section. It was now Bello would raise his voice to an impassioned wail, his high pitch rising over the wave of sound and crying out.

Although done well, so many of their songs followed this template it did become somewhat repetitive. The set was a timely length with only 14 tracks, however for some it may have become too familiar too fast. A nice change from the pattern came with keyboardist Katie Dvorak lending her voice as a smooth counterpart to Bello’s on the track ‘January 10th 2014’, naturally just before the rest of the band erupted during the climax of the song, exchanging a back and forth throughout the chorus.

The band’s set was carried by the longer and more epic pieces of music they had, however they had many fantastic shorter tracks as well. Highlights of the set were tracks ‘Marine Tigers’, ‘Fuzz Minor’, and ‘Infinite Steve’ from the bands most recent album Always Foreign which were performed back to back and flowed together beautifully with no stops or breaks between songs.

Another fantastic moment was when they performed their biggest hit, ‘Heartbeat on the Brain’ for the encore — there was an aura among the crowd of expectancy waiting for the band to break ‘Heartbeat’ out and this made it feel like a perfect natural conclusion to the night.

Lyrically speaking, the bands music has a tendency to be drawn towards soft and emotional topics, ranging from mental health to current affairs. Bello was greeted with a cheer from the crowd as he mentioned the band’s dislike of Donald Trump, which guitarist Tyler Bussey followed up by pointing out this was despite the band were all republicans, bringing a chuckle out of the crowd. These moments of brevity were appreciated throughout the set as contrast to the angsty and deliberate music the band performed.

After the gig was through, I made my way to the front and had a small talk with Bussey, who was extremely kind and genuinely grateful to everyone who had come that night. He asked the names of me and my friend, shook our hands, then passed me a setlist. I was a little bit starstruck but he was extremely open and disarming. Then I shared a few words with Busso as well, who seemed tired from the intensity of the performance but still beaming with happiness. This encounter only furthered my admiration of the band, because at the end of the day this is music at its roots, part of what makes Manchester’s music scene the best in the world.

Album review: Arctic Monkeys – Tranquility Base Hotel and Casino

This album is Arctic Monkeys as we’ve never seen them before… but, when has Alex Turner ever played by the rules?

He’s taken us all to space on a rocket fuelled by dream sequence lyricism and the element of surprise, and it’s going to be hard to come back down.

Concerned with isolation, technology and fame, Tranquility Base Hotel and Casino invites us into Turner’s mind, hopping and skipping through one fantastical reality to the next, and begging us to come along for the ride.

Turner has defied expectations yet again by creating a Bowie-esque space narrative. It’s certainly not another album of singles you can press shuffle on and learn the words in time for a dirty indie night down your local northern club. It’s also not an album of ‘alreets’ and ‘darlings’ in that seductive Sheffield drawl — it’s bouncy, dreamy and seems a natural stepping stone in Turner’s creative aesthetic, after the success of The Last Shadow Puppets’ Everything You’ve Come to Expect and the 50s brill cream stint of AM. 

‘Star Treatment’ tip-toes us into the recesses of Turner’s musical flare: “I just wanted to be one of The Strokes, now look at the mess you made me make” Turner croons in the opening lines, as he holds the door open for the listener. “Who you gonna call? The Martini Police” might be one of Turner’s best lyrics in my opinion, as he reflects on a former self. “Maybe I was a little too wild in the 70s” — we always knew he was a time traveller.

‘One Point Perspective’ and ‘American Sports’ further deepen (or confuse?) Turner’s ‘train of thought’, whilst the title track lays out his creative space. The rest of the band dabble in dreamy keyboards and softer drum beats for Matt Helders, as his harmonies are put to the test in this challenging attempt at a 70s trip.

Don’t feel too alienated from previous Monkeys material, however: ‘Four Out Of Five’ reimagines that familiar Turner drawl that captured us all in the first place, whilst closing track ‘The Ultracheese’ is the closest to a traditional Monkeys ballad we get to on this record.

‘Science Fiction’ and ‘Batphone’ take an interesting stab at technology, and it is clear to see the popular culture which influenced Turner during the writing process. He flirts with God ‘on video call’ and science fiction films dominate: ‘What do you mean you’ve never seen Blade Runner?’

This is where Arctic Monkeys divide people with a concept album. The theme of space and technology may be too much for some who prefer the Sheffield brawls or even the brazen rock’n’roll of the fifth record.

Pack your bags kids, Alex Turner, starman, has returned to Earth and invited us to listen to his tales. And what a privilege.

10/10

Live Review: Noel Gallagher’s High Flying Birds

The 4th of May, 2018, Manchester Arena.

It’s always funny at Noel Gallagher gigs, to watch the reactions of first-time youngsters who listened to their dad’s Definitely Maybe CD in the car growing up or the veterans who’ve aged in Oasis eras and cling to the old days with sideburns and an ‘ard aesthetic.

There’s something about Noel which makes people just stop and listen in awe. Whether that’s his legacy, his songwriting or understated brilliance is hard to say, and specific to the individual. When he came out at Manchester Arena to adoring supporters to ease them into polished but experimental new material, it was clear no-one has given up on Noel just yet.

“I normally talk about football teams here, but I don’t have to do that now”, smirked Noel, referring to City’s recent crowning as Premier League champions, which riled up fans who seem to worship the ground he walks on until he implies their beloved city is blue.

Acoustic segments diversified the performance from seemingly ‘out there’ Who Built The Moon? tracks, which appeared to be met with a nodding appreciation but offered no bite. ‘If I Had A Gun…’ served up gorgeous vocals and easy listening, whilst ‘Dream On’, ‘Little By Little’, and ‘The Importance Of Being Idle’ planted the show in earthy Oasis ground.

‘Dead In The Water’ – regularly acclaimed by critics as the ‘Oasis b-side’ track to the new album – was clearly a moment lots had been waiting for, as its melancholy tone wavered out into the masses and Noel triggered an emotional response.

None were quite as emotional, however, as ‘Half The World Away’, which tangibly stepped up the energy and nostalgia in the space. Besides inevitably triggering a mental picture of The Royle Family sat on that scummy sofa watching the box to the sound of that track, the song meant a lot to Mancunians that night.

Whilst ‘AKA… What A Life’ proved a powerful closing track, roaring with momentum and hard-hitting beats, the encore was where the magic really happened. ‘The Right Stuff’ was sung by Noel’s backing singer, and she sonically astonished as she ripped through the strange track, in true Pink Floyd-esque wild magnificence.

‘Go Let It Out’ was an unusual but surprisingly infectious Oasis cover choice, and before a concluding rendition of ‘All You Need Is Love’, Noel couldn’t leave Manchester without ‘Don’t Look Back In Anger’ touching hearts. Approaching the year anniversary of the Manchester Arena attack, that song was more poignant than ever, and left the Arena brimming with cultural pride.

8/10

Review: Mallory Knox

The 23rd of April, 2018, The Rebellion.

There was a lot of speculation surrounding the departure of frontman and main singer Mikey Chapman in February this year.

The announcement of the tour without the singer was one that raised a lot of expectations and obviously changed the dynamics of the band, and the fans too. You could see obviously that those who attended the intimate gig were there for their genuine love of the band’s music, and not just because they were in love with the now ex-singer.

Yet, these questions and worries were quickly squashed as soon as the band came out onto the stage. Sam, who still plays the guitar and has taken up the role of the front man, steps up to the front of the stage with an immediate feeling of confidence and cool.

Mallory Knox played various tracks from days of old and new. ‘Sugar’, ‘Wake Up’, and ‘Lighthouse’. It was blatant that the tracks which had got them to where they are today were going to sound different, the band were more than successful in keeping a similar tone to old work, but with new and exciting developments. Mallory Knox put on a show with such power and force that was intensified more than any other time I had seen them perform previously.

Mallory Knox 2.0 also showcased their new work too. Starting with ‘Live Wire’, which was brand spanking new, as well as finishing off the night with the first track they released as their updated arrangement, ‘Black Holes’.

The group have become a stronger force to be reckoned with. It feels like their love and passion for music has been magnified, and this is reflected in their energetic performance as well as the strong quality of music that they have been releasing and will continue to in the future.

8/10

Review: Horse Meat Disco’s Spring Fling!

Horse Meat Disco – 27th April 2018 @ Gorilla.

Horse Meat Disco (originally named from a newspaper headline “Horse Meat Discovery in Salami”) came back to Manchester once again to fix every disco, funk, and house music need. As always, the night was brimming as the crowds began to pour into the venue, and out of the pouring rain.

The queue was slightly too long, but it didn’t make a huge difference as the piles of waiting attendees were eagerly and excitingly waiting to get into the vibrant event.

The Spring Fling event, which originated in London, is making its way into its 16th year, just going to show that Horse Meat Disco has managed to perfect an amazing event that is practically timeless.

Not only has Horse Meat Disco successfully conquered London and Manchester, it is set to go on and have a very busy festival season in the upcoming months too.

 

Inner City Electronic (2nd June) – UK

Glitterbox (8th June/6th July) – Ibiza

Love International (27th June) – Croatia

Soundwave Festival (26th July) – Croatia

Houghton Festival (9th August) – UK

Lost Village (23rd August) – UK

 

Horse Meat Disco is gloriously branded as the queer festival for all, often filled with glitter, colours and celebrates all things fabulous, which is why it is so perfectly matched with a US mini stop tour in the US, in New York, Chicago and San Fran! The touring show is no doubt going to create such a euphoric atmosphere at the festivals they’re attending you’d be a fool to miss out!

But if these are just a little too far from home, Horse Meat Disco is holding a “Start Of Summer” event in Gorilla on the 8th June, and tickets are available now! But be quick before they sell out!

 

Tickets are available here.

Want to try before you buy? Listen to their Sound Cloud here:

Government pledges to protect free speech on campus

New guidelines are being proposed to prevent universities from  ‘no-platforming’ controversial speakers.

University Minister, Sam Gyimah met with university students and leaders on the 3rd of May 2018, to establish a set of regulations that protect free speech and open debate on university campuses.

The meeting was described as a “‘free speech summit”.

Mr Gyimah sai: “‘A society in which people feel they have a legitimate right to stop someone expressing their views on campus simply because they are unfashionable or unpopular is rather chilling.

“There is a risk that overzealous interpretation of a dizzying variety of rules is acting as a brake on legal free speech on campus’.

Some societies have been accused of ‘”institutional hostility” to what are unpopular but perfectly lawful views.

The Chairman for the Office of Students, Sir Michael Barber commented “challenging” ideas had a right to be heard and continued: “our universities are places where free speech should always be promoted and fostered.”

Speakers have been warned about being blocked by “no platforming” — when students refuse to offer a platform for speakers when their views are too offensive.

An investigation carried out by Parliaments Joint Committee on Human Rights found that red tape and confusion over what is permissible was the wider problem.

Harriet Harman, who chairs the committee commented “University bureaucracy” and fear of controversy was stifling debate.

Mr Gyimah has emphasised that a culture of censorship is not acceptable.

Clearer rules over the boundaries of debate and protest need establishing across all universities ‘to prevent bureaucrats or wreckers on campus from exploiting gaps for their own ends’.

Current rules on free speech are complex and allow the blocking of unfashionable views, which he blames the rise of safe spaces and no-platform policies for.

This intervention on free speech is being claimed as the largest intervention by ministers for more than 30 years. It marks the first new set of guidelines since the introduction of the free speech duty in 1986.

However, it has been claimed by Alistair Jarvis, Chief Executive of Universities UK that such confrontation is “good for politicians” and the parliamentary committee found that no problem with free speech at universities.

Thousands of events and speakers on campus occur every year and pass without a problem. Only a small number of events on divisive issues which are widely shared have caused an issue. For example, the recent fracas at an event Conservative Brexiteer Jacob Rees-Mogg was speaking at.

New powers to publicly shame and fine institutions for failing to uphold principles of free speech will be given to the Office of Students which came into force on April 1st.

Gyimah’s announcement was rather timely in regard to UoM as Former Tory Chancellor George Osborne visited recently, where he was making a speech on “what makes a country strong” at Whitworth Hall. He was met with protesters blasting Lily Allen’s ‘Fxck You’ song at high volume and placards, banners, posters, megaphones and drums calling for him to leave.

Mr Osborne was appointed Honorary Professor of Economics at UoM last year but received a mixed reaction among students.

 

Live Review: Drenge

The 2nd of May, 2018, Gorilla. 

It is the fifth night of Drenge’s ‘Grand Reopening’ tour — their first in 3 years — and the audience at their long sold-out show at Gorilla is full of expectation.

There are wild cheers as the band struts out in matching navy boiler suits and Eoin Loveless proclaims “it is good to be back in Manchester”, beating his chest like a gorilla. Drummer Rory Loveless ceremoniously cuts a red ribbon that crosses the stage under a banner that reads ‘Drenge present the grand reopening’. The band pre-empts the chaos to come: “play fair, look after each other”, before launching into unreleased song ‘Bonfire’.

The Loveless brothers started Drenge as a duo with the addition of Rob Graham for their 2015 album Undertow. With yet another new member, the now-quartet sounds formidable and tracks from their self-titled first album have a new depth and power. “Have you all warmed up and done your stretches?” quips Eoin, leading an impromptu group stretch before military- style drums signal the start of ‘Dogmeat’.

Other songs from their first album include ‘Bloodsports’ and ‘Nothing’, with its unrelenting grunge riffs and gory lyrics filling the venue. The mosh gets progressively more violent throughout the set, culminating in a frantic circle pit more than half the size of Gorilla during ‘We Can Do What We Want’ as Loveless half-sings, half shouts “no-one tells us when to stop, no-one takes account, and no-one steps in or has the guts to call us up.”

The band pauses the set to give the crowd a deserved break and to sing happy birthday to a boiler-suited crew member, presenting him with a candle-clad caterpillar cake. It is undeniably ‘Drenge- style’, accompanied by coarse bass. This is followed by new song ‘This Dance’, which is slightly less dark and heavy than tracks from their previous records, with spiralling guitar layered over brutal basslines but still mosh-worthy.

The venue is unbearably hot and sweaty, but there is the occasional relief when Drenge plays slower songs. “I’m sitting down and I’m hot but we’re going to play ‘Standing in the Cold’”, jokes Rory. The audience claps and sings along enthusiastically and the track evolves into a bluesy yet hammering guitar solo.

Eoin also performs ‘Fuckabout’ which is evidently a fan favourite as he doesn’t have to sing a word himself. Despite it being a slow, acoustic song, several members of the audience still see it as an opportunity to crowd surf.

The set closes with ‘Running Wild’, as Gorilla pounds with noise and transcends into a realm of untamed mania. Drenge leave the stage, hot but triumphant, and in full knowledge that for their fans those 3 long years were well worth the wait.

8/10

Interview: Professor Dame Nancy Rothwell

It’s been a turbulent time for the university sector, and not least the University of Manchester.

We’ve had staff strikes over pay and pensions, rows over Vice Chancellor pay and expenses, and the looming and ominous uncertainty of Brexit hanging over it all.

Which is why it was such an opportune time to talk to our President and Vice Chancellor, Nancy Rothwell.

To some, she appears somewhat elusive, a figure only referenced in the height of controversy or merit.  However, in recent months, she’s been in the limelight more than ever, something that is probably starting to get somewhat tiresome.

But I relished the opportunity to discuss the pressing issues of the day with her — and I definitely wasn’t short of questions.

We settled down in her office overlooking the Quad, sunlight streaming in, and I got straight to the point: pension strikes. It would be hard, I said, to do the interview and not talk about the unprecedented industrial action that stemmed from a decision by Universities UK to change lecturers’ (and other university staff) pensions from defined benefit, to defined contribution. This essentially would have meant, where in the past they’ve had a concrete sum of money that they would received when they retire, their money would be invested at the discretion of the pension provider, and they could end up with less than they put in.

I asked her how she personally felt about it and how she believed we should reduce the pension deficit. She told me that the situation was “very worrying”, and that she was very concerned at the prospect of staff losing “something very important to them”.

She continued to tell me that she didn’t know how the issue could be resolved in the long run as the deficit is huge, and economic gap like that “can’t come without consequences”. She admitted, though, that bigger institutions like Manchester are better equipped to deal with the shortfalls.

She confirmed too that the new deal that the University and Colleges Union have agreed to, includes the stipulation that the original proposal is “off the table”, although that does not mean a complete turnaround from the use of defined contributions when it comes to lecturers pensions: “I don’t think anybody can say for certain that there won’t be some move because there already has been — it might just be not affordable”.

But, as we all know, it’s not just the lecturers who were affected. Students were dragged into the row through the loss of countless contact hours and dissertation supervision over February and March.

I asked Dame Rothwell, in light of the recent calls for compensation (mainly in the form of remuneration), what is she, along with the rest of University, doing to help the affected students?

She firstly explained that she’s asked staff “where they feel able to and willing, to replace lost teaching”, but that this isn’t something the University is enforcing as a rule as they believe it would be “unfair”.

She alluded to a possibility of “whether or not there needs to be an adjustment to the way exams are marked”, but in an open meeting for the School of Social Sciences with herself and other senior staff members at the University, Professor Clive Agnew (Vice-President for Teaching, Learning) dismissed the idea, saying he didn’t want to devalue the degrees achieved this year, so there is still some uncertainty surrounding this.

When it came to the question of compensation however, she seemed unconvinced that this would be a viable option in the short term, as, in her words, “students across the University have been affected in very, very different ways”.

I then posited the argument (first brought up in the annual SALC open meeting by Jacqueline Skiptunis, and reiterated in a tweet to The Mancunion from an MA human rights student called Josh) that courses aren’t costed in this kind of nuanced manner – students are asked to pay a blanket fee, regardless of how many contact hours they will receive. So why should their compensation for lost teaching time be any different?

Her answer centred on the idea that compensation would depend on “a set of principles” — does one ‘unfairly’ give one student who only lost three hours of teaching the same amount of money as one who’s lost 30? Principles needed to be decided upon she said, not detail.

However, this seemed to slightly miss the point — and evade the question. Especially given that some detail is already being discussed, one option being covering graduation costs. She wasn’t sure about whether or not they’d go for it though, and apparently nothing’s been agreed as of yet.

I also mentioned that legal firms have started approaching students and telling them that they have a case to sue the university over lost teaching time. Many students were outraged at Clive Agnew’s statement in the Social Sciences open meeting that all the University of Manchester was contracted and required to deliver was a degree, as some took that to mean that their education wasn’t something they were entitled to in his eyes.

This has led some to lean towards the idea of legal action, and the MEN have reported recently that over 90 students have joined some a group legal action, but Nancy Rothwell issued a stark warning to those who would pursue it: “I would really really hope we don’t get to the position of legal disputes because lots of people lose out in legal disputes even the ones who win the case possibly”.

We then moved on to the ongoing Campus Masterplan – in essence the move from North Campus to Oxford Road (mostly, anyway). Dame Rothwell told me it’s set to be finished in 2021, and that’ll include projects such as the new Business School which is close to being finished.

However, there isn’t going to be a complete shift from North Campus. Whilst none of the remaining buildings near Sackville Street and Upper Brook Street will be “student-facing”, there will be some incredible new research facilities such as the Graphene Engineering and Innovation Centre.

What this does mean though is that “there will be a very large piece of free hold land that the University owns” and, at the moment, there hasn’t been a concrete decision as to what shape that will take, and what it will be used for.

One idea is to turn it into an “innovation district”, somewhere that would encourage new and hip start ups to set up shop and provide employment opportunities for graduates.

Some have previously said that the move was pointless, but Rothwell was adamant that students should all be engaging with things like the Students’ Union and using the Learning Commons, and the best way of doing that was making them more local to those students.

Some projects have been halted though such as Coupland 3, which was a “big redevelopment in arts”. Apparently since Brexit, funding has been uncertain, so prioritisations had to be made, and they seemingly favoured more science-focused projects.

I asked her then about Brexit’s wider impact on universities, and she tole me that “it’s hard to say for sure what will be the biggest impacts of Brexit because there’s still so many unknowns” but that obviously, as mentioned before finance and access to grants is definitely an issue.

She said though that she’s in continuous conversations with ministers and civil servants, expressing her concerns, and that she wants to ensure European students that the University of Manchester is welcoming of them and “open for business” — channelling our Prime Minister a little bit there!

Funding is of course an issue, but it’s not the only hot topic in finances that has been gracing our headlines in recent months. After Bath’s former Vice Chencellor’s enormous pay packet was exposed, conversations were starting to be had about whether or not Vice Chancellor pay was fair and just.

Then, to top it all off, Channel Four launched a huge investigation into Vice Chancellor expenses, and some cases seemed even more ridiculous than the MP expenses scandal of years gone by — one Vice Chancellor in particular expensed a flight from Australia to the UK… for his pet dog. Ludicrous.

I then asked her if there should be regulation on pay and expenses. She told me: “regulation is difficult because universities are autonomous, independent organisations” but that there are new guideline that are due to be published imminently.

She was clear that the most important thing that should (and hopefully will) come from it is “absolute transparency… making sure vice chancellors have no role in their own salary… and that expenses are appropriate”.

The University of Manchester however has set up a separate committee that discusses Rothwell’s pay that she doesn’t sit on.

Now, Nancy’s salary might be high, but she seems to be somewhat of an anomaly when it comes to women in high paid jobs at the University of Manchester. Women at the university of Manchester are paid thirteen percent less than men on average, which is higher than the national average of just under ten per cent. Women make up 39.4% of high paid jobs and 60% of lower paid jobs. So I asked her: what are you and the rest of the university doing to close this gap?

According to her, “we have been doing numerous things for a long time and it is getting smalled but there’s still a gap to close”. That includes mentoring women who seem as though they’re ready for a promotion as, in her words: “we found from doing an internal study is that men were, on average (and you have to be careful about generalisations), more likely to come forward for a promotion, and women tended not to put themselves forward”.

So why does she think women don’t want to come forward for a promotion? Well, she said based on research done internally at the university, “women are less confident in promoting themselves”.

She said that “I was asked if I would apply to be Vice Chancellor, and I said no, and the reason I said no was because I thought it was a job that I couldn’t do.

“And then I read I book, which is a very good book which is called Beyond the Boys Club, and it was from a senior female coach, and it said that men have a tendency — not all men — to look at a job and think ‘I can do some of that, so I’ll go for it’. Women have a tendency to have a look at the job and think ‘I can’t do some of that so I won’t go for it’”.

Her belief, then, is that more women need to be encouraged to think of themselves in a more positive light professionally.

And she said she certainly hopes it’s encouraging that we have a female Vice Chancellor, at the very least.

I finished by asking her about her biggest challenges and highlights in her role, given it’s coming up to her eight year anniversary as President and Vice Chancellor. She mentioned the Manchester bombing and deaths of students that she solemnly described as being “pretty bad”. She also said the day after the EU referendum was “not a good day” for her.

Highlights included the Nobel prize ceremony in Stockholm in 2010 when Manchester scientists Professor Andre Geim and Professor Konstantin Novoselov won the prize for their discovery of graphene, and all graduations.

Although, this year’s graduation may not be as sweet if the students’ robes are coming out of the university’s pockets…

Live Review: DMA’S

These tracksuit and cap-clad Sydney boys could have easily convinced you this was their home gig. They strode onto the stage to a sea of bucket hats and feverish anticipation, opening the Academy with a passionate rendition of their second EP ‘Feels like 37’. Their fans erupted into a leaping mob, creating a wall of forceful energy the band easily matched, with a set steeped in a boyish intensity of spirit.

They launched into their new music with ‘For Now’, the powerful opener and title track of their latest album, which was met with a similar full-throated appreciation as the band’s classics. Tinged with indie-rock and punk, DMA’S embody the UK’s Britpop era, evoking a sense of nostalgia and a longing for a scene kept alive by the band’s, surprisingly multi-generational fans, who were united in an undeniably British, and somewhat violent, appreciation of the mosh-pit. With the release of this second album, offering more of a similar ilk, DMA’S are proving they have sticking power, leaving plenty of space within which to evolve and integrate fully into the UK music scene.

‘Delete’ offered a slight acoustic calm amidst the tumult. The crowed lulled, flooded with the light of a single spotlight, highlighting lead singer Tommy O’Dell and the band’s soft, oddly delicate voices; they were powerful in their ability to create momentary quiet in a room of chaos. This pause acted as a reminder of the introspective, simple yet, insightful lyricism which underpins such a forceful stage presence, lifting this band from simply being a replica of its predecessors.

Inevitably this moment of stillness was broken as the band soared from anthem to anthem, from full-throttle ‘Timeless’ to the  grief-filled and honest ‘Step up the Morphine’, which almost broke my heart.

The set-list was punctured with new material, such as the catchy and upbeat beauty that is ‘Time and Money’, proving this band are here with force and here to stay and closing with ‘Emily Whyte’, the last track off their new album. Drawing the pre-encore gig to a close with one of their newest and most lyrical tracks exemplifies DMA’S’ fearless ability to wear their hearts on their sleeve, crafting painfully honest lyrics, amongst souring and powerful melody. With this they left the crowd chanting at their feet before strolling back on stage for a three-song-strong encore, as if their set hadn’t packed enough of a punch.

With ever-increasing intensity the room was filled once again with an ecstatic bedlam. The smoke of a flare from the middle of the crowd encompassed the band as the they surged into their final song, ‘Lay Down’ – the ultimate indie-rock anthem, evoking British festival season at its best and celebrated as such in one final and joyous mosh.

As the crowd filed out the side exit they left the space which, just for a few hours, had been given up to a britpop revival, forcefully revelled in. Yet it has to be said, the band’s slower songs, were, in part, lost amongst the sweat of bare backs and beer-soaked polyester. However, they didn’t disappoint when it came to content, pouring their energy into a packed setlist which left little room for filler, surging from song to song.

There’s not many bands with the power to maintain those kind of energy levels throughout and it’s this which means they will lose little traction on the UK leg of their tour. Ultimately this is a band for the generation who missed out on britpop and for those who remember it and want to revel in nostalgia and sweat once again.

8/10

Review: Little Women

The University of Manchester Musical Theatre Society’s latest performance Little Women, with book by Allan Knee, music by Jason Howland and lyrics by Mindi Dickstein, played at the Partisan Collective in Manchester’s city centre. Directed by Annie Williams, the show features countless beautiful songs and tremendous performances from each member of the cast as the lives of the four March sisters; Jo (Freya Parry), Beth (Helena Stanway), Meg (Jess Adams) and Amy (Carol-Ann McConnellogue), unravel before the audience.

Despite being performed in the basement of the venue, the creative team did a lovely job of giving the set a homely feel. The use of a sofa, steps, a desk and a window with curtains showed how the team were dedicated to putting their all into bringing the March house to life. Furthermore, Williams did tremendously well in displaying the relationships between the characters and making use of the whole stage throughout the show.

Each member of the cast was perfectly selected. They all gave excellent performances and every vocal performance was strong. I must give a special recognition to Freya Parry for her phenomenal work as Jo. I was truly mesmerised by her solo numbers, her acting ability, and her outstanding voice was breathtaking. Her performance of ‘Astonishing’ concluded the first act, and the whole audience were left wide eyed and with chills. You could have convinced me I was watching a Broadway performance.

Additionally, Morgan Meredith gave a beautiful performance as the March Mother: Marmee. She delivered the role with warmth and comedy and despite being a similar age to the girls playing her daughters, she gave a convincing performance as a mother, missing her husband, who fights in the civil war, whilst wanting everything for her daughters. Her solos, ‘Here Alone’, and ‘Days of Plenty’ were breathtakingly outstanding, having the majority of the audience in tears.

Furthermore, Stanway gave a beautiful performance as the sweet hearted Beth, and had the whole audience fall in love with her skill. Adams gave a marvellous performance, showcasing her stunning voice and delivering humour and grace. McConnellogue gave a convincing performance as the youngest sister, full of life and trying to live up to her older sisters.

Matthew Quinn (Laurie), George Haviland (Professor Bhaer), Tom Bass (John), James Ward-Mallinson (Mr Laurence), Anna Toogood (Aunt March), and Clarisse Martin (Mrs Kirk), all gave funny and endearing performances in their respected roles to round up a talented cast.

Additionally, the choreography of the show was well constructed, particularly in ‘Could You?’ and ‘Five Forever’, but also in the subtle movements such as the synchronised stepping and use of an umbrella in ‘Small Umbrella in the Rain’.

If I have to give a criticism I would comment the tech could have been tighter. A few of the light transitions were not smooth and there were a few problems with sound cues; Beth goes to play the piano and a pianist is supposed to play in sync with her, however they missed their cue. Nevertheless, the team’s ability to improvise around this was splendid.

The musical gave us countless beautiful songs, romance, heartache, pain and happiness, exploring all the emotions that can be felt in two and a half hours. A real well done to the whole team!

Shock over anti-semitic comments in UoM Physics group chat

Students at the University of Manchester are deeply outraged at anti-semitic messages found in an academic Facebook group chat.

Screen shots of a first year University of Manchester student sending deeply anti-semitic messages to a year-wide Physics group chat have been obtained by The Mancunion. The comments were sent to a group of over 200 fellow first year students, and appeared to suggest that “6 million Jews ain’t enough”.screenshot1

The comments appeared to stem from a question posted by another user, asking “Would you rather: Become an engineer [or] Become a Neo-Nazi”. Another student responded “Pfft why you asking that? Tis an easy question. Now brb while I make some lebensraum”, referring to the Nazi policy of developing ‘living space’ for Germans in the 1920s

Another student replied “I would rather die tbh”, to which he was told “Don’t be a jew”.

The most shocking comments followed this conversation, with one student writing “6 million is not enough”. The same student then continued, writing “6 million Jews ain’t enough”. The number six million refers to the number of Jews believed to have died during the Holocaust.

A challenge was made by another student who asked “Could you stop with the Nazism maybe now?”. She as told to “Calm the fuck down”, followed by the comment “literal triggering”.screenshot3

A fellow first year Physics student took screenshots of the conversation and reported the conversation to the university. They received a reply from their head of year stating that the comments were “clearly unacceptable, and completely against the values of the School” and asking for more information so the situation could be dealt with.

Fellow students called the incident “shocking” and “awful”. It comes after Exeter University was forced to investigate a racist WhatsApp conversation in a law society chat last month. Two men were arrested.

screenshot4Manchester University’s Jewish Society issued a statement condemning the criticism of the student who attempted to halt the conversation, writing: “The Jewish Society is deeply concerned by this incidence of overt and shameless anti-Semitism in a public forum.

“At a time when attacks against Jewish students are on a nationwide uptick, it is shocking that students who have attempted to call out anti-Semitism have faced ridicule. It is blatantly unacceptable for fellow students to tell someone to ‘calm the f**k down’ after being told ‘6 million Jews ain’t enough’.

“We expect a robust and transparent investigation into this incident from the relevant faculty, who we call on to denounce this incident in the strongest possible terms. It is incumbent of all members of the student body to tackle anti-Semitism wherever it arises”.

A university spokesperson told The Mancunion: “The University is a welcoming environment and we will not tolerate any form of discrimination or harassment. Allegations of this nature are thoroughly investigated and if appropriate, disciplinary action will be taken.”

Interview: DMA’S’ Tommy O’Dell

Everybody should have heard of DMA’S by now, the alternative rock trio from Sydney. They are rapidly gaining popularity at home and here in the UK with their guitar-heavy bangers and more tranquil tunes. Their latest single releases have offered a diverse array of sounds which have had fans buzzing, with ‘Break Me’ being as rowdy a track as ever for the boys. ‘In The Air’ provides a more mellow approach, which is the slightly more predominant vibe on their latest album, For Now, than it was on their previous release, Hills End.

One thing which remains consistent throughout DMA’S’ tracks are the melodic and engrossing tones of the singer, Tommy O’Dell. With their second album For Now released 27th April, I chatted with Tommy about the album, their tour and festivals, what is next for DMA’S and Chinese food…

Your new album, For Now, is out this Friday [27th April]. It’s sounding brilliant so far, how would you describe it yourself?

Maybe just a little bit more polished than Hills End. There’s more of an emphasis on production, less layering of guitars bit more minimal. Definitely, the vocals are pushed further upfront than the last record. So kind of maybe a bit more pop-y and less garage-y.

I think that’s the vibes we’re getting. What are your favourite tracks on the album?

I like ‘Time & Money’. We wrote that song throughout sound-checking early on in the Hills End tour. Then when we got back to Sydney and we had some time, we kind of refined it, kept the original demo drum beat and just re-recorded from there. I don’t know, something about that tune just strikes a nerve with me more than the others I guess.

Your UK tour starts this Friday [27th April] in Nottingham and you’re heading here to Manchester on Saturday [28th April]. Are you excited to be back in the UK?

Yeah, last time we were here I think it was like November with The Kooks, so it’s good to be back and doing our own shows and kind of just seeing how the record gets received when we play it live.

Your new album’s perhaps a little more mellow than Hills End, how do you think that that will impact the atmosphere at gigs, would make it a little different?

Yeah, it may do. I feel like when we have jams, the new songs in the rehearsal room take on a bit of a rockier edge than what the record does. Hopefully, there’s not too much of a disparity sonically between the tunes. Johnny [DMA’S’ guitarist]’s going to be playing the synth in some of the tunes this tour. So definitely a slight mood change, but if we write the set list in the right way then I think it should kind of work for our benefit.

What tracks can we expect this time on tour?

Probably like just under half new songs and then the rest old ones. We’re playing ‘Do I Need You Now?’, ‘Time & Money’, ‘Dawning’, ‘In The Air’, ‘Warsaw’, ‘For Now’, ‘Break Me’, so we’re playing a fair few, to be honest. It’d just feel weird coming out on a new tour [after having toured Hills End for a long time] if we didn’t come out and give the new songs a go. Hopefully, people don’t get the shit and want to hear old songs, but we’ll try to mix it up [laughs].

So you’re playing a number of festivals in the north over the next few months, [Reading &] Leeds Festival Radio 1 Stage – congrats for getting so high up the bill there – Neighbourhood Weekender, and you’re headlining Liverpool Sound City festival this following weekend [5th May].

Yeah, that should be good, I have some family from Liverpool so it’s nice to go back and play there and hopefully go watch my football team play, cause I think we’re playing on the Saturday and they’re playing on the Saturday too. Yeah, it’s all exciting, Neighbourhood Weekender has got quite a good bill. So it should be good. We love playing festivals, you kind of have to keep it short and sharp and energetic which is always good. Yeah, we’re all excited.

With that many northern festivals, you really are making an impression in the north. Having a look at all the upcoming shows [on tour], all of the ones that have sold out so far are in the north, I think that says something.

[Laughs] Yeah, I guess our sound has just resonated with some other Northern bands, you know, that kind of music.

Speaking of which you’re also supporting Liam Gallagher at Finsbury Park in June. What do you guys make of your frequent comparisons to Oasis? Do you agree with it?

Yeah, I agree with it definitely. When people say that’s our only influence I guess I don’t agree with that, but we’re definitely influenced by Oasis and a lot of those bands. I think it’s a good thing to be honest and to be supporting Liam Gallagher at Finsbury Park is mega, so yeah, I think it’s a positive thing for sure.

So where’s next for DMA’S? Are you guys keen to ‘break America’ as they say?

I don’t know, I haven’t really thought about it, to be honest. Just tour this record, see how it goes, hopefully, come back towards the end of the year and do another headline tour, play bigger venues, continue to write music on the road. Just keep plodding along, I think.

With the album being called For Now, are you suggesting that we might have to wait a little longer for new music?

[Laughs] No! No, it’s funny you say that, nah. For Now is just… when we first demoed the song ‘For Now’, we hadn’t – [laughs] – we hadn’t finished it, so we thought we’d just call it ‘For Now’ and that name stuck as a song title. Then I thought to hang on a minute, For Now, is actually a pretty cool record name. So we just had a few different ideas floating around and I think For Now was the coolest out of the bunch. But no, it doesn’t have any weird meaning [laughs].

I know you guys kind of have some interesting song-writing tactics, I saw that Johnny tweeted a little while back that when you were writing –

What’s he up to tweeting?

Well I actually, just yesterday, saw him [on Twitter] excited to be watching The Jeremy Kyle Show.

[Laughs] Oh yeah, he’s got his own persona online, hey I don’t know. I don’t know what he’s up to, I can’t keep track.

He was saying that when you guys wrote ‘Melbourne’ [on Hills End], the line ‘I will give you what you need’ was originally something like ‘I will always eat Chinese’?

Yeah no, that’s not true. Mind you we did turn that chorus into [sings] ‘and I will always eat Chinese’ in sound check as a laugh. But no, we didn’t originally write it like that. Well, I hope we didn’t anyway, pretty sure we didn’t. I do like Chinese food though, we all do.

Don’t we all? Well really good luck with the tour.

Thank you!

For Now is out now. Catch DMA’S on tour in numerous UK cities this April and May.

Review: God of War

This year has seen a number of important reboots for long-standing but ailing franchises: Activision’s Call of Duty, Ubisoft’s Far Cry and Assassin’s Creed. The world of games journalism has generally received these rejuvenations in uniform, lauding such titles with high review scores but damning by faint praise in terms of feedback.

April 2018 saw another long-standing franchise return: God of War. This time, however, the industry has responded with nothing but the highest praise and, having spent almost a week with the game, I have to admit that the hype is fully justified.

For long-standing God of War fans, the departure of the latest instalment from its predecessors is dramatic. Sony Santa Monica have made wholesale changes, refocusing the franchise to exist as part of the Nordic mythological canon, adapting the camera to a more on-trend over the shoulder position, and revamping Kratos’ biographical premise to install the mortal vulnerabilities of parenthood. Early in the game, Atreus, Kratos’ son, asks, in a innocent but no doubt metanarrative way, what the implications of the events unfurled in the prologue are, to which Kratos replies, “everything is different, boy. Try not to dwell on it.”

And things are different. Where Kratos was once a figure at war in a mythological ideology that his level of violence was generally in keeping with, he now finds himself at the distinctly human end of a story in which violence becomes a means of catharsis. Indeed, much of God of War, for all its bloodshed, is essentially about expunging ugliness from beauty. Whether this involves ridding the Elven realm of Alfheim from the tumor-like growths that block your path, clearing the black breath that hangs over The Mountain, or simply destroying the many sinewy weeds that permeate the game, you soon come to realise that Kratos’ catharsis is about more than clearing the way for progress on the surface, but an inward journey of spiritual redemption.

Much of the narrative focuses on Kratos’ relationship with his son following the death of his wife. As the story progresses, Kratos’ own brand of gruff, tough-loving fatherhood is constantly challenged by the respective needs of the still grieving pair and Kratos’ own inability to express emotion outside of the physical. As time goes on, a genuine and really quite heart-warming tenderness grows inside Kratos, but the writers do an excellent job of spreading this out across the full course of the game and plausibly pacing his personal development in accordance with the rest of the game.

photo:SonySantaMonica

Not that Kratos has exactly gone soft. Indeed, many of the more complex and emotional scenes are supplemented by characteristically brutal and high-octane action. Whilst the narrative demands a certain level of emotion from Kratos, rage, revenge and brutality are still very much a tool in Kratos’ arsenal which he, and developers Sony Santa Monica, use to full effect.

The combat system, at the most rudimentary level, maintains much of its hack-and-slash heritage, although varying layers of complexity and variety are built on top of this as you progress, adding magical ‘runic’ attacks, increasingly intricate combos and changing enemy tactics. Whilst attacking enemies with your primary weapon remains enduringly effective, this array of offensive options allows you to optimize your approach on a per-fight basis, and means that even the more formulaic boss fights remain enthralling.

The combat is also excellently supplemented by the way fighting sounds and feels. Every sound effect that emanates from a fight-scene is deep and powerful, working with tactile feedback on the controller to produce a meaty, emphatic experience which underlines Kratos’ physical prowess.

This mechanical and audible variety is mirrored by the aesthetic variety found in God of War’s visually outstanding world. From the monochromatic frozen Dantean hellscapes of Helheim to the colourful dappling of the forest to the giant corpse of mythological giant Thalmur, God Of War’s universe is a joy to behold. The world is huge for a game whose central narrative is essentially linear, and not always easy or intuitive to traverse, but this superlative blend of art design and intertwining with mythological detail means that every new location is as fascinating as the last.

photo:SonySantaMonica

Attention to mythological detail is a lot of what this game tick. Whilst the more personal story revolving around Kratos and his son is arguably the central thread, it is embellished and augmented by being set against a field of mythology that the developers skillfully weave in. For those unfamiliar with Nordic mythology (most of us), such tales are conveyed clearly but faithfully, and we are provided with a codex to read for some background. Cleverly, this codex is written in Atreus’ hand to maintain accessibility for the game’s broad audience.

The pacing of God of War is also masterful. Every time even an ounce of tedium started to creep in to any facet of the game – be it storytelling, combat or environmental puzzles – the development team had something up their sleeves to immediately enthrall.

On top of all of this, the game manages to maintain a sense of humour. Whilst the story is largely a serious affair, Sony Santa Monica employ Christopher Judge as an amusingly deadpan Kratos whose no-nonsense brutality and morbid gruffness is often deployed as an amusing foil to a cast of more quirky side characters who seem intent on annoying him at every turn.

My criticisms of the game are fairly minor. I occasionally felt that Atreus’ dual role of son to be protected and useful assistant in combat was contradictory. Generally, this was addressed as a nuanced aspect of the Kratos’ parenting, but I felt – particularly at the start of the game – that Atreus was too often put willingly in harm’s way to be consistent with Kratos’ protective nature throughout the main story.

The over-the-shoulder camera could also be a little troublesome. The intention, in many parts (particularly puzzles), was, I imagine, to guide the player, but it did sometimes make navigating indoor areas difficult and meant I was often battling with the right stick when I had a much more dangerous troll/ogre/God to worry about. Puzzles were also a little bit one-note, and sometimes felt like a conventional formality when compared with the rest of the game’s outstanding ambition and execution, although a couple of times the writing did fall just the wrong side of that tenuous line between heartfelt and hammy.

There aren’t too many superlatives that haven’t been used to describe God of War already, but it truly is a masterpiece. The story is both astoundingly, inspiringly epic and large-scale whilst deeply human and personal, managing to satisfy its own artistic ambitions as a personal tale whilst standing on the shoulders of the giants that act as its source material. The gameplay is varied and challenging, building on the base, visceral brutality of its franchise forebears to produce an experience with real depth, and  this depth is apparent everywhere in the game, from lore, to sound and visual design to a plethora of engaging side quests.

Perhaps the highest praise I can give God of War is that it lives up to its name. In the battle that has raged between Sony and Microsoft for more than a decade, Kratos has delivered the final blow. The war for console supremacy may have just been ended.

9.5/10

Fallowfield sees worst local election turnout in Manchester

Popular student area Fallowfield had one of the country’s lowest turnouts in yesterday’s local council elections.

17 per cent of Fallowfield turned out to vote, re-electing three Labour Councillors: Grace Fletcher-Hackwood, Zahra Alijah, and Ali-Raza Iljas.

Labour dominated the count, taking 94 of the Manchester City Council’s 96 seats. The Liberal Democrats won 2 seats, both in Didsbury West.

Labour previously held 95 seats, with the Liberal Democrats’ John Leech holding the remaining seat. The Liberal Democrats haven’t held more than one seat on the Manchester City Council since 2012.

The Liberal Democrat gain was announced late in the day, as the result was so close a recount was ordered. John Leech, who is serving his twentieth year in office, claimed the top spot on the Manchester ballot, with 2524 votes. The party’s press office announced: “Liberal Democrats secure double shock win in Manchester.”

John Leech said: “Labour poured over 120 activists, including the council leader, into our area in a bleak demonstration of their commitment to absolute control, and I couldn’t be happier and more grateful that local people placed their trust in us.”

Chorlton Ward had the highest electoral turnout: 46.3 per cent, almost 30 per cent more than the turnout in Fallowfield. Turnout in most of Manchester’s 32 wards exceeded 30 per cent.

Fallowfield’s turnout appears to be one of the lowest in the whole country. London’s lowest turnout was in Havering, where 36.8 per cent turned out to vote — more than double the turnout in Fallowfield. The lowest turnouts in the North East of England were in Chirton and Redhill, which saw 24.2 per cent turnout each.

In the 2016 Council Elections, Fallowfield drew a turnout of 24.74 per cent. This year, only 2164 residents voted in total. 30.6 per cent of Withington, another popular student neighbourhood, turned out to vote.

Sarah-Jane Smyth, Co-Chair of Manchester Labour Students (MLS), told The Mancunion: “I was really pleased to see 3 brilliant Labour Councillors re-elected in Fallowfield. It was great to see such amazing youth turnout in the general election, but unfortunately a lot of students just weren’t aware local elections were even taking place.

“Students aren’t always aware that you need to re-register to vote when you move house, so a lot of people who had been registered for the general election last year might not have realised they weren’t registered this year. MLS had run a voter registration stall on campus in the run up to the local elections but I was disappointed the SU didn’t promote voter registration more, since it’s so important that young people’s voices are heard!

“Next year MLS hopes to work on the Labour Students Million More Voices campaign which is to lobby the university to include voter registration as part of the process of registering for halls, which would hopefully have a massive effect on the numbers of students able to vote in Manchester!”

Kratos and the Almighty Back-hander

In case you’ve been living under a Mount Olympus-sized rock for the past week or two, you might have noticed that a certain little franchise called God of War released its latest installment, and with consistent 10s pretty much across the board, it’s fair to say that it’s the best entry to date.

The game is being hailed as a masterpiece by virtually everyone, applauding director Cory Barlog and those at Santa Monica Studio’s for its directorial innovation, immersive storytelling and all-round level of polish both mechanically and aesthetically, marking it the most seminal title within their flagship series. Kratos himself, however, seems to have a somewhat different definition of a compliment.

Of course, I am talking about the motion and voice actor behind the character, Christopher Judge. Any kind of compliment from Kratos would most likely be a series of grunts and shouting at an unnecessary volume — or at least it would have been, before this roid-raged, all-action, yet famously one-dimensional alpha-male was revitalised, courtesy of Judge’s acting talents and the new team behind this excellent new script and direction.

Photo: Wikimedia Commons
Photo: Wikimedia Commons

During an interview with BBC Newsbeat, Judge told reporter, Steffan Powell: “Reading the script for the first time, I thought it was for a big A-list film” and believed that “[t]here are wonderful tales to be told in this medium, and it is truly just another form to exercise your craft”. That’s great, right? Well, not really, as the worry set in as soon as you notice the phrase “just”.

Whilst this quote alone might slip past you, in light of the various other comments given throughout the interview, it is clear that Judge held a number of preconceptions about the games industry that almost completely negate his otherwise positive comments. Instead of being a much needed and warranted bit of good publicity for the gaming industry, it turned out to be, arguably, the biggest backhanded compliment of all time.

Judge went on to explain that his agents actively chose not to tell him that the script was for a game, as he had been “staunchly against doing them in the past” and was surprised by the level of serious acting he had to do during the audition. ‘An actor having to actually act to get a role’, funny old thing.

Furthermore, as praiseworthy as he was for this particular script and auditioning process, I struggled to take away little more away than what he (and presumably many serious actors and individuals within entertainment) thought of the industry in general. He joked about having to ask, “are you sure this for a game?” and spoke about his surprise at how good the material was, rather audaciously adding that he eventually didn’t care that it was only for a video game. It gets worse.

As if to put the cherry on top of this ultimately dry and disappointing cake: at the height of this article, Judge essentially points towards the likes of Kevin Spacey’s performance in Call of Duty: Advanced Warfare as having done the industry a favour, with other big actors subsequently scrambling for roles in recent years, where before it was considered a place “where old actors go to die.”

Photo: commorancy@Flickr
Photo: commorancy@Flickr

With all due respect, Judge is not an actor I had heard of before, and given the big fish that had already dipped their toes into the apparently dubious, smaller pond, I found it puzzling that he had such a low opinion of the industry considering the great company he would have already been in.

As Powell points out, the industry has often enjoyed vocal acting talents: Samuel L. Jackson, Ray Liotta, Michael Fassbender — I know I’ll never forget hearing Liam Neeson in Fallout 3 for the first time and being shocked when he didn’t threaten my life with his particular set of skills.

Point being: actors have long featured in video games and in making these ill-informed, sweeping statements, he is also commenting on the work of many of his fellow actors. The reality is, games were never really capable of transposing the level of performance that Judge is referencing simply because the advent of performance capture had not yet fully dawned.

Photo: Wikimedia Commons
Photo: Wikimedia Commons

Obviously, I am not saying that Judge’s remarks are entirely derogatory (and I’m sure that was not his intention), but the fact that this interview ultimately centred around the supposed notion that not just this game, but any game, was capable of delivering a heartfelt, complex and compelling narrative came across as rather dated and disrespectful.

Not only have games, as Powell points out in the clip that features within this article, been telling great stories for years, but gaming is one the biggest forces within the entertainment industry and has been for quite some time. We have come a long way from Pong and Super Mario.

In fact, in the upcoming Detroit: Become Human — developed by Quantic Dream, known for their heavily filmic and plot-focused games such as Heavy Rain and Beyond: Two Souls — lead writer Adam Williams, in an interview with VG247, revealed that he left his job as a TV writer to pursue interactive storytelling as he felt that, unlike the restrictions in more traditional mediums, gaming gives you “extra weapons” for “moving people” and all the while still “thought provoking.”

Photo: BagoGames@Flickr
Photo: BagoGames@Flickr

We are all aware of the persistent stigma that is attached to gaming and how it is somehow perceived as a lesser form of art, and perhaps, as Judge alludes too, there used to be some credence to that. However, as Judge says in one of the saving graces about this article: “games are not just about the gameplay anymore, but about the stories” and they have been for a long time. Fair play to him on that one.

In truth, games have long taken cues from Hollywood to bring a more story-driven and cinematic feel to their gameplay; they have also been heavily influenced by literary works to develop more profound and meaningful narratives, often leading to players reflecting upon serious and mature subjects. Whilst it may feel a recent development to an outsider, to a gamer, we know that this a craft and a passion that people take very seriously and have always wanted to give more than just gameplay.

So, I guess the moral of the story is that whilst Judge may have tried his hardest to be nice, his unfortunately backhanded compliment was symptomatic of a wider societal prejudice towards gaming; a half-baked attempt at flattery that betrays an ingrained culture of snobbery towards a medium that is making artistic strides at a very fast rate, and should be considered as having the same autered subtlety and academic validity as any other art form.

Review: Avengers – Infinity War

Back in 2008, I was 11 years old and Iron Man had just been released. I went with my brother and my godmother’s daughter (I believe the term is godsister) and since I wasn’t of age my godsister fulfilled the ‘A’ of the 12A rating. As best as I can remember, this was my first superhero movie; the first stepping-stone towards a life of small Bat-signals, Riddler Converse, and Suicide Squad snapbacks. Nowadays I’m pretty up to date on all things superhero: casting, upcoming films, the comic book storylines they corresponded to etc.

But back in 2008 this wasn’t the case. Life was simpler. It was a time where it was still socially acceptable to leave at the start of the credits, to not know what an Infinity Stone was, and to Google who that purple guy was at the end of Avengers Assemble. The term ‘cinematic universe’ had not yet entered the mainstream.

Ignorance was acceptable and 11-year-old me had no idea how much of a gamble Iron Man was. I didn’t know about which studio owned which properties, didn’t know who Robert Downey Jr. was, didn’t know what rehab was, and I didn’t know what a heroin addiction was (still don’t). Nevertheless, reading back now on coverage of the film at the time, what is clear is that this film rested on shaky, shaky ground.

Race forward ten years, 18 films, and nine franchises later and that shaky ground has turned into the safest pair of hands cinema has ever seen. These hands can turn a genre previously reserved for a clique of speccy nerds (of which I consider myself a proud member) and turn it into entertainment for the masses.

These hands can turn a dying Andrew Garfield into a fresh, new-baby-smelling Tom Holland within three years. These are special hands. Magical hands. Nay, miraculous hands. So, when a few years back president of Marvel Studios (and my heart) Kevin Feige announced that near every property they owned would come together to fight Thanos (that purple guy you know you Googled), no one questioned it.

It was the single biggest promise to ever come to cinema, and no one stopped to think that Marvel might have bitten off more than they could chew. Why would they? Their biggest crime thus far was a perfectly watchable Thor sequel (a franchise they then fixed with Ragnarok). Marvel doesn’t f**k up. At best they stumble, before bandaging the wounds with billion-dollar notes. So, the world waited patiently for Infinity War’s arrival. And now it’s here.

This film is so f*****g good. It shouldn’t be possible. It shouldn’t be doable. To have this many characters, dominating personalities and plotlines flow so naturally into one compelling and cohesive script is mind-blowing. Directors Anthony and Joseph Russo have always delivered excellent additions to the MCU (Captain America: Winter Soldier and Civil War) but to say this is their best work is to dilute the sheer scale of their achievement. This film is not only the best entry into a decade long franchise, but it is the crown jewel in a project that myself and many other children grew up with.

This film gave me everything I wanted and more, it delivered on every promise of scale, grandeur, gravitas and levity and all within the first 30 minutes. With the second part coming this time next year, I feel confident in saying that the world of cinema will never experience anything like this again in my lifetime.

Following directly on from the end of Thor: Ragnarok, the film wastes no time in firmly establishing Thanos and his henchmen, the Black Order, as the pinnacle of all evil. Thanos seeks to wield all six Infinity stones: Space, Power, Time, Soul, Mind, and Reality. With them, he will have ultimate dominion over the universe. Needless to say, the stakes have never been higher. One by one the Avengers are roped into his scheme and the battle commences.

One concern of mine when going into this film was that, with so many disparate plotlines to merge into one, the script would struggle to bring these groups together into one cohesive unit. Incredibly, I never once regarded any of these meetings as unlikely, unnatural or unbelievable. Every strand is stitched together seamlessly, never leaving you with a frown of disbelief or even a whiff of plothole.

The script deals with some heavy themes: loss, sacrifice, guilt, and yet the balance of tragedy and comedy means that no moment carries any less weight than it deserves. Each poignant moment is given exactly the amount of consideration it deserves, but the following joke never ruins the moment, allowing the film a consistent level of sobriety and levity.

Make no mistake though, Infinity War hits hard. Previous entries into the MCU have been criticised for a lack of risk-taking. The age-old stereotype in comic-books is that death is meaningless. The villain is defeated, a city has been destroyed, but nothing has been sacrificed. When War Machine was shot down in Civil War many saw this as a wasted opportunity to teach Tony Stark a real lesson about loss and sacrifice. Infinity War pulls no such punches. Playtime is over now the grown-ups have arrived. Speaking of which…

Thanos. The Avengers may be on the label, but this is his film. He plays judge, jury, executioner and is the closest this film has to a main character. The Mad Titan is, undoubtedly, mad but there’s certainly method to his madness, an evil method though it may be. Far from a one-note villain we see a whole spectrum of emotion on his chiselled, violet face. Anger and sadness are to be expected but grief and serenity also make a welcome appearance, firmly establishing him as the greatest and most complex villain the MCU has ever witnessed. Josh Brolin is perfect casting.

Infinity War has some of the greatest, most awe-inspiring moments the series has ever created. Several times the theatre I sat in was stunned into pure silence, not a breath to be heard, let alone a rustle of popcorn. Speaking as someone who’s grown up with these characters, their personalities developing as mine did over the years, this film delivers on all fronts. It’s the perfect beginning of the end to a decade of film that I and many others hold very dear to our hearts. The highest compliment I can give this film is that, ten years on, it instilled in me the same sense of wonder that I felt at 11 years old.

5/5

Top seven acts at Live at Leeds this year

1)    The Howl & The Hum, Brudenell Social Club, 6:00 pm-6:30 pm

TH&TH is a whirlwind of eccentricity, peculiar narratives and sparks that resound within your heart as it struggles to settle back to its resting rate. With songs that envelope your soul in a curtain of nostalgia and transcendence alongside frontman Sam Griffith’s ability to concoct an air of awe-inspiring presence, The Hum are unlike any other band who are taking to the stages of Live at Leeds.

You do not need to have listened prior to their performance, however, you do need to have prepared your psyche. Don’t waste your £36.00.

 

2)    IDLES, The Wardrobe, 12:00pm-12:45pm

Putting a band like IDLES in a venue like The Wardrobe is slightly concerning. You can expect broken barriers, busted windows and chaotic crowd-surfing. If you wish to begin your Live and Leeds festival with the perfect spirit which will leave you reeling for the rest of the night, IDLES is essential. Join the revolution that will take place in one of Leeds’ greatest venues (before it becomes trashed).

 

3)    Cosmo Pyke, Brudenell Community Room, 10:45 pm-11:15 pm

Yes, that’s his real name. Cosmo Pyke is an unmissable artist who provides raw, beautiful and melodic tunes to the likes of Rex Orange County and Jorja Smith. Playing such a small venue will only enhance the intimacy which is already saturated with his lyrical style. See Cosmo whilst he’s still an arm-stretch away, this won’t be the case for much longer.

 

4)    Cabbage, The Wardrobe, 9:45pm-10:45pm

Cabbage is possibly one of the most fervent bands on the bill for this year’s Live at Leeds line-up. With crowds that give some of the industry’s current heaviest bands a run for their money, Cabbage guarantees you a raging set that will undoubtedly imprint on any other artist you also choose to see on this thrilling Saturday.

5)    Phoebe Green, Leeds Beckett 2 2:00pm-2:30pm

Dream-like haziness instils the spaces in which Green and her musical counterparts perform. Arguably, sounding even better live than on record, Phoebe Green combines nifty guitar licks with compelling lyrics to create songs that offer a place of warmth and acceptance. A story-telling style ensures that her performance will resonate in your consciousness for days to follow.

 

6)    SHEAFS, Hyde Park Book Club, 1:00pm-1:30pm

Sheafs possess the vigour and temper which exceeds a considerable number of their competition within the current industry. With lyrics laced with impertinence exhibited by fearless vocalist Lawrence Feenstra combined with intoxicating guitar licks and heavy drum beats, Sheafs will make Hyde Park Book Club feel a lot larger than it is.

 

7)    Heir, Leeds Beckett 2, 12:00pm-12:30pm

Heir are a vivacious quintet who produce effervescent indie rock tunes embellished with synth beats. Their bubbling stage presence perfectly produces a performance that leaves you at the mercy of dancing along. Their clear passion for music is something they invite you to share with them as they guide you through upbeat and feel-good indie tunes.

 

Live Review: Gengahr

The intimate and treasured Mancunian venue Gorilla provided the perfect backdrop for Gengahr to exhibit their new second album, Where Wildness Grows, a spell-binding concoction of intricate guitar licks and dream-pop synth, complete with eerie vocals.

An orange and dark green wash of light perfectly complemented the warmth that radiated from the tapestry displaying the indie rock quartet’s new album artwork. Before the band had even ventured onto the stage, an air of enchantment had infused every corner and crevice found in this sold-out 600 cap venue.

Strolling onto the stage, frontman Felix Bushe unlatched their dream-like haziness which was cast upon the audience through his distinctive yet incredibly soothing vocals as the band opened with hit single ‘Is this how you love? A song that acts as a microcosm for the rest of the blossoming blanket of warm that Where Wildness Grows has to offer.

Gengahr played a 15-track setlist which also paid homage to their classics from debut album A dream outside which offered a pleasurable sensation of nostalgia, particularly with the performances of Heroine and my personal favourite Fill my gums with blood.

The return of such songs generated a new wave of enthusiasm throughout the audience who undoubtedly appreciated the clear contrast with the newer, more upbeat and comforting tracks alongside the more angsty and raw gestures which Gengahr had initially gained their early fanbase from.

Given the complexities found within the instrumentals of Gengahr’s soundscape, I was quite disappointed with the fact that they just weren’t loud enough. I wanted to feel the truly immersive nature of the quartet’s individual musical parts but some of the intricacy’s, particularly the nifty lead-guitar licks from John Victor were lost at times.

However, the band’s collective energy and sheer enjoyment that they exhibited throughout near-enough filled that void.

Overall, Gengahr plunged their audience into an atmospheric blissfulness characterised by Bushe’s subdued vocals and a wall of winding and dynamic riffs, leaving their fans light-headed.

 

8/10