Snowflake, the debut novel of 27 year old Irish author Louise Nealon, is clearly targeted at the millennial generation. The dual meaning of the title instantly calls to mind the generational insult towards ‘overly sensitive’ millennials.
The novel follows Debbie, a student in her first year studying English Literature at Trinity College Dublin, as she traverses the opposing worlds of her family’s dairy farm in Kildare, and university life in Dublin. She commutes between these worlds by train, after doing the milking in the morning. Her mother obsessively records her dreams, while her uncle lives in a caravan in the garden, and is responsible for much of Debbie’s education and upbringing.
Nealon, like her protagonist, studied English literature at Trinity and lives on her family farm in County Kildare. The debut novel saw Nealon landing a ‘six figure pre-empt’ at the age of 27. An age which is perhaps reflected in her realistic portrayal of university students.
Debbie’s university world seems true to life. Nealon accurately captures the pre-night out ‘jeans or dress, flats or heels’ conversations perfectly. The subtleties in the hypocrisies of the university characters are both poignant and funny. One such moment is Debbie’s vegan best friend attempting to navigate her way around the dairy farm, while un-ironically owning a t-shirt that says ‘My oat milk frees all the cows from the yard’. Snowflake has some excellent, witty lines.
Yet Snowflake lacks plot drive, which isn’t always necessary, but this campus-novel felt particularly lost without one. The ending was also unsatisfactory, with too many apologies left unsaid.
The novel’s greatest strength was its treatment of the mental health epidemic. Nealon deftly shows that mental health struggles are neither exclusive to young people or to old people, but a complex and changing web.
I won’t insult Nealon by dwelling on a comparison with Sally Rooney. Snowflake will, I believe, be likened to Rooney’s novels Conversations with Friends and Normal Peopleover and over – a comparison the marketing of this novel does not shy away from.
All three novels follow young people studying at Trinity College and experiencing feelings of isolation and imposter syndrome. Yet, while similar themes are covered, the characters themselves and the style of the writing are remarkably different. Snowflake takes place in just one year, following time more fluidly and in more depth than Normal People. Sadly, it is also a less lasting, less pervasive novel.
The film and TV rights to Snowflake have also been sold to Element Pictures, the team responsible for the BBC’s Normal Peopleadaptation, the success of which needs no explanation. Once again this invites comparison to Rooney’s novel, and while I think Snowflake will make a good TV show (especially if they pick up on the dry humour and sarcasm of the characters), it seems destined to sit in the shadow of the phenomenon of Normal People.
Either way, Snowflake skirted close to feeling like a book I had read numerous times before, in slightly different guises. Despite this, I enjoyed it. I found it compelling and a realistic portrayal of young people, university life and the unique pain of attending an English Literature Seminar when you haven’t even read the book.
What a way to kick off the return of live theatre with an opera gala from the esteemed, award-winning Opera North. A Night at the Opera is my first live show since 3rd November 2020, and it sure was worth the wait.
I’ve seen two Opera North productions previously – Lehár’s operetta The Merry Widow and Mozart’s opera The Magic Flute – both at the Lowry. I reviewed the latter.
Opera North is an arguable companion to opera as the Royal Shakespeare Company is to Shakespeare: whilst they use classic texts, they often visualise them contemporarily; they breathe fresh air into old productions.
Whilst I’m not personally a huge opera fan, I like to see (and review) all different kinds of theatre, and I recognise opera as an incredible art form.
During my time as Theatre Editor of The Mancunion, I have diversified the content of the section, encouraging more reviews of opera and ballet, two types of theatre that young people often have little interest in seeing but often enjoy when they do give it a chance.
An Introduction to the Opera
A Night at the Opera is described as “an evening of operatic highlights”. The Orchestra of Opera North was joined by guest soloists Elin Pritchard (soprano), Benson Wilson (baritone) and Nico Darmanin (tenor), under the baton of Paul Daniel (conductor).
We were welcomed into the auditorium by a beautiful instrumental piece of music played by the orchestra. When the lights went down, Daniel joined them for their next performance.
It was a beautiful introduction to the gala.
Daniel doubled as conductor and host of the evening, and what a great host he made. Opera can become quite heavy, so it was a good idea to break up the performances with a little speech, and Daniel’s delivery was brilliant. I especially liked that he gave us a little information about each opera and performance, which helped us understand the emotion behind the arias, which were all performed in foreign languages. It might have been a good idea to include an English aria, but I guess most famous operas are not traditionally performed in English, and to do so might be considered “low brow”.
Performance and Personality
The three guest soloists were all exceptional. Pritchard has the voice of an angel – and draped in a blue gown, she looked the part.
Whilst I generally prefer female singers, I was drawn more to the men of this gala, given their vibrant personalities. They brought character and humour to their performances. This is not to criticise Pritchard; they are simply different performers who sang different arias, and it was nice to have a mix.
The only criticism I have for the opera gala is a trivial one. The orchestra performed two songs from Carmen, both of which were divine but neither of which were my favourite Carmen song: ‘Los Toreadors’. I guess I’ll just have to see their full production of Carmen to be treated to that musical delight!
Emiliano Zapata fought for land rights. Toussaint L’Ouverture fought against Slavery. Now, Strike MoMA fight for a gallery. It is the most bourgeois case of direct action since the Islington Waitrose boycott in 2017.
On 7th May, Strike MoMA protestors lived up their name and struck the Museum of Modern Art in New York. Their protest doubled as a walking tour, suggesting that one of the appeals of political demonstration might in fact be sightseeing (with that in mind, if anyone wishes to fight the latest catastrophic cuts to arts education, you’ll find me at Cheddar Gorge, quietly chanting to myself so as not to disturb the local wildlife).
But I digress. The Guardian described the protest as ‘Art Under Attack’, not only chickening out on a nostalgic reference to the 90s arts and crafts show, but also giving the story the exact fearmongering slant MoMA’s board of directors would relish.
Strike MoMA is organised by the catchily named ‘International Imagination of Anti-National Anti-Imperialist Feelings’, a name so esoteric that it must be read thrice. Their purpose is to be a focal point for gripes against the gallery, which are numerous, and to imagine for the rest of us what a post-MoMA world might look like (which for 99% of people would probably be much the same).
The art world’s ‘shadow’ economy
The Museum of Modern Art is a bit like the UK’s Tate Modern, but in true American style is bigger and better in almost every conceivable way. This is due to a lack of British stuffiness (our great nation famously turned its collective nose up at Picasso and Matisse) and of course financial support from some of the richest men in history. The most important difference, however, is that there is no such thing as the Arts Council in the United States, leaving it to private collectors to foot the enormous bills.
Despite my initial scepticism, there is something almost cabbalistic about the names on MoMA’s board. According to the Strike MoMA website, all are involved in such dystopian interests as prisons, border control, Donald Trump, war, and environmental degradation. At least three are leading members of Ernst Blofeld’s SPECTRE group.
These sentiments are largely inspired by a recent controversy, the abdication of former MoMA chair Leon Black, for his association with notorious sex-trafficker to the stars, Jeffrey Epstein. This makes Black, in the eyes of those who stalk the comment section at least, equally guilty.
Glen Lowry, MoMA’s director, emailed staff to say the institute ‘respects the right to protest’, but added, ‘I do not agree that dismantling MoMA, or any museum, serves the best interests of the public.’ But then he would say that. Big Tobacco used to claim cigarettes were healthy, after all.
One of these shadowy figures recently spoke to the Observer about the activists. In an anonymous exchange over the dark web version of Zoom, they said, ‘If they don’t like MoMA […] they could just keep out of it’. This is an insightful point which I am surprised the protesters didn’t think of themselves. In fact, why complain about anything ever? It is far more sensible to avoid stress by ignoring all the things that upset you.
The strike hasn’t really amounted to much and is unlikely to generate many headlines (or, more importantly, hashtags), but it has at least raised some interesting talking points. And to be fair, this is often all that revolutionaries can hope for, since things usually change fairly slowly and modern art is viewed with indifference by society at large.
Back to reality
So does it matter where galleries and museums get their money from? It’s not as simple a question as it might sound. There are inherent problems with a plutocracy of any shape, not least because rich people are more likely than the average person to be arms dealers or acquaintances of Jeffrey Epstein.
MoMA’s vast wealth has a knock-on effect for other institutions. I am frequently frustrated when I visit the galleries of famous artists (such as the Van Gogh in Amsterdam, or the Rene Magritte in Brussels) only to find their most iconic paintings are miles away in New York or Paris (‘Starry Night’ in Van Gogh’s case, and the one depicting a businessman with an apple over his face in Magritte’s). It’s not all that dissimilar to that other hot-button issue of the museum world – the British Museum’s hoarding of Eurasian, African and Polynesian historical artefacts.
Then again, as an artist myself, and something of a pragmatist, I say that if we’re going to have billionaire paedophiles at all (and something tells me we always will) we might as well have ones that patronise the arts. If Woody Allen optioned your book today, would you accept? I have to admit I’d be tempted.
Although it may not seem it sometimes, global society is always improving, albeit glacially. In a utopia (a non-existent place, to use its correct meaning) the best art would not be congregated in elite cities at world-famous museums, and the chums of Epstein would not keep the works of the great masters in private sex dungeons. But in the actual world, where we live, and where governments treat art with contempt, and all galleries face some level of threat, art needs all the help it can get. Whether I like MoMA or not, there is one thing we have in common, and it is something that Strike MoMA has in common too. That thing is a love, even a need, for art.
Following their Mercury Prize-winning magnum opus Visions of a Life was never going to be an easy feat. But Wolf Alice have once again surpassed themselves with third album Blue Weekend. Here the London 4-piece blend dream pop and shoegaze with indie, folk, and punk rock, creating a kaleidoscopic collection of musings on love, fame, self-doubt and being yourself.
Ellie Rowsell’s vocals are stronger and show more range than ever before. Maybe it’s the 18 months or so since Wolf Alice finished their extensive tour (which usually culminates with the snarling ‘Giant Peach’) that have been so beneficial. Rowsell also adds keyboards and guitars, along with guitarist Joff Oddie, bassist Theo Ellis, and drummer Joel Amey.
Blue Weekend is bookended by two tracks of the same title, ‘The Beach’ and ‘The Beach II’. But they couldn’t be more different. The former is absolutely driven by its steadily strummed guitars and Rowsell’s soaring vocals. Yet album closer ‘The Beach II’ is a noisy shoegaze soundscape which suggests the influence of My Bloody Valentine.
‘Delicious Things’ is undoubtedly a highlight on the album, as Rowsell grapples with the highs and lows of fame. She humbly asks ‘would you believe I’m in Los Angeles?’ over Beach House-esque instrumentation. The song chronicles Rowsell’s encounter with a pretentious drugged-up suitor at a party. She whispers ‘he liked the fact that I play music in a band, he’s making a movie and the score needs a hand’. Unlike other bands of their fame, Wolf Alice remain grounded though, as Rowsell sings ‘Don’t lose sight’.
Image: Wolf Alice by Jordan Hemingway via Wolf Alice Press
Wolf Alice at their most assertive
In its opening seconds, ‘Lipstick on the Glass’ feels nostalgic, recalling early releases like ‘90 Mile Beach’ or ‘Heavenly Creatures’. Rowsell is able to showcase her incredible vocal range here, singing in a higher register in the verses. Like Visions, Wolf Alice still ponder life and death on this record. As Rowsell sings ‘there’s no pleasure in existing so go ahead and kiss me’.
Bombastic second single ‘Smile’ follows, featuring Joff Oddie’s sizzling guitars and explosive drumming from Joel Amey. It’s a shame we don’t get another Joel solo like 2015’s ‘Swallowtail’ but I’ll keep my hopes up for album number 4! Rowsell is at her most assertive in the sung-spoken verses, denouncing any naysayers with ‘I am what I am and I’m good at it. If you don’t like me well that isn’t f*cking relevant’. It’s a bold statement and one that will speak to the group’s legion of fans.
‘Smile’ also demonstrates Wolf Alice’s talent for switching up a song from decidedly grunge to dream pop. The abrasive verses contrasted with the lilting chorus of ‘ah-ah-ah-ah sun and the shine, ah-ah-ah-ah smile’. Theo Ellis delivers a gorgeous isolated fuzzy bassline in the song’s final third too.
Video: Wolf Alice perform ‘Smile’ at BBC Radio 1’s Big Weekend via YouTube
Catchy choruses and distorted guitars
‘Safe From Heartbreak (if you never fall in love)’ draws on folk and baroque influences, with its melodic guitars and layered vocal harmonies. Lyrically, this track (and the album as a whole) seems deeply confessional. The acapella outro is a stunning addition.
Meanwhile ‘How Do I Make It OK?’ (which was debuted at Live at Worthy Farm last month) is reminiscent of Dirty Hit label-mates The 1975. With its catchy call-and-response chorus and synth-heavy melody, it would be unsurprising if the band released it as the next single. The track incorporates St Vincent-esque distorted guitars and bass towards the end as Rowsell sings ‘I just want you to be happy’. Despite a handful of the songs seemingly dealing with breakups, Rowsell remains unbitter. She sings of ‘no bad blood’ on latest single ‘No Hard Feelings’ which is the record’s most stripped back affair. Underpinned by its gentle guitar melody, Rowsell delivers an emotive vocal performance here.
But not all the tracks are so introspective or emotional, as gnarly headbanger ‘Play the Greatest Hits’ erupts at the album’s midpoint. This is absolute mosh-pit gold for the band’s 2022 tour. It is 2 and a half minutes of fast-paced, punk-infused energy driven by Amey’s persistent drumbeat and Rowsell’s shriek of ‘It isn’t loud enough!’
Image: Wolf Alice by Jordan Hemingway via Wolf Alice Press
Shoegaze soundscapes and dream pop anthems
Lead single ‘The Last Man on Earth’ is a dreamy piano-led ballad inspired by Kurt Vonnegut’s Cat’s Cradle. It’s not the first time the band have taken inspiration from literature (see 2017’s ‘Formidable Cool’ for example). This shimmering odyssey is unlike anything Wolf Alice have released before and yet it seems to be an instant classic. The song progresses, building up to a beautiful refrain of ‘light will shine on you’, marking an emotional return for the band.
‘Feeling Myself’ is one of the album’s most interesting tracks with its spacey keyboard intro and breathy vocals. It suddenly surges into a mix of noisy distortion and trip-hop beats reminiscent of Portishead. The lyrics are suitably romantic: ‘Keep my name on your lips, let the double L feel like a kiss’. It demonstrates the band’s continued experimentation and confidence in exploring new sounds.
Blue Weekend is yet another incredible addition to the Wolf Alice discography. The band continue to break new ground and push boundaries, but they do so without losing their distinct sound. Here, they’ve made a cohesive collection of shoegaze soundscapes and dream pop anthems, interspersed by the occasional stomper. With Blue Weekend, Wolf Alice may well have found the crowning jewel in their claim to being the UK’s most exciting band of recent years.
9/10
Blue Weekend is available to stream or buy in its physical format from 4th June. You can order the album from Wolf Alice’s official store here.
Video: Wolf Alice perform ‘The Last Man on Earth’ on Later…with Jools Holland via YouTube
Wolf Alice will also embark on a tour of UK and Ireland in support of Blue Weekend in January 2022. Remaining tour tickets are available here, and tour dates listed below.
In an unexpected and completely delightful collaborative turn, Mr Jukes (Bombay Bicycle Club) and Barney artist have teamed up to produce a new album. This is for sure what is set to be the most exciting joint full-length effort of 2021. ‘The Locket’, featuring 10 carefully mastered tracks is set for release July 2nd. Already without teasing us with a handful of earworms to get us in gear.
You can feel the connection between these two London artists just through a single chat withthem. Jackmentioning he discovered Barney through a playlist he created to test headphones of all things. He still remembers just how much he resonated with Barney’s sound after a single listen. Check out ‘Space’ to get that same feeling.
“I was working in the jean shop when I got the message”
Thoughout lockdown the duo have been in the same Covid “Bubble”. They tell tales of meeting eachother’s families and sharing food showing this is really a bond that feels like family. In a time that’s been such a hinderence for so many it feels like the pair is welcoming you into their musical home.
‘Blowing Steam (Open Up Your Mind)’ is the first single to be released from the upcoming collaborative album, The Locket. The importance of the first release is paramount – it sets the tone and gives fans an insight into what to expect. BS(OUYM) just so happens the be the first track that Barney and Mr Jukes (Jack Steadman) recorded together for the full-length effort.
After a short collaborative hiatus since Barney’s feature on ‘God First’, it’s a delight to see the boys back working together.
“The locket is a family affair”
‘Jack played me the beat for blowing steam, and it just really resonated with me… it was that freedom of just vibes and energy’, divulged Barney. Their decision to work together almost seems like a sonic ‘love at first sight’. We certainly believe we’re all the better for it.
Releasing ‘Blowing Steam’ as the debut single came as a joint decision. Both artists deciding that it acted as the perfect taster for what’s to come with the rest of the album.
‘Blowing Steam’ is wildly charismatic and blissfully breezy with a jazz-infused touch. Uplifting and wholly essential in these unequivocal times, Barney and Mr Jukes’ undeniable sonic chemistry shines through in the well-blended and mastered sounds that ooze from every lyric and beat.
‘Vibrate’, the latest track offering a preview of their upcoming endeavour, is a mellow and effortless cut, with sleek vocals from Barney, and Mr Jukes love of jazz shining through. Smooth, meaningful and entirely wonderful, the pairs relationship is cemented through the visuals shot at Alton Towers (all the while attempting to tackle Barney’s fear of rollercoasters).
The two are truly there for each other, and not just on a sonic level.
“Anyone on the album, we had to have a relationship with”
‘Check the Pulse’ includes an additional feature of Kofi Stone, and this additional additional voice fits perfectly into the blend of Barney Artists rythm. At no point does his intanation, flow and timing not complimenting Barney’s. All while Jukes provides an almost lofi hummed backing element.
‘Check the Pulse’ will get you moving and proves well in advance of the albums release that Barney and Jukes chemistry provides an excellent foundation for anyone that joins them in the studio.
You can watch the entire interview here on the Manchester Media Group’s interview page!
Live and Uncut here!
Check out the single Blowin Steam on spotify here!
