the edge (november 2011)

Editorial

Dear readers,

Welcome to the November issue of The Edge magazine. We hope that you enjoyed our first issue, and that the shock of having lectures and occasionally working hasn’t dampened your spirits.

This issue sees a Bombay Bicycle Club double bill, with an interview with frontman Jack Steadman complementing a review of their Guildhall gig. Also reviewed inside are a mixture of established and up-and-coming acts, from Britain’s favourite grumpy old man Noel Gallagher to local young upstarts Soma High.

Our main feature this issue is the guide to Southampton’s music venues, detailing where to go and where to avoid when it comes to seeing bands round our way. We even have games covered, with previews of the hot new shooters Battlefield 3 and Call of Duty: Modern Warfare 3.

Remember, if you want your work to appear in the magazine, email [email protected] for details, or check out our website.

Enjoy!

The Edge Team

Editor - Joe HawkesDeputy Editor - Meowea HezwaniLive Editor - Chris BrooksFeatures Editor - David MartinRecords Editor - Melissa ClarkeFilm Editor - Barnaby WalterCulture Editor - Nick MouldOnline Editor - André PuseyHead of Relations - Rob LeaneEditor-in-Chief - Joseph McLoughlin

Check out our Facebook page @facebook.com/theedgesusu

2 www.theedgesusu.co.uk November 2011

Featuring contributions from: Alice Trew, Robert Samuel, David Martin, Katy Flint, Andrew Ovenden, Chris Brooks, Rob Leane, Joe Hawkes, Joe Turner, Alex Rogers, Melissa Clarke, Barnaby Walter, Joe Moor, Meowea Hezwani, Milan Matejka, Lewis Wedgwood, Kirsty and Nick Mould.

Noel GallaGher’s hiGh FlyiNG Birds alBum review

November 2011 www.theedgesusu.co.uk 3

ContEnts4 Kids iN Glass houses

live at the Guildhall

7 BomBay Bicycle cluB

live at the Guildhall

12Battle oF the shooters: Battle-Field 3 vs moderN warFare 3

14 iNterview: BomBay

10a local’s Guide to southamptoN veNues

17soma hiGh - secrets that didN’t happeN

review

16

20 rewiNd: the Beatles - revolver

24doN’t Be aFraid oF the darK

review

22 midNiGht iN paris

review

26 archive: Nil By mouth

28 iNterview: martiN chidGey27 south paciFic

review

Bicycle cluB’s JacK steadmaN Kids in Glass Houses

Don’t Be Afraid of the Dark

livE

It would be easy (and somewhat unfair) to dismiss Kids in Glass Houses as just another generic pop-punk band whose fans are wholly constituted of greasy haired teenagers. Indeed, their support acts -- Save Your Breath, Blitz Kids and Francesca -- fulfilled the stereotype to a tee. That said, they still managed to pump up the audience (of greasy teens) with a palpable sense of anticipation for KIGH.

Strutting on stage like a pouter pigeon, frontman Aled Philips was well prepared to absorb the built up admiration of the crowd, starting with ‘Artbreaker 1’ before leading the way with songs that were made to be anthems, such as ‘Youngblood (Let It Out)’. Whilst these songs are undeniably generic, part of the appeal of seeing KIGH live is that ‘For Better or Hearse’ (ahem...), bereft of lyrical complexity, jumping around and chanting along with the blissful seething mass of the crowd is effortless.

I shouldn’t be hyper-critical of KIGH though, because their target audience is still heavily embroiled in the angsty throes of adolescence. In contrast, their music

is bubbly and celebrates the best parts of teenage life, reflected in the hearty vocals of ‘Saturday’ and the lyrics of the aptly-named ‘Teenage Wonderland’.

Ultimately, it’s just nice to see a contemporary guitar-based pop-rock band that can incorporate some impassioned screams without resorting to pseudo-lamenting the non-existent hardships of teenage life. The hyperactive energy at the gig was subsequently unrelenting, infectious and epitomised by the classic ‘Give Me What I Want’, during which the crowd were told to have “the most fun in five minutes that you have ever had”, and as far as I could tell they did.

By adult standards, it’s easy to write off KIGH as overly simplistic bollocks, especially when Phillips proudly makes obviously contrived and cringeworthy

“The most fun in five minutes that you have ever had”


statements about being “a boy playing a man”.

They might milk the attention a bit, which was inescapably noticeable during their extensive, tripartite, anticlimactic encore, but their fans love them and they could have been a lot worse. Instead, our cynicism should be directed at the numerous indie hipsters in their late twenties I spotted lurking at the back of the Guildhall, who appeared to not only share the musical taste of KIGH’s target audience, but their jean size too. Seriously, grow up and get a haircut.

Overall, a very good, if not dignified, evening. 6/10.

By Alice Trew

@ The Guildhall 08/10/11

livE


livE

Bowling for Soup are one of those bands with an infectious spirit. From the moment they walked onstage, their mission was to ensure that every member of the audience left with a massive smile plastered across their face. Opening with the song ‘I’m Gay’, they started the way they meant to go on: acting silly and generally just having a load of fun. Following this up with ‘High School Never Ends’ served as a reminder of their ability to pen insanely catchy melodies and hooks that get stuck in your brain.

Just a couple of songs into the set, the band invited four members of the audience up onto the stage to sit at a makeshift bar and share drinks with them whilst the gig went on. Songs were interspersed with plenty of silly banter between the band members, who even found time for an impromptu jam for their drummer called “Gary Will You Suck My Balls”. Their banter wasn’t just limited to the moments between songs, either -- a number of times they stopped in the middle of songs to chat to the crowd, launching straight back in at the drop of a hat, an impressive feat to manage without the band members exchanging a single look. Breaking up songs like this could be seen as a negative thing, but it was done with such professionalism that the crowd didn’t care one bit.

The inclusion of a couple of covers in their setlist really helped liven things up even further. ‘Stacy’s Mom’ by Fountains of Wayne was of course a massive crowd pleaser, not being a million miles from Bowling for Soup’s own sound; and later the pre-encore cover of Bryan Adams’ ‘Summer of 69’ was given their happy-chappy treatment, much to the audience’s delight.

After a pleasantly short stage walk-off, the band came back and immediately started with the onstage banter again, with singer Jaret Reddick telling the crowd to give bassist Erik Chandler the finger if they hadn’t played their song ‘Emily’, which they seemed to have forgotten to play earlier on in the set. Finishing up with ‘The Girl All the Bad Guys Want’, undoubtedly their biggest hit, led to by far the biggest singalong of the night, leaving the stage on a high note before the Guildhall’s punters poured out into the cold night with big toothy grins. A job well done. 8/10.


By Robert Samuel

“Opening with the song ‘I’m Gay’, they started the way they meant to go on...”


livE

The calm rock vibes of Bombay Bicycle Club embraced Southampton recently, after the release of their third album A Different Kind of Fix. Supported by Lucy Rose (who is a key contributor and participant in the album) and Dry the River, the band were closing off their UK tour which began in September. Although renowned for their limited onstage charisma, Bombay Bicycle Club managed to defy the stereotype in front of a capacity crowd at the Guildhall.

Dry the River started off quite slow, lacking any real engagement with the crowd. After an intriguing interlude involving the lead singer’s lack of footwear however, the band successfully built up to a spirited performance with well synced vocals on the song ‘Bible Belt’ before finishing off dramatically with ‘Lion’s Den’. Humble beginnings aside, Dry the River were a well ordered band overall, and set the scene for the night very nicely. Before coming on stage, Bombay Bicycle Club engineered a slick introduction to ‘Shuffle’ into the between-band filler music before appearing while playing the extremely catchy electronic single. Immediately the crowd got moving, embracing the energetic performance. Despite this early rousing however, the band’s newest content was far less well-received overall. This led to an awkward dynamic, wherein the performers halfheartedly failed to reach an unreceptive audience of long-time fans desperate for old material. Things kicked off again when ‘Leave It’ came on though, with the band playing on lyrical repetition to nudge the atmosphere back on track.

The biggest roars came when ‘Evening/Morning’ was introduced. As if woken up by it, lead singer Jack Steadman suddenly came to life with an unexpected vigour, something that was both surprising and welcoming to see. Their rendition of ‘Cancel on Me’ likewise produced a stellar performance, with a beautiful build up met by synonymous approval from around the Guildhall.

Accompanied by Steadman on the piano and Lucy Rose providing tender backing vocals, ‘Still’ was a well-chosen, mellow and refined encore that highlighted the band’s diverse musical capability. This was immediately followed up with ‘What If’, as Dry the River returned to the stage for the final encore to help round off an impressive evening of music from a band that I’m happy to report, uncharacteristically exceeded expectations. 7/10.


By David Martin


livE & loCal

That brings us to Wolfe. I was hopeful when I saw a snazzy Macbook Pro and a keyboard onstage. Unfortunately, expensive equipment does not make a good band. The tone of the lead singer’s voice did not suit the band at all. It sounded like bad trippy effects layered on a vocalist who sounded like Cher, mixed in with a Plan B wannabe rapper. It was all a bit like Rachel’s trifle in Friends. There was no structure or development to the songs, just a lot of effects. The whole thing reminded me of Eurovision. 2/10.

Maths and the Moon were the final act. By this point I wanted to cry: they really weren’t good. I think they were trying to be dark and brooding, but sounded more like “the garbage men in the morning” according to one of my friends. 2/10.

The whole event was mildly offensive. I was thoroughly disappointed, however I will still endeavour to find some awesome unsigned acts in Southampton.

By Katy Flint

Let me start by saying I really wanted to like this event. Like, really. Don’t get me wrong, Guava was delightful, everyone looked cool, and I was happy the money was going to Oxfam. But then it all started to go a bit wrong...

Silver Spirit opened. They were a distinctly average indie band, and probably the best of the night. They said it was their first gig -- it showed. The sound was muddy, the singer wasn’t in the same key as the band, and they made inside jokes: not the best idea when you want to bond with an audience that has never heard of you. I was yawning, not dancing. 4/10.

At this point I had to reassure myself it was all for charity. Then Antigerone lolloped onstage. They sounded like Metallica without a singer. I waited patiently, hoping that someone would sing over the relentlessly ‘Enter Sandman’-esque chords; but alas, no one did. They seemed to have major ‘guitarist syndrome’, repeatedly insisting the soundman turn up the guitar and drums. Louder was most definitely not better. I felt sad by the fourth song, at which point they assured the audience that “this song’s a bit different”. It really wasn’t. Admittedly, a dancing tramp in the corner loved it though. 3/10.

Oxjam @ Guava



FEaturEs

A Local’s Guide to Southampton Music

The Talking Heads This is a particular favourite of mine. Lo-cated down Portswood Road, it’s only a ten-minute walk (or stumble) from Wessex Lane halls. The venue has recently started various drinks offers, and has a wide selection of beers and spirits. With live music on every night of the week, you’re quite likely to dis-cover some excellent local or touring bands just by popping down. The Talking Heads is also home to Southampton’s oldest open mic night -- ‘The Candle Club’ is held every Mon-day, and is completely free to participate in. With a lovely chilled-out atmosphere, it can be a great place to go if you’re a musician with some new material or just a group of friends with a song that has become an in-joke.

The HobbitAs synonymous with Southampton student life as Jesters, which is conveniently locat-ed next door, The Hobbit is a mainly acous-tic venue that brings an alternative twist to the traditional English pub. It has a good selection of pints on tap, but is renowned for its pint cocktails, each named after Lord of the Rings characters. The Hobbit is open late and plays host to the biggest beer gar-den in Southampton. The music can be a bit hit and miss, but it usually provides a great chilled-out vibe to an already fantastic pub.

Lennon’sI’m sure some of you will already be famil-iar with Lennon’s, but that doesn’t necessar-ily mean you’re aware that it’s also a great venue. If you’ve been to Lennon’s on one of their club nights, you’ll be aware that it’s an alternative venue offering indie, ska, soul and rock. Much the same can be said of Lennon’s as a music venue. Well worth checking out!

First of all, I'd like to say a big 'hello' to all of the freshers at Southampton this year. Being new to the university myself, I understand how daunting it is feeling like a fish out of water. Having grown up in the surrounding areas of Southampton however, I've been actively involved in the local music scene over the past few years and haven't really had to deal with the hardships of moving to a new city. As what can be ambiguously described as a ‘music lover', I can say with confidence that Southampton is a wonderful city for live music, but it's all about knowing where to begin. Hopefully this article will help you to discover a few of the gems among the eclectic mix of bars, clubs and venues Southampton has to offer!

“Southampton is a wonderful city for live music, but it’s all about knowing where to begin.”

The CellarThe Cellar, formerly known as The Soul Cellar, is a personal favourite. Located near the Civic Centre, during the day this venue is a cool coffee shop with continental lagers and homemade cakes; at night, The Cellar plays host to some fantastic events, including dub, ska, soul and indie nights. With the stage upstairs and a bar downstairs, The Cellar offers a bit of sanctuary for a quiet drink if you need a moment or two to rest between acts.

“You’re quite likely to discover some excellent or local touring bands just by popping down.”


FEaturEs

GuavaFormerly Hamptons, Guava is a bohemian acoustic venue and is great for those nights when you’re not in the mood for manically fighting your way around clubs and bars. That said, occasionally Guava will host a variety of club nights, including a Russian discotheque evening; but more often than not it’s a place to go for some decent, chilled-out acoustic.

The BrookLocated near the Talking Heads, The Brook could be likened to a mini Guildhall. Music-wise, it covers a mix of everything from grimey dubstep to avant-garde acoustic, interspersed with a lot of 70s and 80s cover bands (who tend to be surprisingly decent). With a capacity of 600, it’s not small either, sometimes showing a greater turnout to gigs than the Guildhall. On the downside, tickets can be Guildhall prices and given the range of music played it does tend to be a love-it-or-hate-it thing, so check out the website to make sure you know what you’re going to see well in advance.

Southampton GuildhallI’ll keep this section brief, as I’m trying to focus on the more intimate venues round Southampton, but it has to get a mention in here! Basically, the Guildhall is the main venue for music in the city. It’s here that you’ll find the majority of ‘big gigs’ from touring bands and comedians. The Guild-hall is also one of the venues that the annual NME Awards show visits. It’s no O2 Acad-emy, but I have had some excellent nights at the Guildhall seeing some of my favourite bands in a large crowd of like-minded people.

The Bent BriefThis is the place the people who work at The Hobbit go to because the Talking Heads just isn’t ‘alternative’ enough. Located on the the Portswood end of Lodge road (next to the Tesco you go to get cash for Jesters), The Bent Brief regularly showcases live jazz and Irish music. It’s not the most studenty scene, but the owner (the most Welsh man in the world) is friendly, and the live jazz is some of the best you’ll find in Southampton.

The JoinersArguably Southampton’s most famous live music venue. Over the years, The Join-ers has played host to some of the biggest names in music, often before they were fa-mous. The walls of this intimate venue are adorned with old gig posters and bill lists of some of the famous faces that have graced its stage, including Oasis, The Liber-tines and The Automatic. In fact, you’d be hard pressed to find a band who haven’t played here at some point or another. As well as ‘the big bands’, The Joiners also plays host to some superb local talent showcases.

Don't get us wrong, there are some brilliant venues we've had to miss out in this article, and a few we probably haven't even heard of, but the aim was to compile a list of the best venues to help you guys get started on finding your musical footing in the city of Southampton. They are all well worth checking out, but we're sure you will all find a few of your own niche music venues during your time here, the best thing to do is keep an ear out. Happy hunting!

By Andrew Ovenden & Chris Brooks

“Over the years, The Joiners has played host to some of the biggest names in music.”

FEaturEs

Both of these franchises are powerhouses in the gaming industry. Both of them have been loved, obsessed over and played by fans for almost ten years now. Both have achieved worldwide critical acclaim and awards. And both of them are coming to a gaming console near you this autumn.

These are of course the impending releases of Battlefield 3 and Call of Duty: Modern Warfare 3, which are set to go head-to-head in a matter of weeks, sending gam-ers into a frenzy. Hype is not a new quality when it comes to games, and is something that has grown exceptionally in past years, but this has now reached an unprecedented level. Whereas Call of Duty and its develop-ers Infinity Ward have brought a game out consistently every year recently, over at EA they have taken their time with subsequent Battlefield releases, and thus this will be one of the first like-for-like comparisons be-tween the two competing gaming companies.

Call of Duty is increasingly well-known, and its usage is now commonplace even among those with a strong abhorrence for video gaming in its entirety, and is generally used as the catch-all phrase for any type of ‘shoot-

er’ gaming. Black Ops, the previous install-ment, obliterated the record for first-day sales of any video game, and the entire fran-chise has sold 55 million copies worldwide. Battlefield might be slightly less known with a total of 17 million copies worldwide – due to fewer releases – but Battlefield 3 is the release fans have been awaiting for almost five years now. So what do gamers have to look forward to? Well, quite a lot in fact.

Modern Warfare 3 is almost certainly going to follow the tried-and-tested route that has seen such success recently. The catchy arcade style and fast pace have enjoyed a cult fol-lowing that could have only previously been dreamt of. As with previous releases, there will be the implementation of killstreaks and perks to add another dimension to the gam-ing experience, as well as bringing in three all new ‘strike packages’. There’s going to be a great depth of different game types and weaponry, to keep all parties entertained and attempt to keep the multiplayer experience fresh. In addition, the single-player gameplay will follow on from the previous games in the series, which have always received positive reviews due to the integrity and movie-like as-pects of the campaign mode. Cooperative also returns with ‘Survival Mode’, a slight adjust-ment on the Nazi Zombies game, where play-ers have to try and withstand as many rounds as possible of waves of incoming enemies.

Battlefield 3 has always been more fo-cused on the team play and wider multiplayer experience than Call of Duty ever has been. Instead of a lone wolf attitude, the Battlefield series has always been known for its objec-tive play, and this release is no different. Fea-turing huge maps, multiple capture points,

Battle of the ShootersTwo of the most well-known gaming series

return to our consoles and screens this Autumn.

“Hype is not a new quality when it comes to games... but this has now reached an unprecedented level.”


FEaturEs

64-player battles (on the PC) and vehicles – including the much anticipated return of jets

– there is a feeling that this can build on the immensely successful 2005 release Battle-field 2. Graphically the game looks stunning, thanks to improvements made in the game’s engine and the development of a destructible world where buildings, walls, trees and even the ground can be obliterated. This is cer-tainly a revolution, and it’s well worth check-ing out some videos online to demonstrate this awe. The tactical component is quite far removed from Call of Duty’s environment, and many would say to quite some contro-versy that it is aimed at a more mature crowd.

Of course the two games don’t come with-out their drawbacks. Many in the gam-ing community are worried that Call of Duty hasn’t radically changed or improved

up straight away. The first demos have been released, showing a plethora of glitches and bugs, which is something that is going to need to be fixed fast in time for the imminent release. In addition, the game was developed primarily for the PC and then transferred to consoles, so some may notice certain aspects and features don’t quite fit while playing.

Of course, only time will tell whether these games are spectacular successes, dismal disappointments, or perhaps somewhere in between. They are of course quite differ-ent styles of first-person shooter in terms of gameplay, customisation and overall look, and personal preference will be key. Person-ally, Battlefield 3 appears to be the one tipped for greater glory. The development of the se-ries has come in leaps and bounds, especially when compared to the increasingly stale Call of Duty series which has lacked imagination for far too long now. However, both of these games are going to pull in huge numbers of fans and be played for many years to come.

Battlefield 3 is released in the UK on Octo-ber 28th.

Modern Warfare 3 is released on Novem-ber 8th.

By David Martin.

for several releases now, delivering the same gameplay that has always been around. There are many who feel that, especially on consoles, people are moving around like sheep, moving onto the next new thing just for the sake of it. In this regard, I’d have to agree -- there seems to be a real lack of any development of the game for some time. Not that this seems to have hurt business.

Battlefield 3 though has never had a particu-larly strong single-player mode, and some may be daunted by the massive scope of the game, arguing that it isn’t easy to pick

“Graphically the game looks stunning, thanks to improvements in the game’s engine.”

For some amazing gameplay videos, you can find more online and on our website.


FEaturEs

The Edge talk to Bombay Bicycle Club’s Jack Steadman

So, how's the tour going so far?

Good. It’s going really quickly. It feels strange that this is one of the last three shows. It's been amazing, we'd all missed it alot -- it was our first UK tour in almost a year.

You guys have been busy though: with three albums in three years, are there plans to slow down any time soon?

Yeah, I think so. I think if we did this any longer, we'd go a bit mad. Plus, we wouldn't have enough things to write about. Per-sonally, I'm planning on taking a bit of a break, just to get some perspective on things.

Bombay Bicycle Club are known for shifting styles. Does this make cram-ming your three very different albums into one live show difficult at all?

Yeah... at times we've thought about combin-ing them all. We're playing two songs from Flaws tonight: we've adapted them a bit to make them more electric. I worry sometimes, when we're playing, that if someone had never heard of us and then just randomly showed up, they would think it's a really strange show with too many different things happening, but for us that's just how we keep things interesting.

As a known style shifter, are there any genres or styles you'd like to try in the future?

I don't think I wanna stray too much with the band, but on a personal level I want to try and get more into electronic music, which I've already started making quite a bit of, but it's gonna be separate from the band.

Are we looking at a solo project then?

Yeah.

So, with 'Road to V' thrusting you into a musical career quite young, did you have a back-up career waiting in the wings in case it all went tits up?

Yeah! Well, we all had places at uni-versity actually, because we got signed while we were on a gap year. I had a place at Manchester to do French. So yeah, there was a whole plan: a back-up thing.

So, finally, you guys have toured all over the place, have you got any fa-vourite places to play? Or any plac-es you avoid because of traumatic gigging experiences in the past?

The thing is, you're always surprised! One of my favourite stops on this tour was Hull. Whereas before everyone had told me Hull was really grim, I got there and had one of the most fun shows. My all-time favourite is the Kentish Town Forum in London, be-cause that's where I saw my first gig and I live just down the road. Sometimes places are just great, not what you expect, like walk-ing into there [the Southampton Guildhall]... I was completely blown away by the room, I think it's lovely and this is a really nice venue.

By Rob Leane


NOEL GALLAGHER’S HIGH FLYING

BIRDSReleased 17 Oct

Noel Gallagher is an optical il-lusion of a man. Some see him as the genius tunesmith behind Oa-sis, a man capable of taking three chords and some beer mat phi-losophies and creating the kind of songs that take a hold of your soul and give you goosebumps. Some, however, see him as an overrated relic from a time when cocaine ruled the earth. Hopefully, seeing him as a solo artist should help both sides look at him with a fresh pair of eyes.

After studio noise and the clear-ing of a throat, Noel Gallagher’s High Flying Birds kicks off with the monumental ‘Everybody’s on the Run’, with its swooshing strings and choir complement-ing Noel’s bluesy vocal. Much like when Paul Weller went solo, this record features confident, unrestricted, proper singing. It’s as if the rock and roll veneer has been peeled off and what’s left is a rather charming honesty.

Immediately following ‘Every-body’s on the Run’ is ‘Dream On’, which features the Gallagher Stomp™ with which many are familiar. Noel Gallagher is doing what he does best here: repetitive choruses, unforgettable melo-dies, and a toe-tapping beat. The Stomp™ reappears on later tracks ‘Soldier Boys and Jesus Freaks’ and ‘(Stranded On) The Wrong Beach’. After ‘Dream On’ is our first ‘slowie’, ‘If I Had a Gun…’. It’s quite romantic and takes a few listens, but once it has wormed its way into your head, it’s staying.

Noel has referred to this record as “the best collection of songs I’ve written for a long fucking time”, and he might just be right. The confus-ingly-punctuated ‘AKA… What a Life!’ is easily one of the best things he has ever written, and ‘The Death of You and Me’ sounds like a classic track from his expansive back-cata-logue, having been exposed to it for about four months now.

Unfortunately, some will find the al-bum a bit samey, with Noel playing it safe on his solo debut. The best moments are when he steps out of his comfort zone, and tracks like ‘AKA… Broken Arrow’ seem to be a bit lightweight. The hyped-up ‘Stop the Clocks’ isn’t really any fun until the final minute.

Noel Gallagher’s High Flying Birds contains more than its fair share of great songs, but it is stifled slightly by the lack of experimentation. For-tunately, his collaboration album

‘‘It’s as if the rock and roll veneer has been peeled off...’’

alBuMs

with Amorphous Androgynous should quench that thirst. A good start.

By Joe Hawkes716 www.theedgesusu.co.uk November 2011

Southampton local lads Soma High seem to have sensed the worrying decline in successful guitar bands around at the moment, and have cleverly infused their south coast rock with a touch of electronica to prove those who assume ‘rock is dead’ to be very much mistaken.

With their debut album Secrets That Didn’t Happen, Soma High have carved a specific niche for themselves to move up in the world. It is the keyboard elements of the band that make their music just different enough to stand out. The album opener ‘It’s Easy’ is rescued from plodalong mediocrity by the electronic aspects that hit in its latter stages, and it is this that sets the foundations for an album which rocks and gets a wider audience bouncing along. The edgier ‘Paper Chaser’ is where the album gets properly going, and soon the boisterous riff of ‘Flashback Tuesday’ grabs the listener with laddish charm. Unsuprisingly, with its huge chorus, it is a track branded a fan favourite.

‘Caught on the Backfoot’ uses the synths

and strings to channel an atmosphere of a rougher, less refined Muse, but still works thanks to the ability of keyboardist Paul Wolf. In fact, Wolf is key to the album standing out: at times, when left bare, Sean Strugnell’s vocals seem vulnerable and lost.

Secrets That Didn’t Happen isn’t a particularly subtle album, but it doesnt need to be. As a debut it does well, and will get a crowd fully involved with big rock choruses. It certainly proves that rock is well and truly alive. If Soma High maximise their strengths -- use the synth beats and fully commit to using keys -- they will have the material different enough to stand out from shouty indie guitar bands, whilst still having the ability to get stuck in with a hefty guitar solo. By finding

a niche, the future looks bright for Soma High.

‘‘...stand out from shouty indie guitar bands.’’

8 By Joe Turner

alBuMs

SOMA HIGH Secrets That Didn’t Happen Released 7 Nov


BRIGADEWill Be, Will Be Released 28 Nov

the vocals finding their melodic niche for the first and only time, backed up by some striking, atmospheric guitar. The lack of memorable melodies throughout the album seems disappointing after some exciting moments on their previous release Come Morning We Fight. The new album fails to gain momentum until the end of final track ‘Find Your Own Way Home’, when some impressive Mogwai-esque instrumental posturing was exhibited.

Overall, the album seems like it’s missing something crucial. It is lacking in the melody and personality that bands such as Funeral for a Friend and Reuben brought to the genre back in the mid 2000s, and as a result feels both irrelevant and out of date. It’s not to say that there isn’t plenty of potential there, it’s just that on Will Be, Will Be the various elements needed to make an album great just

haven’t quite come together.

By Robert Samuel

At first glance, Brigade might seem like just another British post-hardcore rock band, but a closer listen reveals a voice in singer Will Simpson that may seem familiar. As the brother of former Busted star turned ‘hardcore rocker’ Charlie Simpson, the singer’s family ties undoubtedly invite a comparison to Fightstar. However, unlike their sister (or should that be brother) band, Brigade have their roots firmly planted in the underground. Their newest release Will Be, Will Be has been released in conjunction with PledgeMusic, an innovative new platform for smaller bands to get their music out there with a little help from their fans, who make donations to help with recording costs.

On first listen to Will Be, Will Be the mixed vocals are distracting, seeming out of place and jarring next to the instrumental parts, which provided a handful of exciting moments but a lot of the time felt frantic and messy. The song ‘Laughter Lines’ provided the only real standout track on the album, with

alBuMs


sinGlEsThe Good....

Snow Patrol - This Isn’t Everything You Are

‘This Isn't Everything You Are’ is an almost anthemic track, as lead singer Gary Lightbody combines personal yet catchy lyrics with Nathan Connolly's simple guitar melodies and Jonny Quinn's aggressive drumming, in an emotionally inspiring cocktail. However, what makes the second single from their upcoming album so special is the addition of the background brass, strings and voices. The gradual layering of sounds makes ‘This Isn't Everything You Are’ a warm and beautiful tale -- a tale of love, regret, and determination. Gary's dulcet tones repeating “Don't keel over now” cannot fail to melt your heart, or indeed seize the moment. Snow Patrol have combined these elements so perfectly as to

make shockwaves through the music scene.

Released 13 November

...And The BadTinchy Stryder - Off the Record

After Tinchy Stryder’s last album failed, flopping into the charts at number 48, you would hope he could create a decent enough record to get him both critical and commercial success again, but it appears not. The track may be produced by Calvin Harris, but that sadly doesn’t make ‘Off the Record’ anymore appealing. The song is overly repetitive, doesn’t really go anywhere, and with lyrics like “Her Katy Perry’s awesome/She kissed a girl, I saw them”, Tinchy Stryder just seems like a poor man’s Tinie Tempah. ‘Off the Record’ could be bearable in a club at one in the morning, but thats not really something you look for in a good song.Although, judging by the state of the charts at the moment, if Cher Lloyd can get to number one, then it wouldn’t really be too much of a surprise if this

track unjustifiably managed to as well.

Released 7 November

3

By Alex Rogers

8


rEWind

THE BEATLES RevolverAlthough it would be hard to choose one favourite Beatles album, Revolver was most definitely one of the best and most revolutionary records of their career. Released in the summer of 1966, The Beatles’ seventh album Revolver broke all the former rules of popular music and marked a new phase and sound in the band’s career.

Revolver’s opening track ‘Taxman’ was one of the first songs included on an album to be written by George Harrison, and one of three on Revolver. Harrison was fascinated by Indian music, and introduced it to the rest of the band where its influence is heard on tracks such as ‘Love You To’.

This album no doubt displays some of Paul McCartney’s best songwriting skills, especially on orchestral song ‘Eleanor Rigby’ which showed his versatility and maturation from previous work. As McCartney and Harrison both experimented with new sounds, John Lennon experimented with the drug LSD, which inspired the closing track ‘Tomorrow Never Knows’. The song used ground-breaking new guitar and production techniques to create a psychedelic sound, as Lennon wanted to recreate the experience of an LSD trip. Not

forgetting Ringo Starr, who also contributed lead vocals to one of the more surreal and bizarre Beatles songs, ‘Yellow Submarine’.

Individually The Beatles had many different inspirations and experimentations, but the fact that they collectively put these ideas on one single album makes this one of their best. Revolver shows the high calibre of talent all four members had, and the maturation of the band paved the way for one of their most critically acclaimed albums, Sgt. Pepper’s. The album showed that there were no limits or boundaries to The Beatles’ music.

By Melissa Clarke

Released in August

1966

‘‘It broke all former rules of popular music.’’


FilM

By Barnaby Walter. Nearly every new film directed by Woody Allen is, at some point, referred to enthusiastically as a ‘return to form’. Because of this, I feel I must apologise for joining this rather annoying club of optimists, but I really do think Midnight in Paris is a return to form for the director of Manhattan and Hanna and Her Sisters. True, Vicky Christina Barcelona was rather fun, but it didn’t have the polish or sophistication of this new work.

I’ve never been much of an Owen Wilson fan, a guy who usually stars in either sentimental nonsense (Marley & Me) or misogynist trash (Hall Pass). But here, with the character Gil, he gives us a warm, sympathetic and believable leading man we can root for. The

film starts with us being taken around Paris by Gil and his fiancée Inez (Rachel McAdams). They are planning their wedding, and looking for things to buy for their new house in Malibu. Gil is a Hollywood screenwriter who seems disenchanted about the work he has produced. He yearns to make something more worthwhile, and stop churning out crass rubbish. It doesn’t take a genius to see the parallels between Gil and the actor playing him.

He is in the process of writing a novel – a venture Inez isn’t enthusiastic about. She is at her most passionate when bitching about him to her stuck-up conservative parents who dissaprove of Gil’s left-wing views, and flirting with her arrogant friend Paul (a fabulous Michael Sheen).

Midnight in Paris

Woody Allen’s latest is a joyful triumph


FilM

However, their holiday changes for Gil when, while walking back alone to their five-star Paris hotel at midnight, an old car draws up by him and its passengers tell him to get in. He is taken to a lavish, vibrant party and experiences things that make him suspect he is dreaming. Don’t worry, it doesn’t involve a Charlie Sheen cameo. It involves time travel. Gil has been taken back to 1920s Paris, and spends the night in the company of F. Scott Fitzgerald (pictured above, with his wife), Cole Porter, Ernest Hemmingway and Ger-trude Stein.

These visits to the past soon become a nightly occurrence, and before long he strikes up a friendship with a mistress of Pablo Picasso, a young woman named Adriana (Marion Cotillard). She shares a bed with a number of Paris’s most famous talents and residents, but seems to have a growing affection for Gil.

If left in the hands of a director less skilled than Allen, a story such as this could easily have become kitsch, frivolous and saccha-rine. Thankfully, Woody makes it gripping, fun and magical. Everything flows together beautifully, and some credit for this must go to Wilson who plays an honest, caring, though frustrated artist with a sense of ease and charm he rarely gets to use in his movies. Cotillard, looking lovelier here than ever, is an endearing antidote to the shallowness of McAdams’s Inez.

The final scenes of the film are somewhat rushed, but this is still the most likable and enchanting work Allen has delivered for de-cades. I hope, now he has officially returned to form, we can put that phrase away and revel in the new-found golden age that will hopefully follow this truly magical gem. Dir. Woody Allen. Warner Bros. 12A.

Johnny English Reborn

By Joe Moor. Nine years after the original film, this sequel does little to improve on the spy spoof formula. It still takes many of its cues from Austin Powers, but the big problem is that the suave James Bond cliché that’s paro-

died here has now been replaced by a more Bourne-like hero. It’s not just the premise that’s dated: most of the humour is hopelessly predictable, and it’s testament to Atkinson’s talent that he can bring any laughs out of the script at all. Dir. Oliver Parker. Uni-versal. PG.


FilMDon’t Be Afraid

By Barnaby Walter. This movie is be-ing heralded as the new Guillermo del Toro picture. It is true, the famous Mexi-can director did co-write and produce this, but it is actually the directorial feature debut of Canadian director Troy Nixey.

Don’t Be Afraid of the Dark is a rather con-ventional haunted house story. It looks at the myth of the tooth fairy and how the idea of someone creeping into you room to take your teeth is actually a rather frightening thought.

The story centres on an architect, Mark, and an interior designer, Kim, who have the momen-tous task of doing up an old scary house. They are in love with both their work and each other. Kim is eager to make a good impression on her partner’s young daughter from his first mar-riage, Sally, who is coming to stay with them for an indefinite amount of time. She gives her a talking teddy bear, although this proves to be more of a thing of horror than comfort.

Whilst exploring the house, Sally starts to hear whispering voices: “Come and play with

us... we want to be your friend”. As you can guess, the child is sufficiently freaked out by this. But Sally tries to find the source of these whisperings, and the truth, when she finds it, is strange, scary and more than a little bloody.

The main problem with the film is that once you’ve seen the scary creatures, there is very little menace left in them. This is a frequent issue with many other mon-ster movies, the most recent being J.J. Abrams’ disappointing sci-fi flick Super 8.

Katie Holmes and Guy Pearce are convinc-ing as the struggling parents who desper-ately try to calm Sally when she gets scared. However, it is young actress Bailee Maddison (pictured above), who is the real star of the show. She is extraordinary, and I can’t wait to see how her career progresses after this film.

It is a creepy tale, and a fun watch. It’s a shame some of the impact is lost a little too soon into the film, but the palpable chills and killer end-ing make up for it.Dir. Troy Nixey. StudioCanal. 15.

of the Dark

Scary. But could have been scarier.


FilMDon’t Be Afraid

The Three Musketeers

By Meowea Hezwani. This terrible new adaptation of Dumas’s classic novel begins in 17th century Venice, where our Musket-eers Athos, Aramis and Porthos (Matthew Macfadyen, Luke Evans and Ray Steven-son) are planning to steal the blueprints for Leonardo Da Vinci’s flying machine with the aid of the treacherous Milady (Milla Jovovich).

D’Artagnan (Logan Lerman), a hot-headed young man, flies the nest to test his metal by joining the musketeers in their attempts to deter the plans of the Duke of Bucking-ham (Orlando Bloom) to overthrow King Louis XIII of France (Freddie Fox).

The list of what is wrong with this film is endless, and Bloom is at the top with his wooden and brain-numbingly bland act-ing. The plot is more a Renaissance-Gothic fashion show peppered with swashbuck-ling and airship battles than an epic tale of self-discovery and misadventure.

After an hour and 50 minutes of watching basically nothing, there is a blatant pre-credits advert for the sequel, which added to my feeling of apathy.

Don’t bother seeing this: go and find your-self a copy of Disney’s Mickey, Donald, and Goofy: The Three Musketeers (2004) and see how it’s really done.

Dir. Paul W.S. Anderson. Entertainment One Distribution. 12A.

Also ShowingTyrannosaur Dir. Paddy Considine. StudioCanal. 18.

British miserablism and social realism are words people may attach to this grim drama, although its director Paddy Consi-dine may not thank them for doing so. It’s a very tough watch, but features a superb performance from Olivia Coleman as a vic-tim of domestic abuse. Barnaby Walter.

Real Steel Dir. Shawn Levy. Disney. 12A.

A dysfunctional father-son relationship (the father being Hugh Jackman) that is slowly restored by training robots to box is probably the most Hollywood thing imaginable. For what it is though, it works a treat, avoiding the Bayisms that made the Transformers movies hulking messes. This clichéd but entertaining film isn’t brain food, but tries hard to win your heart. Solid effort. Milan Matejka.

On Blu-ray & DVD: Barnaby Walter takes a look at the new releases.

Transformers 3Mysoginist, stupid and obnoxious.

Downton Abbey: Series 2One of the best series of 2011.

Bridesmaids A near-masterpiece. Comedy gold.

Larry Crowne Shockingly dire romcom. Avoid.

The Flight Before ChristmasSimplistic, but charming, cartoon fun.

More BD & DVD Reviews online!

of the Dark


FilM

By Lewis Wedgwood. Nil By Mouth is an utterly convincing, unflinching depiction of a poor family’s life in South London, tainted by crime, violence, and degenerate relationships. But despite the shcoking portrayals of domestic violence and drug abuse, the biggest impression is left by the sheer quality of acting and filmmaking.

The film involves crime, but does not glorify it. In a refreshing difference to other films that have dealt with London’s drug trade, there is nothing glamorous or exciting about these characters’ criminal activities. Oldman observes his characters with both gritty, raw realism and an astute moral compass in ways which recall Scorsese’s Mean Streets.

The character of Ray (Ray Winstone) is fascinating. We are not encouraged to sympathise with or despise him, and each viewer will have to make up their mind based on Winstone’s complex performance.

Ultimately, this is a film about a place, the way of life within that place, and the things people do to escape its unpleasant aspects. Setting is therefore very important to Oldman: bleak urban landscapes are filmed through small, dirty windows, or through the bars of an iron climbing frame outside a tower block.

The script also has a vibrant, inconquerable sense of humour. The characters are so well crafted that they are sometimes at their most likable and funny in the aftermath of their darkest moments. But humour is used far more originally here than just to make the audience laugh. In Oldman’s hands, humour is made menacing; it is an instrument, and an indication, of power.

Nil By Mouth is certainly a difficult film to watch, but it deserves to be celebrated. In a fascinating way, Oldman has created some funny, complex, and believable characters, and Ray Winstone portrays one of them unforgettably. Dir. Gary Oldman. 1997. On DVD from Fox.

ARCHIVENil By Mouth

We take a look back at Gary Oldman’s directorial debut


ARCHIVE CulturESouth Pacific

Reviving an old classic is always difficult. Even trickier is reviving a musical with a plot firmly set in a past society with beliefs totally differ-ent to the present. However, the recent re-turn of South Pacific makes such a task look easy. Lincoln Centre Theatre and director Barlett Sheer managed to combine a lively and entertaining display with stunning scen-ery to create a splendid revival of the musical.

Based on a collection of short stories writ-ten by James A. Michener, the play centres on the life of American marines and nurses sta-tioned on a South Pacific Island during World War II. As their relationships develop, they encounter racial prejudice, an issue which is explored sensitively in a few thought-provok-ing songs. ‘You’ve Got to Be Carefully Taught’ argues that children are taught to have a rac-ist ideology, and that racism is not inherent. Alongside, there also are a number of less serious vibrant songs, like the famous ‘I’m Gonna Wash That Man Right Outta My Hair’.

Such songs were given a wonderful perform-ance by the cast. Lead actress Samantha Wom-ack (Ronnie in Eastenders) showed a fantastic singing voice. Her lively performance as Nel-lie Forbush was a wonderful surprise, as I am usually cautious of celebrities being used to increase box office sales. Emile de Beque, Nel-lie’s love interest, was played by Paulo Szot who amazed the audience with his strong tenor voice lifting the notes of his solos as perfectly

as his calm ease managed to capture the character. Unfortunately his French accent wasn’t as good as Womack’s American enunciation. Supporting players were also well cast. Loretta Ables as the comical Bloody Mary and the male chorus were both superb, with strong voices and lively char-acterisations creating a feel-good atmosphere.

Also very impressive was the quality of the stagecraft. Although there was sadly only a small amount of dancing, what was there was excellently choreographed. The choruses of marines and nurses all danced very well, espe-cially during the Thanksgiving scene. The set was well designed, with a clever use of wooden blinds, and excellent effects for the appearanceof the mysterious island of Bali Ha’i and the planes passing overhead. Ted Sperling con-ducted the music very well, with the composi-tions perfectly mirroring the songs, including wonderful music for the island of Bali Ha’i and the thoughtful song ‘Some Enchanted Evening’.

By Kirsty


CulturE

32

‘The Chidge’ in action:

“If two shower creams become friends... do they gel?”

Comedian Martin Chidgey is some-what of a cult figure to a select few in Southampton, but he’s gathering a few followers elsewhere and may well spread across the country. To others, he may well be the worst comedian they will ever see. Martin’s rather unortho-dox approach to stand-up involves him going on stage wearing dark glasses, with a clipboard from which to read his jokes (“as my memory is really bad”, he explains in his Comedy CV biography) with no deliberate emphasis or timing. Whether or not his jokes make sense isn’t a concern to him either.

But while a portion of the audience is perplexed, embarrassed or even irritat-ed by watching him perform, to the rest he’s fall-down-on-the-floor hilarious. “I want to study him -- he’s an enigma”, said one anonymous forum poster. “It’s like he’s missing a gene to tell jokes... yet paradoxically he gets quite a lot of proper laughs from his lame attempts.”

At 39 and currently living in Bristol, last year he graduated from Southamp-ton Solent University with a third in their Comedy: Writing and Perform-ance degree. However, his presence there is very much missed, with new students allegedly being disappointed that he’s no longer there and wondering where ‘The Chidge’ has gone. Despite it being only his fifth gig, in 2010 he took part in the Chortle Student Comedian competition and managed to make it into their ‘best of’ compilation video, much to the annoyance of his lecturers.

Comic Interview: Martin Chidgey


CulturEHe continues to perform and recently took the time to answer a few questions of mine:

What made you want to become a comedian?

When an audience laugh at a joke I create and I get great feedback from people after gigs it means everything to me. Also, discovering I now have fans just from watching videos of mine has helped me believe I can do comedy, and to never give up on your dreams.

Why did you choose to do a com-edy course at Solent as an entry into the business?

Southampton Solent University was the only university doing a comedy degree at the time, and I also thought studying comedy full-time would help me know for sure if I could become a comedian.

How did your style come about? Is it done intentionally?

This is an anti-comedy character with an awkward style which I developed to help me get started in comedy.

Were you surprised at how well you did in last year’s Chortle competition?

Yes, and it was great to have valida-tion from a well respected comedy organisation such as Chortle.

Who are some of your favourite comics, either working today or not?

Steve Martin, Andy Kaufman, Norm MacDonald and Tommy Cooper are artists who have incorpo-rated anti-comedy in their acts. I also love Richard Pryor, Mickey Flana-gan and Louis C.K.

What do you have planned next? I heard you wanted to go on Brit-ain’s Got Talent.

I will move to London once I get a day job then do more comedy gigs and competitions, so hopefully within five years I will be able to develop into an even better comedy act so I can get noticed by comedy agents and become a professional comedian.

By Nick Mould

Comic Interview: Martin Chidgey“He’s an enigma...

it’s like he’s missing a gene to

tell jokes.”


Date Title

Listings


Albums CinemACulturesingles bD/DVD

07/11 – The Kooks – Junk Of The Heart07/11 – Manic Street Preachers – This Is The Day07/11 – Benjamin Francis Leftwich – Shine07/11 – Kele – The Hunter EP07/11 – Birdy – Birdy07/11 – The Lion King (Blu-ray 3D/Blu-ray/DVD)07/11 – Yves Saint Laurent: L’Amour Fou (TBC, StudioCanal)08/11 – Richard Herring: ‘What is Love Anyway?’ – Ashcroft Arts Centre, Fareham10/11 – Chris Addison: Warm Up – Ashcroft Arts Centre, Fareham11/11 – Arthur Christmas (TBC, Sony)11/11 – The Awakening (15, StudioCanal)11/11 – Wuthering Heights (15, Artificial Eye)13/11 – Ed Sheeran – Lego House14/11 – The Fall – Ersatz G.B.14/11 – Snow Patrol – This Isn’t Everything You Are14/11 – Snow Patrol – Fallen Empires14/11 – JLS – Jukebox14/11 – The Do – Both Ways Open Jaws14/11 – The Phanton of the Opera at the Royal Albert Hall (Blu-ray/DVD)14/11 – Torchwood – Miracle Day (Blu-ray/DVD)16/11 – Stitches Comedy – The Shooting Star17/11 – Pedestrian – Nuffield Theatre18/11 – The Twilight Saga: Breaking Dawn – Part 1 (TBC, E1)18/11 – Justice (15, Momentum)18/11 – Magic Trip (15, StudioCanal)20/11 – The Comedy Bar – Nuffield Theatre21/11 – Kasabian – Re-wired21/11 – Rihanna – Talk That Talk21/11 – Cars 2 (Blu-ray 3D/Blu-ray/DVD)21/11 – Horrible Bosses (Blu-ray/DVD)21/11 – An Idiot Abroad 2 (Blu-ray/DVD)25/11 – My Week With Marilyn (TBC, Entertainment)25/11 – 50/50 (15, Lionsgate)25/11 – Moneyball (12A, Sony)27/11 – Sarah Millican – Mayflower Theatre, Southampton28/11 – Gorillaz – Singles Collection 2001-201128/11 – Transformers: Dark of the Moon (Blu-ray/DVD)

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the edge (november 2011)

Documents

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