Bianco at Brighton Fringe Festival
By Rosie Murphy
Bianco by NoFit State is a health and safety-defying display of human acrobatics set in the Big Top on Hove Lawns.
The award-winning show demonstrates an abundance of elegant yet athletic gymnastics, with an often awe-inspiring affect.
Set to the tunes of a impressively versatile four-piece live band, the performance combines dignified displays of endurance with energetic and humorous pieces set in swim suits.
Read the rest of this entry »
By Tom Groom
Intergalactic gets a little bit brought down-to-earth
Album info
Release date: October 1, 2012
Producer: Muse
Label: Helium 3, Warner
Fact: The album is based around the 2nd law of thermodynamics which states that no system can exist while maintaining endless growth.
8/10
Not many artists describe their latest work as a ‘christian gangsta rap odyssey, with some ambient rebellious dubstep and face-melting metal flamenco cowboy psychadelia’, but then again not many artists are Matt Bellamy. Though Bellamy’s obsession with corruption and anti-politics may not be healthy, it sure makes for some heavily ambitious music, demonstrated on the band’s sixth meteoric album. ‘The 2nd Law’ begins with the Devon-born frontman quoting that ‘policies have risen up and overcome the brave’, which pretty much sums up the political angle of the album: they don’t like politics. The head-banging, bombastic, overdriven riff of ‘Supremacy’ has a rising effect reminiscent of the band’s famous ‘Knights of Cydonia’ breakdown, and also the more politically-driven ‘Uprising’ from 2009’s ‘The Resistance’. Despite claiming this album was going to be ‘more personal’ and that there would be ‘a few love songs’, I don’t think Bellamy could resist the temptation to try and start a mass overhaul of government with the first song on an album. Political slamming first – love songs after. Electrically driven ‘Madness’ is the first example of the latter; a smooth, almost hypnotic tune (the “ambient rebellious dubstep” discussed earlier), with a bassy background and a crescendo-like finale, as more elements of the song come together, culminating in an earth-shattering note capable of melting insides to goo in no time at all. Some fans may not enjoy this side of the album, and indeed it does seem that the superstars have gone soft in one or two of the new songs. However, I am sceptical you will find more emotion in a song than is present in ‘Follow Me’, a collaboration of sorts with electric artists Nero. Matt uses his newborn baby ‘Bing’s’ heartbeat as the intro for crying out loud, and the song itself is a powerful message to his son, one that he need never be afraid as long as Dad’s around. While the beat to this tune may not feel out of place in a nightclub, Muse make the sound their own in a typically Muse way, as Bellamy produces more of his outstanding vocals to fill the song to the brim with raw emotion.
A highlight of the album is the groovy ‘Panic Station’, which draws inspiration from funk artists such as Stevie Wonder and Chaka Demus. Chris Wolstenholme starts to ‘slap de bass’ for the first time in Muse’s grand history, and the distortion usually found on Muse’s electric guitars is toned down to create a funky clean sound, reminiscent of that found in Wonder’s ‘Superstition’. Again, this is like nothing we have heard from Muse before, but it is this new direction and these new sounds that make this album great. Back to the emotional, passionate side of the album and soft-rock ballad ‘Explorers’, during which Bellamy states his worries about the planet being ‘overrun’. The song is slow and peaceful, so fans of the hardcore first albums may be feeling a little disappointed, or even angry, at Muse for ‘softening up’ on this album, but altogether each song contributes to a greater aim and a more complete album.
One thing many Muse fans will have been anticipating is the emergence of bassist Chris Wolstenholme as a lead singer for the first time in the bands’ history. The Devonian takes the main stage on ‘Save Me’ and ‘Liquid State’ – both of which are also written by Wolstenholme – and while he may not have the powerful range of Bellamy, the songs he offers up are full of emotion. ‘Save Me’ documents a little about his battle with alcoholism and Muse fans will be pleased to know the bassist nails the vocals and makes this song one of the best on the album.
The 2nd Law comes to a crashing end with a two-parter – ‘The 2nd Law – Unsustainable’ and ‘The 2nd Law – Isolated System’. The former is a further example of Muse’s ambition and willingness to reach an audience previously untapped by their brand of prog-rock, as the other-worldly group attempt to make their very own ‘dubstep’. The track begins, however, with an orchestral build-up similar to that in the ‘Exogenesis Symphony’ trilogy of the previous album. Then Matt crashes in on a heavily distorted guitar, sliding up and down the fretboard to produce the back-and-forth bassline commonly found in dubstep tracks, all the while belting out another spine-tingling note guaranteed to make anyone go weak at the knees. It is a fitting finale to perhaps their most far-fetched, aspiring album yet.
By Samuel Peace
It’s a rare occurrence when the film and game industry cross paths, one which usually doesn’t bode well for either side. Surely it would be easy to turn a game into a film? Just take the script, hire some good actors/actresses to play the characters, and use CGI for the environments and any other unrealistic feature. Unfortunately it’s not as simple as that because games focus on what makes their entertainment so popular – the gameplay – thus leaving the story to play second fiddle (or sometimes no fiddle at all). While some games might make for good films (BioShock, Uncharted, Call of Duty: Modern Warfare etc), these have never come to pass. Instead producers chose more recognisable franchises some of which have little to no story at all (for example the recent Battleship movie based on the board game, or the infamous Super Mario Bros film in 1993 which was nothing like the games). Disaster after disaster has led to very few game to film adaptations as movie makers become less willing to put their reputation on the line. However, this has not deterred Walt Disney, which is famed around the world for its animated classics. They wanted to build bridges with the games industry, write them a love letter so to speak. So the concept of Wreck-It Ralph was born.
The idea for the motion picture actually goes all the way back to the late 1980s when arcade gaming was in its prime. However many redesigns saw it pushed further and further away from release until plans were finalised in the mid-2000s. During the production stages, director Rich Moore (best known for his directing roles in a number of The Simpsons and Futurama episodes), said in an interview with MCV that he didn’t want to base the movie around an existing character. He said: “There’s so much mythology and baggage attached to pre-existing titles that I feel someone would be disappointed.” He believed this was a reason why so many movies based on video game franchises typically failed. Instead his vision was to create a fake gaming icon so that he could have the ultimate freedom without the worry of tainting another gaming property.
The plot revolves around the main character Wreck-It Ralph (voiced by John C Reilly). But instead of being a generic game plot (where the main character is a hero and has to save the world from the bad guy), Ralph is actually the bad guy from the start! He plays the main villain in a fictional arcade game called Fix-It Felix Jr. which as you might have guessed has a hero called Fix-It Felix (voiced by Jack McBrayer). The game pays homage to the original Donkey Kong, an arcade classic which saw Mario (known then as Jumpman) try to ascend a series of platforms in order to rescue a woman named Pauline from the grasps of the giant gorilla. Donkey Kong’s role was to stop Mario by rolling barrels down to try and knock him off. In Fix-It Felix Jr. Ralph stands atop a skyscraper and chucks debris down to try and knock off Felix whose aim is to fix all the broken windows while ascending the building.
The problem is Ralph is fed up of being the bad guy and not getting any recognition. He is finally pushed over the edge when Felix is given all the credit for the game’s success and has a party thrown for him (Ralph not invited) to celebrate the game’s 30th anniversary. When he crashes it, he is quite simply told that bad guys do not deserve recognition and he would need a medal to be a good guy and a winner. Determined to get a medal and prove his worth, Ralph decides to ‘game jump’ – which is to enter another arcade game via the hub where all the games connect (the power supply). His quest to find a medal is, as you would expect, not straight forward and there is plenty of entertainment right until the end.
The first half of Wreck-it Ralph is by far the best. With real life game cameos galore and an interesting plot, there really is something for everyone. One of the more memorable scenes (which was in the trailer) saw Ralph in a ‘bad guy’ support group which was attended by some of gaming’s most iconic villains such as Bowser (Super Mario games), Eggman (Sonic the Hedgehog games) and Clyde (Pac-Man games). There are so many other subtler references too which help bring the world to life. With all these famous faces it was important that the main fictional characters were made to feel authentic too so they wouldn’t be outshone. Both Ralph and Felix deliver on this part with mannerisms and abilities akin to the classic characters we all know and love. They are later joined by other fictional cast members including the fantastic Calhoun (Jane Lynch) and Vanellope von Schweetz (Sarah Silverman).
Unfortunately the second half of the film falls into the stereotypical Disney ‘be yourself’ trap with predictable results. There are not many game cameos or references that have not already been seen either, as the story focuses more on the development of our main fictional heroes and villains. However, it’s the chemistry between them, which manages to save the film from drowning in mediocrity. Each persona is vastly different from one another and makes for some interesting combinations. While the plot contains some foreseeable twists and turns it still manages to round off nicely with a Mario Kart like race mixed with an alien invasion.
Despite some shortcomings, Wreck-It Ralph manages to capture the real essence of the classic arcade era. It has some truly wonderful references which will appeal to both young and old audiences. The main cast of fictional characters are the stars of the show however, and would not be out of place in the real world of gaming. Moore’s experience with The Simpsons is exhibited with a great range of humorous gags and along with the art style makes the film feel more like a Pixar production than a Disney studios film, which is for the best. While not perfect it is definitely the best film/game crossover ever made, and that alone is worth seeing.
Rating: 8/10
MCV Interview: http://www.mcvuk.com/news/read/interview-wreck-it-ralph-director-talks-bringing-games-to-film/0110639
By Samuel Peace
The seven year long wait is over as the next evolution in handheld gaming has arrived. The successor to Sony’s PlayStation Portable (PSP) has finally been released overseas following a Christmas release in its native country Japan. Dubbed the PlayStation Vita (Latin & Italian for ‘life’) it provides gamers with everything they love about a home console, but combines it with the benefits of a handheld device. Fans and industry professionals alike have been longing for a new power house which can replicate experiences which were only possible on a TV. While Nintendo dominate this market, they have failed to capitalize on it by focusing all their efforts on innovative gimmicks rather than technical progression. The Vita has seized this opportunity to give people an alternative, which for all the tech geeks out there is a joy to behold.
Boasting a 5-inch multi-touch OLED screen capable of showing 16 million colours, a 2GHz Quad Core ARM Cortex-A9 MPCore CPU, 512 MB RAM, 128 MB VRAM, and a Quad-Core SGX543MP4+ for graphics, it is a beast of a machine. For those of you unacquainted with technical specs it just means you pretty much have the power of the PlayStation 3 but in your pocket. Following on from the impressive insides we also have a great range of external components. These include dual analogue sticks (a first for any handheld device), a unique rear multi-touch pad, a front and rear camera, six-axis motion sensing (three-axis gyroscope and three-axis accelerometer), three-axis electronic compass, and the usual array of buttons. This provides consumers with not only a home console quality experience, but also new and exciting ways to play. Developers will also enjoy coming up with ideas using all of the unique features.
Considering the punch this device is packing, you would expect it to be the size of a brick or an Xbox 360’s power box. To my surprise however, it is a sleek and stylish gadget which wouldn’t look out of place in James Bond’s arsenal. The shape is similar to that of its predecessor the PSP (not the flop that was the PSP GO). Its dimensions are also quite similar as the Vita has a width of 182mm (170mm on the original PSP 1000 model), a height of 83.5mm (previously 74mm) and a depth of 18.6mm (from 23mm). The increase in the width and height helps to offer a better cinematic experience similar to that of consoles; this will ensure that your 16:9 widescreen display needs are catered for. Despite the slight expansion, the Vita weighs pretty much the same as the original PSP 1000 model; in fact it’s slightly lighter. While the PSP weighed 280grams, the Wi-Fi only Vita comes in at 260grams, but the 3G/WI-FI model is 279grams.
Because of the similarities in shape, size and weight, this handheld marvel feels reminiscent of its fore-bearer. It also shares the same shiny black finish which gives amateur detectives the chance to play ‘who violated my Vita?’ The analogue sticks are a nice change as they resemble the PS3’s but on a smaller scale. These improve over the single flat circular nub/pad that the PSP and 3DS have as they feel more precise and easier to manoeuvre. My only worry is that because the Vita doesn’t have handle grips (like a PS3 controller) and because the analogue sticks are smaller and have a slippery convex design, it could be quite difficult/uncomfortable keeping grip of it (or keeping your thumbs on the sticks) during long periods of play (or when you have a sweaty hands). This might not be an issue for everyone however, and handhelds are designed more for on-the-go play than marathon sessions.
For many people one of the main attractions of the Vita was the enhanced graphics, so I am pleased to say that the OLED screen is beautifully vibrant and particularly dazzles when you play games as stunning as the Uncharted series. The stereo speakers and headphone support complements the visuals while other standard gizmos such as the touch screen, cameras, buttons and sensors all perform as well as they should. The rear touch pad on the other hand is a much more prominent and unusual feature. It is still too early to tell how useful it will be in enhancing the numerous Vita experiences, but already we are seeing it used in different ways. Most are gimmicky or are just used in mini games while the odd one or two work quite well at offering a new way to play (such as touch shooting in Fifa).
As the main multi-touch screen on the Vita offers such precision, Sony has decided to do away with the XMB which is present on the PSP and PS3. It now offers a sleek and innovative user interface reminiscent of the iOS on the iPhone. Now the screen is filled with bubbles which all represent different apps for services and games. Many of these apps consist of your standard PS3/PSP services such as friends, messages, trophies and store etc, but there is a big push for online and social connectivity this time round. Some of the services on offer include Facebook, Twitter and Skype all of which help to keep you in touch with other people (though they have to be downloaded through the store). Sony has also incorporated its own social app called ‘Near’ which utilises its built in GPS. This is very similar to the 3DS’s StreetPass app which allows the system to connect to others who are nearby. I found it a bit confusing, but it’s nice to see how many people near me own Vitas. It also allows you to send and receive gifts from certain games and compares games/scores, which I guess is nice if not a little bit pointless.
For physical games Sony have decided to ditch the PSP’s cute UMDs and have changed to small SD type cards akin to Nintendo’s DS and 3DS. One of the main things which irk me about the Vita is that the memory cards are so restrictive. The system no longer supports the PSP’s memory stick and memory stick duo. Instead it favours its own PS Vita Memory Card. The main problem is that it doesn’t allow for any other third party memory card or SD card. This means Sony can get away with charging outrageous prices for memory as players have no choice but to buy their cards. One example is the 32GB Vita card which costs £60 on Amazon. £60!? I could buy a couple of newly released games for that price. On the same site, there are third party 32GB cards for as little as £15. To make matters worse, only one account can be linked per memory card. While this made sense on the PSP at the time, technology has progressed far enough today to allow for multiple accounts on a multitude of gadgets.
There is no doubt plenty more to discover about the Vita as it begins to evolve and create an identity for itself. It has a plethora of great features most of which are making mostly the right noises. Competition is even tougher now as the rise of smart phones, which can host a variety of games for a small cost, calls into question the viability of a dedicated gaming handheld. However Sony has created a machine which can produce quality content not possible on any other handheld device – something which true gamers will want. There is still plenty of potential to unlock and with the PS4 on the horizon it will no doubt play a vital role in connecting with it. The Vita is exactly what the industry needs, but with any console success is only as good as its library of games, so we will have to wait and see if the Vita can deliver on that front.
Dynamic Hot Yoga at Hove Business Centre.
By Sarah Jackson
Dynamic Hot Yoga is exactly what it says it is. That is, it’s a yoga class in a hot room, specifically a room heated to around about 30-36°C (not as hot as Bikram yoga, which whacks the thermostat up to 40°C). The idea is to replicate the internal temperature of the body, making it easier to stretch and encourage the body to sweat.
I’ve heard arguments both for and against these apparent health benefits, but I was personally keen to try Dynamic Hot Yoga for two reasons:
1) As a runner, I find that if I go for longer than a couple of months without doing any yoga, my muscles get so tight, I feel like I might start to roll up like a tape measure;
2) I’m not sure if you’ve been outside lately, but it’s really really cold. I have this idea that my body is like a storage heater, and that if I spend enough time in the warm, my bones will release the heat later when I’m colder (biology isn’t my strong point).
My instructor for the Saturday morning class was Sachia who, knowing that this was my first session, found me in the corridor before the class to go over some things. The main point was to take it easy and to try to stay in the yoga studio and not go out into the corridor, even if I felt a bit faint. “The floor out here is concrete,” she explained. Good point.
These instructions seem a little dramatic, but once you enter the studio they make sense. The heat hits you the way hot air rolls over you when you get off a plane in a tropical country. Getting your mat and towel laid out seems to sap your energy; soon you’re panting.
It can be incredibly intimidating to walk into a class like that. After all, when faced with temperatures of 30°C-plus, most of us are lying on a beach, not trying to do a back bend. But don’t panic! It is tough, but I honestly don’t understand the point of an exercise class if it’s not tough or fun, and Dynamic Hot Yoga was both those things.
Sacha was fantastic at explaining all the poses, demonstrating both beginners and advanced and walking around the class to ensure everyone was moving correctly. One of the things I love about yoga is that you’re not in competition with anyone else. I am supremely inflexible, but that doesn’t matter. Everyone is working to different levels. If your level is to simply sit in a hot room and watch, then go for it. Nobody else will care; they’re too busy trying to keep their own balance.
The studio has showers and changing rooms which are sorely needed after class – you will sweat in places you didn’t even know you had sweat glands. As well as drinking water throughout the class, I would recommend that you eat something after the class – a banana is perfect. The reception area also sells these, along with water and coconut water, as well as hiring yoga mats and towels if you don’t bring your own.
If you’re already practicing and fancy trying something new, or are entirely new to yoga altogether, Dynamic Hot Yoga is definitely something to consider. However, if you hate to sweat, I would stay away.
I left the class feeling energised, looser and a whole lot warmer. In fact, I stayed warm the entire way home, even though I had been freezing on my way to class. Maybe I am a storage heater, and I just needed hot yoga to warm me up.
Dynamic Hot Yoga is located in the Hove Business Centre, just behind Hove railway station. Information on classes and prices can be found here.
By Nathalie Jacquemard
The Chocolate Festival took place in Brighton this weekend and drew crowds despite the somewhat gloomy weather.
Writing about this festival was a dream job for me. I adore chocolate. Not a day goes past without me eating it in one form or another. Chocolate is an integral part of my life. Sometimes I think chocolate IS my life. Read the rest of this entry »
By Sarah Jackson
Like many artists, Jeff Keen didn’t want lengthy explanations and theories made about his work. But many of us, I suspect, are at a loss at what to do when confronted with modern art. It feels impenetrable somehow, as though there is a language and a world in front of us that we have been locked out of.
This was the very opposite of what Keen wanted. He was a great lover of pop culture and used it frequently as inspiration but also literally incorporating it into his work. Cut out images from comic books feature in his collage pieces, and his films often used B-movies and stock footage, as well as scenes shot using his friends and family in Brighton.
Pop culture is powerful because it connects us and the way Keen uses it to express his ideas highlights the intimate connection he feels to it. This personal touch becomes more evident watching Keen’s films. Locals will instantly recognise in the rapid fire of images that blaze across the screen landmarks such as the beach and pier, Whitehawk Tip and St Ann’s Well Gardens. This familiarity and even intimacy is reinforced by Keen’s use of himself and his family and friends as performers.
The point of Keen’s art wasn’t just the finished work, but the process of creating it. One of the most exciting things about Brighton Museum’s exhibition is seeing all the different aspects of his work together, something that hasn’t been done much before. It’s possible to watch Marvo Movie (1967) and then see the props he used in the film itself.
In all honesty, I can’t say I fully “get” Keen’s works. But the home-made, DIY aesthetic appealed to me the longer I lingered. It vividly reminded me of being a teenager, when my friends and I used to draw, write and film silly little stories. They were pretty cringe worthy, but I still love those attempts to be creative. It wasn’t the end product that mattered but the process.
“If words fail, use your teeth,” said Keen in the early 1960s. “If teeth fail, draw in the sand”. The energy and the passion with which Keen created his art is powerful and inspiring.
If you’re feeling creatively blocked or listless, I urge you to see Shoot the Wrx at Brighton Museum & Art Gallery. I can’t guarantee that you’ll like Keen’s work, but even if you don’t, maybe you’ll be inspired to grab a camera and some friends and head to St Ann’s Well Gardens to do better. Who knows – you could be the next Jeff Keen.
Shoot the Wrx, Artist and Film-maker Jeff Keen, is open until 21 April at Brighton Museum & Art Gallery. Entrance is free.
By Sarah Jackson
Acoustic gigs are often intimate affairs, but rarely are they as intimate as Alice Russell’s acoustic set at Resident, an independent record shop in the heart of the North Laine. To celebrate and promote the release of her new album, ‘To Dust’, Alice performed four acoustic songs, including her 2012 single, ‘Heartbreaker’.
Resident seems an unlikely choice for a live music set; it’s a typical small record shop, bisected down the centre by racks of CDs and vinyl. Alice, who can’t be much taller than 5’3”, could barely be seen over the top of the racks at the back of the crowd, but boy could you hear her. She has been compared to the late Amy Winehouse whose voice she certainly matches in both power and style.
Originally from Suffolk, she moved to Brighton to study art and music in 1994. “I just liked the vibe,” she told me afterwards, so she stayed after finishing her studies and choosing to pursue a musical career. She began to make a name for herself with her contributions to recordings with Bah Samba, Quantic and others, before releasing a debut album in 2005. Her records have been consistently critically acclaimed.
She and her band will be leaving Brighton for a few days in order to do some promotional work in Paris, but for now at least, Alice seems happy to stay here. “It’s a lovely place to come back to,” she says, “it’s nice and small”.
Small city, small venue, small singer; but a big voice. I can’t help but hope one day her popularity will be such that she will be unable to perform in record shops.
Alice Russell’s album ‘To Dust’ is available now from all good record shops.
In church for the adoration of I am Kloot
By Mary Stevens
A congregation of 400 filled a draughty St Bartholomew’s on a freezing Thursday, to witness a group of Mancunians renowned for songs of drink and disaster. An intriguing prospect for audience and band alike. Softly lit by candles, against the backdrop of a huge golden crucifix, singer John Bramwell apologized in advance for any listening challenges the enormous echo box of the building might present.
However, the sepulchral acoustics of a 135ft roof space proved a fine fit for majestic music that references heaven, skies, stones and seas (as well as alcohol fuelled emotional turmoil). A particular highlight was ‘On The Brink’, which saw Bramwell writhing with his demons before the altar, as chords bounced off the bricks.
The self-deprecating kitchen sink directness with which the band present themselves belies the depth of the music. An alcohol free audience in a church (albeit taunted by the band with cans of Fosters) were perhaps compelled to listen more closely to what are profoundly soulful songs. Bramwell declared the night possibly their most difficult gig ever. He needn’t have worried – the conquering of the echo chamber contributed to what was an earthily spiritual experience.
Photo By Loz Flowers
By Ian Walker
This year, the county cricket season will make it’s earliest ever start, the first fixture being played on April 5th, with many of the top players across the league still out with international fixtures.
Sussex County Cricket has begun their pre season schedule, this week announcing the 15- man squad due to travelling to Dubai. The squad will again be led by Michael Yardy this year, as they look to better their 5th place finish of 2011.
Head coach Mark Robinson, Shrewd and popular former Sussex medium-pacer will again be leading the squad this year. The man still holds the world record for 12 first-class ducks in a row, has been at the reins for seven years and is regarded as one of the best up and coming coaches.
A breadth of new additions this year to the one day squad, former Essex all rounder Scott Styris has joined the 2012 Friends Life T20 campaign.
Star all rounder Luke Wright, who missed out on most of last season with a knee injury, will also miss the start of this season after signing for IPL outfit Pune Warriors.
Despite star bowler Monty Panesar missing the first few games due to responsibilities with the England squad in West Indies, he will return to grace the PROBIZ ground once again.
Prediction for 2012: Fifth in Division One: Sussex lost an entire seam attack in Martin-Jenkins, Kirtley, Collymore and Arafat back in 2010. They more than coped last year by exceeding prediction and finishing a solid 5th.
A strong spin-bowling attack featuring the prolific Monty Panesar and the leg-spinner Will Beer should again cause havoc at the wicket.
Meanwhile England keeper and all rounder Matt Prior along with newcomer Scott Styris should bring a much needed new dynamic to Sussex batting.
The Borderline, London, Feb 23 2012
by DAMIEN MURPHY
Credit: Damien Murphy
Why Chicago’s Joe Pug didn’t feel the need to return Kemptown’s Brighton Ballroom is his business. If the growing success that has taken him off the back roads and into the bright lights has gone to his head, you’d never guess it from his easy, genial demeanour on Borderline’s stage. In any case, the Borderline is off a backroad, down an alley, in a basement, so it’s all relative.
Relativity is key with Joe’s songs, in that they can become different beasts in different settings. On his unadorned debut EP, Nation of Heat, he delivers songs such as “I Do My Father’s Drugs” and “Nobody’s Man” with a fierce desperation. Live, however, they become pleading and fragile, taking on the greater restraint found on follow-up EP In the Meantime. On the title song of that latter collection (available for free on his website), he strips the mournful confessional down even further. He sings the aching “Unsophisticated Heart”, from his current album Messenger, as though no one were in the room but himself and whatever sad, imagined face he seems to see on the back wall of the club.
He wears his influences openly. Cryptic couplets trip from his tongue like a freewheelin’ Bob Dylan (“I am the brush, I am the strokes / I’m sickness come to the best of folks”). His plaintive harmonica wails recall Nebraska-era Springsteen. Dylan comparisons are inevitable, yet Pug effortlessly avoids sounding derivative. The parallels are there, in the lyrics and the delivery, but he is unmistakably his own man, and his songs bear his own idiosyncrasies. He strays from his own material just once to offer us “Deep, Dark Wells” by an obscure folk singer named Harvey Thomas Young, which he reverently tells us “should be a part of the American songbook”. That this cover – while a fine song – is the set’s weakest moment says quite something about the quality Pug’s own songs.
Between songs, he shows himself to be a thoroughly affable gent, accepting offers of whiskey as if he was down the pub with mates, and inviting the crowd to come and see him after the show. “You don’t even have to buy the record,” he says. “Just come over for a chat. We don’t have any other friends in London”. He is clearly moved in complimenting his accompanying guirtarist and support acts (Christof, and Bhi Bhiman – both fine songwriters in their own right). When a woman howls out for “Hymn 52!” his response is perfectly pitched to save her blushes. “I haven’t written that one yet,” he hints gently. “But when I do, you’ll be the first to hear it”, before playing the gorgeous “Hymn #35”.
In the end, he reverts to the raging delivery of old, pounding out “Nation of Heat”, a disgusted indictment of the misplaced pride of his homeland, where “it ain’t rare to hear the streetlights call themselves stars”, and rounding out the set with a wild, stomping singalong on “Speak Plainly, Diana”, the only song from the EPs to be revisited on Messenger. It is a tremendous finish to a powerful celebration of the art of songwriting.
Before taking his leave, Joe returns to play us a new song, in which he says “If you remember one thing, then you remember this/ when the lights came up, there was nothing left that I could give.” He speaks the truth, and though you may not always know what he’s singing about, you damn sure believe it as fervently as he does.
Joe Pug’s second full length album, The Great Despiser, is released on April 24. A live album, Live at Lincoln Hall, is available for download for $5 (around £3.20), through his website.
Setlist
Nobody’s Man / Lock the Door, Christina / Messenger / I Do My Father’s Drugs / Unsophisticated Heart / How Good You Are / In the Meantime / Disguised as Someone Else / Hymn #35 / Deep, Dark Wells (by Harvey Thomas Young) / Hymn #101 / Call It What You Will / Nation of Heat / Speak Plainly, Diana / [encore] New Song
By Julia Thompson
The found-footage genre certainly had its place in the likes of The Blair Witch Project, where the shaky camera and blank screens, accompanied by heavy breathing added to the terror of the film. But that was a horror film. Has it worked for the newly released sci-fi/superhero movie, Chronicle?
Read the rest of this entry »
By Alex Easthope
Inspired by the MX5 racer that contested the Britcar 24 hour race just weeks ago, the Mazda2 Black Edition looks to bring a darker side to the lively Japanese hatch.
Photo courtesy of Mazda
By Abby Rugg
CHRISTMAS is a time for film-makers to create escapism as people need ‘get lost’ in a story that holds a feel-good factor.
2012, Brighton, Brighton Festival, dreamthinkspeak, England, Festival, hamlet, review, theatre, World Shakespeare Festival
Brighton Festival Review: dreamthinkspeak, The Rest Is Silence
In Brighton, Comment, Entertainment, Events, Features, Hove, National, Review, Sussex on May 8, 2012 at 3:16 PMcredit: Jillian Edelstein
We’re in a perspex walled box. Black floor, a faint glow from a large ceiling screen creating reflections of reflections. Boundless space. Projections of bare trees surround us, even above our heads. A man walks toward us between the trees, goes away. Another man looms in the extreme foreground. One wall is a close-up of his ear, leaking bloody poison. The image echoes around us.
A man wakes with a start. His ultra-modern bedroom is a brightly lit box beyond our perspex wall. He steps through the door to his bathroom, an adjoining box, rehearsing the speech Claudius makes to Hamlet, urging him to get over his father’s recent death and join his new parents in a united front. Overhead, we see him through the plughole as he tries out phrases and inflections above his basin.
Rooms appear on all sides. A fashionable young woman nervously straightens her jacket; her brother does a few press-ups before slipping into an expensive business suit; an attractive older woman brushes on foundation. Multiple video images from advertising and politics are projected onto other walls. A large room, one whole side of our own, is set up with a minimalist sofa for what looks like breakfast TV.
Behind us, a young man sits on the edge of his bed in the gloom, reflections creating the impression he’s underwater. He wrings his hands, and stares. Read the rest of this entry »
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