Issue Four

Deputy EditorHowell Daviesdeputy-editor@

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Records EditorJan Kobalrecords@

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Features Editor Cat Olleyfeatures@

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Film Editor Barnaby Walter

film@theedgesusu.co.uk

Culture Editor Rebecca James

culture@theedgesusu.co.uk

Live Editor Grace Pattle

live@theedgesusu.co.uk

News EditorHannah Mylrea

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Head of Design Claire Joines

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Head of Relations

Kirstie Carterrelations@

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Head of PublicityBronwyn Scotland

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Editor In ChiefDavid Martin

vpcdci@susu.org

EditorMegan Downing

editor@theedgesusu.co.uk

02 |Editorial The Edge | editor@theedgesusu.co.uk

Welcome to the fourth issue of University of Southampton’s very own entertainment magazine, The Edge. In this month’s issue we will be giving you the best from our student writers in the lead up to Christmas! With three awesome issues that I hope you all read cover to cover already under our belt, the new design of the magazine is looking better than ever.

On this month’s cover we decided the merge two of the most inspirational women of the time: international pop superstar Lady Gaga and A-list actress Jennifer Lawrence. My excitement for ARTPOP was off the scale so getting the chance to finally listen to it and write a review has been very exciting. Jennifer Lawrence is gracing Issue Four because of her most recent movie appearance in the new blockbuster The Hunger Games: Catching Fire. Not only is she such an icon for her very human nature and relatability but also for her stunning performance as Katniss Everdeen.

In our Features section we have sparked a debate about the heavy weights of the music industry, but who is best? The Rolling Stones or The Beatles? Turn to the Features section to find out. In our Culture section we asked contributors for The Edge to give us their TV Comedy Picks, turn to page 22 to find out which shows came out on top.

Being the well-travelled bunch that we are the Live section has shows from all across the south including a review of Panic! at the Disco at The Forum in London. I sit here writing this editorial suffering extreme fatugue from the show, which was last night. Their performance was so impressive that Brendon gets the opportunity to grace the contents page with his beauty.

I hope you enjoy Issue Four and all the delights that are inisde.

Megan DowningEditor.

Welcome to Issue Four p. 2

Records

Album Reviews Lady Gaga - ARTPOP p. 4Blood Orange - Cupid Deluxe p. 5Russian Circles - Memorial p. 6Eminem - The Marshel Mathers LP 2 p. 7Single ReviewsDisclosure - ‘Apollo p. 9David Bowie - Love Is Lost p. 9Angel Olsen - Forgive/Forgotten p. 9

Film

Cinema ReviewsThe Hunger Games: Catching Fire p. 16Saving Mr Banks p. 17Kill Your Darlings p. 18Frosen p. 19Archive & CommentArchive: the Muppet Christmas Carol p. 20

Live

Review: Mount Kimbie at Brighton Concorde 2 (06/11/2013) p. 26Review: Annie Mac Presents... at O2 Academy Bournemouth (15/11/2013) p. 27Review: Jimmy Eat World at O2 Academy Bournemouth (06/11/2013) p.28 Beardyman at RoXX (23/11/2013) p. 29Review: Panic! at the Disco at The Forum, London (21/11/2013) p. 30Listings p. 32

Contents

Culture | 01The Edge | editor@theedgesusu.co.uk Editorial | 03

Features

Q&A with Mount Kimbie p. 10The Beatles vs The Rolling Stones p. 12The Edge chats to Colin Farell p. 15

Culture The Edge’s TV Comedy picks p. 22Bioshock Infinite: Burial at Sea espiode 1 p. 23 Downtown Abbey season 4 review p. 25

Lady Gaga’s comeback has been anything but quiet with a mass marketing project leading up

to the release of third studio album, ARTPOP.

‘Venus’ is undoubtedly one of the best tracks on the record. The track was produced by Gaga alone and this all-female essence is emphasised as she sings about the Goddess of Love.

‘G.U.Y’ is a track that parodies gender conventions, blurring the boundaries between men and women in relationships. Lyrics ooze with the equality that Gaga seeks to empower people with, however, you have to see past the overly sexual overtones to get to this. ‘Sexxx Dreams’ is reminiscent of ‘So Happy I Could Die’ from The Fame Monster in its lyrical content, the theme of mastubation running through it. Gaga is very much not afraid to confront sex overtly in her lyrics declaring that ‘ARTPOP is not an orgasm but an inferno’. Unfortunately, this track falls under the rader without it’s eye-catching title and lyrical content. Similarly ‘Artpop’ is another mediocre track on the record.

‘Manicure’ has a brilliantly strong opening that grabs your attention from the first hand clap. With a fantastic b r a s s section,

screaming guitars and a dup-step breakdown this is a track that takes the electro-pop tag and lifts it into the realms of the e x p e r i m e n t a l . After my first listen of ‘Do What You Want’ feat. R Kelly I was hooked. The track is reminiscent of 80s pop and early R’n’B. It is refreshing to hear such a classic R’n’B voice as R Kelly’s on such a new and exciting track.

‘Swine’ is confusing. It is very harsh sounding and there is too much going on with this track. ‘Donatella’ pays homage to Donatella Versace and her elaborate lifestyle in the fashion industry. Gaga said abou the track that ‘it’s about being a fearless female and not caring what people say about you – being proud of who you are and walking the walk no m a t t e r what’.

‘Dope’ is a classic piano ballad in which Gaga is displayed at her ultimate best. Updated with low electronic tones the track keeps up the ARTPOP vibe, yet the focus is on her stunning vocals; they have a transcending power that shows her progression from the first two albums as well as her breathtaking raw talent.

‘Gypsy’ is another track that has Gaga’s vocals centre stage. It opens in a fairly tame manner with just the vocals before turning into a upbeat dance track. The record finishes with the lead single from ARTPOP ‘Applause’, a natural choice. I understand the reasons behind releasing it yet the track is not one of the best. Gaga truly shines on tracks such as ‘Venus’ and ‘Dope’.

ARTPOP is almost everything that I expected of it. Despite some weaker tracks it is a solid follow up to Born This Way. I cannot wait to see the world of ARTPOP unfold, as we all know Gaga is an artist in every sense

of the word, not just through her music.

Long live the Queen.

The Edge | records@theedgesusu.co.ukThe Edge | records@theedgesusu.co.uk

LADY GAGAartpop (interscope)

Words by Megan Downing

04 |Records The Edge | records@theedgesusu.co.uk

Records | 05Records | 05

Blood OrangeCupid Deluxe (Domino)

Dev Hynes - aka Blood Orange - is back as his latest manifestation, releasing new record Cupid Deluxe to follow 2011’s critically acclaimed Coastal Grooves. Once again,

it’s a retrospective affair; tales of disappointment and regret are juxtaposed with 80’s inspired basslines and muted beats.

Lead single ‘Chamakay’ - inspired by Hynes’ trip to Guyana - begins the album with a delicate sparsity, intermittent glockenspiel interweaving with female vocals to create a ‘world music’ vibe. A mournful duet, Hynes croons about ‘heartache at its best’. The opener also introduces us to several thematic elements of the record. The use of female vocals, often used in harmonies to complement Hynes, adds a third dimension to the album, particularly on later track – and exercise in being hugely depressing - ‘Always Let U Down’. Hynes’ girlfriend Samantha Urbani - of New York band Friends fame - provides many of the vocals.

Of course, the album has its pacier, more conventional moments. Second track - and second single - ‘You’re Not Good Enough’ has an unmistakable Michael Jackson vibe, and stands up as an individual release, benefitting from another lively riff and a well-judged simplicity. This is bitchy revenge-pop at its best, with poison-tongued Hynes declaring that ‘I never was in love / You know that you were never good enough’. This self-indulgence may grate on some listeners, but for me it’s what Blood Orange is all about.

But where there is conventional, there is also plain weird. Unexpected rap is always fun, and on ‘Clipped On’, it’s certainly a surprise. New York rapper Despot proves a somewhat valuable addition to the album, although MC Skepta’s rapping on later track ‘High Street’ is woefully misjudged. Discussion of his ‘G’s on the North side’ (and East side, West side and South side) feels clumsy and fundamentally at odds with a record so intricately constructed. Third track ‘Uncle Ace’ is also an odd one, composed of monotonous spoken word over a funky bassline. This descends unexpectedly into Philip Glass-style saxophone madness, and is perhaps actually one of the strongest points on the record musically.

In Cupid Deluxe, Blood Orange has constructed a somewhat indulgent record that in places is truly stunning. Several ill-judged tracks taint an otherwise thoughtful and ambitious record; Hynes possesses exceptionable musicality, and when he reigns himself in, produces poignant, relevant music.

Words by Cat Olley

The Edge | records@theedgesusu.co.uk

06 | Records The Edge | records@theedgesusu.co.uk

Not a band for those of mild disposition and taste, Russian Circles are back in

all their doomy post-metal glory. The new album could stand easily as their best in their 5-album career, taking the classic Rushin’ Squircles formula of ferocious discordance mixed with gentler, softer passages and expanding the soundscape even further. This time we have a vocalist on the final song, the heavy bits chug even harder than on their previous opus Empros and the light sections float entrancingly above. This time too, the sound is colder, darker, owing more perhaps to the near-arctic tones of Norwegian black metal, or the ‘Cascadian’ black metal scene emerging on Risin’ Turtles’ own Illinois doorstep: whatever the influence, the textures have frozen up.

Technically the band are brilliant, of course; a drummer that can sit on a hi-hat groove in off-kilter time signatures before jumping straight into a 4/4 stomp; a guitarist and bassist that

work together, bolting huge chord to huge riff to gorgeous acoustic section, such as in 1777, or stand aside to let the monster keyboard parts take over. The variety of style and complexity in song arrangement is never to be underestimated with Ramblin’ Purples, and neither is their ability to consistently surprise a listener, even when one has heard the tracks before - layers of looped guitar, jazz-led drum fills and thundering chords reveal themselves anew on each listen. Whilst there are no vocals for the most part, that just gives more material for an attentive listener to pick up on. Memorial manages to consistently appear fresh and innovative by being so alien to the rest of the current scene; where some metal bands jumped on bandwagons to try and remain relevant (we’re looking at you, Machine Head) the post-metal scene still sounds exotic precisely because of a refusal to sway in the cultural wind. Ripplin’ Nerfballs exemplify this stoicism, looking back to Pink Floyd for inspiration for the structure

of this album whilst looking ahead in their form and style.

The album isn’t perfect, but it’s close. One could argue it hangs around on simple melodic ideas for too long and relies on repetition to make a point, but to say that would ignore two things. Firstly, that this is untrue and if you say that you are not listening hard enough for the tiny changes in rhythm, texture and timbre that are so essential in listening to instrumental music of this style. Secondly, the major objective of post-rock and metal is to generate emotions and feelings whilst avoiding traditional song structure. Rachel’s Curtains succeed in this objective with outstanding grace. It is difficult to not be caught up by the feelings the songs produce at times, using gentle shifts in chord and harmony. This may well end up on my top 5 albums of the year. If you can deal with the idea of “OH NO THERE’S NO SINGER” then get this record. Immediately.

Russian CirclesMemorial (Sargent house) Words by David Burke

The Edge | records@theedgesusu.co.uk Records | 07

It’s been 3 years since the last album (Recovery) from Eminem. The Marshall Mathers LP 2 acts

as a continuation to 2000’s highly acclaimed The Marshall Mathers LP.

The Marshall Mathers LP 2 brings Eminem’s usual sharp tongue and anger, but whilst it does bring fresh new rhymes and punchy beats, the 16 track LP is very nostalgic, recounting many of Eminem’s early memories which fans have become very much accustomed to.

Opener ‘Bad Guy’ is a perfect example of Eminem engaging with his age, and asserting himself again. Just over 7 minutes long, the track is made up of two parts and does what every great song should: build up to a beautiful high before bringing the listener softly back down to finish. Referring to himself as the ‘Bad Guy’, Eminem’s alter ego Slim Shady comes into play about halfway through this track and gives a nod back to The Marshall Mathers LP with references to the hugely successful single, ‘Stan’.

‘Rhyme or Reason’ tells the story of how Eminem’s father abandoned him as a child and features The Zombies’ track, ‘Time of the Season’. The lead single ‘Berzerk’ samples Billy Squier’s

‘The Stroke’ as well as tracks from The Beastie Boys, all produced by Rick Rubin, who unsurprisingly produced this album too. The single aims to celebrate old-school hip-hop, and with heavy bass lines and an unmistakable Eminem stamped all over, it does so with great success.

Second single, ‘Survival’ features lyrics from Liz Rodrigues (singer for up-and-coming Canadian band, New Royales). Trashy guitars and lots of bass drum are similar to the last album Recovery and the catchy hook, “This is survival of the fittest. This is do or die” makes this one of the strongest offerings from this album.

Third single, ‘Rap God’ shows Eminem establishing himself as a self-proclaimed ‘immortal God’ and a dominant force within the rap industry. He then goes on to rap at “supersonic speed” – 97 words in 15 seconds, which is pretty impressive (though it’s hard to keep up with)!

The latest single from the album ‘The Monster’ features vocals from Rihanna, marking the fourth collaboration between the two. The song’s lyrics show Rihanna coming to grips with her inner demons, while Eminem ponders the negative

effects that fame has brought. The catchy beat and belting chorus makes this single very engaging and is a highlight of the album.

However, it is penultimate track ‘Headlights’ that leaves the deepest impression on the listener. Featuring vocals from Nate Ruess of fun., Eminem shows he has matured by offering a sincere apology to his mother, Debbie Mathers, with whom he’s shared a very turbulent relationship. Finally letting go of his anger towards her, the rapper apologises for songs such as ‘Cleaning Out My Closest’ and acknowledges that even if they remain estranged “I’ll always love you from afar/Cause you’re my ma”.

The Marshall Mathers LP 2 showcases newfound maturity from Eminem, and definitely does not disappoint as both a new release and a follow-up to The Marshall Mathers LP. Though perhaps offering more wisdom than previous releases, the best moments from this LP see Eminem steeped in his roots: tortured, offensive and with just the right amount non-apologetic wit. These are the characteristics that brought him to the forefront of hip-hop 14 years ago.

EMINEMMarshal mathers LP 2 (interscope)

Words by Jenny Simpson

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The Edge | records@theedgesusu.co.uk Records | 09

Singles

DISCLOSURE// Apollo

James murphy// Love is lost

Angel Olsen// Forgiven/Forgotten

It seemed as if it were only this summer that Disclosure burst onto the music scene with

their original debut album Settle, arranging British dance music into chart-friendly packages. Thumping beats were intertwined with exciting vocal performances and memorable lyrics.

It seems post-Settle they’ve maintained this, but with a new direction. Their new single ‘Apollo’, is back-to-basics house. However, fear not; though the track is quite simple, it pleases like any other Disclosure track. ‘Apollo’ proves a nifty club tune consisting of a classic 4/4 throb and whispy translucent vocals. Whilst not new and innovative, it certainly appeals. The single remains powerful and further secures the band’s rise to the Mount Olympus of contemporary dance music.

Words by Natalie Fordham

It isn’t often that remixes get as much attention as James Murphy’s take on David Bowie’s

‘Love is Lost’. There’s a very good reason for this; Murphy’s version is amazing. The song starts with a round of applause that makes a seamless transition into a clapping beat reminiscent of Steve Reich’s Clapping Music. Soon after, a minimalistic synth starts to play, followed by atmospheric piano chords.

Five minutes into the track, the clap turns back into applause and Murphy deploys Bowie’s chorus, which feels oddly stilted and diffuses the atmosphere that he has been building. Thankfully, this leads into an explosion of drums and a game-changing second half. To say that Murphy’s effort made the original mix look bad would be an understatement – it is magnificently crafted.

Words by Thomas Williams

Angel Olsen is a Jagjaguwar alumnus that is best known for her introspective

bedroom style. It is because of this that the new single from her forthcoming album Burn Your Fire For No Witness has caught me off guard. Her sultry voice no longer occupies a fragile space with her acoustic guitar. It instead cuts through a krautorock drum pattern and a fuzz laden guitar.

The track is propelled by an inherent focus. Unfortunately that focus isn’t thematically complicated, neither is it aesthetically complex, it simply works. I can very easily find parallels between her and other artists; Vivian Girls, Waxahatchee, Deerhunter, The Modern Lovers, and The Dum Dum Girls to name a few. Does this completely undermine her? Most definitely not, the track is undeniably endearing.

Words by Jan Kobal

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The Edge | features@theedgesusu.co.uk

Following the success of their 2010 album Crooks & Lovers, Mount Kimbie are again riding high on

the UK electronic scene with their new album Cold Spring Fault Less Youth.

On the night of their first UK show - a sold-out gig beginning their Autumn European tour - I spoke with Mount Kimbie about their recent North American tour, their critically acclaimed second album and their collaboration with King Krule.

So, you’ve just finished your North American tour. Did you notice a difference between American and English crowds?

Kai: The crowds are quite different in every state so it’s hard to say generally. New York is probably quite

similar to London. In general it was really positive. It was sometimes more intimate in terms of meeting people because a lot of people would have to drive a long way to come and see shows.

I’ve heard that American crowds are often more vocal and enthusiastic. Is there any truth to that?

Kai: I think Americans tend to go to shows with quite an open mind. They don’t expect something in particular or have an idea in their head that this is what this band are about.

You’re also about to embark on your European tour. Is there a particular city you’re looking forward to playing at?

Kai: We always enjoy ourselves

whenever we play in Germany. The venues are really good and the people are really good. Looking forward to that.

After the success of your first album, did you find it daunting to go back into the studio and record your second album Cold Spring Fault Less Youth?

Kai: Well we’d had two years of not really writing any music. We really rinsed the last record in terms of touring, so I don’t think anyone really cared that much what we were doing when we went to record Cold Spring Fault Less Youth. It wasn’t really an option for us to even think back to the last record. We had a long period of time at the beginning where we couldn’t really figure out what we wanted to do. It took us a while for

Q&A:Mount Kimbie

10 | Features

The Edge | features@theedgesusu.co.uk

Q&A: “The experience with King Krule was very positive.”

things to click into place.

Were you glad that you gave yourself that breathing space between records?

Kai: Yeah definitely. I mean - it wasn’t really a conscious decision, it just kind of happened that way. The first record had so much life in it that it allowed us to carry on touring for so long. I don’t think we’d like to do it again. I think the relationship between the first and second record is quite different to the relationship between second and third. I think it was good for us. We felt when we finished the first album that we’d finished working in that way. It was good to start afresh.

On this album you collaborate with King Krule on two of the tracks. What was it about his music that attracted you to the idea of working with him?

Dom: I think we heard some of his songs on YouTube when he was working as Zoo Kid. They were great songs. It felt good to work with him. We went to go and see his show then emailed him after that. It was nice to work with him in the studio.

Your video for the tack ‘Home Recording’ is really unique. Were you aware of Anthony Dickinson’s [the director] work before this video?

Kai: I’d seen a few things but only because our commissioner was

really enthusiastic about some stuff that he’d done and I think I’d seen something before. It was more a case of having a chat with him and seeing what he wanted to do. He was very enthusiastic about this technique that he’d been thinking about and wanted a reason to use it. He’d built a machine that could replicate the same shot over and over again. When you work with someone you want them to be just as enthusiastic.

Did you have much involvement in the video itself?

Kai: We wanted to avoid being too involved. We just worked on the treatment together and then literally after that we went away.

On your blog you describe the video as having a ‘familiar but fictional reality’. Do you think this adds a new dimension to the song?

Kai: Yeah. When we were talking about what we wanted to do as a music video it made me realise that I’d never actually really watched a music video. So I felt a little bit out of my depth when talking about what I wanted to achieve from it. I’m really happy with everything visually. We wanted a change of aesthetic. In general we wanted a stronger, more concise image. We were slightly worried it would be too slow paced but people seem to have reacted really well.

Do you use visuals in your live sets?

Dom: We’ve got a really good lighting guy. We use video from the song ‘Before I Move Off ’ and slow it down.

A lot of people use the word ‘ambient’ to describe your sound. Is this a sound you really strive to achieve or is it just the natural outcome of your writing process?

Kai: There isn’t a plan of any kind. There is a feeling of where we want to

go directionally but it isn’t something we talk about or prescribe to heavily. When you write your own stuff you don’t really think of it as being overly anything. The whole ‘ambient’ stuff tends to come afterwards.

Do you ever disagree about the direction that a song should go in?

Kai: We work quite a lot individually. The last four years has been fine working together. We both get excited by each others’ ideas.

You’ve worked with several other artists. Is there anyone out there you’d love to collaborate with?

Kai: We’re never really keen on the idea of collaboration in general. The experience with King Krule was very positive. I think generally it’s quite often the case that ‘this person plus this person’ doesn’t equal the sum of both. It can sometimes take away from their own work. I mean obviously I would like to work with Prince but I don’t think it would work. We were just touring with Jon Wayne, who was incredible to tour with and pretty inspirational so that would be something we would like to explore.

Words by Grace Pattle

“We were slightly worried it would be too slow paced but people seem to have reacted really well.”

Features | 11

I have to be honest, it took me a rather long time to formulate an answer of my own. If ever music

had a ‘Sophie’s Choice’, then this is it. Of course others would argue that the title of ‘The Greatest Band of All Time’ should go elsewhere, be it to the likes of Led Zeppelin, Pink Floyd, Metallica or Nirvana. But the fact remains that these two bands shaped the course of music as we know it.

In musical terms, this truly is the clash of the titans. This is the ever-iconic apple versus the ever-iconic tongue and lips, Liverpool versus London, McCartney versus Rich-ards, Lennon versus Jagger; the good boys versus the bad boys. Ricky Gervais once recalled how when growing up he was more of a Rolling Stones guy, yet once older came to realise, as has been said by many others, that in fact The Beatles were the greatest band in the world. The debate continues.

Due to the nature of this compari-son, I’ll take one band at a time through a series of categories that together encompass what I feel are

the essential ingredients in order for one of these bands to come out on top. First up, in the blue corner, the brainchild of John Lennon, Paul McCartney, George Harrison and Ringo Star. Ladies and gentlemen, the generation-defining instigators of ‘Beatlemania’, the timeless four-headed monster: The Beatles.

Although not a fan of some of the ballads (which Ringo has referred to as Paul’s ‘nan’ music), over a ten-year career the Beatles produced a set of albums, most notably Rubber Soul (1965), Revolver (1966) and Sergeant Pepper’s Lonely Hearts Club Band (1967) that sincerely experi-mented with a plethora of genres, revolutionised song-writing and created sounds that would perme-ate through the decades. Indeed the earlier albums (such as 1963’s Please Please Me) are what gave way to the labelling of The Beatles as, in essence, the world’s first and biggest pop group. Yet it is what they did in the mid-60s onwards that prompts many around the world to put their work up there with that of Bee-thoven and William Shakespeare as one of humanity’s greatest cultural

achievements.

The fact that they broke-up in 1970 only adds to the legend of the out-fit. Where the Rolling Stones have carried on, the Beatles tied up their career whilst on a high with Let It Be (1970). Despite not playing live after 1966, their shows beforehand often had to be shut down due to the reac-tions of fans, which only illustrates how, in the words of former Rolling Stone editor Robert Greenfield, they ‘broke the constraints of their time period to come up with something that was unique and original ... no one will ever be more revolutionary, more creative and more distinctive’.

Next up, in the red corner, we have - current members - Mick Jagger, Keith Richards, Ronnie Wood and Charlie Watts. Champions of the 60s, the voice of a generation, the one and only: The Rolling Stones.

The Rolling Stones’ greatest hits are something to be reckoned with. With a repertoire including some of the most memorable licks of all time, from ‘Satisfaction (I Can’t Get No)’, ‘Street Fighting Man’ and

The Edge | features@theedgesusu.co.uk12 | Features

‘Sympathy for the Devil’ to ‘Gimme Shelter’, ‘Brown Sugar’ and ‘Don’t Stop’, the Stones’ tracks are ubiqui-tous when it comes to films, televi-sion shows and, most importantly, lives. The mix of Jagger’s unparal-leled charisma with Richards’ un-hinged coolness embodies the social revolution of the 60s; it transmits that spirit of rebellion that coloured an era through the ages. The Stones are timeless. What comes pouring out of this fusion of energetic rock and roll and melodious blues are images of the hippies in the country, yet also men and women dancing in the city.

It is often said that when perform-ing live the Rolling Stones were unmatchable, and how I wish to have seen them in their heyday. In terms of performance they probable edge it, yet it is often said that the band’s ‘remarkable endurance’ has been their downfall due to a rather inconsistent quality of releases fol-lowing the high time of c. 1968-72 (within which was the release of 1968’s Beggar’s Banquet).

Both groups excelled in the song-writing department, with The Bea-tles being arguably more diverse and variant when it came to member contributions to writing. In terms of instrumental capabilities, Stones take the drumming slot, where gui-tar work would probably also go to Keith and Ronnie, yet the flexibility of The Beatles (with all four mem-bers contributing to vocals) puts them ahead in that department. What also should be considered is the iconic status of the individual members, as although Jagger is such a uniquely flamboyant and driving character, Lennon’s comments, in-cluding his claiming that The Bea-tles were ‘bigger than Jesus’, set him apart in terms of iconic rank. When it comes to the notion of their re-spective legacies, The Beatles also probably pip the Stones at the post as you’d arguably hear the influence of The Beatles more widely today than the Stones.

Growing up, my Dad and I spent hours with his record player, and from this musical education I gained one of my favourite albums Sergeant

Pepper’s Lonely Hearts Club Band, as well as a favourite song, ‘Sympathy for the Devil’. I took a liking to the Rolling Stones before the Beatles and the reason for this, I believe, is that they were, at the time, compar-atively closer to the music that I was listening to - Foo Fighters, Pearl Jam - than The Beatles are. Hence to my mind The Beatles are the sound of Britain and The Rolling Stones are more the sound of the US. Alas, if a gun were pointed at my head right now and someone subsequently asked ‘who’s better then; The Beatles or The Rolling Stones?’, - although I truly adore both - my answer would have to be, for the reasons provided, The Beatles.

But please trust me when I say that I was left blank for a very long time before finally making up my mind. Then again I could be wrong; what do you think?

Words by Michael Anderson

The Edge | features@theedgesusu.co.uk Features | 13

The Edge | features@theedgesusu.co.uk Features | 15

Colin Farrell

Saving Mr. Banks is a funny, uplifting and deeply moving picture about the making

of Mary Poppins. It’s quite unlike anything Colin Farrell has ever done before. The Irish actor started his career acting in - among other things - cosy Northern Irish drama Ballykissangel but went on to become the action star he is today, slotting comfortably into leading roles in Miami Vice and Total Recall. Now, he is taking something of a step back towards the cosy side of things, though his role in Saving Mr Banks is far from a laugh-a-minute. He plays the kind, loving, though alcoholic father of Australian author P.L. Travers, the creator of the beloved Mary Poppins. The film shows, via flashbacks, how important the relationship with her father was to her when she was a young girl, and how this influenced her writing.

When I spoke to Colin Farrell, I was interested in knowing more about the chemistry he managed to create with the actor of the young P.L. Travers (or Ginty, as she was known in her childhood). I asked him what this process involved: ‘Custard Creams and a cattle-rod. Going between both’, he said quite seriously, though it was clear he was - hopefully - joking. ‘She was incredible. I don’t know how many actors and small female human beings [director] John Lee [Hancock] may have met in Los Angeles, but I know they met many. And when they went over to Australia to research where the family lived I believe they met a lot of girls there. I believe it was quite an ordeal to get her legal papers to work, but it was worth every single phone call and every single bit of sweat because she was phenomenal. To work with her was really easy, and she was there with her twin brother Max and her parents came over.’ Farrell’s scenes form a story in their own right.. ‘Our section of the film was shot in chronology and they blocked it off; it really did feel like a film within itself. For two weeks, we went to a ranch outside of Los Angeles. It was just me, Ruth and the girls, six chickens and a horse - happy days man. It was just all there on the page.’

Farrell however was never much of a Mary Poppins fan when he was younger. His loyalties were to be found in another literary corner of

cinema: ‘I was too busy thinking about everlasting gobstoppers from the Wonka factory. It’s a Beatles/Rolling Stones question - were you a Mary Poppins or a Willy Wonka fan?’

Indeed, the film feels like something of a departure from any of Farrell’s previous work: ‘Anytime you step into the fiction of another person’s skin and you go from objectively perusing a script and a character’s life to being the subject of the story, it is a departure. If I was to look back, it does feel a little bit more unique. Sometimes when you read things, you put it down, you get very analytical about it, and you think about the dialogue, the situation and the characters: you look at the whole story. This defied any kind of analysis, it was just moving from start to finish and funny at times. It is really nice to be part of things that work and things that effect people; the whole becomes great than the parts that make it. I read the first page and you hear my voice and I was like ‘yes, this is my film. I am in’. Then I was like ‘what to you mean I am not the protagonist? I am a protagonist’

Questions were asked by Barnaby Walter and other journalists at the Saving Mr Banks press event at The Dorchester, London.

Read Barnaby’s review on page 17.

The Edge | film@theedgesusu.co.uk16 | Film

Words by Barnaby WalterDirector: Francis Lawrence. Studio: Lionsgate. Out: Now

The sequel to a much-loved first film is always difficult, for both filmmakers and fans.

The Hunger Games: Catching Fire certainly subscribes to Twilight-syndrome to some extent, where a rough, indie-feeling first instalment morphs into a slick, shiny studio feature. But in this instance, unlike The Twilight Saga: New Moon, it doesn’t seem to matter here. It feels right the series starts to feel bigger as it starts to tell a story on a much-grander scale. Though still shot on film (both 35mm and crystal-clear 65mm), Catching Fire has a glossy-ness to it that could be mistaken for digital. Out goes the large amount of hand-held establishing shots (which is a shame, because that’s what made the first film feel so different and interesting), in comes a more static aesthetic. It still looks gorgeous, however.

As the film opens up we see how life is going in District 12 now Katniss has won The Hunger Games. It’s not good. Unrest is growing, as is the harsh rule of the dictator (Donald Southerland) who means to stamp out any sparks of rebellion Katniss and Peeta caused when they defied the rules of the Games last year.Katniss is struggling to appear in love with Peeta. They both kept up a celebrity-couple image so as to win the love the public, but now they have the rest of their lives to look forward to and the pretence is becoming difficult. Katniss loves Gale, a hunky Hemsworth brother, but Peeta loves Katniss. So far, so teenage-saga-ish. Thankfully, this second film in the series escapes predictability and tired cliché through the plot (the Games return, but nastier) and via the verve and momentum of the directing. The acting is uniformly excellent all round (especially Oscar-winner Jennifer

Lawrence, as magnetic as ever), but director Francis Lawrence impresses the most. He commands the energetic story with a confident hand, helped by Simon Beaufoy and Michael deBruyn’s excellent screenplay. Francis Lawrence has directed a series of awful movies, including I Am Legend and Water for Elephants, but his work here is superb.

Some may complain that people like Philip Seymour Hoffman are sidelined in favour of photogenic teens, but in the end this is Lawrence’s show, and she steals each scene. Maybe the fact that she is now an Oscar winning actor may draw new audiences to this series who at first dismissed it as teenage nonsense. It really isn’t.

The Hunger Games:

Catching Fire

The Edge | film@theedgesusu.co.uk Film | 17

Sometimes the stars align to make a perfect film, or a close to perfect as a movie can be. Saving

Mr. Banks, the story of the process of making the beloved Disney film Mary Poppins, isn’t quite perfect, but the stars really have all come together to make this movie a wonderful treat. Funny, emotional and beautifully acted, it makes the perfect family film to see this Christmas.

The story concerns the working relationship between the creator of Mary Poppins, P.L. Travers (Emma Thompson) and the filmmaker Walt Disney. The American movie-giant flies the writer to Los Angeles to convince her to sign over the rights of her much-loved Ms Poppins, though things don’t go exactly smoothly. It seems Ms Travers has very different ideas as to what type of film her books should make and the one Mr Disney pitches to her turns her stomach. She hates animation and is unwilling for the film to be a musical.

A lot of the Los Angeles-based scenes feature Ms Travers, composers Richard (Jason Schwartzman) and Robert (B.J. Novak) Sherman and the film’s scriptwriter Don DaGradi (Bradley Whitford). As they go through their plans for the movie, Mrs Travers systematically refuses each suggestion, making it quite plain she thinks their vision for her much-adored character is inappropriate and ill-judged. Like many Emma Thompson movies, where there is laughter there are also tears, and as we learn about her childhood (through flashbacks to her life in Australia with an alcoholic father, sensitively portrayed by Colin Farrell) we realise why the Mary Poppins books mean so much to her character.

The closing scenes are incredibly moving, and director John Lee Hancock utilises Thompsons talents well as he shows Mrs Travers confronting her past by watching it unfurl, albeit through fantastical recreation, on the cinemas screen

in front of her. These final moments are all the more affecting because not only do their show a complex woman facing her demons, but they also try to understand the magic of cinema and its close relationship to memory and the subconscious. When we sit watching a projected film, we are actually doing some projecting ourselves; our hopes and experiences, our desires and our dreams all find their way up onto that screen, slotting into place amongst the characters we watch. It’s a very private process, and by keeping the camera more-or-less fixed on the face of Mrs Travers as she watches the film for the first time, we experience that process with her. The marriage of music and cinema may well be the closest we get to witnessing magic in this world and the way the actors and filmmakers involved in this wonderful film capture that sense of mysterious wonder is truly sublime.

Saving mr banksWords by Barnaby Walter

Director: James Lee Hancock. Studio: Disney. Out: November 29

The Edge | film@theedgesusu.co.uk18 | Film

A small, absorbing portrait, Kill Your Darlings details the origins of the Beat Generation, an anarchic group of American writers and

thinkers with a contempt for mid-twentieth century moral and literary standards, whose writings continue to inspire leagues of young, restless people.

Focusing on a young Allen Ginsberg (who would later rise to international fame with the daring content of his poem Howl and the landmark obscenity trial that resulted), co-writer and director John Krokidas tracks his evolution from tentative Columbia freshman to fiercely anti-authoritarian poet, stimulated by a formidable group of friends including Jack Kerouac and William S. Burroughs, and events involving sex, drugs, and even murder.

Krokidas cleverly evokes 1940s New York on a modest budget, favouring cramped apartments and stuffy college libraries over sweeping shots of the city, and as a result manages to create an intimate and inviting but not cloyingly nostalgic past.

Ginsberg is ably played by Daniel Radcliffe, the former Harry Potter star, and the rest of the cast is consistently

strong, from Dane DeHaan as Lucien Carr, Ginsberg’s inspiration and ringleader of the emerging group, to Ben Foster as Burroughs and Jack Huston as Kerouac. Kill Your Darlings displays Radcliffe’s continuing growth as an actor, as well as an increasing intelligence in his choice of film projects.

This is perhaps the most successful Beat Generation film to date, in part because Krokidas has focused the plot on a specific and dramatic course of events. Where Walter Salles struggled and missed the mark with his recent adaptation of Kerouac’s legendary On the Road, filtering a wild and beautifully sprawling mess of a novel into a rather straightforward road movie, here Krokidas manages a far more successful balance of coherence and anarchic kick.

Like the best of the Beat writing, Kill Your Darlings is brimming with the idea that life is out there, ready to be lived, waiting for those with the desire for experience. But the film also succeeds as pure entertainment, working around a tight narrative that builds confidently towards an effective conclusion, whilst still managing to convey some of the infectious energy and spirit of the Beat movement.

Kill Your DarlingsWords by Andrew Southcott

Director: John Krokidas. Studio: Universal/The Works. Out: December 6

The Edge | film@theedgesusu.co.uk Film | 19

Frozen is very different from the marketing that surrounds it. I don’t know who edited that

jokey, annoying trailer, but they should be sent to Disney’s straight-to-DVD department as punishment and be made to cut previews for Beverly Hills Chihuahua 6 for the rest of their career. This film isn’t a knockabout insincere comedy, as was first implied. It’s a serious, beautifully crafted, emotional story of sibling love between sisters, and those all important Disney-values: being yourself and falling in love. Sure, there are jokes, but the humour is spot on: cute and charming rather than smug and full of sexual innuendo.

Jennifer Lee and Chris Buck’s film is inspired by Hans Christian Anderson’s The Snow Queen, though the story is put through a lot of revisions in order to make it feel fresher and more contemporary for today’s audiences. It’s a rewrite that doesn’t feel offensive when compared

to the original source material; the film stays strong and the plot is kept tightly structured.

The story here is, as would be expected, focused around two Princesses of a faraway kingdom (apparently Norway served as the main inspiration). One of them, the younger, is fun and carefree, but the other sister has been shut away from the world because of a dangerous magical gift that threatened the life of her sister when she was young. As could be predicted, the parents die within the opening few minutes. On the day of the elder’s coronation, things don’t go well. The aforementioned magical gift (that freezes everything around and turns the surrounding areas to ice and snow) alienates the queen from her people and she runs off into the mountains. Younger sis, complete with a grumpy ice-selling guide and an adorable reindeer, goes hunting for her.

The strength of this animation is that most of it is played entirely straight. There is no nudge and wink to the audience to let them in on the joke. What joke? There is no joke. Unlike many self-satisfied DreamWorks movies, Frozen takes itself entirely seriously and is so much better because of it. The songs bring back memories of the last Disney golden-age of the 1990s, and this frequently hits the highs of masterpieces Beauty and the Beast and The Lion King.

Stunning widescreen vistas and terrific voice acting (from the likes of Kristen Bell and Jonathan Groff) make this a treat for both kids and adults without sacrificing either innocence or subtlety. Tangled was great. Wreck-it-Ralph was fun. But here we have that rare thing: a solid-gold (or solid-ice) animated classic. I do hope this is the start of another golden-age.

FrozenWords by Barnaby Walter

Director: Jennifer Lee and Chris Buck. Studio: Walt Disney Studios Motion Pictures Out: December 6

The Edge | film@theedgesusu.co.uk20 | Film

Words by Rebecca James

The Muppet Christmas Carol is required viewing in my house every festive

season, and with good reason, as for me it ranks as one of the best Christmas movies ever.

The movie sees the Muppets take on the main roles in Charles Dickens’s well known tale, and it makes for a very enjoyable watch. For those who don’t know the story, the film follows Mr Scrooge as he is visited by four ghosts over the course of one night who attempt to show him the errors of his ways. The film is narrated by Gonzo the Great, playing the part of Dickens himself, with his trusty sidekick Rizzo the Rat. Many great comic moments come from this pairing - the two of them climbing over a ridiculously high gate, only for Rizzo to go

back through the bars for a bag of treats is one such moment which sticks in my mind.

One of the highlights of the film is the presence of Statler and Waldorf, the Muppets resident hecklers, playing the roles of Jacob and Robert Marley visiting Scrooge in their ghostly forms to warn him. Their song ‘Marley and Marley’ is catchy, and features some fantastic visual imagery - the ghostly chains which are animated create a lasting impression.

The film is filled with heart warming moments, fantastic music, and most importantly the spirit of Christmas - essential viewing for all!

Directed by Brian Henson. Available on DVD.

Archive ReviewChristmas Special

THE MUPPETS CHRISTMAS CAROL

Student EnterpriseC

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ork help boost your C

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petitions and m

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pton or Fish on Toast!

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Interaction Keep up to date w

ith events and opportunities or ask us your em

ployability questions on Facebook or at our Tw

itter handle @

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areers.

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ployers.

TOP TIP

Attend the ‘Prepare

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ost of those few

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ERS

Get actively involved in

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clubs and societies

Volunteering or part-time w

ork help boost your C

V and let you try out areas of interest

Check out the

Career D

estinations Events C

alendar

Attend careers

fairs* and network

with em

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Start building your network by

participating in Insider Mentoring and

learning from a C

areer Mentor

Attend skills

workshops* and

prepare/update your C

V ready for applications

Check out the Excel

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for Easter and Summ

er paid internships

Consider global

opportunities, working or

volunteering abroad with

our Global A

dvantage and Volunteering W

eeks

Attend the June Em

ployability Festival* and get a head start on your

final year

Be aware of

applicationdeadlines

Login and go through our jobs vacancy

portal*, exclusive to students at the

University of

Southampton

Prepare for A

ssessment C

entres* and Interview

s by attending the C

areer D

estinations Boot C

amp and interview

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orkshops

Research postgraduate pathw

ays and support

Look out for the DLH

E Survey 6 m

onths after graduation and engage w

ith our alum

ni services

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ULT

IMA

TE

YEA

R

FINA

LY

EAR

Your path to a successful career

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w.southam

pton.ac.uk/careers

Career C

onsultancyA

1:1 meeting w

ith a C

areers Practitioner to discuss a specifi c application for jobs/ internships, further study courses and PhD

positions.

TOP TIP

All appointm

ent slots are bookable on the day of the session and are on a fi rst-com

e, fi rst-served basis.

Boot cam

pA

day-long event of w

orkshops based on assessm

ent centre exercises and tips on how

to excel in the selection process.

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Remain focused and

motivated at an

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you may be observed

at any point.

Careers panels

Subject or sector-specifi c events: M

eet alumni and

employers from

your faculty to fi nd out w

here your degree could take you.

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An ideal opportunity

to ask questions and get ideas of potential careers.

Job Vacancy P

ortalG

raduate vacancies and work

experience opportunities are available through the Job Vacancy Portal. Em

ployers from

over 20 sectors target

University of Southam

pton students and these roles cover diverse industries and locations.

TOP TIP

Access this resource by logging

in to your Student Portal.

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resentations and Skills W

orkshopsInteractive exercises w

ith graduate em

ployers or Careers

Practitioners. Perfect your CV

and get to grips with the job

selection process.

TOP TIP

You can gain valuable skills from

employer w

orkshops even if you have no interest in applying to that particular em

ployer.

The Edge's TV Comedy picks

House of Lies New Girl

The Edge | culture@theedgesusu.co.uk 22 | Culture

House of Lies is crude, brash and more than a little overtly sexual - the warnings about nudity and sex scenes are more than

warranted by this show. Yet at the same time it is intensely witty, very interesting and brilliantly original. The show tells the story of Marty Kaan, (Don Cheadle who is at his best, as demonstrated by his Golden Globe win for House of Lies) the leader of a group of management consultants who travel around the country and talk companies into hiring them to ‘solve’ their problems. Some of the best moments of the show come from freeze frames, as Cheadle steps out and delivers a pithy and very relevant line directly to the camera, and by extension

the audience.

The show also stars Kristen Bell as Jeannie, Ben Schwartz as Clyde and Josh Lawson as Doug, the three other members of ‘The Pod’. The group dynamics are excellent, with each showing their own talent as actors with well nuanced performances. The writing blends comedy with well placed dramatic moments that make the show all the better for it. Season two is currently airing on Sky, and with season three about to start in America, it seems clear that this show is here to stay, so now is the perfect time to get up to date - its 30 minute episodes are perfect for binge watching, and once you’ve started you’ll be hooked.

First aired in 2011, US sitcom New Girl has proved a huge success in the TV industry. Having been nominated for three Golden

Globes, it is clear that the perfomances of both Zooey Deschanel and Max Greenfield, who

plays Shmidt, are worth the praise.Having just broken up with her boyfriend, Jess Day (Deschanel) becomes the fourth member of apartment 4D. Shmidt, Nick, and Winston (who replaces Coach’s character after the pilot episode) are her fellow room-mates, having to adjust to Jess’s weird, goofy and quirky character. Jess still has her schoolmate Cece though, a model (queue Shmidt’s ‘charm’), to keep her sane while she learns to deal with living with three single men. Max Greenfield’s Scmidt continuously provides laughs, and its easy to see why he has been critically acclaimed. Similarly, Deschanel’s interpretation of the quirky, yet endearing

school teacher Jess, is charming.

With the likes of the ‘Douchebag Jar’, the constant ‘will they/won’t they’ moments between Jess and Nick, and Winston’s alternate persona, Theodore K. Mullins – ‘Nick’s lover on the down-low’ – Meriwether’s

scriptwriting never fails to amuse.

The Edge's TV Comedy picks

Words by Rebecca James, Howell Davies, Henna Patel and Lewis Taplin

Him and Her Fresh Meat

Culture | 23The Edge | culture@theedgesusu.co.uk

Him and Her has become a bit of a niche pleasure for BBC Three, drawing generous audiences despite the fact that

this is the fourth and final series. Previously it has often been compared to The Royle Family because of the charming yet vile characters, and the fact that the show is exclusively set in just a few rooms. However, this series sees a complete change of pace, set at the wedding of Laura (Kerry Howard) and Paul (Ricky Champ). Hilarity ensues as the six-episode run includes all manner of nuptial-induced foolery surrounding the early morning wake up call, the drunken disco, and the couple’s

newly born baby.

Of course, Him & Her would be nothing without the stars of the show; the slightly gormless pair Steve (Russell Tovey) and Becky (Sarah Solemani). Venturing out of their squalid flat for the first time, the audience catches up with the couple following their

engagement at the end of series three.

First broadcasted in 2011 and now on its third series, Fresh Meat - from the creators of Peep Show - is as hilariously enticing

as ever. Following the academic endeavours of the six main protagonists at Manchester University, it is the ideal TV show for students

to lose themselves in.

With the slightly contentious remarks of JP, portrayed by Jack Whitehall, complimented by the intellectual and literal Howard, the audience is beginning to witness the formation of an unusual friendship in series three. This is paired with the friendship of the blunt Vod and the kowtowing Oregon. These unlikely double acts are complimented by Kingsley and his love interest, Josie. Merge these characters with affluent story lines like an affair with a teacher, a spontaneous marriage and unfaithful relations and we are provided with engrossing, scandalous, emotionally-

indulgent, and funny episodes.

Despite its occasional hyperbolic spontaneity and tendency to cross over the politically correct line, Fresh Meat is a successful show for diverse demographics, but in particular, us

students.

The Edge | culture@theedgesusu.co.uk24 | Culture

*SPOILER ALERT* - Do not read this review if you have not played Bioshock Infinite!

Ever since Bioshock Infinite was released back in

March 2013, fans of the game have

known that there would be extra downloadable content (DLC) added down the line.

Finally after months of

a n t i c i p a t i o n , the first episode of

‘Burial at Sea’ has been released

and it does not disappoint . T h e beginning of the episode

is as cinematic as the opening

of any previous Bioshock game. The background

to the story is rapidly

explained as Elizabeth is seen arriving at the office of Booker Dewitt, private investigator, asking for help in locating a missing girl named Sally. The parallels to Bioshock Infinite are immediately obvious, but to those who have played the game this should not come as a shock considering the eye-opening finale. There are clearly unanswered questions here; why are Elizabeth and Booker in Rapture, and why does Booker not seem to have any recollection of the events in Infinite? These questions are to some extent answered in the climactic ending but there is certainly scope for further elucidation. After all, this is typical Bioshock.

Pre-fall Rapture is beautiful and it is clear that the game’s designers have invested hours in creating new assets. From the moment the player steps out of Booker’s office, Andrew Ryan’s vision of a utopia are finally realised visually. The brassy colour scheme and the futuristic yet retro setting complement the ideals of Rapture excellently. Passing by Rapture’s residents reveals that the city is thriving but there is also an undercurrent of discontent and concern. After all, the episode is set on New Year’s Eve 1958; the

first day of Rapture’s rapid demise. Whilst the first part of the episode is set entirely in pre-fall Rapture and is

entirely combat-free, this does not detract from the game.

Instead this encourages exploration; the level designers clearly desire for the player to immerse themselves in the experience.

The second part of the episode will be more familiar to those who have played the original Bioshock and its sequel. This is set in Fontaine’s department store which has been sunk to the very bottom of the ocean by Andrew Ryan. Here, the side-effects of plasmids are displayed to great effect by the resident ‘Splicers’. This is essentially a microcosm of Bioshock’s Rapture, and although the experience may be limited, this does not make it any less nostalgic. The contrast between the department store and prime Rapture is stark whilst not feeling contrived.

The main objective of the second part is to hunt down Sally who is hidden somewhere in the department store. Whilst the method of doing this gets tired quickly, this does allow further exploration of Rapture and never does the game feel like it is dragging its feet due to the constant splicer battles.

Without wishing to spoil the ending of the game, it should be noted that although it is both shocking and unpredictable, it does not end on a cliffhanger. Therefore players who otherwise might have waited until episode 2, which promises to make Elizabeth a playable character, is released in 2014 before playing the DLC might wish to reconsider. Whilst the episode is rather short, giving around 2-3 hours of gameplay, it is still an amazing addition to the Bioshock canon. This is a must for fans of the series.

8/10

Words By Joe Gibson

Bioshock Infinte: Burial at Sea Episode one

The Edge | culture@theedgesusu.co.uk Culture | 25

Downton Abbeyseason Four

It sure has been a busy year at Downton Abbey! We’ve seen old staff leave and new staff come,

romances have blossomed and died, and the fate of Downton Abbey has been given to a strong female character, who has more men falling in love with her than Maggie Smith has witty lines.

The main issue this series had to deal with was the departure of fan-favourite Matthew Crawley (Dan Stevens), who was a vital character. Luckily, his absence was plugged up with several new suitors: Lady Mary’s (Michelle Dockery) childhood friend, Lord Gillingham (Tom Cullen), a reappearing suitor from series 1, Evelyn Napier (Brendan Patricks), and Napier’s aristocracy-hating boss, Charles Blake (Julian Ovenden).

Another landmark that Downton Abbey overcame this series is the introduction of the first black character, jazz singer Jack Ross (Gary Carr). His character is entertaining to watch, having the smooth talk and mannerisms that come with the jazz age. During the series, he embarks on a forbidden romance with Lady Rose

(Lily James), which sadly ends with a broken engagement. This is a shame, as the issue of inter-racial marriage would have been an interesting topic for the show to tackle. But no. Julian Fellows would rather write about much darker things. Like rape.

And so he does. In a horrifying, distressing, out-of-nowhere climax, Lord Gillingham’s valet, Mr. Green (Nigel Harman), drags a screaming and struggling Anna (Joanne Froggatt) into a room and rapes her, while the rest of the characters sit happily listening to a song about love. The contrast was cruelly effective, and left viewers reeling in shock. It is understandable that Julian Fellows wants to tackle this topic, as female-servant rape was a large issue in the 1920’s, particularly in large manor houses. This plot was dragged throughout the series, and Mr. Green is mysteriously killed off-screen. As a viewer, I felt robbed of justice.

Another issue raised was that of abortion. Lady Edith (Laura Carmichael) finally has herself a serious love interest in the form of Michael Gregson (Charles Edwards).

This set itself up to be a cute little plot, and a well deserved happy ending for poor Edith. However, it was not meant to be. By the end of the series, Michael has vanished and Edith is pregnant with his child. I’m sure he will turn up again in the next series, but Edith assumes that he’s gone, and so decides to abort the child. Luckily she does not go through with it, but we do get a quick glance at a weeping woman who has done. Instead, Edith plans to give the child away, which is just as heartbreaking for her.

Mrs. Hughes (Phyllis Logan) really impressed me this series, showing she is a strong, reliable character and putting truth to the phrase ‘if looks could kill’. On a negative note, I did not find Lady Grantham (Maggie Smith) as funny and witty as she was in past series.

Hopefully the Christmas episode will solve a few more problems, and set up some issues for the next series.

7/10

Words by Natasha Raymond

The Edge | culture@theedgesusu.co.uk26 | Live

After completing their autumn North American tour, a pretty jet lagged Mount Kimbie opened

the UK and European half of their tour in Brighton Concorde. The pair were clearly pleased to be back on English soil as Dom (a Brighton boy himself) announced ‘It’s shit and it’s raining but it’s good to be back in Brighton’. The crowd were certainly pleased about their return to the UK, as the venue was full to the brim with eager punters waiting for a night of eclectic and ambient so called post dubstep.

Stand out track was ‘Home Recording’, the opening track for their new album Cold Spring Fault Less Youth. For me, this track is without a shadow of a doubt the best track on the entire album. The term ‘ambient’ gets thrown around a lot when Mount Kimbie are discussed and this track epitomises and rightly justifies this tendency to describe their sound as ambient.

Seeing these guys live really allowed them to showcase their talent as musicians. Both Dom and Kai played a mixture of live and electronic instruments. It also showed just how much of a team they are. Often with bands it is obvious who essentially carries the whole show but with Mount Kimbie they are both equally

talented and equally central to the show. Neither of them felt the need to speak much in between songs. I couldn’t quite work out whether this helped or hindered them. The crowd were clearly appreciative of their set and Mount Kimbie have garnered a dedicated fan base since their first album, but I did feel that perhaps a slight moment of crowd interaction would have enhanced their set.

I’m not sure how well their music translates to a gig setting. Don’t get me wrong, their music definitely translates well live but I definitely think they would have been far more suited to a club night session than a gig setting. It was an odd sensation being in a crowd that barely moved a muscle when listening to their music. This is not to say that the crowd wasn’t enjoying it, they just weren’t really given the opportunity to physically show their appreciation.There is no denying Mount Kimbie’s talent.

They are definitely worth going to see, if you ever get the chance to see them at a festival or performing at a club night then I urge you to jump at the chance.

Words by Grace Pattle

AT Brighton COncorde 2, 6/11/2013

The Edge | live@theedgesusu.co.uk Live | 27

Annie Mac Presents...

While the majority of the inebriated student crowd

in Bournemouth’s majestic O2 Academy didn’t seem to know where they were or who they were watching, the one thing everyone did know was that the music on show at the sold out Annie Mac Presents (AMP) gig was undeniably euphoric.

Fresh from supporting Ellie Goulding on her recent UK tour, Lulu James was first on, and this tour presented a slightly different audience. For AMP she had mixed up her set, and the backing tracks for slower songs like opener ‘Be Safe’ had been drum and bass-ed up to fit in with the evening’s genre, and this created a brilliant ambience for those that knew her songs.

But of course, the Annie Mac Presents tour wouldn’t be complete without the woman herself. Mixing her way into the end of Hahn’s set, Annie Mac’s blend of contemporary and retro house was lapped up by the audience who were entranced by the DJ’s stage

presence. The set highlight came with a remix of the foreboding and throbbing ‘Bassline’ by GotSome, while re-workings of Disclosure’s ‘When A Fire Starts To Burn’ and Storm Queen’s ‘Look Right Through’ also contributed to the electric atmosphere.

While it was 3.30am, everyone was drunk (or worse) and tired, the party continued with Duke Dumont, who did plenty to keep the evening entertaining. Playing his number one single ‘Need U (100%)’ surprisingly early on in his set, the remaining two hours of music was equally brilliant.

Heading out into the dingy morning, the birds may have been singing, but all anyone could really hear was an intense ringing in their ears. It’s worth noting for future events that it is possible to hop straight on the first train back to Southampton, as the gig continued until 5.30am. If this AMP is anything to go by, you won’t be leaving the venue before the very end.

Words by Howell Davies

O2 Academy Bournemouth(15/11/2013)

The Edge | live@theedgesusu.co.uk28 | Live

Jimmy Eat World Jimmy Eat World are an American

band that, despite various top 40 hits and high-profile film scores,

are still disappointingly underrated. This month the band kicked off the European segment of their tour right here in the UK, with an amazing performance at the O2 Academy in Bournemouth. Their lyrics and the particularly well rounded talents of front-man Jim Adkins give this band the potential to sell out arenas – but sadly, their Bournemouth show didn’t appear to be a sold-out night.

The band opened with the catchy ‘I Will Steal You Back’’ from their latest album, Damage. The title song also appeared in their set, which went down well with the crowd. This was unsurprising as the atmosphere showed that all those in attendance were loyal fans (with a career spanning over two decades, Jimmy Eat World are sure to have a few of them).

However, I’d like to insert here my

general disappointment with the rest of the band, and my near idolisation of lead singer and lead guitarist Jim Adkins. I’m a firm believer that bands are a collaborative effort. Yes, the frontman must be talented in order for the band to succeed, but the ability and showmanship of the other musicians should not be lacking or hinder the performance.  Although the drummer made a lot of mistakes, I have to say that I barely noticed the other people on stage at all. To be frank, they were less than enthusiastic and a bit dull. However, Jim Adkins put everything into his performance, vocally and physically. He was sweating by the fifth track.

Jimmy Eat World would not have gained any of the low-key international success that they have today without the on-stage enthusiasm, and the immense talent of Jim Adkins. His acoustic piece ‘Hear You Me’, was one of the most incredible displays of instrumental

ability and powerfully emotive performances that I have ever seen. Make fun of me if you will, but when he took to the stage to sing this track, with the spotlight, the acoustic guitar, the passion in his playing and in his voice – I started to well up. I might be a bit of a girl but, if music can instill such strong emotions, it deserves to be celebrated.

Overall it was an unforgettable and highly emotive experience and the crowd certainly seemed appreciative. It wasn’t exactly jam-packed but the atmosphere certainly didn’t suffer, the venue lends itself to more intimate performances anyway. The band really does have some incredible tracks, with genuinely meaningful lyrics and brilliant vocal talent in Jim Adkins, and I would absolutely encourage you to see them live – if only for the incredible Jimmy.

Words by Kirstie Carter

AT 02 Academy Bournemouth, 6/11/2013

The Edge | live@theedgesusu.co.uk Live | 29

at Roxx, 23/11/13 BeardymanBeardyman’s entrance was met

with enthusiasm as he leapt onto the stage at RoXX. Donning

his headset, Beardyman began to tweak and tap his kit, showing off the growls, rumbles and shrieks his synths were capable off. Satisfied he began with an atmospheric intro, before bringing in his famous vocal beats. The beginning of the set evolved into a synth heavy bass-fest of a song that can only be referred to as ‘We Want Drugs.’ Needless to say the entire crowd was chanting back Beardyman’s vocal passionately as he built the song into an incredible soundscape.

Stood amidst his rig, Beardyman’s performance is franetic, but also fluid. Continually using a hardware synth, a Maschine controller and various iPads, all the while providing beats and his own vocals on the mic whilst looping elements. Beardyman is the ultimate one man band, providing rhythm, bass, melody and lyrics. Not only this, but his talent at beatboxing is so incredible it is difficult to differentiate his own sounds from those of his hardware; this is not a criticism, but a testament to his skill.

Beardyman is a pleasure to watch due to his sheer energy. The look of glee that shows upon his face as he delivers a perfect loop is infectious. He toys with the crowd’s expectations, leading them into one musical genre, before surprising them with a seemingly impossible change up.

The lunacy continued as Beardyman crafted an incredibly catchy dance tune before delivering its profound chorus, ‘Everybody say my anus.’ …The crowd willingly obliged. Having provided his sarcastic vocals to Fatboy Slim’s recent hit, ‘Eat Sleep Rave Repeat,’ Beardyman proceeded to deliver his own rendition to a brilliant reception. As his set drew to a close, Beardyman generated more humor as he applauded his sound technician, Pete, who apparently has large feet and everything else that comes with that, before revealing he and Pete were newly-wed, showing off a ring on his finger. Bursting into his finale Beardyman mimiced the lyrics and melody of club favorite ‘Meet Me at the Hotel,’ over far catchier beats of his own creation, before unleashing one final drop. Whilst deconstructing his soundscape, Beardyman

confessed that he and Pete were not really engaged and proceeded to leave the stage to the sound of what he envisioned sex with Pete would sound like, played on loop.

The crowd was manic with laughter and clapping. With some chanting, Beardyman was coaxed back on stage. Turning off his equipment to relieve the venue of manly love grunts that had been left playing, Beardyman delivered the perfect encore. Removing his headset in favour of a traditional microphone, Beardyman delivered an incredible medley of songs to close his set using his voice alone. The highlight came as he pretended to honk an assortment of different horns, mimed playing a solo upon them, then introduced a trumpet to the mix, and then reverting to drum and bass at break-neck speed. This really was the perfect end to the show, showcasing Beardyman’s phenomenal talent in it’s purest form. He dropped the mic and walked out, to great applause.

Words by Chris Evans

The Edge | live@theedgesusu.co.uk30 | Live

Panic! at the Disco AT The Forum, London (21/11/2013)

After a prolifically dynamic career, for both musical and personal reasons, I finally

got to see Brendon Urie and co. perform at the last gig of their UK tour. In my recent chat with the Vegas born frontman he was thankful that I happen to be seeing the band now rather than in their 'awful' live beginnings.

Now, 20 years of age, I got to regress back to the emo hype and bounce along to those songs that defined my youth. The crowd were predominantly lower teens which made me feel like the oldest person there, apart from the array of parents watching closely as their teenage daughters mosh. Screams of 'I need to find my dad' made me feel very out of place, and more like I was at a school disco, I have appeared to have missed the popularity of Panic! with the younger generations.

The support act were a Copenhagen/New York based band called New Politics. Oozing with a confidence that was verging on arrogance from the onset they whizzed through a 20 minute set to warm up the crowd. An extremely energetic and acrobatic frontman stole the show with his breakdancing, a man of many skills it seemed as his vocals weren't all that bad. However, the band proved to be all style, no substance. I doubted their authenticity the moment the guitarist threw his guitar in the air and it miraculously continued to play. The cynic in me just couldn't take them

seriously as a band, more like 3 show-offs at a school talent show.

Panic! at the Disco bounced onto the stage straight into 'The Only Difference Between Martyrdom and Suicide is Press Coverage'. Despite having drummer and founder member Spencer Smith missing, the band had so much chemistry on stage.

The band rattled through an enormous nineteen song set in just under an hour and half playing tracks that spanned across all four albums. Particular highlights were tracks from their stunning debut album A Fever You Can't Sweat Out, with my favourite moment from the whole set coming from Brendon Urie's intro and the band's performance of

'Lying Is The Most Fun A Girl Can Have Without Taking Her Clothes Off '. I'll leave the profanities to the lyrics. The huge set list left little time for chatting in between tracks, however, clearly awe-stricken by the reception of the crowd at The Forum, Brendon seemed stunned, telling the doting crowd that he had forgotten some of the lyrics because he had an overwhelming moment of realisation that he has the best job in the world. Seeing this humble, human side of the often super-human frontman warmed my heart. Years of being a dedicated Panic! fan boiled down to this single moment of gratification.

The star of the show then, inevitably, was Brendon Urie. Random bouts of falsetto highlighted his insane vocal ability, taking a song two octaves higher than it was written in is a skill only few can execute well. The Panic! songs we all know and love

were transcended above what you hear on record. Through ad libs and backflips (!!) they

put on an amazing show that really told everyone there that Panic! at the Disco are back, and are very much at the top of their game.

Words by Megan Downing

The Edge | live@theedgesusu.co.uk Live | 31

Listings2nd DecemberBilly Bragg @ O2 Guildhall SouthamptonPalma Violets @ SUSUOcean Colour Scene @ O2 Academy BournemouthThe Hunger Games: Catching Fire @ Union Films (until 6/12/13)CD: Britney Spears - Britney JeanDVD: Planes (U)DVD: Man of Steel (12)DVD: The Hangover Part III (15)DVD: Alan Partridge: Alpha Papa (15)Painkiller Hell & Damnation (PS3)

3rd DecemberFlux Pavilion @ O2 Academy Bournemouth

4th DecemberShowstoppers presents 13 @ The Annex Theatre (until 7/12/13)Wadjda @ Union FilmsHudson Taylor @ Wedgewood Rooms

5th DecemberWinter Words @ Turner SimsNicky’s Family @ Union FilmsHappy Mondays @ O2 Academy Bournemouth

6th DecemberComedy @ RoXXRudimental & friends @ The Mo’ClubThe Darkness @ Portsmouth PyramidsCinema: Frozen (PG)Cinema: Black Nativity (PG)Cinema: Nebraska (15)Cinema: Homefront (15)Cinema: Kill Your Darlings (15)Gran Turismo (PS3)Donkey Kong: Tropical Freeze (Wii U)

7th DecemberD.E.A.D EP launch @ The JoinersThe Uplifter @ Talking HeadsNo Man’s Land Warehouse Party @ The Mo’ClubTenacious D @ O2 Academy BournemouthUltimate Eagles @ The Brook

8th DecemberSouthampton University Chamber Choir Christmas Concert @ St Albans ChurchUnder The Influence @ The JoinersUniversity of Southampton concert band @ Turner SimsRiddick @ Union FilmsThe Mortal Instruments: City of Bones @ Union FilmsPeace @ Portsmouth PyramidsBournemouth Symphony Orchestra @ Portsmouth GuildhallThe Hoax @ The Brook

9th DecemberThe Leisure Society @ The JoinersAim presents Frequency @ SUSUMostly Autumn @ The BrookCD: Childish Gambino - because the internetCD: R.Kelly - Black PantiesDVD: Percy Jackson: Sea of Monsters (PG)DVD: Kick-Ass 2 (15)DVD: 2 Guns (15)

10th DecemberRoyal Marines Band Concert @ O2 Guildhall SouthamptonRush @ Union Films

11th DecemberTheatre Group presents The Graduate @ The Annex Theatre (until 14/12/13)

No @ Union FilmsElectric Six @ The Old Fire StationAlabama 3 @ The Brook

12th DecemberGoldblade @ Talking HeadsStan Tracey @ Turner SimsDylan Project @ The Brook

13th DecemberSean McGowan @ The JoinersThe Smyths @ Wedgewood RoomsCinema: The Hobbit: The Desolation of Smaug (TBA)Cinema: The Christmas Candle (U)

14th DecemberSinfonietta Christmas Carol Concert @ United Church, WinchesterRobinson Crusoe & the Caribbean Pirates @ The Mayflower (until 12/01/14)Dlugokecki @ Talking HeadsSouthampton Philharmonic Choir @ Turner Sims

15th DecemberSubhumans @ The JoinersOli Brown @ Talking Heads

16th DecemberDVD: We’re The Millers (15)

17th DecemberThe Solent City Jazzmen @ Talking Heads

18th DecemberAttention Thieves, Max Raptor & We Are Fiction @ The JoinersCinema: Anchorman: The Legend Continues (TBA)

19th DecemberThe Women on the 6th Floor @ Union FilmsDelays @ The BrookDVD: One Direction: This Is Us (PG)

20th DecemberCarols by Candlelight @ The MayflowerLegend @ The BrookCinema: The Harry Hill Movie (U)

21st DecemberBroken Links @ The JoinersGarage Nation @ O2 Academy BournemouthJools Holland & his Rhythm and Blues Orchestra @ Portsmouth GuildhallMr B the Gentleman Rhymer @ Wedgewood Rooms

22nd DecemberAngelic Upstarts @ The Joiners

23rd DecemberDVD: Pain & Gain (15)

24th DecemberSaints of Sin @ The JoinersSilver Beatles Xmas Extravaganza @ The Brook

25th DecemberDownton Abbey Christmas Special (ITV)

26th DecemberCinema: 47 Ronin (12A)DVD: Elysium (15)

28th DecemberIt Must Be Madness @ The Joiners

31st DecemberJoiners NYE Bash @ The JoinersLee Foss @ The Mo’clubA.Skillz @ Orange RoomsOne Nation - New Year’s Ever @ O2 Academy BournemouthNew Year’s Ever with Rufus Stone @ The Brook