Southampton University`s Finest Entertainment

Southampton University's Finest Entertainment Publication
29th September 2007
We “Pull the Pin” on Stereophonics’ latest release
29th September 2007
Akon and Jackson?
A Word From
The Editor
Helium voiced Rap superstar Akon has revealed that he is
currently working with Michael Jackson, on a collaborative
record.
Hello and welcome to this year’s first
issue of The Edge. Hope you all had
a great summer and you’re all rested
and ready for the crazy fun and games
of Freshers Week...not to mention the
carnage, hangovers and flu...
Old readers of The Edge might notice
something a bit different about the
magazine, as we’re now colouring it
in. We might have exploited this a
little in the first issue, so if the neon
glow of each page makes you want
throw up in your frosties, let us know.
In fact if you have any comments or
suggestions about the magazine, or
even better if you fancy joining the
team, sling us an email.
Same applies for you new readers,
with any luck we’ll have a stand at the
bunfight so shimmy on over and have
a chat, or if you can’t make it then
email us and let us know you want to
get involved!
So...on with the issue. This month
we’ve got reviews of the new albums
from Stereophonics, Akala, Idlewild
and Laura Marling, gig reviews of
Tegan and Sara, Newton Faulkner and
Chris Cornell. We’ve also got a huge
film section so if you fancy going to
the cinema and don’t know what to
see - get the 411.
And that’s all for this issue...
Helen.
The Edge Team:
Editor: Helen Wilson
Record Editor: Pete Benwell
Live Editor: Phil Reynolds
Features Editor:Dan Bowles
Film Editor:
Dean Read
With...
Katie Stotter, Hannah Dudley,
Daniel Morelle, Dan Cox, Owain
Bury, Matt Aylott and Sophie Osborn
The Edge
University of Southampton
Highfield
Southampton
SO17 1BJ
023 80595230
023 80595252
theedge@soton.ac.uk
Page 2
However, Akon has kept the deatils close to his chest,
refusing to disclose the specifics of the collaboration,
perhaps fearing the cold, swift sting of a slap round the face
from the King of Pop’s signature gloved hand. However he
did say this;
“He’s incredible. He’s a genius. Just to be in the same room
(with him), I felt everything I wanted to accomplish in life
has been achieved.
“We’re about to shake the world up, man. You know how
you be with somebody and you can’t even explain?”, he
continued.
The Sound of Blur
Back in the Air?
The band behind Beetlebum, Parklife, Song 2 and Country House
are reforming, or so says a source.
“The way he thinks...some artists think regional, some think
national, I was thinking international. He thinks planets. It’s
on another level”, Akon told MTV.
Akon also revealed in the interview that other collaborations
in the pipeline, including Madonna and Whitney Houston.
The Britpop boys are rumoured to be starting work on what would
be their eighth studio album this November.
The album is supposedly to feature all the original members of Blur
including singer/songwriter/guitarist Graham Coxon who left Blur
in 2002 after a bitter dispute with his bandmates. Consequently he
only featured on one of the tracks on the album Think Tank
Although the band never officially split they haven’t made an album
together since 2003’s acclaimed Think Tank.
Since then Coxon has had much success with his six solo albums
as has ex-bandmate Damon Albarn with side projects, Gorillaz and
The Good, The Bad and The Queen.
These latest rumours have appeared after it was reported that
Graham Coxon meet up with his former band mates. Damon
Albarn has gone on record in the past, saying that Coxon would be
welcomed back into the band “with open arms”.
A source said: “They’ve all had lots on, with solo projects, cartoon
bands, political campaigns and farming. “But by the end of the
summer their plates will be clear. They’ll go into the studio together
in November.”
The Edge Are Listening to...
Incubus - Light Grenades
Explosions In The Sky The Earth is Not a Cold Dead Place
The Black Keys - Magic Potion
29th September 2007
Performance and
Cocktails...and Fights?
MOBO Award Winners...
This years MOBO awards took place on the 19th September in the O2 arena in
London. This year’s winners were:
Stereophonics front man Kelly Jones is in hospital following a late night fracas in
trendy London nightclub Amika.
Jones and the rest of the ‘Phonics (whose new album Pull The Pin is reviewed
on Page 8) were at the aftershow party for the Vodaphone Live Music Awards
where they had performed earlier on in the evening.
The brawl, which was allegedly between Kelly and a member of the clubs security
team, left the 33 year-old rock star with a 2 inch deep gash on his forearm.
A statement from the band said “Kelly and friends were leaving the club when he
had an altercation with an over-zealous security guard. As a result of the ensuing
fracas, Kelly badly injured his arm and is currently in hospital, where he has been
since the early hours of the morning awaiting a consultation with a surgeon.”
Nothing is known of the damage the Welsh rocker caused to the aforementioned
security guard.
Best UK Female - Amy Winehouse
Best UK Male - Dizzee Rascal
Best International Act - Rhianna
Best Song - Ne-Yo ‘Because Of You’
Best UK Newcomer - N Dubz
Best Video - Kanye West ‘Stronger’
Best Hip Hop - Kanye West
Best R&B - Ne-Yo
Best Reggae - Sean Kingston
Best Gospel - G-Force
Best DJ - Tim Westwood
Best Jazz - Soweto Kinch
Best African Act - 2face Idibia
Vodafone Live Music Awards...
The Results.
This year’s winners at the Vodaphone Live Music Awards;
Live Male: Mika
Live Female: Amy Winehouse
Best Live Act: Arctic Monkeys
Live Impact 2007: Gossip
Best Show Production: Kylie
Best Live Return: The Police
Live Music DVD: Oasis: Morning Glory – An Album Under Review
Live Music Venue: Wembley Stadium
XFM Live Breakthrough Act: Klaxons
Channel 4 Festival of the Year: Glastonbury
Kerrang! Live Unsigned Act: The Flaming Monkeys
Best International Live Act: The Killers
Sony Ericsson Tour of The Year: Muse
Best Roadie: Geoff Buckley (roadie for James)
The Freddie Mercury Lifetime Achievement Award in Live Music: Iggy Pop
The Vodafone Live Music Awards judging panel featured a host of music industry
insiders including representatives from Music Week and the major record labels. They
were tasked with nominating acts for each of the awards categories, and live music
fans were given the opportunity to vote for their favourite artists at www.vodafone.
co.uk/music.
Think You Can Do Our Job?
Well here’s your chance to prove it! Here at The Edge, we’re looking for a new
editor to fill a page worth of content an issue.
What the page will be is undecided, last year we had a Dance section, but we’re
an open minded lot, and we’ll listen to any ideas you have, as long as you feel you
can fill the space.
Believe us, a blank template is a daunting sight, so we’re looking for new
reporters to help fill our pages! Whether you’re interested in reviewing the latest
films, gigs, the hottest new albums or just getting on your soap box for Features,
find us at the bunfight this freshers’ week and sign up for our first meeting!
But for now, send all your submissions to theedge@soton.ac.uk
By the time you read this, the deadline for Issue 2 will be fast approaching, so
drop us an e-mail with your suggestion to ‘theedge@soton.ac.uk’ or come and see
us at the bunfight, 3rd October in the Union, and we’ll get the election process
underway.
Who knows? You may be the newest member to the brand new Edge team!
Page 3
29th September 2007
Page 4
29th September 2007
Singles
The Thrills - The
Midnight Choir
By Pete Benwell
Personally, I’ve never quite
got the appeal of The Thrills,
but they’re slowly winning
me round. “The Midnight
Choir” rattles along with
a sense of confidence and
(relative) urgency that was
missing from earlier efforts,
stompy drums and keys
making their mark amongst
an agreeable melody. For
the first time, the Thrills
have released something
that avoids the description
“sun-kissed”, and sound all
the better for it. The only
downside is the slightly
Bono-esque nature of the
vocal delivery (whatever your
opinion of the man his style
doesn’t suit breathy singing).
This probably won’t make
for a major hit, but Dublin
five piece have nonetheless
produced a pleasant piece
of pop rock and are showing
signs of a new maturity.
The Midnight Choir
released 15/10/2007
Virgin Records.
is
on
LCD Soundsystem
- Someone Great
By Phil Reynolds
James Murphy, better
known as LCD Soundsystem,
is approaching forty this year,
and it shows. The second
single from his acclaimed
second album ‘Sound Of
Silver’, is a swaggering piece
of middle aged electro-pop
– nostalgic for the days of
Depeche Mode.
Murphy’s
authentically
bland, mock-British voice
(complete with cheesy 80’s
echo effect) wails over a
marching synthesiser melody,
big bass drums, falsetto engine
humming and the staccato
patter of wonky bleeps and
whistles that sound like the
whole thing’s been produced
by R2-D2. A weak, pedestrian
return from the punk-pop
genius of ‘Daft Punk is Playing
at My House’.
Someone Great is released
23/10/2007 on DFA.
Biffy Clyro
- Machines
By Pete Benwell
It’s somewhat surprising to
surprising to see Biffy releasing
such a downbeat track after
the relative softness of previous
single “Folding Stars”, given
their normal propensity to Rock
with a capital “R”. “Machines”
is nonetheless a fantastic record, a mournful paean most
likely written after the tragic
recent death of Simon Neil’s
mother. “Take the pieces and
build them up to the sky” he
sings, and does so. Vocals, softly
strummed acoustic guitar and a
touch of violin combine to form
a stunning, soaring giant of a
melancholic campfire singalong.
Quite simply beautiful.
Machines is released 1/10/2007
on 14th Floor. Biffy Clyro are
playing at Southampton Guildhall
on 20/11/2007.
The Sea - Love
Love Love
Hundred Reasons
By Pete Benwell
“The Sea don’t give a
crap about the industry”,
according to their press
release. That’s somewhat hard
to believe given the incredible
commercial viability of this
song in the Jet/ Wolfmother,
knuckle dragging, classic rock
Hundred Reasons
- No Way Back
By Pete Benwell
It’s never quite happened
for Hundred Reasons, and you
can’t help feeling with this
release in mind that it never
will. The lead single of the
perennial ‘Next Big Things’™
fourth album Quick the Word,
Sharp the Action falls just
short of having the kind of
coldly calculated killer chorus
expected since Fall Out Boy
et al raised the bar in the teen
angst-rock stakes. The main
riff is dull and reptitive and the
backing vocals fall well short
of their intended ooomph.
Three years too late, “No Way
Back” seems a little desperate
and hastily put together in
an attempt to grab a slice of
the action before their shot at
fame finally slips away.
No Way Back is released
16/10/2007 on V2. Hundred
Reasons are playing the
Southampton Guildhall on
1/11/2007.
Little Red Waiting/ Misty I
By Phil Reynolds
Little Red, an up and coming
Australian indie outfit, are
described in their press release
as having ‘spent their summers
listening to The Beach Boys and
The Beatles’, and from the sound
of their debut single ‘Waiting’, it
isn’t hard to see why.
‘Waiting’ drips with summery
soprano harmonies, a stomping,
‘The Gossip’ inspired bluesy bass
rhythm and plenty of clapping.
‘Misty, I’ is more sparse, with a
focus on backing harmonies lots
of shimmering tambourines, and
plodding rhythm guitars. The
single is a marvellous piece of
jaunty sunshine pop, from a band
that deserves your attention.
Waiting/ Misty I is out
24/09/2007 on Regal.
Jakobinarina
- His Lyrics are
Disasterous
By Helen Wilson
Fast and primal, this track is a
speeding car of adolescent punk
rock, a frantic wall of sound
which hooks you in from the
word go. The Icelandic trio are
described by their record label
as tightly-wound youths, with
dead-eyed stares, and yet I’d say
there is something very alive and
liberated about their sound. It’s
electro meets punk, and catchy.
His Lyrics are Disasterous is
released 17/10/2007 on EMI
market, but let’s not split hairs.
“Love Love Love” is a gleefully
uncomplicated, balls out classic
rock song, crunchy guitar and
clattering drums combining
with a guttural howl about
frustrations of the female kind.
There’s a touch of novelty
about it and its appeal fades
after a few listens, but for a
short while this is an enjoyable
piece of classic rock nostalgia.
“Love Love Love is out
8/10/2007 on Lusty records.
Prinzhorn Dance
School - You Are
the Space Invader
By Pete Benwell
Boygirl combo Prinzhorn Dance
School’s attempt at arty rock
minimalism quite simply fails
in this effort. Whilst the White
Stripes-esque guitar intro is
slightly catchy, the rest of the
record quickly descends into
an unappealing attempt at
enforced wackiness that smacks
of pretention. Failed attempts
at dramatic bursts of drums and
thin, shouty backing vocals like
a second rate Meg White do
them no favours either. Right
back to the drawing board
with this one, and quickly if
you please.
You Are the Space Invader is
Jakobinarina
Page 5
29th September 2007
Page 6
29th September 2007
Albums
Idlewild - Scottish
Fiction: the best of
1997 -2007
By Phil Reynolds
With Make Another
World still spinning in CD players
nationwide, it seems a strange
time for Idlewild’s first Greatest
Hits compilation. There’s no
record company contract to
finish up (the band switched
before the release of Make
Another World), and with an
eighteen date, nationwide tour
to promote the album, Idlewild
are hardly suffering from the
career nosedive that a Best Of
release usually signifies.
For a band that has made
so much musical progression
over a relatively short career,
transitioning from the furious,
spiky punk rock of 1998’s
Captain to the melodic styles
of 2005’s Warnings/Promises,
the release of Scottish Fiction...
feels closer to a celebration
of Idlewild’s genre straddling
history, rather than a gloomy
commemoration.
The seventeen tracks span
the entirety of Idlewild’s career,
offering a potted timeline of
the band’s growth through a
selection of their most important
songs. Early singles ‘Roseability’
and ‘When I Argue I See Shapes’
are raw, untamed tracks that
lack the finesse, and some of
the texture, of the band’s more
recent work. Roddy Woomble’s
voice surges over stinging
guitars and pounding, complex
drum arrangements, faltering
slightly on only the most
furiously shouted, powerfully
chaotic climaxes.
In tracks from the widely
acclaimed The Remote Part the
band’s development is already
obvious. Their work offers the
same rich intensity, but meted
out through a more mature, more
cohesive sound. Violins screech
over the top of accomplished,
folk inspired guitar-work on ‘You
Held the World in Your Arms’ and
against the fast, thrashing guitars
of ‘A Modern Way of Letting Go’
Woomble no longer has trouble
Capitan’, like a missing Keane
song, and the hazy “I Understand
It.”
Cynics will complain that the
tracks are an obvious, uninspired
selection - almost all of them
are from more recent, radiofriendly albums, . However,
together, the assembled tracks
make an excellent representation
Idlewild’s first decade, regardless
Idlewild - Scottish
Fiction: Best of 1997
-2007
By Phil Reynolds
making himself heard.
Elsewhere on the compilation,
Woomble shows off his growing
vocal range on more melodic
tracks, like the anthemic
‘American English’, and, most
prominently, on ‘In Remote
Part/Scottish Fiction’ - the
track is a melancholic, acoustic
guitar ballad accompanied by a
peculiar piece of spoken poetry
by Scottish poet laureate Edwin
Morgan; which paved the way
for the more melodic sound of
later albums.
of their independent success or
sound. Not only that, the songs
selected are so stylistically
connected, the development in
Idlewild’s sound so clear, it could
be mistaken for a complete
album.
By Pete Benwell
Think we’ve got enough
young, female and self-assured
singer-songwriters? Then think
again. Meet 17 year old Laura
Marling, a Reading lass with an
astonishing ability to spin heart
rending tales of love and loss for
someone so young.
Already her second release
(having also toured with Jamie
T), over just four tracks My Manic
and I shows a level of maturity
and eloquence well beyond both
her years but also many of her
peers. Whereas Lily Allen and
Kate Nash are cocky and upfront,
seemingly desperate to show off
their streetwise wit, Laura trades
in subtlety, with some lyrical
gems revealing themselves over
repeated listens. “He wants to
die on a lake in Geneva; the
mountains can cover the shape
of his nose” she wryly tells us
on the title track, actually a sad
lament of doubt over the heart
of a man This song also shows
the folk roots of a girl who counts
Bob Dylan and Joni Mitchell
among her influences;
mournful violin tracing her
breathtakingly pure voice (no
need for faux cockney accents
here...).
“New Romantic” is more
upbeat in terms of rhythm,
but is lyrically spine chilling,
a confession of guilt at
misleading a lover. “I will
never love a man, because
love and pain go hand in
hand” may be a grand
statement for a teenager,
but the quality of the song
writing helps it to be utterly
convincing, the words fitting
perfectly around sparse guitar
strums. Laura knows that less
can definitely sometimes be
more, such as on final track
“Typical”, echoes of Regina
Spektor showing through in
its fragile beauty.
It’s easy to get overexcited
at a new talent, but if she
can create this near perfect
little set of songs at such a
tender age then her future is
blindingly bright. If you have a
heart you need Laura Marling
in your life right now. She’ll be
there to stay.
My Manic and I is released
on
Virgin
Records
on
08/10/2007. Laura Marling
plays Southampton Hamptons
on 4/10/2007.
For those new to Idlewild this
is an essential purchase, offering
a selection of songs from every
major release. But for current
fans, as with all Best Of’s,
Scottish Fiction is a fine selection
of songs butnothing you haven’t
heard before.
Wa r n i n g s / P r o m i s e s , t h e
band’s most commercial work is
represented on Scottish Fiction
by the lush, piano based ‘El
Scottish Fiction: Best of 19972007 is out on on 1/10/2007 on
EMI.
The Clientele
- God Save the
Clientele
the Clientele shows an almost
unhealthy devotion to the likes
of The Byrds and the Beach Boys
that perhaps stunts the band’s
own development.
It’s a long way from North
London to California but not,
it would seem, in the minds
of indie pop four piece The
Clientele, who seem to live and
breathe West Coast psychedlia.
Their fourth album, God Save
Indeed,
opener
“Here
Comes the Phantom” is almost
completely indistinguishable from
one of Brian Wilson’s creations. It
forms the first of an initial trio that
announce the arrival of the album
with a whisper rather than a roar,
drifting slowly by in an vaguely
summery haze. Thankfully “The
Dance of the Hours” provides
some much needed purpose
after an unconvincing start. With
fluttering piano and whispered
backing vocals, it shows a sense of
innovation that is unfortunately
absent amongst much of the rest
of this set of songs; something
that draws on an influence rather
than slavishly copying it.
By Pete Benwell
Laura Marling - My
Manic and I E.P.
Whilst
the
beginning
and middle of this album is
overcrowded with tracks that
are almost cover versions, such
is their devotion to one style,
it seems to finally find its feet
towards the end. Forthcoming
single “Bookshop Casanova” is
a somewhat surprising slice of
fragile, disco-tinged indie pop,
giving the album a fresh burst
of life after a repetitive middle
section. Swiftly followed by the
scorching rock ‘n’ roll guitar of
“The Garden at Night” before the
wistful farewell of closer “Dreams
of Leaving”, it’s almost as if the
band have only just woken up
to their potential as the album
reaches its conclusion. It’s a real
shame; it shows what could have
been had The Clientele put more
faith in their ability to draw on
their influences and expand
them into their own unique
style. God Save the Clientele
isn’t a bad album. These tracks
are capably perfomed and
there are no real stinkers to
be found. It’s just frustratingly
short sighted and blinded by a
devotion to one style that arrests
the development of what could
be a quite impressive set of pop
songs.
God Save the Clientele is out
01/10/2007 on Track & Field.
Page 7
29th September 2007
Albums
Stereophonics
- Pull the Pin
By Phil Reynolds
From the sound of things,
2007 has been an arduous
year for Kelly Jones. Not only
has he written a follow up to
Stereophonics’ 2005 smash
Language, Sex, Violence,
Other?’ The gravelly voiced
Welshman has also found
time to pen ‘Only The Names
Have Been Changed’, and it’s
a good thing he did.
While Kelly Jones indulged
his inner poet on a solo
album of pared down, teary
eyed blues; his inner demon
scribbled a furious, swaggering
record that takes in most of
rock’s biggest genres in its
twelve track lifespan.
‘Pull The Pin’ begins with
the creepily measured tones
of a newsreader’s speil, as
the sound of feedback rises
hauntingly behind. Suddenly
it breaks, as waves of dirty
guitars crash over the top,
thick, simple drums begin to
pound and Jones’ familiar
Akala - Freedom
Lasso
By Helen Wilson
He’s Ms Dynamite’s brother
and 2006 MOBO award
winner. But don’t be put off;
this talented wordsmith is a
different breed of rap artist
to most in the mainstream.
Releasing this sophomore L.P.
on his own label, Illa State
Records, Akala is more of a
Shakespeare than a 50 cent
and is far more interested
in revolutions than drive
by shootings or any of the
other rap clichés. His verses
are intelligent and thought
provoking, going past the
dominant beats-and-rhymesand-braggadocio model of
hip hop, he creates a modern
symphony: drum, bass, brass
and strings, not to mention the
most unexpected of samples.
The album kicks off with
Page 8
rasp fills the air. ‘Soldiers make
good targets’ chorus is a surging,
sweaty piece of headdbanging
rock that wouldn’t sound out of
place on an Audioslave album, all
screeching guitars and shouted
singing, its one of the boldest and
heaviest songs on the album, and
a stunning introduction.
The
album
makes
the
obligatory stop through typical
Stereophonics territory, with
the slower, bouncing rock style
that characterised their previous
album. Here Jones his most at
ease, purring through the verses
before vaulting into life for the
expansive choruses. Yet, there’s
a his most at ease, purring like
a chainsaw through the verses
before vaulting into life for the
expansive choruses. Yet, there’s
a feeling that he’s almost too
comfortable, songs like ‘Pass The
Buck’ and ‘My Friends’ lack some
of the experimentation that
set other tracks alight.
One such moment
is the standout ‘Bank
Holiday Monday’; the
taster track featured
recently on Radio
1. It’s a fast, Hives
inspired
indie-rock
song, full of percussive,
thrashing electric guitars and
“Electro Livin”, a grinding,
dirty, electro rap which
explores the issues of electric
technology, how the West
cannot live without it and the
irony that while it improves
the lives of many, human
nature continues decay. Akala
is confident of his point and
fluent in his expression of it
with lyrics like “everything is
switched on but something
doesn’t work right”. This
translates well through the
hard hitting beat which
accompanies it.
“Comedy, Tragedy, History”
is my personal favourite on
the album, and popular with
most other
critics. Akala
races through this song,
name dropping over forty
of Shakespeare’s plays and
characters, quite an achievement
given that the track is just short
of four minutes. This gives you
an idea of how fast he can rap.
All this is aptly accompanied
by manic strings which sing a
Jones’ soaring vocals. It moves
breathlessly towards a climax of
distorted guitars and smashed
drums, before coming to an
abruptly to an end.
Unfortunately, the moments
when ‘Pull The Pin’ strays furthest
from the striding heavy rock of
the first track, are, surprisingly, its
weakest; doubly surprising when
the worst offender is the new
single. ‘It Means Nothing’ is a
pedestrian piece of soft rock that
catches Stereophonics at their
most Coldplay. Soft, shimmery
guitars and violins are a
poor disguise for a
catchy
tune alongside the rapper.
“You Put A Spell On Me”
is being called the weak link
in the album and has come
under a lot of attack from the
critics for being too electro.
Personally, however, I think this
track, placed half way through
the album, is a well placed break
from the manic staccato rhythm
of the rest of the record.
Prince, The Prodigy and
Nine Inch Nails might all seem
like strange bedfellows but each
one is cited by the rapper as an
influence. Samples of The Cure,
Siouxsie and The Banshees and
Baxter Baxter are real surprises
on this album, but make it stand
out from the mundane soul
samples and big bass which
usually adorn urban albums.
Freedom Lasso is to rap
what OK Computer is to rock.
This progressive hip hop takes
its influence from dance, rock,
darock, punk and folk, doesn’t
downtempo rip-off of previous
single ‘Dakota’. Faring little better
is the derivative ‘Stone’, whose
wailed chorus of ‘you’re in my
soul’, in Kelly Jones’ husky tenor
sounds too close to a rock cover
of Rod Stewart for comfort.
Despite a few disappointing
blips, ‘Pull the Pin’ is a stunning
and impressively varied album
from a band at their peak. Buy it
now.
Pull the Pin is released on
1/10/2007
on
V2
Records.
limit itself in content and
the result is a fresh, energetic
and memorable sound. Akala
is not alone in adopting this
poetic, symphonic style of rap
- artists such as Saul Williams
and Sway have done it before
- but he has raised the game.
Freedom Lasso is released on
1/10/2007 on Illa State.
Ben Griffith Tea & Sympathy
E.P.
By Pete Benwell
Hotly
tipped
young
troubadour
Ben
Griffith’s
debut E.P. is nothing if not
well titled. Tea & Sympathy
is a classic Sunday morning
album – unchallenging, easy
to listen to and oozing with
gentle
melancholia.
Not
everyone’s cup of, well, tea,
but nonetheless proficient in its
chose direction.
The title track bounces along
in a cheery but wistful Badly
Drawn Boy style way, with an
unremarkable chorus. Next up
“Welcome to My Lifestyle”
is more promising, slightly
reminiscent of some of the
Gallagher’s more ponderous
moments. The snappier “Beat
of my Heart”, recently used
to soundtrack a Ford ad, is the
most radio friendly, reminiscent
of David Gray in its confident
vocal delivery. It’s certainly
catchy and is the pick of the
four songs here, handclaps and
splashes of cowbell making
for pleasant if not especially
gripping
listening.
Closer
“Seagull” is a treacly acoustic
strumalong, perfectly suited to
staring out the kitchen window
on the morning after the night
before.
There’s no doubt that Ben
Griffith isn’t for everyones
There’s a smug taste to some of
this record and soundtracking
a Ford ad won’t do him much
good in the credibilty stakes.
But who cares? Sure, it won’t
change the world, but Ben
Griffith’s music shows enough
promise to corner a certain
market. There’s worse out
there...
Tea & Sympathy is released
on 15/10/2007 on Cakewalk.
29th September 2007
Page 9
29th September 2007
Re:Freshers’ Guide
So here you are, in a brand new city with absolutely no idea where to go... fear not because
here is your comprehensive guide to the live music venues of southampton, from the man
who knows them best, our very own Mr Dan Bowles...
SUSU
Venue:The Brook
Location: Portswood Road
Web: www.the-brook.com
The garden court is one of Southampton’s larger live music venues and a wide variety of bands pass
through here when on tour. Be sure to look at http://events.susu.org in order to find out what bands are
coming to the university and when. You can even book tickets online or alternatively at the University box
office in person if tickets are still available!
The Brook is a moderately sized venue and at full capacity it
will cater for 600 people. The brook has had quite a chequered
past but still attracts bands of a high calibre. Artists such as
The Wildhearts and The Damned have played here but the
Brook is not just about rock music or established groups. The
entertainment ranges from DJ sets to indie bands, tribute acts
and everything in between! The Brook is back and once again
looks set to draw the crowds from all over Hampshire.
The main venues based actually on the University campus are the garden court in the West refectory and
the SU club-The Cube.
Meanwhile, the Cube has and continues to play host to some highly popular student events such as Kinki
on Friday night or Fat Poppadaddy’s on a Saturday. In addition to this there are on occasion specialist guest
DJs and the odd celebrity guest!
In order to meet people with similar music tastes why not sign up to the university’s social music societies?
The rocksoc message board can be found at: www.soton.ac.uk/~rocksoc
The AIM society (alternative and indie music) can be found at: http://www.soton.ac.uk/~susuaim
…And last but by no means least livesoc can be found at: www.soton.ac.uk/~livesoc
The Soul Cellar
Each of these societies will have a stand at the bunfight so you can get to meet the people behind the
group and get your first experience of musical mayhem.
As well as mammoth pub crawls and general rock induced antics the societies have been know to put
musical differences aside in order to collaborate to bring you a regular alternative night. This event is
known as ROCK and usually occurs at the stags head (the main SU bar) or at The Bridge bar near the stairs
that lead down to the cube, and often plays host to DJ sets from several societies.
Venue: Joiners
Location: St Mary Street
Web: www.joinerslive.co.uk
The Joiners is based around a bar at the
front and a second equally small room
with a stage at the rear. It first opened as
a music venue in 1968 and since then it
has become a legendary venue. Although
small in capacity-a maximum of around
200-the Joiners has a massive reputation. It
is well known for showcasing a vast range
of musical genres as well as featuring all
the best up and coming new bands. Over
the years the likes of Green Day, Oasis and
The Libertines (to name only a few) have all
performed there and in more recent times it
has seen shows by Panic! At The Disco and
Enter Shikari. The Joiners has also become
very well established on the UK toilet circuit
and attracts a healthy dose of punk, ska and
metal. The best thing about Joiners though is
that there is nearly always a show scheduled
and in spite of it’s luminary status it still offers
support to local musicians and artists.
Page 10
Joiners
The Edge Recommends
Venue: Rhino
Location: Waterloo Terrace
Web: www.djhammy.co.uk
www.myspace.com/djhammysupersonic
The Supersonic club night takes place on Wednesday nights at the
Rhino club and the music is provided courtesy of local legend DJ
Hammy. The interior is fairly smart because for the remainder of
the week Rhino is a more conventional club that plays standard
R‘n’B. Supersonic, however, is much more than a poorly executed
rock night in an attempt to empty the pockets of those who like
alternative music. On offer are 4 hours of great music served
up as an eclectic request driven cocktail featuring many genres
ranging from punk, ska and metal to indie, leftfield and drum and
bass and much much more! Meanwhile downstairs in the smaller
basement room there is often a band or a guest DJ. To complete
the excellent package of entertainment there are cheap drinks all
night (prices start at a £1) and regular promotional nights for new
albums and artists which means free posters, stickers and CDs!
May 2007
29th18th
September
2007
Re:Freshers’ Guide
Venue: Talking Heads
Location: Portswood near The Brook
Web: www.thetalkingheads.co.uk
The Cube
The talking heads is a mellow and chilled
out pub that regularly hosts acoustic nights
or open mic events. They also present local
artists and from time to time they showcase
musicians from slightly further a field. In
addition to the open mic nights and acoustic
guitars, jazz also features fairly often at the
talking heads. Music aside a new monthly
comedy night is also set to be starting at the
end of the month. The talking heads is well
worth a look if you are after somewhere a bit
different to relax.
Venue: The Dungeon
Location: Bevois Valley (Portswood)
Affectionately know as ‘the Dinge’ because of the fairly bleak interior it still manages to provide a
variety of music and drinks prices across the 4 nights that it is open.
Upstairs near the entrance the bar is accompanied by a quiet seating area and a pool table. Once you
descend into the depths of the dungeon you find another bar and small dance floor complete with
request friendly DJ. Outside is a large partially covered seating area.
Wednesday: 9pm till 2am
ska/punk/pop/indie/electro/funk/hip-hop/cheese …with a strong emphasis on the cheesy element!
Door Tax: £4
Drinks Prices: Vodka and mixer 50p
Magners and Newcastle Brown Ale £2
Almost everything else is under £2
Thursday: 9pm till 2pm
Metal/Classic Rock/Industrial and EBM
This night usually isn’t especially busy but it is regularly attended by members of the university’s
rocksoc.
Door Tax: £1 before 10pn and £2 after 10pm
Drinks Prices: Normal pub prices
Friday: 8pm till 2am
Pop Punk/Rock/Indie with some grunge and drum ‘n’ bass in the mix as well.
Door Tax: Free before 9pm/£2 between 9pm and 10pm/£3 after 10pm
Drinks Prices: Cheap before 10pm and then they revert back to standard pub prices.
Saturday: 8pm till 2am
Music is similar to Thursdays but less intense… Indie/Rock/Punk/Metal/Industrial/Classic Rock
Door Tax: Free before 9pm/£2 between 9pm and 10pm/£3 after 10pm
Drinks Prices: Cheap before 10pm and then they revert back to standard pub prices
What do you think of our choices? Make yourself heard by emailing any
comments, opinions and suggestions to theedge@soton.ac.uk
Venue: Unit 22
Location: Town Quay
Web: www.myspace.com/unit22club
Unit 22 is the newest alternative club in Southampton and is
brought to you courtesy of the team at Joiners. The club offers
several different nights to cater for a wide range of music tastes
and the sports two rooms in an attempt to maximise the turnover
of different genres and artists.
Thursdays: Punk/Ska/Emo/Hardcore/Indie/Rock
Door Tax: £1 before 11:30pm with student ID
£2 after 11:30pm with student ID
Fridays: Two rooms showcasing two hard hitting but very different
alternatives. Room 1 features metal and hard rock whilst room
2 serves up the best selection of niche genres in Southampton
including EBM and Psy-Trance. In addition to all this, Fridays at
unit 22 often feature alternative karaoke or guest DJs at specialist
events. There is always a selection of drinks offers available too!
Door Tax: £1.50 before 11.30pm/£2.50 after (with a student ID)
Venue: The Soul Cellar
Location: City Centre (Directly Opposite the Guildhall/
Civic Centre)
Web: www.soulcellar.com
The soul cellar specialises in jazz, soul and funk and other assorted
genres, but one night in particular is well worth a look and that
night is a Tuesday. Tuesday is a spine tingling and top tapping
array of classic reggae, old school ska, dub and more. This evening
of reggae vibrations features live percussion and guest musicians
plus the occasional band. Bands such as Westbound Train and The
Slackers have performed at the Soul Cellar and continue to do
so which has marked this venue as one of the best around in its
genre. The Soul Cellar is also an excellent café during the day and
offers up some reasonably priced beers.
Venue: The Hobbit
Location: Bevois Valley (Portswood)
Web: www.thehobbitpub.co.uk
The Hobbit is split over two levels and offers 2 bars, a huge beer
garden and more often than not has a live band performing
downstairs at the smaller of the two bars. Despite having live music
the Hobbit still manages to retain the feel and qualities of a more
traditional pub due to its slightly unique layout. The combination
has caused the pub to become popular with both students and
local residents. As for drinks the Hobbit has a selection of brightly
coloured cocktails each named after a lord of the rings character
that are a must try. The hobbit seemingly has all the bases covereddecent live music, good alcohol and a relaxed atmosphere.
Venue: Guildhall
Location: City Centre (The Civic Centre)
In 1937 the then state of the Guildhall was opened by the Earl
of Derby and is now part of a Grade 2 listed building. It was not
until the 1970s, however, that rock bands began to play shows
there and by the 1980s it was attracting artists from the other side
of the Atlantic. It is now one of the south’s biggest multipurpose
entertainment facilities combining rock and pop music with
comedy and classic orchestra. Many big name bands and musicians
continue to play at the venue, but it is let down by poor acoustics.
Page 11
29th September 2007
Page 12
29th September 2007
Gigs
Newton Faulkner
Sheffield Boardwalk
7th July
Newton Faulkner, like his
music, makes a strange first
impression. He arrives on stage
in a woven poncho, sporting
Mick Hucknallesque ginger
dreadlocks. He grins merrily
at the audience as he lifts his
acoustic guitar around his neck;
and suddenly, it seems entirely
fitting that his brand of strange,
acoustic folk comes from such a
charmingly bohemian figure.
Faulkner’s first single ‘Dream
Catch Me’, with its cheesy, synthesised drums and catchy, colourful melody was ray of light
in a summer of dreary, synthetic
hip-hop. The single has since
taken the country by storm
gracedCornell
the stages of much larger
Chris
venues
than the Roundhouse
The
Roundhouse,
Camden in
Camden.
However, in starting a
3rd
Sept 2007
new chapter of his career with
Not even the highly annoyhis second
solo
album
‘Carry
Not
even the
highly
annoying tube strikes could dampen
On’,tube
a small
andcould
intimate
seting
strikes
dampen
the mood for Chris Cornell’s
tingmood
must have
seemed
the most
the
for Chris
Cornell’s
triumphant return to London.
appropriate.return
Whatto
followed
triumphant
London.that
Having played in a variety of
evening,played
was ainshow
worthy
Having
a variety
of
bands, including Soundgarden
of a venue
ten times
the size.
bands,
including
Soundgarden
and Audioslave, he has probably and
SmallAudioslave,
though theheaudience
may
has probChris Cornell
The Roundhouse, Camden
3rd Sept 2007
===
Robots’
sports
an image
that
after
frantic
airplay,
driving
his
Newton
Faulkner
a Monty
Python
Various
debut
album
to asketch.
deserved
Sheffield
Boardwalk
by an
robot hand,
spot
atenormous
number one.
7th
July
nearby. And upon listening, the
instrumental
song like
entitled
‘sitar-y
Part
of this
success
stems
Newton
Faulkner,
his from
on ‘Gone
In The
Morning’
the
playfully
weird
style first
of (I’m
his
music,
makes
a strange
foo/ I’m
gonna
livecover
inside
tiny
debut
album.
impression.
HeThe
arrives
ontoathe
daftly
named
‘Hand
Built By
stage in
a woven
poncho,
Live, Faulkner
gives
the audience
Robots’
sports
an image
that
sporting
Mick Hucknallesque
rendition
of
his
impressive
catawouldn’t
look
out
of
place
in a
ginger
dreadlocks.
He
grins
=
tic guitar
delivering
Monty
Python
sketch.
Various
merrily
at expertly,
the audience
as he a
fromhis
hisacoustic
solo are
military
figures
being
lifts
guitar
around
performance.
While
oneithand
gripped
ansuddenly,
enormous
robot
his
neck;by
and
hand,
a space
seems while
entirely
fittingsuited
that his
man
nearby.
And upon
brandhovers
of strange,
acoustic
folk
listening,
thesuch
album
doesn’t
comes from
a charmingly
disappoint,
with an instrubohemian figure.
mental song entitled ‘sitar-y
thing’
and first
evensingle
stranger
lyrFaulkner’s
‘Dream
ics
on ‘Gone
In The
Morning’
Catch
Me’, with
its cheesy,
(I’m
gonna master
all kinds
of
synthesised
drums and
catchy,
kung-foo/melody
I’m gonna
live of
inside
colourful
was ray
light
a tiny
zoo). of dreary, synthetic
in
a summer
hip-hop. The single has since
Live, Faulkner
gives
audience
taken
the country
bythe
storm
after
a different
anddriving
more personal
frantic
airplay,
his debut
rendition
his impressive
album
to aofdeserved
spot atcatalogue. His
hands work his acousnumber
one.
tic guitar expertly, delivering
a fullofband’s
worth of
musical
Part
this success
stems
from
depth
from his
solostyle of his
the
playfully
weird
performance.
While
one to
hand
debut
album. The
cover
the
daftly named ‘Hand Built By
have
been, they
were defiably graced
the stages
of
nitely
the loudest
I’ve
much among
larger venues
than the
ever
heard, and
Chris and his
Roundhouse
in Camden.
band
followed
suit, playing
However,
in starting
a new at
an
ear-splitting
volume,
loud
chapter
of his career
with
his
enough
so even
shouting
second solo
album
‘Carry in
On’,
the
ear and
of the
personsetting
next to
a small
intimate
you
a wasted
mustproved
have seemed
theeffort.
most
appropriate. What followed
Expectations
and
that evening,were
was ahigh
show
with
no of
support
act,ten
it was
worthy
a venue
times
clear
thatSmall
Christhough
would have
the size.
the to
draw
frommay
a lothave
more
mateaudience
been,
they
rial
than
just hisamong
new solo
were
definitely
the
album.
a career-spanning
loudest In
I’ve
ever heard, and
27
songs,
he mostly
shied
Chris
and his
band followed
away
from new
material,
apart
suit, playing
at an
ear-splitting
from
opening
with ‘Silence
volume,
loud enough
so even
the
Voices’,
andear
later
shouting
in the
ofplaythe
ing
his blues-tinged
cover ofa
person
next to you proved
‘Billie
Jean’
and the epic Bond
wasted
effort.
song ‘You Know My Name’.
Instead,
the crowd
wereand
Expectations
were high
delighted
with a act,
largeit array
with
no support
was
of Audioslave
Soundgarden
clear
that Chrisand
would
have to
classics
as well
pleasing
the
draw
from
a lotasmore
material
hardcore
fansnew
withsolo
songs
from
than
just his
album.
Temple
of the Dog, another
In
a career-spanning
27 songs,
filmmostly
soundtrack
amazhe
shied and
awayhisfrom
new
ing debutapart
solo album,
‘Euphoria
material,
from opening
Morning’.
with
‘Silence the Voices’, and
later playing his blues-tinged
Strutting
the stage
concover
of ‘Billie
Jean’with
and athe
fidence
and
ease‘You
thatKnow
can only
epic
Bond
song
My
wouldn’t
look
out
of slaps
place the
in
strums. the other slaps the
reminder
that
beneath
strums.
the
other
military
figures
are
being
gripped
body of the guitar, creating a
bohemian
and the a
body
of thepresence
guitar, creating
while
a space
suited
man varied
hovers
deep and surprisingly varied
songs
about
superheroes
and
deep
and
surprisingly
album
doesn’t
disappoint,
beat, around which he wraps
spongebob
lies an
a
beat,
aroundsquarepants
which he with
wraps
and
even
stranger
lyrics
his delicate, Nick Drake inspired thing’
depth
and
a Nick
complexity
rarely
his
delicate,
Drake
inspired
master
all kinds
of kungfretwork. Even the most basic of gonna
heard
in today’s
identikit
indie of
fretwork.
Even
the
most
basic
his album tracks, such as U.F.O zoo).
output.
his
album tracks, such as U.F.O
grow into a fully fledged orchesgrow into a fully fledged orchesand
personal
tral piece as Newton Faulkner a different
Philip
Reynolds
tral
piece
as more
Newton
Faulkner
logue.
His
hands
work
hisguitar,
acousstrums urgently at his guitar,
strums urgently at his
band’s
worth
of
musical
depth
sings and hums strange noises full sings
and hums strange noises
seemingly at once.
Further Listening...
seemingly
at once.
He charismatically bumbles
through the introductions to
his songs, getting appreciative
laughs at his often crazy lyrics;
and takes a second attempt at
the forthcoming second single,
‘All I Got’ before he finally feels
he’s done the lilting, reggae
influenced chorus justice.
Faulkner follows the bouncing
new single with the haunting
‘Uncomfortably Slow’, a sombre
reflection on life and love that
illustrates his impressive range.
Soulful and understated, he
purrs through the verses and
soars beautifully over the winding chorus. It’s a strong
be downInstead,
to overthe
a decade
a
Name’.
crowd as
were
frontman.with
What’s
mostarray
bizarre
delighted
a large
of
and intriguing
the huge sound
Audioslave
andisSoundgarden
that is Cornell’s
which
classics
as well asvoice,
pleasing
the
escapes from
the tiniest
hardcore
fans even
with songs
from
open crack
of his
mouth.
The
Temple
of the
Dog,
another
vocalsoundtrack
problems he
film
andexperienced
his amazearlier
in the
which
caused
ing
debut
solotour
album,
‘Euphoria
him to cancel several shows
Morning’.
were certainly nowhere to be
seen. In athe
setstage
lasting
over
two
Strutting
with
a conhours, Chris
and his
did
fidence
and ease
thatband
can only
notdown
falter to
once,
seemed
be
overand
a decade
asto
a
ride high on
the energy
of the
frontman.
What’s
most bizarre
crowd.
The gigisfinished
with
a
and
intriguing
the huge
sound
brilliant
cover ofvoice,
Led Zeppelin’s
that
is Cornell’s
which
‘Whole Lotta
Love’the
providescapes
from even
tiniest
ing the
perfect
peak
to the
open
crack
of his
mouth.
The
evening’s
high octane
entertainvocal
problems
he experienced
ment. in the tour which caused
earlier
him to cancel several shows
Whilecertainly
it is truenowhere
that ‘Carry
were
to be
On’ seems
a slightly
seen.
In a set
lasting lacklustre
over two
effort, Chris
looking
back
hours,
and
his through
band didall
the falter
great once,
songs and
of his
career,to
not
seemed
Cornell
proven
that
ride
highhas
oncertainly
the energy
of the
he’s gotThe
thatgig
special
something
crowd.
finished
with a
making cover
him worthy
sticking
brilliant
of Ledof
Zeppelin’s
around.Lotta
And with
‘Whole
Love’thoroughly
providamazing
live shows
as this
ing
the perfect
peaksuch
to the
one, I think
it’soctane
fair to forgive
evening’s
high
entertainhim finding his feet in a new
ment.
record, safe in the knowledge
he’s still
got
what
takes to
While
it is
true
thatit ‘Carry
On’
He charismatically bumbles
through the introductions to
his songs, getting appreciative
laughs at his often crazy lyrics;
and takes a second attempt at
the forthcoming second single,
‘All I Got’ before he finally feels
he’s done the lilting, reggae
influenced chorus justice.
2007 - ‘Hand Built By Robots’
(Album) follows the bouncing
Faulkner
2007single
- ‘UFO’
(E.P)
new
with
the haunting
‘Uncomfortably Slow’, a sombre
Download...
reflection
on life and love that
illustrates his impressive range.
‘Uncomfortably
Slow’ he
Soulful
and understated,
‘UFO’through the verses and
purrs
‘Teardrop’
soars
beautifully over the wind‘Fullchorus.
Fat’ It’s a strong
ing
go back
to writing
and singing
seems
a slightly
lacklustre
the unforgettable
songs
that all
effort,
looking back
through
he’sgreat
churned
outoftime
and time
the
songs
his career,
again. has certainly proven
Cornell
that he’s got that special
Katie Stotter
something
making him worthy
of sticking around. And with
Further Listening...
thoroughly
amazing live shows
such as this one, I think it’s fair
to forgive him finding his feet
in a new record, safe in the
knowledge he’s still got what it
takes to go back to writing and
singing the unforgettable songs
that he’s churned out time and
time again.
Katie Stotter
Further Listening...
2007 - ‘Carry On’
2002 - ‘Audioslave’
1999 - ‘Euphoria Morning’
Download...
‘Billie Jean’
‘Shadow On The Sun’
‘Moonchild’
‘Arms Around Your Love’
‘You Know My Name’
2007 - ‘Carry On’
2002 - ‘Audioslave’
Page 13
29th September 2007
Gigs
Tegan & Sara
Komedia, Brighton
August 13th, 2007
Racing through hits old and
new, the Canadian twins left an
exuberant crowd at Brighton’s
Komedia utterly breathless.
Carefully interspersing wellknown favourites with tracks
from their latest release, The
Con, allowed onlookers to
revel in the girls’ back catalogue
whilst marvelling at how far
they
come and how much
Teganhave
& Sara
they have grown – musically and
Komedia, Brighton
lyrically.
August 13th, 2007
On first listen, The Con does not
fit together quite so perfectly
as Tegan and Sara’s preceding
albums (‘If It Was You’ and
‘So Jealous’). Yet, on further
inspection, it is categorically their
strongest, most dynamic and
memorable record to date. This
transferred effortlessly into the
live performance. With their
smart wit and ironic humour,
the girls kept us entertained
with tales from the road
between songs and treated us
to unconventional explanations
of what each song from The
Con was inspired by. Most
memorable was the tale of
the girls attending a summer
school in Canada where they
ran around bare footed whilst
learning about God. I can’t
even recall which song this was
supposed to explain but the
sentiment was appreciated.
The crowd was a mixed bunch
of hipsters, newbies and what
appeared to represent a large
proportion of the local teenage
gay scene. Tegan and Sara
are habitually praised for their
unaffected approach to being
gay sisters in a male-dominated
industry. They admit their
pride at being able to stand up
as examples of real success,
regardless of their sexuality and
the way many fans clearly look
up to them as role models. The
girls operate a strict no ‘drinks,
drugs (or sex)’ rule backstage
whilst on tour, reiterating their
dedication to both their music
and their fans – behaviour that
will defy all rock critics who seek
out gratuitous gossip from thrillseeking groupies.
The Quin twins’ energy
and vitality is never entirely
conveyed on their albums so all
opportunities to experience them
live must be taken. Slamming
guitars and keyboards all night,
they demonstrated their genuine
passion and talent for live shows.
The rawness of Tegan and Sara’s
vocals when performing live is
what really sets these girls apart
from their competitors - that
and the fact that they write
incomparably superb songs
about heartbreak, loneliness and
anger in such simplistically poetic
terms.
I found myself completely
absorbed in a live performance
sufficiently captivating to
prevent me from being
distracted by common concert
woes of annoying neighbours
bopping into me, the tallest guys
in the room standing one foot
in front and lack-lustre sound
systems, that usually reduce me
to an aching mess willing the
unfortunate performers to shut
up and let me hop the train and
go home. But in the girls’ own
words, Not Tonight…
Hannah Dudley
Further Listening...
2007 - ‘The Con’
2002 - ‘If It Was You’
Download...
‘Speak Slow’
The Edge Recommends...
And now, ladies and
gentlemen, The Edge proudly
presents our pick of the
masses of live music coming
to gig venues near you this
Fresher’s Week and beyond...
Kano
Southampton University
Students’ Union
3/10/07
£14.00 + booking
Four time MOBO nominee
Kano comes to Southampton
this week, to promote his
new album ‘London Town’.
Featuring collaborations with
local boy Craig David and
chav princess Kate Nash,
Kano’s blend of grime and
rap is sure to be a hit with
Southampton’s students.
The Misfits
Southampton University
Students’ Union
4/10/07
£16.50 + booking
What better way to kick off
Page 14
your freshers’ week than by
celebrating with The Misfits?It’s
their thirtieth birthday this year,
and to celebrate they’re sewing
their brand of spiky, horror-punk
madness at venues nationwide.
Laura Marling
Hamptons
4/10/07
£5
your attention. With a mix
of glam rock meted out with
indie style gutiars, and popular
performances on Jonathan Ross
and Conan O’Brien under their
belt, The Mooney Suzuki are a
big fat slice of indie cool
The Hoosiers
The Brook
24/10/07
£6 adv / £8 on door
If raucous punk isn’t to your
taste, or if you’ve just blown
your entire loan on an ill advised
high stakes poker match, Laura
Marling is the gig for you. At a
wallet friendly fiver, the seventeen
year old songstress’ soft, acoustic
performance will soothe your
hungover head. A perfect, chilled
out night’s entertainment, and
one of our favourites. Check out
Pete’s review on page 7
Riding high on the success of
summer indie anthem ‘Worried
About Ray’, The Hoosiers play
The Brook this October, a tiny,
intimate venue just perfect for
their huge sound.
The Mooney Suzuki
Joiners
16/10/07
£8 adv/£10 door
Despite a name that sounds
like something out of a Japanese
bedtime story, The Mooney
Suzuki are a band well worth
Angel voiced folk troubador
Seth Lakeman arrives at the
Guildhall at the end of October.
Lakeman’s
first
nationwide
release, ‘Freedom Fields’, won
him glowing reviewsfrom The
Times and The Guardian, and this
is the perfect chance to see what
Seth Lakeman
Southampton Guildhall
26/10/07
£15.00
Ray Lamontagne
Southampton Guildhall
29/10/07
£18.50
Forget Paulo Nutini and James
Morrison, for real folk balladry
Ray Lamontagne is where it’s at.
His Tim Buckley inspired vocals
and delicate, haunting melodies
have earned him a position as
one of America’s greatest folk
exports. See him now.
Dizzee Rascal
Southampton University
Students’ Union
08/11/07
£15.00
Dizeee Rascal’s mix of urban
styles, combined with gritty,
hard hitting lyrics, means Rascal
is a rapper at the very top of his
game. Consistently impressive,
and at our very own union,
there’s no excuse not to check out
the Rascal in full, profane flow.
We Are Scientists
Southampton University
Students’ Union
18/11/07
£14.00
Reknown for their heavy
audience participation and
freewheeling banter, We Are
Scientists make a welcome
return to Southampton’s
Students’ Union. The American
indie outfit are back to promote
the charmingly titled ‘Crap
Attack’, released at the end
of last year in the UK, and are
certain to be a fantastic live act,
see them now.
If you do take our excellent
advice and see any of the
bands mentioned here, or
anything else for that matter,
please send us your review to
theedge@soton.ac.uk.
By Philip Reynolds
29th September 2007
Page 15
29th September 2007
Film
w
w E D I T O R I A L
Hello everybody and
welcome to a new year
at Southampton Uni
and a new film section
editor. I have taken
over from the lovely
Kate who has moved
on from the slacker student lifestyle to hopefully greener pastures.
As this is the first issue after a long summer of “blockbusters” we’ll be kicking
off with a round-up
of reviews for the big
ones. Along with that,
as this is a special edition going out to all
Freshers, there is a
feature giving a basic rundown of flicks
any student should
know inside and out.
This being my first
time putting the section together I’m going to keep things
pretty simple and hope
not to make too many
mistakes!
However
as the year goes on
I will be adding new
features and generally trying to keep giving you all something
entertaining to read.
I would like to thank
all the contributors for
this issue who took
time out of their busy
summers to fill these
pages for me and here’s
hoping for a great year
of film to write about.
Dean Read
Page 16
TRANFORMERS
Director : Michael Bay
Starring : Shia LaBeouf, Megan
Fox, Josh Duhamel
Put on your slippers, pull out
your pipe, lie back in your moth
eaten old armchair next to the
fire and think back to those
bygone days when vhs and
betamax battled it out for video
supremacy, Wham! were top
of pops and starburst were still
known as opal fruit. The year
is 1984 and two of the world’s
greatest entertainment dynasties, Hasbro toys and Marvel
comics, have joined forces to
create a franchise which would
become one of the most popular and marketable in history.
Transformers, was a story based
on two warring tribes of alien
robots (the human loving autobots and the evil decepticons)
living on earth but disguised as
everyday vehicles and objects.
Master of Disaster Michael Bay
[director of Armageddon, Pearl
Harbour] brings his usual delicate touch to proceedings in
this live action film based on
the Transformers franchise. The
premise of the film is simple.
Robots land on earth to find
some magical rubix cube. Good
robots fight bad robots. Good
ATONEMENT
Director : Joe Wright
Starring : Keira Knightley,
James McAvoy, Saoirse Ronan,
Romola Garai
Having to pass the long summer months I found myself
reading Ian McEwan’s novel
Atonement, being fully aware
of the film adaptation due to
be released. Having finished
the book a day before I saw the
film, I wondered how on earth
what many considered an unfilmable novel, could effectively
be transferred to the screen.
After watching the film I had my
question vehemently answered.
Set in a quintessential English
country house in 1935 on
the hottest day of the summer, the thirteen-year-old
robots win. That overview
shouldn’t spoil the story for you
as it is as all encompassing as it
is irrelevant. The film does not
get bogged down in such trivial
fancies as narrative or logic but
instead focuses on what makes
the franchise a success, chuffing great big shiny machines
transforming into, well, chuffing great big shiny machines.
We all remember the transformer action figures. I myself
had hours of fun transforming
Optimus Prime (leader of the
autobots) into a truck and playing him off against Hulk Hogan
and the stay-puft marshmallow
man. Nostalgia is in fact the
keystone on which this film
relies, seeing Optimus Prime
transform and speak in those
Briony (Ronan) sees her sister
Cecelia (Knightley) strip off her
clothes and submerge herself
into the fountain, watched by
the educated gardener Robbie
(McAvoy). Later on that evening
Briony catches Cecelia and
Robbie in an erotic sex scene
in the library which only ceases
to fuel her jealousy. Briony
later in the evening accuses
Robbie of assaulting her cousin,
despite knowing the real culprit,
which leads to Robbie’s unlawful arrest and the impromptu
separation of the tragic lovers.
We meet up with characters
later in 1940 and the three
characters have had their lives
turned upside down due to the
outbreak of war. Cecelia and
an 18 year old Briony (Garai)
are both nurses in London,
in which Cecelia has cut off
wonderful dulcet tones is simply a joy and worth the cinema
ticket alone. Everyone’s favourite transformers are there, but
most disappointedly a cameo
from Peter Crouch as a dancing
robot was elusive. Beyond this
you should expect little more
than your generic Hollywood
cash-in packed with generous dollops of action, special
effects and cheesy one-liners.
Anything that resembles a plot
is superseded by the spectacle of a million exploding cars
and the general destruction of
various imaginative backdrops.
In the intergalactic clash of
mechano pieces and washing
machine spare parts, humans
are no longer mere bystanders and are instead integral to
complete ties with her family.
Robbie meanwhile is part of
the British Expeditionary Force,
trying desperately to reach the
evacuation point at Dunkirk to
be reunited with Cecelia, in
some of the bleakest days for
Britain in the Second World
War. This tracking shot scene
at Dunkirk, quite simply, has
to be one of the scenes of the
year. Whilst some may criticise
it as pure cinematic scope, it is
simply outstanding as Robbie
and his comrades desperately
try to find refuge and find
a way home, equipped with
the hauntingly beautiful song
‘Elegy for Dunkirk’, evoking
additional emotion. In the hospital scenes that follow Briony
we see her now realising the
full extent of her actions as
she tries to atone for what
she did as a thirteen year old.
the story. Shia LaBeouf makes
an impressive cinema debut
as our unwilling hero Sam
Witwicky. Whilst love interest, Megan Fox, is bound to
grace the cover of a men’s
magazine near you soon.
Clearly designed for an audience with the vocabulary and
attention span of a three year
old, the film should do just
enough to keep the hordes
of nostalgic fans happy and
may transform some amongst
us into new ones. If you can
switch off your brain for two
and a half hours and immerse
yourself in this fun homage to
nerds and nostalgia you could
well enjoy this movie as I did.
Matt Aylott
Performance wise it cannot be
faulted. All the leads are well
cast and all do an excellent
job. Whilst the critics have
been praising Knightley’s performance it is McAvoy that
shines especially as Robbie.
The only minus point of the
movie is the ending feels
terribly rushed and uncomfortably modern. This however does not make it any
less shocking and leaves you
reaching for the Kleenex. On
the whole the film is a formidable achievement from Joe
Wright, the cinematography
is simply breathtaking and
the score is emotive and lilting. It is a film that is both
delicate and devastating.
Sophie Osborn
29th September 2007
Film
RUN, FAT BOY, RUN
Director : David
Schwimmer
Starring : Simon Pegg,
Hank Azaria, Dylan Moran
To most Americans the
English are a curious folk.
Raised on a diet of Hugh
Grant films and Mary
Poppins, they see us as
a nation of twinkly-eyed
shopkeepers, who spend
our days queuing and
being polite. Luckily for
us, David Schwimmer
isn’t
one
of
them.
Strange as it is to say,
Schwimmer’s first foray into
mainstream cinema, and
his first stab at capturing
the real essence of British
life, and humour, comes
much closer to encapsulating Cool Britannia than any
number of recent British
flicks. He gets us, and
our funny ways, it seems.
From the snippets of modern British rockers The
Fratellis and The Kaiser
THE BOURNE ULTIMATUM
Director: Paul Greengrass
Starring: Matt Damon, Julia
Stiles, Joan Allen, David
Strathairn.
Chances are that you have
already heard the praise
being heaped on the third
- and possibly final - instalment of the Bourne series.
According to critics, this
shining light in a summer
of lacklustre sequel has
not only reaffirmed disillusioned
cinema-goers’
faith in the multiplex,
but in humanity as well.
Now there has been a sufficient amount of breathing
space for the fanfare to die
down, it’s time for a retrospective. And a few things
must be said. Firstly, there
is such an unshakeable
sense of routine in the film
it’s as though the filmmakers were checking off a list
(Jason Bourne gets drawn
out of hiding, he must discover some secret in his
murky past, avoid former
Chiefs, and the prominent
Bowie t-shirt stretched over
Simon Pegg’s imaginary
paunch, Run, Fat Boy, Run
is a film in love with its own
national identity; an identity that underlies the film’s
very British sense of humour.
The film tells the s t o r y
of
Dennis,
who
runs
away from his
pregnant
fiancée on their wedding day. Six years
later, and Dennis is
working as a security guard for a
women’s clothing
store, while his
ex-partner has
moved on. And
it’s only then that
he decides he wants her back.
between two friends, a loseri s h
protagonist who
faces impossible odds of
success and
most importantly,
a
heavy dose
of cartoonish, slapstick
v i o -
All the classic components
of British comedy make an
appearance. Including the
delightful absurdity of hearing children and the elderly casually swearing; the
so-astute-it’s-cruel banter
CIA
employers
tracking him, cut to an almighty
punch-up/fender-bending car
chase, cue Moby’s Extreme
Ways and end credits. Also,
at times, David Strathairn’s
amoral spook is so nefarious
that he is missing is a white
Persian cat to stroke whenever
he is on screen. But these are
minor quibbles, because, at
lence, not seen since ‘Bottom’
graced our television screens
back in the late nineties.
Not only is the film genuinely
very funny, but it’s consistently so. Scenes of drama
are tempered with touching
moments of humour that help
lift what would otherwise
have been rather flat characters into charmingly human
comic creations. The bulk of
the film is carried by British
comic institution Simon Pegg,
who is now so adept at the
loveable loser role (after both
series of ‘Spaced’ and then
‘Shaun of The Dead’) that
he plays the part of Dennis
perfectly. Dylan Moran is on
hand to play himself once
more, wheeling out the same
performance of ‘cantankerous Irishman’ that served
him so excellently in Black
Books, though he’s so
funny you’ll hardly mind.
However,
Schwimmer’s
love of Britain isn’t only
seen in the silly grin of
Simon Pegg. Every scene
the end of the day, this isn’t
world changing art, but an
action film, albeit an intelligent, well-made, kick-arse
action film. The film moves
at a relentless pace, ferrying you from one ingenious
set piece to another, standouts including the novelty of
watching Jason Bourne playing hide and seek with a team
of assassins in Waterloo station (filmed at peak hour with
real commuters) and a now
customary fight scene that
ranks as the best of the series.
Unfortunately, one thing
there is to complain about
is the ending, which is so
frustratingly underwhelming
and inconclusive that it very
of the film is drenched in
London hallmarks. Whole
scenes are shot in the back
of black cabs, against the
misty London skyline or
behind red brick walls that
look like they belong in
Eastenders. And the film’s
final act, where famous
monuments lurk beautifully
in the back of each frame,
is a wonderful change,
especially when the only
appearances London has
made on celluloid this summer were an unflattering
London-eye rescue by The
Fantastic Four, and a postApocalyptic nightmare in
Twenty Eight Weeks later.
In bringing Run, Fat
Boy, Run to the screen
Schwimmer and Pegg have
created a refreshing British
comedy which will not only
delight both British and
American audiences, but
they’ve managed it without
rolling out any of our worst
stereotypes. See it now.
Phill Reynolds
nearly undermines Bourne’s
struggle throughout the
film. It is obvious that the
filmmakers wanted to leave
enough room for a possible
sequel, which is a shame
as it reeks of compromise
and this leaves a somewhat
nasty taste in the mouth.
With all of Robert Ludlum’s
original Bourne books now
adapted, and author Eric
Van Lustbade’s recent follow ups generally regarded
as a bit pants, it is speculated that this will be the last
film of the series. However,
faithfulness to the source
novels haven’t exactly been
the mainstay of the film
adaptations so far, plus
the aforementioned lack
of closure suggests that
we may have not seen the
last of Jason Bourne yet.
Daniel Morelle
Page 17
29th September 2007
Film
THE SIMPSONS MOVIE
Director : David Silverman,
Starring : Dan Castellaneta,
Julie Kavner, Nancy
Cartwright, Yeardley Smith
18 years and 18 seasons
after its brightly coloured
birth, the sorely awaited
movie adaptation of The
Simpsons finally paints our
screens (in-state-of-the-art2-D!). Expectations were
astronomical, for the beloved Simpsons have triumphantly blasted their way
into the cultural psyche,
becoming a satirical mirror to ourselves, the ugly,
loud and very real Western
family. Is it funny though? I
can gleefully say a resounding yes! Insert imitative Mr
Burns quote: “excellent...”
Sadly reviews have been
hit and miss. I had hesitant expectations due to
harsh
comments
from
EMPIRE critic Ian Nathan
who claimed “The movie is
no more than a mediocre
episode stretched like taffy
SUPERBAD
Director: Greg Mottola
Starring: Jonah Hill,
Michael Cera, Christopher
Mintz-Plasse
I had never imagined in
my wildest dreams that a
film christened with a name
such as Superbad, would
be worth even five minutes
of my time, let alone two
hours. I sit here writing
this, ashamed of my foolish presumption, but at the
same time very happy that
I have been proven wrong.
Superbad uses many of the
bog-standard teen-comedy
plot elements (foul language, hot girls, and nerdy
guys in search of shameless
one night stands), but this
is partly where the brilliance
of the film stems from.
The story follows best
friends Seth (Hill) and Evan
(Cera) on their quest to rid
themselves of their lingering virginity at a grad party
before parting ways to difPage 18
till it splits.” Well Mr Nathan,
I eat taffy for breakfast!
Matt Groening, along with
his writing team has made
something that is as good
as, but not better than the
most solid episodes. This
should be no disappointment, as “solid Simpsons” is
oft synonymous with genius.
The plot playfully twists and
turns in the quintessentially
bizarre fashion appropriate.
When Homer adopts a pet,
“Spideypig”, he dumps a
backyard silo full of its waste
into the already toxic Lake
Springfield.
The government’s
environment a l
protect i o n
agency
s u b s e quently
declare
it the most polluted city on
the planet and place a giant
glass dome around Springfield
as quarantine. Miraculously
escaping,
the
Simpsons
then head to Alaska…
The humour cracks as fast as
a whip, and is as delicious as
The Land of Chocolate. Be it
from the flourishing visuals,
like Bart’s teasing nudity; to
the ironic reflexive, as Homer
stands up in a cinema, points
at the audience (us), claiming
“Why are you paying for this
when you can get it for free
at home?” Film parodies are
The high benchmark of the
series meant many people
wanted it to be perfect, yet it
is not. Fans may find the character arcs tired (Homer causes
havoc again!), and very little
screen time is given to secondary characters. The biggest problem is that the
film’s overtly political
message, mocking the federal
government is
a notch too
blatant and
forced
d o w n
o u r
throats. It lacks the subtlety
of the glory seasons, where
all satirised jibes at society were cleverly concealed
within one fictional town.
Here the metaphoric dome
is breached and the outside
world becomes real. Why
not have Rainer Wolfcastle;
Springfield’s answer to
Schwarzenegger parody the
actor-turned politician for
the film’s president instead?
And surely the antagonist
really should have been Mr
Burns? Or Sideshow Bob.
Yet wit wins out, and so too
does both terrific action,
and surprising emotional
depth. Sure, old familiar
themes are recycled but they
are transposed for the big
screen. Homer and Marge’s
marriage troubles bring a
genuine tear to your eyes
and remind you that, actually, we have never cared
for these characters more.
Owain Bury
ferent
colleges. In
order
t
o
achieve
their goal
they enlist
the help
of
their
m o re - o f - a n annoyancethan-friend buddy,
Fogell – played by MintzPlasse, who is utterly hilarious
throughout, considering he
hasn’t acted before – to buy
alcohol with his newly acquired
fake ID (proudly brandishing the name ‘McLovin’) for
the cool girls’ party, hopefully
winning them a place in their
pants. Needless to say, their
journey is marred by a series
of unfortunate (yet highly
amusing) events, several of
which involve two totally lawless cops (something it is likely
you haven’t seen before in this
present and correct, like Lisa’s
Al Gore-tinged speech “An irritating truth”. And of course,
the character wit is top notch;
Homer’s sublime buffoonery
is back, in full pet-pig-fetish glory, and Ralph Wiggum
delights, announcing “I like
boys now”. Even THAT catchphrase gets a subversive quip.
setting),
played
by Bill Hader and Seth Rogen.
Though it may be familiar, the
film is in no way annoying, and
you don’t feel as if you’ve seen
it all before. There are only a
couple of potential problems;
that being that there is at least
one small scene that needn’t
be there, consequently making the movie perhaps a little longer than it should be.
However, this does not spoil
what is essentially a great
comedy, which it must be said,
is largely
due
to
the fantastic performances
from Hill and
Cera who, quite
frankly, deserve
to get laid every
single day of the year
after this. It is their ability to integrate real emotions and a convincing sense
of love through friendship
that make the movie distinctly accessible and warm, as
well as side-splittingly funny.
It is also the reason why
Superbad can easily be heralded as the new American Pie.
Original misgivings about the
title be damned! Superbad
is without a doubt one of
the funniest comedies I have
seen for a long time. If you
like this kind of comedy, and
haven’t seen it by the time
you read this, then put the
paper down, and get your
arse down the cinema, now!
OUT THIS WEEK
Cinema:
And When Did You Last See
Your Father
Day Watch
Penelope
Ratatouille
The Heartbreak Kid
The Kingdom
DVD:
300
Fantastic Four: Rise of the
Silver Surfer
Troy: The Directors Cut
Rocky: The Complete Saga
The Hitcher
The Dark Crystal: Anniversary
Edition
Aqua Teen Hunger Force
Colon Movie Film for
Theatres for DVD
Labyrinth: Anniversary Edition
29th September 2007
Film
Top Student Films
Myself and my wonderful contributors have produced a shortlist of top quality student films. Whether due to their vast alcohol consumption content, mong-out-ability, or seriously classy quotability these flicks are required viewing for all students.
ANCHORMAN
To be honest, it doesn’t
really have anything to do
with college or the student lifestyle, but to not
include it on this list would
be practically unthinkable
considering how popular it
is among the student populace. Whatever situation
you find yourself in, even
if you’re with a perfect
stranger, fire off a quote
and you’re guaranteed to
get a chuckle. Start off
a rendition of ‘Afternoon
Delight’ or a jazz flute
solo and you’ll instantly
be the hit of the party.
HAROLD AND
KUMAR GET THE
MUNCHIES
Chances are
that
you
would have
never heard
of this spiritual
sequel to Dude,
Where’s My Car?,
which is not surprising considering
that it prides itself on billing two supporting actors
from American Pie and Van
Wilder as its leads, but it is
surprising just for its hidden depths. Whether you
see it as a modern day
Homeric odyssey, an ode to
the joys of irresponsibility,
a sneaky criticism of racial
stereotypes, or simply as the
movie where two stoners
ride a cheetah, it is definitely
worth your consideration.
THE LORD OF THE RINGS
TRILOGY
Sweeping, majestic, chilling
yet intimate and
constantly
funny, this
is cinematic
perfection.
Yet
its
potential
as a student Holy
Grail of celluloid is perhaps
still unrealised.
A ritual to share
with friends and
nachos, this is 10
hours of lecture-
avoiding bed-bound viewing. Think of the drinking
game potential: a shot for
every beard sighting and
doubles if you can recite
flawless lines of Elvish.
BEERFEST
There’s very little that needs
to be said about this flick
that can’t be surmised from
the title. Two American
brothers are bound by family honour to compete in
a secret international beer
drinking competition that
occurs every year during
Oktoberfest. The sheer volume of alcohol consume
combined with the inspiring
drinking games on show
make this perhaps the ultimate student drinking film.
VAN WILDER
College hero, Van Wilder
(Reynolds), takes on a
personal
assistant – Taj Mahal
Badalandabad
(Penn) – and
attempts to raise
funds in order
for him to stay
in schooling and
avoid
the
real
world for yet
another year,
whilst falling
for student
journalist Gwen
Pearson
(Reid),
who
is
w r i t -
ing a story on him and
happens to be going out
with an absolute knobber.
The reasons for this film
being a student must-seefilm include: nudity, Tara
Reid, a dog with the largest bollocks ever, and the
fact that Van Wilder is ‘the
raddest fucking dude alive!’
OLD SCHOOL
So what do you do when
you’re a middle aged property lawyer who comes
back from a conference
early to discover his wife
about to get it on in a
freaky threesome? That’s
right start a frat. Add some
guys who love to party
and one whose nickname
is “Frank the Tank” and
there’s no way things
will turn out clean. It’s
almost impossible
to watch Old
School
and
not want to go out and
party, perfect one to pull
out if any of your friends
are thinking of staying in
for the evening.
HAPPY GILMORE
There are a few Adam
Sandler films which could
make this list, this however is the best. Happy
is our protagonist, a selfproclaimed ice hockey
player who can’t actually
ice skate. However when
his grandmas house is
repossessed his amazing
long drive abilities come to
the fore and he attempts
to buy it back with his
golf earnings. With some
fantastic slapstick violence
and great quotes coming
from not just Sandler but
his nemesis Shooter, as
long as you are the tiniest
bit immature it is difficult
not to enjoy.
Page 19
29th September 2007
29th September to 18th October
ENCORE
MUSIC
30
Kula Shaker
Live Music
03
Kano
Live Music
SUN
WED
04
THU
West Ref
7pm
07
SUN
08
MON
Managemnet Building
TBC
LiveSoc
Funk Night
15
MON
Rocktoberfest
RockSoc biggest event of the year
DJ Society
Digital Media Arts Festival
16
TUE
Starsailor
Live Music
09
Southampton Uni Concert Band
First Rehearsal (Drinks after)
10
Paul Oakenfold
Live Music
Clubs & Socs Room (Stag’s & Hobbit)
7pm
WED
West Ref
7pm
11
Jazzmanix Jazz & Gospel Choir
First Workshop
Lecture Theatre K (Building 2)
7.30pm
Managemnet Building
TBC
Kristianne Drake
Art Exhibition (until 16 Dec)
17
WED
Theatre Group
Fresher’s Play Auditions
WED Managemnet Building
TBC
Spotlight
Conservation Volunteers
Chilworth Manor (meet outside union)
9.30am - 5pm
Computer Games Society
Halo 3 Tournament
Murray Building 58 (Lecture Room G)
6pm - 11pm
Small Meetings Room (SU Building)
8pm
13
SAT
17
Meet outside The Bridge Bar
8pm
Debating Society
Opening Debate of the Year
Theatre Group
Fresher’s Play Auditions
Managemnet Building
TBC
AstroSoc
Weekly observing meetings
Performing Arts
Garden Court & Stag’s Head
8pm
Level 4, Hartley Library
9am - Midnight (Mon - Sun)
West Ref
7pm
Free First Lesson
8pm - 10pm
THU
Theatre Group
November Play Auditions
Arts H
7pm
Theatre Group
November Play Auditions
Ballroom & Latin Dancing Society
First Rehearsal (Drinks after)
TUE
06
SAT
12
FRI
West Ref
7pm
SOCIETY
Showstoppers
Workshop Session
The Misfits
Live Music
The Bridge
8pm
MON
11
THU
West Ref
7pm
The Talking Heads
7.30pm
08
ARTS
18
THU
24
WED
Malaysian Students Association
Hari Raya Aidilfitri Celebration
Murray Building
10am
SUSU LGB
Sexual Health for LGB People
L/T 1067 Building 58 (TBC)
6.30pm
African Caribbean Society
Black History Month Celebration
Nightingale Building, University Road
6.30pm - 9.30pm
Soton Uni Politics Association
Question Time
Murray Lecture Theatre (Murray Bldg)
From 1pm (TBC)
Art Society (ArtSoc)
All abilities are welcome; we like ideas &
enthusiasm; most of us reckon we can’t draw.
We experiment with lots of materials, spray
paints, jewellery, pottery and photography
workshops! We meet most Wednesdays for
life drawing sessions.
Join our mailing list artsoc@soton.ac.uk to
find out about upcoming events.
Tickets for live gigs are available
online at boxoffice.susu.org or
the Box Office outside the cinema
(open 11am - 3pm weekdays)