Sunday 12th April 2026
Blog Page 1293

UCAS to include European universities

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UCAS rule changes will allow UK students to use the service to apply to EU universities.

Under the new rules, this process would be easier, with universities from Germany, Finland, and the Netherlands, among others, all now being allowed to join the UCAS service.

Despite suggestions from Ian Fordham of The Education Foundation to The Telegraph that applications to UK universities could drop by up to ten per cent over the next couple of years, an Oxford University spokesperson insisted that Oxford would not be affected.

“Applicants to Oxford are a small and self-selecting group within the pool of UK university applicants; we will continue to do our best to attract bright students from all backgrounds but do not expect applications to Oxford to change substantially as a result of this UCAS decision.”

The change comes as the number of UK students applying to foreign universities is rising. A British Council survey of 2,500 students taken in April of last year found that 37 per cent would take up a degree overseas, a 17 per cent increase from 2013.

Lower fees at European universities could make them an attractive prospects for British sixthform students.

UCAS told Cherwell, “With more choice in the market, there is a need to ensure that student interests are protected.

“We want students who apply for courses through UCAS to be confident that they are applying for a verified qualification at an institution which meets the relevant quality standards. As a consequence, we have reviewed the criteria for access to UCAS services to ensure that they are fit for purpose in this changing environment. We will therefore consider requests from European higher education providers to use UCAS services if they can demonstrate that they meet equivalent standards to those in the UK.”

Maastricht University has not yet become a full member of UCAS, but Cherwell understands that it intends to use some UCAS services. Dr Michael Geary, Chair of Maastricht’s student recruitment team, told Cherwell, “Needless to say, we are very happy that UCAS will open the application system to non-British universities; it’s a very progressive move.

“We are the most international of the Dutch universities with one of the biggest UK student populations in Europe. British students come to Maastricht for a number of reasons. It’s not just about the money although we do have a far more competitive fee structure.

“In an ever competitive jobs market, students need to differentiate themselves through the educational choices they make. Studying abroad has a significant number of opportunities.”

A Government spokesperson for the Department of Business Innovation and Skills told Cherwell, “This is a matter for UCAS, a body independent from Government. We welcome the wider choice this will provide for students and UCAS’ rigorous scrutiny of European universities applying will ensure they demonstrate that they meet equivalent standards to those in the UK.”

Oxford student contract criticised

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Oxford University has imposed “unfair” contracts on students, a recent investigation has claimed.

The consumer association Which? investigated student contracts at universities across the UK. Oxford University requires every student to sign such a contract before matriculation. Which? found that one in five universities impose potentially illegal contracts on students, specifically concerning their powers to discontinue courses and increase tuition fees.

The investigation studied 131 higher education providers. The analysis was led by a team of consumer lawyers and found that over half of universities are using “unfair” contract terms. A further 20 per cent impose terms on students which contravene the Unfair Terms rules in EU and British Consumer Contracts Regulations.

The regulations define an “unfair” contract as establishing a significant imbalance between student and provider. The investigation found that some universities retained total power to vary courses. When the consumer rights group surveyed over 4,500 students they found this was the primary problem.

The report found 58 per cent of students had experienced changes to modules or locations of teaching and 12 percent had confronted rising tuition fees either mid-way through a year or at the end of the year. The contract for Oxford students states, “The University reserves the right to discontinue, merge, or combine options within programmes of study; and to introduce new options or courses.”

Oxford University was found to have “bad practice”, defined as offering contracts which fall within the law but are unfair. Which? particularly highlighted that the University reserves the right to alter student timetables, the course syllabus, and discontinue courses.

The University rejected these charges, however, saying, “Oxford University takes its responsibility to students as a top priority, and has taken steps to ensure that applicants and students are given full, accurate, and accessible information in all its communication with students. This includes offer letters to accepted students, student contracts, the University’s website, and the student handbook, as well as future University prospectuses. We are also undertaking work to address the evolving area of consumer protection, in light of draft guidance from the Competition and Markets Authority (CMA) and the Consumer Rights Bill.”

A University spokesperson also pointed out that this work on consumer protection predates the publication of the Which? report and stressed that Oxford was by no means alone in being singled out.

Which? told Cherwell, “The reasoning for Oxford University being included in the ‘bad practice’ category was due to terms or policies included in the University’s terms and conditions that gave them an unfettered discretion to make changes to courses, but some kind of remedy is offered to students when a change is made.”

Other top universities among the 31 per cent that have been accused of “bad practice” were Durham, Cambridge, Bristol, Edinburgh, Nottingham, Sheffield, Bath, and Oxford Brookes. Only five per cent were found to have “good practice”, with the University of York the sole higher education establishment to be awarded “best practice”.

Which? Executive Director, Richard Lloyd, said, “With tuition fees higher than ever before, we want universities to take immediate action to give students the protection they’re entitled to.”

Which? has submitted its findings to the CMA and want them to conduct a compliance check.

The CMA told Cherwell, “We are in the process of finalising guidance to universities which will be ready in the next few weeks. We are working closely with the Student Loans Company and others to put together some awareness raising work for students and to-be students on what they should be looking for at where they choose to study.”

When asked if they are going to carry out the compliance check that Which? has requested, the CMA stated, “it is a process. We are working with student unions and universities to help them comply with the law.”

James Blythe, OUSU’s Vice-President of Access and Academic Affairs told Cherwell, “I take the criticisms of University contracts from Which? very seriously indeed and will be asking the University for their response. With the Student Written Submission to the university regulator (QAA) coming up, there is an opportunity for students to voice these and related concerns to an external body through OUSU.

“If we believe such concerns relate to students’ academic experiences, we will endeavour to include these in the Education Vision we are writing with students’ input that will be brought to OUSU Council in Trinity.”

Oxford’s honorary degrees declared

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Oxford University has announced the names of the six people to receive honorary degrees in celebration of their achievements in their respective fields of study, subject to approval from Congregation.

The honorary degrees will be presented at Encaenia, the University’s annual honorary degree presentation, on June 24th.

This year’s awardees include eminent figures from the fields of engineering, medicine, history, literature, and music. The awarding of the degree is an honour bestowed in recognition of exceptional contributions to a specific field of study.

The six recipients of the honorary degrees are: Professor Sir Richard Evans, Dame Hilary Mantel, Professor Ruth Simmons, Professor Dame Ann Dowling, Professor Sir Magdi Yacoub and Ms Jessye Norman.

Evans is a prominent historian of modern Germany, and recently gave a talk at the Oxford Union. He is also the President of Wolfson College, Cambridge, and an Honorary Fellow at Jesus College, Oxford.

Dame Hilary Mantel is an author, whose most recent books on the career of Sixteenth Century Thomas Cromwell, Bring Up the Bodies and Wolf Hall, have been awarded the Man Booker Prize and have been adapted by the BBC. Mantel has also been awarded the Bodley Medal, and is a Fellow of the Royal Society of Literature.

Professor Ruth Simmons was the President of Brown University from 2001 to 2012, and is currently a Professor of Comparative Literature and Africana Studies at the university. Professor Simmons was previously the President of Smith College, the largest women’s college in the US, where she introduced the first engineering programme at an all-women’s college. Previous accolades include the Fulbright Lifetime Achievement Medal.

Another honorary degree holder, Professor Dowling, is an engineer who is both Professor of Mechanical Engineering at Cambridge, and President of the Royal Academy of Engineering, as well as a Fellow of the Royal Society. Her work focuses on minimising carbon emissions and noise of cars through the study of combustion, acoustics, and vibrations.

Professor Sir Magdi Yacoub is a Professor of Cardiothoracic Surgery at the National Heart and Lung Institute, Imperial College London. He is a Fellow of the Academy of Medical Sciences and the Royal Society and pioneer of numerous complex heart operations, and is hugely involved in providing support for children with cardiac conditions in war-torn countries.

Operatic soprano Jessye Norman has performed at several high-profile events, including the 200th anniversary of the French Revolution and the opening ceremony of the 1996 Atlanta Olympic Games. She has been awarded the Grammy Award for Lifetime Achievement and is a Fellow of the American Academy of Arts and Sciences.

Professor Wallace Broecker, a climate change specialist, will also be presented with a degree in July, as he was unable to attend Encaenia last year.

Speaking on the honorary degrees awards, Annie Hazlitt, an Oriel undergraduate, said, “I feel that the degrees are a sign of respect to the incredible work of these individuals. As a History student, I am really happy for Richard Evans as his books on Germany are some of the best I have ever read.”

Queen’s student Ed Bithell concurred, commenting, “All the recipients have demonstrated that they are among the best in their specialities and should be recognised as such.”

University refuses to fund OxHub

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The future of student-run charity OxHub is under threat due to the University’s refusal to continue core funding, leaving the charity short of about £70,000. Earlier this week, the OxHub executive committee set up a petition calling for the University to provide the organisation with a long-term sustainable source of funding.

The charity previously received approximately 40 per cent of its funding from the University, most of which came from the Van Houten Fund. However, funding for OxHub has never been part of the University’s budget, which is what OxHub is petitioning to change. Contributions in the past have instead come from various funding pots, but the money from the Van Houten Fund was limited to three years and ended in Michaelmas 2014. University cuts mean they have not been offered any other sources of funding.

Makena Löhr, the OxHub President, told Cherwell, “The Vice-Chancellor suggested last year that we should fall into the Academic Administration Division budget. However, despite protracted conversations, those budget holders have since informed us that we will not now be receiving core funding for our work. The Vice-Chancellor’s office has been unable to offer opportunities for funding elsewhere.”

OxHub is a student-led charity which, according to Löhr, seeks to “engage Oxford students in social and environmental projects both locally and globally”. 600 student volunteers are currently involved in projects run by the charity, including the Schools Plus programme, the Homelessness Action Group and OxGrow. In 2014, the charity was recognised with the Queen’s Award for Voluntary Service for its work over the last seven years.

With core funding in place from the University, the charity was able to raise 45 per cent of its funding externally. However, while this external funding goes towards project costs, the cut University funding was necessary for the charity to meet many of its core operating costs, such as staff time for processing expenses.

On Sunday 22nd February, members of OxHub’s student executive created a petition, calling upon “Oxford University to secure long-term core funding for the Oxford Hub”. At the time of press, the petition had received 224 signatories on Change.org.

Löhr told Cherwell, “We understand that the University faces budgetary pressures, and that savings need to be made. However, cutting Oxford Hub’s funding is damaging to the Hub’s future, and is thus retracting the University’s support of students, who despite all their time pressures and other commitments of their degrees, want to be drivers of positive social change.

“Furthermore, it undermines the University’s public role, in connecting with the local community outside of our University bubble. We don’t really think it is appropriate to pull out the support Oxford Hub provides across the city, given levels of social inequality and the needs of the local community. We would just like to reach a sustainable solution for the Hub that would then preserve the work that students carry out to support social issues across the city.”

A spokesperson for the University commented, “The OxHub is a great venture which we were happy to support as it got off the ground, but it was always made clear that this money came from funds that were strictly time-limited.”

The University spokesperson continued, “We also have to prioritise other areas of student support which have recently been subject to significant funding cuts, such as the UNIQ summer schools, teachers’ conferences, National Scholarship programme, and the Access to Learning Fund, as well as respond to projected reductions in the Disabled Students’ Allowance.

“In discussing this financial situation with the OxHub, we have stressed that there is now an opportunity for them to work closely with other areas, including the Careers Service and OUSU, to identify how a collaborative approach might reduce costs, particularly where there is a degree of overlap in services provided to students.

“This might reduce some duplication of effort and enable more limited resources to be focused on those areas with the greatest impact.”

Sonia Morland, a finalist at St John’s and a volunteer on the Schools Plus programme, was disappointed with the news, commenting, “The Hub is absolutely great for empowering students to volunteer in a wide range of schemes that help different parts of the Oxford community. The Hub facilitates a lot of great work – though in my experience it sometimes has difficulties in co-ordinating projects with the community in a way that maximises the impact of volunteers’ time.

“Like most charities, the Hub isn’t perfect, but it’s thanks to their programmes that I, and several of my friends, found a way to put our skills to use in the Oxford community. It would be a shame, both for students eager to volunteer and for all the projects which receive Hub help, if that came to an end.”

Oli Davies, next year’s joint-VP of Giving What We Can Oxford, told Cherwell, “Regardless of the effectiveness of the charitable programmes it runs, the role Hub plays in directing Oxford graduates into careers that enact good is invaluable. Resources such as OxFID are a powerful long term investment in terms of training students to do good in the long run – it seems inconceivable the University has anything better to spend that money on, both as a resource for students and just as its social responsibility.”

Where are they now: O-Zone

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Rewind to 2004. Whilst climate change is taking hold of the globe, Moldovian-Romanian band O-Zone was stronger than ever. Everyone remembers their international banger ‘Dragosteia Din Tei’, or, to give its English title, ‘Love From the Linden Trees’. Ring any bells? Maybe the less poetic, viral craze Numa Numa man fist pumping and miming along to the hit is more memorable. The song topped the charts across the globe, and even had the great accolade of being sampled by Rihanna.

However, the band tragically disbanded at the height of their career in 2005. But there was hope! Each member has continued to spout more hits for potentially younger and sassier Numa Numa men to dance along to. Band member Dan became alter ego Crazy Loop, his hit staying at Number One for an entire month in Romania. As well as his solo career, Arsenie came second place in the Romanian version of Dancing With The Stars. At home, O-Zone’s members continue to reach the heights of the trio’s namesake as soloists.

Moon King: mooning the music industry

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Having arranged to meet Daniel, one half of the Canadian duo Moon King, outside the 02 before their gig, but having my calls repeatedly evaded, I resorted to sneaking through a hefty fire exit door to find him. Walking in on their soundcheck, I was treated to an intimate performance of their punchy reverb layered guitar playing. If you haven’t heard of Moon King yet, the sum of Toronto-based Daniel Benjamin and Maddy Wilde, then you should; their brand of shoegazey fuzz-pop will pique the interests of those with a predilection for the glacial, atmospheric sounds of Cocteau Twins or a penchant for nostalgic dream-rock.

Currently touring the UK, Daniel tells me the response “has been better than we could have hoped for”. I ask Daniel how he would describe Moon King’s sound to someone in the dark. “Usually I tell people we play like bummer, sad songs but with a lot of joy and energy,” he says. “When we play, I kind of try to get in the mindset that this might be the last time we ever get to do this, and try to do that every night. It sort of fucks with your head, but I think it gives the right feeling for people watching,” he tells me.

Although the band is only a couple of years old, the pair have known each other all their lives, having grown up a block apart, and this is felt in their inextricably meshed androgynous vocal timbres. “We have this way of collaborating that we’ve been doing for so long, it’s just psychic at this point,” Daniel states. “I’ve been writing for Maddy’s voice for so long that it feels very natural – there’s certain parts where I’m not sure which of us is which on the recordings, and a lot of people have told me that they thought it was all Maddy. I want to reverse things a bit and do something that’s a little bit different and unexpectedly feminine sounding.”

Their debut LP, Secret Life, out in April, has a distinctly different vibe to their EP, Obsession, Daniel tells me. “It’s a sort of shadowy, twisted album. The EP was kind of like, turn-everything-up-as-loud-as-possible and really quite punchy in the face. I really like doing that stuff, but this one felt very cathartic to make and I feel like there’s a little bit more depth to it and things going on in the songs lyrically and sonically that are a bit under the surface,” Daniel discloses. “We’ve also waited a long time to release it, and there are only nine songs on the album, and because they’re the songs that have stuck around, I’m very sure that I like them.”

Daniel tells me that the duo, unsurprisingly, listen to a lot of older stuff, which is reflected in the nostalgia of their dreamlike melodies over buzz-saw guitars. “There’s so much music coming out all the time, that it can feel a little overwhelming, so I tend to revert to the things that make me feel comfortable as opposed to constantly checking out new things . But that doesn’t apply to dance music at all. When we’re driving, we mostly listen to Boiler Room sessions,” he reveals. “It just keeps you going – put on six hours of really good techno, pop a couple of Red Bulls, and that’s your American tour right there.”

But despite their shoegaze post-punk influences, their full embracement of electronic percussion and shimmering synth also sets the band apart from other current artists operating within a more traditional instrumental framework. “We really don’t fit in in Canada at all, because it’s a very indie rock scene and I mean we’ve got guitars and stuff but like, we don’t even use amplifiers,” Daniel tells me. “I’m hoping that it’s a sort of forward-thinking idea of how a rock band could be, because I still like the idea of a live band and being able to move around and kick things on stage, rather than sit at a laptop. But I do use almost exclusively electronic instruments for recording.” Perhaps Moon King have tapped into a new market with their IDM-ish dream rock.

Daniel tells me they’re hoping to come back to the UK for some summer festivals. “I remember being 14 years old and watching bands play at Glastonbury on TV, and we don’t really have stuff like that. In Canada there’s no festival culture. I think the UK just loves music,” he says, somewhat despondently. “We’ve had a much better reception over here than anywhere else we’ve played, so I’m hoping we just come back here.” I’m hoping so too.

Review: Ibeyi – Ibeyi

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★★★★☆

Four Stars

With chants of dedication to a deity of the Yoruba religion in their native tongue, Ibeyi’s opening track on their debut album ‘Eleggua (Intro)’ lulls and lures the listener in with beautiful harmonic tones. Through eerie organs and sampling oddly reminiscent of Parisian rap, the listener meanders through choral swells and the odd sappy lyric about love. The album is a beautiful rhapsody.

However, the album’s spell is not without lulls. ‘Think of You’ is perhaps an example of their less successful experimentation. 20 seconds in and already two tonal changes under their belt, Ibeyi introduce a third, orchestral segment. Such a change is a decadence which just isn’t needed or particularly effective. And, when you think it can veer no more, the song pops in an unmixed sample of vague soul, before returning to its majority combination of electro beats and plangent singing.

‘Behind the Curtain’, on the other hand, is uncomplicated, earnest, and moving. Choral echoes and a hair-rising surprise of tam-tam beats work together in a waltz which creates compelling intimacy. Building in strength, ‘Stranger/Lover’ shows the twins come into their own at the core of their album. It’s got an oddly poppy push to it: think a tale of lost love that is more shining and more cultured than any of Taylor Swift’s many shrieks.

The twins must have known they’d uncovered something special with ‘Mama Says’. The vocals are exquisitely pure. The harmonising vibrates the heart-strings: it is simplistic, but has a shimmering beauty in its heartfelt tones. Although the muffled tri-tone isn’t an innovative beat choice, it serves as a perfect backbone and perfect timing.

The album seems to dare to bare as it nears its end. ‘Faithful’ has a lingering a cappella start, and Ibeyi have definitely simplified their production. It’s a move which cleans out the slightly confused heaping of the earlier songs, and proves their skill at sonorous pairing. ‘Singles’ displays a fine-tuned sense of symmetry. Ibeyi’s penultimate song matches its jazzy piano line to vocal notes and the insistent, driving beats (faded just enough so as not to be intrusive). The eponymous album finishes upon an eponymous song. ‘Ibeyi’ is entirely un-backed acapella, until the twins are ever so softly supported by hand-beaten, barely audible drums. You can hear their celebratory delighted laughter and clapping as the songs fade. Their album is complete and the listener is left hungering for more. Ibeyi’s soaring, at times searing vocals are a force to be reckoned with. Their album shows profound talent and vision, a talent I hope will gain ampleness without losing its entrancing power..

Review: Carl Barât and The Jackals – Let It Reign

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★★☆☆☆

Two stars
 
In December, British garage rockers The Libertines announced they were working on a new album, over ten years since their last record, which may rather have dulled any excitement over the new solo effort from co-frontman Carl Barât.
 
With or without the anticipation he might have liked, it’s here, and sounds exactly like you would expect a Carl Barât album to sound by this point – at least a Carl Barât album with all the notches turned up to 11. Punky, distorted guitar chords rarely leave the foreground, and Barât’s vocals rarely drop below a rasping shout. It all kicks off pretty well – ‘Glory Days’ boasts a lovely, jagged riff that would have found a space on a Libertines record, and the horns that pop up in the bridge of ‘Victory Gin’ work nicely with the track’s crescendo.
 
Unfortunately, after fifth track ‘Beginning to See’, a solid acoustic guitar-led break from the ruckus surrounding it, things start to get a little tired and formulaic. The choruses of ‘March of the Idle’ and ‘We Want More’, obviously designed to be catchy and anthemic in their repetitiveness, just sound uninspired, and really nothing here holds a candle to anything Barât’s other projects achieved – it’s telling that despite only being 35 minutes in length, it runs out of steam at the halfway point. Better just to stick with The Libertines, and hope the new album offers something less predictable than this.
 

Review: José González – Vestiges & Claws

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★★★★☆

Four Stars

Having released his last solo album in 2007, Swedish folk singer José Gonzáles spent the intervening years touring and recording with his folk-rock band Junip, but as a solo artist went somewhat under the radar.

Gonzáles’ tone has changed in the eight years since his last solo album, and even more dramatically in the 12 since his first. Vestiges & Claws has a few melancholy, quiet songs like the opening track ‘With The Ink Of A Ghost’, which is pleasantly reminiscent of the folkrock duo Simon and Garfunkel, with its gentle but confident melodies, whilst tracks like ‘Leaf Off/ The Cave’ pair the calm music with grandiose lyrics. The change in theme seems natural considering he was in his mid-twenties when he covered ‘Heartbeats’, and is now 36. The lyrics about life, meaning, and loss are nestled mischievously within serene melodies with catchy rhythms, like in ‘Afterglow’.

However, the album does not get bogged down in some of the more serious, slightly morbid lyrics, as tracks such as ‘Let It Carry You’ are far more positive assessments, with Gonzáles stating their purpose as being “To remind of all restless souls of the beauty of being here”. Fans of Veneer and In Our Nature will not be disappointed, for the recognisable gentle rhythms and soothing melodies still remain, and the lyrics only serve to bring greater meaning to his more familiar elements.

Confessions of a metalhead

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“You’re a metalhead? But… you’re so sweet!”

The first time I truly knew this was my world was at a metal club in Melbourne a few years ago. I was normally used to steeling myself when entering a club, one of my first thoughts being, “OK, how much more do I have to drink to make this music tolerable?” Instead, as the sweet tones of Pantera met my ears, the first time I’d ever heard music I actually knew and liked in a public space, I realised that I was no longer isolated; that a veritable world of metal existed beyond the couple of friends at school who shared with me a penchant for the heavier stuff. Needless to say, I drank about half as much and had at least 10 times more fun in that Australian place than I have ever experienced in Wahoo.

Metal is more than just a genre; it’s a way of life. Even, in some respects, a religion. We have our rituals (consisting mainly of drinking beer and headbanging), our clothes (band t-shirts), places of worship (metal gigs) and of course, our festivals. When you identify a fellow metalhead, there is a sense of solidarity which I can only liken to the sense of meeting someone who has the same religion as me. Despite the extremely vast spectrum of sub-genres, and the varying levels of how ‘practising’ a believer is, ultimately, this is a world united by the same thing.

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Also like a religion, we’ve met our fair share of discrimination and prejudice. I don’t want to rant too much about the Grammys, where metal was only introduced as a category in 1990 and which for some reason thinks that Tenacious D merits it this year, but let’s just say its treatment of this genre as a kind of afterthought is extremely offensive. As for prejudice, someone calling our music “just noise” is almost like calling a religious text “a load of gobbledegook” just because you don’t comprehend it. You may not understand the appeal or the complexity of some of my favourite songs but that doesn’t mean they don’t have significance. Furthermore, being confused about how I listen to this music yet still on occasion like to wear flowery dresses is tantamount to saying to a homosexual, “But you don’t look gay.” You don’t have to conform to a stereotype to have a certain identity.

Metal really is an identity. Few other genres consist of so many people emblazoning their clothes, rooms and even bodies with their favourite bands. I’m currently on my year abroad in France and I have to admit that I only really felt like I belonged here when I went to my first metal gig. Despite the (at times) somewhat violent nature of the music, I guarantee you that metalheads will often be the loveliest people you will ever meet. I wonder if there is something to be said for the cathartic nature of the music; I definitely feel a lot calmer after a good old bout of some Swedish death metal.

I should also add that few other genres have such a powerful sense of humour. You may not realise that we’ll often joke about the alleged Satanic rituals and animal sacrifices at least as much as those who mock us. This is Spinal Tap, the hilarious film that parodies a 70s rock band, will forever remain a staple cult classic and bands like Alestorm, whose songs concern solely pirates, rum and ‘wenches’, is beloved by many.

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As for being a woman in this male-dominated scene, there are admittedly some creeps, but more often than not the guys are quite respectful. At metal club nights, I have never felt safer as a woman around men in a club setting, probably because the music and the company are the main motivation for people to turn up, not some twisted laddish aim to ‘pull’. Even so, I accept that the genre still has a long way to go when it comes to its representation of women – I long for the day when a ‘female-fronted metal band’ is seen not only just as ‘a metal band’ but also doesn’t sexualise the singer – but then again which popular music genre doesn’t? It may be mainly a man’s world but I still feel more at home in a metal bar than I ever would in a ‘normal’ one.

To conclude, this music is my life and it’s where I belong. I hope you now understand why. Time for a pint.