Thursday 10th July 2025
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Review: Conor Oberst – Upside Down Mountain

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All slide guitar, mariachi horns and lyrics about desert highways, Bright Eyes frontman and folk-rock darling Conor Oberst’s second solo release is an accomplished effort, which seems almost equal parts Mexico and his native Nebraska.

Gone is 2005’s Conor Oberst, who became famous for the iconic track ‘The First Day of My Life’ under his alter Ego Bright Eyes. Older and wiser – now married, and having had his fair share in political activism, including writing a song dedicated to whistle-blower Chelsea Manning – Oberst is more mature whilst still manag- ing to recruit the listener’s empathy in his now characteristic style. Whilst sometimes Bright Eyes could be overly sincere, he has now been at this long enough to know when to emote and when to hold back. His trademark quavering voice is eerily triumphant in all its melancholy emo-kid glory, but here the vocals manage to elicit sympathy rather than coming across as whiny. He seems to be enjoying himself, and why not? His indie credentials (Park Ave., Mon- sters of Folk, Bright Eyes) speak for themselves.

The sound of the album draws comparisons to the likes of Radical Face, Tallest Man on Earth and Villagers, opening with the triumphant ballad ‘Time Forgot’, before the reflective lyrics of ‘Zigzagging Towards The Light’. “Oh how circumstances change, feels unmistakable from where I came” he croons, drawing on the state of flux in both his music and his life in general. The angst is sometimes obvious in tracks such as ‘It’s Lonely At The Top’, where he laments that “freedom is the opposite of love”.

Things do take a turn for the more upbeat with the high-life flavoured ‘Hundreds of Ways’ and ‘Kick’, which, with its heavier guitar and plectrum interludes, could be one to drive to. But the album goes full circle and closes with the tearjerkers ‘You Are Your Mother’s Child’ and the slide guitar driven slow number ‘Double life’.

Perhaps the only complaint one could have is that it is too Conor. There is a certain sense of déjà vu with regards to 2008’s self-titled Conor Oberst. This is no bad thing though, considering the potent mixture of sun-drenched guitar licks and sultry acoustic that makes a return. After all, why fix something that isn’t broken?

Review: The Roots – …And Then You Shoot Your Cousin

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The cover of the Roots’ latest offering sums up its content, a collage of songs with just a pinch of aggression. Following on from their collaboration with Elvis Costello – 2013’s Wise Up Ghost – the band, who carried on as Jimmy Fallon’s house band when he moved over to The Tonight Show, seem to have carried over Costello’s edgy pallet of sombre-laced hookery.

They somehow simultaneously reference 16th century polyphony with 50s doowop in the first interlude ‘The Devil’. This is a childhood influence of Questlove’s from his father, Lee Andrews of Lee Andrews and the Hearts fame, from where he commenced his musical career as a teenager, joining him on the touring circuit.

Following in a similar vein to the seminal Things Fall Apart and their most recent, non-collaborative, effort Undun, …and then you shoot your cousin is another concept record but a much more effective one. ‘When the People Cheer’ is undoubtedly the album’s highlight, while the previous two tracks exhibit the full out groove that Questlove and co have become synonymous with, especially on their 2010 John Legend collaboration. Cousin is a refined and mature record from a maturing band, a grower not a show-er.

Review: Seahawks – Paradise Freaks

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Seahawks are John Tye and Pete Fowler (of album cover designing fame) who have been mixing their magic since 2009. According to their blog, Ocean Trippin’, Seahawks embody the sound of “psychedelic yacht rock, deck shoegaze, hazy beach pop vibrations and marina drone”. As if the album cover wasn’t enough of a clue.

Their debut album is just as confusing as this description would suggest, with a combination of reverberations, echoes, muted synth samples and hazy filters. But just before you go ahead and find this album guilty of being merely suited to the tastes of the boat party frequenting, Moet chugging, red trouser wearing yachting-type, consider the collaborations with Al Doyle and Rob Smoughton of Hot Chip fame, and Tom Furse from the Horrors.

This dazzling collaboration sets the scene for a sonorous landscape like none other, be it the dreamy vocal atmospheres of ‘Drifting’ or ‘Rainbow Sun’, ‘Paradise Freaks’ or ‘Electric Waterfall’s combination of natural sounds with fleeting synth interplay, or the deceptive simplicity of ‘Islands’ and the close of the album. Relative monotony might force this record to be treated as a background one, but individual tracks ensure that Paradise Freaks is definitely one for the summer sun.

Review: The Two Faces of January

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★★★★★
Five Stars

Promoted as being ‘From the producers of Tinker Tailor Soldier Spy, the author of The Talented Mr Ripley and the writer of Drive’, The Two Faces Of January promised much: a brooding, almost ominous atmosphere surrounding a stylish, seductive plot. It entirely delivers. Director Hossein Amini, the screenwriter behind Drive, has created a captivatingly magnetic thriller based on Patricia Highsmith’s 1964 novel, boasting three expertly nuanced performances from Viggo Mortensen, Kirsten Dunst and Oscar Isaac.

Mortensen and Dunst play Chester and Collette MacFarland, a rich American couple living an apparent life of modest indulgence in Athens, who make the acquaintance of the charmingly enigmatic Rydal (Isaac), a Greek-speaking American tour-guide/con-artist, who takes an immediate liking to Collette. The year is 1962 and all is achingly elegant: Mediterranean rays illuminating the folds of creased white linen jackets, chic continental cafés serving alcohol in the morning, and the marble of ancient ruins sparkling in the sun.

When a hired private investigator ‘representing some very unhappy clients’ is accidentally killed by Chester in a struggle, the MacFarland’s turn to Rydal for help, and the three flee together. Jealousy, suspicion and sexual intrigue abound as the trio’s relationship evolves. The relative simplicity of the plot allows Amini to explore the three characters in commendable depth.

The plot subtly embraces themes from classical mythology. There is something Oedipal about Rydal’s desire for Collette and, more obviously, there is some contorted father-son dynamic between Rydal and Chester. The story of Theseus’ return from slaying the Cretan Minotaur, his failure to announce his success and his father Aegeus’ consequent suicide, is related by Rydal to a group of tourist’s early on; this provides a subtle grounding for the relationship between the male leads, articulating the emotive concepts of filial duty, parental failure and shared disappointment.

Mortensen is thoroughly convincing as the quick-tempered Chester. He manages, with subtle contortions of the brow, to be simultaneously menacing and desperate, and one is sure if he is the villain of the piece or not. His mounting concern over Collette’s faithfulness is masterfully portrayed and one slowly recognises a man whose intelligence is just sufficient to conceal his envious rage.

The other two leads are equally laudable. Rydal is torn between respect for Chester and affection for his wife and Isaac walks this fine line superbly. Dunst is adept as the compassionate Collette, whose distaste for her husband develops throughout and whose stifled longing for Rydal is entirely believable. There is wonderful chemistry between all three characters. Rydal’s affection for Collette is barely mentioned, merely hinted at through sly glances and betrayed by uncomfortable silences, yet still undeniably prominent throughout. Chester and Rydal’s heightening animosity is delightfully drawn out, as is Collette’s steadily increasing exasperation.

There is undeniably something of the BBC’s original le Carré adaptations in Amini’s direction, let alone the 2011 film version. Tension is proficiently mounted without resorting to crassness, emotions are rarely explicit and the audience is refreshingly left to their own interpretations for the most part. The tension, the intrigue and the Englishman/American abroad vibe cannot help but put one in mind of Agatha Christie adaptations also, and there is a comparable elegance here.

Cinematographically, Amini’s film is arrestingly beautiful. Everything seems tinged with a refined, sepia-like tone that is alternately sinister and contemplative, perfectly correlating with the plot’s psychological intricacies. Throughout, the accompaniment of Spanish composer Alberto Iglesias score is fantastically appropriate. It writhes, twists and turns, reflecting the various emotional contortions the three leads undergo.

The Two Faces Of January is an impeccably crafted film, subtle, tense and utterly absorbing. Mortensen, Dunst and Isaac supply arguably their best performances to date and Amini’s direction is persuasive and assured. 

Interview: Wolf Alice

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Wolf Alice seem like reluctant stars. When I first meet them, we’re sitting in a sweaty dressing room, and the band members are all tucking into plastic dishes of Ramen noodles. They mess about and crack inside jokes during the interview, and seem eager to shift the focus away from themselves. I’m told around half way through that they should be interviewing me, as, quote, I’m “far more interesting.” When I tell them the interview is for a student newspaper, guitarist Joff Oddie says “if bands were universities, then we’d be Scunthorpe Polytechnic”.

But they’re doing themselves a big injustice. The Hype Machine and BBC Music labelled them the most blogged about artist of 2013, having won the hearts and ears of music buffs with their loud and proud grungy rock, melodic enough to sing along to and tough enough to bash your head to. After releasing their second EP, Blush, last year, the band have been looking more and more like ‘the next big thing’. Since Blush, Wolf Alice have got tighter, more confident, and louder, and are about to drop their second EP, Creature Songs, on Chess Club Records, the label responsible for the likes of Swim Deep and MØ.

I ask what Creature Songs is about, but Theo Ellis, bassist, seems a bit bemused by the question. “It’s just a collection of songs, there’s no narrative”. Joel, the orange nail polish wearing drummer adds, “it’s not a concept EP, if they even exist.” The band then erupt into giggles, scoffing at the idea. This seems pretty characteristic. They are incredibly chilled, both in an interpersonal way, and when it comes to their music. Joel suggests the record almost came together by accident, saying “we had these four songs that weren’t quite an album, but we took them into the studio and they took on a life of their own. We started with ‘Moaning Lisa Smile’ which is the new single, and then we came up with ‘Heavenly Creatures’, and then ‘We’re Not The Same’. Joff had this idea on his iPhone for a song called ‘Storms’ that has this huge riff, which we just started messing around with. Then Catherine Marks, who pro- duced it, came onboard and it had a whole new lease of life. Those songs would have originally all stood alone, but they all sit together quite well.” “It’s thematic but without a theme,” adds Theo, ambiguously.

According to vocalist and front woman Ellie Rowsell, the music of Creature Songs is “similar but hopefully better” than that of Blush, but Joel tells me that they’re “willing to say things to each other in the studio that [they] weren’t before”. Theo, however, looking to turn the tone more towards the crass, adds,“we’re more musically liberated to tell each other we’re shit”. The band laugh as he shakes off the comment. “No, I’m joking. We like each other much more”.

Audiences seem to like them much more too. This year has seen a big step up for the band. It’s revved up tenfold, and they’ve gone from Fieldview to Glastonbury. But Theo is embracing the fast lane. “The pace has changed dramatically, but we didn’t want to get signed and not have something to do everyday”.

Creature Songs EP was released on the 26th of May, on Chess Club Records.

Exeter offers catering charge concessions

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Exeter College has today emailed students outlining a number of cheaper alternatives to the current catering charge.

The charge has been a subject of controversy at the college and across the University. Last term, students staged a two and a half week hall boycott in protest at the charge and launched a popular “Hallternatives” scheme, which led to an open meeting between students and senior management and subsequent consideration by Governing Body.

As it stands, students at Exeter College pay an £840 per year, non-redeemable catering charge, the highest in Oxford by a margin of £116 per term.

In response to the criticism, the college’s Governing Body last week devised four alternative schemes has proposed a vote on the options next week open to all students.

Members of Governing Body will also answer questions in an open meeting in Hall tomorrow afternoon.

The proposed options, as stated in an email sent to all JCR and MCR members, include a pre-payment meal plan, an abolishment of the catering charge for those living out of college, a pre-payed redeemable chrage with an adjustment of rents and food costs, as well as a reduction of the proposed catering charge. 

Options two and three would involve 50% cuts to four main college grants, including the vacation study grant.

The email tells students, “All of the new schemes involve an increase to the amount by which the College subsidises eating in Hall, and all represent a substantially increased financial risk to Exeter College.  However, recognising the dissatisfaction in College on this matter, the Fellows are prepared to take on this increased risk, because of our commitment to the College community, and because it is our belief that eating in Hall plays a critically important part in the intellectual, social, cultural, and sporting life of the College.”

It adds, “We very much welcome feedback from students on matters relating to the running of the College, and plan to reinforce this function of Liaison Committee in the coming year, in consultation with the JCR and MCR. That said, we wish to emphasise that  we expect that the option selected by the students next week will represent a settlement that can be maintained for the long term, updated in line with inflation, and that it will therefore not be necessary to reopen discussions on this matter for the foreseeable future.”

It attaches a breakdown of projected costs to students of all four options.

Exeter JCR President Richard Collett-White told Cherwell, “Most of the JCR will view this as progress. One option, in particular, significantly reduces up-front, fixed battels and should be favourably received: it’s a movement towards a system where we’re no longer forced to subsidise hall and can instead decide for ourselves whether the food on offer is good value for money, bringing us more in line with other colleges.

“The proposals clearly aren’t perfect, however. JCR members will be sceptical of the ranking in relation to other colleges and determined, given widespread mistrust towards College, to find out the size of the financial risk College would actually bear with each option – the figures behind the figures. The JCR will also be wondering why most of our suggestions have been quietly ignored. Finally, there will be considerable alarm at the prospect of being tied into a scheme (and effectively muzzled) for ‘the foreseeable future’. This is precisely the mistake College made in 2009, which only served to aggravate ill-feeling, producing a JCR with rock-bottom satisfaction. For all the above, though, this is still a step in the right direction.”

Exeter College has not yet replied to requests for comment.

Interview: Baroness Lawrence

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Doreen Lawrence, a Baroness since October 2013, gave a speech at the Oxford Union on the 20th of May. Baroness Lawrence has spent over two decades campaigning for justice and police transparency in the wake of her son’s racially aggravated murder in 1993. Her efforts led to the eventual conviction of two of her son’s murderers, which marked a huge step forward in British race-relations, and also caused an internal reform of the police service. She now sits as a Labour peer in the House of Lords whilst promoting racial equality and maintaining the Stephen Lawrence Trust, which she founded in memory of her son.

Baroness Lawrence has previously admitted that she does not consider herself a natural speaker, and her speech is not that of a career politician – it is not created for effect or glory, but out of sheer necessity to see and perpetuate real change within our society. After her speech, I’m able to ask her a few questions about racism in the UK.

A topic that the Baroness mentioned in her speech was education. She believes that British students of colour are denied access to education about their history in the current curriculum. When asked whether she thinks this should be changed alongside the current governments other educational reforms, she responds, “It should be.” She answers firmly, before clarifying that she doesn’t believe these requirements are being met in Michael Gove’s plans.

“[It is] one of the things I’ve been campaigning about. After the enquiry, one of the things I wanted was about the history. When I challenged the fact that they hadn’t put that within [the reforms] and spoke to the schools minister, it was that [there’s] not enough people. You need more people to complain and say, ‘This is what we want.’ But I believe the government should make sure, because if you’re the government of a country, there [are] so many people within the society, and each of us needs to have some element of our background represented – currently that’s not there. The schools are not doing anything about it, so we’re looking to have an educational standard where we begin to challenge some of these things. To make sure that in schools, from primary going up, these things are taught.”

“There’s a way of introducing history. Because within primary school, many times, kids don’t think about whether, ‘That person’s black or white.’ They think about who their friends are. But by the time that they get to secondary school, that changes and they begin to develop that, ‘It’s them and us’ type stuff – and that shouldn’t happen. So we need to start very young, so that by the time they get to secondary school, it doesn’t become a problem, because I think sometimes, that’s where it stems from. So once you get to secondary school, the whole thing changes – and you’re not seeing your black friends as a friend – you’re seeing them as black first, rather than a friend first. We need to change that.”

I tell her that neither I, nor any of my friends who have been through the state school curriculum and who I have spoken to, were taught about British colonialism or our role in slavery. When asked whether she was surprised by this, she answered firmly “No – because I think Britain wants to deny their role in slavery.”

She continues by telling me of a discovery within her own family.
“I found out that even within my family, two have Scottish [history]. So you have somebody from the Scots who was a plantation owner, who would have raped one of their slaves.” She stops to explain that, “If you look in Jamaica there is this mixture of the skin colour, and I presume Jamaica’s not the only African-Caribbean country where slaves were raped – and none of those things were acknowledged.

“My grandmother’s name was Donaldson, which is a take on a slave name, which is part Scottish. So I would like to find out exactly where it is that my family originate from, that part of the family, and then to go back to Africa to see where that part starts from. I think we all need to know that, because if you look at the Chinese and even the Indians they can trace their ancestry back so far – I could never do that.”

I put it to the Baroness that it’s a possibility that without proper education, some people will be in danger of believing that we are living in a society where racism is a thing of the past.

“I think a lot of people believe that,” the Baroness acknowledges, “but then, if you’re people of colour, you don’t believe that. Because you face it on a daily basis, you don’t believe that. There are people in society that believe that racism is a thing of the past though. ‘Why do we need to talk about it? Why do we need to address it? Because we accept everybody – I’ve got a black friend.’ And I suppose they can say, ‘I’ve got a black neighbour.’ – as far as they’re concerned, that’s saying ‘I’m not racist’.”

Baroness Lawrence is adamant that we need to talk about race more – she feels as though there is a lack of open and frank discussion. However, she is at least optimistic about the mix of ethnicities of people who identify and speak out against racism.“When I think about what happened around Stephen’s case and I think about the enquiry and the letters I received from people, they’ll write to me and they felt that they’d need to mention, ‘I’m a white woman of 80 and I’m disgusted about what happened to your son.’ People do want to talk about it – and it’s not just within the black race that they want to talk about it. There’s so many people out there that want to see an equal society, but it’s very difficult to have. And I think the more people talk about it, whether you’re black or white or whatever, you just need to be able to talk openly about it.”

She recalls the support she has found through her campaign, telling of an event earlier in the day when she arrived in Oxford. “I’ve come from Paddington station. People were touching me on the arm and saying to me, ‘I think you’ve been doing great work and it’s really nice to see you,’ – and so it’s not just people of colour who are doing that – everybody who would meet me was saying that. And so people are out there who feel that they want to do more.”

I wonder though, if in a predominantly white House of Lords, she still feels the same support? “One of the Baronesses wanted to talk about young Caribbean boys’ exclusion rate in school, and unemployment. So I was asked whether I wanted to say something, which I did, but… Oral questions last about 30, 35 minutes, sometimes probably 40 minutes, so it’s not very long to have a discussion about issues like that. And people come up and say to me, I think we should look to put a debate together, so we can discuss it openly – and that’s not just black people, black Lords that are saying that – there are white Baronesses and Lords saying that we need to have a discussion.

“Also having me there brings more to their attention; that this is a discussion that they need to have and it doesn’t matter what side of the house they sit on. Everybody says to me, ‘I’m really pleased that you’re here, you will make a difference.’

“For me it’s a big thing – I want to make a difference, I want to be able to have a voice that speaks out. Not just to say that I’m speaking about people of colour but for everybody’s sake. At the end of the day, we live in a society. All of us are here, so there’s no point in me saying, ‘I only want to talk about black issues.’ We have to talk about everyone.”

A Journey to the Heart of Darkness

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Review: X-Men: Days of Future Past

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★★★★☆

Four Stars

I was seven when the first X-Men film came out. Nonetheless, I remember being distinctly disappointed by it and its sequel, X2, in much the same way the Tobey Maguire-era Spiderman franchise left me with a vague distaste for superhero movies that the The Amazing Spider-Man reboot has only recently dispelled. Superhero films were movies where characters weren’t people with ideas or emotions, but icons with iconic abilities; Spiderman never stopped to think about how he felt about Mary-Jane, he just duly rescued her from the Green Goblin. 

Batman wasn’t the clandestine antihero he should have been – he was little more than advanced military technology coupled with a husky voice. Even when Marvel tried to get under the skin of a single character in the form of 2009’s dire Origins: Wolverine, the result was insipid and cliché-ridden. It was understandable, then, that I sat down to watch X-Men: Days of Future Past with slight apprehension that would soon be dispelled. 

It was clear from the start that Future Past was much more visually engaging than its predecessors. Azurine duo Mystique and Beast benefit in particular from ten years’ worth of CGI advances, whilst action sequences are gripping and stylish but used sparingly and kept thankfully brief.

The fusion of old and new casts is seamless; thanks to a plot concerning time travel, Future Past presents the likes of accomplished veterans Sirs Patrick Stewart and Ian McKellen alongside the youthful talent of ever-reliable Ellen Page and a captivating Jennifer Lawrence. Michael Fassbender and James McAvoy represent welcome additions too, providing much-needed charisma alongside a stony Wolverine, and the film benefits from the inspired casting of Peter Dinklage – betterknown as Tyrion Lannister in Game of Thrones – as military scientist Bolivar Trask. 

As for the plot itself, there’s a little left to be desired. Time travel is always a minefield in cinema and Future Past suffers from moments of confusion. There is some recapping of the previous film but it’s probably worth rewatching First Class again before this installment. That said, the alternate history of the 1970s allows the writers a rich seam of possibility which they exploit to its full extent, with scenes that see Mystique in action in Saigon and Magneto implicated in the assassination of JFK. It is only really at the final hurdle that Future Past falls, thanks to a muddled ending, overly drawn-out in that way that the final scenes of so many major blockbusters now are. 

The question remains, however, of whether the superhero genre has finally matured from mere action vehicles into deeper studies of what it means to be human, or not. This has always been X-Men’s trump, and Fassbender’s Magneto in particular displays a wonderful ethical ambiguity that begs comparison with the conflicted morality of Andrew Garfield’s Peter Parker in Future Past’s fellow release The Amazing Spider-Man 2

Just as the latter wrestles with the consequences of his continued involvement with Gwen Stacey and the danger he puts her in as Spiderman, so the former asks whether he can bring himself to kill someone who trusts him deeply in order to safeguard his entire race. Both characters have numerous scenes in their respective films in which their internal struggle is explored. 

It has been suggested that this is a trickledown effect from the shades-of-grey antihero morality central to the Bronze Age of Comic Books (i.e. the “ darker ” comics of the late 80s and 90s – think Watchmen). Whatever the reason, it’s to Days of Future Past’s credit that it manages to be fast-paced, humorous and thought-provoking, all at once.