Monday 6th April 2026
Blog Page 1367

Review: Philip Selway — Weatherhouse

Kayleigh Tompkins
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Review: Philip Selway — Weatherhouse

Three Stars
★★★☆☆

Poor Philip Selway. The former Radiohead drummer’s sophomore effort has been upstaged by the surprise release of frontman Thom Yorke’s Tomorrow’s Wooden Boxes. Nonetheless, the pair have Radiohead fans talking and the rumour mill’s in full swing.

The album opens, and unfortunately peaks, with lead single ‘Coming up for Air’. Selway’s melancholic vocals float over punchy synths, whilst a melodic bridge builds the tension of the moody track by forever suspending the delivery of the title.

As the album progresses, cool beats meet slick synths, whilst sonorous strings compliment the slow, moody vocals. These vocals, meanwhile, are pretty; almost too pretty. At times it feels like the delicacy and precision could be replaced with a rawer, edgy tonality.

Lyrically, Weatherhouse is weak. The stripped back vocals and minimalist lyrics allow space for the intricate textural layers, but it’s not long before Selway’s angst-filled crooning becomes repetitive. It takes only three tracks to grow weary of the heartache inspired lyrics, and only a few more to want to hand him a diary and tell him not to come out of his Weatherhouse anytime soon.

Selway’s effort is an intriguing one. It’s an interesting foray into Twenty First Century prog rock, yet it ultimately lacks the hooks and drive that make Radiohead special. It’s promising, but, if the rumours are to be believed, the real excitement is yet to come.

Interview: Northeast Corridor

Stephen Bradshaw
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Interview: Northeast Corridor

Oxford is well known for being a birthplace of musical talent. Radiohead, Supergrass and Foals all had humble beginnings playing gigs in the city’s many bars and clubs. Not surprisingly, many have tried to follow in their footsteps, using the lively gigging culture to try and make their mark.

One such group is Northeast Corridor. A four-piece band made up of three music students and a chemist, they have already had much success at home and abroad. Since their debut in June they have been gigging up and down the country, have played Oxford’s O2 Academy and have even been picked up by BBC Introducing.

Perhaps the key to this success is the band’s keenness to confront issues that matter to them. When lead singer Nick Hampson found out about protests in the United States about a homophobic message posted on a church sign in Haarlem, NYC, he teamed up with a New York charity to see how he could help.

The result was the band’s debut single and music video, written in memory of Ali Forney, a transgender youth who was killed on the streets of New York in 1997. As Nick explains, “We came up with this idea of creating a music video which could raise awareness of the fight for survival that all these boys face everyday… it was an attempt to capture something completely unfathomable.”

‘Where You’re Sleeping Tonight’ is low-key, melancholic and soulful, the lead vocals floating effortlessly over the guitar accompaniment. The video itself is visually striking, an abstract collection of images depicting life on the streets of Haarlem. The two combine to produce an experience that is mellow, soporific, but deeply moving.

Northeast Corridor consists of lead singer Nick Hampson, bass guitarist Harry Davidson, lead guitarist Tom Stafford (he occasionally plays a modular synthesiser) and drummer Nick Orr. “Every time we play we learn more about each other as people and musicians,” says Nick. “So long as that continues I think our music should continue to develop and hopefully never stop changing.”

The band’s musical influences are certainly diverse. Harry cites jazz fusion artists such as Snarky Puppy’s Michael League among his bass-playing heroes, and Tom talks of a love of hip hop artists such as Wu Tang Clan, Odd Future, and Death Grips. The band’s live sets are full of musical surprises, ultimately lending them a Muse-like vibe. As Nick puts it, “We try and make music which goes to places you don’t always expect… our show certainly isn’t quiet!”

I ask them if there are any plans for an EP at some point in the future. Nick answers conservatively, “I think we will continue releasing individual tracks rather than doing an EP or an album in the near future. We are still in a way figuring out what we are and who we are as artists. What is most important to us is being fully in love with each thing that we release.”

The band’s classical training plays an important role for them. Nick was a cathedral chorister from a young age, Harry played the bassoon in the National Youth Orchestra, and Tom is an enthusiastic contemporary-classical composer.

“Our backgrounds as classical musicians are a unique influence on the way we write rock songs,” explains Nick. “Some of our favourite bands, like Radiohead, for example, use the complexities and subtleties of classical music to an incredible advantage in rock music and that is definitely something that we are trying to develop in our own work.”

So is there enough dialogue between classical music and rock genres? “Perhaps that’s too big a question to answer,” evades Nick. “Good music is good music to me. I don’t really care what people call it or class it as. If it rocks, then it rocks.”

This attitude will surely stand Northeast Corridor in good stead as their career gets off the ground. With a BBC Introducing gig in Reading, appearances in London, and an Oxford Festival appearance on the cards, we may be seeing a lot more of them over the coming weeks and months.

Northeast Corridor play at the Jericho Tavern on the 27th of November.

Bexistentialism: MT14 Week 1

Bex Watson
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Bexistentialism: MT14 Week 1

My friend asks me “Do you think I will always be like this?”

“Like what” I say, looking up from my laptop as she stands at the hob, with a spitting pan.

“Be so ditzy. Though I don’t like saying ditzy, it’s gendered”

I consider this for a moment. Ditzy. Not breaking up the pre-cooked rice before she puts it in the pan. Reporting her debit card stolen and then finding it in her room. My reaction is not to consider her. But of course, to consider myself.

Freshers’ Week has unveiled my own layer of ‘ditz’. Freshers’ Week for non-freshers is a thrillingly passive-aggressive experience. Suddenly, I find myself with a moody face as I enter the JCR, accentuating my heels so they tip tap tip tap, young freshlings rearing their heads to follow the face of a moody stranger in an oversized coat. My deportment is serious. And each time, I leave the room know- ing that I have achieved ‘prick’. But, underneath, moody-student-who-knows-her-way-round-the-college- better-than-you is a certain ditz-a-matazz.

Skip back a few days. Three tea lights, a folded up notelet with ‘R.I.P’ scrawled on it, and a carefully selected fridge word magnet placed upon my phone later (‘betray’), I had my shrine. Pie Jesu (the John Brunning version of course) set to play and the lights flicked off, I drag a few friends into my room. It broke, I said. They look at me with slightly curious expressions, snapchatted it, and left.

Three hours later, as the tea lights suckled the last mouthfuls of wax from their plates, I had a thought. No, it’s not that sort of revelatory realisation — not “I DON’T NEED A PHONE!” No, I’ve not become a gap-yah extraordinaire or torn all sources of technology and brand from my newly cleansed soul. Instead, I realised that I have no way of telling the time.

The following day I go to Argos. (Argos!) I buy a watch, and one of those crazy-disco-ball-rotating-things (Don’t argue with the necessity). And then I head home. And I think I’m sorted. I don’t need a phone! Look at me. I smugly accidentally turn onto Cornmarket. As I try and mask my necessary U-turn with a faux-phone-call I stumble. No phone. With King Lear-esque poignancy I cry, “Damn you iPhone!” as the rain pelts against my helpless body, beating a rhythm against my chest. All is lost.

As I raise my arm in the shower later and remember my newly-bought Argos watch, currently being drenched, I realise this is going to take some getting used to. Time-less, dignity-less, lecture-less (no alarm clock). The keys-wallet-phone check as I leave the house still spikes me.

I wonder… I wonder whether I’m doomed. 

Shark Tales: S4E1

Freddie Money
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Shark Tales: S4E1

Oxford Hub launches one hour a week campaign

Livi Wilkinson
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Oxford Hub launches one hour a week campaign

"Transphobic" zine article leads to Magdalen resignation

Samuele Volpe
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"Transphobic" zine article leads to Magdalen resignation
Elsa Field has resigned as the Magdalen JCR’s LGBTQ representative after an article written for the St. John’s Gender Equality Festival zine attracted criticism from prominent figures around the University.
 
The article, entitled ‘What is a woman?’, has been described as “incredibly transphobic” by Rowan Davis, the trans rep for the University’s LGBTQ society, whilst OUSU VP for Women Anna Bradshaw tweeted that she was “saddened by St John’s Gender Equality Festival zine. I strongly disagree w TERF [Trans Exclusionary Radical Feminist] article “What Is a Woman?” & am upset to be published near it”.   
 
Field’s resignation comes after the committee behind St John’s Gender Equality Festival were forced to apologise for the offensive article. The apology — which was signed by the majority of the committee, but notably not the zine’s Editor Ruth Maclean and two others, who have since been asked to step down — read, “We, the members of the Gender Equality Festival Committee, unreservedly apologise for the inclusion of the piece ‘What is a woman?’ in the Gender Equality Festival Zine. We do not agree with platforming views in our zine that contribute to a culture of oppression and fear, even in a situation where the publication was trying to remain neutral.” When asked by Cherwell, Ruth Maclean declined to comment.
 
In a statement circulated to the Magdalen JCR by President Fabian Apel, Elsa Field commented, “I have decided to step down because my position as welfare representative for Lesbian, Gay, Bisexual and Transgender students at Magdalen is compromised by my own personal political views. I believe that it is too much for one student to understand and encompass all of the welfare issues that these different groups may face. The position of LGBTQ officer necessitates one to possess an entirely neutral political perspective, which is not a position I am prepared to take.”
 
She continued,  “I see this as a structural problem and will not apologise for the views expressed in my article ‘What is a Woman?’ published by St John’s College JCR. I feel my views have been massively misinterpreted by opponents of the article, but I apologise for any hurt or offence my views have caused. That was never my intention. I realise that as a welfare representative it was unwise of me to express these views in a student publication and I apologise for that misjudgement on my part.  Although I will no longer be in an official welfare position, I would like all LGBTQ students at Magdalen to know that I still offer my support and I will always be willing to discuss any issues they may face.”
 
Commenting further to Cherwell, Field said, “I feel I have been personally victimised by members of the Oxford trans community and by the organisers of the St John’s Gender Equality Festival. My views have been silenced purely because they are perceived to be offensive by some people. In my mind, that is not a good enough reason to silence someone.”
 

 

Former Wadham SU Vice-President Adam Roberts disagreed with Field’s complaint about being refused a platform. Speaking in an article for Cherwell, he argued, “No-one seriously believes that refusing a platform to transphobes or fascists will extinguish their views or make those who want to know about them unable to find out about them. This is, after all, the age of the Internet.”
 
Meanwhile Apel himself told Cherwell, “Her article does not represent the views of Magdalen JCR. Unrelatedly, I am very grateful for the work she has done over the first two terms in office, especially with regards to convincing the Governing Body of flying the rainbow flag for the first time in the College’s history. It should go without saying Magdalen JCR takes the welfare of all its members extremely seriously, obviously including all trans* students at Magdalen.”
 
St John’s Gender Equality Week has begun as planned this evening and although copies of the festival’s zine are remain available, attempts have been made to censor the article in question. 

Defending a ‘no platform’ policy for transphobia

Adam Roberts
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Defending a ‘no platform’ policy for transphobia

Trigger warning: transphobia, sexual violence.

It’s a common misconception that ‘no platform’ policies are about stifling debate. They’re not.

Last weekend the committee of the St John’s Gender Equality Festival apologised for a transphobic article – ‘What is a woman?’ – published in the festival zine. In a statement on Facebook they explained that they “do not agree with platforming views in our zine that contribute to a culture of oppression and fear, even in a situation where the publication was trying to remain neutral.”

The decision to refuse to offer a platform to a particular ideology, whether it’s transphobic, homophobic, or fascist, is motivated by the simple desire not to see that ideology spread.

The notion that public forums are hot bright spaces of rational debate and that reason will win out in an open debate is naïve at best and dangerous at worst. Every speaker and author presents their view with the intention of persuading their audience to see the world as they do. There are whole books written about the logical fallacies and cunning tools of rhetoric which ideologues and politicians can and do use to manipulate those they have a platform to speak to. Fascists appeal to fear: fear of immigrants, fear of change, fear of moral collapse and social implosion. Trans-exclusionary radical feminists – TERFs – appeal to fear and to disgust: of the sexual other; of transitioning, of ‘men’ perverting the female, of sexual violence in the awful, unconscionable rhetoric of the rape and mutilation of men’s and women’s bodies.

The committee’s apology shows they know this: that transphobic expressions “contribute to a culture of oppression and fear”. ‘No platform’ policies are not about stifling debate and speech, they are about protecting oppressed groups by restricting the audience that manipulative bigotry can reach. They are about preventing that bigotry taking root among those who interact with those groups and those who write policies that affect them.

Perhaps you’re not convinced that being a TERF makes you a bigot. If you’re not a gay man, imagine you are. Imagine you’re told that the way you feel – the way you didn’t choose to feel – is perverse and dangerous; that you’re trying to subvert, undermine, or appropriate the oppression of heterosexual women by seeking men as sexual partners; that you should be denied essential healthcare and support, whether physical, sexual, or mental; and that being gay somehow makes you an abuser of bodies, someone vile and to be shunned. Some of us know what it feels like to be told that what you feel and know about yourself – which you yourself have even challenged in your head a thousand times, denied to yourself, hated yourself for – is an evil, manipulative lie.

No one seriously believes that refusing a platform to transphobes or fascists will extinguish their views or make those who want to know about them unable to find out about them. This is, after all, the age of the Internet.

The great half-baked liberal fallacy is that refusing platforms prevents ideologues from being challenged, that restricting the audience of dangerous ideas is counterproductive. Go on Google now and see how much trans-positive and anti-fascist literature you can find. There’s loads of it; and you’ll find positive views in zines and blogs across Oxford and the web, many of which will discuss and refute the ideologies we refuse platforms to. What we want to prevent is bigots being granted opportunities to present their thoughts in manipulative, deceptive, fear-mongering ways. In no way do we want to stop talking about and challenging transphobia.

The best films for: any occasion

Jennie Han
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The best films for: any occasion

Since this is a totally new feature on cherwell.org, I thought it would be apt to list my personal 4 favourite films, as they are the movies I am most passionate about! In the future I’ll list 4 suggested films for themed movie nights, be it a horror night for Halloween, or romance themed for a romantic night in. Till then, though, here are my picks for the greatest four films I’ve ever seen!

Fargo, a 1996 film directed by Joel and Ethan Coen opens as a car emerges from the depths of a cold and desolate landscape with the only sound being Carter Burwell’s haunting theme. In one scene we have captured the essence of Fargo. It is bleak, it is dark, and the film permeates coldness. In this world, we see Jerry Lundegaard (William H. Macy), an incompetent car salesman, who hires two criminals to kidnap his wife to ransom her to his father-in-law (and boss), as he needs the money for a real estate deal.

However, wanting more, he secretly tells his father-in-law that the amount demanded is actually far higher. This seemingly foolproof plan falls apart as he tries to cancel the crime, and the criminals turn out to be more inept than Jerry. As events spiral out of control, the heavily pregnant local police chief Marge Gunderson (Frances McDormand) investigates the crimes.

As with the best Coen films, the dark comedy is brilliantly done, treading the line between hilarity and drama, and the characters are wonderfully written: Marge Gunderson is one of the best heroines on film. It’s difficult not to get absorbed into the spiralling series of events. If you want a dark comedy which is absurd, funny and makes you think, definitely opt for this one.

It seems a world away from 1979’s Stalker, directed by Andrei Tarkovsky. Tarkovsky had set out to make genre films that subverted the preconceptions of the genre. In this way, he considered Solaris, one of his most widely known films, the weakest. In Stalker he achieved what he had aimed at in Solaris. This is a science fiction film… or is it?

The film follows the journey of the Stalker, a guide who leads clients through “the Zone”. This is a strange and dangerous area where objects do not obey the laws of nature, and the landscape behaves like an intelligent and organic organism. The Scientist and the Writer are the two clients for this particular trip. They are here to seek out “the Room”, a structure in the centre of the Zone which is said to fulfil the wishes of anyone who steps inside.

This is an epic and vast film, touching on themes of desire and faith, and is certainly not an easy watch. However, if you are ever in a meditative mood, put this on, and sit as the haunting images and dialogue take up permanent residence in your subconscious.

Woody Allen’s Annie Hall (1977) is quite possibly the best romantic comedy ever made. However, don’t let the label of “rom-com”, now degraded by countless awful films, dissuade you from watching this. The film follows Alvy Singer (Woody Allen) after the breakdown of his relationship with Annie Hall (Diane Keaton), examining why the relationship ended a year ago.

Every scene is crafted to perfection and the film still feels incredibly witty and fresh today. There are cartoon sketches, cases of breaking the fourth wall, and a brilliant scene where Alvy produces Marshall McLuhan from behind a poster to criticise a self-professed film expert standing in a movie queue. Many films have tried to emulate Annie Hall, but most have produced one-dimensional female characters.

In Annie Hall however, all the major characters are fully fleshed out, mainly through the brilliant script. Much of the film is dialogue, but what dialogue! It is funny, heartwarming, and heartbreaking all at the same time, and if you are ever down and need a pick-me-up, opt for Annie Hall.

Do not opt for There Will Be Blood. Paul Thomas Anderson is probably one of the most consistently brilliant directors at the moment, and in this 2007 film he has combined all the best qualities of a movie, and it’s greater than the sum of its parts. It features an astonishing performance by Daniel Day Lewis as Daniel Plainview, a ruthless oil prospector who is searching for oil and wealth in the sparse and open California of the early 1900s.

This is an epic about the greed and determination of one man, and how he challenges the faithful town of Little Boston. There is an equally strong performance by Paul Dano as Eli, a preacher in Little Boston who claims to have miraculous healing powers, and possesses a strong hold over the townsfolk. The cinematography is beautiful, made doubly so in combination with an incredible soundtrack by Jonny Greenwood, and the ending, with the cut to black and the Brahms Violin Concerto, cements this film as one of the greatest films ever.

Union Secretary resigns

Cherwell News Team
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Union Secretary resigns

This term’s Secretary of the Oxford Union, Dom Merchant, has today resigned his position. Merchant was elected last Trinity in a hotly contested vote. 

He will be replaced by Stuart Webber of Somerville College, with David Browne filling the vacant space on the Union’s Standing Committee.

Merchant said in a statement, “It is with great regret that I am resigning my position as Secretary for health reasons. I have greatly enjoyed my time on committee and am very sorry for the disruption this will cause to the committee and the members. However, I need to put my own well-being first and I am unable to continue in the role.”

Union President Mayank Banerjee added, “I was upset to hear about Dom’s resignation but I want to thank him for all of the work he has done for the society and I wish him the very best for the future. I am genuinely glad that I got to the chance to get to know Dom and I’m sure that Stuart will do an excellent job as Secretary.”

Interview: Caggie Dunlop

Rebecca Borthwick
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Interview: Caggie Dunlop

Whilst many celebrities use their name and status to launch a clothing line, 24-year-old Caggie Dunlop did not want to rely on her newfound fame. “I wanted to create a brand that could stand alone regardless of my profile,” she explains. ISWAI, which stands for ‘It Starts With An Idea’, is not your average celebrity clothing line; it is a label and a springboard for new talent. “The idea for ISWAI came while I was still on [Made in Chelsea]; I knew I wanted to do something in fashion. It’s definitely a bit quieter being off the show but probably in a good way. It was a bit of a rollercoaster for me when I was on it. I’ve really enjoyed building this brand and I do it with my mother so it is in the family.”

The day-to-day running of ISWAI is, she tells me, a difficult task, “We will have someone doing jewellery by hand, someone doing samples in China for something, someone creating something from scratch. It’s all very complicated. It’s nice when it all comes together.” ISWAI provides a great entry into the fashion industry, and one of her designers, Michael, now even works at the world-renowned fashion house, Balenciaga.

Caggie’s own personal style is pretty chilled though, “I love fashion because I am a creative person but I don’t take it too seriously — I like it to be fun and expressive. “I am comfort first. Especially at this time of the year, I’m literally just in denim shorts and an ISWAI slogan t-shirt. That’s about as adventurous as I tend to get!” 

But she’s also not afraid of dressing up, as she demonstrated at the Boodles Tennis Tournament, organised by the eyewear brand Taylor Morris that was founded by Hugo Taylor, Caggie’s Made in Chelsea co-star and close friend. “Of course, in the evening going out I love to make an effort and I like to take a risk every now and again.” When asked whether there will be a collaboration between ISWAI and Taylor Morris, Caggie earnestly replies, “I haven’t thought about that — but I wouldn’t mind them doing a Caggie pair of sunglasses! I love the brand — Hugo is a great friend of mine and it is doing really well.”

With such an effortlessly cool dress sense, I wonder who her style icons are. “I really like Erin Wasson — I always have,” she explains. “When I first started ISWAI, I used her as the poster girl for what I’d like to reflect — that dishevelled chic. She dresses like an art teacher and I like the laid back look! I’ve always loved Australian fashion for that.” Some of Caggie’s favourite brands include Sass and Bide, and Finders Keepers. She says, “The way they do things there I find really cool, creative and organic.”

However, Caggie is not one to spend huge amounts of money on designer shoes, preferring to shop in vintage stores, “I really feel like I’ve accomplished something if I can go and get [some Prada shoes] second hand, for like £60!”
Not only has Caggie created a successful fashion label, but she is also finding time to focus on other projects. Signed with Independent Talent Group in the UK, she hopes to build an acting career.

Before the madness of Made in Chelsea, Caggie studied at the Lee Strasberg Theatre and Film Institute in New York. “[Made in Chelsea] gave me a huge amount of experience in terms of being in front of the camera, so it has all been quite beneficial,” she tells me as she explains her plans to move to LA in the new year. “[LA] is the epicentre of the entertainment industry so that is exciting!” There, she will be focussing her efforts on pilot season, but she is still keen to experience theatre and film, whilst not abandoning her singing career. I’m sure we all remember her nervous debut performance on Made in Chelsea.

“I started singing very late — the first time I had ever sung in front of anybody was on the show. I do love singing. That’s what I’ve been doing a lot of since I left the show. I went on tour with an American artist, which was a great experience, and I did a mini tour myself. But the lifestyle of a musician is quite isolated, ironic considering you are around people the whole time.” Caggie is unsure when she will release a debut album, but tells me it is something that will definitely happen.

The style in New York does slightly differ from London, Caggie explains, but not as much as we might think, “There’s something about New York which is very Sex and the City, which I like. I think maybe in New York they’re a bit more adventurous, and it’s maybe a bit more of a fashion hub.”

I had to ask Caggie about the Made in Chelsea special of Come Dine With Me, which saw her compete against co-stars Binky Felstead, Spencer Matthews and Mark-Francis Vandelli to win prize money for charity. This was possibly my favourite episode of Come Dine With Me ever. “Come Dine With Me was really fun – it was at the end of a season of Made in Chelsea, so we were all sort of running down off the filming and then had to do this. My head was completely all over the shop at the time. I was completely unprepared! Millie had to come over with the food; Spencer had to bring my cutlery! I literally was a disaster, but it was so much fun. I ate so much that week, but you don’t eat dessert until one in the morning!”

Not only has Caggie found time to juggle a singing career, an acting career, and a fashion label, but she has also done in charity work. She has worked with both Beat Bullying and the Tickled Pink Cancer Campaign. “Beat Bullying is a really great charity. I wanted to get involved with a dolphin one but they never got back to me,” Caggie explains to me.

To conclude, I ask her about her ideal dinner date. She answers, “Marilyn Monroe. There is so much mystery around her. She has become a goddess-like character. I would be really intrigued as to whether the persona matched the person she actually was”

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