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Blog Page 1792

Howay the lads

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The 9th October 2011 will mark 15 years since Kevin Keegan’s Entertainers lost 4-3 to Liverpool in a game that played a significant role in derailing Newcastle United’s title aspirations. Whilst the class of 2011 may be a far cry from the days of Beardsley, Ginola and co, The Magpies fine start to the new season may have triggered off signs of a return to the golden days on Tyneside – albeit under very different circumstances.

English football has changed considerably since the 1995-1996 season and with it, it appears, have Newcastle United. Acknowledging that it can no longer compete with the financial muscle of the Manchester United’s, Manchester City’s and Chelsea’s of this world, a decisive change in mentality at board level has taken place on Tyneside in the last year – one which has signalled a decisive break with the past. Gone are the days of the big-name signings and the large wage packets under previous Chairmen Sir John Hall and Freddy Shepherd, instead current controversial owner Mike Ashley has opted to take the risky strategy of building a young team of cheaper, relative unknowns who have little or no experience of English football and are on modest wage packets. For now, at least, Ashley’s master plan is paying off.

A similar effect has taken place on the field under the management team consisting of assistant manager John Carver, coaches Steve Stone and Peter Beardsley – significantly all locally born and bred – and, chief amongst them, Alan Pardew. Since his surprise appointment eleven months ago following the equally surprising dismissal of the now Birmingham City boss Chris Hughton, the former Reading, West Ham United and Southampton manager has played an integral role in the restructuring of the club’s facilities. This summer witnessed United’s training ground at Benton Park transformed, with a large amount of capital invested in new playing surfaces and the Youth Academy. The hope is that the club, having most recently produced the likes of Sammy Ameobi and Haris Vučkić, will continue to produce technically accomplished, mentally strong and talented youngsters in the future. 

Resources have also been turned towards Newcastle United’s scouting network with Pardew keen for some of the club’s scouts to be deployed to visit Barcelona’s new world famous Masia-Centre de Formació Oriol Tort. However since Pardew’s appointment, a large part of the recruitment drive has been due, in no small part, to the fundamental role played by chief scout Graham Carr, father of Chatty Man Alan Carr. The former Tottenham Hostpur, Manchester City and Notts County scout has been pivotal in unearthing rough diamonds from across the European leagues. Take for example last season’s undoubted Bargain of the Season – that of the Ivorian midfielder Cheik Tioté for a mere £3,500,000 from Dutch Eredivisie club FC Twente. Indeed, Carr’s canny recruitment drive continued apace this summer. 

Far from Gerodie Shore, the club’s transfer activity was akin to that of the third instalment of The French Connection, with a large influx of players arriving from French football’s Ligue 1. Whilst some on Tyneside were half-expecting Gene Hackman to sign on the dotted line, what the supporters were presented with was creative midfielder Yohan Cabaye from last season’s Ligue 1 Champions LOSC Lille Métropole, winger Sylvain Marveaux from Stade Rennais and defensive midfielder Medhi Abeid from Racing Club de Lens. Juxtaposed alongside, was the controversial fire sale of the club’s high-earning players, namely Kevin Nolan, José Enrique and Joey Barton. Whilst the policy was seen to be, by outsiders and fans alike, a disastrous piece of business, what both sets of groups were yet to realize was the potential from the summer recruits.

The new look Newcastle United set-up, whilst noticeably smaller, is well organized, hungry for success and, above all, united. The summer recruits have arrived with a point to prove, replacing those high-profile players who demanded longer contracts, higher wages or felt that their future lay away from St James’ Park. The cosmopolitan squad now has a distinct air of calmness and steadiness about it, encapsulated by Pardew on the sidelines and Argentine captain Fabricio Collocini on the pitch, who alongside defender Steven Taylor, has been key to a Newcastle United defence which has experienced defeat just eight times in 31 league and cup games. All these newly polished components were present in The Toon’s latest victory on Saturday against Mick McCarthy’s Wolverhampton Wanderers – their first over the West Midlands club in the top-flight since 1958. 

Whilst Pardew’s team rode their luck in parts of the game at Molineux and were also indebted to the excellence of their highly-rated Dutch goalkeeper Tim Krul who pulled off a number of world-class saves, The Magpies controlled large chunks of the match – something which has turned them into a far more efficient outfit. Amongst the many positives to come out of the game was the speed and sharpness of the team’s passing and movement. Yohan Cabaye was again economical with the ball, rarely misplacing a pass, whilst his central midfield enforcer Cheik Tioté was a commanding presence throughout. Strikers Demba Ba and Leon Best continued their promising partnership upfront, with Best looking particularly impressive in running the channels and Jonás Gutiérrez capped off an excellent display on the wing with a fine solo goal.

The real test of the team’s resolve will come in November, after the final set of matches in the Qualification Stages for next year’s European Championships in Poland and Ukraine. The Toon begin with a testing away trip against Stoke City at the Britannia Stadium at the end of October and following that are home games against David Moyes’ Everton and André Villas-Boas’ Chelsea. Sandwiched in between those two fixtures comes the small matter of consecutive away trips to Manchester, first to the Etihad Stadium and Roberto Mancini’s Manchester City and then to Old Trafford for Sir Alex Ferguson’s Manchester United. Whilst the squad only looks a couple of injuries away from being stretched, fans will be pleased to hear of the imminent return of midfielder Hatem Ben Arfa and defender Davide Santon from injury.

Doubts continue to persist on Tyneside over the lack of firepower upfront, with the club failing to sign another striker during the Transfer Window. The club are however continually monitoring the progress of Sochaux striker Modibo Maiga and will look to tie up a deal when the Transfer Window reopens in January. In the meantime, the Geordie faithful can sit back and look gleefully on at the unrest at North East rivals Sunderland and the fact that for once, The Magpies are making the headlines for all the right reasons.

Twitter: @aleksklosok

Review: Girls – Father, Son, Holy Ghost

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Girls have always been fittingly named. Album, their lively debut, made them its primary subject matter (‘Laura’, ‘Lauren Marie’, ‘Darling’), and this September’s follow-up, Father, Son, Holy Ghost, is no different. More overtly even than Album, the LP is almost exclusively made up of love songs of the most uncomplicated kind. Frontman Christopher Owen’s style is rooted in a time when songwriters like Buddy Holly churned out hundreds of tunes documenting, with only very minor variation, the consuming object of so much of our fascination: love.

 Unlike, say, Stephen Merritt, Owen isn’t interested in taking any new angles on the ‘love song’; he’s perfectly content to revisit the experiences we all share, sentiments so universal that documenting them could never really be clichéd. The climax of ‘Vomit’, the insistently repeated “Come into my heart”, might be trite were it not for Owen’s genuine earnestness, in ‘Vomit’ and throughout the record. The lyrical content of Father, Son, Holy Ghost thus operates within well-tempered phrases, but never ones that sound tired on Owen’s lips.

 The songs are all backed by an equally well-worn rock sound, far more stylistically cohesive than the scattershot approach of Album, and expertly produced by Doug Boehm and Girls’ own JR White. The instrumentation is as classic and well-tested as the 1966 Ford Mustang so adoringly filmed in the ‘Vomit’ music video.

 Girls know the game they’re playing, of course. ‘Jamie Marie’, perhaps the most heartfelt track of the bunch, sees Owen pining for a lost lover. At first, he wallows in familiar clichés: “I miss the way life was when you were my girl”; as the song progresses, however, Owen comes to realize the emptiness of borrowed words: “I know they say it’s better to have love and to lose it than to never ever know it, easy come and easy go, whatever…” And so he stops singing, and ‘Jamie Marie’ continues with the melancholic riffs of the conversing guitar and organ, perhaps better vehicles for emotion than even the best clichés.

Review: Jens Lekman – An Argument with Myself EP

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When descriptions of a songwriter resort to Jonathan Richman and Scott Walker comparisons, you know you’ve found something good. And Sweden’s Jens Lekman, though always humble, really is that good. Possessing a witty and utterly confessional style of songwriting, he is also blessed with an intuitive sense of sample-lifted melody-making. You could never mistake a Jens song for someone else’s.

The syrupy and indulgent production that falls just shy of schmaltz would give the impression of triviality were it not for Lekman’s nonchalant honesty and storytelling ability (hence the nods to Richman). And this honesty is such that even the quotidian can be compellingly reframed: “I’m leaving you because I don’t love you”, a phrase familiar to everyone – in its more euphemistic permutations – was affectingly heartfelt on Lekman’s Night Falls Over Kortelada (2007).

No material saw release since then until this September’s EP, in which we find an older Jens, since transplanted to Melbourne (although one track fittingly finds him back in Gothenburg). Befitting this move to the southern hemisphere, the production on An Argument With Myself is distinctly tropical, especially on the eponymous opening track. In terms of raw pop, ‘New Directions’ is the real standout, mixing an old-school sax solo and outstanding bass groove to bugle salutes and a female-sung hook with undeniably catchy results.

Lyrically, Lekman’s talent for writing about several things at once is demonstrated on ‘Waiting for Kirsten’, ostensibly about Dunst and her escapades in Gothenburg during the filming of Melancholia, but also managing to explore Lekman’s nostalgia for the place (and people) he left behind, as well the entrenchment of privilege in what was once a working-class city. But the cleverest of the (short) collection is the reggae-tinged ‘So This Guy At My Office’, which starts out humorously enough: “He showed me this video, and it was not even funny”, until the final verse, sung to a character not even mentioned in the song, “My day starts when you get here, and ends when you leave.” Sappy yes, but Jens means it.

Review: Danny Brown – XXX

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Listening to the first few lines of Danny Brown’s XXX is enough to put off even open-minded hip hop fans. Brown’s voice is strained and high-pitched, his flow tense and frenetic, delivered over a chopped beat, gritty and unforgiving. Brown himself, currently seen on stage with Versace skinnies, a swoop haircut and half his head shaved, doesn’t fit the rapper aesthetic. But, as the Detroit MC’s rhymes fly by, consternation soon melts into attentiveness, and ultimately, to amazement. Brown is uncannily on-beat, and chameleon-like in his delivery, be it on the drug-addled hyperactivity of brag tracks early in the mix (‘Pac Blood’, ‘Monopoly’) or the hungover street-wise flow of later confessionals like ‘DNA’ and ‘Scrap or Die’.

XXX reads like an amphetamine trip: scarily focused on the red-and-wide-eyed first half, sobering up to into muted but heartfelt solemnity in the second. This shift – vocal, stylistic, emotional – gives Brown the appearance of multiple personality, mirrored by the dual interpretation of the release’s title: either the fast-lane lifestyle of  ‘Triple X’, or the coming-of-age introspection of ‘Thirty’ (Danny’s birthday was in March).

The early tracks are utterly mesmerizing, owing in part to the dark and skeletal production – courtesy of Detroit up-and-comers like Skywlkr and Brandun Deshay – but primarily due to Brown’s hugely impressive (and admittedly adderall-fuelled) flow: in his words, “So many lines you can barcode it.” ‘Die Like a Rockstar’ is an anthem of overdose brinksmanship that name-drops everyone from Keith Moon to River Phoenix (“Experiment so much it’s a miracle I’m living”), ‘Pac Blood’ claims Brown’s rhymes are so authentic they could only have been penned in Shakur’s blood.

But the energy dip of the latter half is counterbalanced by Brown’s sober realism and his gritty portrait of Detroit life. ‘Scrap or Die’ and ‘Fields’ describe the helplessness of living in a city in steady disintegration, reified in the empty houses and tattered couches lining its streets. Intoxication by whatever means available is temporary respite, and Brown name checks everything from Newports to Hennessy to crack, but he admits addiction. ‘Party All the Time’ is ostensibly about a female acquaintance, but one gets the sense Brown is also describing himself: “Lost in the fog, head in the smoke, laughing at the world ‘cause her life is a joke.”

Cherwell Music presents Mixer: September 2011

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So, this is it. Either you’re trudging back to the academic coalface, or you’re about to embark on the degree of your choice – but not before getting very drunk and covered in foam, UV paint, vomit, or all three. Let Cherwell Music lighten things up a little with the last of our summer monthly playlists, plucking the best new tracks from the tree of September 2011 and bringing them to you in a hand-woven audiobasket (or something like that). We’ve got something for you whether you’re into Girls or you prefer The Men, as well as new sounds from Damon Albarn and Wild Beasts.

Plug it in, turn it up, enjoy – and when you’re done stick around, because throughout Michaelmas we’ll be bringing you a weekly Mixer, featuring the very best new music as well as mining the last fifty years or so.

 
 

Jens Lekman – An Argument with Myself

Effortlessly talented Swedish popsmith Jens Lekman returns after a four-year disappearance with this month’s delightful EP, An Argument with Myself, prelude to a full-length due later in the year. This self-titled opener is a flawlessly crafted Afro-Caribbean tune, littered with Lekman’s witty exchanges (with himself) and sociological observations of his adopted hometown of Melbourne.

The Men – Bataille

Leave Home, a breathtakingly produced album recorded straight to tape, is Brooklyn punk quartet The Men’s noise-drenched ode to the bygone era when abrasive indie rock (the fanzine and basement show kind) still pushed the boundaries. Of all the musical eras to revisit, the heyday of Sonic Youth and Hüsker Dü is surely ripe for borrowing.

Wild Beasts – Thankless Thing

Smother, the third LP from Kendal’s flamboyant quartet Wild Beasts, was rather unfairly overlooked this year. Perhaps they should have included ‘Thankless Thing’, the excellent B-side from to-be single ‘Reach a Bit Further’, featuring their famously pitch-perfect instrumentation and the falsetto croon of co-vocalist Hayden Thorpe.

Jonquil – Mexico

Released just over a month ago, Jonquil’s latest single ‘Mexico’ has made the already agonising wait for the band’s upcoming album nigh on unbearable. Combining the soaring melodic sensibility of Animal Collective’s ‘My Girls’ with the sunny guitar jangle of Vampire Weekend, ‘Mexico’ is a joy to listen to from start to finish and sets a new high-water mark for a band that seems to grow in stature with every release.

Summer Camp – Better Off Without You

Although it came a little late in the season, this is a serious contender for the year’s best summer single. It’s got it all: the sound, the hook, the John Hughes-esque teenage drama. Elizabeth Warmley’s voice is oh-so-satisfyingly derisory as she tells an imaginary jilted ex-lover that ‘if you said you’re never calling back, I’d be so happy’. Don’t miss the London duo at the Jericho on November 15th.

Ford & Lopatin – Too Much MIDI (Please Forgive Me)

Hype bands du jour love to dabble in 80s synth, but remain aloof, for aesthetic and nostalgic (or indeed ironic) effect, from its cheesy potential. Brooklyn duo Ford & Lopatin (formerly known as Games), to their credit, dive right in. ‘No more lo-fi’, sung on standout single ‘Too Much MIDI’, sounds like a battle cry.

Daily Bread – Volume

Michigan-native producer Apollo Brown is in high demand these days, providing the backings to the stars (Black Milk, Danny Brown) of an increasingly dominant underground Detroit scene, but he still finds the time for his own projects. Daily Bread finds him collaboration with New York’s Hassaan Mackey, with throwback party track ‘Volume’ an obvious standout.

Love Inks – Rock On 

Love Inks breathe new life into this minimalistic cover of the 1973 glam hit by David Essex (last seen playing Eddie Moon on Eastenders) with some drifting vocals and barely-there guitar, all tied together with lopsided funk bass.

DRC Music feat. Tout Puissant Mukalo and Nelly Liyemge – Hallo

Damon Albarn does pretty much anything he wants to these days. Fresh off the global success of Plastic Beach, Albarn spent a week Kinshasa, Congo, to record an album with the newly established DRC Music collective. Featuring such high-profile collaborators as Dan the Automator, Kwes, and Oxford’s very own Totally Extinct Enormous Dinosaurs, the album’s teasers, including ‘Hallo’, are raising quite a few eyebrows.

St. Vincent – Cruel

One of the more straightforward cuts off her latest album Strange Mercy, ‘Cruel’ proves that Annie Clark (a.k.a. St. Vincent) can pen as striking a pop melody as the next indie fan-boy’s heart throb.

Little Roy – Lithium

Did you ever think, ‘I love Nirvana, but I wish they were just more reggae’? Us neither, but luckily Kingston roots legend Little Roy, celebrating the twentieth birthday of that record with the baby on it, did – and this is what happened. It’s pretty good, actually.

The Doppelgangaz – Doppel Gospel

Not much is known about emergent New York outer-borough duo Doppelgangaz, except that they’re preternatural producers, and they favour capes. ‘Doppel Gospel’ is at once soul-inflected and brooding, bringing a welcome dark edge to classic boom-bap construction without ever straying into exaggerated horrorcore.

Blouse Into Black

Oregon duo Blouse, recently signed to Brooklyn’s Captured Tracks, sound a lot like pretty much everyone else out there: borrowed nostalgia, breathy vocals, moody synths, feigned aloofness, and dollops of reverb. The difference is they do it better than almost anyone else.

Veronica Falls – The Fountain

Veronica Falls might be dismissed as mere C86 revalists, were it not for the excellent songwriting and the immediacy of their post-punk-tinged and vocal-layered tracks. ‘The Fountain’ is a case in point, its spooky lyrics offsetting those delightfully jangly guitars.

Girls – Honey Bunny

Written by Christopher Owens of Girls whilst singing into his mobile phone on his birthday, ‘Honey Bunny’ certainly doesn’t sound like a track that has been obsessively composed. Spontaneity is the name of the game here but, as Owens sings “they don’t like my boney body, they don’t like my dirty hair” over twanging 60s guitars, what the song lacks in depth it more than compensates for with Orange Juice-style charm.

Trophy Wife – Wolf

On October 17th, Oxford-based trio Trophy Wife release their debut EP BRUXISM. Produced by Yannis Philippakis of Foals, this brooding track finds the band exploring new territory away from the bright sheen of their indie-disco beginnings and serves as a brilliantly haunting end to the record.

Mixer: September 2011 is also available on Spotify – click here to load the playlist.

Uganda right now

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New Hub for Oxford Volunteering

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The Oxford Hub’s new building on Turl Street was officially opened by the Vice-Chancellor last Thursday to become “the home of student volunteering in the city”. Over 800 Oxford students a week volunteer through the organisation making it one of the largest student volunteering centres in the country.

The million-pound facility features the brand new Turl Street Kitchen, which serves ethically-sourced and sustainable produce.

According to the the Oxford Hub, “The menu at TSK will be short and sweet, changing daily to minimise waste and to accommodate our commitment to fresh, seasonal produce. You don’t need to think twice about what’s on your plate here – a community effort goes into every mouthful.” 

Hannah Martin, Community and Venue Manager, told Cherwell, ‘We’re all really excited to open up the Turl Street Kitchen and the Oxford Hub to students and the local community. I think Oxford Hub and hundreds of student volunteers have already been making a huge difference to the local community by working with diverse and amazing community partners on lots of projects.’

In the evenings the kitchen transforms into a bar, open until midnight or later every night, whose range of eclectic offerings includes artisanal new-school gin and vodka, as well as local lagers.

The building also contains meeting rooms, events spaces, a resource centre, offices for student-facing charities and a centre for social enterprise.

‘A lot of people have put a lot of work into preparing this new space to encourage student civic engagement. We’re thrilled to now be up and running and ready for the new term. We hope that students, members of the university and local residents alike will use and enjoy the space
for many years to come,’ said Adam O’Boyle, who helped found the Oxford Hub in 2007.

The Oxford Hub’s initial aim was to encourage student volunteering around the city. It has since grown into a national organisation, Student Hubs, with centres in Bristol, Southampton and Cambridge.

The Oxford Hub now connects hundreds of students to volunteering opportunities with 35 Oxfordshire-based charities, while Student Hubs currently helps 15,000 students around the country to get involved with their communities.

Trisha Soneji, a second-year student who has volunteered through the Hub before, stated, ‘The Oxford Hub provides great opportunities for students to volunteer and contribute, whatever their interests. This new building should definitely help more people get involved.’

Speaking at the new centre’s opening, Vice-Chancellor Andrew Hamilton said, “Student Hubs is a forward-thinking charity which has worked for a number of years to increase student engagement in social action. Their vision for this social enterprise is both innovative and extraordinary and I look forward to seeing it flourish in years to come.”

To encourage students to visit, the venue will host a Hub House Party on Wednesday of 1st week to welcome students back to uni and vouchers will be given out at Fresher’s Fair for free hot drinks from the Turl Street Kitchen.

Great Helsinki

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Raw Digs at Straw Dogs

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I do not profess much technical knowledge over the art of film, but being a journo hack and having spent a portion of my summer on Hollywood Blvd it seems fitting that I try my hand at writing something that roughly resembles a review. My victim of choosing is mere happenstance, as I fully intended to donate my free half-day in submission to the relentless ad campaign of the newly released Contagion, however for reasons of partial intrigue and partial laziness (Contagion would’ve entailed a two hour wait) I decided to see Rod Lurie’s remake of the 1971 classic Straw Dogs.

As I walked into the film, however, I knew nothing of Rod Lurie, nor of Straw Dogs (save the trailer) and I certainly knew nothing of the celebrated 1971 original. As I mentioned, I went to see the film almost completely unintentionally and I feel that I was subsequently in a most advantageous position not often afforded to the modern-day film critic; that of one with a light heart and an open mind.

(Indeed, I had no idea that I would be writing this review either.)

The film is wonderfully shot from the outset, showing Blackwater, Missisippi in all its parochial glory. The still shots of nature are luscious to behold and a marvel for the viewer – a brief window into the (largely) peaceful world of the deer in the enchanting forests. Lurie makes an excellent contrast between the vivid beauty of the woodlands and the underlying tension that leads the film to its explosive climax. Accentuated by the heavy silences and leaving the imagination to run free into a world of horrific trepidation, the plot incubates a foreboding that lurks in the shadows from the very outset of the film, slowly taking shape as the events begin to unfold that lead to a gruesome but yet unknown ending.

It is one of those plots that performs a double-feat of storytelling mastery – on one count by leaving you at every juncture screaming inwardly at the characters not to make the choices that creep them slowly, inevitably, towards the horrific climax, imploring fate to give the characters the happy ending that your morality craves. And yet morbid curiosity keeps you transfixed, encapsulated by the ignorant & bullish traits inherent in human nature, goading them further forward into the morass of miscommunicated hell.

On the other hand, whilst you know from the outset that affairs will not end well for at least some of the characters (and even have some prescient predictions during the film), Gordon Williams (writer of the novel The Siege of Trencher’s Farm that inspired Straw Dogs) keeps you guessing until the last moment of the exact way in which the proverbial s*** will hit the fan.

For a film so horrifically portrayed in the trailer, it is remarkable how rarely the concept of evil rears its head in the film itself. This makes the gut-churning morbidity all the more painful – that the ensuing chaos is all the result of a few staunch redneck values, chronic miscommunication and an unfortunate culture clash.

The film has not been received particularly well by critics, denounced as a shoddy remake of a solid chapter in the history of film. Mote though it may be in the eye of Sam Peckinpah’s classic, as a first-time viewer with no prior experience of the original I think it’s treatment has been unfair to say the least. It is a feast for the eyes and the ears, wraps up a number of nice metaphors and parallels (eg. Of Mice and Men, The Notebook) seamlessly into the plot without seeming cumbersome or forced, and has at its core a fine story that is told very well. It may not be genius, but I applaud Straw Dogs for leaving me feeling entertained enough to write a review of my own volition. And in these times when we are quick to criticise but slow to praise, that is a delightful rarity.

From Merseyside to Munich

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Keegan, Lineker, Lambert, Platt and Waddle. Now you can add the name Jennings to that prestigious – albeit brief – list of British footballers that have broken away from home comforts and tried their luck abroad in European football. His move – unforeseen by many in English football circles – comes at a crucial stage in his development both as a player and a person and unlike his predecessors, Jennings’ journey from Prenton Park to the Allianz Arena has been nothing short of intriguing.

Jennings’ career has, up till now, been far from straightforward. Within the space of a mere three years, the Merseyside-born striker witnessed the inspiring surroundings of Anfield and Goodison Park as a teenager trainee, only to have to seek an alternative route to the highest echelon of English football via the Lower Leagues having been turned down by both clubs. Rejection came as a bitter blow however an opportunity to rekindle his career was afforded to him by Npower Football League One side Tranmere Rovers. During his three-year spell at Prenton Park, Jennings shot to prominence under the gaze of manager-come-physio Les Parry, breaking into the first-team set-up and in the process producing a number of eye-catching displays to alert top-flights clubs across Europe – chief amongst them FC Bayern Munich.

Rather surprisingly, Die Bayern have no dedicated scouting network in England to monitor the Barclays Premier League. Therefore, it is even more surprising that the club, who were originally casting an eye over the Everton left-back Leighton Baines, should be drawn towards the attention of a teenager in Npower Football League One. So what did former FC Bayern Munich midfielder now General Manager Christian Nerlinger, see in the relatively unknown Jennings? What Nerlinger would have gathered from watching the 2011 Npower Football League One Apprentice of the Year was both his versatility and very direct style of play. In his thirty appearances with The Super Whites, Jennings was capable of playing on the flanks or as a central striker. Moreover, his sharp turn of pace, fearlessness in taking on defenders with his trickery and his low centre of gravity made him difficult to defend against.

All these attributes made him an attractive proposition for a club renowned in European football for producing and developing promising young footballers. Indeed, one only has to look at the current crop of FC Bayern Munich players to see proof of this. Defenders Holger Badstuber and current club and national team captain Phillip Lahm, midfielder Toni Kroos and striker Thomas Müller are all products of the youth system at the club and a part of the German national team set-up under coach Joachim Löw. More significantly, this trend is being replicated by a host of others German clubs, namely Borussia Dortmund who’ve produced current German national team defenders Mats Hummels and Marcel Schmelzer as well as midfield sensation Mario Götze.

Both examples will serve to reassure those doubters who voiced their concern over the timing of Jennings’ move to the current Bundesliga leaders. Whilst it is their belief that a move of this proportion is too early in his career and that it would perhaps be better for the young striker to continue his development at Prenton Park, the reality is that that when a club of the stature of FC Bayern Munich come calling the opportunity cannot be knocked back. If anything, it will open up the young Merseysider to a new way of life, an alternative approach to football and perhaps more importantly, allow him to develop away from the pressure of the English media who unfortunately too often pride themselves on building up talented youngsters and then cruelly shooting them down. Nevertheless, the call of England will never be too far away.

Despite his surprising move to the German capital, Jennings will continue to be on the radar of the Football Association who see the youngster as a potential England international star of the future. The FA alongside England Under-21 manager Stuart Pearce will be liaising closely with representatives from the Bavarian club to monitor his progress. The same will undoubtedly be done for the current England Under-21 utility man and captain Michael Mancienne who followed in the footsteps of Jennings in moving to Germany this summer, joining Hamburg SV from Chelsea. The example of Owen Hargreaves, who began his career at Bayern and spent ten seasons at the club, will provide comfort for both players in knowing that playing abroad will not hinder eithers chances of playing for the national team.

Nerlinger has stated that Jennings will begin his career in Germany at FC Bayern Munich II and that his progression towards consideration for a place in the first-team squad will be dependent upon his progress at Kleine Bayern. He will undoubtedly look at the examples of Holger Badstuber, Toni Kroos and Thomas Müller who, in recent years, all trod a similar path, for inspiration. In the short-term, at least, Jennings will be aiming to help FC Bayern Munich’s second team seek a swift return to the more challenging 3rd Liga from the fourth tier of German football, the Regionalliga Süd.

Few could’ve predicted the remarkable set of events that have occurred in the life of Dale Jennings. Whilst his move abroad represents a risk, Jennings has made a bold decision to escape an acceptance of Lower League insularity and instead embark upon a European adventure. Perhaps more players should challenge themselves and take a similar leap of faith into the unknown.

Twitter: @aleksklosok