Monday, May 19, 2025
Blog Page 1818

Colleges call on alumni

An investigation carried out by Cherwell has discovered a recent drive to boost alumni donations, as students raise concerns about Oxford’s relationship with its alumni compared to other institutions. 

The investigation found that an increasing number of colleges have begun to use telethons, with these frequently raising several hundreds of thousands of pounds in individual campaigns. 

Univ alone raised £375,000 in their latest telethon, while Lincoln and Brasenose raised £278,000 and £250,000 respectively. Lincoln’s efforts to raise the record-breaking figure included a Twitter account where the student telethon team could tweet about the rising number of donations.

Reflecting personally on the matter, Hannah Thomas, Assistant Development Director at Lincoln, said, “I am an Oxford alumna and received a hardship bursary as a student, so am a passionate believer in the power of alumni donations!  

“Oxford is, after all, historically built on benefactions from alumni and friends, and it would be entirely different without such generosity.”

Nick Worsley, a second year at the college, said: “I don’t think it’s a bad thing to keep people in contact with their college and keep them involved with the development of the colleges even after they have finished their time at university.”

St John’s, who held their first telethon last year, explained its reasons for the decision in its annual Benefactors’ Report, which read, “Feedback from other colleges indicated that alumni generally enjoy the calls, whether or not they choose to make a gift.” 

It claimed that the benefits from its telethon were not just financial. “A telephone call also provides a direct connection between alumni and current students, who can speak from experience of the challenges they face and how the college has supported them.”

It noted that over 80% of the 230 alumni who donated during the campaign had never made a gift before, and over 50% of those contacted in the campaign made a gift. 

All of the colleges who responded to our survey said that they had used student callers for their campaigns. These students could expect to earn upwards of £7 an hour for the work, with some colleges offering as much  as £10 an hour for callers with experience. In many cases, other perks such as free accommodation were offered.

Ed Alveyn, one of the student callers for the Trinity telethon, said he experienced an overall positive experience working with fellow students to raise funds from alumni.

“One of the things I did get out of the process was learning about what Trinity uses the money for – i.e. it’s spent immediately for projects that benefit current students. 

“The fact that I was convinced the money was being spent on worthwhile things helped a lot, as I could genuinely make a case for a donation. 

“Most of the alumni I spoke to understood this, and very few were in principle against the idea of giving back – mostly it was a case of insufficient funds. 

“As you’d expect, a few people were a bit stroppy and tried to get off the phone (or told their spouse to pretend they were out…) but they were pretty rare.”

Another caller who worked on a Balliol telethon said, “The amount of training, working conditions, incentives and pay were excellent – I just didn’t really enjoy asking for money.

“Having said that, it was great to chat to so many friendly old members and lots of them approached the idea of money first. 

“Afterwards I had about five really nice written letters to me from some alumni I had spoken to. Some were very rude and didn’t want the call at all (although they had been sent at least two letters, including one to opt out of the campaign), whereas others were somewhere in between – didn’t want to chat but wanted to give lots of money, or had been eagerly awaiting the call!”

 

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Wadham, which has already held a telethon this year and will  be holding another before the year is over, was helped by an alumnus who offered to match the amounts raised, showing the benefit of continual alumni interaction and support.

However, visiting Wadham student, Tanay Warreker who has been involved in telethons both at Wadham and in the United States at a small private university, suggested that Oxford may be behind in some aspects. She said, “You see endowments of American universities and they are higher individually than Cambridge and Oxford combined. Oxford has not had the time to develop the same alumni relations but are on to a good start.”

Pembroke alumnus Tom Holder  wrote a letter to Vice-Chancellor Andrew Hamilton, detailing his concerns about the disparities between British and American universities, speaking of a “disconnection from my former university” and claiming, “my nectar card is more inspiring and attractive than my Alumni card, with better perks to boot.”

“I would like to make two suggestions – neither particularly expensive or difficult given the scale of potential donations, which our American cousins tap so effectively from their alumni.

“The first is to create a decent alumni card. On this would be printed our details in a way which would suggest this was our card, not just a card with our details on it.

“The second suggestion would be to create an agreement among colleges that such a card would guarantee entry to the college (for free).

“Such a card serves to remind anyone opening their wallet what gave them the opportunities in life that have put them where they are now (and filled up their wallet). It is this connection which will support bringing the kind of donations that American universities benefit from.”

Many colleges have however taken recent measures to boost funds. Merton has recently launched a fund-raising drive to mark its 750th Anniversary, which it hopes will raise £30 million.
Christine Taylor, Merton’s Director of Development, said, “Alumni donations are hugely important for Merton college.”

She added, “The college is immensely grateful to its alumni and friends, who are enabling it to sustain excellence and support its students, against the backcloth of cuts in Government Funding.

“Counting since the 2007/2008 academic year, £15.75 million has been raised so far, of which 71% has come from Merton alumni (and their trusts and foundations) – so approximately £4 million per year.”

Clem’s accommodation condemned

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Oxford University has stated that a proposed three new blocks of student accommodation on the St Clement’s car park would have an ‘‘unacceptable impact’’ on residents. The developer, Watkin Jones Group, has already been forced to alter their proposal, which now consists of three blocks totalling 141 bedrooms, instead of the four which it suggested last October.

The University has emphasised the negative effects which the building would have on their graduate housing at Alan Bullock Close, stating that the obscuring of sunlight and decreased privacy constitute “an unacceptable loss of amenity’’. They also stressed their desire for the new accommodation to be restricted to students from Oxford and Oxford Brookes universities.

There are worries that the commercial life of St Clement’s will suffer drastically as a result of the development. Although the new proposal allows for over half of the 120 parking spaces to remain, many traders still have concerns as it is estimated that the car park will be closed for 12-14 months while the blocks are built.

Clinton Pugh, owner of several establishments on the Cowley Road, argues that ‘‘there is a very real fear that lots of small businesses in the area won’t survive that long’’.

He said, ‘‘[Oxford City] Council, in their arrogance, are going to completely undermine all of the work that I, and other small businesses, have done over the past 20 years to make St Clement’s a vibrant part of the city. It’ll be a very sad state of affairs when it all starts falling apart.’’

Doubts are also arising as to whether the replacement car park will materialize. Alan Grosvenor, a resident of the area and the owner of Sevenoaks Sound and Vision on St Clement’s Street, acknowledges that the Council’s proposal of a replacement temporary car park “feels like something they’re paying lip service to, not something that will actually happen.’’

He is also concerned that the new car park (located underneath the blocks) will have its own negative impact, adding, ‘‘I can only see that this will encourage crime and acts of loitering and other illicit acts carried out by undesirables who will be attracted to the car park.’’

It is not only the permanent residents of Oxford who have doubts about the development. Alex Ryzak, a student at Magdalen College, one of the Colleges closest to the accommodation, which provides its students with housing throughout their degrees, said, ‘‘I do not think that the location of these flats, though well placed, is likely to tempt many of the students […] away from the  convenience of living in College’’.

When students are struggling to find housing, however, the story may be different. Sasha O’Connor, a second year at St Hugh’s, said, ‘‘We left it a bit late to find a house and by March everything decent seemed to be taken and now we’ve ended up paying more than we can really afford because we didn’t want to have to live miles away from town. I think this new accommodation will be good if it allows more students to live affordably within the city centre.’’

Councillor Colin Cook said, ‘‘the move by some Colleges to build purpose-built student accommodation has freed up college-owned housing for sale on the open market, and this will help provide much-needed housing for both families and young professionals who are often competing with students for the limited supply of housing in the city.’’

The Council has taken a £356,000 non-returnable deposit from the Watkins Jones Group, and is estimated to make £3.5million from the development. A Watkins Jones representative declined to comment. The Council will present the proposal at a planning meeting on 13th July.

Review: Barefoot in the Park

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What could be a better escape from seventh week drudgery than a visit to 1960’s New York? Or rather, a couple of hours in the Pilch Studio with newlyweds Corrie and Paul Bratter, as they try to navigate marriage, apartment-dwelling and the neighbours not quite from hell, but not necessarily from the right side of sanity either…

After a week of intensive sounding honeymooning “at the Plaza”, the couple appear during the opening scene to have been thrust violently into the realities of urban domesticity. The inadequacies of the apartment, with its shattered skylight, no heating and position on the sixth floor, fall thick and fast as the snow outside, from the lips of the practical Paul (Alexander McDonald) onto the upturned face of the ever-optimistic Corrie (Sarah Geraghty). There is believable frisson between these two, with Geraghty constantly seeming to orbit McDonald when they are onstage together, swooping in with a shy smile for hugs and kisses at endearingly inopportune moments. While their tender episodes are somewhat evocative of infatuated teenagers snogging behind a bike shed as opposed to married adults, this is reflective of Enni-Kukka Tuomala’s commitment to conveying the nature of society and the decade, in which Corrie and Paul, living together as newlyweds are stepping into new, unchartered and in this case farcical terrain.

It must be said that none of the cast seem sufficiently cold nor out of breath considering the number of gags in the (determinedly light-hearted script) about the mountainous amount of stairs and the lack of heating once one’s climbed them. All four parts in the play are approached with a sensitivity which puts real characters behind lines and they have the potential to be alternatively one-dimensionally witty or saccharine. Julia Hamilton as Corrie’s mother maintains a fantastic sense of subtext as she tempers horrified incredulity with Waspish poise, claiming too often and too adamantly to “love” the apartment. Her part requires her to draw comedy out of the lines by the way she says them, making it a more difficult one than that of bizarre neighbour Velasco (Henry Cockburn), whose lines are inherently funny. Cockburn brings a pleasing wackiness to the role however, as he strides invasively around the apartment complete with an ever-twirling cane, his English accent emphasising the impressive American efforts of the other three. This comic cocktail could benefit from slightly fine-tuning its staging, (which lacked definition and at times meant that expressive faces were obscured) but is nevertheless a great alternative pick-me-up to a real one.

 

3 STARS

Review: Brideshead Revisited

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Money can’t buy you happiness or love, though for a while it might facilitate the romance. This may be the message of Brideshead Revisited, the novel turned play, which charts the relations of Charles Ryder and the aritocratic Marchmain family after he encounters Sebastian, the second son, during his first year at Oxford. The two spend a short time in paradise before the effort of preserving their isolation proves too great and the reality of life claims them.

This adaptation tries to preserve the language of the book – the dialogue is mostly lifted from the original text and Charles, played by Ziad Samaha, acts as narrator by stepping forward out of the action to comment on his past self. This device works particularly well and constituted some of my favourite moments of the first half. It brought much needed structure and changes of pacing to the script.

Unfortunately, other points are less successful, with the main problem being the extent of material to work with, since there are so many crucial and memorable moments in the book on whose inclusion everything depends. The condensing of time and material gives the entire play a surreal, almost rushed feel at times, which does evoke the theme of memory and transience, but prevents any impression of the heady languor which delights and stifles. However, the use of music during scene changes should break up this relentless flow of characters. More distressingly, the important speeches of those characters who did not make the script are assigned to others and it is this which sees Julia (Becky Moore) deliver the speech on romantic friendship assigned to Cara, Lord Marchmain’s mistress, in the novel.

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However, the challenges posed by the adaptation have been overcome by both the director, Christina Drollas, and all the actors involved. The dynamic between Samaha and Draper, who plays Sebastian, is engaging and there has clearly been effort spent on avoiding stereotypes. Draper’s performance has stripped the excitement from his character’s attempt to halt time and presents a rather sulky Sebastian who is himself growing weary of his charade. This contrasts well with Antony Blanche (Richard Hill) to whose energy there is a certain nervous vulnerability.

With fantastic acting from everyone involved as well as a set which promises the tragic opulence and decadence demanded to elevate the action away from material concerns and to the higher principles of art and religion, this production successfully incorporates the language of Waugh with the more dramatic demands of theatre. Drollas herself decribes Brideshead Revisited as the ‘death of an idyll’, but I suspect that for the majority of audience members the idyll is more alive than they care to believe.

 

4 STARS

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Review: Tamburlaine

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Trinity is the term for lazing about on the lawns with Pimm’s and barbecues, finishing exams and enjoying the finer points of Oxford life. This is the term of light-hearted garden shows, experimental garden shows, and Brideshead Revisited, as the summer evenings and the Oxford bubble so clearly invite. In this climate, you’d be forgiven for not quite feeling up to an evening of hardcore Marlowe. Yet this bold production looks set to be a viable alternative to more traditional summery pursuits.

Very popular in its day, Marlowe’s play follows Tamburlaine, a humble peasant who decides to declare war on the corrupt and weak rulers of the world. The power he swiftly gains goes to his head and his brutality escalates along with his success, leaving us with important questions about the nature of rule, and the nature of this one mysterious, magnetic man.

Antti Laine shines as the eponymous hero, exhibiting great energy and an excellent evil smile. He seems to have enough charisma to play the part of a man who is able to persuade even his enemies to join him just through words – in the first scene I saw, the Persian king Theridimas, who had set out specifically to kill him, was won round suspiciously easily. Unfortunately it was difficult to hear his actual words of persuasion, due to the dodgy acoustics in the preview room, but they must have been pretty special, as he was convinced in about two minutes flat, which made for slightly confusing viewing. King Mycetes of Persia doesn’t fare much better, and Robert Dullnig could have made more of the great comic potential of his role, as a king even weaker than Theridimas.

The one battle scene I saw was rather wooden, with conversation going on whilst some characters had swords across their throats in a way that was awkward rather than menacing, and it’s hard to do a dramatic death scene that’s not a bit stilted, especially when one character announces ‘I die’ just before he, well, dies. But the production sounds like it will be magnificent with the O’Reilly decked out in drapery like a battle fort. The play contains some of Marlowe’s most beautiful poetry, and if you can drag yourself off a punt, it looks like it will come together to be powerful and exciting.

 

3.5 STARS

Review: Charley’s Aunt

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This year has seen a raft of genteel and whimsical garden shows. There is something, it seems, about the Oxford college garden that makes directors cast their eyes backward with nostalgic longing to an era of upper-class refinement and poise. Pygmalion, The Government Inspector – and now Charley’s Aunt – have all indulged a predilection for the 19th Century comedy of manners.   

The play follows two Oxford undergraduates, Jack Chesney and Charley Wykeham, as they attempt to win the hearts of their paramours and the favour of Charley’s wealthy aunt. The original production was a record-breaking hit with 1,466 performances in the West End and the play contains all the popular elements of a Victorian farce. But what’s congenial to Victorian audiences won’t always be so well received today – in fact, much of the comedy is too rooted in its time to be amusing. A joke about keeping the change from a farthing falls flat on its face. 

I’d like to say that the acting in Charley’s Aunt is overdone as part of the aesthetic of a farce but I think that might be wishful thinking. Every farce contains its caricatures and when they work in this production they work very well – Joshua Harris-Kirkwood as Sir Francis Chesney is delightful as the stereotype of an Oxford ‘old boy’ and Benedict Nicholson does an amusing turn as the peevish guardian of the girls our protagonists must woe. But the play lacks the spontaneity and energy of the genre, the sense that these characters upon this stage could be led by the plot any which way – and I don’t think this a quality inherent in the script. Often, the play feels laboured where it should feel light, and this feels solely down to the over rehearsed quality of the dialogue.    

There are some fine redeeming features however. Cross-dressing is integral to the play and Peter Swann’s performance as a man failing to imitate a woman is genuinely hilarious. Charles O’Halloran should also be commended for the earnest sweetness he brings to the role. Whilst it takes a while for the play to warm-up, once the stages start to fill with characters there is a greater sense of fun and the actors actually start to seem like their enjoying themselves, rather than plodding through the script. Comparisons have been made to Wilde but there is little of the delight in wordplay or paradox that you might see in a Wildean comedy. Instead the play gets its humour from the sheer absurdity of its situations and there is certainly enough of that to amuse the audience for an evening or more. 

 

3 STARS

Summer VIIIs 2011

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(Clare Richards)

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(Joseph Caruana)

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(Amelia Cox)

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(Kathleen Bloomfield)

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(Lauri Saksa)

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(Amelia Cox)

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Kathleen Bloomfield)

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(Lauri Saksa)

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(Lauri Saksa)

Congregation pass historic vote of no confidence in Willetts

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The vote of no confidence in Universities Minister David Willetts was passed today by Congregation, with an overwhelming majority of 283 votes for and just five against.

Today’s near unanimous vote shows the start of an academic backlash against coalition policy in higher education.

It is the first time since 1985 that Oxford has got involved so publicly in the political process, and marks Oxford as the first English University to pass a motion of no confidence in a higher education minister. 

The motion, that “Congregation instructs council to communicate to the government that the university has no confidence in the policies of the Minister of Higher Education” was debated by Oxford academics this afternoon in the Sheldonian Theatre before the vote was taken. 

Each of the 23 academics who spoke before the University’s parliament, resoundingly endorsed the motion urging their fellow academics to vote in favour, leaving little doubt that the motion would be carried.

Students showed their support outside the Sheldonian by cheering tutors as they walked in and chanting slogans such as, ‘David Willetts makes no sense, tutors vote no confidence’. Throughout the day, OUSU had organised for students to rally academics to attend Congregation and place their vote of no confidence in Willetts. 

Standing outside the Sheldonian after the Congregation meeting had finished, OUSU President David Barclay said to Cherwell, “This is really important and exciting day for higher education. This is the first university ever to pass a motion of no confidence in a minister. Now that we have taken a stand, we can create a momentum for the rest of the country to follow.”

 

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Just after the results of the motion were announced, Anna Lori-Wainwright, University Lecturer in Human Geography of China, who had voted in favour of the motion spoke to Cherwell.

She said, “I fully support the student movement against what the government is doing. I am very pleased and still surprised that there were even five people in this room who found it in their hearts to vote against the motion.

‘I think we need to be realistic about the impact that this kind of move will have – we must not to sit on our laurels and think this will be enough. We need more lobbying either through unions, collaborations, academic and student development to show that this is not good enough. The damage done if this goes ahead is irreparable.

“I have never come to Congregation before, other academics here also do not come regularly. This is a really busy time of year for us all and it is hard for people to drop commitments. But we have come for this, which shows how much we care.”

The motion was formally moved by Professor Robert Gildea, Professor of Modern History. Prof Gildea said, “This is a very weighty business, a step of historic action. Higher education policies that he is proposing are the word of the coalition government as a whole. In this unprecedented way we are calling him to account. The future of higher education as we have known it since the second world war is under threat from government policies which are reckless, incoherent and incompetent.”

The motion was seconded by Dr Karma Nabulsi, University Lecturer in International Relations and a Fellow at St Edmund Hall, who spoke of what Congregation members had in common:

“What we share is a common attachment to the purpose of higher education which is now under grave threat. [A vote of no confidence] is the most professional gesture which we can take. Our vision is threatened by the policies of the current gov. A vote for this motion is an affirmation of who we are and the traditions which we wish to preserve.’

The debate was then open to the house, and a further 21 academics spoke in favour of the motion, as well as OUSU President David Barclay.

Professor Howard Hotson noted that “Current government policy is perverse. Such fundamental misconceptions inspire no confidence whatsoever.”

Senior Proctor, Dr Colin Thompson warned, “We are not here to bask in the spirit of rhetoric. We are here to address the government on issues which are our very raison d’etre, in the hope that it will listen.

“Society needs people who are prepared to ask awkward questions and challenge received ideas or it stagnates. Loss of public funding to arts and social studies is the logical conclusion of the flawed economic premise of government economic policy.”

Dr Paul Coones joked, “There are only two kinds of famous academic – the quick and the dead.” He highlighted that Oxford should be proactive and set the agenda, rather than always be “responding, justifying and defending ourselves.”

Many speakers warned of the dangers of putting a price on education. Dr Laura Kirkley said, “Brilliant minds hail from all sections of society. We must be able to select post graduates of the quality of their minds, not the quantity of their bank accounts. If the proposed reforms go ahead without challenge or protest from us, the result will be whole portions of our populations disenfranchised and priced out of higher education.”

Mr Bernard Sufrin opened his speech with the Marxist allusion, “A spectre is haunting our university system – the spectre of private profit.”

The disastrous effects the government’s policies were having on Oxford’s reputation abroad were discussed by Dr Abdel Razzaq Takriti. 

Next OUSU President David Barclay spoke, powerfully damning the government’s policies on behalf of the student body. “The fundamental lack of confidence for the student body stems from a gut sense that the core of the governmnet’s plan is rotten.

‘The people I speak for will feel the real cost of the mixed messages and U-turn. I speak for a generation of brilliant minds who will never become graduates. I speak for a generation of talented but disadvantaged students who will never be able to come to Oxford. I speak for all these people and today I need you to speak to them too.”

After a break in procedings, the final few speeches were then given. Dr Conrad Leyser invoked the history of discussion and debate on the topic of the price of education: beginning with Socratic debates of wisdom, and moving forward to the debates of Irish scholars and the foundation for learning in Latin Europe. “We are subverting the basis on which wisdom has been built upon for centuries, if not millennia”, he said.

Professor Patrick McGuinness said, “Politicians seem bent on destroying higher education. This government might be a coalition of Lib Dems and Conservative. But no government in the last twenty years has been a friend to higher education.

‘By expressing our lack of confidence in this government we can actually change something of the policies which will be fisted upon us. We all fundamentally realise that this government does not know what its doing.”

Finally, Professor Gildea, who had proposed the motion at the start of Congregation, then gave his response to the debate, with a final few words of encouragement for academics to vote for the motion: “This is a historic moment to make a difference, let us seize it.”

Dr Kate Tunstall, who gave the closing speech in Congregation, said after to Cherwell, “I think this university has overwhelmingly no confidence in the government’s higher education policies – not in this particular minister as there are probably just as many more with similar policies waiting in  the wings. The message is really really clear.

“The way students and tutors worked together to make this vote possible is really encouraging –  I think it is appropriate now for students to have membership in Congregation as they do in Cambridge.”

Beth Evans, a member of Oxford Education Campaign who had been leading the solidarity protests outside, said, “I’m really pleased and I hope this will make a really strong statement to the government.”

Review: Three Trapped Tigers – Route One or Die

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Route One or Die sees the anthropomorphic trio, Three Trapped Tigers, roar their way onto the music scene and this ferocious arrival is made even more impressive by the technical complexity of their music.

This album beeing an instrumental affair, full of lightning fast keyboard solos that would make Steve Vai weep, Route One or Die is surprisingly engaging. The band have managed to avoid the scrapheap pile of tech-metallers too concerned with the speed of their playing, and have produced a stellar album whose plethora of emergent sounds is always enthralling. Whether in the dub-metal of ‘Noise Trade’, the doom-electronica of the aptly named ‘Creepies’, or the Aphex Twin grooves of ‘Magne’, Three Trapped Tigers are constantly experimenting with innovative textures and new exciting ways to make your ears bleed.

Styles and sounds are constantly juxtaposed, with electro, dub and even classical tones posited against screaming guitars and rioting drums. All this shouldn’t work, but it – practically – always does. At times, perhaps, we yearn for some repose, and it is briefly offered to us in the unsettling tranquillity of ‘Zil’, but there is a sense that too much restraint would sound like selling out to a band rooted in the underground and signed to the indie label ‘Blood and Biscuits’.

This pioneering album takes many left-field and underground trends, like Death-Rock, Math- Rock and Improv, and makes them instantly accessible and consistently exciting. You’re left with a sense that this strange new future-music could go a long way from here. Let’s hope this is just the beginning.