With the crowd suitably roused by Bedford’s Don Bronco and LA mindfuck Awolnation, the headline act calmly took to the stage and gently plucked at Lonely Road To Absolution – before bursting into their new hit single; Viking Death March. As Jon Gallant’s Ernie Ball bass came to life, the opening notes rumbled throughout the venue – sending the Yorkshire crowd into chaos.
Mads Mikkelsen’s performance in Thomas Vinterberg’s scarring drama won him the Best Actor award at Cannes this year and it is an incredible, subtle performance in a powerful, haunting film.
As with the best laid plans, or holiday trip, it doesn’t take long for things to unravel. And in one of the most beautifully observed (not so) passive aggressive responses to a litter bug incident, the movie turns into a slasher road movie, as imagined by Morrissey.
How could they bring the franchise back to its glory days? How could they capture the old magic? Well, it seems a miracle has occurred – my faith is restored.
The Twilight saga ends where we left off with Kristen Stewart’s Bella a mum and a vampire. Her daughter Reneesme (already a toddler by her second day) has been creepily imprinted on by werewolf Jacob who’s still as woodenly played by Taylor Lautner which dad Edward (played by the ever surly Robert Pattinson) is non too happy about.
2011’s superbly named debut ‘Last Smoke Before the Snow Storm’, despite being caught up in the Ben Howard and Ed Sheeran undercurrent was also a solid effort. His live shows sell out, and there are few contemporaries as comfortable on stage with just one guitar and their own vocals.
Welcome back folks, to another year with the WWE gaming franchise. Now we all kind of guess what most of the relevant releases will be like when it comes to sporting franchise titles. This time though, Yukes and THQ have joined forces in another tag team special to further the experience of WWE sports fans, with the help of the Predator Technology 2.0 engine.
Winner of 7 Academy Awards including 1962 Best Picture and Best Director Winner of 4 BAFTA Awards including Best Film, Laurence of Arabia is celebrating it’s 50th Anniversary and to coincide with the event there is a special restoration cinematic release in state-of-the-art 4K resolution across the UK.
On paper, almost nothing about The Master should work. The script is baffling, the relationship between the male leads equally so, the characters infuriating and the score tricksy and arrhythmic. But it does. Anderson has made an intense and beautiful film with these seemingly disparate and stubbornly diverse elements.
Matthew Copper heads to The Sugarmill in Stoke to check out two excellent bands on the way up.
While the large stadium wasn’t quite the backdrop to the bands whimsical, indie-folk persona it cannot be denied that they put on a mighty grand show and we did have some sweet flourishes of fairy lights so we could at least pretend we were in some green rolling field festival.
For Apocryphon, The Sword elected to strip away the narrative and conceptual elements that strengthened its predecessor. Frontman J.D. Cronise stated the band would forgo complex sci-fi storytelling in favour of topics more metaphorically reflective of their own experiences. Thankfully Apocryphon doesn’t suffer from this lack of narrative nuance.
When you think of Hell, and the underworld, you normally think of fiery pits of horror, sadistic demons ready to torture helpless souls, and endless repeats of Deal or No Deal. Well you’d be mostly right: The residents of Hell also love a bit of celebrity gossip, as shown when you play Hell Yeah!
Early doors mean too many fans arrive just late enough to catch the plaudits for (but not the set of) Upon A Burning Body. Fortunately, German tech-metalcore underdogs Caliban are on hand to lend proceedings some bite.