Pom Poko release weird and wonderful second album Cheater

Benjamin Forrest on 2 February 2021

January saw the release of Cheater, the second full-length LP by Oslo’s finest art punk outfit Pom Poko. The album was released via Bella Union, an independent record label operated by Simon Raymonde of the Cocteau Twins – so, inherently, anything put out on Bella Union must be worth a listen. In a similar vain to Cocteau Twins, Pom Poko have managed to create their own weird, wonderful and distinctive sound which really comes into its own within their latest offering.

Their 2019 single ‘Leg Day’ gained airplay on radio stations such as BBC 6Music, and the band were fairly high up on the bill for Live at Leeds 2020 (which obviously did not go ahead). Pom Poko seem to be on the cusp of breaking into the mainstream of alternative music, and if this record does not tip them over the edge then there is no justice in the world. Every track is so perfectly crafted and yet simultaneously chaotic you cannot help but stop in amazement about what your ears are actually hearing. The melodic siren song vocals of lead singer Ragnhild Fangel are backed up by a vicious menagerie of noise and distortion reminiscent of an acid trip at a Mudhoney show – it shouldn’t work, but it does. 

The name Pom Poko comes from a 90’s Studio Ghibli film in which mythical creatures with shape-changing abilities use their supernatural powers in order to combat the urban development threatening their forest home. To an extent, I think that is a good representation of the band in terms of them using all their outlandish and unusual musical devices to combat the banal, grey, commercialised nature of so much of the music being released as of late. Pom Poko are determined to prove there is still a place for originality and experimentation in music. 

Cheater fluctuates between moods, from the dreamy almost-dreampop atmosphere created on ‘Andrew’ and ‘Body Level’, to the out-and-out punk chaos of ‘Andy Go to School’ and ‘Look’ yet, weirdly, it never feels jarring when listening in the context of the album. ‘Curly Romance’ is perhaps the best example of how Pom Poko are able to effortlessly switch moods, often abruptly, even within the same song. Listening to this album is like being caught up in a whirlwind except it is simply euphoric and, for want of a better word, fun. ‘Like a Lady’ is the standout track on Cheater as it sums up, for me, everything that the band means, as well as being a perfect development upon their previous work – it blows ‘Leg Day’ out of the water, despite how utterly incredible that song is. 

The band put their uniquely explosive sound down to a clash of their ‘jazz school training and experimental leanings’, and if jazz school incorporates even a fraction of the tumultuous debauchery present on Cheater, then sign me up! 

Pom Poko are set to play the Community Room at Brudenell Social Club in September, and I am looking froward to witnessing their rapturous chaos firsthand. 

James May: Oh Cook! The Cooking Show Hosted by the Man who Can’t Cook 

Roxanna Zoughi on 29 December 2020

The former Top Gear host insists he can’t cook, but he did beat Gordon Ramsay in a fish pie contest in 2011 – whilst drunk.

Following the finale of the Grand Tour a year ago, the Top Gear Trio have gone their separate ways, with Clarkson opening his own farm (albeit with a very muddy intro back in February), May exploring the culinary arts with his food tour of Japan, and Hammond, well, being forced to sell his Ferrari.

May was already enlightening viewers with his food series on YouTube channel ‘Foodtribe’ which saw the Grand Tour host revisiting 70s childhood food classics out of a bunker; including an exploration into what the best cheese is for a classic cheese sandwich (spoiler: it is indeed, cheddar). The semi-established show also featured May’s former Top Gear co-host, Richard Hammond, who did not hold back in rectifying May’s poached egg mishaps. The channel enjoyed substantial success in the millions of views it attracted from viewers who fancied watching James May make pickled sandwiches for 10 minutes straight. It was inevitable then, for May to depart from his beloved bunker, and graduate to a fully operational kitchen to host his newest Amazon Prime show Oh Cook!; a cooking show hosted by a man who can’t cook – or so he says.

May’s show is refreshing and humorous, as well as informative; “did you know Japan Airlines serves instant noodles in the posh seats?” he tells us. His honest and unimposing approach free of condescension draws us in and engages us with his straightforward (but definitely not fuss-free) culinary creations, accompanied by a witty self-narration throughout. Each episode focuses on a certain cuisine, from Asian fusions to pub classics; there’s a culinary style for everyone. And with more restrictions being placed across the country, May’s cooking show is perhaps just what we need to re-familiarize ourselves with our home kitchens to inspire our own wonderful culinary creations.

But if there’s one thing we can learn from Oh Cook!, it’s this: If James May can cook it, so can you.

Movies losing momentum – is the end near in sight?

Owen Frost on 21 October 2020

Writer and Arts and Culture print editor Owen Frost investigates the recent decision from Cineworld to temporarily close their cinemas, after the postponement of No Time To Die’s date of release. The decision to close has affected over 37,000 globally.

Punk is Black!

Benjamin Forrest on 16 October 2020

Punk music, as a genre, has a long and illustrious history, and most music historians list the first ‘punk’ records as The Stooges’ 1969 album, or the MC5’s ‘Kick Out the Jams’ (also released in 1969) – some go further back to the US garage scene of the mid-1960’s, either way, the frequently told history of punk music is seemingly dominated by white artists, particularly white males. A section of that history which is often ignored, forgotten or even omitted is the vital contributions of some incredible black artists. 

Screamin’ Jay Hawkins, for instance, released the single ‘I Put A Spell On You’ all the way back in 1956 (a full 11 years before the Stooges even formed) and whilst the song itself isn’t outright punk music in terms of lyrical content, it incorporates many of the devices later characterised as ‘punk’, such as Hawkins strained, desperate shouting vocals and outlandish, shocking live performances. 

A Detroit three-piece called Death recorded what is, in my eyes, one of the definitive punk anthems ‘Politicians In My Eyes’ in 1975 thus pre-dating the Ramones’ first album (widely regarded as the first out-and-out punk record). The single only sold 500 copies at the time and the band was largely ignored until 2009 when Drag City Records released the demos Death had recorded back in 1975 to critical acclaim. A detail that is often not recognised in the story of Death is that ‘Politicians In My Eyes’ was self-released on their own record label, thereby making Death one of the first independent bands to exist, years before Buzzcocks self-released their EP ‘Spiral Scratch’, credited with starting independent or ‘indie’ music.

The UK punk scene, the start of which is signified by the release of ‘New Rose’ by the Damned in October 1976, was seemingly dominated by three white male bands: Sex Pistols, The Clash, and The Damned. I would argue, however, that some of the greatest records of that era were created by X-Ray Spex, led by Marianne Joan Elliot-Said (better known as Poly Styrene) whose overt feminism and politically charged anthems marked her out from the more mainstream punk artists of the time as being someone with something significant to say, as opposed to The Damned whose lyrical content was often closer to love than rebellion, or the Sex Pistols who were simply manufactured by Malcolm McLaren to cause outrage and profit. 

So why were these artists so largely ignored during their time? Why are they not widely credited for the invaluable impact they had upon the genre? Is it simply due to their race? In short, yes. The music industry, and particularly white musicians have always, for want of a better phrase, ripped off a plethora of black artists for personal gain. The Beatles, The Rolling Stones, Elvis Presley and a countless array of other early rock and roll musicians highjacked songs penned by black blues/soul musicians in order to further their own success, often not giving these artists credit of royalties. So, following the same logic, it makes sense that the artists included in this article were ignored in favour of their white counterparts. The facts remain, however, that without Jay Hawkins there would be no Iggy Pop, without Death there would be no Dead Kennedys, and without Poly Styrene there would be no Riot Grrl. Every great musical movement was pioneered by black artists: from jazz in the 1920’s, to rock ‘n’ roll in the 50’s, ska and reggae in the 60’s – up to the Acid House dance music of the late 80’s and 90’s. Punk music is no exception this rule, and it goes without saying that these artists deserve much more support and recognition than they currently hold. I only spoke about three main artists in this article, but there are countless other amazing black/black-fronted punk bands you should check out: Bad Brains, Negro Terror, Bob Vylan, Big Joanie, Crystal Axis and The OBGMS to name just a few. Stop the whitewashing of music. Support black artists.

Retroactive remedying: How can depictions of Blackface be torn down?

Owen Frost on 15 October 2020

After my weekly comfort viewing of Community the other day, I was alerted to the fact that Netflix had purged one of the comedy’s most absurd yet revered episodes, ‘Advanced Dungeons & Dragons’. This episode featured Community regular Ken Jeong’s Spanish teacher Chang, who starts the episode dressed up in full-body Black makeup with an accompanying white wig. Despite Community’s plaudits for being a ‘woke’ show and criticising the obvious parallels between Chang’s “dark elf” and the historically abhorrent tradition of Blackface, the episode was axed. ‘Advanced Dungeons and Dragons’ is widely considered one of the best episodes of the series, and currently has a 9.5 rating on IMDb. The removal from Netflix sparked a Twitter war, where many users pointed out the diverse show’s main focus during the episode is suicide awareness. Is full erasure a necessary step? 

Fans of Community were rocked by the removal of the celebrated episode containing alleged Blackface – Pictured: (l-r) Danny Pudi (Abed), Yvette Nicole Brown (Shirley), Joel McHale (Jeff), Gillian Jacobs (Britta), Alison Brie (Annie), Donald Glover as Troy – (Image credit: NBC Universal via Getty Images)

Over the last few months, episodes from numerous other big hit broadcasts such as 30 Rock, The Golden Girls, The Office, Scrubs and It’s Always Sunny in Philadelphia have all retroactively succumbed to the editorial chopping block. Subsequently, many white actors also quit their voice roles as Black or mixed-race characters, including Family Guy’s Mike Henry and Central Park’s Kristen Bell.  

In a Radio Times interview in July, Idris Elba dismantled these acts of censorship, arguing “viewers should know that people made shows like this” and that to “mock the truth, you have to know the truth.” Viral Success Munya Chawawa agreed, saying that “racism in Britain has always been more subtle and insidious – we need those blatant examples to remind us.” He argues that this removal is just a new form of gaslighting for Black people and people of colour. 

Similarly, television writer Alanna Bennett, believes it is “just trying to Band-Aid over the history.” Bennett asserts that these purifications are only effective at erasing mistakes rather than acknowledging them. She goes on to state it “feels like trying to protect the legacy of those creators instead of actually trying to address what those episodes did.”

Stand-up comedian and writer Dane Baptiste equally illuminates the issues of representation which emerge from these incidents. Baptiste declares that the main problem “isn’t just the fact that you have things like Little Britain and Come Fly With Me… It’s the fact that two white men have been able to depict Black people in two shows and the BBC won’t even give one Black person a show.” 

One potential lesson from these now outdated shows is the dearth of opportunities for emerging Black stars in British television to portray diverse, complex characters. Michaela Coel’s I May Destroy You is an excellent example of the latest step in this beneficial direction – a step well over 20 years in the making. 

Coel’s I May Destroy You examined multiple contemporary issues, including Black identity – (Image credit: BBC)

Certain shows such as AMC’s Mad Men appears to have taken a different approach in light of the Black Lives Matter movement. Recently, I came across the series 3 Mad Men episode where John Slattery’s Roger Sterling is in obvious Blackface. The solution the creators took was to disclaim ahead of viewing: making audiences aware of the racist content. In an official statement, Mad Men’s production company Lionsgate stated that they chose to leave the scene in as they want to expose “the injustices and inequities within our society“. 

HBO Max also initially came under fire for removing infamous epic Gone with the Wind due to its racist characterisation of Black Americans. However, HBO Max then re-uploaded the film with both a disclaimer about the racist content and a supplementary historical documentary where scholars discuss the film’s impact. 

One way forward is not outright censorship. The questionable content instead needs either an apt preface which educates audiences on the wrongful history or an accompanying apology. Now more than ever, these incidents are showing the need for us to expose the flaws and racist stereotypes manifest in numerous artistic industries. Past events instigate activists to keep sight of goals of greater representation and attainment of an increasingly diverse world of television and film.

Image Credit: Variety

Culture in the Time of Covid

Owen Frost on 27 September 2020

Hyde Park Book Club 

Book Club is a great spot for either a chilled pint with friends or a great opportunity to pick up a book from their selection of great non-fiction and fiction. Over lockdown they threw book launches on Zoom to celebrate new and exciting fiction, so keep an eye on their Instagram for more details of upcoming similar events. Alongside their reads, they also offer up a tasty selection of delicious cakes (some vegan) and coffee. The downstairs venue is great for live music, comedy, poetry, spoken word and Book Club also offers up free jazz nights – gigs can be heard from upstairs in the evenings. 

Hyde Park Picture House

Now this is a cinematic gem and a must-go in your first year if you get the chance to – socially distanced. Built in 1914 originally showing pictures to boost the war effort, Hyde Park Picture House is still standing on Brudenell Road in Leeds’s bustling student epicentre Hyde Park. Run by Picturehouse who have cinemas and comedy clubs across the country, this cinema boasts comfy seats situated in a single cinema room. You enter through a lovely old-fashioned foyer and can choose from the latest amazing arthouse, towering blockbusters and cult classics. Currently closed due to renovations, Picture House is ‘exploring the viability of resuming these later this year’: make sure you check it out when it reopens its doors! Picture House has previously linked up with LUU, showcasing a roster of exceptional indie films on campus prior to the end of last academic year, demonstrating how in touch it is with the student body. 

City Varieties

Nestled in a central town alleyway, Swan Street, City Varieties Music Hall is Leeds’s oldest theatre stretching back to its construction in 1865. It is one of the oldest known surviving British music halls, the kind of venues in which Charlie Chaplin and co. used to perform. City Varieties is definitely a hidden gem and well worth the visit not only for its mix of comedy, pre-recorded theatre shows and music, but also due to its golden old-world décor. A fancier night out, there’s something special for everyone at City Varieties. 

Leeds Playhouse: 

Waiting for Leeds Playhouse to reignite its electric line-up of plays was agonising. However, the theatre will now reopen its doors from Friday 2nd October. A registered charity, the Playhouse is also one of the UK’s most critically acclaimed theatres and exhibits some of the nation’s most celebrated plays during their runs. Playhouse presents a variety of productions from Hamlet to Jackie and the Beanstalk. Donations and various support opportunities via their website are also currently accepted to keep the theatre going during these strange times. 

Leeds Art Gallery and the Henry Moore Institute 

Two lovely galleries with their collections partially now reopen including the Lower Galleries at Leeds Art Gallery and limited numbers at Henry Moore. Located on Leeds’s iconic Headrow, Leeds Art Gallery has been unveiling art to the masses since 1888. It contains plenty of twentieth century art as well as more modern installations and is both linked to Leeds Central Library and the Henry Moore Institute. Entrance to the permanent exhibitions is free! In December they are running free Youth Collective Sessions at the gallery where you can meet like-minded people while exploring your creative side, all while probing their usual collections! Henry Moore is also open after a closure of nearly five months and their sculptures, linked to the City Gallery by an archway, despite being a bit more highbrow, are well done. However, if you are quarantining, fear not: you can still conduct a virtual visit of exhibitions including Paloma Varga Veisz’s Bumped Body to fulfil your arty needs. 

Image Credits: (clockwise left to right): Henry Moore Foundation, Leeds Art Gallery, Visit Leeds, Leeds Playhouse, hydeparkbookclub.co.uk, The Gryphon 

Da 5 Bloods Review: Spike Lee does not quite strike gold

Owen Frost on 22 July 2020

The latest Spike Lee “Joint” arrived on Netflix on June 12th, off the back of Lee’s 2018 critical success with BlacKkKlansman. Da 5 Bloods is Lee’s return to satirical form with focus on African American GI experience in the reprehensible Vietnam War. Da 5 Bloods unflinchingly portrays the African American experience, challenging the traditional representation of the Black ‘buddy’ characters in war films – showcasing a diverse range of antagonistic African American characters. It stars Delroy Lindo, Clarke Peters, Isiah Whitlock Jr. and Norm Lewis as the four African American veterans on a pilgrimage to search for fellow GI Stormin’ Norman’s (Chadwick Boseman) remains along with their ulterior motive: searching for the gold he helped them bury. Most of the action sequences take place in the traditionally inhospitably depicted jungle and despite a promising start, Da 5 Bloods contains some questionable Vietnamese portrayals.

History is a powerful tool to provoke modern day action. This has never been truer than recently, with Edward Colston’s statue in Bristol and many other contentious commemorations being symbolically torn down across the globe. Significantly, Lee repeats his auteur technique of peppering Da 5 Bloods with historic documentary footage and does not falter in educating audiences on famous historic Black Americans including Milton L. Olive III – the first African American to receive the Medal of Honour for his sacrifice in Vietnam. As the aspect ratio alterations cleverly shift from the twentieth century to the modern era, the beginning of Da 5 Bloods morphs from the volatile sixties to the equally troublesome contemporary climate. 

The Hanoi Hannah (Ngo Thanh Van) character also advances Lee’s cultural critique of American history’s disregard of the African American GI experience. Her northern Vietnamese propaganda targets the Black American GIs, speaking to their exploitation during the war. Lee also digs at Hollywood’s whitewashing of the Vietnam experience in films such as propagandic The Green Berets, while also dedicating homage to select Vietnam war films such as Francis Ford Coppola’s Apocalypse Now and Oliver Stone’s Platoon. The Marvin Gaye soundtrack along with the ironically heroic orchestral score makes audiences question the role whitewashed war movies have on the movie-going public.

Da 5 Bloods bubbles up violently in places with the four antiheroes either being shot at, blown up or chased in equal measure. It also features Lee’s iconic trope of the impassioned fourth wall breaking monologue, rampant with racially charged rhetoric about injustice symbolically relevant in the modern context. Paul’s speech parallels Mookie’s monologue in Lee’s seminal Do The Right Thing. 

Chadwick Boseman in Da 5 Bloods, (Image Credit: Insider)

The flashbacks to the war through Newton Thomas Sigel’s 16mm lens are enticing, despite Lee’s inability to de-age his main stars next to the youthful Chadwick Boseman. This was a feat that Scorsese’s enormous Netflix debut The Irishman, with its whopping $160 million budget, capitalised on. 

However, despite these praiseworthy moments of Lee excitement, the Vietnamese characterisation is underwhelming in this venture. Otis’ Vietnamese ex-lover that fathered his daughter is underexplored and the Vietcong soldiers are often simplistically portrayed as cannon fodder to be peppered by bullets. 

I found myself longing for a film that belonged more tonally to the first half than the second half’s caper which felt more like a version of The Treasure of the Sierra Madre. After the initially promising start which represented America’s entrenched geopolitical misconduct in Vietnam, this all felt disappointing.  

While Lee touches well upon the racist experience that the disproportionate number of African American GIs in Vietnam experienced, and his use of historical documentary and iconic tropes resonate with today’s “Black Lives Matter” debate, the film’s two separate parts felt disjointed. This paired with the questionable depiction of the Vietnamese population detracts from the film’s appeal. 

Da 5 Bloods is available to stream on Netflix now.

Rating: 3/5 

Image Credit: David Lee, Netflix