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 Wet

Wet is a stylish shooter from Bethesda Softworks where you play as assassin Rubi Malone. The game features acrobatic diving, shooting and sword play. Wet has a insane body count and a blood soaked story that spans from America to Japan. The game feels like a B movie with its 70's inspired sound track and has the voice talent of Eliza Dushku, Malcolm McDowell and Alan Cumming.

Game play is very fast and and there are plenty of new skills for Rubi to learn and new weapons for her to master. As Rubi dual wields everything but her sword she can fire at multiple targets. This works well with you aiming at one and auto-targeting the other racking up the bonus points. I loved being rewarded for racking up points with fast, consistent and stylish kills, on that note I have to mention rage mode where everything goes crazy and you literally see red. When this happens its time to kill absolutely everything that moves as fast as you can!

The highlight has to be jumping from car to car on a freeway shooting in slow motion, But falling from a exploded plane with no parachute while filling enemies full of lead comes a close second. After playing this game honestly felt if they could make films with this much action I might get off my 360 and go to the cinema. Wet is out on the 360 and the PS3 now.
 AC/DC Wembley Stadium 26th June 2009

Despite their having been a staple of the summertime schedule since the 1970s, forking out the extra cash to witness a stadium rock show is still a risky business. Perhaps the ultimate statement of musical excess, large capacity gigs can, at their worst, represent the death knell for dinosaur acts struggling to muster up their former potency, with performances that leave the attendant audiences cold, distant and wanting for home. At their best however, stadium shows are quasi-religious experiences, congregation and artist alike enraptured in the sheer volume of capacity and music, where, as the mighty Zeppelin once mused "all are one, and one is all". Fortunately, AC/DC's appearance at Wembley Stadium proves to be the latter in the most glorious way possible.

Physically, in rock and roll terms, AC/DC should be well past their prime. Indeed, they are probably one of the oldest touring bands still on the circuit, with members pushing 60 years old. But as Rock and Roll Train erupts onto the stage (literally represented by a giant train crashing through the wall of Marshall cabs positioned behind the group), the only indication of the Scots/Aussie rockers' near pensioner status is some lines on faces and guitarist Angus Young's receding hairline. The aforementioned axe-man must be on crack cocaine – it's the only plausible explanation for his ridiculous amount of energy which never shows signs of flagging throughout the two and a quarter hour marathon set of all the band’s greatest numbers.


Jumping from Thunderstruck to Back in Black to Dirty Deeds… to Whole Lotta Rosie with fantastic frequency, it would seem that the rockers are trying to destroy the vocal chords of all in attendance. One cannot help sing along until lungs give out and the set never lags long enough to make a trip to the beer tent worthwhile. Material from the band's latest offering Black Ice fits comfortably into the greatest hits track list with unfamiliar numbers such as War Machine being boosted by some wonderfully cheesy backing videos complete with a schoolboy sleaze which seems all too appropriate in the throngs of the sweaty masses.


By the time that the band gets around to Let There Be Rock, AC/DC's performance has stopped being a gig to the reverent mass of 100,000 pilgrims. It has become a sermon from the book of rock, with Brian Johnson cast as a wild preacher and Angus Young as the devil that sits on his shoulder. Arms held to the sky, the flock pledges their souls to rock and roll. Angus responds with a twenty minute guitar solo undertaken from a platform in the middle of the arena, his sweat flowing like communion wine, drenching the scared robes of his school uniform. Eyes are riveted.


For Those About To Rock ends the proceedings, complete with a 21 gun salute which aptly sums up the feeling running through the crowd. AC/DC are rock royalty, gods in the purest sense of the word. Any doubters left in the audience after the band's display tonight either do not have a soul to sell, or sold it to the wrong messiah a long time ago.

Words > Alec Plowman
 Jamie T

Cambridge Junction
12th June 2009

To say tonight's gig leaves a little excitement hanging in the air would probably be the biggest understatement you will hear in your life. The crowd at The Junction are squashed tighter than a tin of sardines, and the temperature down the front is soaring. Enter Jamie T. The Wimbledon scallywag swaggers onto the stage, beer in hand, selfish sons (his backing band) in tow, to the kind of applause I haven't seen since R.A.T.M played Reading Festival last year. This is LOUD! Straight into his cult classic, British Intelligence, Jamie T manages to whip the crowd into an almost hysteric frenzy. Then there's Back in the Game, Calm Down Dearest and a whole host of delights from his magical one-man-band debut album Panic Prevention.

Tonight's gig sees Jamie switching from his trademark bass guitar, back to guitar, then back to the mic for some more slick street wit spits, time after time. It's as if he was born to run amok on stage. Sprinkled heavily with tracks from his as-yet, untitled sophomore album, the crowd interaction is at an all time Jamie T. high. "Thanks for jamming along to the new ones, we hardly even know them yet," he smirks down the mic, before pulling one lucky punter out of the crowd for a duet on his most popular track, Sheila. With a gig nearly an hour and a half long, a complete run down of Panic Prevention the new album, and jokes in all the right places, Jamie truly is on top form, as the crowd of chanting, euphoric punters prove as they sing the lyrics to the best tracks of tonight's show, arm in arm, into the Cambridge night.

Words > Jan Van Riebeek
 A Hawk and a Hacksaw

Norwich Arts Centre
25 June 2009

Despite hailing from the likes of Albuquerque, New Mexico, A Hawk and A Hacksaw (AHAAH) are clearly heavily influenced by the music of Eastern Europe. They may seem like they are a long way from home playing at the Norwich Arts Centre, however their one of a kind sound was eagerly observed by a huge crowd, who were more than happy to get involved in the festivities.

Although they have a predisposition to the time-honoured traditions of Eastern Europe, AHAAH have created their own unique sound using traditional instruments and enlisting traditional musicians from Hungary such as Ferenc Kovacs and British bouzouki player Chris Hladowski.

Their musical journey has taken them to, amongst other places, Hungary, Romania and Turkey and Jeremy Barnes (accordion, vocals and percussion and previously the drummer of Neutral Milk Hotel) and Heather Trost (violin and vocals) have certainly picked up a few tricks along the way. In addition to the long-established sounds of the accordion and violin, three other musicians, playing the tuba, trumpet and bouzouki, back up Jeremy and Heather to create a wholesome and warm musical experience. Some unusual instruments came out too, played by Trost, the Stroh violin was brought back to life again and created a strange yet delightful sound, which was as exciting to watch as it was to hear.

Having just released Délivrance back in May, AHAAH played a mixture of old and new tracks that displayed perfectly the wonderful experiment of fusing traditional Eastern European sounds with a contemporary twist.

I had seen AHAAH last year when they performed at the ATP festival in Minehead and was afraid their music would not translate on such as big stage. However much of the crowd was dancing with each other to music that even brought strangers together.

Despite the fact that I am not usually a folk music lover, I found myself sucked into the energetic show that was put before me. The magical songs swirled and as they did so, the band began to move off the stage towards the crowd. As their instruments did not have to be amplified, the band weaved their way through the unsuspecting fans and stopped in the middle where the people around them cheered and danced along with them. Several tracks were played acoustically, which provided a superb end to the set

This was absolutely brilliant to be apart of, as it really immersed me in the music and made me think I was in a traditional Hungarian bar and not in Norwich. I was surprised the see the Norwich folk getting so involved, as this American band were playing music that a British audience would have little reference to. I felt this embodied what folk music is all about, bringing people together and giving a sense of culture and community.

Words > Joanna Page
Photo > Katie Utting
 Paul Weller

Thetford Forest
June 5 2009

Tonight's mix of businessmen, aging hippies and younger Indie kids is a strange one. It's not usual to see these types of people all in the same place at the same time, enjoying each others company. But maybe that's what makes Weller so appealing. Even after Thirty years the modfather has still got it. At tonight's Thetford Forest show, in a sea of recyclable beer cups and scrunched up picnic blankets, there breathes an air of anticipation from all corners of this patchwork piney heathland. The show for the Forestry Commission sees Weller coming out more snappily dressed than Vince Noir in 'king of the mods' to hundreds of happy faces. Along with hits like Changing man, Peacock Suit and Wild Wood, Weller easily fires off winners from his brilliant back catalogue, with tracks from albums like Heavy Soul, Stanley Road, Illumination, and last years UK #1, 22 Dreams.

For nearly a full two hours, Weller doesn't even seem to break the slightest of sweats: performing in front of a few hundred expectant fans he cracks out some of the all time Jam big guns. Eton Rifles goes down an absolute storm, as does the legendary Town Called Malice. Hit after tumultuous hit, Weller has the front half of the crowd clinging dearly to his every whim, empty cider cups being swayed drunkenly above their heads, whilst even those standing right at the very back are dancing in groups, right until the last chord rings though on perfect set closer, That's Entertainment. It surely is.

Words > Tobias Rockafella
 Pulled Apart by Horses

Norwich Arts Centre
12 June 2009

Take a warm, sunny summers days, Norwich Arts Centre, and Leeds four piece Pulled Apart By Horses and what is created? A show so packed full of excitement and liveliness that it's hard to digest its full glory. After reading the hype surrounding this band I was expecting an exploding performance, and in pre-Download spirits they certainly did not disappoint. Performing to a tiny audience, this band set out to prove that they are a far bigger type of player.

After support The Uh Ohs, the crowd is certainly set for a stormy show from the Leeds band, with a perfect mixture of intoxication and excitement, this is an Arts Centre performance to be remembered. With only a small handful of songs to play, such as I Punched A Lion In The Throat and Meat Balloon with passionate screams of 'Awesome' in overload, it seems as if tonight this band are on fire. What this band achieve, however, is something special in its own right, unlike a lot of bands who have shared this arts centre stage they completely break down the barrier between artist and audience, jumping into the crowd, joining in the evolving mosh pit and simply having a good time with the people who came to see them play. Not to mention the friendly chatter between each song, and the stage intrusion of his girlfriend playing guitar. Therefore after this gig there is only one finalised opinion I can have on this band: they are extremely energetic, fiery and just down right pleasant.

Words/Photo > Rhian Brighton
 Baddies

Norwich Arts Centre - 17 June 09

The lights dim upon the stage filled with vintage Fender amps, as Southend's Baddies climb aboard with their trademark matching attire of light blue shirts and black jeans. They come onstage to a greeting of mixed interest: For the first two bands, the crowd have spent most of the night hitting in to each other and raising general havoc on the arts centre floor, but for a band that's only released two singles, and are not from the area, tonight's show could go two very opposite ways. Luckily for Baddies it seems the deities of Indie rock are smiling down on them, as the crowd erupt almost instantly in time with the first chord. After playing the first few tracks of the set from their soon-to-be-released debut album, Do the Job, the band have really whipped the crowd up, as bodies hurtle around the dance floor. Their fast and sharp Indie sound stays at constant pace as the crowd continue to plough into the unsuspecting spectators watching from the sidelines. Michael Webster riles up the crowd in between his staccato vocals; calling for more applause, while the crowd call them to reciprocate with more songs. After playing the familiar singles 'Battleships' and 'Holler for my Holiday', the disorderly youth of the crowd move their party into a stage invasion during the last song; which leaves the band nothing left to do but take to the dance floor, sans instruments.

Words > Matthew 'Dungeons' Bunkell
pic > Rhian Brighton
 Manic Street Preachers - Camden Roundhouse - 30 May

The release of Journal For Plague Lovers two weeks ago, the first Manics album to feature the words of Richey Edwards since the lyricist's disappearance in 1995, has been heralded by many as a return to form for the Welsh rockers. Indeed, while Plague Lovers is an undeniable triumph, it does raise problems for the band with regard to the live arena. How does a record of unflinching, lo-fi and dementedly melancholic numbers fit into the set of a band whose latter (and most commercially successful) career has been defined by pop/rock anthems and accessible, radio friendly singles? The question is quickly answered as a feverent crowd packs into the Roundhouse; the venue where the video for the group's signature single A Design For Life was filmed thirteen years ago. An announcement over the PA reveals that the Manics will be playing two sets tonight. The first; Journal For Plague Lovers in its entirety, the second, the emcee promises is a set of "all your favourites".

An ominous bass line rumbles through the circular music hall as the house lights dim. James Dean Bradfield's buzz saw guitar and Sean Moore's battering ram drumming cut through the lower frequencies. Peeled Apples kicks and screams its way into the venue, losing none of the visceral, stripped-down production of the record and stirring the faithful fans camped at the front of the Roundhouse into a frenzy. It is just the three Preachers on stage. The additional guitarist and keyboardist usually camped to the left of the drum riser are absent and the new material sounds all the better for it; raw, lean and full of bite. However, extra musicians are on hand by the time This Joke Sport Severed appears, in the form of a string quartet that reproduces the arrangements on the record to admirable effect. Album highlights such as Me and Steven Hawking and She Bathed Herself in a Bath of Bleach translate remarkably well to the live arena, and the band onstage appears less as a trio of forty year old rock veterans than a vital, energetic and strikingly relevant juggernaut.

The Plague Lovers set over and there is a brief intermission before the band bursts back onto the stage with Motorcycle Emptiness, a cut which seems as fresh tonight as upon its release in 1992. Opening the second set with a one two punch, 2007's Your Love Alone Is Not Enough swiftly follows. The supporting musicians, absent from the first set, are this time on hand, giving tracks such as Tsunami and No Surface, All Feeling a fuller sonic quality which would seem equally at home in a stadium setting. It would almost seem that the Manics are playing it safe in the second half, after the risky strategy of the full performance of the latest album. The track listing plays out like a greatest hits selection, focusing primarily on cuts from Everything Must Go and This Is My Truth..., the group's pair of mid-nineties chart topping albums. Tracks from fan favourite and critics' choice The Holy Bible are noticeably absent and only Faster makes an appearance tonight. While the second set is certainly enjoyable, a few more interesting song choices might have been beneficial. Nonetheless, the return of the string quartet for rousing performances of Everything Must Go and A Design For Life allay any minor criticisms.

Tonight's set proves that the Manics are still an innovative, important and challenging group, despite their elder statesmen status. Indeed, while more risks might have been to the group's benefit in the second half of the show, the Plague Lovers set clearly showcases a band that has the live chops to lay waste to many young pretenders with a seeming effortless proficiency.

Words > Alec Plowman
 Philip Glass - Theatre Royal

Composer Philip Glass cuts a legendary figure in contemporary music, though his presence on the stage of the Theatre Royal, in what must surely be the high point of the Norfolk and Norwich Festival, was one of unassuming grace and modesty. Born in Baltimore in 1937, Glass studied for two years in Paris under Nadia Boulanger, earning money by transcribing Ravi Shankar's music into western notation. Since then Glass has written countless sonatas, operas and symphonies, but he is best known for his numerous scores for film, beginning in 1982 with Godfrey Reggio's groundbreaking poetic documentary Koyaanisqatsi: Life out of Balance, which set juxtaposed images of the natural world and the urban environment to Glass' typically expressive music.

Other notable film works include a long running collaboration with filmmaker Errol Morris starting with The Thin Blue Line (a piece from which he played tonight), Stephen Daldry's The Hours (for which he was nominated for an Oscar), Peter Weir's The Truman Show (in which he appears in a cameo) and Paul Schrader's masterful biopic of the controversial Japanese novelist Yukio Mishima, whose life of suppressed violent and sexual energies are reflected in Glass' score. Works by Glass even recently appeared in the Watchmen.

Categorised by many as a minimalist, Glass prefers to think of himself as a Classicist, and the closest comparison to him, for me, is perhaps early twentieth century French Impressionist Eric Satie, but filtered through the modernism of John Cage. The influence Glass has had on modern music is harder to detect but it is pervasive. There is even something of Glass' intensity in Ludovico Einaudi's style.

Like fellow film composer and pianist Michael Nyman, Glass' music is based on repetitive structures of intense flurries of keys, but despite the conceptual and often avant garde nature of his pieces, they contain surprisingly subtle depths and strong driving melodies - giving his music a hypnotic beauty. He composes the majority of his pieces in movements, each one building on or counterpointing the one before. Before playing pieces from the sixteen part series 'Etudes', which Glass conceived of as a way to explore various technical aspects of playing the piano, and therefore push his own abilities, he commented that the overall symphony should be thought of as a family of very different children. Although in another of his delightfully wry anecdotal introductions, he did admit that he had only managed to learn about ten of the sixteen, and was going to play between five and seven pieces. This should give a sense of the looseness of the programme, which only vaguely followed the schedule laid out in the programme. Like his playing, Glass is spontaneous and whimsical.

Words > Dean Bowman













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