Our first addition to this Sound Selection is by Little Dragon who present us with their electro-pop hit ‘Lover Chanting. This song is also accompanied by a brilliant music video which will have you hooked for weeks to come. The song comes from their upcoming EP ‘Lover Chanting’, which is due to be released on the 9th of November.
Leonie Kingdom ‘So Much More’
Our second and this final song of this Sound Selection is by Leonie Kingdom named ‘So Much More.’ In this magical piece, the highly-gifted, Leonie Kingdom showcases her ear-pleasing and enchanting vocals that will take you on a journey and beyond. With this song released, we are excited to see what is next for Leonie Kingdom.
Craig McDonald-Kelly, a highly-gifted actor and co-founder of Deadline Films, joined me for an interview to talk about acting, film and culture.
Hi, how are you?
Hello! I’m fan-dabby-dozy! And you?
I’m very well, thank you! So, how did you get into acting and how did your love for film come about?
I originally wanted to join the army. I started the training but decided to go to college when I turned 18. I was always a big funny idiot. The kind of kid who would do anything for a laugh. Mostly things that involved being stupid and often injuring myself in some way. I love entertaining people and making them laugh. I then went to film school in New York and started making money from acting. Only then did I think “Holy shit, I can do this for a living!”
You’ve moved from Scotland to New York and then to London, how did that all happen?
Luck and timing. After college, I started auditioning for drama schools. I auditioned for NYCDA in New York not thinking I had a chance. A few months later I got a call saying I’m in! With a $4,000 scholarship too! After four years in New York, my visa was up so I decided to move to London.
What inspires you to create and act?
Many things. The feeling a good TV show gives you. Or an amazing moment in a film that’ll make you cry or burst out laughing. The connections you make with characters that sometimes last your entire life. I want to bring joy, and the challenging questions to people through my acting like others have done for me. I’m so much of who I am because of this art. I love it, and I want to give something back.
Do you have any projects you are working on at the moment?
I’m just back from Luxembourg where I was shooting feature film ‘Marionette’. I’m working on my own first feature film with Deadline Films at the moment called Sacrifices. Based on the Harvey Weinstein scandal. I’ve also got a few short films doing the rounds at film festivals. Mainly Deadline Film’s debut ‘Hangover Food’ and my most recent short ‘Man-tis!’ a brilliant modern comedy/horror film by Chris Stewardson.
“I’m so much of who I am because of this art. I love it, and I want to give something back.”
That’s a lot of exciting projects! If you could give any advice to any aspiring actors or filmmakers what would it be?
Do everything you can. Even the shit stuff. Especially the shit stuff starting out. You learn so much from good directors and good actors as well as the bad ones. That and don’t expect it to come easy. Get strapped in for the long haul.
How did Deadline Films come about?
It started in September 2017 when myself and my David Hepburn hit a lull in our auditions. So, we decided to make some calls and make something. A director I worked with a few years back, Ross McGowan, had just moved back to London. We met up for some drinks, and he had this great idea about a guy who’s had a hangover that wasn’t a hangover at all, but a transformation into a vampire. We took that idea and wrote a script for it and shot it over a weekend at our flat. It only worked because we set deadlines for ourselves on script/cast/shoot dates etc. We had the fire burning under our ass’, and that really makes you move.
What are the challenges of running a collective like Deadline Films?
It’s funny because the challenges are the same as what made it work so well in the first place. It’s the deadlines. Once we’ve got one film up and running we have to put more work and effort into it, but at the same time we want to continue making films, but the more we make, the less time we have to make more. We are getting a handle on it now, figuring out where best to put our energy. It’s all a big sexy process.
Our final question, what is your definition of culture?
I think it’s like style and fashion; it changes depending on where you are what your lifestyle is. Culture is a more permanent thing though. Styles will come and go, but culture will evolve and not lose any of its roots. It’s important to remember what cultures we’ve come from and what we hope to bring to culture for the future.
Less than a week out from the global release of Red Dead Redemption 2 at this point and hype is reaching levels that only Rockstar can generate. While we expect a lot, and hope for a few hilarious but ultimately harmless glitches like we saw in RDR 1, not all is well in the land of Rockstar Games.
For those unaware about how the creation of video games works, there is a common issue which comes about when a big game is approaching release. With a set release date, the changing of which could cost millions of dollars, those developers underprepared or poorly budgeted for time enter what is known as the crunch. During this period, staff will be required to work enormous and inhumane hours, putting a huge amount of stress on their health and personal lives.
With a recent report from Vulture, VP at Rockstar Games Dan Houser dropped a casual bomb that some staff were working 100 hour weeks in the lead-up to the release of what we do not doubt will be an amazing game. The problem is that for many of us, the ends don’t justify the means. With other reports over the years of poor working conditions from Rockstar over similar crunch periods, there has been backlash at the company for touting something which is actively harmful to their artists.
At least we can hope that this finally pushes the unionization of workers in the gaming industry into action. Happier and healthier workers perform better, after all, and nobody deserves to have their lives suffer from terrible working conditions.
Rocket League Crossplay Coming
With Sony finally coming to their senses with the opportunity of the PS4 to crossplay, we have a bunch of new developers getting around to opening their games up to these new opportunities. Recently announced here was that the worldwide phenomenon of Rocket League will become PS4 crossplay compatible sometime early in 2019. Already available over PC, Xbox, and Switch, a game this popular is certainly not wanting for a player-base, but we’re glad to see it making the jump all the same.
“Gamers In Beta Podcast 112: Ball Cam Tog” (CC BY 2.0) by BagoGames
Marvel vs Capcom 4?
Marvel vs Capcom is one of the most celebrated series in gaming and is top of the list for many hardcore players when it comes to competitive fighting games. Unfortunately, the most recent release of Marvel vs Capcom Infinite was a little less than well-received. While the actual gameplay itself is often well-regarded, the ugly graphics and poor roster set it as a definite disappointment among a highly competitive market.
Maximillian Dood, well-regarded content creator for the fighting game community has a more in-depth look here, for any interested.
With this failure, many feared that the series as a whole might never see another release, especially given Capcom’s less than stellar performance over the last few years. Rumors have begun to circulate, however, that there could very well be an expansion or direct sequel in the works.
Probably the biggest aid here, if the rumors are indeed true, is that Marvel has again acquired the right to use X-Men in film and gaming media. As these were some of the staples and the strongest characters in previous versions of the game, which were much missed from MvCI, the return of the likes of Magneto, Storm, and Wolverine could alone prove to be a huge selling point for a fan base still eager for more.
Microtransactions Continue their Unstoppable March
Like them or hate them (we’re firmly in the latter group) microtransactions are here to stay. In fact, two of the biggest names in the gaming industry, EA and Activision, have seen such an enormous growth through their (vomit) ‘games as a service’ model that future heavy reliance on these not-at-all micro systems is not a possibility, it’s an inevitability.
Since 2012, EA’s use of these systems has seen their market value rise from $4 billion to $33 billion, with Activision Blizzard seeing their worth increase from around $10 billion to $60 billion during the same period. Despite their overreaching, despite the fans overwhelmingly speaking out against what are often manipulative practices designed to take advantage of people with gambling addiction, these systems will continue, and their negative effect on their included games as a whole will continue.
Full-priced games with free-to-play economies are here to stay, so be sure to vote with your wallet whenever possible, and don’t go to bat for those who seek to exploit you. Another Battlefront 2 fiasco is just a matter of time, of that you can be certain.
Now then, if you’ll excuse us, we’ll keep waiting until Friday.
The first song to enter this edition of Sound Slection is by previously featured Alexander Vincent named ‘Free Myself.’ In this latest piece, Vincent showcases his signature vocals that have become known for their pure and ear-pleasing tone. With ‘Free Myself’ released, as always, we are excited to see what is next for Vincent.
Klahr ‘Falling In Love’
By shifting our frequencies, we have a vivid track by Klahr named ‘Falling In Love,’ which drives on its disco-type vibe and flourishing production that will have you on your feet from the get-go. Talking about the song Klahr said “I came across the vocal sample in the Salsoul catalogue, the message was simple and resonated with me. This song is really personal to me and I hope people get something from it.”
La Fine Equipe & Fakear ‘5th Season’
Our final song on this Sound Selection is by La Fine Equipe & Fakear named ‘5th Season.’ In this electronica filled bliss of a song, La Fine Equipe & Fakear display a wave of striking synths, endlessly-playable samples and a vibe that will transcendent you beyond the ordinary music experience.
Remember when we wrote about Sony being one of the last major hurdles in cross-platform gaming? Well, now they appear to have finally given in, opening up their system to exactly what fans have been asking for. Apparently pushed by the popularity of Fortnite, and the poor PR which resulted from their stubborn attitude, Sony is currently in the process of beta-testing their systems in preparation for a later full-launch.
While this is predicted to cover a great many more games than just the singular Fortnite, the exact range and date of the inclusion of other games are so far unknown.
Of course, their statement regarding the reasons why this has come about directly contradicts their earlier claims and professed reasoning, but this should come as no surprise. They gambled, they lost, and now they try to save face while carrying an air of magnanimousness.
It’s a positive development, for sure, but it doesn’t excuse their behavior. If Sony could have gotten away with this particular brand of anti-consumer practices then they would have. No, I don’t expect to ever receive review copies of games from Sony for free, why do you ask?
Assassins Greed
Cliché, believe me, I know, but no less accurate. Ubisoft’s latest entry in the Assassins Creed franchise has been generally well received. Unfortunately, and as usual, the best efforts of their immensely talented developers have been undercut significantly by the desires of the more profit-driven arm.
Make no mistake, the game is good, at least for those who didn’t mind the change of combat system which came about with Origins. For those frustrated at the increasing tendency of major publishers to push microtransactions, however, the game is yet another step deeper into the mud.
Another full-priced game with free-to-play monetization systems. Another step towards normalization, and another amazing series rotting away to uncontained avarice.
Telltale games have made a name for themselves over the last decade with a handful of much-loved story-driven adventure games. Most popular among these include The Walking Dead and Tales from the Borderlands.
Having laid off around 90% of their staff in late September, Telltale sees itself circling the drain while the last few of its properties struggle to escape development limbo. This includes Minecraft: Story Mode, and the long-running and most popular The Walking Dead, now on its final season.
What we do know is that at least TWD has changed hands, with Skybound Entertainment tasked with finishing up the final two chapters. We’d hate to see such promise and legacy go to waste, so here’s hoping Skybound has what it takes to finish one of the best adventure series to come out of gaming in the last decade.
Fortnite Supporting Creators
The relationship of games and their fans has never been as strong as it is today. This can take many shapes, from the rise and now established field of Twitch streamers, to content creators, and third-party game fixers. Now fans contribute a great deal to helping popularize the games they love, and developers and publishers appear to finally be coming around to understanding and supporting this.
As an example, developers over at Fortnite have revealed their intentions for a new “Support-A-Creator” event. Starting October 8, and until year end, fans can add a tag indicating their favorite community icons. During this period anything bought within the shop will contribute towards earning money for these community members. This means that some players and content creators will be able to profit off their contributions to the ongoing dominance of Fortnite.
While we would like to see this taking shape into paying PC users who fix various game problems which the developers ignored (as we touched on with Dark Souls), we do appreciate this progress and the forward momentum which we hope it represents.
System Shock Returns, Again
The System Shock series, despite only having two main entries to its name, is one of the biggest in gaming. Both in terms of long-term fan interest and ongoing gaming legacy, these games have accomplished what few could ever hope. While there have been a few attempts to carry this heritage, most popularly with the Bioshock series, and most recently with the excellent Prey and its DLC, nothing ever quite inspired us like the originals.
When fans learned that Nightdive Studios was developing a System Shock 1 remake, the hype was predictably high. Like many fan-lead remakes, however, inexperience and a ballooning budget led the game continuously further off-course. Fans wanted something closer to a direct remake. What they would end up getting promised was a reimagining. This caused a schism within both the developers and the community until Nightdive halted the project to reexamine their path.
Now back to their original and more faithful vision, Nightdive has released some new footage of their latest alpha. Weird, angular, and far more accurate than their earlier efforts, this is one we will definitely keep an eye on.
Brett Kern a USA based artist creates custom balloon dinosaurs.
Kerns particular combination of dinosaurs and balloons make for funky toylike objects. His balloons are infused with a very decorative and clean aesthetic due to its high-quality finish and nature of his work making it that much more exceptional.
Lam makes a statement with his track ‘The Finest.’
Lamarr Spencer, also known under his music alias as Lam, has presented us with one of his latest projects ‘The Finest,’ which features production from Secret Stash. The track comes after the release of his five-track debut EP ‘Pay Attention,’ which features songs such as ‘The Boy.’, ‘New Aesthetic’ and ‘Honesty.’
While Lam is a reasonably new rapper on the scene, he brings a wave of individuality and distinctiveness with his music which is lacking in the broader sphere of music. With ‘The Finest’ shared, we are excited to see what is next for Lam.
Robin F. Williamsan artist based in New York creates striking, saturated paintings with funky poses and nudity.
Williams paintings appear striking at first glance with their rich saturated colours and seemingly intended, edgy themes. Whether it’s hiding a face in a portrait with hair, themes of nudity, bizarre modelling positions or even severe sunburn effects in her subjects, it seems Robin F. Williams is not afraid of trying to break the conventional. Probably the most notable signature details throughout her paintings are the girls wearing sunglasses which gives a cool aura of not giving a f*ck.
From its showing at the BFI London Film Festival, Panos Cosmatos’ Mandy is something else. It’s as if Mad Max (1979) was a video nasty, showcasing an artistic flare unlike anything in cinemas today. Its visuals are sublime, its brutality is striking, and its moments of humour are wickedly funny.
Set in 1983, Mandy (Andrea Riseborough) lives in the woods with her logger boyfriend Red (Nicolas Cage), where she draws and sketches. They lead a quiet life together, one of clear and deep affection for each other. When out walking in the woods, Mandy is seen by Jeremiah Sand (Linus Roache), an enigmatic Manson-esque cult leader, and his followers. Sand is immediately obsessed with her, and commands his obedient devotees to abduct her. To do so, Sand’s cult turns to a demonic group of leather-clad not-quite-human bikers who carry out the abduction with a ferocity befitting an early-80s slasher. What ensues awakens the proverbial sleeping giant in Red as he loses all ties to sanity in his quest for vengeance.
Andrea Riseborough plays the hypnotic Mandy.
Mandy exhibits a very simple narrative; practically that of Mad Max but presented with the visceral quality of Wes Craven’s Last House on the Left (1972). But make no mistake; the simplicity of the narrative is one of the film’s hidden strengths. The audience is able to very quickly grasp the parameters of the story, enabling the film’s astounding visuals to amaze without distracting from one’s understanding of the plot.
This simplicity also provides a broad canvas on which the cast can flesh out their characters. Much of their depth is communicated through the visual, and Cosmatos exhibits an assertive command of the images he selects. Following a particularly harrowing ordeal, Red paces in his bathroom, covered in blood. Cosmatos doesn’t cut away, and we are forced to linger uncomfortably on Red’s anguish. Red’s personal horror is inescapable, and we are not permitted to look away. Extended shots like this are peppered throughout the film, and encourage us to really look at the character before us.
Nicolas Cage is wonderful as Red. Moments of reserved contemplation are juxtaposed to violent outbursts, and Cage beautifully performs a person whose experience has changed them irreversibly. At one moment we’re laughing at the absurdity of Cage’s brilliant facial expressions, the next we’re weeping with him. Red is a truly dynamic role for Cage.
Andrea Riseborough is remarkably hypnotic as Mandy, a person clearly haunted by their past, one that involved their father teaching them how to kill baby birds. Riseborough’s performance is melancholic and withdrawn, as if Mandy isn’t totally on our plane of existence. Again, the film’s visuals amplify this, as extended slow-motion shots of Mandy’s angelic gaze draw us into her otherworldliness.
Mandy’s gaze has a power of its own.
The bursts of wicked comedy work both to relieve us from the brutality of the proceedings, and to immerse us into the madness; our laughter taking us a step closer to Red’s mental destination.
The aforementioned bikers are horrifying. We’re unable to tell whether or not they’re actually human. Wearing masks that seem to blend with their very skin, and with voices one could scarcely call human, the bikers are a dark perversion of those seen in films like Mad Max 2: The Road Warrior (1981); perhaps more akin to Jason Voorhees than Lord Humungus.
The demonic biker gang.
Mandy’s colour palette is phenomenal. The film is gorgeous to look at; shots are bathed in blood reds and the intense film grain lends a dream-like quality that often slips into nightmare. Complementing this is a selection of animated sequences throughout the film (including a striking vision of a naked woman emerging from behind the carcass of a huge bear-like animal). These sequences communicate both despair and beauty in a similar manner to those seen in Yoshimitsu Banno’s Godzilla vs. Hedorah (1971). Indeed, much like those in Hedorah, the initial delight one feels at their appearance quickly gives way to unease and revulsion at what the present and mean.
Mandy also feels very authentic to its 1980s setting in a manner that seems more genuine than other current ‘80s throwbacks. Netflix’s Stranger Things is highly entertaining, but its ‘80s nostalgia is largely achieved through visual or dialogue based references. Mandy feels closer to an ‘80s product in its very construction. It’s true that in one scene Mandy and Red are watching 1982’s Nightbeast on their TV (a visual reference), but the ’80s authenticity comes from elements such as the practical makeup and gore effects, the costume design, the fictional book that Mandy reads (a perfect pastiche of ’80s fantasy novels), and the hilarious Cheddar Goblin advert – whose presentation is so authentic that this critic wasn’t aware it was fictional for a good thirty seconds before clocking the joke!
Mandy is indeed something else. It is an experience unlike anything else in release. Panos Cosmatos has constructed a surreal horror, at once repulsive and beautiful. With its simple story told through vivid, nightmarish visuals, Mandy is sure to become a cult favourite all of its own.
Entering with an upsurge of euphonious sound and stunning vocals is the highly-gifted Celeste with her latest song ‘Both Sides of The Moon.’ With a honeyed voice that will keep you listening for months to come, we are sure to hear more from Celeste in the months to come.
Beacon ‘On Ice’
Another great addition to this Sound Selection is by Beacon named ‘On Ice.’ In this richly-produced song, the terrific duo behind Beacon once again showcases their refined sound that is prominent throughout their well-respected discography. This one is for the playlists.
Alexandra Stréliski ‘Overturn’
The last song on our Sound Selection is by the wonderful Alexandra Stréliski who brings us a wave of emotions in a mellow composition that will have one’s heart shifting with its delicate melody. The song also is accompanied by an artistic music video, which takes influence from the late Russian film director Andrei Tarkovsky.
