Shocking Saturday: The Bay

What first intrigued me to watch this film was the trailer, and although many people are now sick to death of hand-held camera films, with there being so many out now. I still thoroughly enjoy them, mainly due to the fact that it seems more realistic, and it is good to see what film makers can create on camera in one of these movies, ‘Cloverfield’ set the bar pretty high. However seeing one with a lower budget is sometimes more enjoyable.the bay

Whereas with other films like this such as ‘The Blair Witch Project‘ which was a hand-held camera, and ‘REC’ which was a TV news camera, they stuck to just telling the story through those surrounding that single visual device. The Bay takes this genre to a new level, set in Maryland, USA, the film follows the story of what first seems like an infection, however ends up being something much more horrifying. After the ‘Independence Day’ celebrations, something begins to spread amongst the inhabitants of the town, causing people to become covered in legions, and in some instances, lose their tongues. Not giving any spoilers away here, it turns out to be something in the water, but by the time they realise, it is already too late. What makes the film different is that it is not just shot through the view of one camera, it begins with a news reporter explaining what happened in the town and then she begins to show different footage: from her news camera, a young girls iPhone, a police squad car, a doctor’s surgery room in the hospital and the office of the CDC.

Seeing the film shot from all these different angles will give you the impression that you’re actually watching a documentary rather than a horror film, adding a more real-life feel to it. All that was missing was David Attenborough’s velvety-tone voice over. Making it this way also gave director, Barry Levinson, the chance to show the terror from many different perspectives around the town, and the fear from various people as the outbreak got worse.

One of the creepiest bits has to be a couple of hours after the outbreak has happened. The news reporter and her camera man are standing over looking the pier where the pandemic started, the place has become deserted with no other signs of life visible. As she is trying to report what has happened to this once peaceful town, she stops talking and urges the camera man to listen. All around them in the distance, faint moans can be heard from the towns people in pain. Still at this point, the reason for this catastrophe is unknown, so the characters still have no idea what is happening, for all they know these people could be turning in to zombies.

From the beginning to the end, The Bay will have you on the edge of your seat trying to figure out, in a good way, what has happened to this town. When what is actually happening comes to light, it will definitely give you the chills. It delivered a few jumps, however the primary aspect of this film was the storyline. Mixed in with some great make-up and special effects made this picture an enjoyable watch, and one which hold a good place on my favourite horror films list.

Tagline: Panic Feeds On Fear

Horror Rating: (:-O) (:-O) (:-O)

Star Rating:

Garage Sessions (Hydroshima)

Although many students at Falmouth University may not know this, every now and then ‘Garage Sessions’ are set up to promote the talent and skills of certain courses at the university.
This time it is a collaboration of four different courses from Falmouth; Music, Photography, Radio and Drawing.

Tonight was a special session though, as the theme was based entirely on the blues-rock duo ‘Hydroshima’, who had to put on an exhibition for their course. For those who are not familiar with the band, they are Jacob McClennon and Tyla Haigh, an up-coming duo studying popular music; you can usually catch them playing around Falmouth.247745_10151909912353084_51250990_n
It was hard to imagine how many different artistic pieces there could be based around one band, but on entering it was obvious that the exhibitors were talented and imaginative enough to create an individual piece based on them. Each one relating to the band differently. All the work brought out different aspects of the band, whether it be: influences, style, instruments or the guys themselves.
Tonight isn’t just about visuals though, as the guests are treated to a specially made radio show, supplied by George Evans from Radio, which is played in the background throughout the night. The show consists of ‘Evans’ talking about the band’s history, among playing several of the duo’s tracks, songs which have influenced them and interviews with the boys. The show brought some humor with it, which really set the mood for tonight’s event.yes9
The first piece that I noticed, among the chilled atmosphere, were three charcoal drawings placed against a wall. They depicted the band’s rehearsal area, which also turns out to be their garage. The attention to detail was magnificent, especially because of the fact that they were done in charcoal, and, as I was later told by an enthusiastic Thea Hickling of whom the pieces belong to, they also included some spray paint. What really stood out was on one which showed McClennon’s guitar, at the bottom the ‘KILL’ sticker which he has on it was in red acrylic, and is the only part of colour on the drawings. That sticker has become a part of the band. So having it, crossed with the grey tone, shows the sombre feeling, with the occasional explosion, which the band give off.yes12
Right next to these is a piece which accentuates the bonding between these two Yorkshire lads, whether that be a sexual bond is for someone else to decide. A slightly tipsy Lucy Isaacs leaps over to explain how she created her work. Starting off with a photo which had been taken at this years ‘Masked Ball’. She drew the picture out in pencil, then put acetate over the top and drew over the lines in marker. Then for that extra jazzy look, she added green and red spray paint behind either side if the piece. That’s not all though, underneath are the bold lyrics “Grab the bull by the horns, I’m the feeling you can’t describe”. From ‘Close To The Bone’, giving viewers a slight insight into ‘Hydroshima’s’ song lyrics.exhibit 1
She then explains her feelings for tonight, “it’s exciting, you can feel the buzz. It’s something that you wouldn’t normally expect.” Before talking about what the exhibitors are getting out of tonight. “This should happen more often, the courses collaborating together. We’re helping one another out.”
Moving to the other side of the garage, I am greeted to a projection on the wall which is influenced by the band. George Baldwin is responsible for this silver glistening show, which is constantly changing between the name Hydroshima, McClennon’s face and Haigh’s face. The images are made up of small dots which dance around as they form the shapes, though it is hard to see with the sun shining. However once it gets dark, it looks quite mesmerising.
Although tonight is a much smaller turn out then the band had hoped for, in some ways it seems better because, as spectator Emma Collings puts it, “it’s better when there’s less people, you can hear the music and see the work better. It’s not as dark as it would be.”
Moving back to the work, on the same wall are pieces by Joel Hayden and James Gordon, both show the feeling of Hydroshima’s music through them. ‘Gordon’s’ dark, gritty images link to the industrial and raw sound which the band create and could definitely be used as an album cover or as part of a music video. His work also presents faint circles, something which the band have had in previous images.yes2
‘Hayden’s’ work was completely inspired by them as he worked with the band for a project in first year. Once again the feel of the explosive duo’s music style comes across in his images, with a mushroom cloud being present in each. One which suits the band so well, shows a mushroom cloud made out of tape emerging from a cassette.yes5
After some slight socialising and a few ciders, I wander over to the last pieces for this evening. The first I come to are from Laura McHugh, she has done three pieces for this evening. With the first one, ‘McHugh’ had the boys play for her, and then she drew them at different stages, first in pen and then in marker. The second piece is more elongated, sort of rectangle shaped, and “is a documentation of the movement, like a music video”. It seems to focus on a part of each member and then show them frame by frame. ‘McHugh’ explains her third piece, “the third one is from what I know about them, I made sure to get all their qualities and personality in there, such as Tyla’s cheeky grin.” She’s not wrong, if you know the band then you can see everything that goes into these guys is in this bit of work. Whether it be the ‘boozing, boozing, boozing’ sign, the ‘Big Dog Rivers’ t shirt, their names, the lyrics to four of their songs (Neutral, Uranium Fission, Mexican Death Song and Close To The Bone) or the fact that the drawings of McClennon and Haigh show them in their juju (The point when they’re truly being one with the music). The entire work screams Hydroshima.
exhibit 2
A small piece by Molly McBreen is next. It is a drawing in pen of the band, and, even though it is small, it still captures the essence of the lads. As it is from one of their most well known images.
Last, but not least, I get to the photography work of Annukka Havukumpu. Who has captured the duo, like Laura McHugh did, in different ways. Firstly there is a large image which was taken on a 35mm film camera at their first London gig, whilst they were bringing the thunder. The picture looks quite grainy, which goes well with the band’s raw image. ‘Havukumpu’ has also presented four polaroid photographs, one of McClennon, two of Haigh and one of a cat. The way that the polaroids look give a slight vintage tinge to the picture’s. How they are taken and what is in them shows the band for who they are. These guys aren’t trying to pose for the camera. It’s about the music, and if photographs get taken, then that’s a bonus. The white boarders of the polaroids also go with the large white sign in the bigger image.yes11
Tonight has been a real social event, not just to get people out to look at other’s work. Also to chill out with your mates and meet some new people, and that is what Charlie Jones, the man who puts on these Garage Sessions, wants it to be like. “It’s a good place where you can socialise and have a drink. There’s more enjoyment about it, as oppose to going to a gallery. You can socialise much better.” He then eagerly adds his hopes for the future of the Garage Sessions, “Friday is going out night, we want to get people into the loop of having Wednesday as the exhibition night.”
An enjoyable night which promoted talent from Music, Drawing, Radio and Photography.
Keep an eye out for more of these Garage Sessions, they happen every now and then and always showcase brilliant work.
For more information on Hydroshima and the exhibitors, click the links below:

Facebook Page
George Evans – Radio

Lucy Isaacs – Drawing
Laura McHugh – Drawing
Thea Hickling – Drawing
Molly McBreen – Drawing
George Baldwin – Drawing
Annukka Havukumpu – Photography
James Gordon – Photography
Joel Hayden – Photography
Joel Hayden Photography

Paramore – Paramore

Back with an album that packs a mighty punch and a few very questionable hairdos, is Paramore.

Over the past four years the pop/rock band have had many ups and downs, one of the major downs being the departure of the ‘Farro’ brothers, Josh and Zac, in 2010. Leaving a question on the minds of thousands of fans…’what will happen next?’

It is now clear that what was happening during this time was the reignition of the band, who decided to carry on as a trio; Hayley Williams, Taylor York and Jeremy Davis. The self-titled fourth album from Paramore had quite high expectations, it would determine if the trio could still bring the power which made Paramore. Thankfully, it does.Paramore (1)When a band has not put out a full album in this amount of time, then it is usually the first song that will determine if they are going to pull you in to enjoy the rest. Opening track ‘Fast In My Car’, does do this, not only does it feel like a classic Paramore song, but it also accentuates their new sound, by opening with a powerful riff which carries the song.

The album continues with Paramore’s new sound when hard-hitting ‘Now’ begins to play; the first single released from the album. When this track was released it was obvious that the band were trying to take their music in another direction, by adding a greater rock feel to it. It is quite easy to lose yourself to a constant head nod during ‘Now’, but when listening to the lyrics it seems as though it is about rebuilding Paramore from the ashes after the ‘Farro’ brothers exited, “we’re starting over, we’ll head back in. There’s a time and a place to die, but this ain’t it.” Screams – lead singer – Hayley Williams. However when talking to the rock magazine ‘Kerrang!’, she assured them that none of the songs had been written with the ‘Farro’ brothers in mind.

As the record continues it falls into classic Paramore, which is not a bad thing; songs like ‘Grow Up’, ‘Daydreaming’ and recently released single ‘Still Into You’, take what the fans know and love about the Paramore sound and crank it up a notch to a new level of catchy hooking quality.

Being, in a way, a new beginning for the band, it gives them a chance to try something new and different. This is exactly what they do with ‘Ain’t It Fun’, which starts off with funky guitar riff, beckoning a tune to get you moving. By the end your ears are treated to a massive gospel choir outro singing “don’t go cryin’, to your mama, ’cause you’re on your own in the real world.” with Hayley giving the classics ‘whao-ho-ho-ho-hooos’ over the top. This isn’t the only time on the album that the trio do something slightly different. Throughout the tracks there are three interludes, ‘Moving On’, ‘Holiday’ and ‘I’m Not Angry Anymore’, which bring along with them some catchy ukulele strumming.

A real treat for avid Paramore fans comes in the song ‘Part II’, which, anyone who has the band’s 2007 album ‘Riot’, will realise that it sounds very familiar to ‘Let The Flames Begin’. Well by now you probably will have guessed that ‘Part II’ is actually the second part to ‘Let The Flames Begin’. It takes the band back to their original sound and blasts out a chorus on par with the first part.

Songs like ‘Last Hope’, ‘Proof’ and ‘[One Of Those] Crazy Girls’ are the ones which will be getting the biggest sing-a-longs at concerts, they sound as though they were written to be screamed back at the band whilst playing live. The funky guitar riffs mixed with hooking choruses and meaningful lyrics make these three of the best songs on the album.

paramore.promo_.2The 17-track record is much longer than their previous albums, which usually stay at around 11 or 12 songs; but the quality does not fizzle out towards the end. However, being their big comeback album, it could have ended with more of a bang. Don’t get me wrong, there have been many great albums which have ended brilliantly with a slow-meaningful song, but those songs are usually amazing. The last track, ‘Future’, begins with some real potential to be great, it’s deep, catchy and relaxing, however after two verses the track turns to a repetitive instrumental outro which fades in and out for the next 3 minutes. This does not take away the fact that this is an album that met all the expectations though.

Paramore have once again proved that they still have the fight left in them, and that the departure of two members may have been the best thing to have happened to the band.

Listen to: Proof, Interlude: I’m Not Angry Anymore and [One Of Those] Crazy Girls.

The album ‘Paramore’ is out now.

The full track-listing is as follows:

Fast In My Car


Grow Up


Interlude: Moving On

Ain’t It Fun

Part II

Last Hope

Still Into You


Interlude: Holiday


Hate To See Your Heart Break

[One Of Those] Crazy Girls

Interlude: I’m Not Angry Anymore

Be Alone