Categories
Reviews

Gorillaz: The Mountain – Peak Music?

By Matt Lo

Gorillaz have always had a special place in my heart. Before finding them, my music taste was gray, dull and lacked substance (mostly just Heart radio hits). At the age of 14, I was first introduced to the band when a friend played On Melancholy Hill, a song that I still resonate with and remains my top pick out of any of their albums. I was instantly a fan – a fan of the music, a fan of the album, a fan of the four faces. For years I listened to their discography – enjoying each replay, the music aptly accompanied by the band members’ captivating stage personas. 

I must admit, I have not been dialed into their music in recent years. That is not to say their music crashed and burned, I had just personally moved onto the ‘hardcore light house’ playlist on Spotify by the age of 16. The albums following Plastic Beach were good. I enjoyed listening to the The Now Now and Cracker Island, but I felt something was missing – or was it something too familiar? 

Fast forward to 2025: I was excited to find out a new Gorillaz album was coming out. Caught with a tingling sensation in my belly that this album ‘could be their redemption’, like a sheep I jumped onto the pre-save queue. I’m happy to say, their newest project is certainly one to keep note of. For this album, Gorillaz went full method, travelling to locations like Delhi, Mumbai, and Varanasi, the spiritual capital of India. Prior to the album’s release, fans got a sneak peek of the music featured through their visually stunning animated short inspired by the Jungle Book, showing the characters journeying towards their destination. Their destination? You might ask – Death.   

In classic Gorillaz fashion, The Mountain is made with the purpose of conveying a central theme. This time, it’s rebirth and the afterlife. To talk about The Mountain, one must first mention the several artists that made this project come to life. Following the theme of death, the album includes various posthumous features, including contributions from Bobby Womack, Johnny Marr, Tony Allen, and more. These are all talents that have collaborated with Gorillaz on previous works, so it seems more than fitting to pay tribute to them in this manner. The first song and title track The Mountain, brings a fresh introduction to the album. Led by stunning sitar, this track brims with energy and life, prepping listeners for the inevitable reflective rollercoaster this album takes us on. The following track The Moon Cave brings listeners back to a sound fans are all too familiar with. Backboned by the beautiful vocals by Asha Puthli, Albarn brings back the electro disco music vibe that I once craved from Gorillaz. It wouldn’t be a Gorillaz album without a touch of political satire, exhibited brilliantly in The Happy Dictator, God of Lying, and Plastic Guru. These songs battle with political performativity, deception and ego, success and fame, all framed as part of a journey of self-reflection and acceptance, rejecting the commander of our actions. 

Gorillaz backs these songs with familiar sounds heard in previous iterations, bringing back nostalgic tunes reminiscent of Plastic Beach, this time led by strong sitar strings from Anoushka Shankar, foregrounding the central theme of spirituality and rebirth. Nods and references to other artists are littered throughout the album, however one stands out amongst the rest. “Goodnight, sweet prince”, a somber line spoken by Horatio during Hamlet’s final moments, makes an appearance in the second last track, The Sweet Prince. Like the play, this song is less about the fear of death but more about guidance in passing, reflecting on Albarn’s own experience with his father’s death. The last song brings us into the perspective of our creator, now mourning for what his creation has become. Black Thought delivers on awesome rapping throughout the song, with Albarn returning one last time: “You closed your eyes in paradise”.

When listening to The Mountain, I could not help but find myself with eyes closed engulfed in the music. Although I’m largely unfamiliar with the sitar, the strings work beautifully in this album to support such immense vocals. This is not a perfect album, but then again, what is the perfect album? It does what it intends to, taking listeners on a reflective journey through fifteen tracks and a Disney-esque animated short. The experience comes full circle when you realize that only the first and last songs are in D major. The Mountain did not change my life, but it moved me. It felt like such a refreshing yet nostalgic sound, highlighting the importance for artists to explore distinct sounds but also keep true to their talent. Whether you are a Gorillaz fan or not, I urge you to step into the garden, smoke a little something, relax, close your eyes and listen to The Mountain; one listener to another, you won’t regret it.

Featured Image: Genius

Categories
Culture

Les Rouges et Noirs: Interwar Cross-dressing in the Public Eye

By Edward Clark

Today, gender variance is politicised. In the West, the liberty of transgender people and drag performers continues to be restricted by socially conservative politicians who see a minority population as a political football. For conservatives, resistance to gender variance is often connected to tradition and a belief that subversion of gender norms is a modern phenomenon. Cross-dressing revue troupe Les Rouges et Noirs, a critically acclaimed group made up of World War One (WWI) veterans, suggests the opposite – that a century ago, male gender variance was a commercialised form of entertainment with mainstream appeal.

‘The most attractive girl with short dress’

After refining their act during the war, where they performed at concert parties for other soldiers, Les Rouges et Noirs toured their debut show Splinters across England during the 1920s and 1930s, releasing a film of the same name in 1929. Rather than performing a mocking stereotype of femininity, the troupe were celebrated for the accuracy and sexual allure of their feminine beauty. In a 1919 review of Les Rouges et Noirs’ performance at the Savoy, the Evening Standard celebrated how lead performer Reg Stone ‘makes up into the most attractive girl with short dress’ and a ‘bewitching smile’.¹ The Times similarly lauded how the ‘illusion [was] wonderfully good’ and the audience refused to believe the performers were men until they removed their ‘golden tresses’.² The ‘real sex’ of the performers was an aspect drawn on comedically by the revue and Stone in performance. The show was alternatively titled Which is Which in reference to the sex of the performers, and the 1929 Splinters film contained a scene where a ‘Stage Door Johnnie’ pursues Stone to his dressing room after being enticed by his feminine appearance.³

Les Rouges et Noirs were extremely popular. The troupe performed to sold-out audiences across England and at Windsor Castle for King George V. Further, Les Rouges et Noirs’ cross-dressing performance was successful enough to inspire post-WWII veteran cross-dressing revues: Soldiers in Skirts and Forces in Petticoats both became widely popular.⁴ The mainstream appeal of Les Rouges et Noirs and its post-WWII successors rested on their ability to connect home front audiences to the experiences of soldiers. The troupe’s name itself, Les Rouges et Noirs, was a reference to the regimental colours of the First Army – red and black. Splinters was also key in expressing patriotic memory. Director of the Centre for the Cultural History of War, Ana Carden-Coyne, has argued that visual language was the ‘vernacular’ of wartime memory – this is exemplified in Splinters.⁵ By watching material which had been performed on the front lines, audiences felt connected to the soldiers they revered. In an article in London Life, writer Charles Dryhurst noted that he ‘admire[s]’ Reg Stone ‘so much’ because he helped British soldiers to ‘forget for a moment that there was such a thing as a front line’.⁶ A review of Splinters at the Savoy by the Pall Mall Gazette suggested that the performance was more enjoyable because it had ‘eased the monotony of life at the front for thousands of our fighting men’.⁷ The repeated use of war imagery in performance and on screen invited audiences to engage with patriotic wartime memory.

‘16 Soldiers and Every Soldier an Artiste’

The performers’ veteran status protected them from accusations of sexual immorality. Cultural historian Graham Dawson has argued that soldiers were the ‘quintessential figure of masculinity’, and although Stone’s cross-dressing act seemingly opposes Dawson’s argument, his masculine image allowed him to avoid accusations of sexual immorality.⁸ Notably, this was a period of British history where minor deviances from masculine norms were sensationalised in newspapers. After the 1932 raid on a ball at Holland Park Avenue where men were wearing women’s clothing, the Morning Advertiser boldly headlined ‘MEN DRESSED AS WOMEN’.⁹ Cross-dressing in private was also policed harshly. For example, twenty-three-year-old Thomas B. served three months in prison for ‘importuning male persons for an immoral purpose’, with the evidence simply being his possession of a ‘powder puff, powder and a small mirror’.¹⁰ However, at the same time as male gender variance was policed for its association with these ‘immoral purpose[s]’, Reg Stone was performing nightly to sold-out audiences.¹¹

This was facilitated by the ex-military status of the performers, which was repeatedly emphasised in their publicity. The programme for the revue’s 1919 Savoy Theatre performance detailed a story where the soldiers ventured under ‘shells screaming overhead’ to recover frocks left on the front lines – simultaneously emphasising their valour and their commitment to their revue.¹² The importance of the troupe’s military background is reflected in a poster advertising their 1919 performance at the Kennington Theatre, which reads ‘16 Soldiers and Every Soldier an Artiste’ on the left and ‘16 Artistes and Every Artiste a Soldier’ on the right.¹³ The troupe also negated potential accusations of immorality by emphasising that their cross-dressing was purely performative and a ‘huge joke’, as stated in their own promotion. In the Splinters film, Reg Stone’s onstage femininity is juxtaposed with his offstage masculine traits, as he is pictured smoking a pipe and removing his wig backstage. In the aforementioned scene where a soldier enters Stone’s dressing room, Stone is assertive, responding ‘Well what do you want?’ and ‘Now hop it!’ in a deliberately masculine tone, emphasising the divide between performance and reality. This has comic intentions: the soldier is embarrassed once he realises Stone’s ‘true’ sex. However, it also functioned to make clear Stone’s lack of effeminacy, and defuse potential connotations between cross-dressing and sexual immorality. The framing of the film itself as a ‘fly-on-the-wall’ depiction of the troupe’s wartime performances allowed for this distinction between performance and reality; through this juxtaposition, Stone and the other performers made clear their lack of effeminate or otherwise perverted traits offstage.  

‘Of course, they get love letters’

Whilst the soldiers sought to protect themselves from accusations of sexual immorality, the homoerotic undertones of the troupe’s performances should not be separated from interwar LGBTQ+ communities. Reg Stone was interviewed by London Life, a well-circulated magazine which gained popularity due to its kinky subject matter.¹⁴ Cross-dressing was frequently addressed in the magazine’s regular correspondence column, and although these stories deliberately avoided sexology, they were told from a fetishist lens.¹⁵ Photos of cross-dressed members of the public were even included in some printings.¹⁶ Stone’s interview with this magazine indicates his appeal to those with a personal interest in cross-dressing themselves. Although the interview was largely concerned with Stone’s technical skill as an ‘impersonator of the fair sex’, complimenting his ‘distinction and artistry’ and lauding him as ‘the cleverest artiste of his kind in the country’, it was conducted to appeal to cross-dressing hobbyists.¹⁷ The troupe even emphasised the homoerotic undertones of their production in promotion. The programme for their Savoy Theatre performance in August 1919 bragged about how ‘of course, they get love letters’ from male admirers.¹⁸ The Splinters film includes moments where soldiers overtly flirt with Stone in female dress – Stone makes flirtatious eye contact with a soldier, eventually blowing him a kiss which the soldier mimes receiving. The cross-dressing performers adopted female dress, female mannerisms, and female social roles through implicitly sexual relationships with men.

Les Rouges et Noirs subvert modern arguments that gender variance is a twenty-first-century phenomenon. The troupe show that cross-dressing was a mainstream and popular facet of British interwar culture. Les Rouges et Noirs also challenge a popular narrative within LGBTQ+ histories of Britain: that queer expression remained largely ‘invisible’ and underground before the post-WWII gay liberation movement.¹⁹ The Splinters tour and film emblemise a unique moment in British history, as its cross-dressers simultaneously represented soldier-like masculinity and an idealised femininity. Whilst many modern politicians want to keep trans and gender-variant representation out of the limelight, it is clear that British history may not be as simple as they want to make it: a century ago, cross-dressers headlined the Savoy and performed for the King.

ENDNOTES:

¹ ‘“Les Rouges et Noirs”: Army Entertainers’ Programme at the Savoy’, Evening Standard, 5 August 1919, quoted in Jacob Bloomfield, ‘Splinters: Cross-Dressing Ex-Servicemen on the Interwar Stage’, Twentieth Century British History, 30.1 (2019), pp. 1–28 (p. 20).
² ‘Les Rouges et Noirs’, The Times, 5 August 1919, p. 8.
³ Bloomfield, ‘Splinters’, pp. 12, 21–22.
⁴ Bloomfield, ‘Splinters’, p. 26.
⁵ Ana Carden-Coyne, Reconstructing the Body: Classicism, Modernism, and the First World War (Oxford University Press, 2009), pp. 82–83.
⁶ Cross Dressing between the Wars: Selections from ‘London Life’, 1923–1933, ed. by Peter Farrer (Karn Publications, 2000), p. 247.
⁷ ‘“Splinters” at the Savoy: Capital Performance by “Les Rouge et Noir”’, Pall Mall Gazette, 5 August 1919, quoted in Bloomfield, ‘Splinters’, p. 4.
⁸ Graham Dawson, Soldier Heroes: British Adventure, Empire and the Imagining of Masculinities (Routledge, 1994), p. 1.
⁹  Matt Houlbrook, ‘“Lady Austin’s Camp Boys”: Constituting the Queer Subject in 1930s London’, Gender & History, 14.1 (2002), pp. 31–61 (pp. 31–32).
¹⁰ Matt Houlbrook, ‘“The Man with the Powder Puff” in Interwar London’, Historical Journal, 50.1 (2007), pp. 145–71 (pp. 145–46).
¹¹ Houlbrook, ‘The Man with the Powder Puff’, pp. 145–46.
¹² Bloomfield, ‘Splinters’, p. 10.
¹³ Poster advertising the revue Splinters, Kennington Theatre, 15 September 1919, Victoria and Albert Museum, Theatre and Performance Collection.
¹⁴ Lisa Z. Sigel, ‘Fashioning Fetishism from the Pages of London Life’, Journal of British Studies, 51.3 (2012), pp. 664–84 (pp. 664–65).
¹⁵ Sigel, ‘Fashioning Fetishism’, pp. 665, 672.
¹⁶ Sigel, ‘Fashioning Fetishism’, p. 670.
¹⁷ Cross Dressing between the Wars, ed. by Farrer, pp. 249–51.
¹⁸ Bloomfield, ‘Splinters’, p. 20.
¹⁹ George Chauncey, Gay New York: Gender, Urban Culture, and the Makings of the Gay Male World, 1890-1940. (Basic Books, 1994), p. 3.

Featured Image: Splinters (1929) on Letterboxd

Categories
Reviews

Review: DUCT’s Antigone brings Ancient Greece to Burnley

By Ashley Zhou

Antigone, one of Sophocles’ three Theban Plays, has been widely modernised and adapted, ripely complex in its interplay of personal grief and political struggle set within a fractured nation. For instance, The National Theatre’s 2012 production and Kamila Shamsie’s novel Home Fire relocate the war-torn Thebes to post 9/11 Britain, acutely interrogating traitorship during the sensationalised racism of the “War On Terror”. Antigone follows the titular character’s attempt to ceremoniously bury her brother’s body against the decree of King Creon, and the subsequent series of tragic deaths following his refusal to bend arbitrary laws. 

Inside the Assembly Rooms, the Greek city is transformed into a repurposed British cotton factory. A ‘Thebes Mill Ltd.’ sign hangs from the fly loft: a prop highlighting the 1950s Burnley industrial landscape of which director Estelle Pollard-Cox (assisted by Jess Cloake) and producer Nat Pryke (assisted by Jamie Duncan and Tom Milnes) set their production. The creative team emphasise the intentional incorporation of some of their actors’ own regional Northern accents on top of adopted Lancashire accents, expanding the characters’ struggle outwards of Burnley and onto the wider political context of the North. The dialect fully grounds the Greek tale in Britain, exemplified in the scene-stealing Leon Perry-Masey’s (Soldier/Messenger) offhand ‘localised-like, innit?’. 

Crippled under political-economic fracturing following the Second World War, industrial struggle is clear in the cumulative ensemble of DUCT’s production, managed by Lucy Smith (assisted by Cameron Howe), stage managed by Matilda Bell and deputy stage managed by Leon Ansorg (assisted by Erin Bullen). Theo Henman’s set design sees windows filmy with grime; crates, boxes, and barrels which actors interact with freely; and steel bars which line raised decking. Leyla Aysan’s lighting design supports this seamlessly as white light filters through from “outside” and casts stark window-grill shadows on the floor. Oli Fitzgerald’s sound design has piano music blending into industrial-adjacent trap beats, scoring scene transitions with an assertion of tonal confidence in the play’s modernity. My favourite touch is a line of Union-Jack bunting strewn across the steel, hinting at a sort of conservative celebratory nationalism that Creon clings to as the British Empire continues its collapse, threatened (according to him) by greed and espionage: ‘Who paid? How much? What purpose?’.

It’s hard to tear your eyes away from Jasper Hinds’ Creon. As much as the character insists upon his manhood, Hinds imbues the king with a nuanced vulnerability as his eyes flit between believable questioning and shuttered conviction. Progressively frazzled in orientation and costume, he ends the play in a boylike state, face glossy with tears in the light. As Antigone suggests that nationhood is conflated with the individual patriarch, the production’s Burnley sits similarly young and broken by the ghost of old ways. This is particularly poignant when he faces his son, Harry Robinson’s Haemon, who meets his anguish head-on. Here, Henman and Aysan collaborate on an exciting set piece that I’m inclined not to spoil, but is unbelievably effective. 

Playing the titular Antigone, Pearl D’Souza exudes agonised grit; in her grief and feeling, words struggle past her set jaw. ‘Do you understand!’ she yells at us as she’s martyred. Her teeth chatter with rage. Once gone, her onstage presence is dearly missed. The same can be said about Isobel Willis as Ismene. Directly opposing her sister, Willis expertly embodies Ismene with a stiff back, her entire body curling inwards. The strain of siblinghood is felt in their arguments, as is the absence of the dead. 

Aaliyah Angir maintains a constant presence, kept between two worlds as she leads a, notably, all female-presenting chorus and advises Creon over his shoulder. To portray women as Theban Elders – usually ‘older men of the establishment’ as Robert Coleman notes – invites an element of gender trouble, messing with their implicit neutrality. Roles are metatheatrically blurred even as Creon insists on their fixity. Angir plays with this expertly, vocally disagreeing with Creon and quietly showing Antigone support. As Creon rages, Angir’s mouth curls at the audience, her eyes shining with approval. Shrouded in darkness as the spotlighted Creon speaks, she unties Antigone’s bound hands and the two share a quiet moment, only vaguely intelligible even to the audience. 

The Chorus (Eva Tozzi, Milly Hale, Sophie Browning, and Willis) are the production’s lifeblood, an amalgam of perfectly pitched performances, excellent blocking, and effective costuming by Uli Haaurhaus. They don crimson cloths which they draw over their head when silent, little acts of self-burial that litter their narration. They freeze like statues, refusing to be stared at. They mostly speak one at a time, underscoring their isolation. Delivering the truth of Creon’s stubborn folly, Nefertari Williams’ Tiresias is instantly compelling, her entrance shifting the energy of the play. Her voice carries a stormy musicality, every line delivered with the flow of intense roiling waves. Dressed in a blood-coloured robe with a dark red blindfold over her eyes – a Haaurhaus touch that implicitly aligns the seer with the play’s women – every word believably lives beyond him. Destruction is distant to the out-of-touch ruler despite being starkly experienced by everyone surrounding him – that is, until the bitter end of his family. 

Antigone stands tall in death while Creon falls to his knees. Laws remain collapsible; power and patriarchy remain dangerous corrupting forces, as pervasive as in Sophocles’ time. Aristotle believed in the cleansing power of katharsis and as I rise to join the standing ovation, a little lighter, I’m inclined to agree.

Featured Image: DUCT

Categories
Perspective

Adie-uni 

By Matty Timmis

There must be a word for this feeling. In limbo? That’s two words. Besides, I think it’s a bit too general. Bittersweet? Getting closer, but it’s not quite capturing the listlessness of this moment. Listless? I’ve always been that, and there’s a surge of emotive force here, it ignores this parade of jaded memories, carouselling through empty, waking nights. Sad?, sanguine?, silly? – Saudade! – Am I allowed a Portuguese word? Well that’s the best I can come up with so lets try and make do (yes I did go on holiday to Brazil, no I never bring it up at parties or in articles).

What is saudade I hear you ponder. Google’s unwanted AI answer-er describes it as ‘a deep, melancholic emotional state of nostalgic longing for a person, place, or thing that is absent – a presence of absence’. It’s one of those wonderful words that needs a slightly pompous and pontificating definition to be translated – I imagine it’s a bit like trying to translate ‘leng’ into Japanese. Let us fall into the clutches of this AI answer then, because I never want to look at the OED website again, and make do with this definition. As life’s locomotive puffs down its rickety rails, lets try and take stock, try and read the smoke signals of the cusp, try and understand these last 3 years.

We’re all, or somewhere around a third of you dear readers at least, are off. Up-up and away – setting our mighty sights upon the big, bad, bold, brave world. Are you shitting yourself? I am, but I’m going to play it off as some trapped wind, and try to keep up the masquerade. But how? There’s no denying that we’re wandering into a pretty gnarled old world, one that has precious little sympathy, understanding, or opportunity, one that would probably have a reduced to clear label on it if it were in Tesco – hey maybe that’s why we’re getting dickie bellies! The good thing is, and what we must bear in mind, is that the £60,000 we’ve spent on these degrees have equipped us with some truly invaluable life skills to overcome these heady hazards. I for one am now an undisputed expert in not doing my washing up, I’ve developed an enviable skill of waking up at 11:30 and sticking my head out my bedroom window for a fag, and am unbelievably competent at lying through my teeth on the mitigating circumstances coursework form.

So did I enjoy uni? Am I glad I came? Am I going to miss it? And what is this pit in my stomach? I suspect folks, that saudade may well be swirling through the smoking area, enveloping us in a wistful mist. What I can tell you for certain is before I had some kind of hazy, ill thought out, more than likely banal purpose, but now I’ve achieved it it’s even less clear what it meant, I have even less clue of what to do with it. Can I confess to being a bit scared of what real life, without seminars and a student loan, is going to make of me and what I’m going to make of it?

As the carnival winds up you’re asked to complete the NSS. I put in my two bits, but only because they wouldn’t stop bloody phoning me. My reflections clarified little however. I mentioned in one of my answers that they seemed more enthusiastic in seeking course feedback than they had ever been in teaching it. I suspect, however, the dear old English faculty is sadly about to be marginalised by encroaching AI to near enough nothingness, and I’m not so cruel as to wind a supercilious old grandpa as he wheezes his last breath.

Besides I don’t think this spell of saudade is derived from the loss of my actual degree. The heavens forbade that it ever took more than a quarter of a rotation of the hamster wheel that powers my mind’s muffled neurons. Being a student is probably more tied up in those cliches; the pub and the park, a pretentious film or a rowdy houseparty; a misguided snog in a houseparty basement. It is wrapped up in your friends, who are unquestionably knobheads, but who, for better or worse, surround your every waking (and sometimes sleeping) moment. It is bound up in the infinite, easy, roll of chances that spring up as you straddle youth and adulthood.

I am not a geographist, but I know some poor lost souls who are, so please excuse this topographical metaphor. Life’s a bit like a river (full of shit pumped in from fatcat companies and parasites); when you are a student you are cheerfully, unknowingly, carving out your v-shaped valley. Life babbles and bounces and flows, and it all seems so effortless, your forward flow undeniable. I fear, however, we’re now entering the middle section of the life of a river, gravity and velocity have abandoned us, we lollop and get lazy, meandering through bullshit, as our flow turns to a crawl that starts to look stagnant on the surface. 

So how are we to cope with this strange saudade-an sensation? Should we go chasing waterfalls? Wherever they may take us, and hope that life won’t break us! I for one don’t fancy the spray and thunder of all that drama. As I write this, Alice in Chain’s ‘Rooster’ has come on, striking I find, a much more appropriate, cathartic tone. It’s shit, and it’s all over much too quickly, but what preceded won’t preclude what follows. We’re deep in the soup right now, right in the thick of it, swimming through the churn of feelings all muddled up. As the boil turns to a simmer and distance loosens the flow, I think we’ll probably miss all this more actually. But nostalgia or longing is not what we’re battling. Right now we’re (or at least I am) gripped by saudade, and the further we get from the presence of being a student, the less we’re going to feel the sting of its absence. 

There’s smoke on the horizon, I’m sure of it, so put up, plod on, and don’t bury yourself in the field of dreams. Skin up with me and stick on the most angsty track you can think of. A new day is a new world, and whilst we can’t direct the drift, we’ll cast off nonetheless. The past will propel, and we’ll shed the weight of what went wrong. Above all else, remember you can’t hold the stream, the smoke, or the saudade in your hands. If you could, all would be the same, forever. I for one don’t have the time for that kind of eternity. 

As a footnote, I could just do an MA and give myself a saudade extension. 

Featured Image: Pinterest 

Categories
Poetry

on contemplating over coffee

By Ashley Zhou

we sit with folded arms and wonder about eternity.
must be god, you say, convincing;
convinced, i say, and he’s in the coffee.
it’s bitter today; they ran out of sugar.
god wouldn’t make shit coffee, i joke,
ah, the recession’s hit heaven. ah!
the angels are haloed by overhead lighting, ah!
arms sometimes unfold to reach for a sip,
bitter, ah, now cold as well, mh.
heaven is a place on earth, somewhere blasts,
carlisle from tinny cafe speakers.
we disagree respectfully.
las vegas is on earth, not possible!
a woman behind us pipes in.
her chair drags over, it scrapes the tiles.
seats shuffle, arms fold.
heaven’s in the ground, she begins;
words steam over her cup.
you sip from yours and grimace.
i sip from mine and one acrid drop reaches my tongue.
ah, empty. i’ll have another, then. 
Featured Image: Lübna Abdullah

Categories
Culture

The Strokes Get Old

By Matthew Dodd

On the second night of Indio, California’s 2026 Coachella Festival, a musical singularity event of sorts occurred. Across one day, audiences were able to watch on as the ghosts of indie rock past and present performed from opposite ends of their respective careers. This is to say, Geese and The Strokes were scheduled to play on the same day. Since their rapid ascent to the centre of the cultural zeitgeist at the end of last year, Geese have been dogged by comparisons to their New York indie forebears. Both bands were touted as heralding a revival of guitar-rock, both were products of New York private schools, and both were fronted by messianic lead singers who seemed incapable of washing their hair. Sonically, both seem guided by the same philosophy, though pursuing divergent methods. The appeal of The Strokes, 25 years ago as now, was that they were remarkable musicians who seemed broadly disinterested in the excellence they were dispensing. Julian Casablancas would lazily groan into an old-fashioned microphone, rarely deigning to move around the stage, while the rest of the band would remain focused on either their instruments or their bandmates, unbothered by the imposition of any audience. Geese seem to have carried this attitude to its logical extreme, disregarding any notions of established performance conduct: altering tempos within songs, duplicating verses to throw off any singing audience members, and randomly leaping into covers of Justin Bieber’s ‘Baby’. Chief amongst their similarities, though, is that both were thrust into the musical ecosystem as the prototypical ingenues. Both Casablancas and Geese singer Cameron Winter were 23 when they had their breakthrough; both bands were promoted as much for their music as for their status as a group of bright, young things. Coachella’s accident of scheduling is a reminder that, as The Strokes prepare to release their seventh album ‘Reality Awaits’, they are no longer the wunderkinds of the scene, but the godfathers. 

The joy of the early Strokes output, primarily their debut ‘Is This It’, had a lot to do with a self-conscious attitude towards their own youth. Indeed, theirs was an appeal conditional on their youth, and one which deliberately toyed with the melancholy of memories still being made, an actively forming nostalgia. ‘Last Nite’ is a paean to nights out nobody will ever understand; the title track is a forlorn reflection on the disappointments of the adult world. On ‘Someday’, Casablancas pines that ‘when we were young, oh man did we have fun’ – again, nobody in the band was over 23 at the time of release. The aesthetics they played with – grainy music videos of the band members hanging around in bars, concerts modelled after Elvis’ 68 comeback gig – only bolstered that image of crystalised youthful expression. To this day, ‘Is This It’ remains an unimpeachable masterpiece of 2000s indie, a flash-in-the-pan moment of musical ingenuity. It was an album that, practically overnight, made The Strokes the most important band in the world. They were as influential as The Velvet Underground, as derivative as Oasis, and as cool as The Ramones. It was their impact which shook the UK out of its post-britpop daze and launched the careers of countless awkward, jangly guitar bands. As Alex Turner of Arctic Monkeys would reflect on the opening track of ‘Tranquillity Base Hotel and Casino’, ‘I just wanted to be one of The Strokes.’  

On successive releases across the next two decades, The Strokes never really managed to return to the heights of ‘Is This It’. 2003’s ‘Room on Fire’ was well received but criticised for being little more than a continuation of their debut. The spectre of shrinking youth persists throughout this second album: ‘talk to me now I’m older’, croons Casablancas on ‘12:51’. ‘You Only Live Once’, the lead single from third album ‘First Impressions of Earth’, offers a 28-year old’s reflections on life’s lessons: ’oh men don’t notice what they’ve got, oh women think of that a lot.’ An alternate version of the track, a piano lead number entitled ‘I’ll Try Anything Once’, makes this spirit of maudlin introspection all the more obvious. Removed from the hard-rocking verve of the original track, this parallel take foregrounds the anxiety of youth with greater melancholy than on previous efforts – ‘ten decisions shape your life, you’ll be aware of five about’. Nevertheless, after their explosion as the new faces of youth rebellion and the vanguards of guitar rock, The Strokes were held hostage by that image such that they were never truly able to expand beyond it. Their next two albums, ‘Angles’ and ‘Comedown Machine’, were received lukewarmly, and the creative attentions of the bandmembers seemed turned towards other projects, such as Julian Casablancas’ electronic rock outfit The Voidz. For much of the 2010s, then, it had seemed that the great rockers of the century had failed to make it out of their early-20s excitement.

Their return in 2020 – at the height of worldwide lockdown – was nothing short of a resurrection. ‘The New Abnormal’ was a revelatory album. It was as musically brilliant as anything they’d ever done but, crucially, it was as relevant to the band as 40-somethings as ‘Is This It’ had been to them in their early 20s. The album is full of middle-age regret and gestures towards a lost past. ‘Bad Decisions’ deliberately interpolates Billy Idol’s ‘Dancing With Myself’ into a knowing reflection on the band’s evolution and the inevitability of alienating its audience. The sound of the album is a world away from the band’s garage-rock roots: a breezy mix of synth-pop and new wave that sits closer to The Psychedelic Furs than Arctic Monkeys. Opening track and TikTok megahit ‘The Adults are Talking’ is a masterful sermon from the aging rockers towards the strata of teenage rebels from which they are, by time, estranged. On the fame won so early by Casablancas and co., the message is clear: ‘don’t go there ‘cause you’ll never return’. Album closer ‘Ode to the Mets’ sets the band’s own history against that of their native New York and their home baseball team. The overarching theme is one of regret and introspection. It is an apology to their fans for ‘the silence you’re hearing’ and a dismissive creation myth for the band itself: ‘I was just bored, playin’ the guitar, learned all your tricks, wasn’t too hard.’ With the release of ‘The New Abnormal’, The Strokes had finally made a true successor to ‘Is This It’, a bookend of a record which was as inventive and essential as its ancestor. As the band had grown up, so too had their music.

Six years later, we find the Strokes once more on the verge of revival. ‘Reality Awaits’ is set to release at the end of June, with two singles put out in anticipation. It is hard not to listen to these tracks, ‘Going Shopping’ and ‘Falling Out of Love’, without a sinking of the heart. The Strokes have always been chasing a new sound, for better of for worse, to maintain an edge: a glimpse of the creative insight that burned through their initial success. On ‘Going Shopping’, The Strokes sound, for the first time, out of touch. It doesn’t sound like a new evolution, or indeed a knowing homage to the old, but a misstep into the middlebrow. The instrumental is fine – a groovy-enough synth line with a classically Strokesy guitar accompaniment. A good, if not great, song seems buried within the track. Yet, the decision of Julian Casablancas to mire his vocals in deliberately janky autotune makes the song sound like the product of a secondary school band messing around with Pro Tools for the first time, rather than one of the most important acts of the century. They feel, in a way they never have before, like an act disconnected from the zeitgeist. If ‘The New Abnormal’ was their great reflection on ageing, ‘Reality Awaits’ sounds like the album on which The Strokes get old. This, accompanied by widespread allegations of AI usage in the creation of the album’s promotional art, gives the band an aura of awkward tastelessness which can’t help reminding us that they are rapidly approaching the dominion of the Classic Rock station. 

At Coachella, The Strokes seemed to reassert their position as the great ones of indie-rock: a performance as good as any they’d given in years, coupled with a political intervention braver than any at this year’s festival. Even Cameron Winter was forced to look on in awestruck wonder. In their new music, however, none of that spirit of rebellion seems to have found creative footing. Perhaps this is solely an accident of single choice, or an elaborate prank by Julian Casblancas. We can only hope, for the sake of the 21st century’s greatest band.

Featured Image – GQ

Categories
Poetry

Sonnet: for Spring

By Saoirse Pira

I want to tell you how winter stayed too long
sealed the world into its endless night;
we forgot that we had ever known
a morning not this shade of white.

I won’t pretend the season was a gift.
The birds left and I understood
But something in the air has shifted—
The light does what the light does: good.

There’s spring in my step, and it’s summer again,
and we’re anchored in that warm delight.
It’s a prayer I say before I sleep, then
wake to find the world remade in light.

You see, the earth does this. It always will.
It breaks, it opens. It opens, still.

Featured Image: Toby Dossett

Categories
Reviews

bitknot, feeble little horse: Review

By Edward Clark

feeble little horse are the outlier. Not only possessing one of the greatest band names maybe ever, nothing else sounds quite like them. Their newest album pushes this musical boat out even further. Crunch and distortion are balanced by shimmering vocals and enchanting melodies, transforming bitknot into a sonic kaleidoscope.

The first album without founding guitarist Ryan Walchonski, bitknot wears the band’s new three-piece structure on its sleeve, exchanging cascading guitar melodies for more synthesisers and more chaotic post-production. This instrumental decision is mirrored in every layer of feeble’s branding – check out their website or the series of eleven music videos made for each song on the album. A digicore aesthetic is inseparable from the band’s identity. On their two previous full-length releases, Girl with Fish and Hayday, the blend of this experimental production with lo-fi rock and pop cemented feeble as a band blurring genres to produce something wholly unique. But, with bitknot, feeble little horse has broken the boundaries of genre altogether. I don’t know what genre the album is, and it seems like the band aren’t sure either. They are label-less. Lead vocalist Lydia Slocum used to call feeble a ‘noise pop band’, but now they just call themselves ‘a band from Pittsburgh’. 

Chipmunked vocals, heavily distorted guitar lines, and digital synthesisers support Slocum’s gentle delivery. The end result is a twenty-five minute album which shifts seamlessly from intense drone to twinkling melodies. bitknot makes up for the short runtime through a tight structure where no song outstays its welcome. Catchy, sub-two-minute tracks such as Paris or Poison are made up of snappy hooks, repeated a few times and sometimes connected by a bridge. The pace is quick and the album varied. Slocum’s vocals are so delicate, so hypnotic, that they provide a necessary balance to in-house-producer and multi-instrumentalist Sebastian Kinsler’s heavy mixing. The sheer detail in each song’s instrumental makes bitknot sound very muddy through most speakers. Through headphones, however, this detail is what makes the album so addictive. Guitar riffs, droning chords, and intense percussion which verges on blast beat, are supported by digital twinkles, glitches, and abrasive noise. 

Like many of the band’s hyperpop contemporaries – Nanajirachi or 100 gecs, for example – bitknot is a response to everyday reliance on technology, both sonically and lyrically. Digital dissonance is weaponised to emphasise Slocum’s lyrical frustration with consumerism, capitalism, and their ever-prevalence in the modern day. ‘She’s in my feed, I need her clothes, I need her hair’, she sings on Shopping over a repeated deep guitar riff. Her criticism is implicit and her vocal nonchalance a deliberate subversion of the maximalist instrumental. The final track, DMT, stands for ‘Death, Money, Taxes’. Slocum’s previously gentle vocals build to a scream in the album’s final moments, bitknot’s passive anger building to its concluding crescendo. But the listener doesn’t get the release, and bitknot loops back to its opening track Doorway, an intense introduction into bitknot’s digital hypnosis. 

Some listeners have started to categorize feeble little horse as a part of a new genre coined “Laptop Twee”, a rewiring of indie pop with a Y2K aesthetic. We can keep trying to fit new artists into a box, but maybe we should let feeble little horse be who they say they are: ‘a band from Pittsburgh’.

Featured Image: Genius

Categories
Poetry

Field Note: Extremities

By Robin Reinders

The engines wind down real slow –
Each cylinder kicking once or twice more –
Reluctant machine, spooked like some creature.
The airfield lies under an anaemic morning light –
Mist clinging dim and dewy along the perimeter markers –
And the lamps beside the runway burning weak and washy –
Like tired, winking moons.

Inside the cockpit of the fortress
The air is cloyed with cold and damp –
Spent warmth and breath gone sour under rubber.
The gunners –
Both young bucks from Tennessee –
Eagerly out the rear door.
Your hands are still fixed on the throttles
Though the engines have been quiet
Nearly a minute-and-a-half now.
‘You can let go’, I say –
Unhelpful.
You do not look at me.
Tighten your jaw –
‘Thought of that.’
But the leather of your gloves is still wrapped
Tight around the metal –
Creaking like skin
Stretched across the white bone
Of a palsied hand –
Or the cracking leather of an
Old Midwestern diner booth.

Your shoulders ache –
I see it in the way they sit too high –
Tell it by the faint tremor
That runs through the
Strong line of your forearm.
You finally pull your hands back –
And the gloves do not follow suit.
They stay hooked on the controls –
The mould hugging your fingers
To the metal –
As though the cold
Has nailed them there.
You stare at them.
At me.

‘Don’t start’, you warn –
I haven’t spoken.

The frost at elevation has worked its way
Into the seams of the leather –
The hardened grip of wool and hide
Holding them fast.
The glove lacquered with altitude –
A fine rime worked into the stitching –
White crust clinging to edged thread –
To the stitching across the knuckles.
They have stiffened
Into the exact shape
Of your stolid, icicled grip.

You wrench your wrist in small,
Sharp motions –
Breathe out
Through your nose –
And in
Through your teeth.

I lean across the narrow space
With the same slow cadence as a horsemaster –
Feel bile at the back of my throat –
Note the swallow inside yours –
Your keyed-up caballine kick inevitable.
Our knees interfere under the instrument panel.
The smell of you is richer now –
Fuller, more animal –
Sweat,
Sheepskin,
The bitter ghost of oxygen.
My thumb presses along the seam of the glove –
The leather rigid as bark.
‘Don’t make a business of it’, you mutter.
‘Not a chance, pilot’, I defend –
Business-like.

Frost breaks
Under the pressure
Of the pad of my finger
With a brittle crackle of protest –
A small granular fracture,
Like biting soft and sweet into glacé.
Your idle attention flares in my periphery.
‘You always do that’, you whinge –
And it sounds like you have nine cylinders behind your ribs.
I can hum at the bait.
You clarify –
‘Act like you’re the only one
Who knows how to use your hands.’
And that throws me a bit –
Makes me take a hard look at you.
‘That so.’
‘You fuss’ –
Snarled from your shark-mouth.
‘I told you to wear your electric gloves.’
‘And you enjoy being right.’
‘And I enjoy you being wrong more.’
It seems to ease you out of your mood –
The mouthy play-fighting.
Eight months from now
I won’t be able to get a word out of you.

When I work the seam open
It feels like a part of you goes with it.
It yields by degrees –
Each finger released in phases –
The glove stubborn in its claim
On your extremities.
Your hand inside remains
Determinedly still –
I do not expect to notice this –
To feel the restraint in it –
The effort not to assist –
Not to betray need.
Mangy mutt drooling at the muzzle.
Terribly still.
The abominable heat of your cheek reaches the skin
Beneath my helmet strap.

The glove begins to give.
Each finger crooked and reluctant –
Your hand swelled and distended
By pain and cold.
When I tug harder –
A little mean –
You set your jaw firm and brave.
‘That hurt?’ I ask –
A little meaner.
Your head is angled
And gracious
And acquiescent against the seat rest.
‘Just get it off.’

My hands cupping yours –
Your wrist braced in the recess of my palm.
Small bones
Shifting like the
Slight, sinewy spars of
The very first bomber bird.
I pull and
You watch –
Like Hughes watches his own films.

The gauntlet releases its grip.
The skin of your hand dark red –
Flushed
Deep and swollen
Like fruit bruised beneath the rind.
Blooming blood vessels,
Tender contusions.
Your knuckles shine faintly –
Blood forced close to the
Taut, tight surface
Of your stinging skin
By the returning warmth.
You flex your fingers once –
Tendons moving all a-jitter
Beneath the skin.
Indecent, somehow.
Your mouth pulls askew .
‘Bad?’ I ask.
‘Raw, ‘s all.’
‘You’re shaking’ –
Unhelpful.
‘So are you.’
It’s not often you man up
And choose to be right about something.

The second glove is worse.
Your knuckles have caught stiff and dry-skinned
In the lining.
When I pull –
The cowhide gives only grief.
You shift impatiently.
Your knee jams harder into mine –
Pressure deliberate –
Provoking –
Desperate for horseplay.
Hell,
You’d romp with the Germans
If they gave you no reason not to.
Scuffle right in Stuttgart –
Half a bottle of brown in your belly
And a dollar on the line.
I look up.
Your eyebrow raised
Like fists by your face.
Your features etched with irritation.
‘You like telling me what to do’, you state plain.

‘Someone has to.’
I think of you behind the wheel.
Bail-out siren blaring –
And your parachute somewhere not on your person –
And all our boys with their silks torn open, safe and settled upon the ground –
Waiting for you to listen to your Kraut-crazed copilot and eat your grief –
And jump –
And come home to them –
Wounded –
And weepy –
And wonderful.

‘Thought that was the colonel’s job.’
‘He makes a poor go of it.’
‘And you manage well?’
‘Well enough.’
I think of you caught in the collapse –
Strapped fast –
While the fuselage folds upon itself,
The harness holding you
In saintly posture –
Head bowed slightly,
Arms drawn in,
As though the machine had arranged you
For burial.
I think of the long, awful fall
And the ground rising
To meet what is left of you.

I hook my fingers beneath the cuff
And yank harshly.
The leather complains.
Your mandible too –
Molar on molar.
For a moment I think
Your hand will come off like a doll’s.
When your wrist slips free –
And lands atop
The heel of my palm –
The heat of it is scalding.
Pulse jumping as the recoil of a gun
Just fired against
The heel of my palm.
You look down at the mess of limbs you put there –
Your wrist and
The heel of my palm.
Some small noise comes from you then
Which I have not yet heard –
Angry and frustrated,
Simpering and childish.
‘You do this’, you strain after.
‘What.’
‘This—’

The familiar edge in your voice.
The small flare of fury
That lives just under our skin –
Has festered since basic training –
Worsened in one another’s pockets.

You do the rest of the work –
Pull your hand away –
Flex strong fingers again. –
The redness all but gone.
‘Better?’ I ask –
Cringe at my own condescension –
‘Better.’
You do not thank me,
But when you reach for the latch
And haul yourself down the forward nose hatch,
You are there
To push your palm between my shoulder blades –
All pesky and puerile –
And send me stumbling over my own boots.
That wicked smile –
With all your teeth
Still in their right place.

Featured Image: Imperial War Museum, United States Eighth Air Force in Britain, 1942-1945

Categories
Creative Writing

Surface Tension

By Saoirse Pira

“Michael, I told you already: you can go swimming later, when your father gets back,” from behind her sunhat – too big, he thought, ridiculous – “now eat your sandwich, please. You’ll be getting sand in it, Michael, do you want sand in your sandwich? I won’t make another sandwich if you get sand in that one, and dinner isn’t until six. Do you want to go hungry until dinner, Michael? Eat your sandwich. Christ, where is your mother? Anna!”

All in that horrible nasally lilt. He turned to watch her disappear up the steps, away from the beach, toward the house – calling, all the while, his mother’s name. He hated Aunt Helen, and thought she spoke too much: a feeling only made stronger, more pronounced, by that terrible radio voice she spoke with. Despite both Aunt Helen and his mother both being reared and raised in Ballina, only his mother retained this mark of her becoming in her speech. Aunt Helen moved to Dublin during the Celtic Tiger and made what they all thought to be a fortune selling office supplies to companies that were now most certainly out of business. Then, of course, she married Uncle Declan, who stank of stale tobacco and went red from walking up the stairs, and who had made an actual fortune selling American fridge-freezers to the upwardly mobile. Somewhere along the way, Aunt Helen adopted what Michael thought to be the most annoying accent that he had ever heard. Michael’s father said she listened to RTÉ Radio at night to absorb it as through osmosis. He also said she learned it through those tapes people would listen to to learn languages. Michael had seen those tapes at the back of the library, but they were all for people that spoke English to learn Spanish or French or German or Italian, not for people from County Mayo to learn Dublin 4. If his father was joking, as he suspected he was, the humour was most certainly lost on his mother, who would sigh and roll her eyes whenever his father got onto the subject of Aunt Helen and her middle-class metamorphosis. It was worse than the radio though, he thought, because at least he could turn the radio off. Aunt Helen just kept talking.

Michael looked down at his sandwich, sitting in a plastic bag on the hot sand. It was going to be horrible, and its contents getting warm from the heat of the sand couldn’t possibly make it worse. Maybe the cheese would melt, he thought, and mask the horrors of slimy pink ham. He prodded the bag there with a stick, flipped it over. It was no use. He wasn’t going to eat it anyway. He didn’t want to eat it; he didn’t want to eat anything. Besides, he wasn’t altogether convinced that this could be classed as food, legally, or maybe scientifically, speaking. It might be better used as a kind of glue or to manufacture bouncy balls. Now there’s an opportunity to earn a real fortune, he thought, if he could only find a way to mass produce them. He turned back around to the sea – yes, yes, that was it. He wanted to swim, he was going to swim. 

Down the steps again came Aunt Helen, with her horrible frantic air that loomed about her like a stink, one of those cartoonish green clouds, and his mother. She followed Aunt Helen uneasily down the steps and toward the beach. A quiet woman was Mammy, kind and scared. He often thought her not unlike a stray cat in nature – skittish, that was it. She hated the family holidays, but insisted on them for a reason Michael couldn’t understand. It was different when there was Granny and Grandad. Now it’s just Aunt Helen and Uncle Declan and he just didn’t see the point. As the pair approached, Michael noticed the blue cooler bag in his mother’s hand, and the beach bag slung over her shoulder. Inside that bag he knew would be his costume, goggles, and towel, and this little piece of knowledge was enough to get his heart racing, anticipation settling in his body as though it were happening in real time.

His mother and Aunt Helen found their way to the deck chairs, where they joined Uncle Declan, who had been lying wordless on his stomach since breakfast, his back growing relentlessly pinker despite Helen’s periodical suncream applications. His mother unzipped the cooler bag and passed two cans to Helen, who passed one again over to Declan, calling his name as she held it out. This, it seemed, was the only thing enticing enough for the pink man to peel himself off his deck chair. He sat up, taking the can from Helen, saying something or other about the heat. Finding Michael’s eye then, he grinned, bearing his long yellow teeth, and popped the tab. “There’ll be no tins of mineral for naughty children!” he said, bringing the can to his lips and drinking it at such an angle and eagerness that the contents streamed down the sides of his mouth, dripping onto his shorts. Michael looked back down at the sand, at his sandwich, anything but the sight of that strange man. He noticed a shadow approaching and looked up to find his mother standing over him. She crouched down, her kind face meeting his, and revealed a small white package. “Here child,” she said, unwrapping it carefully, and pulled out a bright orange ice lolly, his favourite. His face lit up at the sight and he felt his spirits infinitely lifted, his faith instantly renewed. 

He took it from her, replacing her fingers with his over the wooden stick. “Thank you, Mammy.”

She smiled softly, touching her hand to his shoulder before lifting herself back to a stand. With her hand to her brow, shielding her eyes from the sun, she glanced out towards the sea, then back to the house, then finally down at her son, the orange lolly already melting in his hand. She glanced down briefly, before walking carefully away, back to the chairs. 

Whoever discovered the wonders that could be gleaned from frozen juice must be a genius, Michael thought. He should like to meet them, thank them for their service, and maybe if he asked kindly enough, they’d give him a lifetime supply, like those people that win truckloads of chocolate or washing up liquid on the television. Though, people have probably been eating the likes of these since the Ice Age, because well, if everything was ice, surely the fruits would freeze too, and someone had surely juiced something by then. They’d have dropped an orange at some point, at the very least.

It was gorgeous. Just wonderful. Almost perfect, if not for the fact of it melting faster than he could enjoy it, forcing him to lap it up with a rabid sort of gluttony. He was embarrassed, of course, but the rush with which he consumed it left little room for contemplation. It was a race against the sun and time and probably God, and one he simply had to win. He turned away from the deckchairs, toward the sea, to indulge this savagery in some sort of privacy; it was bad enough that he knew, there was no need for this affront to his self-image to be known to anyone else.

Soon enough, it was finished, and there was no way of knowing if he had won, just that it was gone, and his hands were unthinkably sticky. His face, too, he noticed, trying then to wipe his face clean, only to remember the thing about his hands. There was just no winning. His hands were coated with that thick orange stick, and now the wasps would be all over him. He had never been stung. A boy in his class told him once that he was allergic to bees. Michael had no way of knowing if he was allergic to wasps, and if he was and they got him then, that’d be the end, and he’d be dead, and it could have all been saved had he only not been so incredibly greedy. He looked up again at the sea, then back up towards the house, staring with such intensity as if he could will his father into being there, like if Michael looked and thought and hoped hard enough, he would materialise then, making his way down the steps toward him.

It was no use, he was not magic. He didn’t understand why he had to wait, anyway. He’d been learning to swim in school, he was one of the best in his class. He didn’t even need armbands anymore. It just wasn’t fair. He’d built sandcastles all that morning, there was nothing left to do. Though, there was the map. He’d started one of the beach that weekend, on his dad’s suggestion. It was fun enough, he liked playing pretend at being an explorer; he hated that everywhere had been explored now, satellites and GPS had ruined all the fun. There was still the sea, but he didn’t even want to explore that, he just wanted to swim in it.

He stood up, wiped his hands on his shorts, and turned to walk toward the deck chairs. If he walked with enough confidence, they wouldn’t notice the fresh orange stains – still, better his shorts than his hands. He made his way to his mother, rummaging in her bag no doubt for the same magazine she had been pretending to read all week. “Mammy, I’m an explorer. Is my map there? I need it.” Her head bolted upright – he had surprised her. Her shock softened into a smile, relief no doubt at the child being occupied by something other than that sea. She lifted the bag to her lap, fished out the folded-up piece of A3 paper and marker pen. “There you are,” she smiled, “don’t go too far.”

He took the paper and pen from his mother, promised to be back soon, and turned to plot his excursion. He pocketed the pen and considered the paper. It had softened already, its corners curling slightly from days of damp sea air, folding and unfolding, mingling with paperbacks and bottles of suncream. He smoothed it over with his fingers as best he could. Then he was really moving, darting down the beach with the tilted gait of a child absorbed, already elsewhere entirely.

He had already plotted the house, the chairs, the steps down, in careful lines to the left of the page, having decided to focus his expedition eastward. This was due, in large part, to the wall of rocks to the west that rendered any exploration in that direction near-impossible. He knelt down, marking the rocks on the page with an array of sharp, angry shapes, thinking himself remarkably useful – should somebody come to use the map, they would know to proceed with caution. There was the obvious business of the shore to attend to. He decided he would mark it as he walked, he would complete the whole map from left to right. Any approximation would defeat the point, he would have to be exact. And so he set off walking slowly, drawing carefully as he went; marking lines of kelp and shells and the small, wet signatures of footprints, pointing this way and that before being swallowed by the tide. On approaching a groyne, he would place his map flat on its surface, the pen on top to secure it, before fixing his hands on the wood, hoisting himself up, and standing there, basking in that glory, his sweet bravery, for a few precious seconds before jumping down, retrieving his tools, and marking the site on the page. The beach narrowed as he went, cliffs and tide closing in on the sand. He noted this discovery, slowing every so often to consider the shape of the cliffs, the best lines to draw. After some time, it occurred to him that he would soon run out of space, at which point he turned around and realised the chairs were almost completely out of view.  

He didn’t need to be afraid; he had a map, he couldn’t get lost. And anyway, he was almost out of space, he would have to go back soon, and he would fill in any more details on his return. Fixing himself eastward again, he considered where his map might have to end. Ahead of him, the cliff closed in sharply to a point before receding again, at its point meeting a group of large rocks. The rocks varied slightly in size and shape, though altogether they gave Michael the impression of being not unlike small asteroids. And unlike the impenetrable wall by the deckchairs, the rocks here seemed relatively easy to climb. It was perfect, he had just enough space left. He would draw the rocks, climb them to be sure his depiction was accurate, and make note of what was on the other side.

He drew what he could see, set his map and marker down, and began the climb with relative ease. He was practised now, felt himself professional and decidedly athletic. The rocks were warm and damp, and after each successful summit, he would stop to admire the feat, his progress and new artificial height. Most were relatively flat, though some sloped slightly this way or that, and he would have to stick his arms out to catch himself from falling. The final few were anticlimactically easy, stacked as they were simply, altogether more like steep steps than satisfying boulders or asteroids. As he reached the top, it occurred to him that he could hear the sea a great deal louder than before, a theory confirmed when he reached the top, that final rock slanting off over the beating tide. The other side of the wall was pure water, all kelp and beating waves. He felt so powerful, there, standing over so much blue, he thought first of Poseidon and his trident, then of Lir and his children. Seagulls brayed overhead, and Michael closed his eyes and thought of Lir’s children, those swans. With closed eyes and slow breath, those gulls might be swans, their calls were almost song. Aoife couldn’t bring herself to kill the children, she took them to the water to bathe instead. 

He wouldn’t be able to say, later, just how it happened – only that it did, only that he fell. He hit the water before he knew he was falling, he was under before he knew he was in. He was reaching for something and grabbing at nothing, he was trying to swim up but he was flat on his back. He was kicking and swiping but he knew that he was sinking. He didn’t want to be an explorer, he didn’t want to be brave. He was swallowing so much water and it occurred to him that people didn’t live forever.

Everything seemed suddenly remarkably slow. He knew it was the sky above him, the light blue and the white. He’d always drawn the sun yellow, he’d always been so wrong. It looked like there were dark blue clouds cast over. He thought again of Lir’s children. He was no longer moving. He wondered if they were scared, when they bathed in the Loch, if they knew what was coming, if the water was cold. Or if they played before the spell was cast, if they played when they were swans. He let his head fall back. It was all blue on forever.

He felt the hands before he saw the body, the shape fixing itself into meaning, pulling him in and lifting him up. It wasn’t Poseidon or Lir, no catalogue of gods, just kin. The yellow shirt he had worn at breakfast, the steady arms that carried bikes and bags and bedtime blankets – his Dad, finally swimming. The sea loosened its hold, with that crash through the surface, running off his face – it gave him back. Gulls sang in circles overhead, the impossible nearness of the sky. There, yes, sky – so close to taking flight.

Featured Image – Toby Dossett.