This is the first in a series of posts to be published over the coming months as part of the University of Southampton’s Living and Working on the Web module. To find out more, including links to all of this year’s student blogs, check out the UOSM2008 website.
I have long regarded my digital literacy as strong, having used computers regularly from a young age and gone on to study for a Web Science degree. With sites like WordPress and Twitter, I have maintained online profiles and networks for many years both for personal use and institutionally, including this site, which is mainly used as a writing portfolio. This is reflected in the scores for my initial self-test, where the key elements I hope to improve upon are participation and collaboration.
Accessing, managing and evaluating online information
Participating in online communities
Building online networks around an area of interest
My personal experiences of digital literacy and skill divides would previously have aligned my thinking with Marc Prensky’s concepts of digital immigrants and natives, whereby younger generations are immersed into digital concepts from birth, rather than adapting experiences to them. However, as I discovered in researching this topic, David White’s conceptualisation of a spectrum between using digital platforms for active creation (residency) as opposed to passive consumption or utility (visiting) offers a more nuanced approach to assorted use cases.
Applying White’s mapping approach to my own Web usage made me closely analyse how and why I use what I use. For instance, for work I administer a number of Facebook groups and monitor incoming email closely, however my outgoing email is comparably infrequent and my personal use of Facebook is based around consumption rather than creation. Spotify and YouTube are services I use almost strictly in personal capacities, unlike SoundCloud, where I upload podcasts for work purposes.
Historically, however, this picture would look very different. Today, most of my public posts on Twitter relate to work, however my account was far more active in previous years when used more for personal reasons. Nevertheless, I visit the service multiple times every day, keeping up with my curated feed of friends, journalists, artists, and so forth.
Coming five years and 10 platinum certifications since they first hit their native charts, the London debut of Sydney-based electronic duo Peking Duk feels long overdue. However, when speaking to The Edge on an open-top Original Tour bus on a crisp December lunchtime between sold-out nights at The Garage and KOKO, Adam Hyde and Reuben Styles already feel right at home. “We went to the West Ham vs. Arsenal game last night – had the time of my life,” Styles says. “It was a 0-0 boring game but there were a lot of loose eastenders out and it was fucking hilarious. It was sick.”
‘Let You Down,’ their fizzy, self-deprecating new release, marks another first, with Hyde debuting his own vocals alongside those of Icona Pop’s Caroline Hjelt and Aino Jawo. His move comes as the logical next step from the band launching their full Weeknd-inspired live act over the summer at Splendour In The Grass, which one of their crew describes to me as Australia’s equivalent Glastonbury. The result was evidently successful – tastemaking radio station Triple J described the performance as “stepping things up to 11 without sacrificing the simple pleasures of a Peking Duk throwdown” – and, to feature on spring’s impending debut album, it made perfect sense to rekindle a friendship that began with some spilt orange juice in the air years prior. “We met on an aeroplane from Miami to LA,” Hjelt recalls. “We were like, ‘We saw some Australian dudes play last night,’ and you were like, ‘It was actually, kind of, us.’ That was the first meeting, and then we met in Sweden at the Northbound studios [in Stockholm].” Continue reading ““Does anyone know if Whitney Houston did a Christmas song?” – An interview with Peking Duk and Icona Pop”
Don’t worry, there’s no Lil Pump/Big Shaq/Katy Perry/Chris & Kem/Ed Sheeran here.
2017 has been quite a year. To celebrate three things – its musical goodness, me finally getting things in order on these pages, and a year of better playlisting that’s allowed me to bring all the best bits together without it taking approximately a million years – here’s a collection of 101 of the best songs it’s spawned. There’ll be many more words, playlists, and things appearing here over the coming months, especially if I can figure out how to make Spotify embeds look as nice on WordPress as they can elsewhere, so do say hello if there’s anything you think I’ve missed.
Originally published for The Edge’s album of the year countdown
Having gone from winning an Auckland school talent show and covering Pixie Lott in a radio session to selling 10 million copies of her debut single and being anointed by David Bowie as “the future of music” before she’d even had a moment spare to turn 17, it may come as no surprise that Ella Yelich-O’Connor opted to retreat towards normalcy as the Pure Heroine days wound down. Of course, sailing was not entirely plain: between incessant partying, herding idols like Kanye West and The Chemical Brothers for her Hunger Games soundtrack, taking helicopter rides into the wilderness to work on follow-up material, and covertly reviewing onion rings on Instagram came a painful breakup and a biting pop landscape eager to absorb her “incorrect” stylings.
Melodrama, the resulting Lorde record, comes rooted in that hedonistic habitat whilst trading the sprawling naïveté of (relative) youth for an affecting glare at heartbreak. A far cry from the days of ‘Tennis Court’ (“It’s a new artform showing people how little we care”), it is a remarkably bare concoction that pairs unorthodox pop competence with conscious overwrought feeling. Detail is superfluous to requirements, save for exposed piano ballad ‘Liability’ indulging in fame’s unceremonious responsibility for the theme (“The truth is I am a toy that people enjoy / ‘Til all of the tricks don’t work anymore / And then they are bored of me”), whilst the meeting of bitterness and a euphoric yearning for escape that is impeccable lead single and album opener ‘Green Light’ serves as a mostly upbeat red herring. Continue reading “Album review: Lorde – Melodrama”
The south coast’s brightest star plays a tremendous hometown sellout.
There may still be the odd occasion where some listings site confuses Portsmouth’s Jerry Williams with the Swedish rocker of the same name 54 years her senior, but selling out a second headline in just seven months at her hometown’s most prestigious venue shows the south coast has cottoned on to her narrative-laced indie pop glories. Spending the summer with 2016 EP cut ‘I’m Not In Love With You’ featured across BBC Radio 1 to precede barnstorming braces of sets at V and The Great Escape will certainly have done no harm whatsoever, and perhaps as a result her full band setup now feels more refined and primed for the big time than ever before.
Amidst enthusiastic singalongs for deceptively vibrant staples ‘Mother’ and ‘Boy Oh Boy,’ Williams zipped with remarkable efficiency through a setlist predominantly comprising unreleased tracks that will inevitably form the basis of 2018’s full-length bow. Her apparent allergy to songs that clock in above three minutes ensures this, with time for everything from solo acoustic therapy for a father-to-be (‘David At The Bar’) to a Pollyanna-like take on the perks of mortality (new single ‘Grab Life’) and a chatter-suspending storm of a Jamie T cover to be delivered with infectious precision.
To anyone who had encountered her work in the 18 protracted months between amorous entrance ‘New Love’ and the release of her debut album, it wasn’t particularly hard to fathom Dua Lipa as a bonafide pop superstar just simmering gently before something truly massive. Eventually, it was the seventh single properly pushed from the record that proved to be said something – over the summer, the defiant breakup recovery jam ‘New Rules’ turned her from a perennial hope to one of the top ten most-streamed artists on the planet.
Thus, in the grand scheme of what is now almost certain to come, her autumn schedule feels like a bizarrely quaint juncture. Less than a week on from trying on arena life for size with Bruno Mars in North America, The Self-Titled Tour – which will now stretch to venues like Alexandra Palace and Birmingham’s Genting Arena in the spring after some exotic stadium dates in Coldplay’s company – kicked off earlier this month, including a chilly Friday night in an art deco Bournemouth hall nestled amongst a gaggle of fast food outlets. Continue reading “Live review: Dua Lipa at O2 Academy, Bournemouth”
The way Ellie Rowsell speaks of her recent jaunt to DJ on the Brighton Pier dodgems at Slaves’ Great Escape gig isn’t brimming with enthusiasm – imagine a miserable, rainy Thursday night with decks that don’t entirely work properly. Yet, although it was her only billing during her band’s first summer in five years without a festival tally in the double digits, things aren’t as relaxing as they might seem. Barely nine months on from concluding the run for 2015’s acclaimed debut My Love Is Cool with their first festival headline spot, Wolf Alice has five tour legs in as many months, reaching from Los Angeles to Osaka, lined up around the release of “personal” new record Visions Of A Life. Continue reading ““Hopefully it cements us as a band” – An interview with Ellie Rowsell of Wolf Alice”
It may not have been quite the homecoming spectacle originally intended, but David’s slicker than your average display of many talents proved fodder for a delightful if unconventional Mayflower evening.
Yet three months after tickets went on sale, everything was quietly canned, citing concerns following the 17 indoor dates that the show “would not work outdoors,” even though he’d been booked for plenty of other shows in forests and festivals up and down the land. Those who had taken the plunge for a Friday in the sun were instead scattered between four replacement nights at the Mayflower – a venue a tenth of the size that is more accustomed to live music in the shape of Joe McElderry and Jools Holland than anyone who packed out both of London’s concert arenas mere months ago – and, perhaps inevitably, a fair scattering of empty £42.50 seats remained as David entered the theatre for the very first time, despite spending his formative years barely a kilometre away on Orchard Lane. Continue reading “Live review: Craig David at Mayflower Theatre, Southampton”
For Off Bloom, the invitation from producer friend Two Inch Punch – who you might know from his work on chart-topping records from Years & Years, Rag’n’Bone Man, and Sam Smith, in addition to the trio’s ferocious February release ‘Falcon Eye’ – to up sticks and head from their longtime base in Copenhagen to join him in his London studio couldn’t have come at a better time. Or, in other words, “Let’s fucking move over here. We’re here all the time anyway.”
Following late 2016’s debut offering of the Love To Hate It EP, the band has toured the UK and beyond in support of Dua Lipa and Polydor labelmates LANY, whilst their summer is turning into a whistlestop tour of electrifying festivals from Brighton to Leeds and everywhere in between. The highlight? Glastonbury, of course, says singer Mette Mortensen. “It was on a stage that was super weird – they had arranged it so it was kind of tables and chairs all the way around, so people were having lunch. When we went on we were like, ‘OK, what is this gonna be?’ But then I jumped out in the audience and then people came in and it ended up being super cool.” Continue reading ““If somebody likes it, there must be a reason” – An interview with Off Bloom”
Exactly as bad as you’d think it is (except actually far worse), The Emoji Movie is at best a painfully unfunny product placement vehicle with an incoherent premise and thoroughly loathsome characters.
If you’ve ever looked at a smartphone and felt an inexorable urge to watch an anthropomorphic meh face voiced patronisingly by Silicon Valley’s T. J. Miller, yearning to follow his agonisingly boring parents into life in a Celebrity Squares box ready to be scanned into action whenever selected by the user, blighted with the ability to express other emotions through a condition discovered inside Instagram to be hereditary – joins a hand-shaped James Corden (being the kind of James Corden that bumbles with faux enthusiasm to make The Late Late Show intolerable) and an exiled princess (Anna Faris, whose script is littered with bogus jargon to make the charade seem somewhat plausible) who has somehow set up a new life in a neighbouring “hacking app” that resembles The SpongeBob SquarePants Movie’s Thug Tug in a tedious dawdle out of Textopolis towards self-acceptance that stops off at several product placement segments, featuring Christina Aguilera as a Just Dance instructor and Candy Crush thinking he was one of its sweets, before climaxing with the phone’s teenage owner booking a next-day Genius Bar appointment and ignoring incessant irritation from the device just because mid-restore it spontaneously displayed an expressive yellow blob to send to the girl he liked enough to pay tribute to with his Dropbox password (as the hand had predicted having plucked a discarded email draft of Rihanna lyrics from the bin after tastelessly reworking a slavery-era spiritual to fit its own plight), you probably don’t deserve the medium of film. But here we are. Continue reading “Film review: The Emoji Movie”