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The Winter season is upon us and the folk of ACE HQ wish you a wonderful Christmas, and of course an even better New Year! Yes we’ve made it, we’ve made it through the year, and had a pretty fine time along the way. With a bit of a makeover, a fresh new look design, both in print and online, ACE look ahead to the future of publishing and boy does it look exciting. Working with some fantastic people, brands and companies, we’d like to take the opportunity to thank all those involved, including our [couldn’t do without] fantastic contributors from writers to photographers and everything in between. As we move into 2015, there’s plenty in store for ACE so keep your eyes peeled. Hey, you can now even subscribe and have ACE delivered straight to your door: acemagazine.co.uk/subscribe

Editor: Dani Telford Editor@ACEMagazine.co.uk

HYPE THIS ISSUE: Jam packed with style, music, culture and sport, we recommend p.42 for the moder n Gentleman.

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There’s a wealth of talent on the EDM scene at the moment, in fact it’s pretty crowded. Fresh releases from the likes of Porter Robinson and Deadmau5 leave little room for much else. But when hardhitter Steve Aoki [the so called king of EDM] drops an album, we expect cake to be flying alongside shameless anthems. Whilst a little disappointed at the short [10] song track-list, Neon Future has scope. Opening with a song entitled “Transcendence”, which sees Ray Kurzwiel, the director of engineering at Google, discussing the concept of transcendence and the positive results of it in the near future, the album itself attempts to redefine the musical landscape. Achieved? We’ll let you decide.

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Londoner Benjamin Garrett [aka Fryars] has just released his second album and we’re pretty sure it’s a winner. A little later than expected, yes 5 WHOLE years after his debut ‘Dark Young Hearts’ his new release ‘The Power’ has a good selection of pop songs such as ‘Love So Cold’ and ‘In My Arms’ but also delves into the abstract and obscure with ‘Thing of Beauty’ while ‘Sequoia’ is a lovesick quasiballad. Richly produced, ‘The Power’ is accessible to all.

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Can you believe it? Album numero seven. Dan Snaith, otherwise known as Caribou has delivered what he describes as a “mind-numbingly simply” and “something everybody can listen to” record. Perhaps the latter but certainly not the former, ‘Our Love’ is quietly ambitious with an improved vocal. Listening to the Canadian’s latest music is a rich and rewarding experience. Stand out tracks include ‘Dive’ ‘Silver’ and ‘Julia Brightly’.

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BELLE & SEBASTIAN TO HEADLINE LIVERPOOL SOUND CITY 2015 Into its eighth year, Liverpool Sound City just keeps on growing. Next year, the festival will move to its new waterfront location of Bramley Moore Dock with a stellar headline in that of Glaswegian indie icons Belle & Sebastian. On the back of the new album ‘Girls in Peacetime Want to Dance’ they will be finishing off their UK tour with the city date in May. Stuart Murdoch [lead singer, as if you didn’t already know] said, “The people's republic of Belle and Sebastian is on the move again, taking its message of responsible pop music in a revolutionary age to lands far and near. A little bit older, but no wiser, maturing like a fine wine ought to, our love for music, and the chance to lay it on your tender ear, is not diminished. We will pop you.” Early bird tickets for Liverpool Sound City 2015 cost £55 and are available now: www.liverpoolsoundcity.co.uk

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Q & A: TEAR TALK

J O N E S

ACE: You worked with By The Sea on the Ruins record, has their influence rubbed oﬀ on you, perhaps inspiring you to go down a more coastal route in your music? Tear Talk: I don’t think it has to be honest, I think we have our own identity and our own idea of what the band should sound like and they have theirs. We were mutual fans of one another, and we needed somewhere to record and they wanted someone to produce, so collaborating came more out of circumstance than anything. But, we’ve been writing a lot whilst we’ve been waiting for War Room to release the record and I’ve noticed we’ve placed a bigger emphasis on textures this time round, which I think came from working with By the Sea. ACE: Has this year been worth it for the new release? TT: Only time will tell with this one really, it was finished a long time ago and we’ve resisted throwing it online under the pretence that we’d like it to get as much exposure as possible, purely so as many people as possible could hear it. Whether people actually listen to it will determine whether or not it’s been worthwhile. ACE: What motive has there been behind the Tear Talk journey? TT: I think the motive has been to continually surpass our own expectations, with a view to creating something that we can all be proud of eventually. We also never wanted to be

predictable and that’s been a big motivation behind the progress in the sound of the band between releases. ACE: Is there a style you have to adopt to be a member of the band? TT: None of us had ever been in band’s before so we never really adopted a style when we came together. We’ve had people come and go over the years who’ve helped out here and there in the odd gig but it’s never quite the same, which would imply that there is a certain style or personality that’s needed to be a part of the group. That said, if you have a rapidly receding hairline and you really enjoy arguing then you’re at least half way there. ACE: Have you picked up any 'Rock-star' habits yet? TT: I haven’t personally, but our bass player [Iain] insists on shadow boxing to P.J & Duncan’s ‘Let’s Get Ready to Rumble’ before he goes onstage. It can be particularly embarrassing when we don’t have a dressing room and we have to watch him do it in the street. Luis [keyboard player] also insists on wearing fur all year round. Otherwise, I’d like to think we’re a fairly level headed group of people. ACE: What's on your Christmas list? I’m not big on Christmas but top of the list, would have to be to be to not ruin christmas. The last few years, we’ve spent Christmas eve rehearsing, and then had a lock-in in a little bar

not far from where we rehearse, and it’s meant that I’ve spent the last few Christmas day’s either in bed or being violently ill. I’m obviously still going to the lock-in but, I’d like to get myself out of bed this year. ACE: Does ACE find out who the next exciting collaboration is with any time soon? TT: You don’t sorry. There is a new collaboration that we have planned for the new year with a band that we’ve been big fans of for a while but, we can’t say too much more at the minute. ACE: What will 2015 bring Tear Talk? TT: We’re going to finish writing what will hopefully be the debut album and we plan to release a single in early 2015, but given how much everything’s been delayed I wouldn’t hold your breath. ACE Who is your local artist of the year? This is a tough question as I think there’s been some great music released on Merseyside this year. Our War Room brethren have released a lot of top stuff, but for me the band that pips it is Sea Witches, I thought their ‘Tear Back the Sky’ E.P was the standout release from a Merseyside artist this year and it’s been somewhat overlooked which is a real shame. I’m really looking forward to whatever they release next, and I hope they get the exposure they deserve.

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TEAR TALK Dedicating a whole year to modifying new material, Liverpool quintet, Tear Talk sprung late release ‘Ruins’ upon us. Produced by fellow band, By The Sea and due for release on War Room Records in December, the 4track EP contains bottomless melodies that haunt listeners from the onset. With an array of sulky groans and sympathetic lulls each of the tracks emanate heartbreak tinged with anxiety and with the addition of sombre grooves, we are alerted to an overwhelming fear of desperation on the border with sincerity. The Tear Talk fable began when all members were still in education, with the mutual liking of artists bringing them together, shortly after it wasn’t long until the prospect of creating their own music became a reality. Fast forward several years and we have a band who are fearlessly driving an experimental track-listing already worthy of a prestigious accolade. With an a l l e g i a n c e s o s t ro n g l y t i e d t o t h e foundations of true unsigned artistry, the ballsy five-piece have no quarrel in attacking music head on, their sound proclaims this, sharing similarities with music deities such as Joy Division and Suicide allows their avant-garde appeal to reach the depths of music society. Raise your glass to Liverpool’s most exciting act of 2014 Ruins opens a whole new world of speculation - this is what sets Tear Talk’s exciting journey into 2015.

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DROHNE The unnerving frankenstein project, D R O H N E made up of artisans, Luke McCulloch and Richie Craddock have previously worked with artists such as GIT Award One to Watch winner, Lapsley, Nadine Carina and Ghostchant. However, by proving their unruly mono-tonal siren, the transition from 2013 to 2014 has most definitely nurtured the lads from a chrysalis to their most gracious formation. Sensationalising synths for wide masses, the prowling gaze of the duo certainly attracts a cooky readership. Releasing debut EP ‘Parasite’ in September on Tim Burgess’ label, O Genesis, their allure has grown desirably, flaunting four truly experimental tracks to keep us going until 2015. Expressing a psychotic hypnosis, all of the tracks, perhaps more predominantly, ‘Sample Pictures’ allow a movement away from the boring drag of our everyday lives and transportation to a world of abstract dreams, submerged deep within the concave of the Mersey’s embrace. With melancholic basslines living its last breath, there is always a room for McCulloch’s comley vocality, whispering a chanting echo just like post-punk had done before, a paralysis of plutonic zig-zags of numbing anxiety presents a raw culling of suppressed emotion. A truly admirable year for D R O H N E, their future is yet to be written.

SHRINKING MINDS Backstreet psychedelia is back, with quartet Shrinking Minds doing the honours of leaking their potent slur with brain bruising consequences. Mixing a world of garage with acid mirage, ballsy basslines enrapture a chugging beat, unperturbed by catchy rhythmics as their succubus they continue to produce nebula explosions of mind curdling nightmares. Known up until January this year as The Alfedoras, the new name gave the band a lifeline, allowing a more matured craftiness to formulate. Now under KYC Management, a brand new independent company based in the city, the band have been able to join the likes of VYNCE and Andrew Laval already on the agency’s books, providing them with the best possible start in their exciting career. The recent launch of debut EP ‘Face On the Wall’ was deemed a huge success by all, the flaunting two new tracks that had previously gone unheard; ‘There is Nothing Left for us Here’ and ‘Faces on the Wall’ had a comatosing state upon many of the audience who clambered at the chance to download their very own copy of this tantalising release. Recorded between Crosstown and the beloved Parr Street, the EP has truly been a loving produce of Liverpool’s undeniable creativity. Shrinking Minds are the prime example of the city’s youngest artisans ready to make their mark

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T H E P E O P L E W H O W E W O U L D R E A L L Y W A N T T O C O L L A B O R A T E W I T H , L I K E P A U L S I M O N W H E N H E W A S I N H I S T W E N T I E S , W E C O U L D N ’ T R E A L L Y O F F E R A N Y T H I N G T O H I M . I ’ D P R O B A B L Y E N D U P A S K I N G , H O W M A N Y S U G A R S W O U L D Y O U L I K E I N Y O U R T E A P A U L .

ON TOUR FEB + MARCH 2015

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Little Comets, Newcastle trio, are a band that certainly deserve a little more recognition. With two outstanding albums they’ve progressed well since bursting onto the scene. Following their Liverpool date at the 02 Academy this October, ACE caught up with Rob Coles, Lead singer of Little Comets to see how the band is doing. ACE: Enjoying your tour at the moment? Rob: Yeah... Well, after the first gig we had to reschedule a couple and cancel a gig because of my throat. I thought I’d done myself some serious damage; I was really worried. I don’t like it when I can’t do what I want to do with my voice. ACE: How’s your voice now? Rob: It’s good. It was more of a confidence thing for a few days, I was worried because I didn’t know what it would do if I pushed it. ACE: So we’d say you guys look pretty comfortable performing together. How long have you been a band? Rob: A long time! Well, me and Mickey (lead guitar) are brothers. So we’ve been playing guitar and writing songs since we were twelve. It’s great, you know you can trust each other and really feed of one another. ACE: Little Comets has a ring to it. Any story behind the name? Rob: We used to make some really interesting stories up, but no not really. It was more brainstorming names for bands

and we just liked that one. We’ve become the name! It’s an interesting one, like I think Arctic Monkeys is an awful name for a band but the band itself has fantastic musicians. So, the name isn’t everything. ACE: As massive fans of your music, we have to say both albums are ace! Did you have any particular influences? Rob: Not specific influences. I think influences come from each other and from just life really. What you see, read, hear are all influences. They’re there and already in your head, you just have to work out how to channel them. Influences are there, you just don’t realise it. ACE: Who are your musical inspirations? Rob: We don’t really have one in particular. We like really old music and classic albums, people like Paul Simon and Peter Gabriel, you know really classic songwriters. ACE: So, you all have a pretty similar music taste then? Rob: Yeah I would say so. Matt (Bassist) has the widest musical taste out of us all. We’d give everything a go, within reason of course. ACE: [I’ve] seen you guys perform on numerous occasions both in London and Liverpool. What would you say has been your most memorable gig and why? Rob: Loads! One in particular, we played a gig in Sheffield in a pub. It was a secret gig and we turned up at midnight, there

wasn’t really any musical equipment, so we thought it was going to be awful but it turned out to be one of the gigs I will always remember. It was ram shackled! The energy is really hard to describe. That’s why we love playing gigs; it’s the beauty of it. You never know how it will turn out. Oh and our first gig in New York, that was so far removed from everything. It’s the dream, when you’re young and writing songs, to play in New York. ACE: What about collaborations? Rob: We haven’t sat down and wrote songs with other artists. ACE: Well, who would you most like to collaborate with? Rob: The people who we would really want to collaborate with, like Paul Simon when he was in his Twenties, we probably couldn’t really offer anything to him. I’d end up asking, how many sugars would you like in your tea Paul. ACE: You release a lot of EPs, should we be keeping an eye out for a third album? Rob: Yeah, the new album is out on the 16th February 2015, but you can Preorder it now! ACE: [Excitement] So, where do you see little comets in the future? Rob: We’ll have to see what happens! We’ll write music forever. Even if it doesn’t work out as a business, we will always stay writing songs. Little Comets is just a name we are attached to, we are a vehicle of song writing.

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DIRECTOR: Morten Tyldum STARRING: Benedict Cumberbatch, Kiera Knightly, Matthew Goode, Charles Dance, Mark Strong, Allen Leech, Rory Kinnear CERT: 12A // 113 Mins Benedict Cumberbatch is having “a moment”. That is to say after 10 years in the business he is everywhere, from BBC’s mastermind Sherlock to Sci-Fi super villain Khan in the second installment of blockbuster franchise Star Trek taking in genius mathematician Alan Turing in World War II drama The Imitation Game along the way. All are versions of genius, super minds that have become Cumberbatch’s M.O. It would have been easy for all his previous manifestations of madcap cleverness to seep into Turing, but here is a complete if flawed man. Jumping between three timelines, his school days during the mid 20’s, wartime activities at Bletchley and 1950’s Manchester, Norwegian director Morten Tyldum weaves a tight, thrilling ride introducing the world to a character who has unfortunately been grossly overlooked. Subjected to chemical castration for his homosexuality, Turing committed suicide in 1954 at the age of just 41 and it wasn’t until 2013 that Queen Elizabeth II granted him a posthumous pardon. For a man who is considered the father of modern computers and artificial intelligence this is his first big screen outing and is a fine introduction into his methodical mind. Yet that’s the problem, we are introduced to Turing but the film makes no real attempt to probe him or really explain just how revolutionary he was. We see Cumberbatch creating Christopher (his machine that would crack Enigma, the German’s unbreakable code) but we never explore how he devised his machine or what it took to make it actually work. We are also blocked from the darker aspects of his personality. He is shown as unsociable and eccentric but the film steers away from the harsh realities that homosexuals faced during this time. It’s a shame that Cumberbatch wasn’t allowed

to express this Turing, as his performance is otherwise wonderful. As a foil to Cumberbatch, and to bring heart to the film, Keira Knightley plays enigmatic maths whizz Joan Clarke who helps Turing de-code human interaction. She is joined by a superb supporting cast; Charles Dance as military man Commander Charles Denniston, Matthew Goode playing cad Hugh Alexander and Mark Strong imperious as MI6 agent Major General Stewart Menzies. Tyldum succeeds in creating a gripping, beautifully shot drama praising the remarkable feats achieved by codebreakers and cross word fanatics. By cracking Enigma it is estimated that the war was shortened by up to 2 years and saved approximately 14 million lives. That Alan Turing is finally being recognised

w i t h i n p o p u l a r c u l t u re s h o u l d b e applauded and The Imitation Game is a brilliant place to start. WE’VE ALSO BEEN WATCHING: I N T E R S T E L L A R

T H E H U N G E R M O C K I N G J A Y

G A M E S : P A R T I

P A D D I N G T O N

FOR MORE INFORMATION ON WHEN THESE FILMS ARE SHOWING, CHECK YOUR LOCAL PICTURE HOUSE CINEMA LISTINGS: http://www.picturehouses.co.uk/cinema Picturehouse_At_Fact/

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erendipity seems to run high in David Lynch’s back-catalogue. The chancing upon of ideas, along with Lynch’s fidelity to those eurekamoments [waiting it out for “the big fish”] has seen him extend his polymathic chops into a variety of media beyond his much celebrated presence in movie theatres. Of these other projects—and considered by some to be his magnum opus— Twin P e a k s i l l u s t r a t e s Ly n c h ’s s t r i k i n g resonance with both the cult and popular imagination. A short-lived crime drama/ soap/supernatural thriller, Twin Peaks brought Lynch’s maverick auteurism to television and the serial format. With the summer release of Twin Peaks: The Entire Mystery on Blu-Ray [replete with deleted/ additional scenes and cast interviews with Lynch in character] and the jubilation of fans over the recent announcement of a nine episode revival landing on Showtime in 2016, Twin Peaks and David Lynch have returned to the centre of the global hivemind, reinforced by the latter’s marked inactivity since 2006’s Inland Empire [or rather his trading the director’s chair for an electric guitar and tallying-forth into the music world]. Nevertheless, there is still a feeling that the posthumous legacy of the show’s original two seasons [1990-1] continues to be written—never more stark than in what has been lauded as TV’s ‘Third Golden Age’, in which daring, dark and disconcerting drama has crept from

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the margins to establish itself as a precedent for quality programming and informed the aesthetic of long-form, televisual media in recent years. The feature-length pilot begins with the discovery of the dead body of homecoming queen Laura Palmer; ‘wrapped in plastic’ stammers Jack Nance [Lynch (ir)regular and legend-in-his-ownright] in a now iconic scene foreshadowing the mood of the rest of the first season. Set in a close-knit logging community in Washington State, Twin Peaks follows the public and private trauma of the residents of the eponymous town; to this extent, the foregrounding of space and locale h e a r k e n s b a c k t o Ly n c h ’s e a r l i e r masterpieces—both Eraserhead [1977] and Blue Velvet [1986]—whose distinct ecosystems [Lynch often refers to his films as each comprising a “world”] respectively capture both industrial gloom and suburbia, the latter glistening with a hypersaturated surface polish. In the best of Lynch’s work these twin poles bleed mysteriously into one another, a return of the repressed, precipitated by anything from the awkward tilt of a head, a digitally manipulated smile, or the discovery of a rotting ear in a field. In the case of Twin Peaks, Lynch has never been so confident testing these porous boundaries. One only need look at Sheryl Lee’s spectral performance as the ‘gone girl’ of the

series; Laura Palmer— equal parts innocent, disturbed and tragic— haunts the show through flashbacks, dreams and even the strange appearance of her cousin and doppelgänger Maddy [also Lee] in a sideways nod to Poe and Hoffmann. Lee, along with an unforgettably eccentric supporting cast, help populate Twin Peaks as a community rocked by tragedy, whose shady underbelly threatens to reveal itself in tandem with the mystery surrounding Laura Palmer. At the helm of the investigation is FBI Special Agent Dale Cooper, played by another alumnus of Lynch-land Kyle MacLachlan. On the subject of serendipity, Cooper’s reliance on dream and intuition offers something in the way of a compass for navigating the fictional town, similar to any of Lynch’s landscapes. In one key moment, Cooper admits to the Sheriff of Twin Peaks, Harry Truman: ‘I have no idea where this will lead us, but I have a definite feeling it will be a place both wonderful and strange’; likewise, the joy of Twin Peaks (and arguably one reason for the commercial success of its first season) was precisely this invitation to imaginative possibilities, a sense immersion in the overarching mystery as it unfolded. The upshot of this was something that ABC executive Alan Wurtzel described, in decidedly less romantic terms, as the ‘water-cooler’ effect of a popular show;

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conversation fodder. However you describe it, Twin Peaks managed the difficult task of striking the imagination of popular audiences and long-time Lynch fans, the same question alight in everyone’s mind; ‘who killed Laura Palmer?’ The fundamental strength of this mystery helped buttress the show’s initial popularity, while also serving as a MacGuffin for getting to know the rest of its spectacular cast. For instance, who could forget the gnomic riddling of Catherine E. Coulson’s Log Lady, or Nadine Hurley’s long spiel on silent drape runners, or the Man From Another Place [let alone the fact that the red curtained dream sequences have passed into something like the collective TV-watching subconscious], or Bob, vying with Blue Velvet’s Frank for the title of ‘most horrifying Lynch character’? And then there’s Andy [‘I’m a whole damn town!’]. Without a doubt, Twin Peaks demonstrated Lynch and co-writer Mark Frost’s sharp ear for the comical and the absurd— an inevitable consequence, perhaps, of the former’s taste for the simultaneously super-violent and the Rockwellian mundane. This translated easily into a perceived irreverence towards established tropes and conventions, adopting a kind of magpie approach to narrative; a show made of pieces, often defusing the darkness, but other times reaching a critical mass of grotesquery. And yet, it is undoubtedly the show’s decline in popularity during its second season that piqued the interest of the cult crowd. Calls of the show’s prescience and its being ‘before its time’ are vindicated by the difficulties encountered by Lynch and Frost’s strained relationship with ABC and network pressure to prematurely reveal Laura Palmer’s murderer after a lull in ratings. A rift between the creative team and the network, as well as between the two co-creators, resulted in the revelation of the killer mid-way through season two, leaving a second season most of which, while essential viewing for any Lynch fan, soon falls off the deep end in terms of tone, incoherence and narrative branches leading to nowhere, ending famously on a cliff-hanger as the show was subsequently cancelled; a sad example of commercial imperatives overriding creative rigour. Nevertheless, the [as yet] final episode of Twin Peaks, while obviously baiting a viewership whose interest had sadly waned, remains a spectacle of everything that made the show great in its prime. Over twenty years later, the final sequence in the ‘Black Lodge’ still holds up as a truly horrifying experience, Frank Silva’s Bob chewing up the scenery; Sheryl Lee, never better, running on full throatshredding capacity. Its ‘unfinished’ status along with the fact that Lynch in the decade after went on to direct some of his most critically lauded material with Lost Highway [1997] and

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Mulholland Drive [2001] has ramped up the allure of a return to Twin Peaks. On top of 1992’s release of the critically panned Twin Peaks: Fire Walk With Me, an industry of mystique has taken root around its mere two seasons; books, audio recordings, fictional journals, all purporting to offer some insight into the series—all this despite the revelation of Laura Palmer’s killer. Lynch and Frost managed to create a mystery which exceeded itself, generating new questions and new stories about the lives of their characters. With a novel written by the latter entitled The Secret Lives of Twin Peaks to be published in 2015, the creative team look set to prime the fans for a return to the town where one expects a lot will have changed in 25 years. Although, in the interim, the media landscape has also changed; interchangeable screens, instant

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streaming and the event of Netflix originals all reinforcing the notion that the manner in which we access content has undergone a paradigm shift. Though Twin Peaks looked forward to what we watch, bringing the art house into the living room, the medium, in this case, surely is the message; and Twin Peaks, since its cancellation, has persisted in being a self-generating ecosystem of curiosity and speculation across a field of different media—a fact which bodes well for the decentred, bidirectional logic of the internet and its fan communities. Whether or not Lynch will actually provide any answers upon the arrival of the nine episodes is debatable; but I’m surely not the only one to feel a sense of elation to have Lynch back behind the camera, ready and waiting to reacquaint myself with some place both ‘wonderful and strange.’

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rt is what you can get away with’. This small comment is still making waves half a decade since it was uttered by Andrej Warhola Jr, or as he is better known, Andy Warhol. It is very hard to think of anything else when faced with the work of so many modern artists, where the sentiment behind the piece feels forced or sketchy at best. We are supposed to admire what is offered up to us because we are told by the artists themselves how deep and thought provoking it is. At times this can be exhausting. For the Transmitting Andy Warhol exhibition, Tate Liverpool has brought together over 100 pieces of work across a range of media to explore Warhol’s obsession with celebrity and massproduced imagery. All of the usual suspects are present, Marilyn, Elvis, Mao and Sedgwick [quite a collection of characters] alongside original drawings, album covers and his experiments with celluloid. His iconic play with imagery and colours are as famous as the man himself and still influence popular culture and “pop art” today. By introducing art to the masses, just how much did Mr. Warhol really get away with? Born in 1928 in Pittsburg Pennsylvania, the young Warhol demonstrated a love of

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With each tile of Marilyn’s face he ran the ink through in slightly differing ways so we never see a perfect image of her, she is transient in each phase to the point where she looses her humanity through sheer repetition.

ANDY

WARHOL

all things visual from an early age and was famously encouraged by his mother to pursue his passions. Moving to New York during the 40’s, by the end of the 1950’s he was one of the highest paid commercial illustrators in America. His fascination with the average American, paired with his ability to engage them with his art made his fortune. Average items like coke-cola bottles and humble Campbell soup tins reject the notion of high art and were turned into covetable, mass produced media by Warhol. Seeing Campbell’s Soup [1968] next to the Marilyn Triptych [1962] and Three Brillo Soap Pad Boxes [1964/68] completely illustrates Warhol’s use of material and fascination with fame and the mundane. In his study of Marilyn he already predicts the fragile nature of fame and how it changes depending on your image. With each tile of Marilyn’s face he ran the ink through in slightly differing ways so we never see a perfect image of her, she is transient in each phase to the point where she looses her humanity through sheer repetition. He had a foresight into the way pop culture would evolve “in the future, everyone will be famous for 15 minutes” and how nothing would stay still for long. His film Empire [1964], a continual 8 hour film of the Empire State Building, eerily forecasts our obsession with reality TV and close monitor surveillance. The real standout of this exhibition however is Electric Chair Portfolio [1971]. Produced during a period of American history where the cultural middle classes were beginning to question the humanity of corporal punishment, Warhol distorts an image of the electric chair used to execute suspected Soviet spies Ethel and Julius Rosenberg at Sing Sing prison. The use of bright colours and blurring transforms the image into something quite beautiful belying the sinister composition. Again repetition of the image nullifies its impact on the viewer, as social media does today, as Warhol’s own observation illustrates; “You’d be surprised how any people want to hang an electric chair on their living-room wall, especially if the background colour matches the drapes.” If Transmitting Andy Warhol achieves one thing it is this; the images on show make you question the world we live in today. For an artist to foresee so much of what modern culture glorifies and nullifies is staggering. He didn’t just produce art for arts sake, Andy Warhol encourages us to look further and figure out our own opinions.

Transmitting Andy Warhol Exhibition runs November 2014 – 8 February 2015 at Tate Liverpool. Adult £8.00 // Concession £6.00 // Student £5

WORDS: ELIZABETH WILKINSON

24.

S P O R T

oberto Martinez is a man who knows his own mind. Born and raised in Spain to a football coach father, he grafted as a lower league football player with teams such as Motherwell, Walsall and Chester until he turned to coaching himself. Cutting his teeth first as coach at Swansea, seeing them promoted to premier league football, and then at Wigan where he guided them through relegation battles and lifted the F.A Cup for the first time in the clubs history; it was not long until major players were knocking on his door. Linked first to Liverpool after Kenny Dalglish’s dismissal it was Everton who eventually hired him in the wake of David Moyes’s controversial move to Manchester United. And whilst Moyes has since left Man U in a haze of disappointment and bad blood, Martinez has managed to steer Everton to their most successful season in years and seems on track to deliver the Merseyside team back to the very pinnacle of topfl i g h t f o o t b a l l . W i t h a d e g r e e i n physiotherapy and a post graduate degree in business management, Everton Director Bill Kenwright must be clapping his hands in glee to see his club in such sure control. With a cool head and poised demeanour Martinez is a man who can deem himself to anyone (even Liverpool fans have a respect for him) and has a clear trajectory for where he can take the club. Ace where lucky enough to steal some of his precious time and put to him questions about his ethos as a manger. ACE: Coming to a club like Everton carries a lot of weight, how did you prepare for Goodison and Liverpool as a city? ROBERTO MARTINEZ: I was very surprised at how special Everton was for the fans. When I arrived at Everton I thought ‘I need to find out, what's this relationship between the fans and Everton?’ Just to understand it. And that's when you get a little bit captivated by it. I must admit that the support and the patience from the fans for the first three or four weeks, that was for me the moment I appreciated the fans the most. I knew it was difficult and I knew that everyone had their doubts and their question marks ‘can these players play this way?’ But nobody was disrespectful towards our work or towards the players, there was a real understanding. The support from the fans and the happiness from the fans has been fascinating. The support doesn’t stop amazing me day to day - it is incredible. With Everton in Europe after a relatively long absence, what kind of confidence does that bring to the club and players? How important is Europe to you as a manger?

F E A T U R E

I N T E R V I E W

RM: I do think I've seen too many negative comments about the Europa League as a competition - I don't agree with that at all. I think getting into Europe is exactly the next step we need as a football club to be tested and push ourselves to the next level. We are happy to have that expectation. I wouldn't be happy with us as a football club to say 'we had a great season, now let's have a bad season'! That is not what we want at Everton. I think it is a perfect introduction for us to test ourselves in Europe and our ability to cope with the demands that brings. The time we have had together has given us real confidence and a real desire to carry on developing. Getting into Europe is exactly the next step we need as a football club to be tested and push ourselves to the next level. And we don't want to drop our levels in the domestic leagues.” The fans expect the team will give everything on the pitch with real style, swagger and quality football and that will always be our focus." ACE: It’s been 20 years since Everton last won some silverware, do you think about that during the season and how do you see the players turning this around? RM: We are at a football club where we are expected to win things. It has been a long time since we won a trophy. But we are in November and when you talk about winning competitions you can look foolish. But our squad is large enough and has enough quality to cope with the number of games.

“

I WAS VERY SURPRISED AT HOW SPECIAL EVERTON WAS FOR THE FANS. WHEN I ARRIVED AT EVERTON I THOUGHT ‘I NEED TO FIND OUT, WHAT’S THIS RELATIONSHIP BETWEEN THE FANS AND EVERTON?’ JUST TO UNDERSTAND IT.

We want to stay in the Europa League as long as we can for example. There are top teams in this competition and all we can do is keep testing ourselves and keep fulfilling our potential. Once you win silverware it is an addictive feeling. I do feel that it is something we want to continue here. With any successful team, that first trophy is down to a really small percentage – even Manchester United with Sir Alex Ferguson or Barcelona with Pep Guardiola. With any top team you get that key moment and there’s nothing better than a moment of success. Should Everton be a club fighting for trophies? Yes, 100 per cent, because you look at the history and the heritage and what we are as a club and the fans. We have to find a formula where we know how to win trophies rather than hoping to win a trophy. There is a big difference. But the club this season has shown they are ready to compete against anyone.” ACE: You have often spoken about your desire to encourage young players and advocate a premier league B circuit in the English game. RM: One hundred percent. I think there are going to be a lot of negative comments because any time you want to do anything different you are going to get people against it. The B sides around France, Germany, Holland and Spain give the younger players an advantage, and that's unfortunately where English players are suffering. When you go into European championships and international games you haven't got that first team experience. The B sides will work. The problem is how you're going to set it up. Young players need to play first team football. That's why we send players out on loan and we see real benefits. The problem is you don't control their way of playing, you can't control how you want them to be educated towards playing in the first team, so B sides is the answer. Will it work? It will depend on the small details. Which league are they going to be in? Is promotion going to be allowed? Are they going to be allowed to play in cup competitions? There are many details which will make the difference between whether it is a success or not, but in terms of development of the young players, it's exactly what we need ACE: How do you work with young players and integrate them into an established team? RM: We pride ourselves on the work we do with the youngsters and we need to be brave enough to give them an opportunity. Sometimes you need that opportunity, which comes through suspension or injury, but that is not a case to be worried we will drop the level of the performance. That is what we are as a club. We will not blame

WORDS: ELIZABETH WILKINSON

O T R E B O Z R E N I T R A M

26.

S P O R T

F E A T U R E

I N T E R V I E W

players that are missing we just celebrate the opportunity given to young players. This season we have again given them opportunities. Players aged 19, 20, 21 have been given important roles in the side and it is not about being young, it is about being prepared. Probably that unknown quality has given us that extra edge. Look at John Stones and how he has been performing aged 19. You rely on senior figures to help and protect them but the younger players bring you other qualities: bravery, energy, and it is trying to use the good things they bring rather than highlight the lack of experience. ACE: Players like Ross Barkley and John Stones must look to you as their mentor? RM: For me it is extremely exciting to see how players like Ross and John have developed, and that will continue to be central to what we want to achieve here. As long as young players are treated the same as the guys who have played 500 games, then they understand that there is a learning process, and that they have to keep improving. It is easy to motivate them in that way. ACE: As manager of Everton you are a huge symbol for Liverpool and Merseyside, how do you incorporate that into your busy schedule? RM: Everton does a terrific job in the community and Everton in the Community is something we are all very proud of. I am very much looking forward to seeing the programmes continue to grow from strength to strength over the coming years. I am proud to have Everton in the Community as part of our football club and I am so impressed with the work they do for local people.. ACE: The rivalry with Liverpool FC is fierce yet there is a respect from Liverpool fans toward you, was it important for you to establish that? RM: You need respect alongside the rivalry and there is no better example than Hillsborough. Evertonians and Liverpudlians are shoulder to shoulder and so they should be. I was only 15 when Hillsborough happened. I was football mad and as a family we couldn’t believe the pain and horror. How can anyone die watching the game they love? That isn’t right, that isn’t fair. What happened after wasn’t right or fair. To fight for the name of the people you have lost is appalling. The way the families have fought for justice is incredible and Everton are with them…they know that. Football is so powerful in the city and that is something

we need to be proud of. I'm not sure how I can put it into words. It goes beyond the rivalry in football. It is what football represents in the community, in everyone's lives and the passion we have living our lives involved with football. It fills me with real pride and I think it takes you all the way back to the history of the two football clubs. ACE: Is there a work - home balance that you stick to? RM: I relax by watching football at home, too. A new television where we can both watch different things has saved my marriage! We can sit together, at the corner point of the sofa, while looking directly at our own TVs. I sit watching football with my headphones on while Beth has the sound on watching whatever it is she wants to. But we are sitting together and that is the main thing. My daughter Luella is as good as gold. It has changed our lives but in some ways it has actually made things easier. Our life is more structured now – 5pm is bath time, 10pm is bed. ACE: Do you have any other hobbies?

RM: This season the chairman has given me a few tickets to watch some of his shows! But I just switch off by watching football. I enjoy it, it's a strange kind of therapy if you like. When you watch a game that you've got no link to whatsoever, and it doesn't matter what the result is, I get real satisfaction from just watching the game - seeing other people's problems, I really enjoy it and its therapeutic for me. ACE: In the next five years, what achievements would you like for Everton? At Everton, with the significance, tradition and history, winning silverware needs to be part of our DNA. We all know how difficult it is to win silverware but it is important to start setting those goals and dreams. Clearly, once you get that taste you want more and we need to make sure that we get that together at Everton. Once you win silverware it is an addictive feeling. I do feel that it is something we want to continue here. It is something where we can drive each other on to achieve, because it is important that we can share those emotions and feelings together.

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E V E R T O N

U M B R O

28.

N I K E

Boasting a two storey presence on the much loved Bold Street, Resurrection began life as a small independent vintage clothes store which has now grown into its own, as a brand and as a leading retailer, shipping its products world wide. Known for its vintage affair, Resurrection has also developed a strong identity with street wear, fast fashion and mod brands. Of

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R E S U R R E C T I O N

course, leading the way is Nike SB range stocked by trendsetters Resurrection. ACE were pretty happy to discover what was on offer this AW with deals that surely nobody in their right mind would b e a b l e t o re s i s t . We s e r i o u s l y recommend the water resistant Nike SB Trainerendor in metallic silver. Pegged as the second coming of the Roshe, this shoe combines established Nike technology, cool colour ups and serious performance into a fresh take on this uber cool model. Check out the rest of the range in store or online now. >> NIKE STEFAN JANOSKI MAX SUEDE £89.95

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C E T O

E D O R

30.

Walking up Bold Street and seeing a new bar pop up here or a cosy looking café sprout up along the old Ropewalks area over there has become a more than regular occurrence over the last couple of years in Liverpool. But just a couple of decades ago following the aftermath of mass unemployment in the 1980s and the infamous Toxteth riots, this would have been an unimaginable fete. Since then an economic revival has engulfed the city as Liverpool reclaimed its proud heritage in 2003 when it beat out competitors like Newcastle and Birmingham in winning the title of ‘European Capital of Culture’ for 2008. A massive overhaul of the city’s riverfront, which became a World Heritage Site in 2004, as well as the redevelopment of a large area of under utilised land in order to house the Liverpool One shopping district saw the city move in large strides out of its economic dip and reclaim its place as one of the top cities of the country. However this onslaught of big name fashion brands and international restaurant and bar chains in the renovated L1 area was a bright shiny retail-mecca to many and a looming death sentence for others. Clayton Square precinct has suffered, Lewis’s closed their doors and the old Ropewalks area of town seemed destined toward the same impending financial demise. But despite fears to the contrary, the independent scene in Liverpool is flourishing. Without wanting to sound all David-Cameron-Big-Society, Liverpool One seems to have had a sort of ripple effect as the surrounding areas have prospered where they could have wilted. It’s either that condescending trickle-down theory or the good Scousers of Liverpool want more from life than a Nando’s washed down with 2-4-1 watery cocktails at TGI Fridays… A short walk from the retail giants of John Lewis and Debenhams will find you in a more alternative part of town; creative, nonconformist and carefree, where every shop front looks different and inside offers even more variety. Celebrating diversity is what the city is about and is a feature we should be proud and privileged to uphold: an imaginative, inventive and unique break from the increasingly homogenised landscape of the food and drink industry. It’s refreshing, maybe we’re biased but other cities seem a bit drab compared to Liverpool. Whether it’s the bohemian Paris chic of Café Tabac, sipping absinthe in Toulouse Lautrec’s local in Some Place, making your last requests at Deathrow Dive n Diner or flipping the bird to the Colonel in Yardbird there’s a cosy corner that will suit anyone in Liverpool, it’s just about finding it. With such a menagerie of merchants waiting to welcome willing patrons in our

O P I N I O N

Without wanting to sound all DavidCameron-Big-Society, Liverpool One seems to have had a sort of ripple effect as the surrounding areas have prospered where they could have wilted. lovely Liverpool, we were aghast by Seven Streets’ recent sensational online article by Laura Brown entitled, ‘The Shocking Truth About Independence’ where among pulled-pork and bearded barmen Brown blasts the tide of Independent businesses that have seen the city thrive or who are, as she puts it, “making us the same as everyone else.” I am completely stunned by this article as it reflected an experience of Liverpool which completely counters my own and many others around me. As of late I’ve witnessed a Ropewalk Renaissance of sorts transform parts of the city, reinvigorating it as a social and cultural hub, where great food and drink are paramount. An independent business is one that is free from the outside control of a publicly limited company, privately owned with full business and artistic merit belonging to the owner and investors. Brown lambasts independents who, “dress up their independent status as a subversive counter culture when it’s anything but. They whip up a storm of publicity because that’s their socialmedia-buzzing objective. Not being independent.” She doesn’t expressly name them but I think the store in question is ‘Barber Barber’ on College Lane, a barbershop whose ‘no girls allowed’ rule invited heavy criticism for being overtly sexist, criticism which I personally strongly advocated and agreed with. However, I think it is completely unfair of Seven Streets, and equally reminiscent of the type of media sensationalism they are criticising, to condemn every independent outlet in Liverpool as “appropriating someone else’s independent culture [London’s, B r o o k l y n ’s , M a n c h e s t e r ’s ] . ” O n e restaurant mentioned in the article is the newly-opened Deathrow Dive n Diner on Hope Street, [same owners as YardBird and Motel]. The article gave Deathrow a scathing character reference: “Why wouldn’t you want to think of botched executions, of

post-execution exoneration, or affronts to human dignity while you’re chomping down on a burger and cocktail? Because let’s not forget what death row is – the cornfed cherry on the top of a racist, unjust justice system in the US. Oh, and do you want fries with that?” It seems to me that there’s been a misunderstanding of concept. Instead of the idea of Deathrow Dive N Diner being “revolting” or all of the above, isn’t it intriguing?Rather than being a celebration of the institutionalised murder of criminals, both guilty and otherwise, is it not a social comment? You enter, you walk the green mile [more grey than green, more staircase than mile but whatever], and you’re in Deathrow. Lynchian tones of surrealism echo about the cages and bench seats, eery artwork and cacti adorn the tables and walls and all around you there is a sense of the uncomfortable, the unhomely: the defiant. How many times have you discussed what your final meal would be? Deathrow Diner has embodied this idea into a surreal actuality. The real Deathrow isn’t merely “offensive” it’s an inhumane affront to civilisation at the very least. We shouldn’t ignore it or not think about it because it makes people uncomfortable, these are the reasons that something like Deathrow can and should be caricatured: it holds a mirror up to the absurdity of it all. The skewed hypocrisy of a final meal: merciful but, then again, not merciful at all. If you’re offended by it, think about why that is and fight The Man who has the power to overthrow human decency, not the little man who questions this authority [whilst serving splendid salt and pepper shrimp at they go]. I do however agree that there’s a little too much pulled pork mincing about town of late, or as my lovely nan put it, “oh everything’s pulled these days” and there’s so much exposed brickwork it’s a wonder that half the buildings in town haven’t collapsed yet but, at the expense of sounding a bit ‘give the people what they want’, there’s obviously a niche wanting and needing to be filled in the collective aesthetic and heart of the city for both Yardbird and Deathrow to be

VIVA LA INDEPENDENTS

31.

I N D E P E N D E N T S

T A K E O V E R

opening up and, so far, flourishing. In an age where everyone and their dog and /or cat is tweeting, facebooking and instagramming their daily lives by the minute, an online presence is not only vital and expected, but it’s also fun. Would you really rather everything was as clean cut and finite as McDonald’s or Burger King? [Who are equally as uninviting to vegetarians I’m sure…] Being independent is about being inclusive, rather than exclusive. Adventure over caution. The avant-garde beating out conservativism and looking failure in the eyes in the hope of success. If Deathrow want to experiment with shock and awe tactics then let them. I certainly haven’t seen anything like it further afield from our city, so I don’t know whose counter-culture they’re meant to be imitating. As for the other independents, this revival of the Ropewalks area reveals a reverence to food and drink that is central to the city’s heritage. The idea that Liverpool’s independent scene is aping another city’s is ludicrous as any number of bar staff, chefs and patrons of the city’s plethora of bars, bistros and diners will agree. The shocking truth about Liverpool’s independents is that unlike other cities, they’re disobedient, eccentric and stubbornly here to stay.

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33.

I N D E P E N D E N T S

RAWHIDE CUSTOM

The emerging independent scene has been flourishing for some time now with a wealth of businesses popping up from nowhere to wow us with their creative flairs and diverse offerings. Helped on by the inner city communities such as Baltic Triangle in Liverpool, the urban populous have been giving us the very best of original, organic and the authentic. So of course when we came across the uber cool Rawhide Custom, it didn’t take us long to strike up a conversation with the folk behind the handmade leather goods company to find out what they’re all about and why we should be taking notice of them. Nestled somewhere between The Cavern Club and Penny Lane, Rawhide Custom is a venture in leather born from the back streets of Liverpool, England. You can usually find the collection of well-made [and well-named] items, such as the charming hand-stitched leather notebook cover aka the ‘Scout’ [Supplied with one Moleskine notebook - huzzah] and for those on the move... a neat leather wrapped hot drinks jar aka the ‘Alamo’ stocked in the concept store Rex [Williamson Square] or if you prefer, the

online store. We also heard through the grapevine that RC are working on a few [secret] projects that involves fellow independents in the city whereby future [exclusive] items will be available in their stores. How exciting. When we asked about the materials, ACE were pleased to hear that all are sourced in Britain. We were even more impressed to hear they are sourced from one of the last remaining tanneries in the UK that still finishes its leather by hand, using natural products which result in the best quality. The products are made of British vegtanned shoulder cuts of cow leather which give the items a real depth of colour that is already a hit within the community and beyond. How did this all come about? Well yes, it’s been a long haul to reach this point but RC have met a few people along the way who have really helped out and offered great advice, people who've experienced the process though it’s all coming together now and they’re taking it in their stride. They, being of course, co-owners Jack Nicholls and Max McDonough , who are both locals and dreamt up the big

idea. There was a fascination with all the workshops across the pond that were turning out amazing leather products for the yanks that the now aptly named Rawhide Custom began crafting themselves which in turn generated unexpected demand. All of the early groundwork put in at the beginning seems to be working as more and more people hear about Rawhide Custom. The boys tell us it’s currently bringing rewarding results along with interesting and challenging projects, including a boat. A leather boat. It’s clear the genuine love for what they’re doing from sketching ideas, crafting protoypes, and then delivering the finished product is a process more satisfying than any they’ve ever experienced. W ith a multitude of stores in the city who place emphasis on local, quality products and who appreciate the time and effort that goes into making such items, ACE are pretty sure you’ll be seeing a lot more of Rawhide Custom in 2015. For more information or to shop Rawhide custom visit: www.rawhidecustom.co.uk

34.

O L I V E R

S W E E N E Y

C H R I S T M A S

G I F T

G U I D E

With Christmas fast approaching, where better to look for gift inspiration than the supremely luxurious, but never too indulgent, Oliver Sweeney. ACE absolutely loves Sweeney shoes gifted to us by the brand, with each season better than the last. But there’s more on offer than just a butter soft leather brogue. Over 100 high quality, hand crafted leather accessories in tan, cobalt and carbon fibre print leather ranging from wallets to washbags, laptop c a s e t o n o t e b o o k s , a re available this Christmas to get your hands on so there truly is a gift for everyone. W e d e fi n i t e l y w o n ’ t b e breaking a sweat, after all, tis the season to be jolly. Here’s a snapshot of what you can pack in to your stockings to surprise that certain someone of discerning taste and style.

Sweeney Tattoo

Unisex Slippers

Scarves

To make your gift that bit more special the Sweeney Tattoo service is the answer. Using a real tattoo gun and ink, complete any tan leather shoe or accessory with a design of your own choice. Whether you choose a set of initials, a favourite quote or even an image, a Sweeney Tattoo is a unique way to personalise a Christmas present and OS are the leading premium menswear brand offering such a service.

Both the men’s and women’s slippers are every bit as comfortable and well constructed as you would expect from Oliver Sweeney. Available in two luxurious styles, including a brown leather moccasin (Settle) and a suede slip-on mule (Wistow), both are complete with a soft shearling lining and make for an incredibly luxurious gift for those who like their off duty wear to be as high class as the rest of their shoe collection.

Tartan has a lot of history: nearly outlawed in Scotland in the 1700s, borrowed by the punk movement of the late 1970s. Nowadays the OS tartan scarves are made from the finest Merino wool, for your own chapter of history.

Prices range from £25 for initials to £100 depending on design complexity.

Matching slippers, Navy Suede for £79.00 & Brown Leather for £95.00.

Tartan Merino Wool Scarves are £49.00 & Striped Wool Scarves are £69.00.

Also on offer, in a heavy soft merino, the Broome scarves mix a bright combination of colours in their stripes to brighten up your morning commute.

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MARTINI LOUNGE LOUNGE MARTINI

GRETCHEN PETERS PETERS GRETCHEN

DREAMING OF OF KATE KATE DREAMING

KATHERINE RYAN RYAN KATHERINE

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37.

J O H N

L E W I S :

V I N T A G E

I N S P I R E D

Every year, as the festive season fast approaches, we as consumers become inundated with all things Christmassy. A slow panic begins to build around October as we start to realise that the big day is fast approaching and in most cases we are woefully unprepared. Ordering the turkey, making the pudding, putting up the tree and buying endless presents is enough to send anyone a tad doolally. But don’t panic, the ever dependable John Lewis is here to soothe and guide you. Their beautiful range of Christmas treats and decorations are themed to evoke the lighter and brighter aspects of the season. This year ACE were particularly drawn to their “vibrant vintage” collection with its bold tones and effortless retro charm; definitely a Don Draper vibe that we are absolutely digging! Looking through the collection we can imagine the joys of Christmas past. Everyone crowed around the newly installed black and white TV waiting for the Queen to make her speech after which the whole family will go outside and enjoy a humongous snow ball fight. Actually, update the TV to a plasma and there is no reason that we cannot reclaim Christmas as the season to be jolly. If only the British weather could be depended on as reliably as John Lewis. There’s no harm in wishing.

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G Plan Vintage The Sixty Seven Footstool, Marl Grey - £299

John Lewis Aston DAB/FM Radio, Walnut - £39.95

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F O O D

D R I N K

G U I D E

FREDERICKS

ARTS CLUB

HOME

This Brooklyn style eatery situated in the heart of the city’s Georgian quarter boasts a slick mix of urban decor and a relaxed atmosphere. It offers a refreshing and informal alternative to the usual haunts across town, taking ‘Home-cooked’ grub to another level heavy emphasis on fresh produce. W ith favourites such as Baltimore Lumpy Chunk Crabcakes and Padron Peppers to die for, sitting beside Fredericks’ fire never seemed so tempting.

For the perfect hang-out with friends, Arts Club is the place to be. With events held every night and hosting some of the finest gigs with established and emerging talents around you can literally take your pick. With food offers on a Monday and 2-4-1 cocktails on a Tuesday those late night shopping trips will be made that much easier. Pop on down on a weekend for a killer brunch and buy some unique presents with their vinyl pop-up shops.

Nestled within Liverpool ONE Home offers a perfect haven away from the throngs of shoppers. Dedicated to sourcing local ingredients such as free-range eggs from Kirby and raspberries from Claremont farm they champion local businesses. Serving honest, homemade food with everything prepared and cooked from scratch on the premise take it from us this is no average lunch. For the early starter brunch, their pancakes in particular, are a must.

Perfect for: After work drinks and nibbles that may last all night.

Perfect for: Friends catching up over a burger listening to live music.

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60 HOPE STREET

FAZENDA

A relatively new kid on the block, Grove Beer Tap and Grill is considered a hidden gem by those in the know. Set back in a small side street you can disappear within the clean, modern interior and experience the very finest beers from across the globe. Accompanied by well planned, signature small plates this is a new bar experience for the city. With outstanding service from its front of house team you won’t want to leave.

Part of the established Liverpool fine dinning scene for over a decade, 60 Hope Street is the place to experience relaxed, modern British food at its very best. Famed for its seasonal menus and dedication to all things British this family restaurant is perfect for entertaining over the festive period. As serious gluttons our top recommendation is the finger licking good deep fried jam sandwich with carnation ice cream.

Brazilian cuisine is not something most people are familiar with, a fact that the team at Fazenda are trying to rectify. With a serve your own salad bar and waiters circulating with juicy cuts of meat it is certainly a new form of dinning, but one we approve of! Load up your plates with Brazilian local delicacies and feast on the array of meat on offer. Enjoy with a lovely bottle of wine or a signature caipirinha to get you in the festive mood.

Perfect for: Kicking back with work mates after a hectic day at the office.

Perfect for: Family celebrations with an added splash of glamour.

Perfect for: Office parties. Choose what you like with no arguing over the bill.

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F O O D

D R I N K

G U I D E

MOOSE COFFEE

BIERKELLER

With its inspiration laying firmly with the American and Canadian love for all things breakfast, Moose Coffee has the mornings sorted. From the more traditional Eggs Benedict and pancakes seen on most breakfast menus, Moose throw in delights such as the Liberty Moose (scrambled egg, pesto, ham and pine nuts) and Huevos Ranchos (tortillas, refried beans, fried eggs and tomato). Enjoy with a hot cuppa joe.

Ice cold beers served in classic Bavarian steins delivered by waitresses dressed in traditional Bavarian garb is the Bierkeller way. With enormous long benches for seating and live entertainment this is one destination where you are sure to have fun. Featuring party games and competitions along with a live Oompah band audience participation is a must. Chow down on a bavarian wurst and pretzel to complete the experience.

The joy of The Restaurant Bar and Grill is in the name; its grill. Specialising in serving the finest quality steaks and grilled meat RBG is the only place to get the perfect steak meal. Situated in a beautiful old banking building, the service, quality of ingredients and first class service will seriously impress. For a special occasion there is nothing better than steak and lobster for two to share. Throw in a bottle of bubbly and the evening is complete.

Perfect for: Indulgent breakfast after a heavy night out.

Perfect for: Anyone wanting a unique night out for a large party.

Perfect for: Intimate dinner for two to celebrate.

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RBG

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BREW DOG

WHERE TO FIND THEM:

Vintage arcade games, burger menu, beer buttons and a dedication to all things craft beer, BrewDog is the epitome of a “man cave”. A place to just sit and let the world pass by this is a bar in the proper sense of the world. Laid-back, friendly bar staff are more than happy to broaden your cask ale horizon and recommend beers to suit your taste. We recommend BrewDog’s ownbrand beer and a game of battleship may the best man win.

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Perfect for: A no fuss evening with good company.

90 Seel St, Liverpool, Merseyside L1 4BH 0151 559 3773

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Horton House, Exchange Flags, Liverpool L2 3PG 0151 227 2733 6 Dale St, Liverpool, Merseyside L2 4TQ 0151 227 4880

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14 School Ln, Liverpool, Merseyside L1 3BT N/A

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6 Thomas Steers Way, Liverpool L1 8LW 0845 533 3000

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Seel Street, Liverpool Merseyside L1 4AN 0151 709 7393

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Halifax House, Brunswick Street, Liverpool L2 0UU 0151 236 6703

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32 Hope St, Liverpool, Merseyside L1 9BX 0151 708 9574

60 Hope St, Liverpool, Merseyside L1 9BZ 0151 707 6060

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Manolis Yard, 8 Colquit Street, Liverpool, L1 4DE N/A

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SCOTCH & SODA LAUNCHES ATELIER SCOTCH ‘AN ECLECTIC TAILORING COLLECTION’

Fans of the Amsterdam-based fashion brand Scotch & Soda will be thrilled to hear they’ve launched [at Pitti Uomo in Florence January this year no less] a premium menswear line that simply demonstrates a new and chic take on modern tailoring, say hello to Atelier Scotch. The fast growing company known for its clean lines, decoration and attention to detail, something that lives and breathes in the Scotch DNA, is also present in the contemporary formal dressing collection which ACE just couldn’t wait to feast our eyes upon. Indeed a new breed of Gentleman has been introduced with the Atelier Scotch collection that is classy but cool in character. Modelled by Paul Sculfor, the collection exudes unique but non pretentious. The Atelier Gentleman gladly travels the globe through which he creates a pocket full of dreams. From Paris to Milan, from New York to Tokyo

and from London to Amsterdam, the Atelier Scotch team have taken inspiration from the World’s style capitals to produce a tailoring line alternative to the traditional. With a plethora of qualities, structures and colours in the mix it could have been quite easy to get it wrong. But Atelier Scotch manages to keep it subtle and luxurious. And, to top it all off, the fabrics and prints used for this collection were developed inhouse, for that extra special finishing touch. You can expect to find the likes of mohair, tweed, cashmere wool, merino and herringbone, all elements that make the Atelier AW/14 collection a rare treat. Shirts have been rinsed and steamed so they feel softer, more voluminous but remain elegant and treated corduroy make cool shaped pants, oh yes. The love for details is refined but recognisable within the collection, that is certainly clear. However it is the added

combination of unexpected styles that make the ‘sub-brand’ a complete but pleasant surprise. The brand plays with contradictions pushes existing boundaries and combines materials and fits that haven’t been seen before. Scotch & Soda has already opened its first standalone Atelier Scotch store in Amsterdam and we’re all hoping here at ACE HQ for something a little closer to home in the near future, though no plans have been revealed for similar outlets elsewhere. Lucky for us, the it currently has over has 100 stockists in the UK and Republic of Ireland so there’s no excuse for not suiting up this Winter chaps.

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ATTENTION TO DETAIL THAT LIVES AND BREATHES IN THE SCOTCH DNA, IS ALSO PRESENT IN THE CONTEMPORARY FORMAL DRESSING COLLECTION

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T H E

FINE KNIT TURTLE NECK £112 [ON OFFER]

SINGLE BREASTED WOOL COAT £336

CROCO PRINT LEATHER BELT £59.95

E D I T :

A T E L I E R

SHETLAND WOOL PULLOVER £169.95

VELVET BLAZER £314.95

LAPEL PIN SET £29.95

S C O T C H

SUADE BOMBER JACKET £629.95

PEAK LAPEL BLAZER £419.95

LARGE FLOWER LAPEL PIN £49.95

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Here at ACE we love discovering new brands; innovative, ethically minded and dedicated to producing the most beautiful of products it is our aim to introduce you to companies that we really believe in. Founded in America, Brathwait is a watch company dedicated to the notion of the English Gentleman and is committed to providing a fair to the consumer price for their exquisite watches. Named after Richard Brathwait, a London poet who penned the novel “The Complete Guide to the English Gentleman” in 1631, he formed the basis for the company’s ethos. In homage to this humble man Brathwait watches have been created as a symbol of the modern man who practices the heritage of the Gentleman. Made from the finest materials and with its sleek design we are amazed that

W A T C H

O U T

Brathwait are able to retail their watch at under £150 when similar designs can cost near £500. By only retailing online they are able to cut out many of the “middle man” costs and pass that saving through to the consumer. They also lay out their costs upfront so there is no hiding and hiking up prices simply because they can. According to their own company motto “luxury is not created by resellers” and we have to agree.

A CLOSER LOOK AT THE WATCH The Swiss made Ronda movement is the same movement used in high-end quartz watches. The excellent quartz movement is shock resistance and features an extra long battery life of up to 40 months. The glass used to cover the watch is sapphire

glass, a material famed for its scratch resistant properties and for being highly durable. It is the only glass used by luxury watch manufactures for its superiority and superb finish. The plating of the rose gold case is a mixture of pure gold and copper and is composed in a way to make it last forever. It is no surprise that Brathwait have become an instantly popular brand. With every timepiece handcrafted with refined quality at such an affordable price, the brand has already amassed a two month waiting list on orders. Fair pricing, fair retailing, and affordable quality = a killer product that should be on everybody’s wish list. For more information about the brand, or to order your very own Brathwait timepiece you can head on over to their website: www.brathwait.com

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F E S T I V E

S E A S O N

W I T H . . .

PAUL SMITH TARTAN HOLDALL £350 FENDI LEATHER SHOULDER BAG £565

CASADEI QUEEN SUEDE CUT OUT SANDALS £720

PAOLO ALBIZZATI CONTRASTING SILK BOW TIE £75

LOUIS LEEMAN VELVET TOE CAP TRAINERS £475

H I S

H E R S

MARKUS LUPFER JEWEL VIVIAN DRESS £300

ROBERTO CAVALLI PANTHER DROP EARRINGS £505

SCOTCH & SODA CABLE SHAWL KNIT CARDIGAN £140

MULBERRY TREE ZIP AROUND PURSE £290

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S T Y L E

Classic Bomber: ÂŁ195

For clothes details visit: TedBaker.Com

THE AW14 COLLECTION NOW AVAILABLE W W W .

T E D B A K E R . C O M

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£50 GIFT VOUCHERS TO GIVEAWAY

COMPETITION ACE have teamed up with youth fashion brand Blue Inc to give away £50 gift vouchers to not one but TWO lucky people this Christmas. After all, it’s the season of giving right? Whether you’re wanting to snap up the vouchers yourself [we’re not judging] or give them away as presents, Christmas is on us! There’s plenty on oﬀer in store and online to splash those vouchers on as well. Embracing all of this season’s biggest trends i n c l u d i n g m o n o c h ro m e a n d heritage in the Mens Collection

and winter florals and tartan in the Womens, Blue Inc’s AW campaign covers an array of essentials and must haves. Not to forget, a collection of novelty gifts that could easily fill christmas sacks under the tree. Ranging from alarm clocks to humorous mugs; interactive pens and the oh-so important bottle opener, these presents will make ideal stocking stuﬀers.

keep your eyes peeled. Have a browse at the BLUE INC website: www.blueinc.co.uk Okay so you’re probably wanting to know how to enter now? All you have to do is email us Hello@ACEMagazine.co.uk with the hashtag #ChristmasOnACE or follow us on Twitter and tweet it to us! @ACEMagUK It’s all very simple, now get going!

ACE are particularly fond of the urban brand Twisted Soul, which is stocked only in Blue Inc, so

Closing Date: Dec 12th – Good Luck!

On sale NOW! 0871 663 1878*

evertonfc.com/halfseasontickets *Calls cost 10p per minute from a BT landline, mobile charges may vary, please check with your network provider. Booking fees apply. Tickets are sold subject to ticket terms and conditions and ground regulations. See evertonfc.com/halfseasontickets for details.

FOR THE LOVE OF BOOTS

Available from prodirectsoccer.com