BUMF 05

BUMF

Issue 5

Arts University Bournemouth Students’ Union Magazine

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Editors letter Hello once again. Without the aid of a submarine we are quite surprised that we’re able to deliver the fifth issue of BUMF magazine to you - but here we are.

This issue is packed with articles about all kinds of wonderful things – from Hummus to Spartans. Yes that’s right; Spartans.

With it being February we have started hearing whispers of Graduate Show locations all over London and some exciting ideas being discussed about the Arts By the Sea Festival. ‘But summer is months away’ I hear you cry. Fear not reader - I’ll wager that summer will be here before you know it.

Then we can all moan about how little rain we are getting.

One last thing – I want to personally thank everyone involved in BUMF magazine because it wouldn’t come together without you. For those of you we haven’t met yet get in touch via bumfmagazine@ gmail.com and send some of your best work. We would love to show it to our community.

Facebook.com/aubsu www.aubsu.org.uk

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Contents 4

AUBSU Elections

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Bournemouth Spartans

10

Kate McStraw Interview

18

Pictogram Press Studios

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A Dip Into the World of Hummus

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Auf Wiedersehen, Kater Holzig.

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MaddAddam Book Review

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Flat 13 Record Reviews

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A New Sound

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STUDENTS’ UNION ELECTIONS 2014 Every year the AUB Students’ Union organises and oversees elections on behalf of the students which every Student’ Union in the UK manages. This is in keeping the directive from the NUS to ensure that each SU is represented by the immediate student body via Sabbatical officers and Executive Committee Officers.

The Executive Committee are student volunteers who are voted into various roles by students at elections. These roles differ from that of welfare and education to those that sit within the events and communications. Again, students are not always aware of these roles and for a full listing please see the Students’ Union website. If you feel you have something to bring to the Students’ Union in assisting the representation and communication with At the Arts University Bournemouth these students then we are looking for motivated, elections can often pass unnoticed by the highly organised students who have an aspect majority of the students, simply because that sits within the role they are considering. If to date there has at times, been a lack of you are strong on organising events and have representation from this Students’ Union.

This is something we are seeking to address good mediation skills, Events Officer and RAG Officer are both roles that require these. If you with the implementation of both a strategic know you are part of a group that is not always plan and a development plan. fully represented such as mature students or students with disabilities we are keen to Sabbatical Officers are the full-time talk to you. Apart from this, we meet with the representatives who work in the SU along Executive Committee twice a month to update with a staff member to implement the policies, interact, and represent the students. them on Students’ Union business and to ask for their assistance with the running of the Did you know that the Sabbatical Officers SU. Therefore you must be able to dedicate a role is a professional, paid position and they are responsible and accountable for the work certain amount of time per month as much as you can to ensure there is continuity and the that they do? They work 9am -5pm Monday standards of the SU are maintained. to Friday and also evenings and weekends whenever required. They represent the Voting in elections is one of the most students at University Committee meetings important Students’ Union events in our and in the local community, working along calendar. Many students do not vote simply with the Students’ Union at Bournemouth because they are unaware the elections are University (SUBU). The SU is changing running. We aim to improve on this and and this automatically means the role of if you are reading this article we strongly the Sabbatical Officers will change into urge you to exercise your right to vote in one of true representation and governance the week commencing Thursday 6th March for the SU. It is an interesting, varied until Thursday 13th March in the Arts Bar. position and fundamentally links closely Voting for candidates is a responsibility that with the Executive Committee, trustees and sits with students as you are making the course reps to ensure the best interests decision as to who you believe is the most of the whole student body are served. We suitable student to govern the SU in the encourage any student at third year level to coming academic year. It is important if for think about this role, what they could bring no other reason even if you are a third year in terms of responsibility, competence and professionalism. It is a very demanding job; and are leaving, to remember the future of the SU is still in your hands. To ensure the however the rewards in your term of office most suitable governors and trustees of the are great. Taking on this role for year can Union are in place is your responsibility and improve your skills in many areas and the future legacy for all. learning curve can be intense.

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RUN FOR SU

See yourself as President or Vice?

There’s more info in the SU Office if you want to apply!

17th February - 28th February

6th March, 12:30pm

13th March, The Count

Hand in your manifesto.

Speeches held in the Arts Bar.

Results will be spread from 2pm – 4pm.

3rd March - 6th March

6th March - 13th March, The Vote

Campaigns go viral.

Choose your candidates and vote.

/AUBSU

aubsu.org/elections

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The Bournemouth Spartans

For many people, the sea holds a mysterious pull; a pull so strong that many cannot bear to be restricted to only swimming in the warmer summer months.

Outdoor winter sea swimmers embrace all the elements and nothing will keep them from the sea.

It is an expression of independence and freedom, connecting the swimmer with nature and reminding them of a simpler life.

Winter sea swimming has been said to have many health benefits from acting as a natural pain killer to strengthening your immune system. But above all of these it has an extraordinary effect on mental health. No sea swimmer is miserable. Experiencing such extreme conditions gives a rush of endorphins, resulting in the swimmers smiling from ear to ear when they are in and around the sea.

Swimming in this unpredictable environment is mentally and physically challenging. It never gets boring, every swim is different. Many have formed life long friendship through this mutual love of the sea.

Grace Evans

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Gerald Swaine, 56

Alison Wilson, 57

“Eight years ago I was starting

“I have always swum in the sea

to swim all year, then due to

in the summer and wanted to

family problems and my own ill

continue when the season had

health I stopped swimming. Then

ended but didn’t want to swim

two years ago I read an article

alone. I live up on the cliffs in

on using cold water to treat

Southbourne and had seen a

and control pain. I then started

group of people swimming every

swimming in cold water again.

week. One day I went down

Now I take no painkillers and

an introduced myself and was

my health has improved greatly.

welcomed with open arms.

Swimming in the sea gives you

Through swimming I have met

such a rush, it makes me feel

some really lovely like minded

so alive. As long as I can keep

people. Swimming in the winter is

swimming in the sea I will.”

a challenge and it makes me feel great, hopefully I can continue.”

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Alex Willatt, 30

Jane Lloyd, 49

“I can’t remember how I got into

“I hated winters and wanted to

wild swimming. I couldn’t swim

hibernate, I needed something to

when I was a child so I think

keep me getting outdoors, keeping

I was trying to make up lost

fit and meeting new people. I

time doing all the things I didn’t

have met some lovely people and

do when I was a child. I swim

everyone is always laughing.

outdoors all year round not just

After swimming I feel so alive

in winter. I don’t want to have to

and not just for a few minutes

stop just because it’s cold.

but days. Winter sea swimming is

I always love the views from the

totally addictive.”

water surface and of the sky from underwater, I always get left behind because I am looking around too much. The wildlife encounters and also awesome.”

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KATE MCSTRAW

We’ve interviewed AUB Costume with

KM: Also worth mentioning I did my Year 0 at AUB

Performance Design alumni Kate Mcstraw to

too - which was similar to doing the foundation,

see what she’s been up to.

although I was already on the degree so my work was focused on costume the whole way through.

AJ : Hi kate – what do you do?

And we have contact time with the main degree course. So I was at AUB for 4 years. The course

KM: Unfortunately what I do is hard to categorise.

was really flexible to the journey which I needed

I do a bit of a lot of things really. Best way to

to take as an artist and totally supportive of the

describe it is ‘theatre collaborator’; but what that

different opportunities I wanted to pursue. I didn’t

basically boils down to is designing, producing

take the ‘obvious’ route as during my second year I

and marketing for theatre. And workshops with

produced a small scale touring theatre production

kids thrown in for good measure.

which I was able to submit as part of my studies - something which had never been done before

AJ: Sounds interesting. Who do you work for then?

on the course, but the staff were totally open to allowing me to take on that experience.

KM: I am a part time freelancer and a part time marketing coordinator at Pavilion Dance South

AJ: That sounds really interesting. The course

West in Bournemouth

teams at AUB are great at supporting new ideas.

AJ: Nice. Before we speak more about what you’re up

KM: The live projects and opportunities offered

to now could you tell us a bit about your time at AUB?

were incredible too. In my final year I designed

What course did you study?

When did you graduate?

KM I studied Costume with Performance Design and Graduated

the costumes for the

'Working with people from the industry gives you an invaluable insight into the working world'

in 2012. I found it to be an incredible course and

large AUB School of Performance production held at the Lighthouse in Poole the production was Road. And for the second half of that year I designed the costumes

ended up taking the design pathway - you have to

for a section of the opening Olympic ceremony in

pick at the end of first year whether you want to

Weymouth for the sailing events with some other

mainly focus on designing or making.

students - called Breathe. Yeah new ideas are kind of part of what the course is about I found.

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AJ: Everybody from CwPD seems to say that. What

And that reflects how the industry works too -

did you enjoy most about your time on the course?

constant evolution of ideas and changing roles.

INTERVIEW

I felt the course wanted to bring the best out of me

production which doesn’t - and will never - exist.

and help me find who I was as a theatre practitioner.

AJ: When you started your studies did you have an AJ: Sounds really great. What do you think are

idea of what type of work/career you wanted? Did

the main things that live briefs offer over normal/

your ambitions change at all throughout your studies?

theoretical briefs?

KM: You have to learn to share ideas, KM: Well it’s about getting stuck in and learning

communicate them well, compromise when

on the job. You can only learn so much out of a

you don’t agree, and stick to budget - perhaps

text book as it were. Working with people from

the hardest one of all. 100%. I went into my

the industry gives you an invaluable insight into

course believing I would be a costume maker.

the working world. It also means before you graduate you have

I soon realised I was

'Persistence is key. knowing that you

professional credits on

are good at what you do even if you

your CV, which makes

aren't getting work all the time.'

you more employable. I think it also gives you a

a designer, but also enjoyed supervising the more budget/costume management side of it, as well as wanting to produce my own work.

better perspective on the bigger picture - you can

When you enter a degree you have a very narrow

get very inward in your work as a student I found,

understanding of the field you have chosen to

and working with professionals on a project which

pursue further, certainly that was the case for

literally affects their livelihoods is an incredible

me. I thought people either made costumes or

experience of a deeper understanding of the industry

designed costumes and that was that. And then

too. And you generally learn to hit deadlines too.

a whole host of other options are presented to you and you begin to feel a bit like a kid in a sweet

AJ: I suppose the pressure of a live brief is

shop, wanting to try a bit of everything.

probably beneficial in the way that it provides you with a more realistic view of your discipline? And

AJ: I suppose that’s something that happens to a lot

makes you work harder as you’re not only failing

of people during their studies - altering your path.

yourself if you don’t succeed.

University can be a very mind-opening experience.

KM: Yeah exactly. You get to see how your role

KM: you do get to try out various roles, but

fits within the team, for example. Designing whilst

honestly 3 years isn’t enough to try them all and

collaborating with a director on a live production

do them well. But I had a great taster of a few

is a very different experience to designing on a

things and that helped me to grow as an artist

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and find my strengths through trial and error I

design job at ArtsEd in London which paid well, plus

suppose. I think if you don’t have an open mind to

the Olympic project Breathe I mentioned earlier ran

the possibilities you would miss a huge chunk of

on past graduation so turned into a job which paid

the university experience.

my expenses to continue my involvement. I then worked at BBC for 2 weeks assisting a designer.

AJ: Towards the end of your studies then did you

And then my leads went cold for a bit.

have a good enough idea of the kind of roles you wanted to work in? What were you first thoughts

AJ: I take it that in your field of work you need to have

for post-graduation? Were there any companies/

patience and persistence? Is it quite a competitive

organisations that you wanted to work for?

area of the arts?

KM: Yeah my plan was to move to London and get work as a designer

KM I spend 2 months

‘You have to learn to share

temping in Bournemouth and had no idea what to

straight away. I think I

ideas, communicate them well,

graduated feeling like a

compromise when you don’t agree,

my plan. I also applied

race hound wanting to

and stick to budget.”

for a tonne of producer’s

just go for it, and felt a bit invincible to begin with -

do next as it wasn’t in

assistant roles in London and regionally, and kept

and massively liberated too. I was a graduate and

getting interviews but not job offers - and then

totally ready to grab life by the balls.

one producer called me to offer me some advice;

I didn’t know which companies exactly, but I knew

that I needed practical marketing experience to

what i wanted to do. I just wanted to go make

match my creative drive and passion. And within

great work and get my name out there asap.

a week of that conversation a 6 month job at AUB within marketing came up... I call that fate.

AJ: You say your plan ‘was’... What happened to it?

AJ: Wow. Yes, sounds like fate. Do you think you KM: Life. I don’t think you can have a plan in industry.

would have gone for such a job if that producer hadn’t given you that advice?

AJ: What did you actually end up doing then between then and now? And can you tell us a bit

KM: Persistence is key. And knowing that you

more about your overarching game plan?

are good at what you do even if you aren’t getting work all the time. It takes time to build

KM: I mean, I have an overarching game plan as

the contacts and experience you need to get

it were, but the industry isn’t an easily tameable

work constantly. And some jobs I went for I

beast - and that’s kind of half the fun of working

was up against seasoned pros. Don’t ever think

in it. It’s unpredictable and you learn more from

you’ll only ever be up against other graduates;

it being that way, and it keeps you going back for

freelancers, by nature, are always looking for

more. I had a few good design jobs; a graduate

the next contract. And so learning to deal with

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rejection is part of the journey as much as

AJ: Sounds like an incredibly useful experience. I

making the work is as it’s a positive process too.

suppose also, due to the nature of the role, you got to

I hadn’t considered marketing before that no. But

meet plenty of contacts relevant to your own plans?.

producing is roughly 50% marketing anyway, and as companies have to stretch budgets further

KM: Totally. Lots of creative’s but also artists,

these days, often all marketing is done by the

festival organisers, local businesses... That’s

producer of small to mid scale shows. So it was

definitely benefitted me moving forward, having a

invaluable advice.

I worked in marketing at AUB for a year in the end as my contract was extended.

Alongside that I was juggling freelance design work for a variety of projects, and taking short training courses in producing in London, day courses mostly organised by companies like IdeasTap. After a year of juggling both I had too much freelance work to continue at AUB, and was fortunate to get a part time job marketing at Pavilion Dance, so I now have a much more balanced life with lots of awesome opportunities - and more importantly, more time to do them in.

AJ: Was it a bit strange coming back to AUB? Did feel like you were back-tracking at all? What kind of things did you learn/build on during your time in Marketing at AUB that helped you get to your current position?

KM: At first I was very defensive about my decision to people, my friends who I had studied costume with were a bit unsure of my game plan as I certainly didn’t take

deeper understanding of the interconnectivity of

an obvious path. But that’s a bit of a pattern with

all those different people and organisations.

me. Within a month I realised how invaluable working at AUB was. And then projects I got to

AJ: Could you tell us a little about PDSW, your

work on and help manage were incredible - things

current employer? What kinds of things do they do?

like the Arts by the Sea Festival and AUB24 project

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with Jimmy’s Iced Coffee. I got to put both my

KM: Yeah sure, PDSW are a dance development

creative flare and business skills into practice

organisation, which means that they are a

every day. I learnt how to manage projects and

charitable organisation tasked by the Arts Council

deal with external agencies as well as work with

to develop dance across the whole of the south

staff at AUB rather than be a student. Marketing

west region. They programme perfomance into

is massively creative but also highly logistical

their venue in Bournemouth, they do a tonne

and relies heavily on good organisation. I think it

of education and outreach work with the older

bought out the best in me.

community, health related dance work such as

Parkinson’s dance classes, and help develop

a company which produces its own work and

dance artists through mentoring, commission

helps to develop other theatre makers - not too

work and offering platforms to showcase new

dissimilar to the mission of PDSW. Working on

work. It’s pretty incredible really - and that

both my own project and also collaborating with

explanation barely scratches the surface.

other organisations seems a perfect balance to me. I love producing work and that is a real focus

AJ: I realise time is getting on and we both

moving forward for me and I have a feeling that’s where I sit in the industry.

AJ: Nice. I suppose in a time where everything happens probably too fast and we’re expected to follow suit it’s nice to not force anything too much. Especially where creativity is concerned.

KM: I think keeping your eye on the prize is a good thing, but it’s also good to accept sometimes life has other plans for you - and that’s fine too. I had no idea that my career would be how it is now, when I graduated, but I am enjoying my work so much and the diversity of it, and that’s a better position than I could have hoped for.

AJ: Just one last question. Do you have any words of advice on finding good work that you’d like to share with current AUB students?

probably want to enjoy the remainder of our

KM: I think that trusting yourself and sticking to

evening. Where do you see yourself in the long

what you believe in is vital. There will always be

run? What is your ideal situation creatively

gaps where you don’t get the job you wanted, or

speaking? Will you be working on your own

don’t find the right kind of work for a while, but that

projects or working with another organisation

isn’t to say you never will. I also read an amazing article recently stating that taking unpaid work

KM: It sounds really lose and avoidant, but in all

at times is fine but never work for nothing - and I

honesty right now i’m enjoying seeing where my

totally echo that sentiment that whatever work you

career takes me rather than forcing anything.

do has to be benefiting you somehow. Whether

That may change of course, but that’s where I

it’s your first big client, your first credit in London

am right now. I also find that my priority is to

or your first properly paid job - it all counts for

be making work which i’m really proud of; and

something. Although after just 2 years of working

that encompasses a lot of areas at present. In

I don’t feel like I can offer too much life advice - we

the long run I would like to own a venue and

all kind of just make it up as we go along anyway.

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Pictogram Press Studio AUB Alumni MIKE FROST & LARA SKOWRONSKA

We are delighted to be here at Pictogram studio (a concrete garage space with a camping stove for coffee) talking to the founders Mike Frost and Lara Skowronska about their experiences setting up a print based company and magazine.

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Ben Musitano: So tell us a bit about pictogram?

Lara Skowronska: Pictogram is a design orientated lifestyle brand tailored towards the interests of creatives and art students. We make products from ethically sourced materials, designed to inspire a creative lifestyle. Each product is treated as an artisan craft, designed to feel tactile, individual, and special – like a gift. We recently made a working cardboard record player, which was super fun, aAnd we have plans to make more bits and pieces along these lines. Our flagship product is a quarterly issued magazine, which we design and print ourselves using a Risograph printer. The magazine is created to inspire the curious; it touches on art, photography, film, graphics, music and

illustration as well as documenting a whole bunch of interesting people who do interesting things.

Pictogram is a raw, tangible brand. We grew out of a ‘Do It Yourself’ attitude and believe that you should make your own opportunities in life. This concept has got us to where we are now and is firmly rooted in all that we do. Locally we run Craft Club at 60 Million Postcards and will be looking at running a few more events in the future. We are currently in the process of setting up a studio and gallery space in town, it’s going to be amazing to finally have a permanent space we can call home.

BM: How did it all start?

Mike Frost: When I finished AUB I knew that I wanted to do my own thing. I turned down an internship opportunity in favour of pursuing a freelance career. My housemate and I heard about a creative start-ups grant (which the uni used to run through the Enterprise Pavilion.) We came up with a business plan for a specialist Risograph printing company and bluffed our way through the interview process - that’s how we got our first Risograph. My family helped too, they loaned some money to help buy the machinery we needed. My dad also bought a few pallets of paper, which we stored wherever we could fit it; I’ve got paper stacked under my bed, in my wardrobe – it’s everywhere.

We got onto the Boscombe regeneration scheme as well, and they offered to subsidised rent if we found a premise in Boscombe but everything we viewed was too expensive, too small or too rundown. At that point my partner pulled out and the whole thing fell apart. The business was now one man with a shit load of paper and a Risograph in his bedroom.

Alex Johnston: A real spanner in the works, what did you do after all that?

MF: Lara came onboard and we decided to use what we had to start a magazine together. We printed the first issue from my room. The Risograph was squashed in at the end of my bed and there were piles of half printed-paper littered across the floor.

We cut all the paper down by hand; it took about 3 weeks to print 1000 copies. All 1000 copies were hand collated by a crazy bunch of our friends, people were pretty willing to help-out because it was new and exciting.

With issue 2 and 3 we really tried to hone the magazine into what we wanted it to be so we went to Blissfields – In the middle of Lara’s Graduation - and ended up interviewing people like Jake Bugg, Bastille and Lucy Rose who were all fairly small names at the time. It just happened that Jake Bugg and Lucy Rose broke out around the time we released our next issue so that helped with exposure. By the end of the festival season we found ourselves a bit out of our depth, at much bigger festivals like Bestival, sat in the Guardian press tent thinking “wait, how did we get here?!”

AJ: Maybe we should take a leaf from your book….

MF: We couldn’t really compete with the big media companies so we learnt to improvise; we searched for stories that had fallen under the radar, like at Shambala we found a group of people who met up at a festival once a year, with a soul aim to give away free pancakes from a DIY buggy with inbuilt gas stoves, speakers and strobe lighting. This is when we stopped trying to copy other magazines and really settled into our own niche.

BM: What kind of funding can you get for this kind of set up?

MF: IdeasTap are an amazing resource. We got funding for our cardboard record player from them.

They are a charity dedicated to helping creative’s and their website is full of useful resources and links to various funding bodies – they also have advice on things like filing tax returns and pitching

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for work which is great for aspiring freelancers - and they have a jobs board which is well worth checking out.

BM: So how did your team meet and what are your backgrounds?

LS: We met through a mutual friend at university.

At the time I was in second year, studying costume design and Mike was in third year of visual communication. We’ve been creating things together since then really, we’re both creative but in different ways, which I think helps when it comes to working together. Its great to have different opinions on a project to try and combine our skills. Sam came onboard with the first issue of the magazine. We were looking for an illustrator to produce a regular comic strip and Sam got in touch.

He is now an integral part of the magazine and we’re lucky to have him onboard, having another creative in the pot is fab!.

BM: What about the studio, how did you go from bedroom to garage LS: I’m so glad we’re not working in that bedroom anymore; I think we may have killed each other! It was wonderful for the time being but a little too

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cramped, we were lucky really to be offered space

by Sam who had a disused garage at the bottom of his garden. We have been working from the garage for about a year now. Its bloody cold but has been perfect for the time being. We recently got curtains and a sofa it was a very exciting day. It’s been fun cooking on camping stoves and having no internet but I think we are all excited to have a bit more space and a toilet when we move into our new studio.

BM: Sounds like a lot of fun though. Have you any advice for aspiring print makers or zine enthusiasts?

MF: If you have a good idea that you want to explore - do it while you’re still at Uni. You have a creative community and so many resources available to you at Uni that you won’t always have once you finish.

I guess it’s important to point out that its not all fun and games, this is not an easy job. and that’s not just because it’s long hours and hard work.

We’ve basically spent the last 3 years unemployed by choice, we do bits of freelance work and have picked up various part time jobs, and Pictogram does make money but most of it goes straight back into the company, so we always have to be really

careful with what we spend money on, even with the simplest things like a couple of drinks down the pub with friends – which really puts a strain on relationships after a while. Understandably people really start to question your motives, and it is hard from the other perspective too. Its been hard to see peers start to move up the ladder without starting to question why we do this, but it’s important to stay positive. We have achieved so much off our own backs - and I’m really proud of that.

the thing, most of what we produce as Pictogram is made because we are so personally invested, we use outdated print techniques which are time consuming and fiddly but we do it because we want these things to exist and be authentic, it’s like a compulsion other printers think we are mad!

AJ: What keeps you inspired?

AJ: There’s a good quote I love from Franz Kafka the Czech writer, something like “by believing passionately in something that still does not exist, we create it. The non-existent is whatever we have not sufficiently desired.” I think that’s really important as well knowing other people have got through stuff.

LS: I think the fact that we have created this from scratch and people seem to like it helps. It is hard work but I would love pictogram to turn into a company that we could earn a living from one day, so that’s something that inspires me, however until that day comes I’m a working costume designer and seamstress so that work keeps me inspired. I like to be hands on creative and making products, following blogs, watching documentaries all helps fuel the everyday stuff. Its brilliant being able to work freelance you get to meet and work with some fab people, which I love.

MF: Recently there’s been a couple of documentaries that I’ve watched – Indie Gamers, which is about a bunch of guys making retro video games and another film called The Start-up Kids, which follows the stories of young entrepreneurs.

TED lectures are great too. Sometimes it’s useful to see other people having similar struggles, or worse struggles, or completely different struggles, It’s interesting being able to watch and compare. A lot of the time I have to work in isolation and I can find that quite soul destroying at times, I can have the best job on – like design a record sleeve, and I’ll be sat at my desk and just not want to do it - for no reason whatsoever. It can be really hard to get over that mind block.

I think a second opinion is so valuable; I’m way more productive when Sam or Lara are about. I’m just lucky to be part of this team and its great that we have our own space to work from. Yeah ok it’s freezing in the winter but we tend to drink a lot of mulled drinks to keep warm (we even have a separate mulling kettle) and there is something really nice about how basic it all is down here, I mean you have to go and wave your laptop around outside to try and pick up a wifi signal but I love it. That’s

BM: I think that’s true of most artists, and it’s really interesting; the notion of making something because you want it in the world.

BM: Tell us the master plan…

MF: We have been quiet for a while, planning things…we will be releasing a new magazine this year; it should hopefully be out by summer. Its going to go national, and it will have no fixed cover price in a bid to reduce the amount of adverts we run, this basically means that readers will be able to pay however much they want for a copy and hopefully if successful we’ll be able to go ad-free.

We also have a new website in the making which will allow readers to get much more involved with videos and interactive stuff. There will be downloadable content between issues as well, so you’ll be able to print out your own mini zines which I’m really excited about.

We have a whole range of new products and merchandise that we are excited to launch. Its all still at the early stages so I don’t want to say too much but there will be a full product line and hopefully a new studio to work from soon as well.

LS: I think I’m really excited for the new studio; it will be lovely to have a space where people can drop in and get involved. We will be able to hold exhibitions and collaborate with a range of artists; it should be great. Also I’m looking forward to the range of products were working on, from specialist design sketchbooks to textile works and a bigger do-it-yourself range which is going to be really fab.

2014 is going to be a good one so watch this space.

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A Dip Into the World of Hummus

By The Salty Vegan, www.thesaltyvegan.com Hummus, commonly spelt "houmous’ in the UK, is an amazingly moorish, nutritious and cheap food. It works great as a snack, condiment or compliment to a main meal and can even be a sufficient main meal in itself. Its main ingredient, the chickpea, is highly regarded for its protein and complex carbohydrate content - which is what gives hummus the ability to simultaneously satisfy one's stomach and energy levels for extended periods of time, great for fueling all nighters or parties. What's also great about hummus is that, nowadays, it is super easy to get hold of - most corner shops and supermarkets sell a fairly decent range. It's also really easy, and in most cases cheaper, to make your own and I think it tastes far better. Regardless of whether or not you have the time to craft hummus of your own though, see the recipe across the page, you are sure to reap its rewards.

By the way, I recommend using breadsticks, toasted pitta or crunchy, thinly sliced carrot to assist you in consumption of hummus - at least until you become obsessive enough with the stuff that a spoon, or even fingers, will suffice.

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The Salty Vegan's Homemade Hummus It is possible to find everything listed here in most supermarkets, though it is best to source some ingredients, like chickpeas, tahini and the seasonings, in the likes of eastern food shops - a number of which can be found along Charminster's high street. Such ingredients are also guaranteed to be cheaper from these places and probably more authentic.

Equipment Blender/Food Processor Ingredients double up if you want to share or eat as a main 1x 400g can of Chickpeas 1 tbsp Tahini 75ml Extra Virgin Olive Oil 1 or 2 cloves of Garlic - Spanish as appose to Chinese if possible Juice from 1/2 squeezed Lemon -

1. Drain and add the canned chickpeas to the Blender/Food Processor along with the tahini, olive oil and lemon juice,make sure that no lemon seeds find their way in.

2. Finely chop the clove(s) of garlic and add to the mix. Give everything a good stir with a long spoon make sure blender is switched off.

3. Put the lid/cover on the blender and fire up the motor. You may have to give the blender a good shake to aid mixing or stop every few seconds to manually stir the hummus. If you're really having problems then adding a little extra olive oil will help - don't go mad with it though.

4. Continue blending until you have a relatively smooth consistency. Once this is achieved you are ready to empty the contents of the blender into a mixing bowl ready to spice things up.

5. Add the seasoning to taste. It's best to add in small increments, mix well, and then taste - until you like what you've got. You shouldn't need loads of seasoning as the garlic in this recipe will give your hummus a great flavour.

6. Once you're taste buds are satisfied with your hummus, transfer it to a nice little bowl/dish and top with a drizzle of olive oil and a few generous pinches of smoked paprika.

Seasoning A pinch of Salt A few pinches of ground Black Pepper 1tsp ground Cumin (optional) -

7. Enjoy! Serve with one, or a mix of, the following: breadsticks, warm pittas or crunchy veg - though you are of course free to experiment...

Topping A drizzle of Olive Oil Smoked Paprika (as desired) -

Note: Hummus is ALWAYS best when shared.

8. EAT, SLEEP, BLEND, REPEAT... EAT, SLEEP, BLEND, REPEAT... EAT, SLEEP, BLEND, REPEAT...

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Auf Wiedersehen, Kater Holzig.

Written by Herman Kim

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Thomas WeedeN

4th - 6th January 2014 Kater Holzig, Berlin, Germany

Those in touch with the history of the Berlin clubbing scene, the name Bar 25 should be a familiar one - a clubbing institution known for its decadent parties. After its unfortunate closure in 2010, the essence of Bar 25 lived on through its spiritual successor erected immediately across the Spree river with a new name: Kater Holzig.

Following the footsteps of its predecessor, the decadent raves quickly bought Kater Holzig enviable success and reputation. But once again through another long logistical tussle involving site leasing issues, it was forced to vacate the premise after only a few short years in existence.

The infamous ‘kater’ would be no more, thus still tenderly recovering from the sensational hangover that was New Years Eve (‘Silvester’, as the natives here call it), final invitations were sent out for its farewell ‘Doomsday’ event.

And the first impressions of Kater Holzig are dazzlingly apparent long before arrival. Walking across Michaelbrücke Bridge on a cold Sunday night and you can immediately take note of the barrage of light and colours that pierce the night sky in the distance. The penultimate approach is made through what looks like a mass graveyard for circus props - derelict ornaments littered across the postapocalytic landscape.

A canopy of fire and lights come into view just beyond yonder. Palpably close, the haphazardly placed neon signs lead our pathway. Finally through the gates, it’s absolute bedlam - a Terry Gilliam’s dystopian future fully realised.

Occupying a derelict industrial complex, every inch of the exterior facades of the ex-factory is covered in murals and garnished with an array of kaleidoscopic projections. The windows too emit a sickly glow as if the brick building lives and breathes. A zealously grinning cat sits atop the tall roof overlooking the Spree River whilst a

monumental chimney towers above the enclave.

Things back on ground level are best described as a dystopian favela in midst of a midnight carnival - a beautifully chaotic amalgamation of neon-clad shacks, marquees, and clutter. At the heart of this makeshift shantytown is a naked fire where many congregate around. The attending crowd matches the venue’s eccentricity: glamoured; glittered; feathered; leathered; and of course, hammered.

Indoors, this colourful extravagance is taken even further to otherworldly extremes. Mazing through the labyrinth of corridors and stairwells, you find yourself lost in a circus from hell one moment, a psychedelic cosmic disco next. The dark nooks and crannies are intimately occupied by fluorescent lovers; twisted mannequins emerging from the walls. The grungy, cavernous unisex toilets too flourish as a seedy social hub. Drawing the largest crowd is the main dance hall, where an ungodly marathon session of techno house ensues. As the ephemeral haze of the smoke gently floats above the ground, the animated silhouettes gently glow and flicker in the fumed lights. The sound system is brutally potent, which only goes to heighten the euphoric splendour.

The mammoth rave churned on all weekend with no pause or respite until the sun was at its highest on the Monday, when it was about time to call it in for good. Kater Holzig was anything but a conventional club - more of a decadent playground for equally depraved adults, and the city is desperately poorer without it. Rumours are circulating that the collective minds behind the venture are reviving it at the previous location of its predecessor Bar 25, recently re-acquiring the land from the authorities.

But for now Berlin mourns the death of its most notorious feline icon.

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MaddAddam By Margaret Atwood Written by Joanna Jones

If you are the kind of person that still has phone that looks like it belongs in 2003, think microwaves are secretly evil and that horsemeat was only the beginning, chances are you will devour Atwood’s final conclusion to her dystopian trilogy with greedy delight. If you haven’t read the previous works, Oryx and Crake and The Year of the Flood, I would highly recommend it as not only does it set the groundwork for this explosive finale but allows you to get irresistibly attached to the characters. However, the book begins with a recap of what has happened so far, so if needs be, just get stuck in. With Pigoons, gene spliced giant pigs, the Crakers, beings created without sexual jealously and inbuilt insect repellent it sounds like a ridiculous sci-fi, however written in Atwoods dry, witty voice it is nothing short of believable. In her Acknowledgements she writes, “Although MaddAddam is a work of fiction, it does not include any technologies or biobeings that do not already exist, are not under construction or not possible in theory.” Some may think that this sounds like a paranoid warning or a delusional theory of the apocalypse. It is actually a story about mankind and how when tested to ultimate extremes you see pure humanity it its simplest form This is emphasised by Atwood telling us the story by alternating between the heroine Toby’s narrative and the simplified stories she tells to the Crakers. As they have no understanding of the previous world they are spoken to as you

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would an innocent child. Atwood said George Orwell’s Animal Farm hugely influenced her at the tender age of nine. This is what awoke her sense of injustice pairing this with her the fact that her parents were scientists it is hardly surprising that this is the result. Atwood is probably the only author that after obliterating mankind and destroying the earth you are still able to feel hope, the collected survivors are good and you somehow come away with the feeling that there will always be the rebel group, the undefeated few that continue to rage against the machine.

However, it’s not all light-hearted quips and funny wordplay, the Paintballers desensitised murders and rapist brutality threaten everyone’s survival. Although as with all Atwood’s work there is suffering, pain and injustice but as with The Handmaid’s Tale, there is always a hint of salvation, as the last lines of the book entail, “And that is a thing of hope.” However, there has been some criticism, The Guardian’s Justin Cartwright “The third part of Atwood’s dystopian trilogy is often lyrical, but ultimately indulgent and undisciplined” You can see the opulence of the chaotic world of the Pleeblands and the catastrophic, controlling Corporations, she fully embraced in a way in which some may find highly exaggerated. A fiercely clever construction of a possible future or a clichéd filled disappointment.

Whether you like it or not, the indisputable truth, as Theo Tait states, “MaddAddam is a wild ride.”

Flat 13 Records

Midlake – Antiphon

Donald Fagen – The Nightfly

Losing your front man and songwriter could prove a difficult task for any band to overcome, but not for Midlake. Guitarist Eric Pulido effortlessly steps up to vocal duties and the band return with their best album yet. Hinged on 70’s folk progressive rock, Antiphon starts with a much more lighter sound compared to their previous efforts, shifting between soothing melodies and slight of hand guitar effects, amongst lyrics obviously dealing with loss, new ground and acceptance. The forth track ‘Vale’, an instrumental piece, sums up the band and their new ground, dipping their toes into their familiar sound while not being afraid of a little aggression with a little beef. Antiphon is not a case of lost or new direction, but presents the band at their most honest, and not merely a platform for one man’s vision.

In 1982, Donald Fagen of ‘Steely Dan’ fame marks the start of his solo career in style. With most pop music in the 1980’s, the test of time has diminished many records to the bargain buckets, sounding horribly dated and over the top. Amongst the survivors, The Nightlfy, a truly beautifully crafted record, shimmering and sparkling amongst complex jazz/pop structures and smart lyrics. From track one you enter an almost musical autobiography, touching upon the optimism of youth and cynicism of adulthood, taking the listener to the depths of delusion felt upon a tropical island while straight back to a satirical view of what the future holds.

Embracing the technology and sounds of the decade, Fagen tilts his hat to his Steely Dan days while stamping his mark and sound as a solo artist.

Tom Waits – Mule Variations (1999)

Procol Harum – Procol Harum (1967)

In 1999, at the ripe age of 50, the enigmatic Tom Waits released what is arguably his most complete work. Mule Variations is full of tragedy, comedy, obscurity, audacity – everything you come to expect from the twisted old geezer. The tracks, though wildly varying, seem to sit within the confines of themselves, which is largely unlike Waits. The voyeuristic ‘What’s He Building In There’ is a comedic, sinister testament to the curtain peepers, and night time creepers. You will absolutely not have heard anything like it. ‘Come On Up To The House’ rounds the album off with a sweet maternal tone, lulling you back to your feet after hearing some bad news.

Somehow, Procol Harum’s debut album has evaded every ‘Best Album’ list ever created. This album was a fundamental cog in the Prog Rock movement at the end of the 60s. George Harrison cited this album as being influential during the making of Sgt Peppers... Enough said. It opens up with the fabled ‘Conquistador’, an ode to Spanish, and Portuguese explorers of yesteryear, with burning guitar licks and cathartic vocals from Gary Brooker galloping you along. If you could imagine a psych rock album from the last 10 years that wasn’t forced, it would sound a lot like this. Well worth a punt!

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A New Sound Written by Mike Dent

The Red Cords

Playlounge

Falmouth seems to be developing its own unique garage rock scene, with bands such as The Black Tambourines releasing one of the best albums of 2013. This year, our attention must surely turn to their peers The Red Cords, who have just released their debut EP with Punkslime. Where other bands in the Falmouth area have grown into a punk rock sound, The Red Cords have developed a strong sound that takes its influences from 60s garage rock. When you first hear the rumbling bass line of ‘Dead Heat’, you can tell that this song is going to make you feel alive. At times, it’s almost as if you’re listening to a beaten 45’ from 1967, but in reality, your ears are falling in love with 3 guys from Falmouth. The opener to their self-titled EP, ‘Punk Eye’, opens with a crazy jazz clarinet sample, which is effortlessly cut open by a striking riff which even The Yardbirds would have killed for. Some may say that its business as usual for a garage rock band, but that would be very naïve. This is true British Rock n’ Roll and you’d be very lucky to find a band from the genre with as much talent and freshness as The Red Cords.

Playlounge aren’t exactly a new band. They’ve been storming the UK every other week for the past two years. They’ve even picked up tours with the likes of Johnny Foreigner and Joanna Gruesome, where they unsurprisingly blew away audiences. The duo from London have slayed Bournemouth quite a few times over the years, too, and are always invited back for more. The UK has seen a big rise in two piece bands forming and claiming some attention, but what Playlounge do completely stands them out from the rest of the pack. Whilst other contemporaries are content with making a lot of noise, Playlounge possess qualities that keep you coming back for more. It’s pop punk, but it’s also emo at the same time. However, we’re talking about bands like American Football and Cap’n Jazz, rather than My Chemical Romance. Tracks like ‘Orange Friends’ and ‘Bohemian Rap City’ fill you with emotion and it’s completely compelling to know that it’s just two good friends creating these vibes. Recent tracks like ‘Grandma Death’ and ‘Cream Soda’ are full of energy and beautiful melodies provided by drummer/singer Sam Watkins and back by the lush drone of Laurie Foster on guitar. You can expect to see their debut album in 2014, which will also hopefully see their return to Bournemouth.

The Plastic Dots Bournemouth has produced some interesting acts in the last 3 years, with bands like Bos Angeles, YRRS and The Death of Pop enchanting audiences all over the UK. Now it must surely be the time for The Plastic Dots to turn heads. Forming from the ashes of grunge-rock band Vlad, this psych-pop 3-piece has developed a sound that channels the artistry of acts like Jimi Hendrix and Creedence Clearwater Revival, but brings it

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up to date. We’re not talking about a band of crusty old rockers, either. These guys have created tracks that don’t fit into any current fad but contain that timeless sound which people should remember for years to come.

Whilst their influences mainly lie in classic rock n’ roll bands, songs like ‘Sleeping All Day’ possess hip-hop like qualities, with the bass line sampling Otis Redding’s classic track ‘Sittin’ On The Dock of The Bay’. Many bands would probably screw this up completely, but the production of the beats with the guitar just turns this into a track someone like Unknown Mortal Orchestra would beg on their knees for. Without a release yet, The Plastic Dots are definitely one to keep an eye on.

Blood Sport Blood Sport are not your typical trio. Sure; they play a traditional line-up of guitar, bass and drums, but if you were to pigeonhole them to that tradition, you would be very foolish. What this Sheffield threesome create is something truly unique and unlike anything else really happening around the UK at present. It’s afro-pop, but it’s also very loud.

The rhythms are very infectious, whilst the guitars and other weird noises happening around them are completely freaky. Having released their debut LP last year, Blood Sport have been able to impress audiences around the country with their danceable yet experimental tracks. Recent singles like ‘Dry Water’ showcases the groups tendency to weird you out, but also have you grooving like you never felt you could. Nick Potter’s unique vocals stand out from the crowd, and there’s a chance this guy could become the freak-pop equivalent to Jarvis Cocker in the foreseeable future. As I’m writing this, I’m finding it hard to really put across the definitive quality of these guys, as it’s pretty far out but also really great, so the only thing I can say about Blood Sport is that you should stop what you’re doing immediately and play their record.

Wild Smiles Surf-rock is a term I hate to use. Many people would associate Winchester 3-piece Wild Smiles with this out-of-context genre, but really, there’s something a lot more important happening here. This is a band that is able to combine their love of Ty Segall and Jay Reatard, whilst mixing in classic sounds from the likes of The Velvet Underground to create something really exciting. Hell, just ask Geoff Barrow from Portishead, who has released multiple things by Wild Smiles through his label Invada. Tracks like ‘Tangled Hair’ shine with a Beach Boys-esque quality, but instead of relying on a classic psych-pop structure, the song takes you places you might never have dreamt of going. It’s kind of crazy that a band can be so catchy yet so hard-hitting in the space of 2 minutes, but Wild Smiles have this trait perfected. An album is in the works for later this year, and it’s definitely one to look out for, as it could be one of the best things you hear all year.

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Acknowledgements Team Ben Musitano: Editor in Chief/ Writer Alex Johnston: Co Editor/Writer Lewis Allen: Designer/ Editor Robbie Squires: Designer/ Editor Artists Thomas Weeden Connor Annal Aaron Joll Kalum Cochrane Grace Evans

Writers Grace Evans Joanna Jones Alexander Johnston Herman Kim Michael James Dent

Advertorials Ben Waugh: Flat 13 Records

Front and Back Cover/ Centre Karolis Kaminska: Photographer

Interviews Mike Frost & Lara Skowronska: Pictogram Press Kate McStraw: Pavilion Dance

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Connor Annal

Submissions at bumfmagazine@gmail.com

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