District's Guide to Dublin: October 2018 by District Magazine

Dublin

Jeff Mills

October 2018 FREE 1

29.06.19

III 4

13 Dame St Dublin 2 Refreshing Salads - Middle Eastern Mezze - Freshly Squeezed Juice

3 umifalafel.ie

JAMESON CASKMATES AND TONIC. WHY? TASTE, THATâ&#x20AC;&#x2122;S WHY.

KURT VILE & THE VIOLATORS

TANDEM FELIX

14 NOVEMBER VICAR ST

JULIAN CASABLANCAS &

BOY PABLO

S U P P O R T

FRIDAY 19 OCTOBER VICAR ST

FRIDAY 26 OCTOBER VICAR ST

SUPPORT

JIMI SOMEWHERE

Sunday 28 October

BUTTON FACTORY BOYPABLO.COM

www.AIKENPROMOTIONS.com

Nu design, who dis? Our creative director James McGuirk has given our monthly magazine a bit of a facelift, plus we’ve made the name of the publication roll off the tongue a little easier. From here on out District Magazine’s Guide to Dublin City will be known as Dublin Guide. The ethos hasn’t changed, we’re still going to be speaking with the most forward-thinking names performing, making and doing in the capital every month. We’re just a little prettier now. For this issue we'll be speaking with bona ﬁde music legends. Niamh Craven discusses modern DJ culture with the iconic Jeff Mills, and Dean Van Nguyen speaks with one of hip hop's leading voices, Talib Kweli. This month will also see us launch District Magazine Issue 005 ‘Roots’. On October 19, in association with Metropolis Festival, we welcome London/Irish rapper and vocalist Biig Piig to The Sugar Club for a live performance, with copies of the publication on sale throughout the night. Head over to districtmagazine.ie for details about how you can be there. - Eric Davidson 6

Editor // Eric Davidson

Deputy Editor // Hannah Oâ&#x20AC;&#x2122;Connell

Operations Director // Craig Connolly

Creative Director // James McGuirk

Additional design // Lucas Garvey, Cian Ryan

Events Editor // Niamh Craven

Food & Drink Editor // Caitriona Devery

Sub-Editor // Aoife Donnellan

Photography // Ellius Grace, George Voronov, Jack Farrell, Brendan Canty, Greg Purcell, Dorothy Hong, Sofia Rudi Kent, Killian Broderick, Kurb Junki

Words // Carla Jenkins, Polly Dennison, Sean Meehan, Dean Van Nguyen

Advertising // rachael.bailey@districtmagazine.ie

Website // districtmagazine.ie

Issue 001-005 Creative Director // Johnny Brennan

Cover Photography // Jacob Khrist

10 / Talos 16 / 6 classic horror ﬁlms in Dublin 18 / Sophie Murphy & Taproot Art 22 / Saint Sister 24 / Marcus Woods 28 / Perfect Day in Dublin 34 / Live Guide 38 / Talib Kweli 40 / Kurb Junki 44 / Puma Blue 48 / Why-Axis 50 / Independent Dublin fashion 54 / Blue Niall 56 / Gwenno 60 / House & techno guide 64 / DJ Seinfeld 68 / ELLLL 72 / Jeff Mills 82 / Cooking with ﬁre 86 / Pizza 90 / Irish artist spotlight: Johnny Brennan 8

TALOS

Words: Eric Davidson / Photography: Brendan Canty

n the midst of putting the final touches on a forthcoming album and preparing for headline shows everywhere from Dublin to Brooklyn, Eoin French picks up the phone from his West Cork base. It’s been a hectic half decade for him. After doing the rounds and sporadically releasing music since 2014, Eoin eventually released his debut album as Talos in 2017. ‘Wild Alee’ was met with overwhelming praise from national and global platforms. The crosssection of institutions like The Irish Times and forward-thinking magazines like The FADER both dishing out the plaudits showed just how much crossover appeal Eoin has garnered. A record now has more than 20 million streams on Spotify, and made the shortlist for the Choice Music Prize Irish Album of the Year category. The birds singing on the other end of the line served as something of a foreshadowing to the conversation we were about to have. One about landscape, how humans interact with nature and how that synergy can lead to art as beautiful as Eoin’s music.

“I think we push it to the edges, which is something that I’m quite proud of.”

I wanted to chat about the idea of landscape. I know Talos is a Greek mythical figure who circled the shores as a protector, and I know you mentioned before that the name also represents themes of isolation, but how important to you is the concept of landscape and nature to your work, sonically and aesthetically? It’s definitely something that really affects what I make, different spaces and different settings make me create differently. Does that make sense? I make a different thing in Iceland and I make a very different thing in West Cork. [Cork] is turning into the place where I’m finishing everything. Whatever that affect is, it calms the recording down. Which is good, especially for this next record... It’s been a bit of a whirlwind, it’s something that came about quicker than the last one. Not a lot quicker, but the last one took an enormous amount of time, nottoo much time... This one took a better amount of time. If Cork calms it down, can you put your finger on what Iceland does to your sound? In Iceland I work with the same people when I go there so maybe it’s the effect they have. I work with a lot of people in a really special recording space. Everyone in Cork and everyone there are really brilliant musicians and producers and just being around them adds a bit of pressure or something… There’s a bit of that schoolyard thing where I have to make something impressive here. That slips away when you’re in the room with them, they’re all about finding something new or a new way of using an instrument… Using plugins to destroy or corrupt something… Using a plug-in to push something to a new limit, break a sound distance. They’re just pretty forward-thinking, they think in a different way. When I bring my stuff there, which I call pop essentially, it becomes something charged in a totally different way. I feel like the melding of the human and nature is so prevalent in your music. A line that stuck out to me was in ‘Kansas’, “A lung in the sea a heart in the snow”. So it’s interesting that you mention the combination of worlds - the new and old. Pop, but distorted pop. That’s a cool way of putting it; I think we push it to the edges, which is something that I’m quite proud of. It’s something that I continue to do, it’s a line to tread. I’m not afraid of that word [pop], some people are but I’m not afraid of it at all. Once you can

do pop but keep an honesty in it, once you stay… I’m trying not to sound like a fucking bumper sticker here, but once you stay honest in what you’ve made so far and you ask yourself am I really making something that I actually want to make and you try keep authenticity to it, that’s key. It’s an honesty thing, I think that’s the main thing. You mentioned before that you once drew inspiration from a mountain climbing documentary called ‘Meru’. Yeah inspiration comes from weird places. Like that one, I just like the idea of these people pushing a human body to the extreme for something that’s as banal as getting to the top of a hill. Obviously it’s not a hill, but why do we do it? I just like that sentiment of limits. It’s hard to put it into words I don’t know where I got the inspiration… Maybe it’s the struggle of it, you get a very clear sense of optimism from it, in that idea of actually getting there. It’s essentially just getting from point A to point B, but it’s the struggle in between that’s the important part? Yeah maybe and I think it just goes back to the idea of creating… You put yourself in a situation where it’s essentially just you in a bedroom talking about insignificant shit that’s going on in your life, or at least insignificant to other people, it might be super significant to you, and people finding a commonality to that. There’s kind of a weirdness in that as well, a weirdness in saying I’m going to climb to the top of a mountain. Benjamin Hardman shot the cover for ‘Wild Alee’, but you mentioned you wanted to collaborate with him to add your own “smudge”. That perhaps it was too perfect? Why did you not want the cover to be “too beautiful”? In one way I didn’t feel that what I was making was perfect, so it didn’t make sense for something to be utterly pristine, the image anyway. Then I just think it felt that it was that thing that it wasn’t human enough... It felt too beautiful, I felt the idea of having the imperfection made it feel more real in a way. I think it’s important to leave a mistake on a recording and leave things that are rough or impulsive. You get to a point with certain songs where everything is recorded really well, and it might feel too done. I think

it’s important to have those moments of impulsiveness that are honest, that human touch, that kind of smudge, and then you can properly relate. How do you find putting trust in collaborators, because you mention your work is so personal? In a way I tend to gravitate towards people that are invested in what they do as much as I am invested in what I do. I think the other thing is that I find it very humbling when somebody enjoys what I do, and I think if somebody puts their hand up to be involved in what I do and is invested in what I do I’m totally open to it… In reality I find it quite hard to totally put full faith into someone, unless I love what they’re doing, then I open the doors for them. Sometimes that works, and sometimes it doesn’t. With the last album there wasn’t a crazy amount of collaborators; I worked directly with Ross Dowling who was my producer and was always my producer, and I don’t think that’ll change. You bring people up as you go along and there are a lot more people contributing and that’s been a tricky thing. It’s something that I felt was needed, something that the record needed, and in places it just needed to move in a different way and sometimes the only way you can do that by learning from somebody else. How important is isolation to your creative process? To be able to have the time to yourself then, as you said before, have a “communal end to a solitary process” in the form of a live show? There are six or seven weeks towards the end of making a record that I just need nothing else going on. Beyond that, I actually found that I don’t really enjoy the whole disappearing into the woods shit. I did it before finishing the last album for four weeks and I kind of hated it. I think in regards to writing I need people around me, I need to be connected somehow. I tend to do a lot of writing in Cork and when I travel. A lot of the writing occurred around travel then is brought back to Cork to be reworked, so Cork becomes the centre of it. The first time I saw you live was two years ago in The Academy; I was interviewing Angel Haze and came down early and caught your set. At the time I thought it was a bizarre

but very fitting choice having you on as support. I really enjoyed it, having a completely different genre before a hip hop artist like her. Is hip hop a big influence on your work? I know you mentioned that ‘2001’ by Dre was an important record for you? Yeah I think it is. I just think that production wise and sonically it’s always something I looked towards, I like the scale at which hip hop gets big and I think when you mix that with something like... I won’t say post-rock songs, but when something feels expansive and you mix that with tightness of a hip hop drum production, it becomes something that fills a larger space and that’s when it gets interesting. That’s something I’ve always leaned into. I think it comes down to a groove thing as well, the way you move to a hip hop record there’s always a kind of swagger to it. There’s a sleakiness to it rather than an intensity to say a James Holden track, and I gravitate towards that as well. I think you mentioned ‘Yeezus’ before as an influence which so interesting because there’s definitely fragments of ‘Yeezus’ in your music the abrasion in the midst of beauty. Are there any other records that you feel were game changers for you? This year, Nils Frahm, it is one of my favourite records. I don’t think there has been a day when I haven’t listened to that album since January. We saw him in the Funkhaus in Berlin and it was just a really special thing. I mean there are the obvious influences too - Tame Impala’s record, the last one, was fucking incredible, sonically incredible; Kate Bush’s ‘Hounds of Love’; Talk Talk’s ‘It’s My Life’ and ‘Spirit of Eden’ and ‘The Colour of Spring’ are up there too. Talk Talk and ‘Yeezus’ would probably be my largest influences. At the start I was being asked, what do you want to do musically? And I think my answer was, “Let’s make something that’s a mixture between Talk Talk and ‘Yeezus’”, which had just come out at the time… I don’t think we’ve done that yet, but we will! [Laughs] I’m looking forward to that record! Yeah… We’ll get there! Talos plays The Academy on October 6.

14 Words: Eric Davidson / Image: ‘Suspiria’ (1977) by Dario Argento

SIX CLASSIC

Horror films TO SEE IN DUBLIN THIS HALLOWEEN Suspiria (1977) Light House Cinema October 25

Hocus Pocus (1993) Leopardstown Racecourse October 27

The Rocky Horror Picture Show (1975) The Sugar Club October 27

With a remake of this Dario Argento bizarre masterpiece on the horizon (the 2018 version featuring music by Thom Yorke), there’s no better time to refresh yourself with the original. If you’ve never experienced it before, prepare to see a nightmare unfold on screen.

90s babies, rejoice, it’s time to get nostalgic this Halloween. Retro Drive-in Movies are bringing the Sanderson Sisters to Dublin. Just make sure there are no virgins around when you light the Black Flame Candle.

If you’ve never been to a screening of the cult classic ‘The Rocky Horror Picture Show’, prepare for madness. Since the film was released it has garnered an army of fans, donning lingerie and make-up to go and watch the horror comedy.

Beetlejuice (1988) MVP October 27 & October 28

The Sixth Sense (1999) The Hazel House October 29

Jaws (1975) The National Concert Hall October 31

Michael Keaton has played some interesting characters during his career, but this is him at his most zany, grotesque and memorable. One of Tim Burton’s finest films.

Where better to watch the supernatural classic, directed by M. Night Shyamalan, than on a remote farm in Rathfarnham? Good luck strolling through the woods afterwards...

This one is shaping up to be pretty special. The RTÉ Concert Orchestra will be performing John Williams’ Academy Award-winning score of the classic shark horror Jaws.

SOPHIE MURPHY & TAPROOT ART

Words: Eric Davidson / Photography: Greg Purcell

‘Olympia’ by Shane Berkery (Dublin) ‘One dry contact lense’ by Jay Miriam (Brooklyn)

‘we are all in a highly complex simulation’ by James Kirwan (Dublin)

‘One dry contact lense’ by Jay Miriam (Brooklyn) ‘Self portret after the shower’ by Jay Miriam (Brooklyn)

ommonly, art is used to hold a mirror up to society, showing its blemishes and often its sins. While this is a necessary part of art’s function, often organisations fighting societal problems don’t receive direct benefit from it. It was a desire to combat Irish problems head-on that sparked the idea for Taproot Art in Sophie Murphy’s mind. The first event aimed “to de-stigmatise and raise money to help inner city homelessness and offer fine art and a good time”. Taproot since went on to generate funds for Ireland’s abortion rights campaign. It was a straightforward idea; bring together a large selection of artists from every corner of the globe to contribute pieces for an auction. The money brought in would go towards various charities, and the carefully curated pieces would bond artists and art-lovers under one roof. Taproot Art return to RARE Art Gallery on Castle Market in late September, this time focusing on the concept of ‘Pairs’, aiming to “explore the power of dual relationships through visual art”, with each work being paired with another. We caught up with Sophie Murphy to discuss the origins of Taproot and the importance of community in its success. The first show under the Taproot name was back in January. What prompted you to create an exhibition in this format? There were many prompts, but one substantial prompt. After coming home from living abroad I was struck all over again by the homelessness crisis in Ireland. I found the amazing charity Inner City Helping Homeless and went from there. I personally had never seen benefit auctions in Ireland, involving emerging contemporary artists. A silent auction was the initial plan, but despite the generous help from so many people, a lack of resources left me little choice but to personally do the auctioneering. I had no issue with this, except that I had not done multiplication and division on the fly since I was 12. I have intentions to continue doing annual benefit auctions, especially now that I know I can successfully add and subtract on cue. The reaction to the first one was great, packed out venue all night. It was a nice community vibe, is that an important aspect of Taproot, the “collective”?

The community vibe is absolutely an essential feature - perhaps the best feature. Despite the fact Taproot Art comprises of one person, it is inherently a collective in the sense that it involves so many specimens, not just the artists, but other creative brilliances that exist in this city. Amazing DJs like EVE, James Rodgers, Staxx Lyrical, Ickis & Tadhg and Frank B have all played at various openings, with hip hop artist Blue Niall playing at the Pairs opening. Designers and artists like Decoy and Geoff Ryan, who hand carved a rootvegetable gavel, and Rob Mirolo designing the current logo, are always in the orbit. Greg Purcell, Jack Dunne and James Edmondson have offered their camerawork countlessly. MART Gallery, who donated the initial space, also prioritise the community element. This enabled a harmonious collision of visions. Hugh Cooney performing at the ‘Pairs’ opening is a massive feat. He is excellent at being two people. The diversity of medium and partnership is great; it keeps things interesting. Taproot is now a platform for Irish artists. Not just at the launch events, but living on your site too. Did you see a gap where artists in this country needed something like that? It’s an interesting question. In the art world, I’m not so sure there is ever really a gap. There is no function to be served, per se. You are simply trying to pair some artworks, with those who appreciate and simply like said artworks. This joining dot scenario is really rewarding and makes some interesting shapes. From what I see, it is the only industry that will never really have ‘gaps’ due to its very nature. Art as a whole is needed, but individual pieces of art - they are never really needed. That’s why the exhibitions are fun as they display why art as a whole, is essential. As for the online element, while still a work in progress, I think selling prints is brilliant as it serves as an affordable option for young and new appreciators and collectors. Was it important for you to have artists from all over the world represented? Yes, definitely. Exclusivity, in this sense, I do not understand. Involving artists from anywhere creates an interesting nexus of backgrounds, which only adds to the art and the overall ‘learning element’ of the exhibitions. Spectators can learn, and perhaps the artists too. While I feel Ireland really emphasises, and justifiably takes pride in, the art it produces, I don’t feel this should exclude the option of exhibiting great works from other lands.

Irish art is bought and exhibited in other countries all the time, as it should be. I think the same applies in reverse. If the art is good, it is mutually beneficial for everyone. I like ramen, so I am happy I can buy ramen in Dublin. Molly Malone’s pub in Hiroshima celebrates Paddy’s Day, because, while the food might be questionable, why would you not have a Guinn day if you could? I admit I have never been to Hiroshima, but on both accounts, this is positive. In terms of curation, how do you go about selecting the theme and matching the artists? It must be exciting to see how the artists respond to the themes? Sometimes they approach me. Mostly I ask the artists. But the art I acquire is diverse. My taste is admittedly diverse. I guess this is why I keep doing it; the thrill of not knowing what the end product is going to look like. I simply offer a theme, receive art from artists, and try implement some logical structure to their collective display. It is only on the day of installation I see all the physical art. Then you have to put it together like a jigsaw puzzle. It’s like giving a kid a jigsaw puzzle in a ziplock bag, no box for reference, just the pieces. The picture is quite fascinating when you have never seen it before. The concept of this edition is ‘Pairs’, can you give a little background into how the idea came about? All the ideas are borne out of a combination of some strand of analytic philosophy, once philosophically trained, there’s no going back (un)fortunately, as well as a feature from the exhibition that preceded it. The previous exhibition, ‘REDNESSNESS’, was inspired by a red-themed going away party I had in Brooklyn. When everyone arrived dressed in red, drinking red wine and eating red apples, I thought, ‘Multiple red arts would make this better’. I thought to do ‘Pairs’ when I saw two artworks from Steve McCarthy and Jay Miriam, beside one another. They were utterly contrasting and identical at the same time. My mind was blown. ‘Pairs’ also incorporates my enjoyment of contradictions, dichotomies and similarities, from the philosophical side. I was going to call it ‘P & ~P’, which is the notation for a contradiction, but then I realised that it was probable that nobody would show up. Plus, successfully incorporating fruit and vegetables into as many shows as possible is a personal goal; pears are definitely better than peas. @taprootartireland ‘Pairs’ runs until October 6 in RARE Art Gallery, Castle Market.

Words: Hannah O’Connell / Photography: Ellius Grace

aint Sister’s self-coined ‘atmosfolk’ has been proving popular since their post-college inception in 2014. This year alone has seen the duo play SXSW, The Barbican Centre in London and their first New York gig. We’ve gotten two new singles in the form of ‘Twin Peaks’ and ‘You Never Call’, with music videos for the latter directed by Ellius Grace, as well as 2017’s ‘Causing Trouble’. As you’re reading this they’ll be one third of the way through their world tour which is taking the duo across America, Canada, Australia and a number of European countries. This August at All Together Now we partnered with Jameson Irish Whiskey to create The Shed. It was a small space in the forest where weary festival-goes could chill out and listen to conversations between District Magazine staff and a variety of artists, musicians and creatives involved in the weekend. On Sunday afternoon we grabbed fifteen minutes with Saint Sister’s Morgan MacIntyre and Gemma Doherty. They were just out of a car, having arrived on site a little later than intended, hurrying off to play a packed-out Something Kind of Wonderful stage as soon as we finished. We chatted about their rapid rise in the industry, not many groups support Arcade Fire’s Will Butler for their fourth gig, their incoming debut album and how they’re reluctantly considering a move away from Dublin.

What have you been up to this summer? Gemma: We’ve been mostly finishing up our album, it’s nearly finished. It’s taken us a really long time. We’ve had a few festivals here and there, but this is probably the quietest summer we’ve had so far because we’re gearing up towards the album release in October. We’ve been trying to do a bit of writing as well for the next one. Morgan: Mostly finishing the album and preparing for the tour that starts in September. That’s a massive tour that you’re about to go on. You’re going pretty much all over the world, over to the States, a load of Irish and UK dates and then to Europe? Gemma: We’re going to Australia as well which is mental! I don’t know how that happened. I haven’t been before, to most of those places. How do your audiences differ city to city? Morgan: We play to bigger audiences in Ireland just because we’re from here. We’re just so delighted if we go anywhere abroad and see anyone in the audience, it’s like a dream come true to us. We want to just keep playing and releasing music, so if we can keep doing that and people keep showing up to our shows, that’s a dream for us. You’ve been together for four years now. Considering everything you’ve accomplished, you’re about to bring out the debut album, all of the massive gigs and the recognition, the radio play, playing Glastonbury – it’s a quick trajectory for such young band… Gemma: Thank you, yeah we started playing a lot of live gigs straight away that we probably weren’t ready for. We certainly weren’t ready for our fourth gig, supporting Will Butler. Little things like that helped us, in terms of the live performance, to keep on getting gigs we didn’t expect to get. Then came a time where we had to really step back and say, ‘We need to to take time out to write the album’. That kept getting pushed off. Morgan: I feel like we think it’s been a long time coming, this album, and that four years is a long time to get to the debut album, but we’re finally here and we’re so excited to put it out in October. What do you think it was that got you noticed so quickly and got you those initial gigs?

Gemma: I’ve no idea. It’s so hard to know what comes from where, but it was mostly live gigs that we did early on and we just met some lovely people… It’s all people at the end of the day. We’ve met some lovely bookers early on and that was kind of key. Live-wise,

although part of us was like, ‘Maybe we should just sit in a room and write a load of songs’, and in that way the album would have come much quicker, but for us anyway just getting out and playing as many shows as you can seemed to be the thing. If something came up, even if it didn’t seem that worth it, if it was far away and it was going to cost us a lot, we just did it anyway. Morgan: I think the fact that we didn’t have anything else going for us at the time when we started the band was kind of a blessing, there was no other distractions. There was no plan B. Gemma: It was weird in that way. We had just met, straight after college in that sort of phase where you’re like, ‘I don’t know what the fuck I’m doing here’. And Morgan just came along and said, ‘Do you want to do this?’ I said, ‘Yes, absolutely’. It was a bit mental, it’s not really an advisable thing to do. Morgan: Plus, we didn’t know each other when we did. I don’t know what possessed us to invest all of our money and all of our time in a stranger, but it worked out. We must have had some sort of intuition that we’d get on well. You both met in Trinity College? Have you been living in Dublin ever since? Gemma: I’m from Derry and Morgan’s from Belfast, but we both moved down for college about seven or eight years ago now and we just stuck around. With people like Kelly-Anne Byrne and David Kitt speaking out about the rental crisis and creatives having to leave the capital, has that affected you yet? Gemma: It’s nuts. I keep doing this thing where I just move out any time we go on a tour even if it’s only a month long. You just have to, I can’t afford to be renting while we’re away for three to four months, which isn’t that long, but it just forces you into the head of, ‘I can’t afford it’. It’s still a massive inconvenience but that’s been our way of dealing with it. We’ve just been moving around a lot and trying to strip back so you can just up and go when you need to. Morgan: We love Dublin. Especially coming from the North, I speak to a lot of my friends who grew up in Dublin and they move to London, but for us, this is our big city. We absolutely adore it here but we’re having conversations about maybe moving back home. The North is much cheaper, we could get much cheaper rent there. Gemma: Our families and stuff are up North. Every time I go home to Derry everything is just so cheap. You just go, ‘What am I doing? Why am I still down there?’. Does moving around so much affect your creativity? Can you bring it on the road with you, can you write anywhere?

Gemma: I work on mostly production stuff and I need to get myself out of the head of thinking I need to be in a room with all my gear. That can’t always happen so… Mentally it’s been nice striping back because you’ve less things to think about and worry about. Morgan: Gemma does a lot of production stuff, she does need her set up. She needs her computer and her instruments and stuff, where I would focus on the lyrics and melody. I find that touring is the best place for it. We’ll be out drinking and I’ll just been in the corner singing into my phone. Do you think Ireland supports its creatives? Morgan: There are a lot of really amazing bodies that exist that we’ve got a lot of support from First Music Contact, Angela Dorgan, she organises Hard Working Class Heroes which was one of our early gigs that really felt like it made sense for us and helped propel us a little bit further, and she funded us to go to SXSW and loads of different showcases. There are amazing things that exist that I guess are funded by Culture Ireland and in turn the government. It’s very hard and there can always be room for improvement. There’s a lot of work to be done I think. Gemma: Big time, there’s a long way to go. The creative buzz in Ireland is just incredible, there are just so many creative people doing amazing things that you’d have to be optimistic about it, I think. When you come to something like this [All Together Now Festival] or every other weekend there are new festivals popping up, people doing unbelievable things… There’s a long way to go, but I’d be hopeful. Your debut album is finally coming out this October. What can we expect? Morgan: So it’s called ‘Shape of Silence’ and we wanted to call it that because we were interested in the idea of silence and what can be felt and said and heard in the gaps, when nothing is being said and nothing is being played. We do like to experiment a lot with space in our music, not overloading the song with instrumentation… It’s about stripping stuff back. It made sense to think of silence like an object you can almost hold, because it can be so heavy sometimes and we were interested in that. That’s the overarching theme I guess. Gemma: The album has got a few songs that’ve we’ve already released that we felt we couldn’t leave off the album, that it wouldn’t be telling the full story of our journey up until now. Most of the songs are new and some of them are poppy. We’ve pushed passed our sonic extremes so some of them are more poppy than we’ve ever done before, some of them are more introspective than we’ve ever done before. Hopefully it’s not too much of a departure from what we’ve already put out there. Saint Sister play Olympia Theatre on October 11.

22 Words: Sean ‘FYNCH’ Meehan / Photography: Sofia Rudi Kent

ast your mind back to the early years of adulthood, with adolescent strife jostling with the existential dread that welcomes the beginning of the end of your life. Couple that with the impending doom of a Leaving Certificate. It was a time of upheaval. Now imagine going through all of that while balancing a burgeoning career as one of Ireland’s most talented music producers. This is currently where Marcus Woods finds himself. Woods is 18 years of age, yet he has already established himself as one of Ireland’s foremost musical artists. He’s received high praise from some of the country’s most respected platforms, had wide-spread radio play, sold out his first headline show and co-signs from Irish music veterans. Having put out his first EP ‘Shibui’ on the day of his 18th birthday, followed by a summer of playing shows as a solo act and as the DJ for the extremely handsome and talented Drimnagh rapper FYNCH [see article’s author], Woods is gearing up to release his first full-length full-length, entitled ‘Demo’, this month. With such a busy beginning to adulthood, Marcus Woods has been setting the foundation for a lengthy career and it will all make sense in October. ‘Demo’ comes only five months after your previous release ‘Shibui’, was it always the plan to have a quick turnaround between releases? Well, ‘Demo’ has been in the works for roughly nine to 12 months, with a lot of changes and drafts involved. I felt ‘Shibui’ was something I crafted in the middle of that, but looking back now, I’m more than eager to release ‘Demo’, especially soon after ‘Shibui’. I felt I was losing originality and a drive to produce when it came to the lo-fi sound on ‘Shibui’, so to be able to make these crazy, new, original sounds on ‘Demo’, and to drop so soon after my last, is amazing, but it wasn’t a set plan. I let production come naturally to me, and it just so happened that over the last five to eight months, the workflow was there; hence the soon, but not deliberate, release. There’s such a sonic change for you on ‘Demo’. What was the inspiration behind that? It was really just me being my biggest critic. I wanted to start making music that people would be able to associate with me; I don’t have a tag, and a lot of producers make lo-fi, hence it’s difficult to distinguish my

production from another’s. With ‘Demo’, the inspiration was pretty much fusing ambient works and soundscape-inspired sounds from the likes of William Basinski, How To Disappear Completely and C418, with experimental and trap-influenced elements. I want people to listen to this and say, ‘This is definitely some Marcus Woods production’. That’s something I felt I lacked with my old sound. Does being in sixth year of secondary school allow you to flourish in your artistry as much as you would have liked? It’s not easy at all. A lack of time and the environment are a huge pain. I’ve said that production comes naturally and organically to me, I won’t sit and make five to ten beats a day; if I want to make a track, I will, if not, I’ll just sleep or go grab some food and come back. The problem is that school heavily limits the time to do that naturally. Also the environment can be very, very nasty; I’ll have some young fellas come up and take the piss out of the music from time to time, which can be a little unsettling. I’ve been so used to hanging with a more mature group of people over the summer, guys in college and other music mates, going back to school deters me a little bit, but I’ve only got until June left, so I’m not too worried. You’ve been earmarked for your wild energy when DJing, is that something that comes naturally to you? I want to give a crowd the rawest energy I can, so that they don’t have to use their phone and can live it in the moment! Anomaly in Waterford back in August was a prime example of how 200 to 300 young people were packed into a venue and every single one was going crazy during my set for an hour; crowd surfing, mosh pits, climbing on speakers, it was madness, and I was extremely grateful to have had that. I’d say it definitely comes natural to me. Being at so many crazy live shows in my life like Travis Scott, Death Grips, N.E.R.D, Mango X MathMan, that’s really allowed me to take that energy on and give it to a crowd during a set. What image are you trying to cultivate with ‘Demo’? I’m pretty much trying to give the image of ‘I am Marcus Woods, this is a demo of what I’ve been working on over the last year, if you like it, I have so much more coming’.

It’s testing out new sounds and ideas, but not going too avant-garde with it. This is a taster for people and an opportunity to establish my style of production. What would you consider to be a successful reception of ‘Demo’? To be honest, somebody listening to the project in its entirety and giving constructive feedback, positive or negative, would be a successful reception. Of course, I want the project to get me out there and attract more fans, but to get a critical response would be ideal. I’d rather somebody listens to the project in its entirety and tell me things I could improve or praise it, rather than somebody check the first two tracks and skim through the next 10 and tell me it’s amazing. Listen to the album in its entirety more than once, then give me a response, I’d appreciate that a lot. With ‘Demo’ and ‘Shibui’ being instrumental, is there any prospect of a Marcus Woods-led collaborative project in the future? Definitely, I just want to find the right artist to do it with. I’d love to make something with one specific artist as the producer rather than make a project with several artists like a DJ Khaled kinda thing. I’m working with some artists at the moment on some singles and hits of their own, a full led collaborative project might happen with a solo artist soon, probably in 2019. You have a close relationship with MathMan, how important has he been in your development as a producer and artist? Adam has been a huge catalyst for me, he’s mentored me from day dot and I can’t express how much he’s helped me on my path. He’s opened up doors for me and helped me meet people who have helped me climb the ladder in Irish music. He’s helped me develop as he’s very critical in feedback and it’s been extremely useful for me to know what to work on. While we’re making two different sounds and genres of music, he’s still been a rock in helping me develop. He hasn’t heard the full ‘Demo’ project yet bar the single ‘Somni’, so I’m extremely excited to hear what he has to say about it. Marcus Woods will release ‘Demo’ on October 19 with a launch party in early November.

24 Interviews & Photography: Ellius Grace

PERFECT Loah

Musician @musicbyloah

Last place you ate? Fumbally Café. Last pub you went to? The IFI Café Bar. Favourite place to escape to? Pickering Forest. What’s one thing you see every day here? Homeless people sleeping rough. What would you like to see less of? Homelessness. Best memory of the city? Marriage Referendum celebrations. Best place for a Guinness? Grogan’s (with a toasted cheese sambo). Southside seaside or Northside seaside? Southside (Sandymount!).

DAY

IN Roisin Agnew

Journalist & Screenwriter @roisin_agnew_

Last place you ate? My aunt’s house in Clontarf. I had olives and Pringles while watching RTÉ with the dog, Sammy. My diet is predominantly made up of salty bar snacks. Peanuts and pinot grigio used to be my staple dinner when I lived in Grogan’s here.. Last pub you went to? Grogan’s. Alas. But the last one before that was Set in Dalston. Not a pub, not in Dublin, sound like a dick, but I like that spot. Favourite place to escape to? Probably the library in Trinity. Or Vico. I went there for the first time around eight years ago to see the sunrise with a special friend after a party. I used to go there a lot when I was feeling blue. Favourite place to go to in the sun? Seapoint. Or maybe the Phoenix Park. Or the bold step outside Grogan’s. My friend Tom brought me to a great pub on Dominick Street that’s a sun trap, but I can’t remember its name. What’s one thing you see every day here? Skies that make you wonder if the world’s about to end. What would you like to see less of? Cranes in the skyline. ‘For Sale’ signs. People asking for money on the streets. Evidence of a heroin epidemic that continues to go unchecked. Self-satisfied looking arseholes with no taste. Seagulls. I hate them. Best memory of the city? Ah, there are a few. The summer ‘13 when it was hot and there were infinite parties, or in particular in my friend’s house in Monkstown. Best place for a Guinness? I don’t drink Guinness, but the best one I’ve had was probably in the snug in Toner’s. Southside seaside or Northside seaside? Northside. I’m from Clontarf.

DUBLIN

Live Guide October 2018

BAKAR

JOAN SHELLEY

WORLDSERVICE PROJECT

North London artist Bakar fuses hip hop beats with post punk. His sound is often described as a scrapbook of English music history. For fans of: Octavian, Steve Lacy, King Krule Thursday October 4 The Academy €15

American folk musician Joan Shelley is known for her quiet, contemplative and self-proclaimed simple music that portrays complex emotions. For fans of: Lisa Hannigan, Laura Marling, Fleetwood Mac Thursday October 4 East Side Tavern €17

One of the leading lights in the genre of British ‘punk jazz’, WorldService Project are known for their all-consuming energetic live shows. Joining them are Alarmist. For fans of: Miles Davis, John Coltrane, Louis Armstrong Friday October 5 The Workman’s Club

HOT COPS

BOY AZOOGA

THEY MIGHT BE GIANTS

After appearing on the double vinyl compilation ‘A Litany Of Failures: Volume II’ recently, Hot Cops, Postcard Versions and Shrug Life are coming together for a night of heartfelt DIY rock. For fans of: Ty Segall, Girlband, Queens of the Stone Age Friday October 5 Anseo

Known for a brilliant mash of influences, the Cardiff band have a playful approach to classic rock influences. For fans of: Gaz Coombes, The Vaccines, Peace Friday October 5 The Grand Social €15

The American alternative rock band tour their new album bringing along trumpet player Curt Ramm, known for playing with Nile Rodgers and more. For fans of: Pixies, Talking Heads, Violent Femmes Saturday October 6 Button Factory €38

OCTAVIAN

LISA HANNIGAN & STARGAZE

TALOS

The French-born, UK rapper tipped by Drake, is changing the hip hop game in 2018 with gravelly rhymes, thoughtful lyrics and a hand on his heart. For fans of: Mura Masa, Little Simz, Rejjie Snow Saturday October 6 Green Room at The Academy €15

Irish artist Lisa Hannigan collaborates with a classically trained collective for renditions and re-workings of some of her best material. For fans of: Glen Hansard, Saint Sister, Sinead O’Connor Saturday October 6 - Sunday October 7 National Concert Hall €30

KERO KERO BONITO

DARWIN DEEZ

Making their debut Irish headline appearance, the Londoners Kero Kero Bonito are known for their colourful electropop. For fans of: CHVRCHES, Marina and the Diamonds, La Roux Sunday October 7 Whelan’s €14

The Californian indie band first rose to prominence with their song ‘Radar Detector’ and have maintained a unique style of indie music since. For fans of: The Drums, Noah and the Whale, Vampire Weekend Sunday October 7 The Workman’s Club €17

Haunting alternative indie is the main output from this Cork-born artist and his band, fresh off the summer festival circuit. For fans of: Alt J, Bon Iver, Villagers Saturday October 6 The Academy €23.90

EVERYTHING EVERYTHING

EMMY THE GREAT

Emma Lee Moss aka Emmy the Great grew Hailing from Manchester, Everything up in China and incorporates elements Everything never fail to bring experimental of her childhood into her singing and songwriting. sounds to their indie rock style. For fans of: Mitski, Lisa Hannigan, For fans of: Foals, Wolf Alice, The Ash Maccabees Sunday October 7 Sunday October 7 The Grand Social Olympia Theatre €22 €25

THE MANOR British hip hop and grime group The Manor take influence from reggae, with their heavy-hitting lyrics dealing with social issues affecting their local surrounding areas. For fans of: The Streets, Giggs, Jamie T Wednesday October 10 Green Room at The Academy €15

YBN NAHMIR

TOM WALKER

SAINT SISTER

Young American rapper Nahmir who hails from Alabama. YBN Almighty Jay and YBN Cordae will also be present on the night. For fans of: Rich The Kid, Lil Xan, Kodak Black Wednesday October 10 The Academy €29

The breakthrough musician and singer of 2016 has now released three bodies of work to great acclaim after his initial popular single ‘Sun Goes Down’. For fans of: Maverick Sabre, Rag’n’Bone Man, Kojey Radical Thursday October 11 The Academy €22.50

Saint Sister draw influences from aspects of traditional Irish music creating a genre they’ve christened as ‘atmosfolk’. For fans of: Hannah Reid, Warpaint, Laura Marling Thursday October 11 Olympia Theatre €31

THE VALVES

WHY-AXIS

BILLY OCEAN

This young up-and-coming band from Dublin’s suburbs are a dexterous fourpiece creating alternative rock and pop music. For fans of: The Strypes, Arctic Monkeys, The Strokes Friday October 12 The Workman’s Club €12

Why-Axis is back after a series of releases this summer with a live performance of his experimental, electronic hip hop. For fans of: Rejjie Snow, GoldLink, Aminé Friday October 12 The Sound House €11.50

The legendary Trinidad-English recording artist returns to Dublin, charted as being one of the most successful R&B performers of the 70s and 80s. For fans of: Chaka Khan, Hall & Oates, The Pointer Sisters Friday October 12 Vicar Street €50

LITE

COOLIO

COOKS BUT WE’RE CHEFS

Japanese instrumental powerhouse artists Lite bring their 15th anniversary tour to Dublin with special guests on the night. For fans of: Vampire Weekend, The Strokes, Kings of Leon Friday October 12 Bello Bar €17.50

Coolio emerged on the 90s rap scene through the immense success of the Grammy Award-winning hit ‘Gangsta’s Paradise’. For fans of: Snoop Dogg, Busta Rhymes, Fugees Friday October 12 The Bowery

Tuff Gang are back at The Bernard Shaw to present this musical outfit, a seven-piece jazz-oriented and genre fusion band to the intimate venue. For fans of: A Tribe Called Quest, The Comet is Coming, De La Soul Saturday October 10 The Bernard Shaw

PHUM VIPHURIT

TOM ODELL

ALT-J

Thai-born and New Zealand-raised musician Phum Viphurit is known for his mellow and soulful singing and songwriting, with millions of views racked up online. For fans of: Steve Lacy, Mac DeMarco, Boy Pablo Saturday October 13 The Workman’s Club €18

English singer-songwriter Tom Odell is kloved for his piano-enriched songs and powerfully emotive vocals. For fans of: George Ezra, Hozier, James Bay Sunday October 14 Olympia Theatre €50

Alt-J return to Ireland after announcing their project ‘REDUXER’, a recreation of their Grammy Award-winning album ‘RELAXER’ featuring collabs with GoldLink, Rejjie Snow and more. For fans of: Tame Impala, Milky Chance, Foals Monday October 15 Olympia Theatre €54.50

NEGATIVE GEMINI

G FLIP

SUPERORGANISM

American singer, songwriter and producer Lindsey French blends underground dance beats with pop hooks and electronica to create music that’s often hard to define. For fans of: No Doubt, Yeah Yeah Yeahs, Grimes Wednesday October 17 The Grand Social €18.50

Australian multi-instrumentalist and Fresh from captivating the crowds songwriter Georgia Flipo performs her at Forbidden Fruit, this transatlantic addictive shimmering pop. group combining influences to create For fans of: Anderson .Paak, Grimes, technicoloured and varied pop music return Kimbra to the city. Wednesday October 17 For fans of: Unknown Immortal Orchestra, Whelan’s Frankie Cosmos, The Go! Team €14 Thursday October 18 The Academy €20

JON HOPKINS

SUUNS

Pitched between acid house and ambient bliss, Jon Hopkins returns for a headline show at Vicar Street with plenty of guests supporting on the night. For fans of: Four Tet, Moderat, Nils Frahm Thursday October 18 Vicar Street

This Montreal quartet return for three Irish shows after their most recent release ‘Felt’, a hypnotic future-pop body of work with rock influences. For fans of: Parquet Courts, St. Vincent, Angel Olsen Thursday October 18 The Grand Social €18

MAHALIA

LE GALAXIE

HARDY CAPRIO

Mahalia never fails to serve a rich slice of R&B, sprinkled with her own contemporary originality. Dublin’s Erica Cody is on support after touring with the UK artist last year. For fans of: Erykah Badu, Lauryn Hill, Mabel Friday October 19 The Grand Social €16

One of Ireland’s favourite live acts, Le Galaxie headline the Francis Street institution after a strong summer of festival slots with their dancefloor feet-movers. For fans of: Le Boom, King Kong Company, Bitch Falcon Saturday October 20 District 8 €22

The rising UK rapper brings his second global tour, the Hardy Season, to Ireland from Croydon. For fans of: Skepta, Stormzy, Giggs Saturday October 20 The Academy €14

PUMA BLUE

BEACH HOUSE

IDLES

Puma Blue, aka Jacob Allen, bears his soul in his songwriting accompanied and reinforced by soulful instrumentals. Think looped guitar riffs, saxophone and more. For fans of: Steve Lacy, Biig Piig, King Krule Saturday October 20 The Workman’s Club €14

The Baltimore dream pop duo are celebrating the release of their seventh full-length record ‘7’ and 13 years of playing together. For fans of: Grizzly Bear, Tame Impala, Fleet Foxes Saturday October 20 Vicar Street

IDLES return to Ireland from Bristol to celebrate their new release ‘Joy As An Act Of Resistance’. Support comes from Heavy Lungs. For fans of: Fat White Family, Car Seat Headrest, Parquet Courts Monday October 22 Button Factory €17

BLOC PARTY

GRACE CARTER

FIRST AID KIT

After releasing two albums this year already, the psychedelic rock band, fronted by Anton Newcombe, are back in Ireland for another show. For fans of: Goat, Tame Impala, The Warlocks Friday October 19 The Academy €25

Bloc Party bring their seminal debut album Highly inspired by 90s R&B, Grace Carter is ‘Silent Alarm’ on tour to Dublin. They’ll armed with emotionally exposing songs and perform the record in full. unforgettable vocals. For fans of: Foals, Arctic Monkeys, For fans of: Mabel, Dua Lipa, Kelela Kasabian Tuesday October 23 Monday October 22 The Sugar Club 3 Arena €20 €51

First Aid Kit return as a duo after an emotionally charged performance at All Together Now in August. Support comes from The Staves. For fans of: Fleet Foxes, Of Monsters & Men, Lykke Li Tuesday October 23 Olympia Theatre €34

TOOTS & THE MAYTALS

WASTEFELLOW

KOTA THE FRIEND

True architects of reggae, Toots & The Maytals are set to play their first Dublin headline show in eight years. For fans of: Sister Nancy, Brigadier Jerry, Barrington Levy Tuesday October 23 Tivoli Theatre €37.50

With his biggest headline show to-date, Wastefellow celebrates the release of his anticipated ‘Post Human Potential’ EP on Softboy Records with a new live show. For fans of: Kojaque, Bobby Basil, Baba Stiltz Wednesday October 24 The Grand Social €10

After touring all summer with Lupe Fiasco and others, KOTA is coming to Ireland for a headline show full of hip hop instrumentals and socially-aware lyrics. For fans of: Rakim, Lupe Fiasco, Kanye West Wednesday October 24 The Mezz €15

DAVID BYRNE

PEOPLE UNDER THE STAIRS

VIEUX FARKA TOURÉ

Scottish-American singer songwriter, multiinstrumentalist and record producer David Byrne now tours his solo music as well as that of the popular band he fronted, The Talking Heads. For fans of: Roxy Music, Dexys Midnight Runners, David Bowie Wednesday October 24 3 Arena €50

THE BRIAN JONESTOWN MASSACRE

An innovative West Coast hip hop group, People Under The Stairs have an output of several classic records and still boast a strong underground following.For fans of: For fans of: Jurassic 5, The Pharcyde, Souls of Mischief Friday October 26 The Sugar Club €22

Often referred to as ‘the Hendrix of the Sahara’, Vieux’ multi-instrumentalist talent shines through in his guitar playing. For fans of: Ali Farka Touré, Jimi Hendrix, Ry Cooder Friday October 26 The Sugar Club €27

Biig Piig by Omar Oâ&#x20AC;&#x2122; Reilly

JULIAN CASABLANCAS & HER’S BOY PABLO Known for their hypnotic indie pop melodies, Norway’s Boy Pablo makes his Irish debut THE VOIDZ The Voidz, formed by Julian Casablancas of The Strokes, make their Irish debut on the Vicar Street stage. For fans of: The Strokes, Parquet Courts, The Growlers Friday October 26 Vicar Street €37

Her’s play blissed out soft rock met with glowing reception after a number of sell out shows globally and festival slots. For fans of: The Strokes, Mac Demarco, Bjork Saturday October 27 Whelan’s €17.50

bringing his lo-fi indie-tinged music to the capital following a breakthrough last year with his hit ‘Everytime’. For fans of: Gus Dapperton, Mac DeMarco, Cuco Sunday October 28 Button Factory €29

SISTER NANCY

STANLEY CLARKE

ELDER ISLAND

Sister Nancy returns to Dublin as one of the world’s most popular dancehall MCs, this time with her brother Brigadier Jerry and Legal Shot Sound System. For fans of: Sister Carol, Lee ‘Scratch’ Perry, Yellowman Sunday October 28 The Sugar Club €24

Grammy award-winner Stanley Clarke holds the title as the first jazz-fusion bassist to ever headline tours with his double use of both acoustic and electric bass with equal ferocity. For fans of: Herbie Hancock, Parliament Funkadelic, Sly Stone Monday October 29 The Sugar Club €30

This Bristol three piece create ambient soundscapes with synths, cello and more alongside vocalist Katy’s soulful voice. For fans of: The xx, Mount Kimbie, Maribou State Tuesday October 30 The Grand Social €15

YXNG BANE

PAJ

JOHNNY MARR

East London rapper Yxng Bane incorporates dancehall style beats, R&B and UK hip hop, never shying away from genrebending. For fans of: GoldLink, Kojo Funds, slowthai Friday November 2 Green Room at The Academy €17

Paj consists of guitarist and vocalist Paddy Groenland and his band made up of past and present members of soulful Irish musical projects like Hozier, Fehdah and more. For fans of: Loah, Thundercat, Joni Mitchell Friday November 2 Wigwam Free

Ex-Smiths band member and co-songwriter alongside Morrissey, brings a serving of jagged indie rock to the capital. For fans of: The Smiths, The Cure, Joy Division Friday November 2 National Stadium €35

VULPYNES

THE STYLISTICS

PARQUET COURTS

As just a two piece, Vulpynes make plenty of noise with their energetic punk rock and visceral rhythm. For fans of: Wolf Alice, Joan Jett, La Dispute Friday November 2 Whelan’s €12

The Philadelphia group reached extreme success with their soul and R&B hits in the 70s and are still carrying their strong sound for audiences to hear globally. For fans of: Al Green, Aretha Franklin, The Temptations Saturday November 3 Olympia Theatre €44.50

After recently releasing their fifth studio album on Rough Trade, Parquet Courts return to Dublin to tour their ‘Wide Awake!’ album. For fans of: Car Seat Headrest, Ty Segall, The Drums Saturday November 3 The Academy €23

ARRESTED DEVELOPMENT

TALIB KWELI

SIGRID

RAYE

LE BOOM

South London based R&B singer RAYE’s talent and innovation has been noticed by Charli XCX, Olly Alexander and more after the release of her debut EP. For fans of: Dua Lipa, Jorja Smith, Charli XCX Thursday November 8 The Academy €20

This two-piece electro-pop outfit make music inspired by the dancefloor with their own unique indie twist. Support comes from AE Mak and Mix & Fairbanks. For fans of: Le Galaxie, Clean Bandit, Rusangano Family Friday November 9 District 8 €17

American hip hop artist Talib Kweli is A trailblazing group within hip hop, Arrested known for his solo music, activism and his Development have spread a unique mix collaboration with Mos Def in the group of music and consciousness around the Black Star. For fans of: Black Star, Q-Tip, J Dilla world. Monday November 5 For fans of: Fugees, De La Soul, The Green Room at The Academy Pharcyde €22.50 Sunday November 4 The Bowery

After catching Ireland’s attention at Longitude during the summer, Sigrid returns with her emotional and delicate ballads. For fans of: Billie Eilish, Alma, Mahalia Monday November 5 Olympia Theatre €30

Exhibition of the Month GREY AREA EXHIBITION II Grey Area is a collective of multiple artists creating works across several mediums in hope to change the strictly enforced laws surrounding large scale public art works in Ireland. This exhibition will raise money for the homelessness crisis Ireland is experiencing at the moment, with copies of the Grey Area magazine, art and music on the night from Subset, Joe Caslin and many more. Friday October 26 Point Square â&#x201A;Ź30

Words: Dean Van Nguyen / Photography: Dorothy Hong

ry to picture being a conscious rapper in 2018 America, a condemned nation that is constantly finding new ways to mangle the spirit of its most oppressed and tyrannised souls. Picture being Talib Kweli, who for two decades has relentlessly fought injustice through his music, attacking the societal fabric with a pen that cuts like a blade. The Brooklynite has worn the tag ‘conscious rapper’ with honour, putting his righteous message ahead of fame, riches and all the other benefits of rap stardom. And now Kweli’s country crumbles. It’s a hell of a thing.

When Donald Trump found himself passing the finish line of 270 electoral votes back in November 2016, there was instantly an expectation that a tidal wave of scintillating protest music would follow. For American artists, their doomed nation would, it was assumed, offer creative fuel as potent as metallic hydrogen. Many have answered the call, attacking the Trump machine with an arsenal of lyrics, hooks and chord progressions. Their work is valid and virtuous. Yet the question must be addressed: does music still have the power to change the world? “I do believe in that, but that belief has its limitations,” Kweli tells me over the phone from Los Angeles. “At some point there’s a certain amount of artistic privilege that I’ve earned from doing art for a living that disconnects me from the average working class person. So even though my music is known to be representative of poor people, oppressed people, working class people, I’m not in those circles as much as those people are.” Kweli cites the echo chamber he operates within as the reason he failed to gauge the societal factors that facilitated the rise of Trump. As a star rapper, he was in a bubble that obscured his view of the trends that allowed the USA’s current Commanderin-Chief to gain access to the nuclear codes. “I was actively resisting against Trump but I was actively resisting in a way where I thought that he had no shot,” admits Kweli. “I probably would have resisted differently or even more had I known he not only had a shot, but was going to win.”

Move the clock back to a decade ago, when Kweli was one of a galaxy of rap artists to throw their support behind Barack Obama’s election campaign. A sense of hope pulsed through the hip hop nation, yet Kweli remained cautious about a single politician’s ability to heal the world. “I still feel the same as I do about the political system and one man can’t change it,” he wrote in a 2008 open letter. “But this man deserves our support nonetheless.” Kweli proved to be one of Obama’s most trenchant critics within rap. Today, he draws no correlation between the type of men Obama and Trump are, seeing them as diametrically opposite human beings. He remains, though, assertive on one key point, “The system doesn’t change because there’s a black president”. “When Obama was elected a lot of weak journalists would ask myself and other conscience artists, ‘What are you going to talk about now?’, as if racism was over or our entire output was based on this victim narrative. It was telling to me that that’s how people see conscious music: that somehow it’s about some victim narrative or somehow we’ve a black president so everything is solved.” He continues, “I liked Obama as a person but I didn’t agree with a lot of his policies. I’m not a Democrat, I was very critical of him. He invited me to the White House and I accepted his invitation because I like him as a man. I like him as a man way better than I like Trump as a man. But I was still very critical of him, even to his face. Who I am as an artist doesn’t change because whoever is popular gets elected as president.”

In my mind, that’s a fair opinion to hold of Obama at a time when his legacy is being fought over within hip hop. At this point of the interview, I just have to ask Kweli about one of the artists he’s most closely aligned with, Kanye West. Nobody will have missed Ye’s return to public appearances and social media in early 2018, where he’s criticised Obama, voiced support for wicked forces and offered an offensive recontextualisation of history by referring to slavery as a “choice”. The struggle for West’s soul has been played out online. Screenshots of text messages to Kanye from those inside his universe, including Kweli, document the battle. “I think Kanye is isolated in a lot of ways,” says Kweli. “Celebrities of his calibre are. Kanye has achieved a level of celebrity that I can’t speak on. He’s in a stratosphere, he’s in an atmosphere, that I’ve never been in. So I can’t speak eloquently on his condition. But I can say that I think that he’s isolated even from himself. I think he’s making several mistakes. He’s listening to the wrong people. I think he’s pushing for artistic freedom, he’s pushing for personal freedom, but everyone’s freedom comes at the expense of someone else’s. I don’t think that Kanye understands that his push for personal freedom is hurting the very people that he claims to love. And I wish and hope and I’m working towards helping him get to the point where he can understand that better going forward. “I’ve been around Kanye’s inner circle. It’s safe to say that there are people in his inner circle that I feel are problematic. There are also people in his inner circle that completely have his back and are completely honest in their critique of him.”

â&#x20AC;&#x153;I donâ&#x20AC;&#x2122;t think that Kanye understands that his push for personal freedom is hurting the very people that he claims to love.â&#x20AC;?

Kweli, of course, featured on ‘Get Em High’, from West’s ‘The College Dropout’ – an era of Ye’s career that many disillusioned fans find themselves crying out for. If Kanye is interested in recording with him again, Kweli insists he’ll accept the call. He’s currently in the process of promoting ‘Radio Silence’, his eighth solo album which was released last November. Surprisingly, the record doesn’t overtly cover hot-button issues that the emcee has frequently addressed in interviews and through social media over the last couple of years: Trump, Black Lives Matter, etc. Instead, he probes less stress-tested themes. Take ‘Knockturnal’, which drills into masculinity and the corrosive effects of negative male role models or ‘She’s My Hero’, a song about Bresha Meadows, who as a 14-year-old in 2016 shot and killed her allegedly abusive father as he slept. “I’m inspired by the counterculture artists from the 1960s who were doing music that was very timely but timeless at the same time,” says Kweli. Nearly a year on from the release of ‘Radio Silence’, how has he found the response? “It’s a little different in the digital era. People’s attention spans are way shorter. The afterglow of putting out an album doesn’t last as long as it used to. You put out an album and the next day people on Twitter are like, ‘Where’s your next album?’. With that being said, I’m thoroughly enjoying the response to ‘Radio Silence’. I toured it. I just released a new single with Jay Electronica with a video, so people are still discovering it.” Kweli is 42 years old now. He has accepted that he’s a veteran and with this acceptance comes a freedom. He feels no need to keep on top of popular sounds, these days he sleeps above all trends. I throw out the name Migos as a group with a hot sound. Might Kweli once have tried to keep up with the ATL group’s rapid-fire couplets and dab-inspiring anthems? “For so long I’ve seen myself as a person who is on a Trojan horse, trying to sneak messages into the mainstream,” he says thoughtfully. “But the mainstream is 15 to 35. I haven’t been in that demographic for a long time. I’m more of a legacy artist now, I’ve had to accet that. It’s a good feeling once you accept that because people have to come to you rather than you going out and chasing the fans.

“I love Migos and I love artists like that who introduce new sounds and new styles. It challenges me to become a better artist. But yeah, back in the day, if Migos had dropped 10 years ago, I might have wanted to make a record that fits in with what Migos are doing. I no longer have that desire.” If you’ve never heard Talib Kweli’s flow, there’s still a chance that a thought released through his hyperactive Twitter feed has spilled onto your timeline. I smirk when I notice that during the two minutes Kweli’s made to wait on the phone for our interview to start, he’s replying to tweets. As soon as we hang up, he’s back on it again. He believes in the power of social media, likening it to the power television had during the civil rights movement. “The social media tool of the day when Martin Luther King and Malcolm X were running around was television. Television was the new thing – it was Twitter, it was Facebook, it was Instagram. The reason we talk about people like Martin Luther King and Malcolm X is because they mastered the social media of their day. They mastered the television soundbite. You would see Malcolm X or King on every programme, every talk show, talking to people who didn’t like them but they would be on every talk show with an agenda with a plan to push the message forward. In that way, when you have people fighting for social justice using these tools to connect like-minded people, it’s a great thing.” That stands in contrast to the general sentiment around social media right now. That is, its ability to corrupt elections and subvert democracy, and the loss of privacy in an increasingly digital universe. Plus, the internet’s role in the rise of extremist groups and the spread of hate speech. You’ll catch Kweli eviscerating famous serpents like Piers Morgan on issues, but he’s actually a rarity among celebrity Twitter users – he’ll regularly engage with anonymous accounts too. Kweli sees the reality behind false names and avatars. “People now, because they’re anonymous, can say whatever. They can tell lies, they can be racist, they can be hateful. The rise of Neo Nazis and fascism across the globe

has to do with how fascists can recruit online anonymously. Before they had to march in the streets and we were able to show up and shout them down. Now, they can do it in the most insidious way. You see the rise in GamerGame, which was a lot of anonymous hateful games, all the way to Trump – it’s a pattern of people using the anonymous internet.” He continues, “There are decent people who tell us to ignore this because they think that online interactions are somehow not real. They’ll [say], ‘Well, it’s just thoughts!’ and, ‘It’s not real’ and, ‘If the person doesn’t have an actual picture, who are you arguing with?’. That’s true but those ideas are real and the reactions and responses are real. Donald Trump is a success and the altright and right-wing parties across the globe are successful because unlike a lot of well-meaning liberal and left-wing progressive people, they understand that the truth doesn’t matter. They understand that winning matters. The idea of, ‘It doesn’t matter if I’m for justice. It doesn’t matter whether or not I’m telling the truth. It doesn’t matter if there’s any accountability or credibility to what I’m saying, as long as I win. As long as I have this idea or illusion I won’. That’s good enough for them and it carried over into Trump actually winning.” Those forces will be served by voices like Kweli. He calls out all those demanding their rhetoric be heard under the false veneer of ‘free speech’. “They’re not asking for free speech, they’re not demanding free speech. What they’re demanding is something different. They’re demanding freedom to speak without consequence.” That’s been the way of his music since year dot. On ‘The Magic Hour’, from ‘Radio Silence’, Kweli raps, ‘Hip hop will flourish with nourishment and proper care’. But what does nourishment and proper care of the culture look like to him? “It looks like ‘Radio Silence’ to me. I try to make the type of music where I say what I want to hear. I don’t complain about what other artists do. I try to put that on my back to do myself.” Talib Kweli plays The Academy on November 5.

Words: Eric Davidson / Collage: Kurb Junki

ack in late 2016 we went on a reconnaissance mission to find out who Kurb Junki was. We noticed distinct burgers popping up on walls all over the city plus perculiar skate videos appearing online featuring Irish skaters like Darragh Oâ&#x20AC;&#x2122;Connor, Keith Walsh, Phili Halton, Michael McMaster and Nathan Treacy. The visuals also featured work by artists Hugh Cooney and Aoife Dunne. It was the perfect storm of weirdness. Perhaps his artistic background can explain how it all came to be. Kurb Junki started painting graffiti at age 11 and eventually obtained a degree in fine art. He went on to work with Hi8 tape and a variety of different camera equipment, focusing his work on public space, skateboarding culture, his bedrock of graffiti, photography, illustration and design. It wasnâ&#x20AC;&#x2122;t until March 2017 when we crossed paths with the enigmatic artist and sat down for a conversation about the appropriation of skate culture and its links with art. After a busy year or so on his part, we decided another catch up with the mysterious Dubliner was warranted.

You mention a lot has happened since last time we spoke. How has life been? Life is good. I live in the city centre now which makes filming, painting and seeing more exhibitions and gigs so much easier. I have also been working in the set production industry so I have been getting inspired to transfer my new skills into some Kurb Junki related stuff. Dublin never had as strong a skate scene as places like Barcelona or places in the US, what is the community doing right now to stay healthy? Dublin may have a small scene but there are a lot of talented people and we are a pretty close-knit group, everybody knows everybody. Things that are keeping the community healthy… There was a recent event called ‘Can Bonanza’ which was basically a treasure hunt for 300 beers in the street that related to historical Irish skate spots. It was funded by donations on a website and it was fucking hilarious! I’ve got to give props to Bort Noodle for coming up with that one. Another thing I am really excited about is a new magazine I am involved in which is being set up by Phili Halton. It is called ‘Goblin’ and will feature photography, artwork and other visual treats that are being pumped out by the Irish skate scene. I also have to mention Highrollers because the owner Naoise has been a great asset to the Irish scene over the last few years. We chatted to James Early last month about painting the Cork St skate park. How important to you is combining visual arts and skate culture? It’s really important to me, what I do is essentially all about mixing skateboarding with visual arts but that isn’t something that is new to skate culture. Visual art is ingrained into skate culture... The board graphics, clothing, videos, photography and performative element are a huge part of what skateboarding is all about. That was a commissioned piece, but a lot of what you do is rooted in graffiti’s history of not seeking permission to paint. Do you feel that’s an important part of graffiti culture to maintain? It is definitely important; If it isn’t done illegally it isn’t really graffiti. Having said that, I am happy to expand my practice

by using the white cube gallery setting or painting legal murals. I would never label that type of work as graffiti though. Have you had any recent runins with the authorities? I have had several run-ins over the years; I am not the biggest fan of the Gardaí but there are some reasonable ones out there. Recently I was painting a fairly prominent spot in the city centre for a couple of hours, the property looked abandoned and run down. The guy who owned the property happened to be passing by and he called the Gardaí and silently waited. By the time I was finished painting and ready to leave the Gardaí still hadn’t arrived, but then we saw a couple of Gardaí up the road so I told him I would happily talk with them about the situation. I was polite and offered to paint over it myself to avoid wasting everybody’s time in court. In the end, me and the property owner had a fruitful discussion about graffiti. We exchanged numbers and he never got back to me so I am assuming he liked it in the end, so a sincere thank you if you’re reading this, man! What made you want to get involved with Subset’s Grey Area Project? I like working with Subset because they are organised, productive and they are bringing a lot of colour into our city. They hooked me up with materials and spots to paint, so for that I am really grateful. Sometimes it is nice to paint in public without the risk of negative consequences. I’m also excited to say I will be painting a piece for the Grey Area Exhibition II which takes place on October 26 in the Point Square. It is a ticketed event and all the money goes to Inner City Helping Homeless [ICHH]. Why do you feel that particular movement gained so much traction? As I mentioned before they are really organised so they manage to connect the right people and get a lot done in a short space of time. Dublin City Council have been painting over some amazing pieces which gains a lot of media attention because it opens a debate about public space and ownership. Where do you see it going? I think Subset will continue to grow, raise more money for the ICHH and bring some more colour into city so I am more than happy to keep getting involved with them.

You said in our last interview that you “don’t think skateboarding culture could ever be completely diluted”. Are you still confident in that, even though development is doing its utmost to prove the opposite in places like Portobello Harbour? I still stick by what I said. Skateboarders adapt to architecture so when one spot changes it just means the skaters adapt to the new space or skate somewhere else. As for Portobello, it would be a shame if the council don’t consider that the space has a connection with skateboarding in Dublin when beginning the process of designing the new space. In cities like Malmo and Paris various architectural features are installed to make a space skate friendly. You can add a few small features to a public plaza for people to skate without dedicating a space entirely to skateboarding. This makes sense because it encourages people to do something healthy and productive in a public space, but it doesn’t deter others from using the space to chill out or socialise at. Portobello creates this kind of atmosphere so hopefully the council will work with that idea by installing a public toilet and making the space skate friendly. You have a few exhibitions coming up. Can tell me about them? I’m getting involved in more and more shows recently. I studied fine art for a long time so it’s nice to go back to the white cube setting sometimes. I recently showed a version of my new video ‘Tired of Living’ in East Side Gallery, Belfast along with some photographs and collages. I also have a painting in a group show ‘Pairs’ in RARE Art Gallery. After that the Grey Area Exhibition II will be opening on October 26; for this show I am doing a really big painting with spray paint, I haven’t got the final sketch done but I’m sure it will involve the classic Kurb Junki burger. Sometime after that there will be an opening for Goblin Magazine and I will be showing ‘Tired of Living’ at this event in Dublin. When I get involved in a show I think about what kind of work will suit the space, whether that be a street corner or a gallery. I never get tired of making Kurb Junki work because it allows me to work with so many different mediums, people and spaces. I’ve got a good momentum going at the moment so make sure to follow my Instagram and subscribe to the Kurb Junki YouTube channel to see my new videos, pieces and find out what new events I will be showing work at. @kurbjunki

40 Words: Eric Davidson / Photography: Netti Hurley

PUMA BLUE

acob Allen’s first imagining of the name “Puma Blue” was a cat, propping up a bar, drowning his sorrows in liquor. The name harked back to the halcyon days of the blues, a time of hazy music in smoky clubs. The character is described as a burn-out, but Jacob is far more productive than his fictional backstory. When I call him, he’s sitting in a cafe in one of the most fertile plains for hip hop in America; Atlanta, Georgia. He’s visiting his girlfriend in the city where Young Thug, Jeezy, Outkast, Gucci Mane and countless other figures in modern music either call home or cut their teeth in. Atlanta is more than 4,000 miles away from where the vocalist, producer, poet and instrumentalist is from. A place where creativity takes many forms. A city where collaboration often falls onto his lap. It is there in London where many of his musician friends live and work, one such artist being Irish-born rapper and vocalist Biig Piig. Jacob produced her stand-out track ‘Perdida’ which appeared on her debut project ‘Big Fan of the Sesh, Vol 1’. “Jess is one of those people who I don’t really know how we met. We must have bumped into each other at night or been mutual friends with other musicians... It’s so easy for worlds to collide with other artists in London, we just got working by complete chance and a mutual admiration and now we’re fierce friends, that’s an amazing part of the city.” While the England’s cultural (and actual) capital boasts one of the largest populations of artists in Europe, for Jacob, this can often lead to trends and cliques drowning out viable music. “I think sometimes it can feel like there are certain things that aren’t as cool here... There are certain limitations and it’s more about realising that those limitations exist in your head, or from journalists, or whatever. For example, in London at the moment the jazz/hip hop thing is going on. I have friends who are really into folk music and lo-fi folk stuff and I think they feel a bit unheard in London, but they’re not. We all have the same platform, with the internet, and as long as your work is good when people hear it on SoundCloud and YouTube your biggest fans can be in Melbourne or something.

“I think at the beginning of last year I was too concerned about how I’d fit in in London rather than being concerned about what I’d do musically. Now I see myself as just a random person, on the planet. I’m just a human being rather than a ‘South East London artist’. I think once people start picking up on your location you maybe start identifying as that place… It’s a self-fulfilling prophecy just going around in circles, and I think it’s important not to do that too much.” After sporadically releasing a series of singles, in 2017 he released a debut EP entitled ‘Swum Baby’, followed up by another string of stand-alone tracks. His music brings you back to the aforementioned jazz and blues clubs. ‘Untitled 2’, for example, hits you with the smell of tobacco and whiskey that you’d imagine these dives to have, leaving you nostalgic for a scene you were never a part of. While the artists gave so much of themselves in their music, performing was an escape for them, and decades later, in Jacob’s reimagined version of these sounds, it serves him in the same way. “I very much have always been someone who wears their heart on their sleeve. I was raised by my parents, and especially my dad, to not be afraid of being sensitive and how that’s very much a part of being masculine. That’s kind of my core anyways, I’m not afraid… Sometimes when people reveal so much it’s very brave or you can tell it took a lot of courage. Sometimes when people say that to me it’s like I feel guilty because I don’t have to be very brave to reveal a lot about myself - it’s not like something I’ve had to overcome. I’m just a naturally open and sensitive person.” We both laugh when I point out the irony of a prying journalist asking if revealing intensely personal details of his life is difficult. But he continues. “There are general things that I don’t mind sharing, but then now and again there’s a song that’s maybe a bit more private or difficult to articulate in the way that’s most representative of the feeling. If you have a song about feeling jealous, it’s problematic; on one hand you want to be open and honest as a songwriter and write that you were jealous, but you don’t want to promote being jealous or having those feelings as something healthy. You don’t want to promote or normalise envious behavior in a relationship.

“WHAT WE’RE DOING AS MUSICIANS IS WAY LARGER THAN THE CITY WE’RE MAKING IT IN.”

“That’s something I have to wrestle with. I guess in the same way as if you play an absolute narcissistic or violent person in a film as an actor, maybe you’d feel you’d struggle with it because you want to do a good job of it as an actor and portray it honestly - but you’re also like, ‘This is a horrible character’. Sometimes I like to leave a bit more to interpretation and imagination and other times it’s about being vulnerable and honest and not being apologetic about it, because I’ve found in the past people can relate to you. If you’re honest sometimes you can feel alone in that thing you’re confessing. Then you have 50 to 100 people say they went through the same thing or it really helped them get through something and you think, ‘I’m glad I shared that actually’.” 2018 has been a fruitful time for Jacob’s career under the Puma Blue moniker. At the beginning of the year he played all manner of venues and cities in the UK, before setting out on a big festival run all over Europe. Scrolling through his previous tour dates on Facebook you quickly begin to lose count of the amount of times he’s stepped out on stage. I ask him how he’s able to harness that emotional vulnerability and repeat it in front of an audience without it becoming sterile. “It’s difficult really when you’re going through something really heavy and you have to play live. I remember last year I was going through some really heavy shit and it was kind of draining to sing songs every night and feel them the way I felt at the time. I didn’t want to go up there and be numb and not enjoy it, so I really gave my all to it, but after every gig I was like, ‘I just need to go somewhere and have a little cry’, or ‘I really need a hug or something’. It’s painful.” But that’s super indicative Jacob’s work. The reason the depth shines through both live and on his releases is because of the rawness of the Puma Blue project. “I love jams and funky music that makes you bop for no reason, but the music I most love is the music that has a lot of depth and I guess that’s always the artist I strive to be: someone who has a lot to give over. Something that people can appreciate in a new way each time they listen, something personal.” The Londoner’s lyricism and delivery has all of the tropes of a spoken word artist, and that’s no coincidence. The line

“Rhetoric verses I could spill” on ‘Soft Porn’ might give away the fact that Jacob has intentions to release a book of his poems. I ask him which has more catharsis, poetry or songwriting. “That’s a really hard question. When I have to go through things that are really hard it’ll be poems, because they’re just more personal. It’s like a level of therapy that transcends songwriting because I guess with my songs I’m still limited by the fact it’s music and that I want to enjoy the structure, even if it’s a really weird or loose structure… I like songs to feel like songs and poems to feel like poems. With poetry, there’s not a limitation that I’ve put there myself... It’s just words. So, I could just write something really to the point and short or I could write a twopage stream of consciousness. However, it comes out I just find something really healing about it and it’s evident of what I’ve gone through and it’s good to look back on. “But I guess with songs you get this amazing feeling of being able to play them and it’s cathartic in a whole different way because you’re making something beautiful out of something often horrible. Then you can just play it live and get to experience how amazing music feels live and the meaning of songs change for you over time and that’s a whole level of catharsis. I don’t know man, it’s a really hard question…” “With my poems I can look back and they feel really representative of a specific moment or time or thing I’m wrestling with. Whereas songs start out like that, obviously, but maybe in a year, your whole life has changed and you’re still singing a song and meaning it but you’re singing it about someone else, or maybe it’s originally a song about unrequited love then it changes to feelings toward your family, or friends, or something else entirely. The song has stayed the same, but you project onto it differently. “I think that’s what’s amazing about being an audience member: everyone interprets things differently and it’s the same person or the same song, but you interpret it differently on different days. It’s an amazing thing about songs.” Puma Blue plays The Workman’s Club on October 20.

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Words: Carla Jenkins / Photography: Eoghan Fay

WHY-AXIS

fter an incredibly successful year of headline shows, big brand collaborations and an EP release, we caught up with Dublin musician and producer Why-Axis. There are no signs of slowing down before the year’s end for Why-Axis. With his last EP ‘Bad Reception’ he showcased a unique blend of experimental, genre mixing, fused with solid production and lyrics about girls, flying and cigarettes. Why-Axis seems to be on a trajectory of astronomical proportions. The artist has shared the studio and the stage with the likes of Nonzus Magnus, HAII and Jessy Rose, but on October 19 he’ll take to the The Sound House for a solo headline show. What does ‘Why-Axis’ mean and why did you choose that moniker? Why-Axis is me! Everything about it represents me. I first came up with the name when I was still in school, I think it was about third year. I was going through the regular teenage mood swings and questioning of life, as you do, and while this was going on I also happened to be studying about the X axis and Y axis. I hated it - I just couldn’t understand it much. The only part I did understand was that an axis is basically a point where I’m looking at something from a different perspective. After realising that I began to think about it more, probably while daydreaming in class - I did that a lot. In the end I came up with the philosophy to always look at any situation from a ‘whyaxis’; if there’s a situation that affects me in a certain way I need to remember to look at it from a different perspective and then ask, ‘Why is it like that?’. I use this to keep my head clear most of the time. What vibe do you aim to achieve at your gigs? God, the vibe that I go for is just to have smiling people, that’s honestly my goal for the end of the night. If everybody has a great time then I know I’m doing something right. I have a lot of chilled out songs, but I have a lot of hyped music also that I love performing. We recently played the beautiful KnockanStockan and the crowd was sick, but damn I have to say we went so beyond hyped that we were literally pouring sweat by the end of it, so if you’re ready for that, then come see us live! What are your plans after The Sound House show? Will you be releasing more music this year?

My plan is definitely to prepare and go bigger for the next one. I’ve spoken about doing a tour which I really want to get going with, so I think that’s another step I’ll be taking very soon. I have a ridiculous amount of music waiting to be released, so I’d say you can expect a lot more coming from me

before 2019. Most of my summer was spent playing gigs and shooting videos, so I warn you, be prepared! You’ve described your music as ‘weird’. Do you see that as positive attribute, as something that attracts people? My music definitely is weird, that being bad or good is up to the listener. Everybody is weird. We all have our own little things we know we do that most people don’t; most people like to hide that though, and try to blend in with the rest because it’s the normal thing to do and they don’t want to be judged. I don’t care though. If you can’t be happy with yourself how will you be happy with anybody else? Most of my listeners are all pretty damn open and accept most people for who they are. I feel that’s another reason they listen to me, thankfully. Are you excited to release into a musical climate where hip hop is encompassing a range of different genres? Yes, I gotta say music is in a beautiful place right now. I genuinely feel like there aren’t many limitations to it. We will always have a ‘popping sound’ which changes over time but that’s natural. It’s this unique creativity though that people are finding between it that’s the most unique in my opinion; producers and musicians are always finding new ways to manipulate sound and create something completely new, which I love. It’s the more abstract and unusual music that these certain artists make that inspires me, rather than what I would hear coming from the more mainstream, ‘in-fashion’ music. As a model, you’ve recently collaborated with Dunnes Stores and Puma. Is there a relationship between your style and your music? I express myself in as many ways as possible, be it fashion, music or art so when I collaborated with Puma and Dunnes Stores I definitely felt a relationship between modelling for them and making music for myself. I’m lucky to be a musician as well as a model, because it was the music that both Dunnes Stores and Puma wanted to have for their campaigns which made me feel much more a part of both projects. It was insane to have my music played in their commercials because that is something I’ve dreamt of as a child... It’s just something that really has given me a lot more drive to go harder, because you never know what opportunities are around the corner.

What are your major creative influences? Creatively, I’m constantly inspired by new surroundings or exploring. In terms of music I listen to a lot of abstract sounds and quite a lot of jazz. Old or modern, I love it. Art is something that definitely inspires me because I love drawing, I think I’ve loved drawing before I knew what music actually was so when I see any kind of art I end up falling in love with it most of the time. Fashion is something I’ve loved for a very long time, but only within the last five years have I really felt free to express myself through that medium. Do you have any specific creative processes for writing and producing? I try to keep my creative process as open as possible and try to do different things but I always start with the chords then the melody. While this is happening I start the sound design process and mix up something unusual. You can be sure to hear me humming melodies in my head for a potential chorus while all this is going on too. After I’ve added some basic drums I quickly create the layout of the track so I can see the structure. Once I have that I come up with a concept in my head for the song, this is usually pretty simple to find based on the emotions of the chords. I’ll begin to write and record at the same time until I have everything layered and down. I rarely have prewritten verses. When I’m making a song I usually write everything in the moment while the instrumental is still fresh. After I have what I like to call a raw track I begin the really fun work and my favorite part of the process - the editing. This is what I feel really makes me who I am musically... I can do so much and the possibilities are literally endless. If you are familiar with my music you’ll begin to hear all of the tiny tweaks and changes throughout my songs that can easily go unnoticed if you’ve just heard the tracks once. What’s been the highlight of your year to date? This year I’ve had so many different highlights, it’s difficult to pinpoint. Doing my headline gig in May and selling it out was a huge achievement for me. I really couldn’t of done it without my friends and everyone who helped with it. Sometimes I don’t even think about achievements because I become so focused on the next thing. Honestly though, playing Knockanstockan this year was a true highlight as that was the first ever festival I had attended in my life so it was great to have them reach out to me now and ask me to play. I’ve made so many different memories and I’ve met so many cool people this year which is really what it’s all about. Why Axis plays a headline show at The Sound House on October 12.

AFTER A FASHION

Words: Polly Dennison / Photography: Killian Broderick

s the Irish economy recovers, and with it consumer confidence, independent retailers are feeling the effects. But while things may be a little more flush than before, rents are rising, and there are few protections in place for commercial tenants. Three veterans of Dublin’s independent fashion scene give us their take on the situation and talk us through the challenges they’ve faced in opening and staying in business.

Wendy Crawford Scout

I opened ten years ago, at the start of the recession. It was a baptism of fire, but the best time to open a business – it was easier to operate back then. Everyone was so aware that the Irish economy and Irish businesses needed support. Our customers used to tell us they were so proud to buy Irish, but now they don’t. As things recover financially, people don’t realise that it’s more important than ever to support local independent businesses. Rents and rates have gone up, everything gets more expensive. During the recession, there were so many pop-up shops and independent things happening. The big cats were there, they owned the properties, but they let the smaller businesses use the space. Big chains weren’t taking the risk of opening in Dublin, but now they are. And even though there’s plenty of room in the market for more independent boutiques, there isn’t the physical space. There are so few empty retail units available for new businesses to rent or buy. They’re land-banked, becoming hotels, or going to chains. I think it’s going to get tougher for independents to keep adapting and changing, and paying the rent. Independent businesses have to support each other, and we do in Dublin, we all send customers to each other’s shops, and big them up because we’re all in the same boat. We’re all finding it hard, but business is always hard. My dad’s been in business 50 years and still says it’s hard. It never gets easy, but it’s about new challenges and learning how to run with them. The Irish fashion scene is amazing. There are so many beautiful labels and people doing cool things. Consumers need to pick where they spend their pennies, because it all counts, whether it’s a tenner in a few independent shops, or it all goes to one place. Lead by example, think about where you’re putting your money, and choose the life you want to live by where you spend your money. scoutdublin.com

Andy Collins Indigo & Cloth

The Irish menswear scene is getting better. Men here are getting more comfortable in what they buy, more educated in what’s right and not – they’re developing their own style. From where it’s come, it’s a big improvement, but there’s still a slight lack of freedom in fashion for men, a slight discomfort with freedom of expression. I think people are afraid to step too far outside the boundaries. I’d love more men’s shops to open. We’ve been here ten years and there still aren’t many in Dublin, it’s a pity. The more there are, the more popular we all become. There is a drive to support independent shops, but it’s worldwide now. Customers can support something they believe in which is online but based in London, or some other city. It’s not about loyalty directly to one store, but to the idea of independents in general. So if you want to build something where people really want to support you, it has to be more , it has to be about the store itself and the experience. Our customers know what they like, they know the brands. Sales keep us afloat obviously, but Irish guys tell me they don’t want to be pushed or sold to, so we don’t do hard sells. There aren’t any real protections for us though, we don’t own our building. But what can you do? It’s the landlord’s decision if someone comes in with a better price, or wants to turn it into a hotel or something. There are so many people moving back to Dublin now from places like London and Melbourne, and it’s important for them to see they can move back and have the same cosmopolitan experience here that they had there, and not think that we’re just backward and old fashioned in this city. Some retail giants are now realising the niche of having an independent-style set up too, and they want a piece of it. With the logistics and backing of a giant company. They can easily do something like free delivery and returns, for example. That’s tough on us, but we have to meet people’s expectations. The one unique quality you’ll never replace though is that personable aspect – we know our customers’ names. They come in, have a coffee, a chat and a look through. You can’t get that online or in a chain. indigoandcloth.com

Kate Nolan Atrium

For young designers trying to stay and work in Ireland, it’s tough. Even to just be able to afford to live here, with the way rents have gone. And with commercial spaces, rents can jump overnight. There are very few opportunities to buy your unit as a retailer, or to secure a long-term price for rent which would provide stability. If more small businesses could invest in their space and their employees, they’d be able to plan more. But at the moment, if a landlord wants to hike the rent up by 30 or 40 per cent suddenly, there’s nothing to stop them. And even Dublin City Council have put rates up so much in some parts, to a point of almost exceeding the cost of rent. They’re the city, they should have the back of independent businesses. There’s no fashion council in Ireland to support the industry, and that doesn’t have to just mean money. Many of the fashion graduates come out as artists, not as designers and businesspeople. They’re not prepared for the ruthlessness of retail; it’s brutal, it’s relentless. A successful designer for me is someone who can churn out ten, 15, 20 variations of one design quite quickly, where there’s less personal connection to every design. But many graduates will come out and create collections that take a long time, based on detailed stories which is all fine, it’s beautiful to see, but it’s not viable commercially. They have to be able to do that consistently for collection after collection, to deliver the show-stoppers, and deal with the logistics of production and getting your designs out there into the marketplace. When my business partner, Chupi Sweetman, and I started Atrium two years ago we knew we wanted to create an atmosphere in the shop, and to tell the stories behind the clothes. That’s how independents have really changed the landscape in retail – the personal, calm, easy, nice experience as opposed to the frantic high street. But the message to support Irish has been a bit lost in some ways. International customers are always looking for Irish, and feel a bit cheated if they can’t find it. And with Brexit on the horizon, we’re keeping an eye on how it might affect things here. When times are tough, luxury fashion isn’t at the top of the list for spending. atriumdublin.com

Dublin Get Up: a Dublin fashion trail with Disaronno takes place on November 8. See #DublinGetUp for more details.

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52 Words: Craig Connolly / Photography: George Voronov

BLUE NIALL

first met Niall Morahan about nine years ago in The Bernard Shaw. He cut a charming and friendly figure and moved with a posse of effortlessly cool friends. At the time we were both throwing parties in Dublin City, albeit very different ones. Niall was running ‘Electric Relaxation’ with Anna Cosgrave, a night aimed at entertaining the slightly more introverted Trinity College students with a decidedly eclectic music policy and some impromptu performances from the many aloof upstarts that college seems to spit out. Meanwhile, I on the other hand was throwing a midweek night called Gaff Party where the music policy was strictly electro bangers and the clientele was pretty much any mangler that would pay €8 in to see three terrible DJs get too drunk in a DJ box. After 2009 I rarely saw Niall again, but still held fond memories. Fast-forward to 2017 and by some twist of fate he got himself onto the bill of District’s London launch party in Hackney’s Moth Club. We’d both come a long way since then, but there were striking similarities in what happened that night compared to our previous lives in the late 00s. Niall came equipped with a crew of Emojimasked dancers conveniently called ‘The Emoji’s’ and performed his first ever show in the most non-traditional hip hop sense you can imagine. Meanwhile I cut the same forlorn figure as I did in 2009, standing on the door wondering if another 25 people will come in and buy a magazine so we can break even on the trip. Since that night we’ve kept in constant contact and after months of planning (and potentially waiting for the latest emoji update on ios 12) he was finally ready to give the first insight into Blue Niall. *Eyeballs emoji*

Is Blue Niall a character? Is there a persona that comes alive with Blue Niall that is alien to Niall Morahan? I think the Blue Niall in the ‘Blue Summer’ EP is for sure a character. He’s lonely, he’s confused and he’s vibey as fuck. With this project I wanted to look at heartbreak in the age of emojis, isolation sound tracked by Spotify playlists, and if there’s a possibility of finding the human in all of this. I ended up creating this guy who’s a kind of sad 2018 sesh cowboy. George Voronov, who took the photos for this piece, said it sounds like the feeling of having had a breakup and then hitting the sesh hard, telling everyone you’re fine while downing Buckfast (or Blue WKD). Another friend described it as comedown music. It was important to me to give a sense of juxtaposition, making it emotional and sad but also bizarrely upbeat. In future releases I might get a lot more raw and real with Blue Niall, but for now I invite people to enjoy partying with this slightly deranged character who’s having a Blue Summer. What would Blue Niall normally be getting up to if he wasn’t on stage with his laptop, a mic and box of Blue WKD? Oh, he’s on the sesh, getting his heart broken again. Do you feel there’s challenges to overcome being a middleclass Irish rapper? As far as art goes, I feel everyone has the same challenge – to accept yourself for who you are, give of yourself generously and make art that’s authentic and individual to you. If you can do that, people will fuck with you. Everyone has shit about themselves that they’re self-conscious about, ‘I can’t do this because I’m too old, young, fat, thin, male, female, rich, poor, middle-class’. You have to push past that and realise that those things you don’t like about yourself are the things that give you a unique viewpoint and story to share with people. I suppose what’s interesting about it in a rap context is because historically rap wasn’t made by people like me, there’s nowhere for me to really hide. If I come along and start rapping like I’m 50 Cent, it’s going to ring alarm bells and people aren’t going to rate it. Whereas if I was from a different background maybe I could do that and it’s passable, but it’s not going to be great art. I think coming from a non-stereotypical rap background is good because it forces me to straight away consider who I really am, and to strive to make something that’s true to that. The goal is to walk into a room and

start performing and for people to be like, ‘Oh, I get it. This works.’ It also forces me to work extra hard to justify my place in the culture. I never want to be a vampire that just takes, and I never want to be disrespectful of where all this amazing music came from. Ironically, the best way to do that is not to copy what exists but go your own path and create your own sound. Should Irish people or middle-class people rap? I think it’s down to the individual to earn that right, by producing quality work. Ultimately that involves embracing who you are. I don’t think I’m there yet! But I’m getting there. Has anyone ever tried to dissuade you from this project because you’re not what people would classify as the stereotypical rapper? Not recently, but I do remember as a teenager people would slag me a lot for my music taste. I remember wearing a pair of G-Unit sneakers to school one time and getting so much abuse that I threw them away. Unfortunately, I let that stuff get inside my head, and I think that’s why I didn’t pick up the mic until I was about 22. I just grabbed it one night at a rave in London between two rapper’s sets and started belting out some rhymes. The drummer from the previous act started kicking a beat, and the crowd starting really vibing. That was one of the best feelings I’d ever had. When I finished I just dropped the mic and ran straight out of the venue. What frustrates you most about being a fledgling artist in Ireland? Nothing! Ireland is popping right now, and everyone’s been super supportive. Do you feel an obligation to tackle issues like toxic masculinity in your music? I feel an obligation to express my experiences and what I see with the greatest honesty I can. I think if you approach things any other way, you’re just ticking a box and people will feel that it’s disingenuous. At the same time, fuck all the bullshit expectations we put on young men in this country, fuck the suicide rate and fuck the messed up attitude we still have towards sex and women. Do you think Irish hip hop is in the best place it’s ever been? What sort of contribution do you want to make to its landscape? Yes, 100 per cent. It’s so heartening to see shows like the recent District

Neighbourhood Watch show with queues out the door. Coming from a place of being laughed at for liking hip hop to seeing it become such a normal thing for young people in Ireland today is incredible. We are a nation of poets, we were destined to fully embrace hip hop eventually – and it’s only just starting. In terms of the role I want to play, do you want the Irish answer or the rapper answer? Irish answer: I just want to tell my stories to the best of my ability and give what I can to the scene. A dream would be to make a landmark ‘Growing Up in (My) Dublin’ album akin to Kendrick’s ‘GKMC’, and to pull in a lot of other Dublin artists to make it happen. Rapper answer: Lowkey, in ten to 15 years, I have a vision of Dublin playing a role in global hip hop similar to what Atlanta does now and I want to be one of the artists that helps that happen. Global domination baby. Tell us about the inspiration for your current project and how long have you had the idea for it? The inspiration was a compounded series of breakups mixed in with a quarter life crisis and a mental health breakdown, all sound tracked by trap, dancehall and afrobeat. I never really had the idea as such, I just lived that, and it came through in the music so heavily. It got to a point where I had made like 400 tracks over two to three years, and I was like, ‘Ok I need to take four of these and draw them together around a concept’. The name ‘Blue Summer’ only came up a few months ago but it just seemed to fit. Which Irish artists, hip hop or otherwise, would you like to collaborate with? All of them [laughs]. I am a huge fan of so many Irish artists right now. I’ve already been in the studio with Crybaby, Cian Tisdall from Unit1 and, of course, my girl Jill Staxx. I really want to work with Bobby Basil one day, I’m also a big fan of Nonzus Magnus. Every time I hear one of Mathman’s beats I want to leap on and spray some grime bars. I feel like to make my ‘Good Kid m.A.A.d City’ Dublin album I will need Kojaque on there, and my favourite Irish rapper of all time, Paul Alwright. How long has Blue WKD been a part of your life and why is Blue WKD still part of your life? I actually dated Blue Wkd briefly back in 2006, we’re still on good terms. Blue Niall launches ‘Blue Summer’ The Bernard Shaw on November 8 with Unit1, Jill Staxx and District Magazine DJs. @blue_niall_

Words: Hannah Oâ&#x20AC;&#x2122;Connell

GWENNO

‘‘T

he UK was a pretty diverse place for thousands of years,” Gwenno reminds me. She’s phoning from her home in Cardiff and we’ve just started what will be an alluring half hour discussion about ancient languages, lost cities and longing for equality in the current political climate. ‘Le Kov’, Gwenno’s latest album, is written entirely in Cornish – a language that fewer than 600 people speak. It’s an otherworldly record made for dreamers and escapists It makes for the perfect background music to this article, if you’re looking for something to listen to. Gwenno was born in the Welsh capital and is fluent in Cornish, Welsh and English. Her father, a Cornish poet and linguist, passed down his native tongue while her mother, a Welsh activist and singer, gifted her daughter hers. Gwenno’s first record, 2014’s ‘Y Dydd Olaf’, is written almost entirely in Welsh apart from the last track ‘Amser’, a Cornish poem authored by her father and a foreshadowing of what to expect of her sophomore release. “I feel really, really lucky that I’ve got another tool in my toolbox,” Gwenno tells me about her ability to speak two of the six ancient Celtic languages. “I love records that I can’t understand to be honest. I love language, so I can’t say the lyrics aren’t important to me because they are, but there’s an escapism to listening to something you don’t understand. There’s an abstraction to it.” On ‘Le Kov’, Gwenno not only uses the words of Cornwall, but draws inspiration from its landscape, its people, its history and myths. Working with long-term collaborator Rhys Edwards, she creates a mystical soundscape on the record which quickly transports its listeners to her sunken metropolis; her sanctuary city. “Sonically, the sound palette is different when compared to Welsh because Cornish is a darker sounding language and I’m convinced it’s because of the landscape.” Think rocky beaches, jagged cliff faces and green fields, not dissimilar to our own. “I’m really interested in how language informs the landscape,” she continues. “And how landscape informs the language. “I’m interested in creating a sonic world which is definitely something that Rhys, who produced the record and worked on the album with me, does. He creates other worlds. I think there’s comfort in it. Even though I’m indirectly directly political in the lyrics, it’s the contrast between those two elements that I’m quite interested in.”

Unless you’re one of the few remaining Cornish speakers, you’re going to have to take Gwenno for her word when she describes the themes on the album. ‘Le Kov’ translates to ‘a place of memory’ and is as much about ancient recollections as it is about those of her upbringing. “It was my exploration of childhood in a way. I just thought there was something quite interesting about the fact that not many people know about Cornish. Languages each have their own history, I thought it was a good idea to explore it in this time because lots of things are going on in terms of cultures becoming more homogenised and I think that there’s always a story to be told in every language. Those stories get forgotten when a language dies.” Another theme evident throughout the record is identity, a topic especially relevant in recent months. Track three, ‘Herdhya’, directly references the post-Brexit vote isolation that many experienced. “You know, that’s why I created ‘Le Kov’ because I’d rather live in a sunken city under the sea then here, right now… What’s frustrating is the political system is so disconnected from how the people feel. I think as a creative person you feel that it’s so important to create and document because you feel quite powerless apart from the conversations you can have through your art or your music. There is a value in the heightened awareness that you feel when you engage with a piece of art that inspires you.” We talk about ideal worlds, and specifically what Gwenno’s looks like. How does life work inside this sunken metropolis? “It’s about equality for me,” starts. “That’s the biggest heartbreak in the world - even though we are all equal, we’re not. We’re not given that same opportunity. And the tragedy really is that it doesn’t have to be like that. I think people make better decisions when they get treated with respect. “It’s human nature to create chaos and get things wrong but I think because of the way organised religion has affected us, it’s made us think that we’re above nature, but nature has organised itself so much better than us… With bees or with ants, they’re pretty well sorted, they’ve got their patterns and we still haven’t worked it out.” Gwenno relates to Britain’s minority groups. Although she speaks English, her first language is almost extinct. There are at least 300 languages spoken in London, and about 100 in Cardiff I learn, and she empathises with those who solely speak a non-majority language on the island, understanding how isolating it must feel.

“Language creates community and it creates links. It takes four and a half hours to get from North to South Wales, a journey that should take two, because our transport system is horrific, so the fact that we have a common language, I think it links us. We’re certainly not linked geographically because we can’t reach each other.” Before ‘Le Kov’, Cornish was a language Gwenno spoke at home but had never explored in the same way her debut album had allowed her to explore Welsh. She relished the freedom working with an ancient language gave her, finding it much easier to stop overthinking and just let go. “With minoritised languages you do perhaps not feel as confident in using them because you worry that they’re fragile or you don’t have the right to use them in case they break. Owning it and taking it on, I found that really empowering. “Artistically, it allows you to switch off and really focus on catering to yourself when you’re writing, not being subconscious in any way because you’re sort of locked in with it. You have to imagine someone understanding you, and maybe they won’t, so that allows you to really focus on the music. It sounds stupid, when you’re writing songs obviously lyrics come into it as well, but I love that feeling. When I perform the songs, I know the majority of people are just listening to the sounds. It confirms the connection of what music does which is the most important thing – how international a language that is. “I’m part of three different cultures and you’d think, ‘Oh Cornish, Welsh, English, they’re all from the same place’, but it’s like you’re stood in a room looking at the same object from different angles. It gives you different perspectives, especially when you have languages that co-exist in the same place and have parallel histories. It’s quite grounding.” October will see Gwenno back on Irish shores following her performance on the Other Voices stage at this year’s Electric Picnic. She’ll play the bank holiday weekend’s now older and wiser Metropolis Festival, returning to the RDS for year four with a new over 21’s age policy. The gig will mark the last night of her European tour, kicking off in Berlin in late September, hitting Brussels, Amsterdam, Paris, Milan, Stockholm, and Copenhagen before a number of UK cities and finally Dublin. “It’s going to be noisy; a massive wall of sound with songs about cheese and land and sea and losing language. It will be a bit serious, a bit ridiculous. I’m just really excited to play again.” Gwenno plays Metropolis Festival October 27.

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42 Lower Ormond Quay, Dublin 1 Mon-Wed 9am-10pm Thu-Fri 9am-10:30pm Sat 9am-4pm & 5pm-10:30pm Sun 11am-10pm

House and Techno Guide October 2018

THE MIDNIGHT DISCO

LANE 8

HOTHOUSE

The Midnight Disco will be celebrating two years in Dublin with a very special show of international acts including Bullion of The Trilogy Tapes and Donna Leake of NTS. For fans of: Nabihah Iqbal, Onra, Flying Lotus Thursday October 4 Wigwam €5

Lane 8 aka Daniel Goldstein tours his ‘Little By Little’ album alongside his ‘This Never Happened’ night, focusing on the music and people and leaving phones and cameras alone. For fans of: Dusky, POLICA, Nils Frahm Thursday October 4 39/40 €20

H&G Creations are back with their monthly soundscape of house, disco and 90s music with acts like PrYmary Colours, Jus Damien, Reveller and more. For fans of: Detroit Swindle, Henrik Schwarz, Jayda G Friday October 5 The Bernard Shaw Free

NITETALES

HAAI & BAMBOUNOU

RECONDITE

Deep house artist Nitetales invites EVE Collective to play at his Plus One event series, playing a solo set and then going B2B with Nitetales to close the night. For fans of: Mix & Fairbanks, Nina Kraviz, Tale Of Us Friday October 5 Opium €5

Recent Phonox resident and Coconut Beats founder HAAi teams up with Bambounou, a key figure of the Parisian house scene, for a double heavyweight headline show. For fans of: Shanti Celeste, Blawan, Mall Grab Saturday October 6 Button Factory €11

Live techno artist Recondite brings his distinctive sound to District 8 with Vlad and the Deciduous collective on support. For fans of: Rødhåd, Marcel Dettmann, Ben Klock Saturday October 6 District 8 €20

BODHI

MAYA JANE COLES

JASPER JAMES

The Bodhi name began to garner attention with edits of names like Sampha, The xx and more, but now he tours his own 90s-inspired house releases. For fans of: Alan Fitzpatrick, Shadow Child, Harrison BDP Wednesday October 10 Wigwam €13.50

Dublin favourite Maya Jane Coles brings her ‘he.she.they’ party to Opium. On support is Wax Wings and EVE. For fans of: Hot Since 82, Maceo Plex, Nocturnal Sunshine Friday October 12 Opium €20

The Glaswegian house DJ holds the title of the youngest DJ ever to play the infamous Sub Club in his hometown. He’s experienced a massive rise in his career since then. For fans of: Theo Kottis, Eats Everything, Optimo Friday October 12 Button Factory €14

JEFF MILLS

KEVIN ROWLAND

BRAWTHER & CHARONNE

Detroit techno pioneer, and founder of Underground Resistance Jeff Mills, plays a three-hour set at District 8. For fans of: Robert Hood, Octave One, Derrick May Friday October 12 District 8 €27

Frontman and artistic director of soul inspired pop group Dexys Midnight Runners, Kevin Rowland brings his DJ show to Dublin with support from local collective Soul Fusion. For fans of: James Lavelle, Eddie Pillar, Martin Freeman Friday October 12 The Grand Social €12

H&G Brawther’s house music aims to take you to ‘transient’ states while Charonne provides groovy Parisian house. For fans of: Bellaire, Bambounou, HAAi Saturday October 13 Wigwam €15

FLASHMOB

STEPHANIE SYKES

The Italian DJ and producer, signed to Defected Records, boasts a label, a radio show and more ever since deciding to embark on a solo career. For fans of: Sonny Fodera, Hot Since 82, Patrick Topping Saturday October 13 District 8 €20

German techno artist Stephanie Sykes has a reputation for relentless techno. Witch Trials and Barry Greaves will support on the night. For fans of: 999999999, Stranger, Paula Temple Saturday October 13 39/40 €11

ELLIOT ADAMSON B2B BIG MIZ

PAUL WOOLFORD

MENDEL

MIKE SERVITO

UK electronic music legend Paul Woolford returns to Dublin on the back of his summer hit ‘Hang Up Your Hang Ups’. Nitetales, Quinton Campbell and Sarah Mooney support. For fans of: Special Request, Gui Boratto, KiNK Friday October 19 Opium €14

Discotekken are bringing the Netherlands’ Mendel over for a night of open-minded and upbeat music. Support from Papa Lou, Pear and Dan DNR. Prepare for a UK garage special. For fans of: Floating Points, Ross From Friends, Hunee Friday October 19 Tengu €10.80

US house DJ Mike Servito returns to the Pygmalion vaults with regulars Sage and Aaron Nolan going B2B on support. For fans of: The Black Madonna, Patrick Russell, FILM Saturday October 20 Pygmalion €10

DJ SEINFELD

IMPACT VOL.4

HOT SINCE 82

Fresh off a DJ Kicks release, DJ Seinfeld brings his show to Button Factory after performing at Forbidden Fruit during the summer. For fans of: Ross From Friends, DJ Boring, Baltra Saturday October 20 Button Factory €15

Known for specialising in hard-hitting performances and covering a wide genre of music with their nights, Impact will be focusing centrally on house and techno for their fourth edition. For fans of: Peggy Gou, Jeff Mills, Jasper James Saturday October 20 39/40 €5

British house producer Daley Padley aka Hot Since 82 returns to District 8 fresh off a season of well-received parties in Ibiza and elsewhere. For fans of: Green Velvet, Patrick Topping, Jamie Jones Friday October 26 District 8 €20

GREG WILSON

TALL TALES HOUSE OF KITSUNÉ

Pygmalion throw a disco-themed Halloween party with Greg Wilson, DJ Deece and more. For fans of: Crazy P, Todd Terje, Long Island Sound Sunday October 28 Pygmalion €17

Two of the most prominent names on the UK house scene come to Dublin for a three hour B2B set after a reschedulation. Human Error DJs on support. For fans of: Mall Grab, Salary Boy, Eclair Fifi Saturday October 13 Button Factory €13

H&G creations give you the ultimate opportunity for escapism this Halloween with Kelly Anne Byrne, Colin Devine and more. For fans of: Kornel Kovacs, Todd Terje, Mix & Fairbanks Sunday October 28 Loughcrew Gardens €57

CIRCLES Circles return for their winter edition with huge names like Detroit’s Robert Hood and Octave One, Ireland’s Cailín and more on the bill. For fans of: Jeff Mills, Moodymann, ELLLL Sunday October 28 District 8 €22

THE CHEMICAL BROTHERS TOMMY HOLOHAN

PATRICK TOPPING

The electronic music icons return to Ireland with an A/V show. Stephan Bodzin and more on support. For fans of: Underworld, The Prodigy, Fatboy Slim Monday October 29 3 Arena €66

One of the most in-demand names in dance music, Patrick Topping returns to District 8. For fans of: Hannah Wants, Denis Sulta, Seth Troxler Friday November 2 District 8 €28

25 YEARS OF V RECORDINGS Spectrum collective are bringing the Dublin edition of 25 Years of V Recordings to Wigwam, celebrating the legendary drum and bass label with Bryan Gee and Jumping Jack Frost. For fans of: Artificial Intelligence, Roni Size, Goldie Friday November 2 Wigwam €8

MALL GRAB Mall Grab’s steady growth of his reputation as a versatile house and techno purveyor has led him to add an extra date on the ‘Looking For Trouble’ tour, For fans of: Denis Sulta, Jasper James, KETTAMA Monday November 5 Button Factory €14

BICEP One of Northern Ireland’s biggest musical exports, Bicep’s sounds range from haunting melodies to jacking house tracks. For fans of: Holly Lester, Hammer, 808 State Friday November 2/Friday November 9 Olympia Theatre €35

ANSOME Inspired by a raw and urban UK techno sound, Ansome is known for eerie, boisterous and uncompromising music. Odious and Eavan will support. For fans of: 747, Rustal, Dax J Friday November 9 39/40 €11

Dublin’s techno prodigy will headline Dublin party-throwers Tea Party with a set in South William’s basement. For fans of: I Hate Models, Stranger, Clouds Tuesday October 30 South William

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PROBLEMS FEEL SMALLER WHEN YOU SHARE THEM Talking about your problems is proven to have a positive impact on how you feel.

Little things can make a big difference

64 Words: Niamh Craven / Photography: George Voronov

J Seinfeld first touched down in Dublin in 2017. He performed to a sold-out crowd in Hangar (RIP) igniting the country’s love affair with the Barcelona-based, Swedish-born artist. Fast-forward to summer 2018 and he’s packing out a tent at Forbidden Fruit Festival after releasing one of the most critically-acclaimed debut albums in electronic music. On ‘Time Spent Away From U’ the DJ and producer has evolved his style; he retains his signature lo-fi sound but also dabbles in and experiments with disco and deeper house. With emotionally-driven material and tracks pointing out the culture of hiding emotions and vulnerable feelings with ironic comments, he quickly garnered a cult following. Now DJ Seinfeld is back with a new project via !K7 Records, ‘DJ-Kicks’, and a forthcoming Dublin date. We caught up with him for a quick chat to see how he’s been getting on since our interview last year. Is your emotion?

music

driven

Yes, it’s not something I consciously aim for, but when something overwhelms you emotionally it’s hard to deny its influence on essentially everything you do. It can provide a narrative to the music, and the track titles are one way of aiding that process. When I saw you live I was really surprised that your set was mainly house and disco. It was amazing, but I was expecting your usual ‘lo-fi’ tagged music that dominates your releases. It was really a wake-up call for me and a reminder that people shouldn’t expect anything in particular from an artist’s set. It can be separate from the material they produce. How do you balance what you play?

I don’t find there to be much creative restriction on what I want or should play. It always boils down to respecting the slot you’re given, respecting the DJs before and after, and within that realm I try and do something different each time I play. Lo-fi music isn’t really suited for club systems, with a few exceptions, at least not the recent type of lo-fi. There’s plenty of raw music out there that works, it’s just not something I try and work in for the sake of fitting a certain tag. You’re still relative newcomer, your music seemed to blow up literally overnight. Do you feel differently about producing now that you’ve spent some time on the scene? Well I’ve just been exposed to more music, more artists and DJs. That is inspiring and humbling at the same time. It pushes me to try and be better at what I want to do, knowing that there are so many people out there making such interesting music. You’re one of the few producers making house music associated with such personal emotions and experiences. How does it feel knowing that people look to your music for solace in difficult situations? It means a lot when I hear people describing how my music affected them, that’s I guess as much as any artist could ever hope to achieve. It means so much, truly. I know how other people’s music has affected me in what I feel, so, it’s a beautiful thing. As someone who went from studio releases to regularly playing notable club shows and festivals, have you felt the creative strain and what advice would you give other producers in your position?

Yeah it’s challenging to find time, time for music, time for other non-music things. I’m lucky to do what I do, so it’s not a deterrent, at least for now. I guess my best advice would be to just put the work in, don’t rush things, don’t compromise your integrity, make music for the sake of making music, not to try and “make it”. That will come with time. You seem to be extremely welltravelled and have lived and studied all over the world, where has the best club scene? Tbilisi is very special. You seem to take influence from classic Chicago and Detroit house, but you’ve put a modern style of production on it. Is there anyone in particular from those waves of house music that influences you? Well, most of the house, techno and electro from those places you mention have been hugely important to me. We all stand on the shoulders of giants there. Should throw in the things that happened in the Netherlands with labels like Bunker Records, Clone, etc. A lot of people aren’t even aware of your separate aliases. Do you try to keep them detached or dissociated from each other? Could you tell us a bit about them, why you use them, and what they represent? Well, sticking to a specific name can be troublesome, it doesn’t have to be, but for me personally I feel that I don’t really seek to uphold a certain sound. Having more aliases is a way around that. It gives me a bit more freedom to do whatever I want to do without having to think about what people expect from a certain name. DJ Seinfeld plays Button Factory on October 20.

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shift in the electronic music scene has been well overdue for a long time. Imbalances in festival line ups in general have been prevalent, but the scale is tilted even more when it comes to house and techno events. 17 per cent of artists on festival bills in 2016 were female with just five per cent being female producers. In the digital realm things are not much better. Journalist Angus Finlayson commented in 2011 for The Quietus “it’s almost a Boiler Room cliché that members of the chatroom will complain about the distinct lack of kinesis on the dancefloor (also that they will pass comment on any unfortunate young female close enough to pick out)”. However, it came to a head in June of 2016 when Glaswegian artist Nightwave was on the receiving end of waves of abuse aimed at her gender when she appeared on Boiler Room. The streaming behemoth took to Twitter in the aftermath saying, “Talking smack on genres or tech is whatever, lame but par for the course. Misogyny / transphobia / racism / anything else personal is 10000% unacceptable”. They then announced they’d be hiring people “specifically to shut down the abuse & obviously we’re gonna keep booking people irrespective of any racegendersexbelief factor. no retreating to safe white tech house”. It’s clear misogyny is rife in house and techno, and perhaps that’s dissuading women from joining the (boys?) club. One campaign last year spearheaded in Ireland by ELLLL and Gash Collective, supported by Smirnoff, kicked the fight against gender disparity up a few notches. Move the Needle is an initiative aiming to double female headliners by 2020. Irish producer ELLLL was instrumental in the success of the campaign, overseeing workshops, gigs and discussions, and she says even though the campaign is over they’re far from finished. “Move the Needle is wrapped up now and it’s a bit of a downtime for me,” ELLLL said in an interview with District in late 2017. “But, it’s nice to see people filtering through. We’re still getting emails from people that are interested and progressing more with mixes or productions. Even in a year’s time I’m interested to see who will really have stuck at it and is still making tunes or DJing on the regular. “It’s definitely going to be a rolling thing. We’re really committed to it, all of us involved and the response is always good. Every time you do a workshop people are so enthusiastic, there’s so much support out there.”

Gash Collective is more of a community than a group of individuals, but ELLLL says the core team is made up of the likes of Laura O’Connell, Cáit Fahey, Lolz, Joni, Dreamcycles and more. “When I started Gash it was from a few things – my own experiences I had involved in scenes in Ireland, gigging, playing live, conversations I had with other people involved – friends of mine and people I met doing gigs and promotions. “Also I had recently joined the female:pressure network. It was set up by Electric Indigo who is this amazing techno DJ and producer. It’s this network that’s almost like a giant mailing list of women involved in the art all over the world. You can talk about different stuff, everything from ‘hey, I’m going to be touring in New York next week, could you advise me to somewhere that’s going to book me, I play this kind of music’ to ‘hey, there’s this job opportunity’. Advise, or sharing terrible or great experiences. It’s massive. People all over the world, it’s an amazing support system. “I got involved with that and read all of the emails and was thinking, why don’t we have an equivalent in Ireland? Why for such a small country are we really dispersed and not helping each other? That’s what Gash has become. A place where we could hit each other up, whether it’s for questions or playing gigs, so we could establish that connection. It’s a support system for anyone, whether they’re just getting started or have been at it a while.” The concept of Move the Needle was to take this to another level, but it was also to promote transgender and nonbinary involvement in electronic music, a community that often get overlooked during these conversations. ELLLL said the reaction from the trans community was overall very positive. “Dublin was the most responsive with that. We had a really diverse group of people for the two workshops we did there. I think it’s just because it’s a big city, of course it’s going to be that way. “Of course, there were a couple lads who were like ‘Is it no boys allowed?’ and I’ve always been really explicit in saying that’s not the case either. We’re trying to create a safe space for minorities in electronic music, but we’re not going to exclude anyone. But the push is to include people who are on the fringe, people who wouldn’t have the opportunity otherwise.”

There are of course voices, often online and predominantly male, that either don’t see the imbalances or don’t want them changed. I was curious to hear ELLLL’s thoughts on why some people want to ignore the problem or flat out refuse the inevitable progression it will bring. “Some people look at it on the surface and think ‘That’s just filling quotas’, which is not true. I’ve always said everyone should be on the line up based on merit, their talent and nothing else. I’m also a realist. I know Smirnoff have this pledge, but I know that in an Irish context the numbers aren’t there yet. To have a 50/50 split for a large festival is completely unrealistic because we’re not there yet. That’s going to take time. I’m totally against quotas, I think a 50/50 split is great in theory but unrealistic, and if you’re going into that territory then you are just filling numbers for quotas. “It’s just about women being fairly represented. Over previous years we weren’t. Women, people of colour, nonbinary people, they were just not appearing on line ups. Especially for women starting out and young girls to see them, you think it’s something you can’t do. It comes back to visibility.” Being a realist, ELLLL is also unsure how long the process of levelling the playing field will take. She is optimistic though that Ireland, being a small country will benefit as word might get around a little quicker. “I have to say since the workshops have been brought to life a lot of the promoters and festivals in Ireland have been really receptive. I’ve had people contact me and say ‘Look we’re running this stage, and I know in previous years gone by we haven’t had any women play but I’d love for you to point me in the right direction of people who might be suitable’. “Once you begin to notice it you can’t un-see it. Especially if you’re male and working in the scene because it’s never affected you, of course you’re not going to pay attention to it. It’s only if you have female friends, or friends that are affected that you realise, ‘Oh shit, it’s a real problem’. People are changing that attitude. They’re changing, realising, casting a wider net and looking further than just a really boring top ten of whoever’s touring.” ELLLL plays Wigwam on October 26 with Wriggle.

Exhibition

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Supporting Graduating Irish Artists

Words: Niamh Craven / Photography: Jacob Khrist

eff Mills needs no introduction. His artistic and social mark on the world manifests in ways further than you may already know. Mills isn’t just one of the finest producers around today, the Detroit native is one of the world’s most respected radio hosts, and his orchestral collaborations have sparked global conversations about the malleability of music. The first time he heard the word ‘techno’ was in a Kraftwerk song, and things have never been the same since. The accomplishments of Mills are almost endless. But his show on NTS Radio, ‘The Outer Limits’, a series of entirely original music productions, is one of recent note. Presented, produced and written by Mills, the show explores science fiction and cosmic theories, the delicacy of time, space and their essential relationship,

all while enchanting the audience with classical compositions, jazz and electronic music. When given the opportunity to speak to such an influential artist, there was a burning temptation to go over ground already tread. When you think of Jeff Mills, you think techno, but it’s radio where he started his career as ‘The Wizard’, an anonymous DJ, after a chance meeting with UBQ and Prince. And so, it was with Mills’ on-air career where our conversation began. Radio gave Mills a sense of communication and a whole new perspective on gauging audiences. Decades later, he’s still experimenting with music, adding multidimensional layers and aspects for his listeners to completely immerse themselves in.

“Each 60-minute show is music exclusively made for the episode,” Mills tells me about ‘The Outer Limits’. “I usually invite a musician to collaborate with me. Basically, each show is like a new collaboration album and it usually takes three to four months to create. We’re in production now for the fifth episode that airs in October. The last episode will be in January 2019. “It’s enjoyable to create and work with other musicians. This show is important because I’m producing it without any restrictions and without conditions. The concept is to experiment with music and sound. It’s fantastic to work on. The subject [of the next show] is the life and work of Leonardo Di Vinci featuring the thereminist Carolina Eyck.”

THE

REASON

THE

BOOTH,

SET-UP,

ALL

FILMED AND UPLOADED TO

EQUIPMENT

AND EVEN ON TOP OF THE

AROUND

MANY DJS ARE DANCING

MAYBE

ATTEMPT TO BE NOTICED.

THE WEB, IS A DESPERATE

“TECHNO

CAN

EXTEND A PERSON’S VIEWPOINT VISION.”

The topic of techno is unavoidable, however. A historical movement and sound that is an escapism for its listeners cannot be ignored. Especially when conversing with one of its pioneers. I wanted to hear straight from the horse’s mouth what the attitudes towards the genre were like amongst the public when the culture was first emerging from the industrial city of Detroit. “Then, I recall, there were people who considered what they were doing was underground because either they were managing a small musical outfit, were financially independent or adopted a radical way of describing what they did. Or, they were trying to become popular and being underground was the excuse while it didn’t happen. It’s always been like this! People have earned it, while others have abused it.” Jeff Mills has had a bird’s eye view of shifts in techno’s culture throughout his long standing career. With that, he’s also experienced the complexities, politics and economies of American society and the culture that such societal shifts can create. The Motor City artist, who spent many years in Berlin, recently made a comment that “techno feeds a basic human right”. I ask him to clarify. “Techno is the people’s music. It’s a genre in which any and every one can find a place and be recognised. For as long as I can remember, this had been its design and objective. Techno can extend a person’s viewpoint or vision.” After founding the collective Underground Resistance alongside ‘Mad’ Mike Banks, it grew to be one of the most socially aware and politically-driven platforms in American electronic music history. The two became auteurs of the four-track techno aesthetic and diverted much of their cultural influence in Detroit to promoting social and political activism. A fundamental part of Underground Resistance was an encouragement of experimentation with music, time and space, and the establishment of a form of discovery or exploration of identify beyond the traditional lines of ethnicity, race and class. They gave African American men in Detroit, and further afield, another identity to associate with rather than the stereotypical, hyper-masculine image that surrounded the males in Michigan city at the time. Protest through celebration has become more than a common occurrence and proves to be an important factor in keeping politically-driven music alive. But did Jeff and Mike know what they were starting? “Underground Resistance was born because it was needed by the people. It was not directed towards a lucky few. The concept stood for the creative freedom of everyone, so our objective was clear from the very beginning. People are always

in need, so I think any time is the right time. Well, music has always been used a weapon. Detroit, a city rich in music history, is one of the places on the planet that produces a steady stream of deep thinkers as the result. With all the problems the US has, music has always been here to be an extension of one’s voice.” As a figure involved in such a revolutionary time, I wondered if Mills thinks that true originality remains in the music he helped cultivate. Maybe we’re caught up in a web of genres and subgenres. He’s previously discussed his concerns that a human behind the decks may possibly be obsolete in times to come. Yet, Mills doesn’t see many limitations, in the world of technology. He sees into space and beyond, almost literally. “I think that genres are helpful for those who need to locate something or someone by style or configuration. In its original purpose, it doesn’t damage music. It’s only when people use the term for political reasons, that does the harm. Looking at the evolution of DJ technology and how the average DJ is using it, it’s becoming even more apparent that the need to have the physical appearance of a person is decreasing. “Maybe the reason so many DJs are dancing around the DJ booth, and even on top of the equipment set-up, all filmed and uploaded to the web, is a desperate attempt to be noticed. If the computer software is doing the hard work, then what are DJs to do? Be a cheerleader or an intoxicated master of ceremony? I think the problem isn’t the technology, it’s how people are using it.” Is techno destined for death by social media? Is it all Zuckerberg’s fault? Mills reminisced. “We mailed a letter and most telephones were not cordless or wireless. Friends were real friends. With not so many outlets to hear music, people basically listened to the same thing. This accumulation of interest made hit tracks and artists. It created waves of popularity, so as a commodity, recorded music thrived because it was easier to calculate. As new people come into it, while older people move out, the shape of the culture reshapes itself. But, I’ve yet to see dance music in danger of being extinct or nearly over. It’s a strong and resilient industry.” “People that listen to and follow techno music should know that there is still very much work that musicians can do and create. Assuming that all ideas and concepts are spent would be a mistake.” There’s hope for us yet. Jeff Mills plays District 8 on October 12.

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All up in my grill

ooking with fire is a symbolic and elemental way of preparing food. Fire is part of human evolution and was the first form of cooking, and cooking is what distinguishes humans from other animals. Food author Michael Pollan makes the point that, “When we learned to cook is when we became truly human”. He thinks our fascination with fire is some kind of evolutionary instinct: fire is a sign you’re going to be fed. Watching fire can set off excitement centres in your hungry brain. Think of it as kind of fire-based genetic memory Pavlovian reaction. There’s certainly a very primal, raw satisfaction with eating something you’ve just seen grilled right in front of your nose on a live flame. Exposing food to high temperatures produces a particular chemical reaction called the Maillard effect. It’s a chemical reaction of amino acids and sugars and activates loads of delicious flavour compounds and may explain why people go gaga for barbecue. Barbecue purists

say that only charcoal or wood-based fire cooking is the real deal, but I’ve included a few places that use gas because they do fun stuff with fire. I spoke to chef Ian Marconi, caterer and popper-upper extraordinaire, under the name Jackrabbit. He uses live wood and charcoal in his cooking and learned his trade at legendary London restaurant Moro where, he says, “everything was done either on a Turkish style charcoal grill or in a wood burning oven”. “I looked like a coal man and had no hair on my arms or face for years, but I loved it.” He emphasises the instinctive and variable nature of fire cooking. “You have to get a real feel for how everything works when you’re dealing with something without a dial, timers, temperature gauges. There’s no comparison to the natural, smoky, charred lack of uniformity in the end result when using fire compared to us-

ing electrical equipment. And who doesn’t love a real blazing smoky barbecue? It’s primal and part of who we are.” A part of the world very much associated with fire cooking is the American South: North and South Carolina, Memphis, Texas and other areas. The international craze for these Southern US subcultures has been raging in Ireland for a few years now, in spite of the fact (I seem to say this with every food trend we’ve adopted) we don’t really have the weather for it. But it’s not the only gig in town. Fowl Play has Portuguese and Filipino influences. Mongolian and Korean barbecues do their thing and we have our own Irish tradition too. I have money on some culinary hipster opening a fulacht fiadh restaurant in Dublin 8 any day now. Walking around Meatopia and the Big Grill this summer it struck me that the aesthetic of the 21st century barbecue festival is a post-apocalyptic smoke-filled carnival, filled with many (but of course, not

exclusively) bearded men cooking giant lumps of charred meat in metal barrels and trays. A Mad Max meat orgy. The scale of the cooking and the equipment is big and industrial. There are hacksaws, chains and hooks. There are recognisable animal parts strung up everywhere, and whole pigs and cows on spits. It’s a shameless carnivorous celebration, and not for the squeamish. A barbecue festival is not where you want to take that nice vegan you just met on Tinder.

I chatted to Ivan Garbino, the head chef and pitmaster in Fowl Play at the Square Ball, one of Dublin’s most dedicated barbecue eating spots. It’s owned and run by two of The Big Grill founders and barbecue nuts, Andy Noonan of Baste and Trev O’Shea of Bodytonic. Ivan is originally from the Philippines and moved to Ireland when he was 10. He says that cooking with fire was “a natural thing to do in the Philippines”. “It was cheaper to cook with charcoal. The delivery guy would come every week. We had gas and electricity too, but we had an outdoor kitchen and clay pots to cook with charcoal in. You’d just fire it up when you need it.” He studied at DIT Cathal Brugha Street and worked as a dessert chef and in Bang Café for a while, but quit when the recession came. He still loved cooking and travels kept him interested in food. A chance conversation about smokers and barbecuing at Electric Picnic with Andy Noonan led to him getting involved with the Big Grill. One thing led to another and when Fowl Play opened a few years ago he became the sous chef in its small, open kitchen. Now he’s head chef and keen to continue the pub’s passion for fire-fuelled grub. The menu at Fowl Play is simple, which I find nice as I can’t make decisions. As you’d imagine from the name, the emphasis is on chicken, but they do other meats. The pork belly skewers are Ivan’s influence from the Philippines; these tasty street food morsels are everywhere in South East Asia. His have sticky, soy sesame and sweet, salty and deep umami flavours. They make their own spice mix for the chicken, with 15 different spices. The grilled chicken is indeed divine, perfectly cooked, with lots of dark meat. There is something satisfying about eating grilled chicken with your hands and leaving a little pile of bones on the table. The Alabama white wings are tangy and come with a mayonnaise sauce and a dill celery pickle. Fowl Play takes inspiration from many places. They use cherry wood as fuel, as it’s delicate enough for poultry. Their smoker, for slower cooking, is from Texas. Ivan says he uses it for, “the toughest parts of the animal, which would be the most delicious”. The other piece of kit in their kitchen is the rotisserie from Portugal. Cooking with fire requires a particular temperament. Ivan agrees with Ian Marconi, “Cooking with fire takes a lot of patience, and a lot of management. You can’t just turn on the knob. You have to manage it, to use your sense,

how it feels. But I don’t mind cooking meat for ten hours, there’s pleasure in managing the fire. It’s therapeutic”. fowl-players.com

The history of fire cooking runs deep. Like Michael Pollan says, “Cooking over fire is a celebration of who we really are”, and I know who I am. Someone who likes eating lots of barbecue. Here are five places where you can get your grill fill in Dublin. Bison Bar — Wellington Quay Bison Bar was one of the first spots in Dublin to delve into the genuine American barbecue experience. They even sent their head chef Oliver Byrne to Memphis to learn the art of smoking and grilling. They use oak in their smoker and take the process very seriously. It’s Southern comfort food with many kinds of meat (pork shoulder, beef brisket, sausage, ribs, chicken) cooked long and slow. The sides are legendary and include standards like coleslaw, cornbread and less common staples like burnt end beans (even the beans have meat in, veggies you’ve been warned). It also has the added bonus of being a whiskey bar with tasty cocktails to complement the smoky flavours. bisonbar.ie

His Food — Moore Street Mall His Food is down the stairs into the basement of Moore Street Mall, a bazaar-like maze of small food units that is full of unexpectedness. There’s a big Polish supermarket, and lots of other smaller sections with food from China, Brazil and Africa but back to His Food. The owner Hamo Muhadzic moved to Ireland from Bosnia and opened up in 2009. It serves a range of incredible Balkan food, with the main feature being meat cooked on a charcoal grill. The cevap (like kebab) are giant beef sausages, in generous portions. I had the sis which was deliciously spicy. The meat is tender and smoky and comes wrapped in a pillowy soft white bread with pickled cabbage. Get the ajvar pepper sauce to spoon on top. They also have a kind of Balkan hot counter with a vast range of pies, soups and stews.

rice. It’s a good option if you can’t eat certain things, as you can choose what goes in your meal. The dinner option is €16.90 for all you can eat. Challenge accepted. mongolianbbq.ie Hailan — Capel Street Hilan is a Chinese and Korean restaurant that does a roaring trade in Korean barbecue (and Chinese hotpot). It obviously doesn’t have the same smoky feel as cooking with charcoal or wood, but there is still an attraction there to watching the food cook right in front of your eyes. The grill in the middle of the table is fired up and plates of meat, seafood and vegetables are brought by waiters. Chicken, beef, prawn, pork and potato are pretty standard, but you can order extras like squid or sweet potato. Hilan has a gigantic menu, so order some kimchi pancakes, some stir fried rice cakes or dumplings to go alongside. Never mind the charcoal purists, gas is grand. hailan.ie Clanbrassil House — Clanbrassil Street All the mains at Clanbrassil House are based around their charcoal grill. There’s no gas in the kitchen. The menu is local and seasonal and features Irish meat, often unusual cuts for slow-cooking, and fish. Vegetarians are well looked after and interesting things are done to cauliflower, broccoli and myriad other veggies (I want to be dipped in miso brown butter myself). Head chef Grainne O’Keefe said that it took a bit of time and practice to get used to the grill, learning to gauge when food is cooked with this more variable instrument. They use the grill to make the sandwich fillings for Clanbrassil Coffee Shop next door, like lamb shoulder cooked for 8 hrs before being pulled, kimchi tofu, beef cheek, and grilled chicken. The restaurant also does amazing, unfussy desserts.

Mongolian BBQ — Temple Bar The Mongolian barbecue is a simple concept, but really fun. There’s a buffet where you choose a selection of meat, seafood and/or vegetables. Then you pick your herbs, spices, and sauces like curry or teriyaki. You then hand a bowl of your selection over to the chefs on show and they theatrically cook your food in front of you. You can hit the buffet as many times as you like for dinner and avail of the unlimited steamed

Words: Caitriona Devery

ALL ABOUT THAT

base

hen I was living in Edinburgh, some years ago, one of the culinary novelties I discovered was the deep fried pizza. Washed down post-pub with an Irn-Bru, it was a gross piece of lecherous fast food that you always regretted the next morning. The chippies there used deep pan pizza with scant toppings so the cheesy disk of dough remained intact. The same kind of deep pan base also made up the pizza of my student years but that one was frozen, from Goodfellas. In the case of both of these pies the ratio of base to topping leaned too far in favour of leaden carbohydrate. But those belly-aching frozen pizza days are over. Now it’s wood-fired this and Neapolitan that. We are spoilt for choice in Dublin these days. Pizza is up there with burritos and burgers as the captias’s casual food of choice. Many people have red line pizza toppings. One man’s pineapple is another person’s barbecue sauce. Personally I think chicken, sweetcorn and any kind of fruit have no place on a pizza, and if you disagree, you’re wrong. The ‘original’ pizza style is the one that’s found favour in Dublin of late, the Southern Italian Neapolitan style thin base pizza that’s cooked at a super high heat (500°C) in wood-fired pizza ovens. The dough is

made from flour, yeast, water and salt. Traditionally only San Marzano tomatoes and buffalo mozzarella are put on top, plus a limited range of toppings. This is the pizza that purists obsess over. When pizza first came to the US with Italian immigrants it evolved and adapted, as foods do. The New York-style pizza has a slightly thicker base, apparently so you can eat it on the go more easily. Chicago founded the deep dish. The history of pizza is one of tradition and invention, stasis and change. Ed Levine from Serious East says pizza became popular in the early 20th century on the US East Coast because pizzerias were the perfect place for the new Italian American communities to socialise. Pizza got picked up by chain restaurants in the US and is now one the more famous foods in the world. I know this because it has its own emoji. Pizza eventually made its way in ever-evolving forms back across the Atlantic to us. Check out some places you get a slice of the action in Dublin. Coke Lane Pizza — Lucky’s, Meath Street and Frank Ryan’s, Smithfield Coke Lane is the pizza-baby of David Holmes and started in a windy lane in Smithfield out the back of Frank Ryan’s pub. He cosied up

to new kid on Meath Street, Lucky’s bar, and now has a swish pizza oven in their lovely backyard too. The menu is short but sweet, offering crisp, light-dough Neapolitan style pizzas with super toppings like the Scarface that includes spicy salami, chillies and chilli-honey. They do one with finocchiona too which is an addictive fennel salami. They also have two vegan options including one with cashew ricotta. Big Blue Bus — The Bernard Shaw, South Richmond Street Is there a Dubliner who hasn’t had a pizza from the Shaw? It’s a bit of an institution. When “one pint” turns to fourteen and when a packet of Tayto hasn’t managed to stave off the starvation, a pizza from the Blue Bus is the only solution. Expect thin based, flavoursome pizza with interesting topping combinations and some strong options for vegetarians and vegans. Try Pick the Pear, a fruity pie with pear, gorgonzola, walnuts and parma ham. And while you chew ponder the blue elephant in the room…How did they get the bus in there?! Dublin Pizza Co — Aungier Street There are always pizza loiterers hanging outside this hole in the wall on Aungier Street. I’d been meaning to try it for ages and when

finally did I now get what the fuss is about. Aside from the hypnotic effect of watching the chefs in clockwork action making and baking the pizzas, they taste divine. The menu is fairly short and it’s the Neapolitan style wood-fired malarkey. The toppings are yum. I had the Lucifero which came with chillies, ‘Nduja spicy Calabrian salami, Toons Bridge mozzarella, Cashel blue and Coolea mature cheeses. It’s insanely tastey and their vibe is cool. They do a regular special, and their vegan option is good, said my vegan friend. The Yarn — Liffey Street Lower Run by the same people as Woollen Mills, who know how to do stuff, Yarn’s tagline is ‘Pizza + Booze’ and they do a roaring trade in interesting quick and casual eats. Their pizza is closest to New York style, they say, as they reckoned the Neapolitan market was saturated and they liked the pick-up-able base of the New Yorker. Their non-pizza stuff is amazing too, wooded pig salami and Toons Bridge burrata. They do the classic pizzas, but also push the boat out with unusual combinations like black pudding, smoked mozzarella (scamorza) and egg. There’s one with jerk pineapple on that might make me reconsider my ‘no fruit’ rule. Paulie’s Pizza — Grand Canal Street Upper Paulie’s pizza is where you go to treat yourself to a good-old sit down pizza fest. It’s off Bath Avenue in Dublin 4 and has a casually frenetic feel, it’s always busy. The pizzas are mostly wood-fired Neapolitan-style, but they have a section of New York style on the menu too. It’s been around for a while and always gets great reviews. Plus they have lots of other antipasti, pasta and risotto options if one of your group doesn’t like pizza (???). Try the Siciliano with capers, olives and anchovies.

Sano — Exchange Street Upper Sano was recommended to me by loads of people. They do soft, chewy, properly heat-blasted sourdough thin base pizza, baked in 500°C Neapolitan wood-burning ovens and topped with a simple range of top notch Italian ingredients. There’s no messing and everything on this short menu is thought-out and executed well. Salami lovers will be happy as they have fennel salami, ‘Nduja and spicy salami. There are gluten free and vegan options. Thumbs up to the drinks menu too; 5 Lamps and Dowd’s Lane cider, and for soft drinkers those posh San Pellegrino fizzies, or fruity crack juice as I like to call it. DiFontaine’s — Parliament Street Inspired by the New York slice, DiFontaine’s is a Dublin institution. It’s always jammed late nights at the weekend with crowds of happy, hungry drinkers looking for an affordable bite. The owners had lived in New York and missed the pizza culture when they returned so decided to start it up over here. These are substantial, cheesy, topping-filled, triangles of goodness and just what you need at the end of a night out or if you’re in a hurry somewhere. You can buy whole pizzas or just a slice, or three. They serve lots of American-style toppings like pepperoni, sausage and spicy beef and a vegan one with a blend of vegan mozzarella and parmesan shreds with homemade cashew ricotta. Honourable mentions: Forno 500° for authenticity, Pi for the new kids on the block, Ray’s for when you fall out of the pub and Manifesto for when you’re on the Southside.

Craft your own style. S H I R T I S C U S T O M

M A Y F I E L D

E M B R O I E D E R Y

@shirtismayfield

e h t f 5o bes t & d o o f drink spots

Lists aren’t just for clickbait, they’re actually pretty practical sometimes. If you’re new to the city use these selections as a guide to the places you should hit up. We add new ideas to this index every month. 88

Burgers Bujo Sandymount bujo.ie Bunsen Wexford St., St. Anne St., Essex St. East & Ranelagh bunsen.ie Jo’Burger Smithfield & Castle Market joburger.ie Wowburger Wellington Quay, Wexford St., Parnell St., Wicklow St. & Ranelagh Wowburger.ie Generator Hostel Smithfield Generatorhostels.com

Mexican Masa Lower Stephen St. masadublin.com 777 Georges St. 777.ie El Grito Merchant’s Arch Picado Mexican Pantry Richmond St. picadomexican.com Taco Taco Leeson St. Tacotacodublin.com

Seafood Fish Shop Smithfield fish-shop.ie Rosa Madre Temple Bar rosamadre.ie Bastible South Circular Road bastible.com Klaw Temple Bar klaw.ie Catch-22 Clarendon St. catch-22.ie

The Bull & Castle Lord Edward St. fxbuckley.ie

Mak Ranelagh mak.ie

Fermenting

Lee Kee Parnell St.

Fia Rathgar Road fia.ie Meet Me in the Morning Pleasants St. mmim.ie Storyboard Islandbridge storyboardcoffee.com 3fe Lower Grand Canal Quay 3fe.com The Fumbally Fumbally Lane thefumbally.ie

Michie Sushi Ranelagh michiesushi.com The Ramen Bar South William St. theramenbar.ie Musashi Capel St. musashidublin.com Ukiyo Exchequer St. ukiyobar.com

Murphy’s Wicklow St. murphysicecream.ie

Brazilian

Scoop Aungier St. & Ranelagh scoopgelato.ie Storm in a Teacup Skerries Gino’s Grafton St., Henry St. & South Great Georges St. ginosgelato.com Sun Bear Gelato Dawson St.

Plus 55 Bakery Bolton Street plus55bakery.ie Wigwam Middle Abbey Street wigwamdublin.com Café Mineiro Crown Alley Real Brasil Capel Street realbrasilfoods.com

Cocktails Drop Dead Twice Francis Street dropdeadtwice.com

10 pubs you’ll find us in on a Friday Hacienda Bar Arran St. East

Delahunt Lower Camden Street delahunt.ie Drury Buildings Drury Street drurybuildings.com Peruke & Periwig Dawson Street peruke.ie The Liquor Rooms Wellington Quay theliquorrooms.com

East Café Bar/King Sitric Howth kingsitric.ie

Chinese

Matt The Thresher Pembroke St. Lower mattthethresher.ie

Yamamori Tengu Great Strand St. yamamori.ie

Ice cream

Oysters

Seafood Café Temple Bar klaw.ie

Japanese

Lee’s Charming Noodles Parnell St.

Anseo Camden St. The Long Hall George’s St. The Gravediggers Glasnevin Frank Ryan’s Queen’s St. Jack Nealon’s Capel St. Grogan’s South William St. Neary’s Chatham St.

Hang Dai Camden St hangdaichinese.com

P Macs Lower Stephen St.

Hilan Capel St.

The Bernard Shaw South Richmond St.

Oyster Bar at the Shelbourne St. Stephen’s Green shelbournedining.ie

Irish Artist Spotlight:

Photography: Jack Farrell

JOHNNY BRENNAN J ohnny Brennan is a Dublin-based graphic designer. He received a BA with First Class Honors in Visual Communications from IADT in 2017 and, following acceptance to the Threex3 programme, has since worked in three of Dublin’s top design studios, Zero-G, Atelier David Smith and Detail. Design Studio, where he remains. Johnny also works freelance and over the past year has received an IDI Graduate award and two 100Archive 2017 selections for his work on Bonanza Land and District Magazine. Johnny’s interest in design stems from an early age — an obsession with music videos, album artwork, cartoons, skate graphics and graffiti all played a massive part in why he does what he does. He first realised he wanted to work in design while researching for his Junior Cert art project after discovering Kate Moross and So Me. Both designers work heavily in the music world and the “stuff they were doing” — and continue to do — really struck a chord with him. He has a multidisciplinary approach to design, with experience in identity, print, web design, motion and 3D, but going forward Johnny’s aspirations are to push his skills in the fields of motion and 3D design, exploring the exciting and endless possibilities that can arise when combined with a solid graphic design sensibility. Johnny is currently working on District Magazine Issue 005: Roots, launching on October 19 in The Sugar Club. johnnybrennan.work

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