The Sublime Zine Issue 2015/3

2015/3

A Magazine for the arts and culture.

The Sublime 1

MEET THE TEAM Jax

Editor in Chief

Jon

Creative Editor

Mr. Wild Content Editor

Luke

Staff Writer

EDITORS NOTE March has been a busy month for us here at the sublime office, as spring comes around we have been out of the office a lot preparing our spring and summer events. Making stalls for festivals, art for exhibitions and music to play at gigs.

A lot has been going on through this month and we are pleased to bring you an issue full of artist introductions and interviews. Our usual foodie recipes and some more brilliant articles from Luke, Dunk and Mottled Gray.

There is a lot of culture coming up over the next few months and with you guys we wouldn’t be able to report on it or review any of it. So as per usual, thank you for supporting and being a part of the Sublime family.

Remember guys, For Calum, Keep it Surreal!

Keep it Sublime.

Jaxx, Jonnie & Mr Wild.

The Sublime Editors.

Mottled Gray Staff Writer

Shelley Wild Food Columnist (skellingtons Bakery)

2 The Sublime

THE SUBIME ISSUE 2015/2

CONTENTS ANASTASIA BULGAKOVA CARMELA HOGAN FADE AWAY

4

12

18

ECLIPSE 19 SCRUMMY VEGGIE CHILLI

21

WILD’S LEEK AND POTATO SOUP LIDIA BOROWSKA LAURA KINDT

21

24 Cover image by Laura Kindt Published by The Sublime Design by Jaxx Shepherd Concept by Jon Wilford

30

COME ON IN 38 GUNS 2 ROSES

40

THE NATURE OF COLLECTIVISM FARENGITIS FILTH

42

48

50

AN ORBIT OF MANCHESTER HEDLEY WIGGAN

52

55

The Sublime 3

Artist of the month

ANASTASIA BULGAKOVA 4 The Sublime

Fantasy and concept art is a huge industry these days with games dominating the entertainmeint world. To be able to create characters from your head for other people to control is a hard task to complete these days. We met up with a hugely talented and extremely nice artist who can create such said characters with awesome execution.

The Sublime 5

6 The Sublime

So on with the interview.

\• Tell me about yourself.

My name is Anastasia Bulgakova. I’m 25 (my birthday 14 June) and am I married. I was born in Russia (Moscow) and live there at the moment.

My main love: drawing, airplanes and the sky.

Secondary: anime, games, martial arts.

I love my country, but also want to see the whole world, it’s very interesting. Although don’t have that many visited countries on my account just yet.

About art. There is nothing new. The standard story... :) I drew from an early age. My grandfather and my mother loved to draw. Perhaps, I have adopted my interest from them.

When I was little, my grandmother saw my enthusiasm and sent me to an art school. As a result, I’ve studied for 8 years in a regular school, 7 years in an art school (which was after regular school hours), 4 years at an art-college, and 6 years in the university (+1 year of training).

But I will not to scare you. Despite my many years of study, I consider myself self-taught. For example, my professions at college and university were not full associated with drawing. My formal education is: fashion-designer and artist of decorative painting.

The Sublime 7

Before you start drawing, it is important to ask yourselfdo I really want to do this?

I’ve learned to draw by myself. Sometimes, some teachers (mostly at art-school and university courses), helped me, but no more than that.

In my profession, like many others, you need to strive and grow by yourself. If you do nothing, no one is gonna help you. Take a pencil and a paper, or a tablet and draw! Do it until you get what you want. And that’s the whole secret, no magic whatsoever.

One of my teachers said - “If for every 30 bad sketches you get a single good one, you a genius!”

Drawing is an endless road :) But not all that difficult.

If you love to draw, then you will walk it easily. There is no real destination, and no real end point to strive for.

You simply do it as long as you live.

In my spare time I have more inspiration, and I’m especially interested to draw for myself, which is quite logical, of course.

My inspiration, my passion, are the art of other artists, with which I’m impressed with, music, and my own imagination.

As is usually the case :)

• Do you have a vision for your work?

I hope I understood the question rightly. It is not simple.

I paint what I like. Often it happens even at work :) I can be inspired with the idea to draw a monster or some heavy machinery, a beautiful woman or a landscape. I have no power over my ideas. The main thing is to draw what you want.

Of course, at work, it is not always the case.

• Why do you want to go into this field? Is art a passion for you?

• How do you think/want other people to respond to your art?

Actually this is a complex question. My knowledge of English is not enough to answer:) I like to draw. That’s all.

Honestly, I do not know. Many people say that they like it. But many more do not say anything or simply don’t know about my art. However, those who do like it, are usually watching my galleries anyway.

Over time, because of work, it became a difficult thing to do. The artist’s profession became similar to a conveyor belt in a factory- it’s a problem of the CG industry overall... But even there it is possible to love the art process.

8 The Sublime

When I was a noob, I had a lot of opponents and quarrels.

Now, these conflicts don’t happen anymore. There is neither time nor reason to that anymore.

The Sublime 9

about it.

• Do you see yourself in your artwork? How?

As I said earlier, I paint whatever comes to mind - it does not matter if there is any sense to it. Simply the things that inspire me, or those that are needed for work…

Interesting :) I use an idea of a girl I’ve always wanted to be. I call her Saya, you can see her in my galleries. She is pure evil and crazy. Yes, I’m a little strange myself ^^

It can be simple things: a beautiful design, a beautiful character, a crazy idea, or something I’ve never got to draw before. I never use big ideas, do not know why. I guess I’m lazy or simply not interested :)

But, sometimes I get inspired by others’ stories, about real or imaginary characters. Sometimes I show them in my works. I think about their stories while I draw, I don’t know how to answer that. I’ve never seriously thought and it gives me alot of creative energy. On the surface it looks like any other standard fanart, but for me, there are • What do you think your work stands for?

10 The Sublime

• What motivates/inspires your work?

It’s like the 3rd question, I’ve answered earlier.

Art of other artists, music, the desire to win. The feeling of struggle. It’s all cool.

Sometimes I do not have the motivation and then it’s really hard to work, but who actually cares?

I’m an ordinary person. Sometimes I’m lazy and I want to lie on the couch, watching cartoons or series :)

• What Are you up to atm?

I’m answering your interview, painting a new, boring art for work. Yep. No special plans. I just draw what I want and when I want in my spare time, and I also draw at work.

Sometimes, I am trying to cooperate with western companies for freelance work, and seeking new permanent jobs at other countries.

• The funniest thing about you is?

My whole life. One great funny facepalm:)

• Where are you heading next with your work?

Grow as an artist (if I won’t come up with something else). as long as there is a will for that.

My profession is an endless process after all.

I can’t say anything specific about my creative future. Things can change any day. I try to live with what there is. many emotions enclosed in each piece. I do not draw what does not impress me.

• Describe yourself in one word. Why that word?

Snail. Usually, I do everything slowly. Draw slowly, think slowly, do everything slowly, etc.

Often it bugs me, even though sometimes I can get very quick, when needed.

I wish good luck to all who wish to become artists. I would be happy if my interview will be of any interest to someone! Draw and don’t sweat it.

One day you will succeed.

Keep your eyes peeled in future games, I’m sure these characters will jump out and kill you in a game you purchase in the future.

I’m not sure that this is a problem though. Maybe it’s the rhythm of my life.

The Sublime 11

Introducing

CARMELA HOGAN Each month here at the Sublime we give an artist a chance to showcase their work and tell us all about their creative journey. This month we bring you the UK based artist Camela Hogan.

Sit back, relax and enjoy the digital and hand drawn creations.

My name is Carmela Hogan and I am an artist based in the UK. I began drawing at a young age when I realised my love for drawing in secondary school aged 11.

As part of an English lesson the aim was to write a poem and draw a picture that depict the words of the poem.

My poem was titled ‘Love’ so I drew joined up hearts over a black background and added shade to the hearts giving them a 3D effect.

I was told by the tutor and other members of my class that the hearts in the picture looked as though they stood out of the page and were very impressed by my illustration.

This gave me the confidence to start drawing at home in my spare time. My first drawing was a Barclays card advert I found in a magazine with a man wearing a denim jacket placing a credit card into his top pocket.

The picture took me a few days to complete but I was very pleased with the result and was happy to show case to the rest of my class who were also impressed.

I knew I had the bug for art at this point and continued drawing many more pictures. I experimented drawing animals and landscapes using different mediums but knew that I enjoyed drawing people the most.

I was given my first commission while at secondary school from a friend who’s dad sadly passed away. The commission was complete over a weekend using graphite pencils and my friend and their family were very happy with the result.

With encouragement from my tutors and people around me, I continued drawing through my young

12 The Sublime

The Sublime 13

14 The Sublime

adult life, mostly as a hobby with the odd commissioned work here and there.

Now in my 30s, I continue to learn and continue to love art.

I use a variety of mediums including oils, pastels, coloured pencil, graphite pencils and have also drawn celebrity portraits digitally using apps on my iPad which were showcased at MacWorld 2010.

You can follow my journey on Facebook via my page Carmela Hogan and I am available for commissioned work.

The Sublime 15

16 The Sublime

The Sublime 17

A Poem By MR. Wild

FADE AWAY I love you in that never way, I live with you but never stay, I long to tell you every day, I hope that we will fade away.

I live now in another’s dream, I’m always there and seldom seen, I tell you that I’m still as keen, I lie because it’s not as mean.

I say these things but you don’t hear, I say them loud but so unclear, I see them fall before your ear, So on we trudge, year after year

18 The Sublime

A Poem By Mottled Gray

ECLIPSE

She stared in my eyes, Cliché feelings started sweeping my insides.

Her skin in the moonlight’s golden, Frozen in time is that memory.

Her lips just comforts epitome, And those million words That are whispered between us Curve through my mind Like the ribbons of Saturn.

Imagine the feeling of Venus If she is the sun.

That heat so real That it’s burning my skull.

As I think this centre of chaos Completes us.

I say how it never can work now.

‘Cause our persons are almost the same, But she calls me out on that statement.

So I try to explain How there’s no separation, Friction and intimacy, So similar, Both just stem from relations.

And both are attempts at Displacing that emptiness.

I need to be close.

But free to just float in my galaxy.

She can’t get caught in my gravity.

She won’t orbit at distance, No, she’ll drag to the centre of spinning wheels, Where balance is critical.

It’d be like my systems Constantly solar eclipsing And missing those chances to grow.

I need her to stay where she is And progress on her own.

Then maybe in time We can see what the future holds.

The Sublime 19

20 The Sublime

SHELLY SKELLINGTON’s RECIPES

SCRUMMY VEGGIE CHILLI &&& WILD’S LEEK AND POTATO SOUP

The Sublime 21

Scrummy Veggie Chilli I can promise you that you will not miss the meat in this recipe. It's fiery, flavourful and incredibly healthy for you as well. Mr Skellington actually had more of a hand in developing this dish, and he is a self-confessed meat lover and he actually prefers this to the mince version, as do I to my surprise.

Using Carrot as the main bulk of the recipe, it makes this incredibly cheap to make, as well as healthy. Double or triple the recipe and freeze it. It freezes really well. Grab yourself some silver foil takeaway boxes from home bargains and put a portion in each one, perfect for when you just had THE WORST day at work and cannot be bothered cooking!

It’s worth noting here that I sometimes use frozen chili. I find that unless I am using chili in every dish, if I buy a bag of them, they end up spoiling and it’s a waste. The best frozen chili I have found is the trays of cubes you can buy at Sainsbury’s. I've also got frozen ginger too, as again it's not something I use all the time and you can’t buy small quantities of it.

Serve with wholegrain rice. Serves roughly 4.

Ingredients 4 Carrots 1 Big Onion 1 Yellow Pepper 1 Tsp Smoked Paprika 3 Heaped Tsp Cumin 2 Frozen Chilli Cubes 3 Cloves Crushed Garlic 2 Cans Chopped Tomatoes 1 Can Kidney Beans 1 OXO Vegetable Stock Cube 2 Tbsp Worcester Sauce 1 Tsp Caster Sugar 2 Tbsp BBQ Sauce Dash Of Salt Method Peel and grate the carrot, dice the onion and slice the pepper. Put a little oil in a pan on a high heat. Add the carrot and onion and crush in the garlic. Keep stirring frequently, once the onion’s golden and the carrot soft, add the spices, chilli and peppers. Keep stirring thoroughly for 30 seconds to get the spices cooking. Add the chopped tomatoes and drained kidney beans, stir well.

Crumble in the stock cube and season, stir well and bring to a strong boil. Lower the heat and simmer. Add the sugar, BBQ sauce and Worcester sauce. Simmer for about 5-10 minutes.

Done! Enjoy!

22 The Sublime

Chef Wild’s Leek and Potato Soup with Shelly’s Rustic Crouton’s Chef Wild is making his first appearance in my column with The Sublime. He is my Dad, and a very talented chef. He taught me how to cook the basic staples a few years ago and I’ve never looked back. I got this warming soup recipe off him last year and have barely tweaked it, it was perfect as it was. So credit where credit's due, this is Chef Wild’s soup. I added rustic garlic infused croutons, which he will no doubt accuse me of “poncing it up” but hey, they are awesome.

Ingredients Half a leek (the green bit) 2 Small Onions (Or 1 Large) 2 Medium Potatoes, Peeled 1 OXO Chicken Stock Cube (Veg cube if you want to keep it 100% veggie) Low Fat Crème Fraiche Salt and Pepper For the Rustic Croutons 1 Garlic Clove Olive oil 1 Medium Ciabatta Loaf Method Very finely chop the leek and dice the onion. Cube the potato. Put in a pan and crumble over the stock cube. Fill with boiling water to cover ingredients. Bring to the boil then simmer until the potato is done. Meanwhile, preheat the oven to 220c fan. Rip up the bread into large chunks and put on a baking tray. Crush a garlic clove with the blade of the knife sideways and put that on the baking tray. Drizzle with olive oil and toss slightly to coat. Put in the oven till crisp. Back to the soup, once the potato is done, wazz up with a stick blender until desired consistency. Voila!

Shelly Skellington

The Sublime 23

Introducing

LIDIA BOROWSKA Lidia Borowska, born 24 March 1978 in Poland, there she studied at Academy of Art and finished to achieve diploma Master of Art. She lives in UK, Manchester since 2006. A long time she tried to find her proper place connected or not with Art to work in, but always backs to painting as there she can find the way to understood World around and herself.. "Art help me to understand more the World as I can this way feel closely to source of existence and just go deeper my soul. I love meditate and painting is one of the thing that help me to do so.

In my work I can't just concentrate on the real side of matter coz each of us can see things different and even me, one person, can see it differently in other time, so I try many techniques and I am not attached to one style of painting.."

Now she just published her first book for children (but not only!) "Black Cat in the snow" with funny paintings and it is already downloadable in ibook store. There will be a next title soon..

24 The Sublime

The Sublime 25

26 The Sublime

The Sublime 27

28 The Sublime

The Sublime 29

This Months Cover Artist

LAURA KINDT

30 The Sublime

The Sublime 31

32 The Sublime

We caught up this month with photographer Laura Kindt, a passionate snapper with a strong relationship with the lens. Her pictures take you on a journey so we had to sit down with an oolong tea and ask about her wonderful journey into the creative world.

Tell me about yourself.

I was born on 12th of August in 1991. I did my A levels in 2011. During my last years in school I played in School Theater and found out that this is my passion. From 2011 until 2013 I helped in a special-needs school and went on working as a model. 2013 I started studying German studies and Theology at the University of Paderborn. In that way I am going to take my final exams probably in 2016.

I like studying and working academically but I love working in front of the cameras.

Your work is very strong, What journey did you take through school to get so good.

In kindergarten I achieved my first role in a little play and I was totally in my element.

This feeling was enhanced in School Theater when I was 15. I found out that I love taking other roles and working in front of the cameras. It was kind of magic for me. I began working with unknown photographers and after a while my mum got me a first job for a little fashion show. After that I got some other jobs on fashion shows and shows for wedding dresses. Furthermore I obtained jobs in cooperation with designers and professional photographers in Germany.

Why do you want to go into this field? Is art a passion for you?

I love taking other roles and working in front of the cameras. I always give more than 100 percent and I’m mentally and physically absolutely present at my jobs. Modeling and in that way working in front of the camera are my passion.

Do you have a vision for your work?

The Sublime 33

I am totally aware of what it means to work as an artist. Generally I hope that I can convince people of my work any longer. I always dreamed (and I am still dreaming) of representing Lara Croft from the “Tomb Raider” game. I love that fictional character of her and in many parts of her personality I can really identify with her.

How do you think/want other people to respond to your art?

I just want to share my passion. In that way I hope that I can touch people mentally and emotionally. While I am working I express so many feelings. I hope other people can recognize them and maybe they can feel what I felt at that moment.

Do you see yourself in your artwork? How? In fact I am in every piece of it like in a TV spot or in a catalogue. But even when the clients want me to be a special type of character, there is always me in it.

What do you think your work stands for?

My work depends on what the clients want. In that case my work stands for many things. For myself my work stands for independence, inspiration, freedom of emotions and pursuing my passion.

Describe yourself in one word. Why that word?

Genuine. I am an absolutely honest and authentic person that has real emotions, fears and hopes.

What motivates/inspires your work?

Most of all great people who made the world a better place and the impact of art inspire me but also the possibility to represent and to act out my feelings. My lovely mother is my biggest inspiration, she motivates me doing what I want to be happy.

What Are you up to atm?

There are some big projects I cannot talk about at the moment, because they’re not published yet. Apart from that I went to a casting at the end of last year and auditioned for a role in a TV spot. A few days later they called me back and told me that I got the role.

In that way I was incredibly happy. This television advertising was broadcasted during the Australian Open on Eurosport in January this year. As ever I work with photographers, designers and make-upartists and I appreciate every single job.

The funniest thing about you is?

34 The Sublime

The Sublime 35

36 The Sublime

I think the funniest thing about me is my special sense of humor.

Where are you heading next with your work?

I really don’t know. It depends on my clients and booking requests.

Be sure to keep your eyes open for Lauras work. I am more than sure you will see it pop up everywhere.

The Sublime 37

COME ON IN

By Dunc

Come On In. The Water’s… Alright?

Well, this is a second-edit of this article because I had originally written it happily blissful of the nightmare that lay in wait, ready to pounce and take my wallet of happiness. A malignant, malnourished bastard crouched in the mouth of an alleyway with a rusty carpet-knife and halitosis. Three weeks in and I have a virus. Just spent two hours removing little turds from my system like squatters in an abandoned council house. How did I catch this nasty bugger? Lord only knows.

I have fully up to date anti-virus, two anti-spyware apps and I’m a careful turkey.

And yet I got stuffed. Fucking Windows.

My last dance with Windows was during the Vista era (long pause to let people shake their heads at the memory) God that system was bad. It was that which drove me into Apple’s arms in the first place but I have to admit Windows has changed for the better a little.

It still gets on my tits something rotten, don’t get me wrong. Only now it’s the minor toothache of Windows 8.1 as opposed to Vista’s feeling of an atomic nail-gun firing blunt shards of vinegarcoated iron into one’s scrotum.

The actual build went surprisingly well.

Bit faffy and fiddly in parts but it took less than three Red Dwarf episodes playing in the background to get it done. I started unboxing during “The End” and had it starting up when Rimmer cross-dressed as Kochanski in “Balance of Power”. There’s always a long, nervous moment when you press the power button for the first time after a build. Is everything connected

38 The Sublime

right? Is there definitely nothing trapped behind the main-board? But no, it fired up like a good ‘un and Windows was installed forthwith.

The monitor was coated completely in that clingy plastic and as I peeled it off I got a huge static charge off it. As I pulled it I could actually feel the charge building on me and then if I touched the table leg it shocked my tits off. Good job I grounded myself before touching the PC, it can really knacker parts with a discharge like that. Knacker is a technical term, by the way. As is buggered, shagged, goosed, naused and fannying.

The first job was removing the Tiles, Charms and Metro crap after Windows had installed. It might be good for a tablet but it’s useless on a PC. To be honest I spent a fair amount of time making Windows 8.1 look and act like Windows 7. I admit that’s a little like buying a cat and trying to make it play fetch and eat Pedigree Chum but there are many underthe-hood enhancements I would need for the machine that 8.1 can offer. If you want to do likewise, search for Classic Shell.

That makes the whole process very easy and offers many fine tweaks for making your laptop or PC look less like the Early Learning Centre.

The benefit of being a penniless brute is it took me a long time to save for the machine, giving me plenty of time to research what I was going to build. I’m pleased to say I think I got my choices spot

on. The only niggles have been a somewhat iffy headphone socket on the PC case and a weird memory problem with the graphics card which seems to be fine now. It’s certainly a quick bugger. Converting a film for using with iTunes used to take between forty-five minutes and an hour on my old Mac. I did one the other day on the PC in four minutes. Quite a jump forward.

Early dalliances with 3D software seem sprightly also, Blender, Vue and Maya all run smoothly, when I can figure out what the hell I’m doing. And, more importantly, Skyrim runs awesome too. I’ve even modded it to play without spiders, being the colossal arachnophobic queen that I am.

of convenience- it’s affordable and does what I need. OS X is a shadow of its former reliable self. Too many bugs and too many faffy features have crept in and it’s a shame. Added to that the prices of the machines now are just barmy. It’s like having a trophy wife who cheats behind your back. Expensive, unreliable and when people see you together they’ll still think you’re a bell-end.

“I keep vaguely wondering what Macs are like, but the ones I’ve seen spend too much time being friendly.”

Terry Pratchett RIP

Would I recommend Windows then? It’s a lot easier to live with than previous versions.

The layout of Control Panel is still confusing as Hell, the default appliance of the ‘Metro’ interface is unnecessary and overall I do find it too ‘busy’, but they’re more niggles than dealbreakers. I would say yes, it’s better than it was.

Would I recommend a Mac? Hmmm, tricky.

They’re REALLY well made and designed and the software’s a lot more reliable and easier to use than a PC but it’s gonna cost you. If you can stomach the open-wallet surgery that a trip to the Apple store would entail, go for it.

If you’re on more of a budget and need more oomph for your shillings then get a PC and try and build it yourself. You’ll get much more power for a lot less.

For those of you who like pigeon-holing folk, am I a PC fan or a Mac fan these days? To be honest it’s neither. Windows is a marriage

The Sublime 39

GUNS 2 ROSES

(Or how I learned to stop worrying about the present and enjoy personally localised temporal displacement). By Mr. Wild.

So I found myself stood at this bar in LA, some dimly lit den with an agreeable taint, a beer in one hand and the other with another. A whole bunch of rock types in rock gear swigged on Jack and sniffed his coke while gothic ladies in frills seeking thrills sipped their buds and compared scars. Trendy tarts in tight togs teased the triers and promoted the power of the pert and the pretty while nerds geeked out over the promise of perversion in the upcoming burlesque.

Like some fleeting dream a female vendor appeared before me, an apparition in the apparel of a catholic school girl, gliding by closer to my face than an exhalation, she knocked my drink with a transient wisp but I let her off as she snaked away into the crowd to sell her tat and cheap thrills in this melting pot of cultural renegades.

In-spite the eclectic nature of the deni's and the zen's, a common thread stitched them each to the next, everyone nodding their heads, everyone in agreement about something...this thumping beat.

This was The Troubadour, maybe around '86....a new band was belting out a new sound through the air and everyone felt good about it, and not just from the cocaine and alcohol, I was still sober, but I could feel that thrill of witnessing something new, something exciting, a sense in the air that things were about to change. We watched the stage.

Some entrancing animal leapt and swayed about, a swagger of cloth and leather, screeching about some 'Night Train', sharing some vision of unbridled debauchery, carrying us along for the ride, the beat the engine, the guitars the sense of movement, that voice like the wail of wheels on

40 The Sublime

metal.

This was some new band like we'd never seen, they had an energy, they had a rebellious edge even for the rebellious, there was a sense these guys were living on some fevered edge, teetering on the verge of destruction and riding the crest like masters of the fucking world. The guy in the top hat, some junkie looking guitarist whose face was obscured by shades and hair careened into a solo that baffled the comprehension of anyone who had previously picked up a guitar and attempted to make it wail. This guy was something else, some skill with the instrument seldom seen since the days of Hendrix.

Lost in the blur of sound and light I turned to the bar tender...

“Double Vodka and Coke please...”

He leant in close, he needed to make sure I understood what he was about to say; “That'll be £9.50 mate, is that gonna be okay?!?”

“No that's not fucking okay!!!”

NOOOOOOOOOO YEAH!!!!! That's right, I wasn't in The Troubadour in 1980's LA, I was at the Ritz in Manchester in 2015, the extortionate price of a fucking double vodka and coke pulled me from the fantasy I had been so keen to endure up until then. It had been short lived, but even upon waking from that dream the band we had walked in on continued to feed the idea to us, to use our illusion, and imagine we were back in the day of the guns and the roses.

This band was 'Guns 2 Roses', and in all honesty I think they were fucking immense. We had

arrived a little late to the show, everyone, including me, thinks it's a good idea to 'nip to maccies' before a gig, WILL WE NEVER LEARN?!?! After bloating myself out in their cathedral of gluttony we traversed the gauntlet of tramps and beggars to arrive at the Ritz about a half hour or so late.

The band was already in full swing playing Night Train, we could hear them from the ticket booth in the foyer, and to be honest I wasn't aware of how late we actually were, I actually thought they were just playing the studio recording of Night Train by the original band....nope, this was the cover band in full force, handling the material with the skill and perfection even the most discerning ears would struggle to fault.

They had somehow found a singer that not only sounded like Axl Rose, who has a pretty unique sound, but he got the look and mannerisms down to a 'T' as well. Not just him, the whole band, they looked the part, the sounded the part, I honestly couldn't fault them.

I've seen footage of the 'new' Guns n Roses live and to be honest this guy was a better Axl Rose than Axl Rose now is. Now I'd hate to say that the other members of Guns n Roses were superfluous, but really, the rhythm guitars, the bass, the drums, while it was the bands line up that came up with the material, and only them that could have done so, the re-enacting of that material could be achieved by anybody competent in said instruments with the exception of the unique vocals of Axl, and of course the now legendary guitar prowess of Slash. I've seen other bands attempt to play things like Sweet Child 'O Mine and do a fairly decent job of it until the inevitable failure of the guitarist to replicate the solo.

It's just not easy to do, there's a reason Slash is.... well....Slash, and that's his ability to play a guitar like he was born with one fused to his fucking hands.

The guitarist in Guns 2 Roses had no obvious problems replicating the solo's, going so far as to show off a little as well by adding his own flourishes, sure he isn't Slash, he didn't come up with this stuff like some melodic ejaculation, but he could replicate it in a way I've never seen anyone else properly manage outside of an already established professional player.

All in all I probably only saw the last half at most of their set, we caught Night Train on the way in, Knockin' on Heavens door, Paradise City and a few others, 'Axl' played the crowd with the confidence you would expect from the real deal and there was a sense that you were watching the original band before they really hit the big time after '87's success with Appetite for Destruction.

For fans of the band, and in particular the original line up I can't recommend these guys enough, it's the closest you're gonna get to ever seeing them if like me you were like 6 years old when they made their debut, the next time the Night Train rolls up in your area get a ticket and take a ride, Guns 2 Roses won't disappoint.

The Sublime 41

Mottled Gray

THE NATURE OF COLLECTIVISM

42 The Sublime

The Sublime 43

That age old phrase that my father always said to me was this: ‘if you want something done, get someone else to do it. If you want something done right, do it yourself!’ This has always stuck with me, and my personal stance has always been to be as independent and self-sufficient as possible. This stands as a principle for life in all its’ aspects, but is especially relevant to me musically. But none of us (unfortunately) are blessed with the multi-limbed abilities of the Hindu Deities that would allow us to do everything that we wanted to ourselves. So with that rather blatant observation, I am forced to accept that other people will need to be involved in the processes which will allow me to complete my various projects. However, in my mind there is a clear distinction between allocating tasks or jobs, and actually allowing others to influence your creative decisions: the embodiment of that classic separation between working for someone and working with them.

So with my artist hat on, I have often pondered where the balance lies between these two spheres. On the one hand, having ultimate creative control (so long as it doesn’t allow your ego to be blown entirely out of proportion – a constant risk, I’m sure) is something that musicians and artists alike cherish when they have, and lament when they don’t. However, the down side is that this only works if you are actually any good at whatever it is you are doing, and often this self-belief and uncompromising perfectionism (despite being the thing that could harbor success) is all too often an individuals downfall. Whether it’s a conflict with your record label or disagreements within the team of creatives that you work with, an inability to compromise or move from your decisions always has the potential to impact negatively. So for this to work, not only you, but also everyone who you are working with, must have an infallible trust in your choices.

44 The Sublime

Which brings me onto the flipside of the argument. If you are an artist trying to express yourself with integrity, then having lots of people jabbering in your ear (more cowbell!) can be infuriating, and completely counter productive. And additionally, everyone knows that too many chefs spoil the broth. With that said, there is no such thing as a ‘perfect’ piece of music or art, given that perceptions of these cultural concepts are entirely fluid and subjective, and therefore you can never know what kind of beneficial ideas or inspirations another human can provide to your craft. And yet, if we take it to the other extreme, it is clear that the massive manufactured pop acts (such as Beyonce or Miley Cyrus) don’t write any of their own material. Now this scenario is, of course, the true artists worst nightmare – a whole bunch of people that you have never met, making music that means nothing to you, and ultimately just using you as a front to communicate their diluted ideas, for the sake of a nice new Rolex – and worst of all, at the real expense of those peers actually trying to do something fresh.

So with those two sides of the situation in mind, it seems logical to me that the best music is done through collaboration as a collective – a permanent bunch of people who you trust to work with your projects, and who in turn trust you to work with theirs.

Because that way, you can cover all aspects of your project with ‘in house’ people that are always contactable, not working on a whole load of other projects, and who are committed to the same cause as you are.

But to be fair, there is no such thing as a perfect recipe, and as an individual who has never been part of a collective my opinions are based entirely on assumption. So with that, my next train of thought is to speak to someone who had opinions based on experience. So I did!

The Sublime 45

I got in touch with my friend CS, whose part of a nine-piece London based Hip-Hop collective, The House Of Suede. I asked if he could tell me about his experiences creating in this format, and what he thought the benefits and negatives were, as well as how he became involved with the group. He explained how the core members of Suede had all known each other throughout college, and had originally been part of an older, now disbanded collective.

It was as if the first one (used primarily as 46 The Sublime

a means of letting off steam independently from their own personal projects) had matured into this current one. And as he continued telling me the various links and ties everyone had with each other, I began to realize how vitally important communication must be with this kind of work flow, and how completely comfortable everyone must be with the situation.

However, this is where he started on the problems. Communication can be difficult at the best of times, and in particular when it comes to conceptual abstractions like music. Throw in the fact that the collective has members between Ipswich, London and Portsmouth,

and it becomes easy to imagine how this could become problematic. Additionally, he related how, due to their number, a small issue could very easily be magnified into a big one, as well as describing issues to do with schedule and time management between them. These were all practical problems but which undoubtedly affected the music.

The most interesting issue that he raised in my mind though, was that he felt that as people started making music under The House Of Suede rather than their own personal monikers, their style of music consciously changed, despite still predominantly making music individually. They started creating with a different mentality because they were aware that it would now be legitimately scrutinized by others, and so were trying to almost create a uniform ‘The House Of Suede’ sound. Now, this initially confused me, because surely a consistent style is exactly what you want from a collective, but although CS agreed, he said the problem was that people were trying to do that by themselves instead of waiting until everyone was in the same room to attempt such a feat. In his mind, this completely defeats the purpose of being a collective, and really people should be layering and splicing their existing styles into a new one together, rather than each individually morphing their sounds alone, and in some way hoping they will all come out the same.

Despite all of these issues though (and a whole load more) there were only two main things that made it worthwhile. The first and most important (which I hadn’t predicted initially) was that he was able to enjoy and express himself with his closest friends. Between them, they all share a bond of sonic brotherhood, as well as having come up together when they were young, and I feel that that is an extraordinarily privileged (and yet apparently mundane) situation to be in. The second, and more apparent positive, is that the ‘collective musical brain,’ and therefore its output of productivity, is nine times as large as it would be

otherwise. So even though numerically there are a larger number of cons, the pros still far outweigh them.

Now, this is all very interesting to hear and to think about, but in the same way that this whole article has been written from my personal perspective, this insight into The House Of Suede is entirely CS’s. It is very useful to gain his perspective and gives me lots to think about when choosing how best to progress with my own project, but, as is the case in many scenarios involving the creation of music, there are no rules, no rights and wrongs, and very little consistency from one person to another. I never had a steady group of people that I could create with and eventually collect into a body, and really, my entire entry into music has been from a lone standpoint.

So my only conclusion from all of this, is that when it comes to music, perhaps it is not always best to follow a pragmatic and logical path. I have done nothing but love every second I’ve traveled down my pavement of creativity, and up until now, I’ve never seen the benefit in questioning what I do. But as things have progressed and moved forward, that unquestioning, has come into question.

Collectivism has its good points, but also a lot of bad, and creates an incredible amount of complexity that wasn’t there before, but if the music comes out better because of it then it’s easy to see why it would be worth the compromise. But truly in my opinion, when it comes to these kinds of things, there is only one real way to find the balance that you need and decide how to go on: trust yourself, and know that when it feels right…do it!

The Sublime 47

A Poem By Mr. Wild

FARENGITIS Doctor what be wrong with me, My face is numb, I cannot see, My hands feel weird, my legs won't move, I feel as though I'm in a booth, My friends stand here right next to me, I see them though I cannot see, I ask them please, I beg, I pray, But then I don't know what to say, Each and every pointless word, Stumbles out all warped and slurred, And all my body throbs and sweats, I shake, I ache, my mind it frets.

Now calm down just a moment lad, You really do not look so bad, Your temperature's about the norm, If not perhaps a little warm, But nothing to concern me here, Nothing to promote such fear, Physically you're right as rain, So where exactly is the pain?

My chest oh Doc I feel it sinking, Everytime I'm with her drinking, Feels as though I've punched a hole, Right on through my fucking soul, Oh my guts, they wretch and churn, Oh my fevered thoughts they burn, Makes the songs I sing so hushed, Makes my heart feel gently crushed, Don't you Doctor, don't you know, Don't you know I want her so?

My son please let me stop you there, I have a thought I'd like to share, With all the symptons that you list, I think I've quickly caught the gist, In your heart you know it's true, You want a girl that don't want you,

48 The Sublime

Stop whining like a desperate dick, And go and find some other chick!

Now pull yourself together lad, Things really cannot be so bad, There's lots of lovely girls in heat, Out there now for you to meet.

But Doc it's really not that easy, Oh my god I'm really queasy, I can't just flip a switch to 'off ', I can't just fucking lose the cough, Everytime I see her face, Every curve and line I trace, Every laugh brings joy and dread, I wish that I was fucking dead.

Now stop again please Mr Wild, I wish you wouldn't swear my child, It makes this process unrefined, And hard for me to still be kind, Now what I've said to you before, Is out there now there's plenty more, Go and find the girl for you, Somebody nice, somebody new.

But no-one really can compare, She's every thought, she's everywhere, It pains me Doc cos I am sure, She is the cause, she is the cure.

Oh Mr Wild please do pipe down, “No-one compares.� you silly clown, Do you know just how you sound?

Several pennies short a pound, In the world at large today, About three billion girls be they, And what you're trying to tell to me, Is none of them compare to she?

Yes you goddamn fucking shit, I tell you, tell you, TELL YOU IT, Not a single one I'm saying, Is as worthy of me laying.

How dare you use that awful tone, Then help me you old fucking crone!

Well I tried to tell you what you need, No you fucking didn't!

Right that's it I'm not being in a rhyme with you if you're going to keep swearing at me.

Fine I don't want you here anyway, you're no fucking use.

That's it I'm leaving!

No.....wait......I'm sorry, just listen to me tell you about her a little more or something.

No Mr Wild I don't care, she's just a girl, go and get over it....

Wait......

What are you doing?!?!? get off me........

No, just listen.......

No Mr Wild let go of me, I'm leaving....

Wait just look at this photo, you'll change your mind I swear.....

I know you swear Mr Wild, you swear too..........hmmmmmm, yes, erm, hmmmmmmm............so this is the girl then?

Aha....... hmmmmmmm, by jove that's............and......and those.............and my gosh! look at the way........that wonderful waist.........erm, tell me Mr Wild do you have anymore?

Sure, we can find some more, you'll see......

Well yes, yes I suppose I should.....er......for your sake of course.....

So now we know what's wrong with me?

You've seen the girl, you know, you see?

I do indeed and yes it's true.........

I now have Farengitis too.

The Sublime 49

A Poem By Mottled Gray

FILTH She said she wanted sex.

You think that’s all that’s left between you.

Spiritually inept, You seem to be dissatisfied.

Like physical release is so dishonest, But you promised that you’d never leave.

It seems like either way your lying Right beside her, Every night, so tenderly Her touch is deeper than your skin.

But will it be enough to hold this spiral, Bridge this gap that creeps between, That pries your eyes from hers, That knots your tongue And suffocates those words.

Seems like those butterflies have morphed Their jagged wings now pound your turgid gut.

The hurt is not enough.

You cannot bear the thought: And so your hand will touch her thigh, And slowly work it up, Until those cries of pleasure agonise your mind You will not stop Until those lips are lush And flooded with your fallacies of lust, That love imaginary That she, believes, is real.

And as we fuck: Your mind erupts with guilt.

Sensation moulded silence Covers everything.

Our cups are filled, But you Just stew In self-inflicted Filth.

50 The Sublime

The Sublime 51

AN ORBIT OF MANCHESTER

A day out in the city without touching the centre By Luke Berryman.

When I initially discussed the idea of reviewing a gallery collection with the J Collective (our esteemed editors), that was literally all I was planning to do: review a single collection. I was planning to attend a gig in Manchester anyway (which I will not be reviewing here as I feel quite unqualified to talk about death metal: it was sweaty and fun, let's leave it at that) and thought that checking out a few paintings in between my usual trips to the Arndale food court and the Gay Village couldn't hurt. The Js challenged me to step up from this; they wanted more. Go to more galleries, they said.

Detail your whole day. I decided this was a wakeup call – how many times had I visited the Rainy city, the birthplace of The Stone Roses, Oasis and ecstasydrenched clubbing, the former industrial giant of the North, without ever leaving the cozy consumerist confines of it's bustling centre? Far too many, I decided.

It was time to branch out, and see what was really on offer.

My day began by making a small difference to my routine, by alighting at Deansgate instead of the usual Piccadilly.

Deansgate is an almost foreign country to me, despite my adventure to the nearby Manchester Central for Comic-and-pony related events. Not all trains even stop there. Fortunately mine did, and from the plan I had laid out, my first destination was supposed to be the Castlefield Gallery, which sadly turned out to be shut.

Taking this as a sign, I decided to use 52 The Sublime

my carefully considered plan as instead merely a guide and set off into Castlefied, passing a very tempting pub offering a Gin of the Day and eventually by chance coming across the Museum of Science and Industry, or MOSI. Founded in 1969 and moved onto it's current site at the former Liverpool Street train station in 1983, MOSI is an exciting museum with both a local and global scale, which I had last visited many years ago.

As I entered MOSI's Air and Space Hall I was immediately transported to a place of child-like delight, admiring the many planes, gliders, gyrocopters, cars, motorcycles and space exploration devices. Among the displays on offer was a variety of plane engines throughout the ages, showing the evolution of their complex designs and myriad parts, including a Renold chain which has been used in the mechanism of planes from 1909 to the present day. There were sports and leisure biplanes, tiny early passenger planes, and even smaller home-built flying machines. There was also the nose of a modern day behemoth of a jet liner, putting the scale of how far aviation has come very clearly into perspective. There was a huge recon plane based off the Lancaster bomber, including bunk beds and a chemical toilet. It also had Dougal from The Magic Roundabout painted on the side, which was rather charming. There was also a Japanese kamikaze piloted bomb, the Little Nellie autogiro from You Only

Live Twice and a very impressive Belvedere military helicopter, including a platform for viewing the cockpit and a helpful diagram of the various switches controlling various rotor blades.

On entering the main MOSI complex I explored the Textiles, Revolution Manchester and 3-D Printing exhibits, as well as the Experiment area, which was predictably full of very excited but thankfully not homicidal school children. The textiles exhibit showed how the industry shaped Manchester in the past, and how new developments continue to come out of the city. Cotton from Manchester used to be exported around the British Empire, and the looms and dying patterns on display reflect this global sensibility. The newer developments in the industry had many interactive elements to demonstrate how they work, including a weaving device and an experiment to show how much air is pushed through various kinds of fabrics. There were examples of detergents, polyester, nylon and waterproof materials. The Revolution Manchester exhibit, meanwhile, displayed a semiconducter from CERN developed from Manchesterbased technology, mass spectrometers and a selection of electron microscope displays.

The 3D Printing Exhibit was perhaps the most intriguing to me. 5.2 million things were created by 3D printing in the UK last year, with the technology being employed in art, design, consumer goods and big industry. Moving parts can be molded in one piece, as demonstrated by a complex clockwork birdcage and car engine parts.

There was an incredible variety of objects on display, including miniature landmarks, toys, architectural studies, artificial limbs, surgical implants, shoes, and even a discussion about how in future the technology could be used to craft replacement organs. I found this all stunning and very promising, especially with the technology having become commercially available so fast. I also enjoyed

the Experiment part of the museum a lot, conspiring with the various hyperactive school creatures around to explore the principles of friction, energy absorption, carbon footprints, turbulence, viscosity and more. There were fun devices to show how earthquakes knock over buildings and how tornadoes form. It was both educational and light-hearted, and even I managed to learn a few things.

From MOSI, I headed to the Artzu Gallery in Spinningfields, getting a bit lost on the way but eventually finding amidst the mass of high-end restaurants and shops that make up the area. This very small and intimate gallery was a bit of a hidden treasure for someone like me who is used to much larger galleries like the Tate. I was the only person in there so I got a good amount of time to both admire the artwork and speak to the man on duty. There were works from artists including Tim Garner, Cathy Read and Matt Wilde, and a selection of books containing works from other artists such as Lucy Glendinning, who designed the Diving sculpture in Blackpool.

I found the examples of her work that the gentleman kindly showed me to be fascinating, showing an extreme fluidity of form which transforms the human body into smoke and water. I actually got to have a really good discussion with the man on duty about the artists, their themes and their inspirations which I found much more informative than reading words on a gallery wall. In Garner's photo and mixed media works I saw a sense of the passage of time, a sorrowful look at nowvanished local sights enhanced by use of materials like concrete. Read's watercolour and acrylic pieces had a contrasting sense of urban fantasy, with colour and beauty in great swirling patterns against a background of Manchester buildings. I found it reminiscent of the many dyeing patterns I'd already seen at MOSI, perhaps a callback to this bygone era of the city.

The Sublime 53

Wilde's work I found playful and urban with a sense of a hip-hop Beryl Cook, poking at the idea of the rat race and at the brand awareness that swamps our culture. His “Piccadilly Sandwich”, assembled from newspaper and bright trainer images, was particularly great to me.

From here I had become rather hungry and decided to grab a burrito from the chain Barburrito on Deansgate, and headed for the Northern Quarter, spotting a sign for the Centre for Chinese Art, which I decided would be my next destination. The building seemed very chic and modern, with the cloakroom downstairs emblazoned with Chinese characters made up of the logos of various brands made in China, showcasing the link between East and West that the centre embraces. Their exhibit which I saw was largely video-based, entitled “Stately Shadows”. The main piece I watched was a frankly unnerving animation called “Year of the Dragon”, apparently based on the previous year of 2014.

Not overly familiar with the day-to-day of Chinese history, I was nonetheless intrigued by the piece's stark and unsettling presentation. Communism was presented as chaining the dragon of Chinese tradition and wiping out ancient and venerated elements of culture. An orchestra was overcome by an angry mob, and scenes of a riot in Romania were played alongside Western cartoon figures sneering and Chinese Communism ruthlessly swamping the world with a sea of words. The other main exhibit, a rare 3D art film, presented an odd mixture I described as a Magician's party featuring dead crows. It was a strange, alarming piece, using a style reminiscent of illustration, with a silent cinema vibe and tableau-like visuals.

The 3D was very effective, especially as miniature planets revolved and monuments arose. The whole piece was set in an artist's workshop, giving it an air of assembling propaganda and myth alike, with something of the feel of a sweatshop too. It showed the power of paper and regulations, of cults of personality and the dominance of myth over fact in the way history is told.

54 The Sublime

From here I set out into the main part of the Northern Quarter, aiming for Afflecks Palace and Forbidden Planet but stopping off to check out the Richard Goodall gallery shop on the way. This very modern and hip store sells a variety of bespoke cultural, fanboyish good including chic remakes of classic film posters. Their displays are bold, striking and alternative, with famous movie shoes and spaceships being some of the themes they crib on. They also sell a huge variety of chibi mascot figures and many very striking band posters. I particularly liked a poster of Boba Fett in the style of Communist propaganda.

I also decided to pop into the nearby Home Sweet Home for a slice of cake, which was absolutely huge! I ordered a delicious banana and oreo shake and sat with my monstrous cake admiring the quaint, eclectic café atmosphere. Home Sweet Home seems like a nice place to mingle and meet, with a more vintage sound playing and a really delicious menu. From here I checked out Afflecks Palace, which remains an institution and a veritable bazaar of everything alternative you could possibly want. New stuff included a makeup stall, punk couture and customisable T-shirts.

Overall I would say I greatly enjoyed my day in Machester. Next time I plan to check out the Manchester Art Gallery and the Whitworth, and find more places to eat and drink, because those things are just essential in life.

The art of

HEDLEY WIGGAN

The Sublime 55

Hedley Wiggan’s art is daring with a multi media take on a neo classical style. We where stuck hard by the talent and diversity in each piece when we found them in the world of the tinterweb. We had to get in touch and let this amazing artist introduce themselves so you can witness the same marvel we did late on night in the Sublime office.

I started painting (sculpting) around 2010 I'm completely self taught, I used to do a bit of drawing at school for friends who had not finished there homework on time and needed a particular thing doing ie bird frog or something from my imagination, I entered a drawing competition when I was 8 at school the prise was a box of chocolates, I entered in order to win the prize to give to a girl I was sweet on at the time, I was disqalified as the teacher didn't believe me and accused me of tracing my drawing, at a young age I was upset but now I look back and see it as a compliment, I've had no education it's been tough going being a artist as people always ask if I've been trained but I say it as to be in you from the start practice and the love for what you do being paramount, I went into this field as I found people love what I create,and the passion as always been with me weather I'm out walking or just taking pictures, many dreams I have also influence my work.

I went into this field as deep down I've known I really enjoy it its never left me I've had dreams about art I see art were ever I go and sometimes when I'm asleep I wake with an idea dreams are a great way of getting some of my ideas, people have compared me to other old artists as I tend to do my own thing sometimes I tend to look them up I dont often though as I feel it can influence your own creativity, If I had to describe myself in one word it would be Etherial, I love what it stands for poetic mind delicate light, I do see myself in my work romantic 56 The Sublime

sometimes a little gothic at times, The things that motivate me are things of everyday life walks with nature, water romance night and day and all kinds of weather, At the moment I'm preparing for exhibition in Paris it's been a busy couple of months but enjoying the challenge and the positive energy it creates, The funniest thing about me is my sence of humor love playing tricks especially the scary kind, I'm just heading forwards I've met some great and wonderful people along the way and made some great friend with my artwork it's a great way of communication I feel, I now have friends in Scotland, Paris and the states at times it doesn't quite sink in feels great,

The Sublime 57

58 The Sublime