Object of Dreams Issue 6 by Object of Dreams

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CONTENTS 05 WE LIKE / WE LOVE 08 RAMBLIN’ MAN

14 BOY MEETS GIRL

25 STUDENT HAUNTS 30 LUKE DROZD

33 THE MANY AGENDAS OF THE PRIVACY WAR 34 CONTEMPORARY ART CENTRES

36 FROM THE ASHES 38 YUCK

39 EMILY AND THE FAVES 40 PLEASE THE EARS AND PLEASE DON’T 42 HOST & MALMASION

WWW.OBJECTOFDREAMS.CO.UK

WELCOME Editor’s letter

It’s been somewhat of a quaint summer over at the OoD HQ, as we delight in everything Liverpool has to offer. We more than revelled in all the festivals gripping the city, as well as the exciting events surrounding the opening of the new Museum of Liverpool. Writing this in the smouldering heat that has engulfed the city recently (by the way if it’s raining when you this read, sorry!), as articles, images and magazines scatter the floors of our city centre flat/office, I look through our window to the amazing Liverpool skyline with a pride befitting our local magazine. In this issue, we are offering a smattering of culture, fashion, music and art pieces for you to enjoy in the late Summer. Looking back and forward, as Liverpool twins itself with Memphis, we coincidently visited former La’s founder and artist Mike Badger at his eclectic home-based studio. Curious about all that Honky Tonk business, we talk to him all about music across the pond, SXSW, the La’s and his undying love for Hank Williams. We would also like to say a sad farewell to the team behind www.artinliverpool.com, Ian and Minako, they have been a guiding light for Liverpool’s art scene with a website providing the most indepth coverage to the city’s art community. After operating tirelessly for seven years, the site will will wind down in September. We hope to continue their tireless work through our own website and publication. Object of Dreams remains Liverpools top Art/ Fashion/Culture magazine. Finally, we really need to thank everyone again if it wasn’t for the generosity and amazingness of so many people each issue would never make it out of our heads to your hands.

Editor Dina Karim (dina@objectofdreams.co.uk) Creative Director Louise Dalrymple (louise@objectofdreams.co.uk) Contributors Sales and Marketing// Kathleen Kearney Words// Dina Karim, Alexander Court, Sebastian Gahan, Chris Hogg, Kenn Taylor Illustration// Laura Kate Chapman Photography// Matthew Thomas, Mark McNulty, Sebastian Gahan, David Smyth, Rob McGrory, Chris Hart Fashion// Louise Dalrymple (Fashion Stylist and Shoot Co-ordinator), Faye Webb (Stylist’s assistant) Kate Smith (MUA) Danielle ‘Dee’ Bisson @ Hooka (Hair) Design// Louise Dalrymple, Dina Karim, Heather McGill, Siobhan Kerrigan Sales and Marketing// Kathleen Kearney On the Cover Photography// Mark McNulty Styling// Louise Dalrymple Make up// Kate Smith using Dermalogica & MAC Hair// Danielle ‘Dee’ Bisson @ Hooka Thanks Impact Models Agency, John Lewis, Topshop, Boudoir Boutique, Resurrection, Weavers Door, Cricket, Lost Art, Think Publicity, Hooka, Ubiquity PR, Agent Marketing, The Bluecoat, Medication, Pillbox Vintage, Abandon Normal Devices team, Carly Smith, Curious Orange, Mello Mello, Damo Jones, Another Media, Custom Print, Adam Cooke. Special thanks to Mark McNulty, Sebastian Gahan, Alexander Court and Matthew Thomas for their continued support. Get involved

Every effort has been made to ensure the accuracy of the publication. No part of this magazine may be reproduced, stored in a retrieval system or resold without prior written consent of the publisher. All opinions expressed are those of the writers and advertisers and not necessarily those of Object of Dreams magazine. Object of Dreams does NOT advocate the killing of animals solely for fashion. Object of Dreams recognises all copyrights contained in this issue.

Reach our young, professional audience by advertising in Object of Dreams magazine. We have the most affordable advert prices in Liverpool and distribute across Merseyside. Contact enquiries@objectofdreams.co.uk

WE LIKE/ WE LOVE

We Three Club posterroast.com wethreeclub.com

This husband and wife design studio have designed gig posters for Graham Coxon, Fucked Up, Kurt Vile and so many more - and we love their awesome poster designs! For Queens of the Stone Age (pictured) WeThreeClub went for a 60s inspired old film poster style with blend and dark charcoal overlay. Extremley limited edition of 50 - signed and numbered. ÂŁ25.

Style Wardrobe

stylewardrobe.co.uk Style Wardrobe is an amazing online boutique created with the philosophy of bringing the customer the latest trends at an affordable price - to keep your wardrobe stylishly unique! We love every label on this unique website, bringing together the best of boutique fashion - online shopping at its best. Carly Smith, from Liverpool, set up Style Wardrobe after completing a degree in Fashion and Brand Promotion with Retail Management. Not only offering amazing fashion styles, get some fashion tips from her blog, make friends on Facebook (StyleWardrobe Womenswear) to keep up with their ideas and techniques. A beautiful We Like/We Love find.

Doppelganger: Images of the Human Being

Stanhope Street

A combination of stunning and bizarre photography, Doppelganger captures the kooky and grotesque visual identity of human beings. The book is a melody of images, from torsos woven from strips of flesh to a woman with unimaginably long multicoloured lashes, this book will awe (or nauseate) readers - definitely a coffeetable read then. ÂŁ37.50.

This little city centre gallery, tucked away behind Parliament Street, is a gem offering thought provoking and tantalising art with a new exhibition every month of the year. Their private viewings are also a must, usually with music, food and wine. The September exhibition is a joint show from Liverpoolgallery.com artists and photographers, including the great works of James Lovett (pictured). In October, Stephen Collett showcases his latest collection of cityscape paintings.

By R. Klanten, S. Ehmann, F. Schulze

The Gallery

WE LIKE/ WE LOVE RUNWAY

TheRUNWAY Runway Ball:BALL – THE Vogue JUSTICE VOGUE Death By Glitter PERFORMERS GUIDE The Black-E 2010 1 Oct

House of Suarez returns with its biggest vogue ball to date, which sees vogue houses from across the UK battle it out in a number of outrageous categories including ‘erotica’ and ‘bizarre’. With dazzling performances, glitterastic costumes, gorgeous participants and tantilising choreography. This will be a night to remember - literally you will be dusting glitter specks off of you for weeks! www.houseofsuarez.co.uk

On The Waterfront: River Festival Pier Head 8 - 15 Sept

The River Festival returns for the first time since 2005 with a massive celebration of all things nautical in Liverpool. From historic tall ships, cruise liners, fireworks on September 8, and a free Beverley Knight concert on September 10, enjoy the free festival and celebrate our waterfront. Throughout the festival the waterfront will come alive with acrobatic displays, stunning street theatre a bistro village and farmers market. Don’t miss the return of the Mersey River Festival, bringing you six days of maritime madness for the final installment of On The Waterfront 2011. www.liverpoolonthewaterfront.co.uk/8-15-sept

Harvey Nichol’s Pop-up shop Liverpool ONE 1 Sept - 31 Dec

To say we were disappointed when years ago Harvey Nic’s decided not to set up shop in Liverpool would be an understatement, so the opening of the luxury food market pop-up shop in Liverpool ONE (next to Whistles and Coast) has got our pulses racing. The pop up shop, opening September 1, will run ‘til Christmas selling hampers and gift sets. Me thinks, maybe, just maybe if we wish hard enough, this might be a dry run to see how the super-luxurious, can’t-afford-to-buy-just-look, shop works in Liverpool.

Kasabian: Velociraptor! Out Sept 19

Ooooooh, the excitement is on a scale of, well actually there’s no way to describe it. The follow-up to the acclaimed West Ryder Pauper Lunatic Asylum, Velociraptor! is already causing a stir with the release of Switchblade Smiles and the title track. Both tunes are raw, and sound unpolished but only in the way the Leicester lads could pull off. Velociraptor! is a major leap forward from Britain’s biggest band.

Romeo and Juliet St George’s Hall ‘Til 11 Sept

Photo courtesy of City Central BID

Not only is Lodestar Theatre Company’s Romeo and Juliet going to be a vivid, bold and beautiful production, but also one of our former classmates is the star of the show. Shakespeare’s most famous love story is the centre piece of the Liverpool Shakespeare Festival, which also features a unique twist on Richard III and youth arts projects such as Breathe, Wake, Belong, based on the history of gang culture in 19th century Liverpool. Lodestar has been running the festival since 2007, and has championed working with local artists. www.lodestartheatre.co.uk

Roger McGough: A Work in Progress Crosby Civic Hall 15 Sept, 7.30pm

Part of the Sefton celebrates writing festival initiative - an evening to amaze and delight! As well as reading from his recent popular collection, That Awkward Age, McGough will be trying out new and unpublished poems on an innocent and unsuspecting public. Followed by book signing. £16. www.seftonarts.co.uk

Liverpool Design Festival Various Venues 6 - 9 Oct

Liverpool Design Festival is a vibrant programme of design related events. At the Liverpool Design Show you can browse and buy contemporary design direct from over 75 independent designers including fashion, jewellery, textiles, home wares, furniture and accessories. Stephanie Walker will be exhibiting her unique fashion designs (pictured). The De Montford graduate work primarily lies within creating large scale sculptural pieces which can either be adorned on the body or stand alone accessories. There are also public workshops, catwalks, installations and exhibitions. www.liverpooldesignfestival.com

Batman Live

Liverpool Echo Arena 7 - 11 Sept

Bold Street Festival Bold Street 24 - 25 Sept

Bold Street festival is back for its fourth year, and has now been extended to cover both days of the weekend. A celebration of independent trade in Liverpool, brought to you by the Bold Street traders. From exhibitions, arts and crafts, rickshaws taking you from Liverpool ONE to Bold Street, drumming and Samba school, support the lovely independent shops by partying and shopping.

For the first time in DC Comic’ history see Batman as you’ve never seen him before, in an all new, live action adventure set to take the world by storm. Based on an original story being created exclusively for the show, Batman Live is a theatrical extravaganza of thrilling stunts, acrobatic acts and illusions - this will make your eyes pop, your head daze and yes, want to go back to watch again wearing a cape and mask. Totally authentic, bold and awe-inspiring, Batman Live will be a completely new way to experience the world of Batman. This is one adventure you do not want to miss! £20 - 45

Museum of Liverpool The museum demonstrates Liverpool’s contribution to the world, the city’s global significance through its unique geography, history and culture. The galleries show how Liverpool became the second city of the British Empire, the people of the city and its roots in music. From its sweeping staircase, the building and its stunning views are the real highlight though. Although the museum opened in July, new galleries will be opening in the Autumn/Winter.

RAMBLIN’ MAN “The best of music has to be honest and heartfelt - at its heart it has its troubles, trials and tribulations.” Mike Badger

From the backstreets of Liverpool co-founding the La’s to the country music of America’s Deep South saloons, Mike Badger’s journey through music and art evokes the spirit of Liverpool at its core. Mike’s twinning of honky tonk and rockabilly, art and music, Liverpool and the Deep South, has become Liverpool newest trend as an exhibition, a city council initiative and an album are all launched in 2011. From the early rock ‘n roll of Memphis to the birth of The Beatles, from the cotton plantations of Tennessee to Liverpool’s port there is a deep interconnecting history that is in turn challenging and vibrant. The Liverpool and Memphis linked cities initiative, Rock ‘n’ Soul Mates, supported by the city council, reflects the shared history and a culture that forms the foundations of a unique and fascinating relationship. Venues in both cities, including the Beatles Story and Graceland, are linking up to encourage tourists to explore the connections whose music and history have helped to shape the world. Coincidently, The Bluecoat is also showcasing the Honky Tonk exhibition, featuring amongst many other artists art work by Mike Badger. The exhibition draws similarities between Liverpool, Austin, Memphis and other Southern cities. Artists from both sides of the Atlantic and beyond bring together art, music and the honky tonk, providing a contemporary response through painting, video, photography and installation. Infused with irony, humour and playfulness, the show explores pleasure through language, behaviour and the DIY nature of entertainment. Also included is archival material provided by local country fans, reflecting a fascination with cowboy culture, Western films and, naturally, music. It is against this backdrop that I travel to Mike’s home/studio, in a leafy suburb of Liverpool, and meet a man reminiscent of Johnny Cash in style with the voice of a Scouser, with one foot in Liverpool and one in America’s Deep South. Mike Badger is a musician and artist, who co-founded The La’s in the early 80s and went on to form the bluegrass and country music band The Onset. Musically, Mike has been a constant presence in the city moving onto The Kachinas in the 90s. Country and rock ‘n roll has always been at the heart of his music, currently his band Mike Badger and The Shady Trio is expected to release an album this year. “I’ve been into country music since the late 80s. Country music is just basically Celtic music, Irish and Scottish descent, which has just been transformed on another continent, and Liverpool is as much as a Celtic city as you can get in England. I like country music because it wears its heart on its sleeve. The best of music has to be honest and heartfelt - at its heart it has its troubles, trials and tribulations. “My biggest influence is Hank Williams. Hank is to me country music, there’s a real humour in his songs real heartfelt, but he got the ideas for his songs from comic book as he was semi literate and he was

completely rock and roll. He toured in his little case he carried; he had a clean shirt, a bottle of whisky and a colt 45. But, for rockabilly, which is where my heart is really, the king of rockabilly is Charlie Feathers and he’s the real deal. He was signed to Elvis record and he was in the studio when Elvis recorded Baby Let’s Play House, and those stammering ‘Baby-Baby-Baby-B-B-B’ is all what Charlie Feathers does and always has done. Johnny Cash actually said that Charlie was a very unacknowledged force in those early recordings.” Honky tonk is both a style of music, as well as the bars that line the off the beaten track roads in southern US states. Perhaps the most ‘classic’ country sound, honky tonk is a style rich with twangy vocals, moaning guitars, and lyrics that come from the heart of a man in love or the dark tale of a man lost - as heard from Hank Williams’ Ramblin Man to Hey, Good Lookin’. The style of music, developed in the late 30s, was predominant in the subsequent decades, although losing some of its popularity as the sound of music moved in the 50s towards rockabilly (a blending of honky tonk country with rhythm and blues), it remains for many musicians the parent of modern country and rock music. Honky tonk bars are also shorthand for beer-joint bars, serving hard liquour, a typical southern bar complete with cowboy hats, Texanranch paraphernalia and a line-dancing, cowboy-boot stomping dancefloor. In the 1950s and 60s, pubs along the Liverpool dock road were the equivalent of the honky tonks you might have found in Texas or Tennessee. Liverpool has long had a fascination with cowboy culture, in fact Buffalo Bill visited in 1891, and in the 1950s Roy Rogers stayed at the famous Adelphi Hotel with his horse, Trigger. “Like Charley Feathers said: ‘You should be able to record the sweat of a man. The thing with honky tonk is that’s it’s never style over content; content and style and guts and feeling that’s what music is. With The Onset and The La’s we were in the trough here in Liverpool, in the middle of the Thatcher years, and the music climate was terrible as well; it was all haircuts and synthesisers. The La’s kind of reintroduced old rock ‘n roll back into music, it elevated it out of its recess. “But, The La’s band wasn’t the big enough for the both of us like they say, it was going in a direction where I wasn’t that fussed if I was part of it and obviously there were personal politics as well but the stuff I did in the band was more rockabilly influenced and Lee was much more English 60s influenced and for a while it balanced out. “I tried to carry on reintroducing rock ‘n roll with The Onset - we were the country’s arguably first alternative country music. We were talking a lot about political things because I was always into The Clash and we had a fundamental duty to be proactive in the things we said because people were just leaving Liverpool in floods since there was nothing here. 9

“We used to play in all these old pubs in Liverpool, we would play The Bow and Arrow in Huyton, The Hillside on a Sunday afternoon and we had a residency in The Queens in Bootle. These were tough places, but if you play The Bow and Arrow you can play anywhere, it just doesn’t faze you. “Although The Onset had an album out in Probe, at the time it was quite frustrating, in the late 80s, early 90s, because we were getting all these great reviews but we couldn’t get a major deal. I look back now and laugh because The Stone Roses and the acid house thing was happening and we were playing Hank Williams. You couldn’t get further away from what was actually happening in the music world.” Liverpool’s links with the Deep South remain as strong as ever, as musicians like Mike cross over the water to find new meaning to their music, new definition at festivals like South by SouthWest (SXSW), held every year in March, in Austin, Texas. SXSW Music is arguably one of the largest music festivals in the US, with more than 2,000 performers playing nearly 100 venues in the city, it is a mecca for the music buff. “When I got to Austin it was just everything I imagined it to be, SXSW to me is like Glastonbury in Liverpool, in Spain. There’s electronic bands from Japan, heavy metal bands from Finland all playing in all these different bars with some really good buskers and it’s just insane. It really turned around for me when I was asked to showcase in SXSW. I’ve never had a big record deal but I’ve done a lot of records on independent labels, and I’ve got my own label Viper, with Paul Hemmings and you do these things and you don’t realise how far the ripples go out. “I met Matt Gardner at the showcase in SXSW, and we went on to form the Nashville Liverpool Underground Medicine Show. While we were out there Mark McNulty shot a video of us. It was really because of Mark that it consolidated over there, because he really wanted to film me over there.”

Mark McNulty is a long established Liverpool-based photographer, who has been working with moving film the past few years filming the city’s country, blues and folk scene - all available to watch on his website Routes Jukebox. Ashtrays & Tables, currently exhibited at The Bluecoat as part of the Honky Tonk exhibition, is his first complete short film that traces the journey of Mike as he travels to Austin and Nashville to play country music and form a band. “With the Nashville Liverpool Underground Medicine Show we did two tours one in the UK and one in America. Funny thing was when they came over to play in the UK, I got Barry from the Loose Moose String Band, on the banjo and guitar, Chris on the bass and Ian Laney, who’s in Tramp Attack, on drums. We went back to Austin last year and when we came back we left the Americans over there. We ended up putting together Mike Badger and The Shady Trio - it’s mad that I had to go to America to get a band of people from my own backyard.” It is not just through his music that Mike has made a name for himself, he has also become a well-established artist and sculptor. His amazing metal sculptures have appeared in various exhibitions across the city, he designed Space’s ‘Tin Planet’ album cover, and worked as the Artist in Residence at ITV Granada. Last year, he was commissioned to create a Beatles-themed sculpture to celebrate World Beatles Day, which is permanently on display at Cavern Walks. It is an amalgamation of reclaimed musical instruments associated with The Beatles, including a vintage Zenith guitar donated by Mike himself in honour of Paul McCartney who wrote some of his earliest hits on a similar Zenith guitar of the same era. “I just started making stuff out of tin cans and it was something I did when I wasn’t touring, or in the studio and it was literally I woke up one morning and I was making a living as a sculptor. It was bizarre but my old friend Tommy Scott, from Space, had a lot to do with it. After the album Spiders, which was a big hit, he needed a title and artwork for his second album so he came round to the studio and he asked if I would do the cover for the album. He saw a board on my

studio with ‘Tin Planet’ written on it, which was a super-eight movie I was going to make with Paul Simpson, and that’s how he named the album. Then the record company really liked my stuff and I worked for them for six months doing their single covers, their album covers and their music videos. That gave me a real platform leading to TV adverts, so the next thing I knew I was known as a sculptor. “A lot of my artwork is inspired by my music, I’ve always made them simultaneously. If I wasn’t making music I would be drawing in my sketch book, also whenever I travel or go anywhere I collect things, things like bottle tops, beer cans, labels and little artefacts then I make assemblages. So when the Honky Tonk exhibition came along, it was just everything for me it was art and music, and especially my type of music.” Weaving his way through art and music, each influencing one and another, we end the interview by taking a tour of his studio (a shed in the back of his home - true rockabilly style). Musing over his vast collection, barely able to contain my gasps and wide eyes, we talk more about America’s Deep South as I tell him of my plans to travel the southern states and he recommends the best spots for music, food and honky tonk bars. In a studio filled with art and music his last gesture to me, as we chat about the blues of Mississippi John Hurt and the folk inspiration from Leadbelly, is to pile on my hands a collection of CDs I “really have to listen to.” This is Mike Badger, a collector of music and a man ready to impart his knowledge of music past to those willing to listen. The new Mike Badger Album titled Rogue State is to be released on Viper in November, 2011.

Words and Interview by Dina Karim Portrait photography by Mark McNulty Photography of art collection by Matthew Thomas

HONKY TONK

The Bluecoat Until 18 September

Honky Tonk is an exhibition that investigates the country and western aesthetic found both in the music and popular culture of Liverpool and the United States, the original home of the honky tonk. These traditionally rough establishments offer cheap drinks, food, live music and dancing for a working class clientele and have over time been immortalised by iconic songs such as Hank Williams’ Honky Tonk Blues and Gram Parsons’ Close up the Honky Tonks.

Trish Simonite’s photographs famous Texas honky tonks alongside well known Liverpool pubs such as Smokey Mo’s and the Jacaranda. The hobo-inspired portrait drawings by Texan artist Bruce Lee, is also Bruce’s first UK show.

Henry Horenstein is a professional photographer and author who has a vast collection of Honky Tonk portraits. Mike Badger, Ed Blackburn, Linda Blackburn, Derek Boshier, Jim Burton, Randall Friedman, Steve Hardstaff & Neil Morris, Henry Horenstein, Norman Killon, Bruce Lee, Nicki McCubbing, Mark McNulty, Cruz Ortiz, Trish Simonite, Barry Worrall, Chen Xinpeng and Wong Hoy Cheong. Photography by (top-bottom) Henry Horenstein, Trish Simonite and Bruce Lee.

I 20% Student Discount Available All Day, Every Day

BOY MEETS GIRL

Photography // Mark McNulty Styling // Louise Dalrymple Make up // Kate Smith using Dermalogica & MAC Hair // Danielle ‘Dee’ Bisson @ Hooka Stylists Assistant // Faye Webb Models // Charlotte and Keisha @ Impact Models Agency, Felicity, Louise & Dominic. Location // Casting Factory 14

Charlotte wears Top Balenciaga @ Cricket

Top Left/ Felicity wears Dress Holly Fulton @ Cricket Top Right/ Keisha wears Jacket Resurrection, Shirt Fred Perry @ John Lewis, Leggings H&M Charlotte wears Jacket and Dress Topshop, Shoes Resurrection Opposite/ Dominic wears Shirt Resurrection, T-Shirt Lost Art, Jeans Resurrection

Felicity wears Top Evil Twin @ Boudoir Boutique, Trousers Isabel Marant @ Cricket Keisha wears Body Boudoir Boutique, Shorts and Shoes Resurrection Charlotte wears Top and Skirt Topshop Opposite/Louise wears Shirt Reiss @ John Lewis

Dominic wears Coat and Shirt Weavers Door, T Shirt Lost Art, Jeans Resurrection Louise wears dress Boudoir Boutique Opposite/ Charlotte wears Jacket, Top and Shoes Topshop, Leggings H&M 20

Keisha wears Dress French Connection, Jacket Stylist’s own, Bag Stella McCartney @ Cricket, Shoes Ashish for Underground Charlotte wears T- Shirt and Skirt Topshop Shoes Ressurection Dominic wears Jacket and T-Shirt Weavers Door Trousers Resurrection, Shoes Model’s own

Felicity wears Jacket Twenty8Twelve @ Cricket, T-Shirt Lost Art, Shorts Resurrection, Shoes Ashish for Underground. (Weavers Door, Cricket and Boudoir Boutique are located @ Cavern Walks) 24

STUDENT HAUNTS IN THE CITY This is an introduction to the wonderful city of Liverpool, for new arrivals and for those who just want to discover something new. All it has to offer its fashion, beauty, nights out and awesome festivals.

ABANDON NORMAL DEVICES Expect UFOs, fake gurus, phoney Beatles, gagging orders and celebrity cults, as this year’s Abandon Normal Devices Festival of New Cinema and Digital Culture returns to Liverpool, from September 29 to October 2, with exhibitions at FACT running until November 28. Breaking rules, crossing boundaries and turning its audiences minds inside out like no other festival, AND will bring forth another host of genre defying, cross platform artists at the visionary edges of arts, film, science and technology to investigate the question: what are normal devices? How and why might we abandon them? With FACT, on Wood Street, as its hub AND will work with local artists, volunteers and businesses to take art onto the streets, into clubs, cafés and hairdressers, and to the visionary edges of arts, film, science and belief. On September 30 AND Festival will launch with a stunning show by Harminder Judge at The Black-E. After Harminder, the focus will move to FACT for the launch of Zee. The festival launch will conclude with an after-party involving Mercy at the end of the night. There is so much going on, we almost don’t know where to start but here are Object of Dreams’ highlights of the festival:

Harminder Judge’s, The Mode of Al-Ikseer

Rachel Mayeri, Cinema for Primates

Ropewalks Interventions - As well as staging events and exhibitions at Liverpool’s well-known art institutions, AND festival will be turning the area around Bold Street into a hive of artistic activity. Interventions include Stephen Fortune’s Data Divination at café hangout Leaf, Oreet Ashery creating an army of Ringo Starr lookalikes with the help of hair stylists Voodou for Him, and a chance to have a tattoo designed by British visual artist David Shrigley. Harminder Judge’s, The Mode of Al-Ikseer at The Black-E, September 30 - The Modes of Al-Ikseer is a performance installation, which incorporates live music. Some of the weird and wonderful features of the show include a shallow pool containing 2,500 litres of ‘milk’ and a rotating sculpture/platform made from laser cut mirror polished aluminium with in-built LED remote control lighting. QED at Liverpool John Moores University - This group exhibition brings together established and emerging international artists who take an unusual look at familiar scientific concepts such as outer space, robotics and the moon landings. The exhibition includes work by Michel de Broin, Alexandra Daisy Ginsberg, Sascha Pohflepp and others.

Michel De Broin, QED

Rachel Mayeri, Cinema for Primates (venue TBC) - LA-based Video artist Rachel Mayeri has been commissioned to make a film for chimpanzees to watch, using their responses as a way of imagining what their inner worlds might be like. Cinema for Primates: Apes as Family is Mayeri’s work about the chimpanzees, their responses to visual media and reactions to a film created expressly for them. Rachel Mayeri’s videos, installations, and writing projects explore topics ranging from the history of special effects to the human animal. Kurt Hentschläger, Zee (UK premiere at FACT) - As one eyewitness put it: “It is really hard to say something smart about something so sensual.” Zee is an installation of fog, light and sound that will turn FACT Gallery 1 in to an out of body experience. An installation ‘like death’ that nevertheless has audiences coming back again and again. www.andfestival.org.uk

Hair by Amy Cassidy

Hair by Dion Padan

Hair by Amy Cassidy

WE HEART HOOKA

We love Hooka. We love Hooka so much, they have not only styled our fashion shoot but we also trust their magical hands to style our own hair. Celebrating its fifth birthday only a few weeks ago, the hair salon, on Wood Street and Button Street, is the new kid on the block rivalling established hairdressers in the city. With its fresh, chic salons the hair salons at one time only styled men’s hair - shock, horror - because once they turned to women, we’ve been dazzled at their precise skills, inventive styles and friendly atmosphere - seriously, it’s refreshing to have a hairdresser listen to what you want and not cause havoc to your hair. OoD’s Creative Director, Louise Dalrymple, also shoot co-ordinator and stylist for all our fashion shoots (a woman of many talents!) chose to work with Hooka for the last two magazine fashion shoots. “I chose to work with Hooka when producing Object of Dreams’ fashion shoots as I know I can count on them to produce amazing hairstyles with limited time and the manic surroundings of a photoshoot,” she explains. “I get my hair cut and coloured in Hooka, and that’s really how highly I think of them, because I come out every time incredibly happy with the cut and gorgeous colour.” Always on the cutting edge, Hooka have just introduced the Brazilian Keratin Treatment. If you’re tired of wasting an hour straightening your hair or are worried of the damage done, ask for this treatment which will leave your hair smooth, soft and eliminate frizz for up to three months. It’s little wonder Hooka stays at the top, with their avant-garde hair treatment, affordable prices, and trendy salons they’re also recognised nationally raking in the awards. Hooka stylist Danielle Barr (pictured), from the Wood Street team, recently won the People Choice award at the American Crew Face Off 2011 for her utterly delectable, sharp and stylish cut on a male model. American Crew, the world’s leading manufacturer of professional male grooming products, made its final choice from hundreds of entrants. It was Danielle’s entry who embodied the man of today but also the timeless character of American Crew. Leading by example is co-founder Dion Padan, who won the Nation’s Favourite Hairdresser 2009, which was sponsored by Head & Shoulders. The voting for the award was all done by Dion’s loyal client base, all having to write a piece on why he deserved to win the title. He stole the show at the live event in London, where he had to cut and style in front of a panel of judges.

Hair by Phil Gallagher

Hair by Dion Padan

Hair by Sarah Jayne

It’s Hooka all the way here at OoD HQ - the hottest secret in Liverpool.

I’M ON MEDICATION

Photography by Rob McGrory

Medication is Liverpool’s biggest and most famous student night, acknowledged by the Guardian as one of the best student events in the country. It has reigned supreme as the king of midweek nights in the city and over the past decade it has taken on legendary status, as a rite of passage for thousands of students studying and socialising in the city! Explaining the continuing success of the night, promoter Marc Jones puts it down to a combination of factors but perhaps the main one is Medication’s ability to re-invent itself. “Most clubs are moments in time, clubs last a few years but because every year a fresh set of students arrive in the city to come to Medication, there is no real chance of the night growing stale. It refreshes itself completely every three years and with three rooms of music we can just change the type of music to reflect students particular tastes.” Dance DJ’s and producers are collaborating with rappers and R’n’B stars and it’s kind of become a huge melting pot of sounds and Medication on a Wednesday reflects this brilliantly. Medication attracts students of every race, creed and colour to Medication and this creates an amazing atmosphere week in, week out. However, over the past three years, Marc and his brother Jason have seen really big changes in student’s social habits. A few years ago most students kept to their own Universities, and friends, whether it be the Guild, John Moores or Hope but now they mix together more and this has added to Medication’s sky rocketing appeal. In terms of student fashion there has also been a tidal wave of change. “In my day it was all about doctor marten boots and band t-shirts... it’s not like that now,” Marc adds. “But I love the way students dress these days, it’s much freer, it’s that punk DIY ethos that’s really strong at the moment!” One thing the brothers are sure about is that Liverpool students are the best in the country. “I know we are biased but we have done loads of other student nights up and down the country and Liverpool students are just the friendliest, most down to earth and most up for it. They are not pretentious at all and Medication loves the fact that most people are too busy enjoying themselves to worry about what somebody looks like or what car Daddy has bought them for their 21st Birthday. It’s really refreshing, when people just want to have a good time, it makes for a cracking night and just people going home happy with big grins on their faces.” Medication is one of the most recognisable student night club brands

in the country. There might be a couple of other student nights as big as Medication and some seriously big companies running them. Many running multiple nights in different cities but most of them have rubbish names - Vodka this or Vodka that. A lot of clubs don’t seem to realise without a strong name, they won’t have as strong an identity. They can also be tacky and cheesey, something Medication has never been. Many of Marc and Jason’s friends, be they DJ’s, musicians or fellow promoters often call in on a Wednesday. The Chibuku boys might pop in for a beer or Revo from Evol might bring in some hip band post-gig. “Bands you might think would hate student nights normally, but they love it. One minute they are having a beer with us backstage, next minute they’ve disappeared and gone a-wandering. Gone for hours, finally returning when the lights come on, with a girl draped around their neck and a bottle of beer in their hand.” Medication is introducing another whole load of changes for the Autumn both to the club in terms of decor and lighting but they are also launching a range of merchandise and new website. “The essential thing that you must do if you are a club promoter is you must keep people guessing, if people think they know everything about you, they get bored and go somewhere else. We were big clubbers in the 90’s and we learnt so much from going to Cream in its heyday. We realised you had to make it an experience, the kind of night where you give people something they can’t get anywhere else in the city. That’s what we do with Medication, we never rest on your laurels.” What Medication has done very successfully, it has created something that goes beyond a club night, it’s almost a lifestyle thing. Students plan their week around Medication. What clothes to wear, fancy dress or normal? Whose house are we meeting up at beforehand? What time shall we get a taxi? Marc finishes by saying: “ It is an incredible night and many students don’t miss a single one all year. They hate not going in case they miss out on something! Nor can they hardly wait for the next one. I love the fact it attracts such devotion, almost a fanaticism. I love the fact they are so passionate and so loyal. They know it’s the best student night in the country and they are very protective of the fact that it belongs to them. It’s like a massive happy family ”. Medication opens its doors for another year of midweek madness on September 21. To be taken once a week. Side effects make cause tiredness but also a very big smile! 27

SOMETHING VINTAGE Pillbox Vintage Fairs is Liverpool’s original and longest running fair, with two popular nights the pretty Retro Sundays at Leaf on Bold Street and the edgy Late Night Vintage at the Shipping Forecast. The free fairs sell vintage and retro pieces, showcasing beautiful women’s and men’s clothing, accessories and home ware - a must go for people looking for unique pieces to wow on a night out or exclusive pieces for the home. The monthly fairs stocks sellers who only exhibit with Pillbox Vintage, with regular stalls from Gingerbread Vintage, who sell high quality ‘twice-loved’ clothes, romantic jewellery by Poppy Love and vintage delights by Serendipity. If you’re looking for a more specific item for a special event, then Pillbox Vintage also hold its hugely popular one-off events, with the upcoming free Pillbox Vintage Christmas Fair, on December 4. It’s the place to be to get all your unique gifts and an exclusive outfit to impress. Pillbox Vintage’s other one-off shows include the Pillbox Vintage Wedding Fayre, the Retro Homeware and Threshold Festival Vintage Fair all planned for 2012. There’s really nothing like a vintage piece, discovered in the stalls, glinting and sparkling; the perfect exclusive item. Retro Sundays, at Leaf, on Bold Street, are held on the last Sunday of every month, from 11am to 5pm. Late Night Vintage, at the Shipping Forecast, on Slater Street, is held on the first Thursday of every month, from 6pm to 10pm. For more information on upcoming shows visit Facebook: Pillbox Vintage, Twitter: @pillboxvintage

CURIOUS ORANGE Curious Orange shop, in Grand Central, is an aladdin’s cave, jam-packed full of unusual vintage, retro clothes, fancy dress costumes and accessories. With an array of clothes for both men and women, they sell everything from 1950s frocks to stripey socks. Check out their glamorous evening wear and everyday separates, or quench you inner accessories demon with their vast collection of bags, hats, belts and trinkets. Always on the hunt for that rare special item just for you, Curious Orange is worth a weekly jumble. So for all you vintage lovers or fashionistas Curious Orange has something for everyone. With Halloween around the corner their vast collection of costumes, make up and wigs will not dissapoint. They also hire and have a sourcing service available, no problem is to big or to small for Curious Orange! Can’t wait a minute longer? Take the Curious Orange voucher with you and enjoy 30 per cent off everything in store today. Grand Central, 35 Renshaw Street, Liverpool, L1 2SF, Facebook: Curious Orange 28

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LUKE DROZD We came across Lukeâ&#x20AC;&#x2122;s work at the recent Screenadelica exhibition and absolutly loved it. Here are a few examples of his work....

Luke Drozd (b.1981 Derby UK) is an artist based in London who makes lots of things including sculpture, prints and posters. His illustration work is mainly commissioned work for the music industry and attempts to capture a bandâ&#x20AC;&#x2122;s sound through the magical medium of the drawn image. To make these he mainly uses pens and paper (which he enjoys) but also uses a computer (which he doesnâ&#x20AC;&#x2122;t). Visit his website Lukedrozd.com

FREEDOM of expression and the rights of the rich and famous to privacy have been waging war for the past few months and the conflict shows no sign of abating just yet. What is more, it all seems to be a bit of a marmite issue, with people either backing privacy and turning in disgust at the trivial obsessions of the media, in particular the tabloid press, or fuming at hypocritical public figures and the outrageous restrictions on our beloved free press that have come thick and fast in the form of injunctions. Deciding which argument you support is hard enough, but it is made harder because the opposing sides really have a number of different agendas Take for example many of the public figures and celebrities involved in recent cases relating to issues of privacy. On the face of it, they are usually arguing for a right to privacy and a private life which is most clearly outlined in Article eight of the European Convention on Human Rights. But really, their argument is often just about the fact that they believe their private lives should not stop them profiting and succeeding on the public stage, even if that life is questionable or at odds with the public image they have developed. This is particularly true of some of the recent stories involving footballers. One issue may indeed be their right to privacy, but in many cases this desire for privacy can be fuelled by a desire to keep hidden facts that would tarnish the public image that is, in many cases, part of their success. Famous sports stars such as Tiger Woods and Wayne Rooney have been dropped by sponsors after private revelations tarnished the images that had given them their lucrative sponsorship contracts in the first place, and so surely it is not too cynical to imagine that a desire to avoid a similar fate has been behind several of the injunctions of recent times? The press themselves can also be seen as having different agendas. At face value they are arguing for the right to free speech and a free press, which is one of the essential pillar stones of any democracy. This is, of course, true and an important element in cases where

an individual’s private actions are clearly in the public interest. Yet, while stories about the private lives of the rich and famous may be interesting to the public they are not always in what could strictly be called ‘the public interest.’ It is sometimes hard to see how a celebrity’s private life is in the public interest, particularly if the celebrity in question has made little deliberate effort to portray a different public one. Yet the press still spend vast amounts of money in legal fees fighting such cases. Why you say? Well, because the publication of such stories equals sales, which equals even more money. Most newspapers have witnessed a dramatic fall in sales over recent years and so stories of celebrities’ private lives have been a welcome source of revenue, particularly for the tabloid press. In fact, the recent explosion of coverage and drama surrounding the phone hacking scandal at the now extinct News of the World has illustrated just how valued a story can be for the press. The scandal even showed that the hunger for a story is not only limited to celebrities, but also members includes the general public, with the phone messages of 911 victims, murdered teenager Milly Dowler, and war casualties, all believed to have been accessed. The accessing of these voicemails was a clear cut, illegal act, but one that has undoubtedly been driven by a declining industry’s hunger for news and sales in much the same way that the war over privacy is. So, while the recent waves of injunctions and super injunctions have created a battle between freedom of speech and the right to privacy, they have also lifted the lid on a multitude of issues and agendas...it has all the ingredients for a perfect storm!

Words by Chris Hogg

CONTEMPORARY ART CENTRES There were many booms in the years leading up to the Credit Crunch, but one of the most visible was undoubtedly in the arts. After years of chronic underfunding by the previous Conservative administration, New Labour’s victory in 1997 saw a massive increase in funding for arts and culture in the UK. Museums were made free again, large scale public commissions like Gateshead’s Angel of the North became commonplace and every city scrambled to organise a range of cultural festivals and open new arts facilities. The increase in funding was especially prevalent in more contemporary, avant-garde and esoteric avenues. Up until this point, ‘modern’ art, especially the conceptual, was a largely London-based phenomenon. Save for a few brave regional municipal galleries and usually poorly-funded ‘alternative’ spaces. As the money ramped up, a plethora of new contemporary arts spaces was opened across the UK. Such facilities were promoted as the catch all solution to a host of problems in these areas; combating social exclusion and economic weakness, regenerating derelict land, increasing tourist revenue and re-branding downtrodden areas suffering from negative stereotypes. This belief was encouraged by many of those that had been operating with success in the ‘alternative’ sector in the preceding years and held sway with local authorities inspired by the oft-quoted ‘Bilbao factor’, after the regional city in Spain that saw visitor numbers soar after it became home to a branch of the Guggenheim. This trend of using public art galleries as a regeneration tool in the UK can be seen to have started in Liverpool. With the Tate pushing for more exhibition space, the then Conservative government directed them to open a gallery in Liverpool’s redundant dockland warehouses in the aftermath of the 1981 Toxteth riots. Tate Liverpool, which opened in 1988, has since provided a model for not only Tate Modern at Bankside, but also abroad, including the regional Pompidou Centre in Metz, France and Moderna Museet in Malmö, Sweden amongst others. Tate Liverpool also helped to provide the inspiration for similar schemes across the UK and, since 1997, contemporary arts centres have been opened in Middlesbrough, Gateshead, Walsall, Glasgow, Nottingham, West Bromwich, Manchester, Wakefield, Sheffield and Margate amongst others. The opening of such institutions was a success in many ways, and

helped increase access to, and interest in, contemporary art across the UK. Yet, as this expansion trundled on, the flaws in such cultural regeneration plans became more apparent and problems began to set in. As contemporary art emerged in the regions it began to face tensions it wouldn’t have done in London, with its guaranteed middle-class art-going audience. Despite the well-meaning behind the new arts centres, many quickly became accused of not bringing the regeneration benefits they promised and of being elitist islands of art in places that otherwise remained unchanged. Such centres were derided for being unreflective of ‘local’ culture, and of ignoring audiences beyond the artistic elite. Many were also criticised for only employing small numbers of highly-educated ‘outsiders’ and ignoring artists in their vicinity in favour of international ‘star’ names. Having helped begin the trend for culture-led regeneration in the UK regions, Liverpool was also the place were these issues came to a head twenty years later. The city’s European Capital of Culture celebrations in 2008 prompted many to examine the conventional logic of such schemes and the tension between bought-in ‘international’ culture and the reality for those living in many of these deprived towns. Directors, Curators and Programmers have had to increasingly face this tension and criticism, and it has only worsened since the Credit Crunch. With local authority and Arts Council funding being cut and private sponsorship hard to come by, such facilities have had to increasingly justify their own existence much harder than they had ever done before. As such, those in charge of these institutions are now undergoing a rapid re-assessment of their role and future sustainability in these changed times. They face a tough challenge of finding a balance between local needs, sound financial footings and high-quality artistic integrity. Although difficult, this can be achieved with skilful programming, much in the same way that regional theatres have operated for years. A mixture of ‘blockbuster’ shows, experimental and risk taking shows and something with a local focus can all be done in a year. This must be coupled with providing opportunities for local artists and a proper engagement programme for the wider community that is taken seriously and not treated as an ‘add-on’. Operationally too, there has to be a happy medium between employing the best staff from wherever, and enough local people to, not only provide opportunities that they would have once had to move to London for, but to help shape programmes with a knowledge of, and concern for, local audiences and their tastes and quirks.

Achieving such a balance is not an easy task, especially in an era when budgets are being cut to the bone. The fear is that some will panic and sway their centres into lame, crowd-pleasing parochialism or, equally bad, rampant naked commercialism. While it is important for such venues to have different income streams such as corporate hire, becoming a conference venue with some nice, unchallenging stuff on the walls would defeat the object of its existence as a public arts institution. These are challenging times for cultural venues, but they also represent a real chance to do things differently, to take the opportunity that has been created by opening such centres in deprived areas and for them to really make a difference, in artistic, social and economic terms, to their locality. The cuts should prompt a new openness and new ways of working, forming links across the community to provide programming for all. Those institutions that don’t adapt can’t complain if public sympathy for their cause is limited after so much money was spent, and now so much money is being cut back from all areas of public life. Now can be the time of real flourishing for cultural centres in the regions, for those that pursue their own identity with focus and openness and have one foot in the local, one foot in the global, not merely be regional franchises of the international art word.

Words by Kenn Taylor Illustration by Laura Kate Chapman

FROM THE ASHES

I recently visited my family and found myself irresistibly drawn to the ever packed, bent from the weight of its contents, bookshelf. As with many families in Liverpool, objects from many trips, adventures and more besides have amassed to form a fascinating glimpse into the past of a city justifiably known for its greatness. Many firsts have come from our city, including developments of an artistic, revolutionary, architectural and technical nature and it’s no wonder when you consider our history and ever forward thinking mind set. There always seems to be a voice somewhere questioning the plans for the city’s future. It was interesting then to find on the shelf a tourist guidebook to the city from 1948 that opened my eyes to how much things have changed in the time since, yet remained the same. Normally a book that is over 60 years old has been battered beyond readability and weathered by the many hands that crack its spine over the years but this one was in almost perfect condition, its pages holding fascinating images and information that might surprise the modern resident of Liverpool. Indeed, I was riveted for days and sat for hours looking at the photographs of the city, some parts gone completely and some still visible to the eye. Further books have revealed images of such well trod streets like Bold Street in tougher times, Church Street when it wasn’t pedestrianised and had traffic running up and down it’s ever buzzing centre, even the site of the building that currently houses Primark being completely absent. On the cover is a monochrome aerial shot of the city encompassing many sights familiar to us today including the docks, the Liver Building, and a notable absence, due to not existing yet, of the Cathedral. Perhaps even more noticeable to the eye is the absence of the modern structures that now form Liverpool ONE, instead their place is filled 36

with the original warehouses that served the docks so well. Some readers may remember the streets that used to be on the site of Liverpool ONE and the transformation is astonishing and perhaps controversial to many people. Liverpool is ever changing though and that is all part of the nature of a place as vibrant as the one we live. On reading the guide book, which by comparison to modern versions was an extremely text heavy guide, I was struck with exactly the same feeling as visitors must get from the guide books published today. Liverpool as a busy, ever developing city with much to do and say for itself - that isn’t me aggrandising Liverpool by the way, it’s merely a fact many will attest to the veracity of. Arguably, it’s ever truer today. For example, in the same way we boast of Liverpool ONE’s high living or our ever thriving, despite numerous cuts, art and music scene, the 1948 guide shouts out to visitors: “We’re the best!” The back page is an advertisement for, the then great and now sadly resting in peace, Lewis’s proclaiming it to be “the shape of things to come.” Numerous hotels and restaurants advertise within and the staples of the business community at the time including domestic goods, confectionary, insurance and engineering fill its pages in the same way the bars, clubs and galleries do today. One page even shouts out in huge capitals, ‘LIVERPOOL AT THE HUB OF THE WORLD MARKETS!’ Of course, that was 1948 and still today, in 2011, we emphasise business and being the best but culture has become a bigger draw and as back then, shopping too. On the surface there is much to celebrate about Liverpool itself and, in order to ensure we continue to grow we should embrace some change whilst fighting, like we’ve always done, what we feel is wrong for our home.

Photography and words Sebastian Gahan

YUCK Yuck are pretty much everywhere this summer as they ‘suffer’ from a heavy workload of festivals. The unlikely band of Londoners Max Bloom and Daniel Blumberg, New Jersey drummer Jonny Rogoff and Japanese bassist Mariko Doi are firmly pigeonholed as grunge revivalist, with comparisons leaning heavily towards the grunge of Nirvana to Dinosaur Jr and Sonic Youth. Exploding onto the music scene, their debut self-titled album has won critics over. Over a pint at The Picket, they break it down and break it up again. Are you excited to be in Liverpool? Daniel: We played with Modest Mouse here recently; I remember that tour really well - yeah, it’s good to be back. So, how did you guys get together? D: Me and Max have been friends since we were very young and then we started writing and recording together all of a sudden. Shortly after, I went on a holiday to Israel for five days and I met Jonny really randomly where he was working on this grape farm in the desert. A few months later Max and I wanted to start playing live and I wanted Jonny, who had moved back to New Jersey at the time, as the drummer. Jonny: I didn’t really think too much about moving to the UK to play drums, it just happened. D: We then started playing with Mariko, who we knew was an amazing bass player from London. You’ve been pigeonholed into that 90s sound, is that specifically what you’re trying to go for? D: We weren’t particularly trying to sound like anything, we didn’t really have a discussion about what we were trying to do. We just like loads of music; we buy records all the time. Things like Neil Young, the new Kurt Vile album is so good. Oh yeah, and Sybille Baier she made this record in the 70s and a few years back gave it to J Mascis (Dinosaur Jr) who managed to get it out. It’s this amazing 70s folk album that only came out in 2006. Are you all into the same kind of music, or are you constantly trying to convert your bandmates? Max: We’re not really into the same thing, we like some of the 38

same things but it’s important to always have your own personal tastes. There’s some things you just want to keep to yourself, just because music is very personal and stuff. Your debut self-titled album sounds almost like two separate albums, with the anthemic lo-fi A-side and acoustic B-side. Tell us a little more about the album. M: It definitely isn’t an album that flows as such from start to finish, obviously it has a track listing but it’s like we didn’t set it, when we started writing and doing things together, it was not a case of where we sat down and thought ‘ok we’re going to do an album’. It was like writing as much as we could. It was the first time I had written with Daniel and it was really new and exciting, so we hadn’t necessarily worked out what we were doing we just started

I was driving the tour van in America, when we decided to pull into the hotel car park and suddenly there were these gunshots.

writing loads. It was obviously a dream, a distant thing to one day make an album but it was definitely not at the forefront of our minds. So the result of that was a collection of songs that we just made over the period of a year, going through lots of different phases. Is this why you guys feel almost like you’ve been thrust into the limelight, is it really what you were expecting? D: We expected to record when we started, and then we expected to rehearse, and we didn’t really think about what things we wanted to do. Yeah, we weren’t really prepared for it. So have you had any crazy moments on tour so far? J: Yeah, there’s this story right. I was driving the tour van in America, when we decided to pull into the hotel car park and suddenly there were these gunshots. So we were like ‘ok we better go around the corner’ and our tour manager walked into the car park and there was this hissing pitbull with a policemen standing over it having shot it three times. M: Earlier, one of hotel people pulled out a cigarette and went to get a lighter from the car and then he saw this big, black shape just growling and just ran into his car. The pitbull jumped on his windscreen and started barking. Then the dog sat in front of the hotel door waiting for him, so he had to call the police. When the police arrived he just started talking to the dog like a human, because it was about to run saying: ‘Stop what you are doing, at once’. The dog kept on being aggressive so he shot it. D: Yeah, there was blood all across the car park. What have you guys got planned then? D: We are going to be playing all these festivals including Leeds and Bestival. Yuck’s latest self release , the double A side Shook Down/Milkshake is out now at Probe.

Interview by Dina Karim

EMILY AND THE FAVES The atmosphere in Static Gallery’s ever artistic surrounds was electric from start to finish as the people crowded in for the much anticipated launch of Emily and The Faves’ debut full length release. The night began with a bang when Stealing Sheep came to the stage and proved why touring non-stop and being talented can do you no harm at all.

a big mix of people in one song, nature, the sea.” It follows that an artist needs a place to create, where decisions on the all important pieces that make up their work can be reached and worked on. As with a song, all artists are different in this respect and the process of creating is a domestic affair for Lansley. “The best place for me to create I think is in my home. I like being completely on my own for thinking although I find it really good being with the band (the Faves) to finish things off because otherwise mass procrastination can occur. It’s also good to bounce off the other Faves and get new ideas that we are all involved with. Me and Andy Frizell enjoyed doing the album at his house I think because it’s a private place and we could try out lots of different ideas without worrying about getting on anyone’s nerves or taking too long. At least I hope he thought this too.”

Yes, Stealing Sheep’s well received set was a primer; leading onto the main show from ‘Sheep member Emily Lansley’s band Emily and the Faves. At one point during the evening she shouts ‘Hey, this is my album launch!’ and it’s easy to tell for the waves of rapture are flowing around the venue with an ease that is uncommon. The homely decorations of the night, as I discover later to be from the mind of Emily herself and some collaborators, is as warming as the music we are treated to on a night that saw me forget about my problems as Emily performed an electrifying set. Tracks from the selftitled album were run through with expert attention demonstrating a wow factor and talent to spare. A few days after the show I catch up with Emily and we talk about the band, music and just who her favourite Fave is. But more of the latter later, I first inquired how she felt to have the album out on the streets? “It feels great to finally have it out. My Grandad’s been giving me some tips for the next one too. I have learned how to be patient doing this album. I think we (The Faves) are all made up that it’s finished and out there. Now finally other people can criticise it not just us. Only joking! We are very happy with it. Obviously, there are lots of lessons learned and the next album will be a whole new kettle of fish.” Starting with the cover of the album, is there a meaning to the image of twin Emily Lansleys joined at the eye? “The cover art kind of does have a meaning. It’s like the two minds that live inside us, watching each other commenting on each other’s behaviour.“ As to the contents of the album, I know I have my favourites, such as the dark but humorous My TV, the excellent guitar and voice of Golden Hair or fan favourite Sometimes, but what about Emily?

A lot of my songs are about people I know - or about me looking at me disagreeing with myself; sometimes a big mix of people in one song, the nature, the sea… “I particularly like So Long Sucker because it’s the most recent song on the album and I think it pointed me in the right direction for future music. I also really like Darth because I really enjoyed writing it and it still means a lot to me now and kind of reminds me of the cover. The cover sort of describes I Never Saw’s lyrics. I think White Nights was one of the best songs to record because we did it all in Andy Frizell’s house on a snowy day. He played double bass on it and Andy Delamere drummed onto a guitar it was a very special and magical day. I know Andy Delamere particularly likes Is It Still Nightime? - With his pompom drums.” Those who have the album will know that it features a mélange, of styles and influences and it only seems right to ask what elements came together to make an album so good? “I do write based a lot of my songs on personal experience or thoughts or feelings. A lot of my songs are about people I know - or about me looking at me disagreeing with myself; sometimes

But creativity has many angles and perhaps it’s something inconceivable that an artist should be forced to choose between their muses? “If I was forced to choose it would have to be music, although I would miss drawing and the stories a lot. I think I could say all my stuff in music though. I’d probably try and make the music as visual as possible...with animations if I was allowed.” But remember I mentioned a reveal about her favourite Fave at the beginning of this article? Well, here’s the answer. “My favourite Fave is...” a drum roll-like pause ensues then the answer comes... “The giant Fave in our mind that has equal love for all the Faves and everything they bring to the Faves.” All I know is that Emily and the Faves are, to quote the album track, My Fave. You are encouraged to seek out the album immediately.

Words and Interview by Sebastian Gahan Photography by Emily Lansleys 39

PLEASE THE EARS & PLEASE DON’T

Review Hot Club de Paris & Stealing Sheep Zanzibar To promote Miller Genuine Draft, the Miller Company have been holding a number of free gigs across Liverpool featuring local up and coming talent. Now despite the possible moral issues of using music to promote drinking, at least the bands can promote themselves at quality venues and in front of sizeable crowds. Playing the Zanzibar were Stealing Sheep, who had just returned from a European tour in addition to playing festivals in the UK such as the Secret Garden Party, and they were in fine form. Clearly their long time on the road has resulted in their performance being tighter than ever with new songs being played along with old favourites whilst continuing to promote their two singles. Following them was Hot Club de Paris, who are one of the veteran bands on the Liverpool circuit nowadays, but still managed to play a raucous set that lead on perfectly from the more mellow Stealing Sheep. The only real criticism to level at them was that some of their songs did seem unfinished and ultimately left one feeling that they did play well, but that they could have done a lot better. Alexander Court

Review Alex Highton Parr Street Studio 2

Review The Thespians 02 Academy

Originally from Liverpool, but now residing in a small village just outside Cambridge, Alex Highton, who can name Ashton Kutcher as a fan, was making his return to Liverpool after a long time away. With the simple, yet effective, sparse acoustic backing that he gives to his songs, he matches his tender lyrics perfectly. Anything more would completely overwhelm the restrained tenderness and sensitivity that he imbues his music with. At the end of one song in particular on the subject of leaving home but leaving a part of you behind he was even glassy eyed, as I feel was most everyone in the room who could relate to such similar events in their own lives. Listening to him play, it was nice to be reminded of how affecting a song can be even in its most completely stripped back form when it touches off an emotion so profoundly, through a lyric or a note. Here the lyrics and the notes were suited to each other in perfect harmony, and it was something that was immediately apparent from his first song. The soulful voice accompanying the gentle folks songs are perfect for listening on a warm Summer afternoon.

As part of their ongoing tour, The Thespians hit the O2 Academy with support from Genuine Articles. To open were the Irish, but now Manchester based, Genuine Articles with their distinct and very enjoyable brand of socially observational music. Playing songs on everything from chavs with their hands down the front of their tracksuit bottoms to the brain rotting qualities of daytime television in the straightforwardly titled ‘Daytime TV’ it was hard not to tap your foot and sing along. Following them was the slightly less lyrically witty, but still highly enjoyable up and coming punk band The Thespians who were playing only their second headlining gig. However, despite this they already seem to be comfortable taking on that demanding role with the songs and swagger to match. An interesting musical link to note is that drummer Danny Hall is former drummer from forgotten band Son of Dork formed from the ashes of Busted by co-founder James Bourne. It would be safe to say, that in drumming with The Thespians he has most definitely moved on to bigger and much better things.

Alexander Court

Photo by David Smyth

Photo by Chris Hart

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Preview Psycho Motel October 7, The Kazimier

Preview Eric’s launch Mathew Street

Behind The Wall of Sleep Promotions has been going from strength to strength in recent months putting on some awesome gigs. Their latest offering at Mello Mello with Gentlemans Pistols headlining may be their holy grail of gigs and the Leeds lads were met with cheers as its been nearly a year since they played this humble town. With a firm nod to the past, their 70s inspired sound, with roots in Led Zep/Black Sabbath, had the crowd in throes of head banging euphoria during the fun, wild riffs of Widow Maker. The hooks of Sherman Tank rocked the place out. Their heavy, dirty bassline tunes created an intense atmosphere in the uber-hot venue, this is a band to keep your eye on. Supporting were Absurdo, a harcore punk/ thrash band hailing from Barcelona, playing a decent set although more visually exciting than their lyrics (I can speak Spanish, so I know!). The promoters have a long future of good gigs ahead of them, so if you see ‘BTWOS presents...’ that’s a gig you got to go to. Mello Mello as usual was its great self, blurring the lines of living room/bar/club and serving some interesting ales - watching a gig there is like watching a band in your front room with all your friends.

Imagine a room decorated with banners, skulls and palm trees, the living dead dancing away to live bands, imagine Hallowe’en once a month, every month. That’s Psycho Motel for you, everything is ghastly, ghostly and scarily fun. The night (which will turn one year old in November) really goes the whole way, decking out the venue with horrible pumpkins, shuddering cobwebs and Hitchcock inspired paraphernalia. Now, dressing up (and I mean fancy dress ladies) is really not mandatory, but more fool you for not donning the fake blood and the ripped bride dress - this is a night to go wild, to behave like children and to listen to some awesome live music. Sidenote, it is in fact Curious Orange who co-run Psycho Motel and who stock some wonderfully, ghoulish costumes to step out in. The next Psycho Motel in October is a charity fundraiser; headlining is rock horror punk legends Zombina and the Skeletones. Born before vampires went all Twilight, they are the bloodiest and most fun experience you can have in Liverpool. El Toro, Raw Bones and The O’Fishel Jazz Band support with djs.

On October 1, 1976 a new music club opened its doors on Mathew Street in Liverpool. The iconic club was called Eric’s and with the backing of Roger Eagle, Ken Testi and Pete Fulwell, it would become synonymous with the punk-rock era. But despite closing its doors after only four years its influence on the music scene was legendary. With early gigs from Blondie, Buzzcocks, The Clash, Elvis Costello, The Jam, Joy Division, The Police, The Sex Pistols, The Stranglers and U2. After 31 years the music venue will re-open its doors later in September. Orchestral Manouvres in the Dark (OMD), will be the first band to play at the relaunched Eric’s club on Mathew Street, Liverpool on September 10. The band will interrupt their world tour to return home to play the special launch event. OMD’s hits include Joan of Arc, Electricity, Messages, Souvenir, Sailing on the Seven Seas and Enola Gay. Eric’s will re-open its doors to the public this September with a selection of pre-launch gigs. An official launch is planned in October to mark 35 years anniversary since the venue first opened.

Dina Karim

£5 on door or £3.50 in advance, tickets available from Curious Orange shop, Grand Central, Renshaw Street.

FOOD FOR THOUGHT

Host Hope Street

Malmaison Princes Dock

A big fan of the Georgian Quarter, and a bigger fan of the eating establishments on Hope Street (The Quarter and 60 Hope Street), it was about time we decided to try their latest offering Host. Noodle enthusiasts that we are, we know our Asian cuisine, often frequenting Tok You, Wok ‘n Go and chain Wagamama, so the expectations were high. Offering a mix of Chinese, Japanese, Malaysian and Thai dishes we were in our element. One thing all our usual haunts don’t have is an amazing selection of cocktails, deliciously mixed and more often found in a lounge bar than restaurant. With an East meets West vibe inside the 1950s inspired restaurant, we were seated on a typical wooden bench with Ryan designated to be our waiter - I mention him because he was truly awesome. Starting off with Duck Spring Onion & Cucumber rolls for my partner, deliciously crunchy, and Chicken Satay with Peanut Sauce; I loved the combination of the salty, creamy sauce with the just right chargrilled pieces. Swiftly (the speed of service was super fast, even in a full to the brim restaurant) the main arrived. A dish of Yellow Seafood Curry with Mussels, Prawns and Fish arrived for Louise - “absolutely delicious, the seafood is really fresh and everything just tastes so good”. I opted for the Wok Fried Beef Fillet with Braised Shiitake Mushrooms and Snake Beans. The beef was cooked to perfection in a sauce that was finger lickin’ good, in fact it reminded of a dish a Chinese friend of mine had cooked for me years ago - utterly authentic. The only downside was the size, a dish so rich needs to be shared. Finishing off the meal over a glass of rose wine, we chose the Five Spice Rhubarb Crumble Cheesecake for Louise and Ovaltine Brulee with Chocolate and Banana Spring Rolls. Again both deserts were wonderful, especially the unusual desert of a fruit and chocolate deep fried and rolled to look like the more conventional savoury spring rolls. Host is definitely a delightful add to Hope Street group, the atmosphere was giddy with people enjoying a night out, and the food was authentically prepared with excellent, and I stress this, service.

‘Hotels that dare to be different’ is the tag line. I’m already a fan of the Malmaison chain having stayed in them throughout the country, but I live in Liverpool so there’s no need to stay at the hotel or even eat at the Brasserie. First mistake. The Malmaison Brasserie is definitely a must-go for any city dweller. It’s a romantic but funky interior, full of sumptuous purples and golds, with exposed brickwork and steelworks and a view to kill for. What was meant to be a quick dinner in fact soon turned into a three hour feast as we treated ourselves to the delights of the menu. We ordered the Crispy Boilie Goats Cheese Salad and Baby Beetroot to start and Breast of Lamb with Green Garlic Dressing and Seeded Loaf - “really, really good I would have been happy with just this as the main,” said Louise, my dinner partner. Eating her words when the main came, she revelled in the Calamari and Razor Clams with Broad Beans and Chorizo, a delightful array from the sea, freshly caught and beautifully laid out. The winning praise is reserved for the steak though, since I can’t cook steak (or won’t) it’s been at least months since I have had a 28-day, grass fed fillet. And, boy would I wait another six months to have one. The beef just melted in your mouth, cooked just right. Not quite sure if we should get a desert after the filling loveliness of the main, it was just the sort of overcast day to persuade us to self indulge. La Dolce Vita indeed. We finished with the sweetly portioned Creme Brulee and Baked Vanilla Cheesecake with mixed Berry Compote, to say we were over indulged would be an understatement. Take a relaxing walk around Princes Dock afterwards to the new Museum and marvel in a different side of Liverpool with its beautiful young and old buildings. Overall the dinner was delightful, if overwhelmingly filling, with an atmosphere of cool, chic and a service staff to match - don’t be put off by its militaristic exterior, it’s a perfect compliment to the sumptuous delights waiting inside. Also, their two course, a bottle of wine and coffee deal for only £30 makes for a great, affordable treat.

Verdict: Suitable for students, food is filling and at affordable prices, located in the beautiful surroundings of Hope Street. Perfect for friend’s night out, hangover cures, and those days when you really can’t be bothered cooking.

Verdict: Best for romantic nights on the town; highest of heels, flowing gowns and suited suitors in a restaurant full of class. Also, one to impress the parents with, a perfect introduction to Liverpool and they could even stay over in the Malmaison’s decadent rooms.