Issue #1: August 2012 by Spires Magazine

SPIRES oxford culture #001 august 2012

TRUCK 15 the monster review...

CONTENTS: Issue #1: August 2012

Music 04 fashion 18

art 20

film 24 Food 26 a huge thanks to:

Mark Colliass, Cecelia Broadbent/Y Not Festivals, ian evans, Sebastian reyolds/Pindrop Publicity, claire coster/atlantic records, everyone at truck, Sophie Wilson/Phoenix Picturehouse, Sarah Graley, Joe Davis, greg laidler, felicity green, hannah belz, Cari Rees, amy pay

www.spiresmagazine.com /// @spiresmagazine

hello!

I shall not lie, my online friends: starting a magazine is hard work. It involves a lot of things, including (but not limited to) endless e-mail sending, becoming obsessed with typeface, mundane video tutorials, HTML-induced headaches, interview transcription mornings, pixel-pushing afternoons, explaining to loved ones why 'cross-platform compatability' is an issue worth moaning about, convincing peers that no, this isn't just one of those little projects; this is one of those proper attempts at creating quality local journalism - honest. Then again, in my case starting a magazine has also involved living in and experiencing a wide range of culture from one of the best cities in the country, working with lovely people in order to produce something that's exciting and current and cool. It's a lot of fun, actually, and I'm exceptionally happy that it finally exists! With that in mind, then, I'd like to heartily welcome you to the first issue of Spires. We're kicking things

off with a massive, monster-sized foot: the fifteenth anniversary of Truck Festival was a phenomenal success, and we've taken it upon ourselves to provide extensive coverage of this legendary Oxfordian beast in its anniversary year. In fact, we've devoted fourteen pages to it, including some very exciting interviews with a variety of awesome bands who played at this year's event. Then there's the rest of the magazine: a review of Modern Art Oxford's jawdropping Jenny Saville exhibition, a mouthwatering taster from Oxford Brookes' renowned supper club, even the chance to bag a couple of cinema tickets for free. Something about a man who is also a bat? Manbat? Or something? I don't know, it's meant to be good. Anyway, it all begins on the back of this page. Go on, have a little look, and enjoy.

Matt Ayres (Spires Editor)

T R U C K festival 2 0 / 2 1 august 2 0 1 2 hill farm steventon words & PHOTOs: matt ayres

It’s a big year for Truck. This weekend marks the legendary indie-fest’s 15th anniversary, as well as being the first year for the organisers of Derbyshire’s Y Not Festival to take the helm. They’ve promised us a return to the classic format after a less-than popular renovation in 2011 – the barn stage is back, the line-up is promising and, perhaps most importantly for the festival’s future, tickets have completely sold out. Truck has also shrank itself back down to an easily–digested two day affair, with this year’s music taking place on the Friday and Saturday, leaving Sunday free for attendees to pack up their tents and head home for a day of post-festival recovery.

FRIDAY: After successfully wrestling with tent-poles and waving a hearty hello to the festival’s hairy mascot, we begin Truck by sitting in on a few songs by Jess Hall. A guitar-toting songstress with folksy ideals, she has a pretty voice but not much else to get excited about. Moving from the 2nd stage to the Truck stage, the finger-pickin’ goodness of Gabriel Minnikin and his bluegrass stylings provides more dynamic listening, but the festival really gets going when localfavourites Alphabet Backwards arrive, their sunny day brand of electro-acoustic pop battling it out

with a brief shower of rain and proving victorious. We chance upon a visit to the notoriously smelly Barn stage, arriving as Fine Union ring out the power-chords of their first song: a rather sloppy take on British alt-rock. It’s punchy, but needs polishing if the band are to compete with their effectpedal-happy peers. A later set by fellow youngsters Dead Jerichos proves more refined: it’s the band’s last show as a three piece, and curiously lacks the material that got them a regular slot on the Truck bill. Still, if the new songs are anything to go by, frontman Craig Evans’ new project will be one to look out for. Back at the main stage, Michele Stodart (bassist of Magic Numbers-gone-solo) provides an unmemorable set, failing to make the most of Truck’s enthusiastic crowd and serving up a dreary portion of acoustic-fuelled crooning. By the time Vadoinmessico arrive, the audience has thinned somewhat, but this band makes nothing of it as they power through an energetic string of multicultural folk, taking influences from various world styles and whetting our palates for further diversity as the afternoon rolls onward.

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Luckily for us, the wildcard in today’s bill is up next: Federation of the Disco Pimp are a Scottish funk instrumental group with gnarly jazz guitar solos and a key-tickling pianist, not to mention a horn section. They’re just the band to shake things up and prepare the punters for one of today’s most highly anticipated sets. Unfortunately, Fixers have taken the notion of ‘unexpected’ a touch too far this time. Lead singer Jack Goldstein is visibly hammered, totally neglecting the gravity of his band’s big appearance at Oxford’s big music festival. Nothing is big about insulting your disappointed fans and failing to hit a single correct note, though: a fumbling apology posted on the band’s Facebook profile the next day says it all. And we thought we were hungover on Saturday morning… Another of Oxford’s most talked-about acts are up next in the Barn; we rush back in time to find Truckers packed in like battery hens for Spring Offensive. With a sound that effectively marries infectious, choppy guitar pop with experimental timings and introspective lyrical depth, it’s no wonder that this band have attracted such a substantial audience. Frontman Lucas Whitworth somehow manages to appear both vulnerable and self-assured, leading his bandmates through a set that clings spectacularly on the edge of a crescendo with bleeding fingernails, only letting go in the explosive conclusion of their last song. Clock Opera are the replacements for a sorelymissed Get Cape. Wear Cape. Fly, whose sudden illness left a difficult void to fill on the main stage. Evidently the band aren’t daunted by this prospect, jovially strutting onstage in matching floral buttonups and making time in their set to percussively strike various items of kitchenware between their usual keyboard mashing and heavy sampling. It’s a performance that’s perfect for the eclectic audience present, and gladly exceeds our expectations. We make our way back to the circus-like 2nd stage for two performances representing two sides of the modern indie spectrum. The former, Theme Park, are friendly analogue synth purveyors with a fondness for retro melodies and danceable Radio 1 rhythms, whilst the latter, Little Comets, are one in a number of angular pop acts to have caused a stir in the post-Bombay Bicycle Club age. Both sets are modestly enjoyable, but neither leave a permanent impression, reminding us that the jigsawed nature of our alternative charts is in need of an unwary infant band’s destructive playfulness. Revolutionary tangents aside, Tim Minchin’s piano is waiting for him on the Truck stage, and so are a massive crowd of onlookers hoping for an Olivierwinning chuckle. He’s soon striding on with his backing band and tickling ribs with songs about prejudice to gingers and provocative anti-Catholic rants, but one can’t help but notice the difficulty of translating melodramatic stand-up to a crop-bordered field in the heart of Oxfordshire. There are smiles aplenty, but no one is belly laughing. A refreshing change of pace, nonetheless. The distance between main and 2nd stage this year is sizeable, so we’re a little out of breath by the time we get to see Guillemots, especially after squeezing our way into the considerable crowd and finding a decent spot to view the delicately arranged musical tapestries of Fyfe Dangerfield and his band. Their tightness is unparalleled this evening; numerous crowd-pleasers are played back to back with ambitious instrumentation blending together seamlessly in the live environment. It’s a worthy headline set that

more than satisfies the tent’s impressive turnout. The final performance of Friday belongs to Mystery Jets, a band whose roots lie only a few miles from the field that they stand in. More than a few members of the crowd are simply waiting for the inevitable highlight of ‘Two Doors Down’, but the MJs manage to impress before that with a healthy dose of radio-friendly guitar pop, including their rousing new single ‘Greatest Hits’. It cements their place in the Truck hall of fame, with a commendable finale to the festival’s first half.

SATURDAY: With an even more exciting roster of bands to look forward to today, it feels great to stumble out of our temporary canvas dwellings on Saturday morning and find the campsite at Hill Farm drenched in morning sun. Happily leaving our wellies in the tent, we join a throng of Truckers outfitted in assorted wildlife costumes (it’s fancy dress day) and head for the arena. On the 2nd stage, Robots With Souls is up first. We’re only aware of one bot, though, at least initially: the act is composed solely of Phantom Theory drummer Steve Wilson sat at an oddly-arranged kit, a semi-deconstructed bass guitar laid flat in front of him and numerous other noise-inducing mechanisms scattered ominously around the stage. Utilising amp feedback, loop pedals and a lot of kinetic energy, Steve summons the ghostly apparition of ball-busting hardcore through his arsenal of robotic monstrosities, making for a delightfully loud and innovative take on the traditional one-man-band. Making a beeline for main stage, local teens have swarmed in to see competition-winning newcomers Yellow Fever play their opening set. The young fourpiece manage to convince as a charming and wellrehearsed indie act, warm weather energising songs that would fit snugly between Mystery Jets and The Kooks on a holiday playlist. Indeed, they fare much better than the comparatively tedious Co-Pilgrim, a morose folk ensemble who barely distract us from our rotary club burgers. Black Hats have been gigging around Oxford for some time now, so it’s good to see their electrical set on the Truck stage go down with the positive energy it deserves. The band are joined by Truck Monster in a surprise festival highlight, the great furry beast shuffling around to the thumping rhythms and shouty sentiments featured on Austerity For The Hoi Polloi. Whoever’s inside that thing, we salute you. It must be bloody warm. We amble across to the Barn for another popular local act, at least judging by the number of Very Nice Harry t-shirts dotted around the site. The farmyard venue is rammed with the same crowd who danced about for Yellow Fever, and the music is similar too – one of their opening songs sounds suspiciously like Vampire Weekend’s ‘A-Punk’, and we’re starting to realise that this indie-pop lark is getting a bit repetitive. Despite our groans, the band is undeniably tight, and the notable presence of keyboards and samplers provides a sonic edge to their otherwise unexceptional noisemaking. The succeeding act takes this electronic soundscaping a step further: Flights of Helios is an assembly of musicians who rely heavily on synthetic noise to create otherworldly drone

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sonatas. It’s a welcome novelty for the typically rock-driven barn. Squinting our way out of the corrugated cow-shelter and into the blazing outdoors, we’re just in time to see Dog Is Dead rock up on the Truck Stage. For a band that has been enjoying significant airplay on Radio 1, they’re astonishingly young. No surprise, then, that they play music that appeals most to the Topshop-wearing masses, but that doesn’t stop it from being totally brilliant: a perfect festival set, filled with vibrant melodic flourishes and contagiously uplifting choruses, especially on their breakout track ‘Glockenspiel Song.’ Time to make the commute back to 2nd stage for Oxford’s most notorious mathematical music wizards, This Town Needs Guns. The band’s 2011 line-up shift hasn’t lessened their impact – in fact, they’re sounding tighter than ever, and a varied set of crowd pleasers from their back catalogue ensures that fans are eager to embrace the new with the old. This is no more apparent than when ex-frontman Stuart Smith joins the band onstage for one last hurrah, trading off vocals with current singer Henry Tremain as if it had been planned for years. We’ve already experienced an overdose of melancholy female folk artists this weekend, but Emmy The Great is probably the most renowned of them all. Her confidence as a solo musician gives her an air of persuasive authority over the main stage; early-set delicacies like ‘Paper Forest’ manage to successfully capture the mostly-sitting audience’s attention. Unfortunately, the sheer number of similar artists erupting around us has somewhat dampened Emmy’s idiosyncratic impact, and she’s no longer the best at what she does – good, but not Great. Elsewhere, Gunning For Tamar are closing up their set of impossible-tohum riffage with typical algebraic gusto in the Barn. They’ve become another of Oxford’s most lucrative math-rock alumni in recent times, following the footsteps of aforementioned TTNG to become giants in that most unlikely of musical followings. Tellison, contrastingly, are well known for their nononsense pop sensibility, made clever through literature-inspired lyrics and an unbeatable live presence. They treat their loyal fanbase to a pick’n’mix set of old and new, from crowd-pleasing ‘Wasp’s Nest’ to heart-warmingly personal ‘Get On’. Impassioned singalongs are present for every song: a testament to Stephen Davidson’s raw, relatable delivery and his contingent’s triple-guitar onslaught of nostalgic post-Get Up Kids rock. If Gunning For Tamar were intricate

and Tellison were introspective, Tall Ships fall somewhere between the two. Their set in the Barn is a mixture of unlikely time signatures and unabashed rock slamming, although some of the potency that the previous two bands displayed seems to have been lost in the process of finding this middle ground. We only manage to catch the end of Lucy Rose’s set on the 2nd stage – a shame, considering how alluring it is. Unlike many of her contemporaries, Lucy does away with whimsical folk ideals and presents us with an unhampered lyrical vision of her life. It feels more honest, somehow, that the music accompanying this poetry is played sat down with an acoustic guitar, as if we’re hearing an untainted version of the chords that she first strummed in her London bedroom. King Charles, like Dog Is Dead, has become a darling of mainstream radio DJs, particularly since his collaboration with everyone’s favourite Cavedwelling collective Mumford and Sons. He is joined onstage today not by his friend Marcus, but a collection of skilful session musicians who supply an aural feast of theatrical pop for the moustachioed singer to wax lyrical over. It’s a bit like watching Jack White star in an electro-folk musical (if you can imagine that) and manages to go down an absolute treat with the rapturous 2nd stage crowd. Jolly good, Charles. As the sun strolls back to whence it came and the day steadily draws to a close, British Sea Power endeavour to inject some warmth into the evening by covering the Truck stage with tree branches and handing some out to audience members, transforming the front of the arena into a sentient forest. This at least brings some levity to the band’s otherwise mediocre performance, their attempted revival of classic indie failing to reach a new fan base on this occasion. 2nd stage has filled to the brim for the last time at Truck 15, its attendees all keyed up for the appearance of coheadliners Frightened Rabbit. Scott Hutchison’s group was branded after an affectionate nickname attributed to him during a childhood bout of chronic shyness, but he and his fellow rodents display none of that today. They work the crowd into a veritable frenzy with flawless vocal performances and handsome choral arrangements, even successfully orchestrating a ‘human accordian’ from the more vocal amongst their admirers. Despite being playful, the fragility here is tangible: like all the best acoustic-wielding acts, Hutchison periodically strips things back to simple strumming and singing to reveal the truthful origins of his songwriting. It’s a

real victory for the band that such intimate songs can function so strikingly in a festival environment. And so we drag our festival-weary bones back to the Truck stage for this weekend’s top-billers: Australian stadium rockers The Temper Trap. As with Mystery Jets yesterday, there’s only one song that most people are waiting to hear, but the ones that precede it are anthemic enough to hold Hill Farm’s attention. Meanwhile, an impressive rig of wandering stage lights illuminates the triumphant atmosphere. It’s a good opportunity to reflect over just how awesome this weekend has been. For a festival that nearly had its flame put out in the late months of last summer, 2012’s event has brought the much-loved festival back with qblazing splendour to serve as a beacon of hope for independent music in the UK. Its importance to the Oxford music scene is unquestionable, and as the massive chorus of ‘Sweet Disposition’ washes over us, it signals the ending of a glorious comeback. Until next year, at least.

"Truck Festival's glorious comeback SERVES AS a beacon of hope for independent music In the uk"

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spires has a blog. we've gone and p on it from truck that we couldn't f have a look at them, won't you?

p on

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put a bunch of lovely pictures fit into this magazine. you will www.spiresmagazine.tumblr.com

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local focus

Some of the best acts at Truck this year were born And raised in the Oxford music scene. We took the chance to chat with a few of our f a v o u r i t e s . . .

ALPHABET BACKWARDS

ROBOTS WITH SOULS

"This year's definitely a special one,", enthuses Alphabet Backwards' lead singer/guitarist James. He's talking about Truck (indeed, his bandmates Steph and Josh have attended the festival every year since its 1998 incarnation - "since we were ten!") but the same applies to his own musical endeavors. The local five piece will release their debut full-length album this year; having released numerous singles and EPs over the years, Little Victories promises to be a celebration of all that Alphabet Backwards has achieved so far whilst also documenting a new chapter. "It's coming out on October 1st, through Highline records", James tells us. "Twelve tracks of new and old. We've cherry-picked our favourites from our back-catalogue, but there's fresh stuff too which we're really excited about." If today's set was anything to go by, we should be too - the band have refined their acoustic-meetssynth sound to perfection, pulling off tracks that match the swift assault of retro keyboards with warm guitar chords and uplifting harmonies.

One of the great things about Truck is the diversity of the acts it displays. This notion is epitomised in the music of Steve Wilson, drummer of local rockers Phantom Theory turned one-man music machine. His solo moniker, Robots With Souls, is a dynamic live experience to say the least. "I tend to get a mixed reaction from different musicians who watch my sets, because I kind of do a bit of everything", reckons Steve. "Drummers are wondering why my kit is set up in such a strange way, bassists are getting annoyed that I'm hitting their instrument with a drumstick and guitarists are wondering what kind of effects pedals I'm using." "I got the idea from trying to play Phantom Theory songs by myself, and before I knew it I was playing my first solo gig. I think people like seeing something different. There's so many bad cover bands out there playing gigs that its refreshing to show up at a venue and see a guy sat behind a drum kit and a two-stringed bass, shouting his head off." We couldn't agree more.

GUNNING FOR TAMAR

"This scene is kind of what we're spawned from; for us it's been a great support network," explains Joe, lead singer from Oxford's most hopeful math-rock foursome Gunning For Tamar. "Pretty much all the bands know eachother and everyone's really accepting of different kinds of music, something you don't find in every city." It's easy to see why GFT have been embraced here, though; they're a band that successfully mix blasts of

post-rock energy with the delicate technicality of more progressive acts. Fresh from an acoustic set, the band have already displayed their incredible musicianship to a packed out merch tent, and they're about to do the same again on their favourite Truck stage: the Barn. "We played last year and it was wicked, but the 2012 line-up is incredible... the atmosphere seems cool too. We'll be staying in the Barn all day after our set!"

SPRING OFFENSIVE

"People like the guys from Blessing Force in Oxford are into independent music promotion in a big way; not being a direct part of that kind of puts the pressure on us to step up our game, to work hard and be on the same level as them. It was really inspiring seeing some of the shows they've put on and videos they've put out, the fact that they've worked collaboratively with other artists - we wanted to emulate that, perhaps on a smaller level, just for our band, just in our own way. "Everything you do as a band these days is watched and noticed, it's important to make an impression." Spring Offensive frontman Lucas and his bandmates evidently understand the necessity of being original in today's musical climate, not just in terms of the songs that they write but also in the way that they're delivered. The clever-rock collective have played everywhere from churches to living rooms, performed to gigantic

crowds in sparse European venues and, today, in front of a mammoth hometown following in a malodorous farm building. "If there had been no one in the Barn, or like, cows instead, then it would have been a really interesting experience", laughs the singer. "As it was it just felt like a really cool space for a gig. Really raw, really DIY; there's a real party vibe in there, and there were enough people today for it to sound good, from we were at least..." Its fair to assume that Spring Offensive sounded pretty good elsewhere, too, judging by the buzz that their short set generated. New material later this year is sure to take them to even greater heights, and the frequent sales of their recent single 'Worry Fill My Heart' in the Truck merch tent (as well as in its permanent counterpart, the Truck Store on Cowley Road) suggests that it can't come soon enough.

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FRIGHTENE Ahead of a headline set on Truck's 2nd stage, we caught up with scott hutchison for a chat about his band's new record... Hi Scott! Are you excited about playing Truck Festival? Yeah, we can't wait! It's the whole point of being here. When you've got a full day to wait for a show like this, it makes it all the more exciting when you actually get around to playing. We've met some die-hard Frightened Rabbit fans this weekend - will your set be focused more towards older material or will you be testing out some new tracks? Really? That's good to hear! We're gonna play one new song, but I think the set will be focused more towards the stuff that people know. We've only got 45 minutes. We'll pack in as much as possible, but I think we'll be better off playing the tracks that we're known for. It's a festival, after all. We don't wanna do that dick move of "Hi, we just finished a new record, we're only gonna play new songs!" People like to hear songs that they recognise.

So you've finished recording the new album now - where did you record it and how did you find the experience? Yep! It finished getting mixed last week. We recorded in Monnow Valley, Wales. It was a great place; we lived there for three weeks and really loved the experience. Probably helped that there was fuck all else to do there, so we got a lot done! Do you find that being away from the rest of the world helps when you're working on a record? Definitely. There was nothing there - nearest town was like a 20 minute drive away which was perfect for us. I feel like if you're recording somewhere like London that's busy, it would be distracting to the process and we'd feel less relaxed about it. I definitely subscribe to the fact that your surroundings influence the way that things end up sounding on a record. Everything we do

ED RABBIT tends to start with me sat in a room on my own playing an acoustic; I need that isolation I think.

many people as possible so that no one will really notice what's been nicked from where!

You've been known to translate the simplicity of playing acoustic to your live set by switching off the amplifiers - we're guessing that doesn't work as well at a festival though?

When can we expect to hear the new songs?

(Laughs) No, not really! I don't think we'll be pulling that one today. It does tend to bring the crowd around though. You can play a completely shit gig and people will still turn around at the end and remember you for being that band! We understand that the new record is something of a progression for the band - can you tell us about any new influences that might have shaped its sound? Well there's always so many, but I was listening to a lot more lyric-led stuff and I think that the album definitely reflects that. I'm a long time fan of The National, there's a bit of that going on in there... really, I try to just mix things up and steal as many things from as

The full length album is out in January, but there's gonna be an EP before that with one song from the record on it as well as four songs that didn't quite make the cut. Up until then, we'll be touring. What are your thoughts the EP as a format, compared to the more traditional length album? I really like it! I think B-sides can get lost sometimes but the EP gives some of these songs a cohesive whole, something to be a part of. All very exciting! Is it too early yet to tell us the names of these new records? The lead track from the EP is called 'State Hospital', so that's what that one will be called... I haven't told anyone that yet, actually! As for the album, you'll have to wait and see!

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as one of our country's most exciting new indie-pop prospects, we thought we'd say hello to dog is dead before their mainstage appearance at truck...

Hello guys! We understand that you've played Truck Festival before. Do you think that today will be any different?

ready for release. It was recorded mostly in Nottingham where we're from, in a little council house that was transformed into a studio. We had a lot of fun making it.

Robert Milton (vocals/guitar/bass): We played here two years ago and it was amazing! We were on the 2nd stage, which was laid out different to how it is this year, but we had a wicked time in there and hopefully it'll be even better on the bigger stage this year.

How's the music scene in Nottingham?

Will you be playing at any other festivals this summer? We've got a really perfect mix this year, so we feel quite lucky. We've already done T In The Park, we'll be doing Reading and Leeds, but we've also got some smaller, homegrown festivals like Truck and Barn on the Farm. We like Truck: it's not the smallest, but it's got the right vibes, and it's big enough to be an exciting show for us. It's an exciting time for your band at the moment you've been getting a lot of plays on Radio 1 as well as on other mainstream music channels. Do you have any plans for an album release to coincide with this success?

Well, there never really was one when we first started, but it was always easy to play gigs there and I think that's the best thing about it, always the opportunity to experience different venues and get our name out there in different places. It's been cool recently, getting to play the bigger venues in Nottingham, and I think it's kind of a turning point for the city with a few artists like ourselves who are doing alright, getting to expand beyond it. Apart from the new album and playing gigs and festivals around the country, is there anything else lined up for you?

Paul Roberts (guitar): Our third single, 'Glockenspiel Song', is getting released, which is a pretty big deal for us - we've got a session lined up at Radio 1 performing that acoustically. After that, it's festival season until the release of the album in October!

Yeah, our debut album comes out in October and it's called All Our Favourite Stories. We've just finished recording it and we're in the process of packaging it up,

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It can be hard to know what to bring to a festival. When packing, you'll want to think about all possible climates: everyone knows how unpredictable British weather can be. It can be helpful to think in layers when dressing for a festival, layers that can easily be taken off and put on as the day progresses. Consider bringing versatile clothing regardless of the forecast. Whilst it's tempting to whack out the shorts and summer dresses when the sun decides to show its face, warmer garments will be a godsend when the chilly evening arrives. A decent raincoat is a must have for any festival. You want this to be lightweight (for ease of bag-stuffing) and waterproof so that you'll be well-prepared for any unexpected downpours.

Hats are another essential: although they might seem like a waste of space at first, a fashionable beanie or snapback will hide your messy mane whilst also bringing a touch of individuality to your festival ensemble. You might be struggling to fit a pair of wellington boots in your already bursting backpack, but there's a reason behind their rise to greatness as the official footwear of British festivals: nobody wants to watch their favourite band whilst wading around in a pair of waterlogged shoes. To avoid both trenchfoot and a busted bag-zipper, wear your wellies as you travel to the festival. Even a basic pair will add an air of muddy-field chic to your attire.

WORDS & photos: MARK COLLIASS

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J E N N Y SAVILLE MODERN ART OXFORD, 23 JUNE - 16 SEPTEMBER

Study for Isis and Horus, 2011 Charcoal and pastel on canvas

I first became aware of Jenny Saville when I was sixteen whilst studying GCSE art. I was eager to see her work in the flesh for the first time, especially in my home town of Oxford and at her first ever solo show. When you first walk into the exhibition you are greeted with three large drawings that dominate the wall space, scaling from the ceiling to the floor. I presumed that they were graphite drawings with flashes of fleshy paint, but at a closer look it turns out that the whole piece is depicted in pastel. The way Saville has used monochrome pastel in a sketchy, hectic way contrasts with the glimpses of almost photographic flesh coloured pastel that feature throughout. One running theme I noticed is Saville’s obsession with facial features: the way she illustrates the human eye is almost haunting and disconcertingly human, but interrupted with strokes of paint that highlight the texture and versatility of flesh. The space lends itself to the work, and unlike many generic ‘white cube’ galleries in London, Modern Art Oxford has separate rooms that allow you to meander around the exhibition and properly take it all in, not knowing what will be around the next corner. The exhibition is comprised predominantly of portraiture or self portraiture but with the underlying obscurity of trauma similar to painter Francis Bacon, who is famed for his distorted dark paintings depicting flesh. Interestingly Saville has displayed her painting Torso II, a distressing painting of a hanging butchered animal with no limbs, alongside a collection of portraits. It stands out from the rest of the paintings in the room because everything else is human and alive. It adds to the eerie atmosphere of death and unease that is apparent throughout the entire show. It feels like we have come on a journey through the exhibition, from the monochrome sketches on the lower floor to paintings full of the saturated colour of skin. Jenny Saville is a painter who doesn’t just apply paint to canvas, but who sculpts her paintings to give depth and meaning. This solo exhibition is an excellent opportunity to appreciate one of Britain’s greatest painters work in one place, working as a whole to evoke emotion and hit with an impact.

WORDS: JOE DAVIS

Torso II, 2004-5 Oil on canvas

Art 21

"I GET N FOR A LI 22

NAKED IVING"

The exposed human body is one of arts most alluring subjects, but how does it feel to strip off and become the muse of an entire room? 'C', A life model, reveals all...

I have been a life model since January, and work for a rather lovely chap, Andy. Andy set up the Cardiff Life Model Collective a few years ago and has had some great success. He is ‘probably the most naked man you will ever meet’, and a great guy to work for, providing us models with a safe and friendly environment to work in. The collective has its own website, complete with a gallery of our models, a timetable for drawing sessions and a Facebook page where many of the artists submit and share their finished work from the sessions. You might be well be aware of life drawing/photography already, but I have found that a lot of people have never heard of it, or may have some negative views towards it. So, to explain briefly, life drawing/photography involves drawing or photographing a partly or fully naked model, in any number of poses depending on the model and the artist/photographer. I have modelled both alongside others and by myself during drawing and photography sessions, and I can honestly say that I have never done anything so exhilarating. I have never been all that forward or comfortable with my body; I have my hang-ups, as everyone does. But, contrary to what you might expect, my job fills me with confidence. Nowadays I can confidently walk into a room full of strangers, get my kit off and get posing. I have never felt better about my body or about myself as a person, and I’m so glad I took a chance and dove into the world of modelling.

Far from being degrading or ‘slutty’, life modelling is tasteful and empowering. Many artists come to sessions to hone their anatomical drawing skills - how better to do so than by studying the naked body? Others simply find elegance in the humanw form, bringing that aesthetic appreciation out in their work. Life art focuses in on the innate beauty within every person, and doesn’t discriminate against anyone, regardless of gender, ethnicity or body type. Life modelling has come to feel more like a hobby than a job for me. It has boosted my confidence, given me some amazing opportunities and led me to meeting some great people. It's also ensured my involvement with some amazing events, such as taking part in the World Naked Bike Ride and even cameoing in a new ITV show with the rest of my collective (to be aired this Autumn). To summarise, life modelling is plain wonderful. I haven’t found a flaw in the job yet, and I’m sure I won’t find one any time soon. I’m sure my fellow models and the friends I’ve made through modelling would agree with me when I say that it is a very dignified and fun way to earn some extra cash, and I would urge anyone to give it a try!

There are several life drawing classes in Oxford to get involved with - we recommend checking out The Jam Factory, who hold two sessions in their Boiler room every Tuesday! For more from C and her life model friends, check out www.a-muse.me

Art 23

What's on at

The Phoenix

Nestled in the trendy suburb of Jericho, the Phoenix Picturehouse provides a delightfully intimate cinematic experience. this month, kick back in one of their comfy chairs with a drink from their well-stocked bar and indulge in your choice from a wide variety of filmmaking: from blockbusters to cult favourites, phoenix have got it covered

a few of Our favourites this month... The IMPOSTER: Showing from 24 august / directed by bart layton This unnerving documentary follows the story of Nicholas Barclay. His mysterious dissapearance in 1994 when he was just thirteen years old seemed impossibly sudden to his Texan family. Refusing to let up hope, a three-year-search led to the eventual discovery of Nicholas, living life on the other side of the world on Spanish streets. From here, the tale takes a stomach-turning twist as investigators attempt learn the truth behind the young man's vashing act and his unexpected reappearance: The Imposter rivals Catfish in its affecting portrayal of human relationships, and matches classic feature thrillers in its ability to shock and surprise audiences.

The players: currently showing on selected days / directed by emmanuel bercot, fred cavayé, alexandre courtès, jean dujardin, michel hazanavicius, eric lartigau, gilles lelouche. starring jean dujardin, gilles lelouche, guillaume canet An audaciously funny series of short vignettes from a host of French all-stars, including The Artist's lead man Jean Dujardin. These fragmented tales of fascination, lust and infidelity include the turbulent relationship between an aging dentist and his young beau, the fetishistic fiasco of a sadomasochistic couple and, most enjoyably, the philandering antics of two cocky husbands. (French with English subtitles)

king of devil's island: showing from 6 august / directed by marius holst. starring Stellan Skarsgård, benjamin halstad, kristoffer joner, trond nillsen During a bitterly cold winter on an island in the Oslo fjord, it's a bleak and painful existence for the young inmates of Bastøy Boys Reform School. Subject to harsh physical and emotional abuse at hands of sadistic Governer Bestyreren (Skarsgård), new kid Erling (Halstad) takes it upon himself to concoct a daring revolt, rallying his peers in order to put an end to the cruel regime that terrorises their daily existence. It's a life affirming portrayal of bravery in the face of extreme injustice, one that resonates even further with the knowledge that it's based on true events. (Norwegian with English subtitles)

For more information on these films and a bunch of others at the Phoenix, including show times and trailers, check out www.picturehouses.co.uk

The Dark Knight Rises DIRECTor: CHRISTOPHER NOLAn STARRING: Christian Bale, Tom Hardy, gary oldman, Anne Hathaway, joseph gordon-levitt, morgan freeman It's been four years since we last saw Batman in action on the big screen, and that was a seriously epic affair, one that set the readily-moulded statue of Christopher Nolan's DC hero in solid gold. It would be hard to beat the toxic interplay between Bruce Wayne (Christian Bale) and his most hated rival: a battle that left scars both within and outside of the diegesis, as the tragic loss of Heath Ledger garnered audience respect by the bucketload in his legendary posthumous performance as The Joker. Whilst four years have passed in the real world, eight have passed in Gotham, and Wayne has become a devastatingly pathetic recluse: hidden away from his city, neglecting the duties that used to define him and blind to the chaos brewing beyond his mansion. Another masked vigilante, Bane (Tom Hardy), has entered the fray, and his intentions are apocalyptic; he festers with with the promise of revenge against the caped crusader, and plans to tear Gotham to the

WIN!

ground whilst simultaneously destroying the hero who used to silently watch over it. Hardy's chillingly casual performance portays the hulking Bane as a highly intelligent but merciless terrorist, a skewed notion of redemption emanating from his steely grip over Gotham. With one of the greatest and most star-studded casts in blockbuster history, Nolan's status as a modern movie icon has never been more apparent. He squeezes every ounce of grit and realism from the original comic, refusing to settle for any less than Oscarworthy from his actors and asserting incredible cinematic authority via mise-en-scene, repeatedly pulling off the Inception-worthy special effects he has come to be known for. It's all topped off with a mastodonsized score by Hans Zimmer which echos a genuine, fatalistic sense that this could be the end for Batman. Affecting, microcosmic parallels between Gotham and our own societies means that suspending disbelief has never been more straightforward. The breakneck pace of the film does mean that we leave with a few unanswered questions, but this is Nolan's way, and we're willing to embrace it when the result is this epic.

VERDICT: Nolan continues to redefine the boundaries of high concept filmmaking: a boneshatteringly awesome finale to history's greatest superhero trilogy.

Fancy watching Batman and Bane battle it out on the big screen for for free with a friend? We've teamed up with the lovely folks at Phoenix Picturehouse and are giving away two tickets to any one of their daily Dark Knight screenings! To win, simply 'Like' our Facebook page or follow us on Twitter, then leave us a comment or Tweet tell us what superpower you'd like to have and why. Pick wisely: the best answer gets the tickets! facebook.com/spiresmagazine | twitter.com/spiresmagazine

Film 25

Not So Secret Supper Club Once upon a time, it was only those in the know who could attend supper clubs. Fortunately for the rest us, things have now changed, and these previously exclusive dining societies aren’t so secret anymore... WORDS: HANNAH BELZ

The Format One supper club that has recently thrived in Oxford’s foodie scene is the Oxford Brookes Supper Club. It is held the first Thursday of every month (term time only) at Brookes Restaurant and is hosted by the passionate and dedicated staff from the Oxford Brookes School of Hospitality Management. It costs £18 per person which includes 2 courses (either a starter and a main or a main and a dessert) plus a glass of wine on arrival. Attendees sit around a large communal table and the food is usually placed in big dishes from which you can help yourself - a home from home, but without the washing up! If you want a drink, you simply go to the bar pour a glass of whichever wine or beer you desire before writing down what you had on an honesty sheet. The evening begins with a talk; so far speakers have ranged from local suppliers to an Oxford Blue Badge guide. Once the talk has finished, the speaker sits and chats with the group whilst chefs bring out the long awaited feast, which they then enjoy with the guests.

The Food

Final Thoughts

The menu is in line with Brookes’ ethos of locally sourced and seasonal produce. Each meal I have had at there has been exquisite, a real taste explosion from the start to finish. You will leave with excited taste buds and a satisfied stomach! Previous dishes have included summer risotto, slow cooked lamb on a bed of minted borlotti beans with pea fritters, coq au vin with dauphinoise potato, and home grown pavlova. Of course, vegetarians and other dietary requirements are catered for. Just inform a member of the team when you book.

The supper club now welcomes around 40 people to each event, but still retains its friendly, welcoming and homely atmosphere. It’s great for groups, couples or even people who just want to pop along on their own, because no one is alone at these evenings and there is never an awkward silence in the room. The next (and sadly last) supper club of the academic year is fast approaching, and in the spirit of summer it’s a barbecue! You can rest assured that burnt sausages will not be on the menu, however: prepare yourself for a charcoal grilled feast unlike any you've ever experienced!

For information on future events held by Oxford Brookes Supper Club, follow @BrooksRest on Twitter or 'Like' Brookes Restaurant on Facebook!

Food 27

Comic 29

Next Issue... Guillemots tell us all about their upcoming summer album!

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