Issue #6: Feb/Mar 2013 by Spires Magazine

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OXFORD CULTURE. Issue #006. February/March 2013.

SPIRES

STORNOWAY

ATOMIC BURGER

COBALT COLLECTIVE

telling Tales From Terra Firma

deliciously nostalgic on the Cowley road

A SPECTACULAR COLLISION OF LOCAL ARTISTIC TALENT

EVERY SATURDAY NIGHT £5 adv / NUS / members, £4 NHS 10.30pm - 3am • over 18s only

Fri 1st Mar

Of Monsters and Men Fri 1st Mar • £9 adv / £7 NUS

Dizraeli & The Small Gods Fri 22nd Mar

Andy C, Loadstar & more

Bastille

Sat 2nd Mar • £6 adv

Fri 22nd Mar • £12.50 adv

Upstairs ft. Deer Chicago

David Ford

7pm - 11.30pm

in association with BBC Introducing

10pm - 3am • over 18s only

7pm - 10pm

10pm - 3am • over 18s only

Switch ft. Ram Records

Fri 1st Feb • £6 adv / £5 NUS

Thurs 21st Mar • £9 adv

Sun 3rd Mar • £14 adv

Funeral For A Friend

7pm - 10pm

Weds 3rd Apr • £16.50 adv

Everclear

Fri 5th Apr • £8.50 adv 7pm - 10pm

Janet Devlin

Switch ft. Black Butter Records

+ Marmozets + Stem

Fri 8th Feb • £6 adv / £5 NUS

The Dan Reed Band

King Charles

Thurs 7th Mar 2013 • £15 adv

Sun 14th Apr • £11 adv

The Alarm

Little Comets

Thurs 7th Mar • £11.50 adv

Weds 17th Apr • £10 adv

Fri 8th Mar • £15 adv

Thurs 18th Apr • £12.50 adv + Anna von Hausswolff

Johnny Cash Tribute

Jaguar Skills and his Amazing Friends

Fri 15th Feb • £6 adv / £5 NUS

Sat 9th Mar • £18.50 adv

10pm - 3am • over 18s only

Switch ft. Mosca Sun 10th Feb • £12 adv

Modestep

Thurs 14th Feb • £14 adv

Everything Everything Fri 15th Feb • £10 adv

CASH

Tues 5th Mar 2013 • £14 adv

Halestorm 10pm • over 18s only

Fri 12th Apr • £10 adv 7pm - 10pm

Don Broco

Efterklang

Fri 19th Apr • £22.50 adv 7pm - 10pm

10pm - 3am • over 18s only

7pm - 10pm

Switch ft. Koan Sound

The Courteeners

Michael Schenker’s Temple Of Rock

Mon 18th Feb • £13.50 adv

Sat 9th Mar • £17.50 adv

Thurs 25th Apr • £10 adv

Delphic

Thurs 21st Feb

Jake Bugg

+ Valerie June + Hudson Taylor

Fri 22nd Feb

10pm - 3am • over 18s only

Switch ft. Disclosure Sat 23rd Feb • £5 adv / £4 NUS 10.30pm - 3am • over 18s only

Propaganda ft. The Enemy (Live)

7pm - 10pm - Rescheduled show • original tickets valid

Space

Sun 10th Mar • £19.50 adv

Johnny Marr

Mon 11th Mar • £14 adv

Jessie Ware Sat 16th Mar 7pm - 10pm

Lawson

Chapman Square Tour

Sat 16th Mar • £5 adv

7pm - 10pm - Rescheduled show • original tickets valid

Dog Is Dead

Thurs 2nd May • £16 adv

Major Lazer

Thurs 9th May • £20 adv Seated show • unreserved seating

Colin Hay

Fri 24th May • £15 adv 7pm - 10pm • unreserved seating

Scott Ian of Anthrax Spoken Word Tour

Sun 24th Feb • £20 adv

Gunning For Tamar

Sat 1st June • £10 adv

U.F.O.

Mon 18th Mar • £23 adv

Senses Fail + Handguns

7.30pm

+ 4BITtEN

The Stranglers

Tues 26th Feb 2013 • £8 adv

Tues 19th Mar 2013 • £10 adv

Fidlar

Gabrielle Aplin

7pm - 10pm

Thurs 12th Dec • £18.50 adv

Adrian Edmondson & The Bad Shepherds

Tickets for Saturday night shows include FREE ENTRY TO PROPAGANDA / TRASHY (or £6 / £5 NUS on the door) 190 Cowley Road, Oxford, OX4 1UE

Doors 7pm unless stated Venue box office opening hours: Mon-Sat 12pm-5.30pm ticketweb.co.uk • wegottickets.com seetickets.com • gigantic.com

hello, oxford Issue #006 February/march 2013 MUSIC: P05

FILM: P14

FOOD: P20

ART: P12

New year, new look, and all that. In fact, lots of changes have been happening here at Spires HQ - firstly, the magazine will now come out bimonthly to ensure that we deliver tiptop content every issue. Secondly, and much more excitingly, this will be the last issue of Spires to be digital only our lucky seventh issue will be the first to rear its head in the physical world. Don’t worry, though - you’ll still be able to get your dose of Oxford culture free of charge, and the magazine will be available to pick up from a variety of lovely stockists around the city. It’s a very exciting prospect for us to be finally getting printed, so rest assured we’ll be keeping our fingers on the jumping pulse of Oxford’s brilliant culture scene to ensure that the next issue is the best yet! If you have some ideas to make the magazine even better, or would like to become a regular contributor to the mag, then we’d love to hear from you via the usual means - Facebook, Twitter, email... hook us up, yo. Matt Ayres

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Spires is a free magazine created by culture lovers, for culture lovers. All articles reflect the views of their respective authors and not necessarily those of the editorial team. happy reading!

Editor: Matt Ayres matt@spiresmagazine.com Music Editor: Charlotte Krol charlotte@spiresmagazine.com cover illustrator: Mark colliass contributors: Hannah Belz Luke Buckle Joe DAVIS Leo johnson Tom Jowett Samir Koudoua Greg Laidler Rowenna Purrett Chris Scott Christopher SMith Lauren Stafford Advertising: ads@spiresmagazine.com drop us a line and enquire about our competitive ad rates!

STORNO

Earth-loving multi-instrumentalist Jon Ouin discusses his bandâ&#x20AC;&#x2122;s long-awaited SECOND album... - WORDS: MATT AYRES 04

OWAY S

ince releasing their beautifully textured debut album in 2010, Oxford’s own Stornoway have become the nation’s band to go to for imaginative, accessible indie folk. About as far from the celeb-splattered mainstream folk invasion of Mumford and Sons as you can get whilst still remaining broadly in the same genre, the sounds showcased on Beachcomber’s Windowsill ranged from majestic trumpets on ‘Zorbing’ to not-so-regal kazoos on ‘Watching Birds.’ March will mark the release of Stornoway’s sophomore release, Tales From Terra Firma. It’s an album that, according to the band’s most versatile instrumentalist Jon Ouin, will push their varied sound even further. ‘We’ve definitely achieved more of a sonic range,’ he tells me. ‘We produced the album, as we did with Beachcomber’s Windowsill, but hopefully we’ve done a better job this time around. But yes, there’s a few different textures and uses of instruments. Hopefully it doesn’t feel too gratuitous. We always like to treat each song very differently, and try and

hold on to the original tread of the demo. Then we use whatever sounds or techniques seem appropriate for that particular song.’ Although he describes himself as a keyboardist who ‘likes to dabble’, Jon’s musical capability extends way beyond tinkling the ivory. Did the new material call for any previously uncharted instruments? ‘Well the mandolin was a new instrument for me,’ he offers. ‘We wanted to achieve that fresh, slightly celtic feel to one of the songs on the album called ‘The Bigger Picture.’ Besides that, there’s a couple of other bits and pieces - an instrument called a kanun, a sort of Turkish zither with nylon strings. That was quite fun, although I couldn’t really play it to save my life!’ As its title suggests, Tales From Terra Firma will continue to lyrically explore environmental themes first visited on Beachcombers Windowsill – it’s an album inspired by the natural world, and how we engage with it. ‘The title is really an attempt to conjure up a

MUSIC 05

“WE WANTED TO GIVE THE WHOLE ALBUM A SENSE OF ADVENTURISM” sense of adventurism,’ Jon enthuses. ‘Each song might relate to a specific thing, but also we wanted to give the whole album a sense of adventurism. Nature is referenced in quite a few of the songs – seasons, weather, the natural world. It’s a continuing backdrop for the music we’ve written.’ This all sounds rather ambitious, especially for a band who pride themselves on recording their music outside the safe confines of a professional studio. ‘This album was recorded in a series of places’, Jon explains. ‘Mostly in a garage belonging to Rob and Oli (Steadman, drummer and bassist respectively), where we practice. Some of it was also recorded in St Michael’s church. It’s all pretty local, basically. I guess that’s partly because we don’t like going to expensive studios and wasting lots of time and money. We quite like to do things in our own time. We’re control freaks, we like to do everything ourselves. We tend to avoid having too many cooks.’ It must be difficult for a bunch of control freaks to collaborate on such grand compositions, but Jon explains that things come together in a remarkably organic fashion during the composition stage. ‘Brian (Briggs, guitar/lead vocals) writes most of the songs, at least in demo form. There’s a couple of cowrites on this album with myself. One of them is a song called ‘Farewell Appalachia’ and the other one is called ‘Knock Me on the Head.’ Then we work out a lot of the arrangements with the rest of the band. Any specific extras we might want to add, I’m often in charge of during production. It’s really a team effort, and usually the way that we write music depends on the song.’ With the majority of tracks calling for more instrumentation than a four piece could physically handle, the band aren’t too stubborn to rely on a little help in the live environment, employing the talents of additional musicians to recreate their rich production on stage. ‘It’s quite telling on this album that a lot of the songs will need bolstering for us to pull off what we had in mind for the original recording. We’re trying

to harness our ambition to a slightly more practical live situation. You can’t always have an orchestra with you!’ Local fans will be among the first to experience exactly what Jon is talking about when Stornoway play a pair of hometown concerts at the Town Hall on the 14th and 15th of February. After previously becoming the first non-classical band to grace the grandiose Sheldonian Theatre, it’s obvious that the band won’t settle for a headline slot at the O2 Academy – Oxford audiences deserve something more memorable. ‘I always feel slightly more nervous for Oxford shows,’ Jon admits. ‘You feel like you’re playing to the people who know you best. Maybe it should be other way around, but I feel like we always have to do something special for our Oxford supporters.’ ‘I’ve only been to the Town Hall to have a look round a couple of weeks ago, but it was very inspiring and quite suitable for our kind of music. I’m not sure when it was built, but the place has a slightly maritime feel to it. There’s also this massive organ, which I’m quite tempted to make use of, even if it’s just for one track.’ ‘It certainly won’t be a straightforward show. The set will obviously be new for Oxford people. I can’t tell you too much, but who knows what could happen!’ With one of the concerts coinciding with Valentine’s day, does Jon expect to see a lot of couples in attendance? ‘Oh yeah. It’s going to be like a school disco. Brian’s going to sing a few Mariah Carey covers. I haven’t told him yet, but that’s what he’s going to do.’ Beyond romancing their loyal listeners, Jon is unmistakably excited to get back on the road, showcasing his band’s new material to the rest of the country. ‘We’ve got quite a lot of touring lined up, and there’s hopefully going to be a few festival appearances on the way. I’m pretty excited because we haven’t played live for a while, apart from a few very small shows. It will just be good to let this album set sail, into the unknown!’

MUSIC 07

Album Reviews everything everything arc geffen With a Mercury nominated debut album already under their belt, clever-pop pioneers Everything Everything have big boots to fill with their second major label release. If its two preceding singles, the aptly contagious ‘Cough Cough’ and enjoyably intricate ‘Kemosabe’, are anything to go by, then Arc will be an album that victoriously ties catchy choruses with mathematical complexity. This will be no easy task, though, and perhaps that’s why the Manchester four-piece decide to safely introduce their LP with the aforementioned pair of belters. Happily, third track ‘Torso of the Week’ is equally entrancing; a refrained 808 beat gives way to singer Jonathan Higgs’ trademark falsetto before somehow U-turning into a snare-riddled prog rock bridge. By the time the octave drop of its chorus kicks in, it’s clear that Arc will fall into that rare category of records: an album that anchors itself in the depths of its listeners’ subconcious, revealing the infinite possibilities good music can possess. A variety of timeless pop influences are evident throughout the album – there’s something quite Freddy Mercury about the harmonised vocal patterns of ‘Duet’, whilst the rhythmic verses and confident pacing of ‘Don’t Try’ are more reminiscent of (dare I say it) Beyonce. Elsewhere, musical tradition is combined with innovation. The synthesised triplets and prosaic structure in ‘Undrowned’ make it sound like a haunted nursery rhyme; a quickly strummed mariachi intro in ‘Feet For Hands’ is quickly bolstered with Muse-ish tremolo picking and tense drumming, before unexpectedly transitioning into an electronic chorus of the band’s own invention. The finest example of Everything Everything’s ingeniously playful songwriting arrives with ‘Armourland’, a track that best showcases this band’s inspired matrimony of progressive and pop. Here, the album’s most unpredictable synthstuttering verse meets its most towering dream pop chorus, gleefully encapsulating the imaginative spirit of Arc in its entirety. Matt Ayres

Frightened rabbit pedestrian verse atlantic Perhaps it’s the impending worry of our kilt-wearing brethren going all independent on our asses, but it seems that we English have really been embracing Scottish music recently. Joining the gruff-voiced likes of Biffy Clyro and Twin Atlantic, Frightened Rabbit aren’t a new band, but the release of their fourth album Pedestrian Verse has finally distinguished them as one of Scotland’s finest exports. The most striking thing about the Rabbits’ sound is vocalist Scott Hutchison’s staggering, emotive delivery. His poetic lyrics traverse from gravelly lows to falsetto peaks, encompassing the entire musical voyage with a sense of true human experience. As with previous releases, Pedestrian Verse is built on a bedrock of guitar chords, with pounding floor tom rhythms signaling the most climactic parts. Married with Hutchison’s voice, this makes

“Scott Hutchinson’s poetic lyrics traverse from gravelly lows to falsetto peaks” for some very epic sounding indie rock, especially in single ‘State Hospital’ and late album highlight ‘Nitrous Gas’. Another element to the band’s sound is showcased on ‘Holy’, its uplifting bass drive powered by a hasty kick drum, channeling the stateside rock of the Gaslight Anthem and inflecting it with the Gaelic charm of their singer’s accent. This may be nothing new, but Pedestrian Verse demonstrates vast understanding of a timeless genre. From pensive piano notes in ‘Acts of Man’ to the concluding choral crescendo of ‘The Oil Slick’, Frightened Rabbit reward their listeners on repeated listens with masterfully composed sixstring arrangements and elegiac lyrical depth. Matt Ayres

Constellation Guide: = BAD //

= AVERAGE // = BRILLIANT //

= DECENT // = MASTERPIECE

He who never timing self-released

Social networking hasn’t just boosted interactivity between musicians and fans in the ‘I LUFF U CAN I GET AN RT PLZ?’ sense; it’s done much more than that. Facebook and Twitter enable artists to link fans to fundraising recording campaigns, which means dreams of a new record can become a reality. This is precisely what Aaron Rosell, aka He Who Never, has done for his second EP, Timing. Rather than asking friends to dedicate an inconceivable of amount of unpaid time to help him record his latest efforts, he set up an Indiegogo campaign to pay them back. Appropriately, this do-gooder from Minnesota has made an entirely open and honest record in Timing. Lyrics detail relationships thwarted by distance, the uncertainties of growing up, memories, hopes, regrets and redemption. Lead single ‘Pardon’ is one polished and powerful piano ballad. The galloping drums and clean keys do well to keep up with Rosell’s absolutely stunning recording voice, helping transform the track from docile beginnings to a tectonic-shifting blow-out. The next few tracks open with those same, vacant piano chords and you begin to worry what similarities the rest of the EP will harness. Thankfully, ‘Mirrors’ presents something altogether different: a dark, minor note driven track full of menacing echoes, skittish guitar harmonics and mechanical drum patterns. It’s not unlike something Muse would pen in their early days, save for the rather incongruous but impressive rap from collaborating artist Metasota. ‘Fault Lines’ jolts back to the calmness of EP opener, ‘Oars’, but finally forces full expression out of Rosell. Breathy falsettos welcome in a seven minute build-up, while bottleneck guitars and heavyweight drums flesh out the song’s beautifully sombre piano notes. Timing lacks the variation that would make it a sure-fire hit, but the remarkable songwriting and solid production behind it do more than make it an enjoyable listen. Timing proves that Rosell has undeniable talent, and a whole host of people who believe in it. Charlotte Krol

My Grey Horse Stop before the dry river CRC

Hailing from Stratford-Upon-Avon, but finding core pockets of fans in Oxfordshire, Birmingham and London, My Grey Horse have been signed up to CRC Music Group since 2011 and released their debut EP, The Markley Banks, early last year to mass acclaim. With the release of this exquisite new EP, Stop Before The Dry River, many are tipping My Grey Horse as a banker for a big breakthrough in 2013. EP opener, and recent single, ‘Need Wood’ is a catchy indie-pop hit-in-waiting; brotherly backing harmonies, an unshakable vocal hook and a languid, punchy guitar style are reminiscent of early Weezer. ‘Big Night’ is the best track on the EP. The chirpy synth line and the lilting, interweaving harmonies lie at odds with the melancholic lyricism: beautifully bittersweet. Had the first two tracks been released as a double a-side, this would have been the perfect release. Despite the wonderful squawking guitars on ‘Last Chance’, the track fails to reach the absorbing heights of the previous two and the acoustic tenderness of ‘Catch Up’ feels like a somewhat superfluous addition.

“a catchy indie-pop hit in waiting... brotherly backing harmonies, an unshakeable vocal hook and a languid, punchy guitar style” These boys certainly know how to write pleasingly catchy tunes and with songs like ‘Need Wood’ and ‘Big Night’ under their belt, it is clear to see why this is one horse worth backing all the way. Tom Jowett

MUSIC 09

Local Releases TTNG 13.0.0.0.0 Sargent house

Returning under a new guise (or at least an abbreviation of their former moniker), TTNG have long been touted as one of Oxford’s brightest musical exports. Their intelligent, yet always intelligible, brand of math rock has always set them apart from the crowd and, despite numerous line-up changes in the last year, new album 13.0.0.0.0 is no different. There is however, a noticeable shift in style from some of the band’s earlier releases. Gone is all hint of a distorted guitar and it’s all hands-on-deck as far as melody-making is concerned. From new-man-atthe-helm Henry Tremain’s concisely measured vocal harmonies on ‘Havoc in the Forum’, to the laid back synth-pop of instrumental track, ‘Nice Riff, Clichard’ (yes, they went there), it’s clear that TTNG have mastered their art. Beautifully woven through a series of

asymmetrical time frames, each track is no less unique than its predecessor, no easier to predict than the next. Sadly, you can’t help but wonder whether TTNG need to come back with something more stunningly instant next time around. In an age when even HMV isn’t immune from the CDs dearth, music is a perishable commodity and the sad realisation is that bands of TTNG’s ilk – purveyors of music for the thinking man and woman – may struggle to sustain themselves in the long-term. For the here and now at least, let purchasing 13.0.0.0.0 be a celebration of the good times. While it will sadly fail to make an impression on the mainstream, Oxford can be proud nonetheless. Christopher Smith

Live Music An Evening of john cage // port mahon // 12/01/2013 This celebration of the post-war avant-garde composer is by no means everyone’s cup of tea, but those willing to give it a try are in for one of Oxford’s most imaginative gigs for years. We begin with a half-hour set of improvised, mostly atonal guitar. It’s some of the strangest and least catchy riffage around, impressing some and alienating others - by the time it’s finished, the crammed upstairs room

has halved in population. This is gladly followed by the evening’s best bits - back to back recitals of ‘Inlets’, ‘4’33”’ and the particularly impressive ‘Waterwalk’. A finale comes in the form of ‘Indeterminacy’, a challenging listen to say the least, but at least accompanied by tasty mushroom shaped cookies. Props to the ambitious local musicians who partook, and the open-minded punters who bought tickets. MA

Co-Pilgrim a Fairer Sea Battle Worldwide Writing a new album is rarely easy, especially those tricky second albums or ones that follow intense media hype over an explosive signature track. It goes without saying that albums should strike the listener, or at least leave one or two tracks playing on repeat in their head. This is where Co-pilgrim’s second album, A Fairer Sea, unfortunately crumbles. Its occasional sparks of creativity and underlying gracefulness is somewhat let down by the boredom-inducing stretches of uninspiring songs that even a shuffle function fails to remedy. You find yourself almost forgetting the album is playing, but not in the way that it might be sinking into your subconscious. Instead, you simply switch off and disengage all together. The album occasionally throws up tracks that are certainly worth a listen and manage to stir a bit of interest. ‘22’, for example, kicks off the album with an upbeat tempo and an interesting ensemble of riffs and vocals, but this immediately becomes lost in the mire of blandness that follows. Every album should have a place or purpose – perhaps a power track on a long run, something to revise to, or something to accompany your commute to work. This album, however, fits the purpose of background music for a wine and cheese night when your Damien Rice album goes missing. Chris Scott

Rhosyn Elbow of Capture Blessing force There’s multi-talented, and then there’s Rhosyn. A proficient cellist, vocalist and artist, Rose Dagul spent two years living in Oxford after graduating from The University of Arts, London. She’s part of that sickeningly trendy Blessing Force collective, which includes the likes of Chad Valley, Pet Moon and Trophy Wife. Elbow of Capture may be her first official release but it’s in no way faltering. This self-produced debut EP is brim-full of brawny histrionics. Opener ‘Glass’ piles up layers of lingering folk-esque harmonies. Fervent strings and over-annunciated lyrics underpin a kind of maudlin triumph throughout – ‘Drop me from a great height/It was always the way I wanted to go’, she spits in ‘Birds’. It’s a diverse assortment of tracks (‘Since The Air Became Frantic’ and ‘Eurydice’ flirt more with experimentalism) but somehow there’s an easy cohesion between them. Her sound is unique and so it’s difficult to find a worthy comparison. Imagine, if you will, Mogwai and Florence Welch scurrying towards each other across a gloomy moor a la Heathcliff and Catherine; Rhosyn is a product of that union. The melodrama entrenched in Elbow of Capture won’t appeal to everyone but even the harshest of critics should acknowledge that this record has been meticulously crafted. It’s bold and it’s original. Lauren Stafford

Upstairs feat. Tall ships, Listing ships, my Grey horse // O2 Academy Oxford // 19/01/2013 My Grey Horse have a nice following in Oxford, and you can tell they’re delighted to be here. ‘Need Wood’ introduces the band’s alt-pop sound, with the three Butler brothers swooping in on the mics like it’s the last time they’ll ever sing. Later, slacker guitars drag their feet to the bleeps of ‘Big Night’ whilst co-vocalist/ guitarist Oobah Butler has a catharsis onstage. My Grey Horse clearly love playing live and ensure the crowd loves them for it too. Up next is Listing Ships – a band that has a real knack for marking the audience as spectators. Without lyrics to interact with, Listing Ships’ instrumental creations

are carefully studied by the crowd; components that are often overlooked when choral singing is in play. For the entire set, the band take the O2 on a journey of nautical imagery and vast tidal-wave soundscapes. Although the crowd has very respectfully watched every act tonight, the reason behind so many braving the snow is obvious: Tall Ships. You can see why. The Falmouth trio’s blend of math-rock, post-rock and beyond is entirely pleasant on the ears and enriching on the soul. For what I manage to catch, it’s an absolutely explosive headline set - one that perfectly closes an unforgettable evening of live music in Oxford. CK

EXHIBITION HOST JOE DAVIS TALKS US THROUGH the process of ORGANISING A SUCCESSFUL ART SHOW...

COBALT COLLECTIVE: COLLISION 14-17 DECEMBER 2012 JAVA & CO I’m Joe Davis and I studied Mixed Media Fine Art at the University of Westminster. I set up Cobalt Collective alongside Samir Koudoua who studied Graphic Design at Arts University College, Bournemouth. After both graduating and returning to Oxford after the bustling life of university, we noticed a gap in Oxford’s art scene. We decided to stage an exhibition, aimed at providing local artists with an opportunity to show their work. Apart from the odd event, I feel that the art scene in Oxford is very exclusive, which makes it hard for artists to exhibit their own work without a lot of money. First, we hunted for empty wall spaces and interesting locations for our exhibition, approaching a number of local independent businesses and pitching our ideas to them. Eventually we settled on Java & Co; we were lucky enough to be offered the entire upstairs space of this central Oxford coffee shop, where there was not a single piece of existing art on the walls.

As this was a spontaneous idea we gave ourselves an almost impossible time limit to organise the show: we were determined to put it on before Christmas. We wasted no time in sending out a call for open submissions. Sifting through all the work that people had sent in, that would otherwise be sitting in a dusty portfolio somewhere, was one of the most interesting jobs I have ever had. We began to worry slightly during a sudden lull in submissions. However, to our relief we were inundated with great artwork on the last few days. The curation process was done mainly over Skype whilst flicking through previews of the artists’ work. It was hard to come to a conclusion, due to the conflicting tastes of a fine artist and a graphic designer, hence the title of our show, ‘Collision’. The result, however, was a diverse exhibition featuring drawing, painting, photography and print. We managed to get local sponsorship to fund the exhibition and wine for the private view, meaning there was a lot of local involvement for the show, from which everybody benefited. The private view was a great success; it was incredibly rewarding to see so many people coming along to appreciate the talent of Oxford’s local artists. Without interest from artists and help from a few volunteers it would not have been possible, so thank you to everyone who was involved. We hope to attract even more people to be involved with Cobalt Collective’s next show!

FUSION ARTS POP UP GIG & GALLERy 5 JAN-5 FEB 2013 EAST OXFORD COMMUNITY CENTRE

Image: Cock and Bull Story by Charlotte Farmer

It was a spontaneous decision to come to this show, and that’s kind of the point. Advertised as a ‘Pop Up’ night, all of the art on show at East Oxford Community Centre was installed earlier today. I never knew that this space existed, and it was exciting to detour off the bustling street to find a dimly lit, worse-for-wear hall crammed with people, with art on the walls and musical instruments waiting to be played. After organising my own exhibition in Oxford in December, it was interesting to have something to compare it to. It was obvious that no real effort had been made to display this art, with some illustrations still in their cellophane packaging. However, this added to the charm and spontaneity of the event. If it was solely an exhibition then I would have expected more artists, but

the addition of three bands meant that the focus was shared between both art and music. Sparse lighting from a few antique lamps dotted around the small space created an ambient atmosphere, especially suiting the gentle harmonies of the first band of the evening, Jess and Ness. The evening really benefited from this addition of live music, bringing a new dimension to an already creative-led event. There was a good mix of all styles of art, with illustration pieces particularly catching my eye. The exhibition was a perfect mix of art and music, and really made the most of a challenging space. With the correct amount of advertising, this exhibition could attract many people who would normally walk straight past. This creative evening really proved how straightforward it is to organise an event that appeals to the cultured people of Oxford. Despite being named ‘Pop Up’, the exhibition runs until the 5th February 2013. Joe Davis

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- FILM REVIEWS -

Django Unchained Director: Quentin Tarantino Cast: Jamie Foxx, Christoph Waltz, Leonardo DiCaprio, Samuel L. Jackson

uentin Tarantino’s style has been thoroughly patented. Just watching the bold red title credits of Django Unchained haphazardly flash is enough to thrill the QT-versed viewer – these signal the beginning of another wonderfully idiosyncratic movie. Content with a back catalogue of culture savvy bloodfests, the filmmaker has now begun to stamp his trademark on a range of classic genres, retelling history via his own delightfully twisted scripts. 2009’s war epic, Inglourious Basterds, saw Tarantino point his violent streak in the best possible direction: at Nazis. His latest offering presents another ideal scenario for fervent racial redemption. Django is a post-modern take on the Western genre. It spotlights the appalling bigotry of the late 19th century whilst simultaneously riddling it with smokin’ bullet holes. There’s even an original soundtrack that mimics those of the classics, celebrating its African-American protagonist in a way that Sergio Leone never could. Jamie Foxx plays that protagonist. Django is the perfect cowboy, silently smouldering with a passion for justice; fuelled by a pure hatred for the era that oppresses him and his captive wife (Kerry Washington). It’s a role with numerous standout moments, but it can’t compete with that of his charismatic liberator, Dr. King Schultz. Christoph Waltz acts with such magnetic energy that we barely even question the unlikeliness of a German character in this terrain. Testament to the actor’s show-stealing performance in Basterds, it was a part no doubt written specifically for him (hey look – Waltz rhymes with Schultz!). Every ounce of loathsome malevolence that was found in Hans Landa is spectacularly reversed here, as Schultz heroically defies the white-man stereotype and becomes this film’s greatest hero. Such a team of vengeful do-gooders needs an epitome of evil to trample their righteousness all

over, and the masterful pairing of Leonardo DiCaprio and Samuel L. Jackson fulfils that requirement. The former plays an aristocratic plantation owner who delights in the ‘sport’ of Mandingo fighting, pitting his slaves in death matches against those of similarly sadistic golden boys. The baby-faced superstar both fascinates and revolts in his Tarantino debut. Meanwhile, Jackson is among the director’s most called upon talents, but his role as a heavily prostheticised elder slave departs spectacularly from the ‘Bad Mother Fucker’ he pioneered in Pulp Fiction. Just as Schultz is celebrated for his objection, Stephen becomes a hated villain for embracing the tyrannical system he’s oppressed by. Tarantino’s discerning eye knows exactly the type of edit that will take his audience by surprise, regardless of how well read they are in his canon of work. In Django, this is no better proven than via soundtrack. Raucous modern-day hip-hop interrupts a traditional hoss-ridin’ montage, whilst a harp recital of Beethoven’s ‘Für Elise’ accompanies a graphic flesh-tearing slaughter sequence. It’s these little jolts that keep one hooked throughout the film’s rump-numbingly long duration – these, alongside the director’s notorious injection of black humour, best exemplified in a farcical scene that involves the KKK and their vision-hindering hoods. Blood-soaked mise-en-scene and N-word excess (a genuine contextual phrase in this case) will inevitably rattle more than a few cages – this filmmaker has heard it all before, though, and it’s admirable that he won’t let the naysayers filter his vision. What Django Unchained provides is true cinematic entertainment. The gratuitous violence, the knife-edge dialogue, the effortlessly cool aesthetic, the inevitable cameo – this is the handwriting that comprises the QT signature, and it’s impossible to refrain from grinning as he wildly scribbles over the errors in human history. Matt Ayres

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- FILM REVIEWS -

Gangster Squad Director: Ruben Fleischer Cast: Josh brolin, ryan gosling, Sean penn, nick nolte, emma stone

war hardened veteran turned honest cop who has taken just about as much as he can take from LA’s biggest mob boss: Gangster Squad is a true-to-genre gangster movie, set in the 1940s and shot in style to match (albeit with a think coat of HD polish and violence that would only match today’s unnerving audience). Directed by Ruben Fleischer, known for films like Zombieland and 30 Minutes or Less, Gangster Squad certainly has fingerprints on it. Like a kid on a sugar rush, this is a loud and energetic film with some questionable use of slow motion, but a film made with a great love of its defining genre. It features a solid line up: Josh Brolin, Ryan Gosling and the gorgeous Emma Stone join Sean Penn to make up the main cast. They deliver colourful performances, if a little shallow, with each character being a perfect stereotype from the genre.

Tenuously based on a true story, the actual plot is a typical one, with every twist and turn historically laid out like an over used map. This, however, makes it no less entertaining, with fast paced car chases and tense fight scenes that definitely keep you enthralled. Unfortunately, it’s difficult to consider Gangster Squad a credible release. Whilst it draws heavily on the anthology of classics considered essential cinema, it comes across as a cheap and unsatisfying breach of copyright, rather than an homage. This film is the York Notes of gangster films, cramming as many clichés as possible into nearly two hours. Hardcore gangster film fanatics will be divided. There’s nothing new here; this is a film that you should watch and accept for what it is, a near pastiche of the genre. Samir Koudoua

- FILM REVIEWS -

Laurence Anyways Director: Xavier Dolan Cast: melvil poupad, Suzanne Clément, Nathalie Baye

dding to his chronicle of films characterised by the challenges of love and intimacy, young and aspiring writer/director Xavier Dolan presents us with another intricate portrayal of relationships. Thematically building on I Killed My Mother and Heartbeats comes another esteemed, creative and distinctively Dolanian film set in 1989, this time centred on transgendered adults. A film that originated from the story of a crew member and written over the course of three and a half years whilst shooting the two aforementioned films, Laurence Anyways focuses on the relationship of Laurence (Melvil Poupaud) and his partner Fred (Suzanne Clément), delving into the intricacies of love and connection over the course of a decade after Laurence reveals he is transgender and intends to become a woman. The film fluctuates between dreamy shots

and bold conversations, exquisitely executed whilst reflecting distress and pain, as well as understanding and appreciation. An astounding set-up, filmed and edited in Dolan’s vision, this film attacks preconceived thoughts on its subject matter. It’s a development of the filmmaker’s own attitude, exhibited through aesthetic and narrative output. A highly compassionate piece of cinema, Dolan confronts his audience with another film about sexual orientation; lessons of tolerance, acceptance and love. He uses the theme of the transgender as a pretext or secondary intrigue for exploration, and presents the challenges a loving couple can face. Ultimately, Laurence Anyways will open eyes to the realities of a distinct form of love and commitment that is rarely seen. Luke Buckle

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- FILM REVIEWS -

Life of Pi Director: Ang lee Cast: suraj sharma, irrfan khan, tabu

n adapted screenplay from the awardwinning novel of the same title, Life of Pi is the unique, emotional, heartfelt journey of Pi (Suraj Sharma), a young man who unknowingly embarks on the voyage of his life. Director Ang Lee introduces us to Pi later in life telling his story in his front room to a FrenchCanadian author. While discussing his youth, the importance of religion as a conceptual metaphor to the backdrop of the film surfaces. Importantly this interest shapes his encounters, thoughts and actions throughout the film. Later, his family decide to leave their struggling zoo in India for a better life in Canada, much to the disappointment of Pi as he begins to find reason and purpose in life. While travelling at sea, a fierce

storm sinks the ship in a dramatic scene. Pi ends up confined to a life boat with Richard Parker, a Bengal tiger. Attaching a make-shift raft to the boat by rope, Pi keeps his distance, filling his time by reading a survival guide, writing messages, catching fish and attempting to make sense of his suffering journey; some kind of purpose for it. This film possesses a great quality of narrative, amazing instances of cinematography and a depth of emotion, courage and commitment to survival that is artistically unparalleled. Will his Gods make sense of this, or lead him to further uncertainty? Welcome to Pi’s ark. Luke Buckle

Quartet Director: DUSTIN HOFFMAN Cast: Maggie Smith, Tom Courtenay, Billy Connolly, pauline collins

his most recent directorial offering from Dustin Hoffman features a topic close to his heart. Originally trained as a pianist himself, Hoffman’s Quartet focuses on the later lives of once famous performers in the operatic and orchestral arts. Set in a retirement home for musicians, the plot centres on an awfully familiar tale, as the residents prepare for a fundraising gala in order to keep the home open. The reunion of a world renowned, long retired quartet leads to the opening of old wounds as one half of the quartet rehash their failed marriage, and thus, the see-saw of ‘will they, won’t they (sing)?’ begins. The cast of Quartet is undeniably bankable, but it is Billy Connolly’s under-sexed and over-confident Wilf who is the real soloist here. While Maggie Smith does a stellar job of playing Maggie Smith, Michael

Gambon’s appearance in the film does seem a little wasted, almost as though he was repaying some kind of favour and agreed to bring along a few costumes that were left redundant after the Potter years. This is by no means the first shot at cinema for the over-sixties – it’s a commendable endeavour, and certainly not the worst. Whilst it is dutifully spattered with dizzy spells and dodgy hips, age is not the sole focus of the film; it is possible to look a little closer and see that a love for the theatrical, as well as the musical, pulses just below the surface, alive and well, heart conditions be damned. Quartet is the more refined cousin of The Best Exotic Marigold Hotel, and although it is hardly ground breaking stuff, it is ultimately harmless. Rowena Purrett

- FILM REVIEWS -

Les Miserables Director: Tom Hooper Cast: Hugh jackman, russell crowe, anne hathaway, amanda seyfried

nless you’ve managed to miss every bus, every billboard and all screens of any sort in the past month, you’ll know that Les Mis hit cinemas a couple of weeks ago. Adapted from a 19th century novel and a 1980s stage show, the film is directed by Tom Hooper and stars pretty much everyone. Set in post-revolutionary France, the tale spans several years of social unrest and more than one generation of intertwining characters before culminating atop a barricade that must have left Paris completely furniture-less. There is very little spoken dialogue, but once this fact has sunk in and the initial uneasiness has settled, you might begin to wonder why anyone ever bothers speaking at all. It’s impossible to escape the murkiness of much of the plot, but Helena Bonham Carter and Sacha Baron Cohen do offer a few moments of respite as the dastardly innkeepers. In fact, Baron Cohen is the only cast member to attempt a French accent (admittedly, it

sounds suspiciously Jamaican). So far it seems that praise for the most commanding portrayals is going to Anne Hathaway and Hugh Jackman as Fantine and Jean Valjean respectively. Whilst their talents are undeniable (nothing says dedication like lopping off your locks), others were equally enthralling. Russell Crowe’s Javert was perhaps the most credible, and although Crowe’s pipes may not be as fine-tuned as others’, his voice is surprisingly impressive and at one with his character. Les Miserables offers a musical experience of epic proportions. Intense from start to finish, it leaves an audience feeling a strange and not entirely undeserved sense of emotional accomplishment. So if you’re one of the seven people in the country who has yet to see Les Mis, my only advice to you is this: refrain from all fluids for at least a day beforehand; the film is about three weeks long. Endure, enjoy. Rowena Purrett

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THE HERBIVORE CHRONICLES THIS JANUARY, Greg laidler TOOK THE VEGAN VOW and ADOPTed A STRICT ANIMAL-FREE DIET FOR ONE MONTH. TOFU IN TOW, he prepared to meet THE VEGGIE ELITE... It’s December 30th 2012, and I have just enjoyed a delicious fillet steak cooked by my own fair hand. Medium rare, pink through, perfect. This was my ‘goodbye meat’ meal, because in just over 24 hours I will begin my month-long vegan challenge. As a meat-loving omnivore, I have always considered vegetarianism, and particularly veganism, nothing more than “closed minded eating”. Over the next 31 days, throughout January, I’m going to be taking on a vegan diet and seeing just what it’s like to live with these restrictions. So, what is a vegan diet?

It’s a simple concept, really: you can’t eat anything that comes from an animal. Yes, that means no meat, no eggs, no milk (including ice cream, milk chocolate, etc), and even no honey. When the clock struck 12 and the 1st of January, so did my challenge, and possibly the greatest temptations came to me in the very first days. My friends and I have a tradition of heading to Nando’s every new years day, to eat away our

hangovers with a plenitude of poultry. I sat around as my friends ordered their regular chicken-based meals, horrified at the prospect of ordering a salad. I could practically see my ideal meal before me: one whole chicken with creamy mash and sweetcorn. “Couscous salad, please,” I choked. And to my surprise, it was good! Also a happy surprise, it turned out that my friend Amy was also vegan – actually vegan, by choice and everything! So as we ate our salads and I avoided staring at everyone else’s meaty plates, she gave me my first tidbits of vegan advice. My second big trial came the very next night when I met some more friends for a meal at one of my favourite eateries, Byron Burger restaurant. All I wanted was a medium-cooked beef patty with cheese, maybe even followed by a thick creamy milkshake. Again I ordered salad, and waited with the fear I’d leave hungry - salads are side dishes, right? Moving on through the week, I was feeling pretty good. I had stared temptation in the face, twice, and managed to leave two of my favourite eating spots feeling satisfied. Well, not completely satisfied... whilst all my friends at Byron ate their chocolate and peanut butter sundaes, it bothered me that there was not a single vegan-friendly dessert option on the menu (almost all puddings rely on the core ingredients of ice cream, milk chocolate or eggbound cake). Veganism is not recognised by UK or EU law, as such there is no legal responsibility for businesses to provide vegan alternatives. Veganism seems almost unknown amongst many omnivores,

Best vegan burger: GBK’s falafel burger

who seem to struggle with the concept. Even the spell check as I type doesn’t recognise the word! As the week went on, I started to settle into my new diet, mainly eating roast veg, salads, couscous and bread that I knew I could trust (some breads contain egg/milk for flavour) for most meals. My main issue was snacking between meals. I bought some salt and vinegar crisps one day, only to check the ingredients and find that they contained skimmed milk powder (seriously, why put milk in crisps?). The difficulty of my challenge suddenly became apparent; it’s not just a case of giving up burgers and drinking your tea without milk, it’s giving up your freedom to eat anything and taking on the responsibility of checking absolutely everything you eat. Many things are labelled ‘suitable for vegetarians,’ however I’ve found that most food labels have no mention of vegan suitability. This makes it that bit harder to choose food, and I do wonder why they don’t include this tiny piece of extra info. Best labelling goes to Innocent Veg Pots, Nakd wholefood bars, Trek protein bars & Tesco’s Meatfree range Only a few days in, and I’ve managed to solve my snacking problem by keeping a bag of mixed nuts in my desk at work. Dinner-wise, however, I am already sick of salads. I feel it’s time to start

“Only a few days in, and I am already sick of salads” having some real meals: when you have to check everything so carefully, sometimes it’s easier to just cook everything yourself. On Day 4 I decided to make my family a curry. Using a recipe that my brother taught me years ago, I could guarantee that I knew exactly what was in my dinner and that it would be 100% vegan. Having never cooked a vegetarian/vegan curry before, though, I didn’t know how it would turn out. I relied on good quality veg from the Covered Market greengrocers and a spice mix that I’ve made many times before. Still, for this occasion I cooked a small pot for me and a large wok with chicken for everyone else. It was a really strange experience cooking a dish that I couldn’t try myself, like cooking blind. I had to rely on others’ taste buds to determine what seasoning was needed. On the sixth day I found the antidote to my dessert desires in the form of two rubbery old apples. I cut the apples into slices and set them to one side while I melted some sugar into caramel. Mixing in the apple pieces and a dash of rum, I flambéed the mix

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and poured it into a bowl for a delicious caramel-rum treat. One week in, and all was going well. So, I’ve learned the importance of checking ingredients and cooking for myself, but being shut in at home every night is no fun. It’s time to take a look at eating out, vegan style. The most difficult part of eating out as a vegan is probably the process of asking staff about the food. Nobody wants to be a pain, and it’s hard to fight that feeling, but it really is necessary. Once I got over my initial fear of asking, I found universally that staff were more than happy to address my needs. They really didn’t seem to mind, and had no problem liasing with kitchen staff to ensure my food was vegan friendly. Happy with eating out, I decided to see what vegan options there were for shove-in-the-oven meals. Having looked around the main supermarkets and health food shops, I found the best easy-cook stuff was from Linda Mccartney - vegan sausages and pies. The sausages in particular are of note, with the texture and the look of real meat sausages when you cut/bite/tear into them. My best meals though, have definitely been those that I cooked myself, adapting regular recipes to include vegan alternatives like soya milk. Veganism has certainly affected my fitness more

than I thought it would; I’ve found myself craving animal products (mainly eggs) after exercise to take in much needed protein – vital for repairing muscle. Lack of calcium, iron and protein have been my main fears, to combat these I’ve been making sure I chow down on plenty of nuts and beans (protein), green veg (iron) and almonds (calcium). Amazingly a cup full of almonds actually has more calcium than the same amount of cow’s milk! February is now in sight: I’m coming to the end of January. I think I’ve just about managed to get by with the whole vegan diet thing, but why would someone want to do this full time? After reading several articles for and against the lifestyle, and visiting some vegan websites ranging from the informative (vegansociety. com and peta2.com) to the downright disturbing (thethinkingvegan.com) it became clear that veganism is a huge lifestyle choice. It’s more than a diet; it’s a political stance against human exploitation of animals. I can’t say I’m converted but I honestly commend those who believe in something so strongly. To deny yourself so much choice and take on the responsibility to ensure that all your purchases (including clothes and household items) are vegan friendly is a huge undertaking. Next time you go shopping, take a look at the items in your basket, really read the labels and

see just how many things you would need to avoid as a vegan. In a few days, when I head back to my omnivorous regularity I’ll certainly look at the food I eat in a new light. I must admit that I was wrong about vegans. They’re not closed minded, they’re focused, and that is truly something to respect. Things that have surprised me: - How much I’ve enjoyed cooking – some meals actually taste better without meat! - That veganism even affects choice of cocktails - some contain egg white and honey. - How much weight I have lost, without starving and without intention to do so! - The taste of tofu. It was worse than I had imagined. - QUORN is not vegan! This was distressing, and I’m still confused. I thought that was kinda the point of it. - Nakd bars are amazing - my new way of cutting down the chocolate in 2013.

Are you a vegan? What made you decide to become one? Is breastmilk an animal product? Got an idea for another challenge? Send me an email (greg@spiresmagazine.com) or tweet (@afuckingdragon) and I’ll consider the best. All feedback is greatly appreciated.

Best vegan restaurant: the gardeners arms food 23

ATOMIC BURGER

GREAT BURGERS AIN’T ROCKET SCIENCE, AS HANNAH BELZ FINDS OUT AT cowley road’s TOON-TASTIC diner... Atomic Burger is independently owned and based on Oxford’s Cowley Road; you can’t miss it with its white picket fence, fake grass and bright frontage. This restaurant clearly isn’t just about the food; the decor is part of the product’s package. Everywhere you look is cartoony reference, from Thunderbirds aircraft to My Little Pony dolls. Even the loos have comic book lino! The music is old school cool, and includes The Beatles, Tammi Terrell and Marvin Gaye. I knew from the second we walked in that Atomic Burger was going to be my kind of place! Service with a Smile We were greeted by a very friendly, helpful and attentive waitress who sat us down and explained the menu to the Atomic ‘newbies’. It’s a simple concept: you choose a burger then decide if you want it to be beef, chicken breast or veggie. Included with your burger is one of the following sides: plain fries, sci-fries (chilli and garlic), cosmic coleslaw, onion rings or ceaser salad. There really is something for everyone. To start On previous visits to Atomic Burger we’ve gone straight to main meal, but this time we decide to stretch our stomachs by trying a few starters between us. We went for Nachos, Scooby Snacks and Space Balls, all laden with cheese and greasy goodness (for those who are cheese intolerant, not to worry, as there are also some cheese-free options including a bucket of chicken wings). These nibbles went very quickly! The Burger Between us we had a whole variety of different burgers, but I opted for the ‘Frito Bandito’ with beef, grated cheese, nachos, salsa, guacamole and sour cream (£8.95). One friend went for the ‘Jake and Elwood’ with beef, blue cheese, bacon and onions (£8.75). We had one portion of fries and one of sci-fries. Both were delicious and still had the potato skins on… delish! On the table in kitsch containers was ketchup and dijonaise. The burgers were out of this world! My friends and I were in agreement that the bun to burger filling ratio was just right. final thoughts I cannot wait to pay another visit to Atomic Burger. I honestly want to make my way through their entire menu. It’s a simple concept that works, and it’s by far the best burger joint in Oxford, quite apparent by the amount of people dining there. The service could not be faulted; waitresses were attentive and friendly. AND it’s affordable!

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the rickety press, jericho

indulge in some scrumptious seasonal recipes courtesy of leo johnson, the culinary creator behind two of oxford’s most mouthwatering menus... The weather outside is frightful. Where better to turn during these snowy, icy, rainy, windy and generally distasteful winter months than to a pair of Oxford’s cosiest eateries? The Rickety Press in Jericho was renovated from a historic public house in 2011 and has quickly become one of the city’s trendiest hangouts, especially for those with a passion for high quality cuisine. Priding itself on its sourcing of top quality ingredients, the pub offers an enviable variety of refined food. Honestly sourced local ingredients are transformed into creative dishes that tickle the imagination as well as the tastebuds.

The Rickety’s rough ’n ready cousin is The Rusty Bicycle on Magdalen Road, a community pub that strives to stand out from the rest with yet another ravishing selection of grub. The kitchen here produces a range of delightful pub favourites from scratch, making the Rusty your best bet for a delicious hand-crafted burger or a heart-warming feast of chilli con carne. Here, we let Leo Johnson, the gastronomic mastermind behind both menus, blast away your winter blues with delicious recipes from each pub. Try making them yourself before comparing to the originals in Jericho and East Oxford.

clementine spritz Possibly a little late, given that Christmas has already passed, but you can’t say there is every really a bad time for a quick fizzy cocktail. We serve this most nights at the Rickety, especially on our champagne oyster night every Wednesday - people can’t get enough of it. Better still, if you are trying avoid the booze in the wake of the December season, this syrup makes for a vitamin C loaded lemonade as well!

For the clementine syrup 5 clementine oranges 1 lemon 150g sugar 300ml water

Roughly chop the clementines and lemons in quarters, place in a food processor/smoothie maker with the sugar and water and blitz to a pulp. Filter the mix through a sieve and taste the liquid. It should be both bitter and sweet, so add a little more sugar if needed.

For the Spritz

Take a champagne glass, pour in 25ml of the clementine syrup, fill the glass to 4/5 full with prosecco and top with a dash of soda water.

For the Lemonade

Mix 50ml of the clementine syrup with 100ml of good quality cloudy lemonade, double tasty!

Baked Camembert, Tomato Chilli Jam & toast At the Rusty this is our absolute favourite winter snack. The best part is definitely the jam; it’s the perfect condiment, and we pair it with everything. Works great with cheeses, cured meats and spread thinly in sandwiches. 1 wheel of camembert 1 egg 500g good quality plum or cherry tomatoes 2 red chillis, seeds removed 3 cloves of garlic 1 inch fresh ginger 3 dsp fish sauce (Nam Pla) 90g red wine vinegar 275g caster sugar

for the jam

In a food processor, roughly chop the chillies, garlic and ginger with the fish sauce and red wine vinegar, until you get something that resembles a thin soup. Chop the tomatoes in half and remove the centers. Whizz the tomatoes up in the food processor, or finely chop. Bring all ingredients except sugar to the

boil, then reduce to a simmer and reduce by half. Add the sugar and continue to cook for a further 15 mins, stirring occasionally, to avoid the bottom catching. Remove from the heat, allow to cool a little and transfer into sterile jam jars (by boiling them and their lids in water for 5 mins).

For the Cheese

For some delicious molten cheese, set your oven to 200°c/gas mark 6. Take your camembert out of its box and remove the wax papers. Rough cut some baking paper to a similar size and place back in the box with the camembert; discard the lid. Now slash a deep cross into the cheese, brush with egg wash, salt and pepper and bake 15-25 mins. After 15 mins check your cheese; you are looking for the center to start to soufflé. When the camembert begins to rise, toast some bread, grab your jam from the fridge and get ready serve.

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Issue #007 arrives april 2013. follow spiresmagazine.tumblr.com for more oxford culture.