The Skinny November 2010

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ISSUE 62 • NOVEMBER 2010

ALASDAIR GRAY

Celebrating a national treasure

Interviews:

Plus:

Les Savy Fav

Instal Festival

Edwyn Collins

Breakin' Convention

Mike Leigh

Geoff Barrow on John Carpenter

Neil Clements

The Cathouse Turns 20

Over the Wall

Florence To

Music | Film | clubs | performance | Digital | reading | Comedy | art | fashion | listings

Come On Gang! are no strangers to crashing big parties. The US Government flew them Stateside to kick start their St Andrew’s Day party and they’re fresh from a sold-out launch party for the 3rd single at The Caves, Edinburgh.

Formed at school at the age of 14 and only now just in their 20s, Jakil weld their wide and eclectic musical influences together to create a stunning super-shiny rock/pop sound that’s winning fans and turning influential heads across the UK and beyond.

SUN 21ST NOV. 7PM - LATE

HMV PICTURE HOUSE

Kitty the Lion have gigged up and down the country, including a coveted slot at T in the Park. They’ve also built dens out of bunk-beds, worn clothing made of tents and leapt from a burning van somewhere on the A9.

LOTHIAN RD. TIX £5 + BOOKING FEE

Watch 5 of Scotland’s finest new bands compete for the opening slot at the world famous Edinburgh’s Hogmanay Street Party, and join the voting audience and panel of industry judges to decide who gets to Hog The Stage!

GET TICKETS AND HEAR THE BANDS AT

HOG-THE-STAGE.COM

LEITH

GET TICKETS IN PERSON AT: Ticket Scotland (Edinburgh/Glasgow), Ripping Records & HMV Tickets Over 14s only (under 16s must be accompanied by an adult) CORDS.COM RE

baghdaddies_martincarthy.pdf

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28/10/2010

The Stagger lads have tolchocked their way to the peak of the Scottish unsigned scene, and here’s a chance to see them play for their biggest stage yet.

11:09:55

SkinnyFINAL5-256mmx155mm.indd 5

www.

28/10/2010 21:03

.co.uk

Martin Carthy

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M

Y

CM

Inspired, quietly confident mix of traditional folk with modern trappings. Martin has worked with a host of significant folk artists including the Albion Band, the Watersons and Brass Monkey.

Thu 18 Nov 7.30pm @ Pleasance Theatre £12.50 / £6 (students)

The Baghdaddies

MY

CY

CMY

Festival favourites, The Baghdaddies, play Balkan gypsy with Middle Eastern flavours, shades of klezmer and tango, jazz and reggae plus a touch of ska - all laced with funky dance grooves and blistering eastern brass harmonies.

K

Fri 26 Nov 8.00pm @ Pleasance Theatre £9 / £6 (students)

Live Music Theatre Comedy Dance Literature Film Club Nights

Edinburgh University Students' Association is a charitable body, registered in Scotland, with registration number SC015800

2 THE SKINNY NOVEMBER 2010

Edinburgh

Art Fair Fine Modern & Contemporary Art! Edinburgh Corn Exchange Thurs’18th - Sun’ 21st November 65 Galleries representing hundreds of artists from around the world.

Doors open 11am each day Admission £6 Concessions £4

For further information call 01875 819595 or visit

www.artedinburgh.com

CONTENTS

primal scream screamadelica live PRESENT

friday 18th march

GLASGOW SECC 0844 395 4000 0844 811 0051 www.ticketsoup.com www.gigsandtours.com A REGULAR MUSIC AND SJM CONCERTS PRESENTATION

by arrangement with Solo

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TUES 23 NOV EDINBURGH THE LIQUID ROOM WED 24 NOV

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P.12 ALASDAIR GRAY

P.32 SHOWCASE: JACOB KERRAY

FRIDAY 03 DECEMBER O2ABC GLASGOW

0871 220 0260 WWW.SEETICKETS.COM AN J NO US UN T CE D

PLUS

KINGS GO FORTH

FRI 5TH NOV EDINBURGH QUEEN’S HALL

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EDINBURGH LIQUID ROOM

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PHOTO: ROSS TREVAIL

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P.18 EDWYN COLLINS

P.20 INSTAL 2010

THE SKINNY NOVEMBER 2010 THUR 16TH DEC O2 ABC GLASGOW 0871 220 0260

O2ABC GLASGOW

MON 13 DEC

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Issue 62, November 2010 © Radge Media Ltd. Let us know what you think: E: hello@theskinny.co.uk T: 0131 467 4630 P: The Skinny, The Drill Hall, 30-38 Dalmeny St, Edinburgh, EH6 8RG The Skinny is Scotland's largest independent entertainment & listings magazine, and offers a wide range of advertising packages and affordable ways to promote your business. Get in touch to find out more.

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0871 220 0260 www.seetickets.com THE TWILIGHT SAD + DJ KONX-OM-PAX www.mogwai.co.uk PLUS SPECIAL GUESTS

TICKETS: www.seetickets.com 0871 220 0260 or in person from Ticket Scotland: Argyle Street Glasgow, Rose St Edinburgh & Ripping Records and all usual outlets

4

THE SKINNY OCTOBER 2010

All rights reserved. No part of this publication may be reproduced in whole or in part without the explicit permission of the publisher. The views and opinions expressed within this publication do not necessarily represent the views or opinions of the printer or the publisher.

Printed by Mortons Print Limited, Horncastle ABC verified Jul 2009 - Dec 2009: 34,329

Editorial Editor

Rosamund West

Online & Music Editor

Dave Kerr

Performance Editor

Gareth K. Vile

Film Editor

Jamie Dunn

DVD Editor

Keir Roper-Caldbeck

Heads Up Editor

Anna Docherty

Comedy Editor

Lizzie Cass-Maran

Reading Editor

Keir Hind

Digital Editor

Alex Cole

Art Editor

Andrew Cattanach

Travel Editor

Paul 'Flashdance' Mitchell

Food & Drink Editor

Ruth Marsh

Deviance Editor

Nine

Competitions Editor

Ray Philp

Fashion Editor

Alexandra Fiddes

Listings/Cyberzap Editor

Anna Docherty

Production Production Manager

David Lemm

Designer

Lewis MacDonald

Chief Subeditor

Paul Mitchell

Sales/Accounts Head of Sales & Marketing

Lara Moloney

Advertising Sales Execs

Jan Webster

Publisher

Sophie Kyle

DF CONCERTS PRESENTS…DF CONCERTS PRESENTS…DF CONCERTS PRESENTS…

the fever tour

6: Opinion: Debating the function of art, introducing our new Film Editor, Hero Worship, Skinny on Tour, Shot of the Month and George Michael: last rock star standing?

8: Heads Up: Tear it out, stick it on the wall. Your guide to the month across the arts

fuelled by

+ BOYS LIKE GIRLS + YOU AND WHAT ARMY

O2 ACADEMY GLASGOW

FEATURES 12: Alasdair Gray lets us in his house to talk art, literature and Glasgow 14: Les Savy Fav's Tim Harrington in interview - truly a son unique 18: Edwyn Collins cheats death, survives Johnny Marr, and takes to the road 19: Remember Remember unveil RR Scorpii 20: Instal 2010 makes our Theatre Editor weep with sheer delight 21: Lennoxlove Book Festival brings Scottish authors to the Borders 22: Portishead's Geoff Barrow meditates on the appeal of John Carpenter 23: B-boys take over the capital as Breakin' Convention arrives in Edinburgh Africa in Motion celebrates an underrepresented film industry 24: Mike Leigh introduces Another Year as we marvel at his moustache 25: Neil Clements talks the logical contradiction of artworks getting in the way of good art 26: Engineers' Mark Peters walks us through his desert island discs 27: A staple of Glasgow's rock scene, the Cathouse turns 20

LIFESTYLE

plus very special guests

glasgow secc thursday 9TH december

new album ‘fever’ out now www.bulletformyvalentine.com www.myspace.com/bulletformyvalentine

PULLED APART BY HORSES + GAY FOR JOHNNY DEPP

GLASGOW ORAN MOR TUESDAY 23RD NOVEMBER DEBUT ALBUM OUT NOW

www.ticketsoup.com www.gigsinscotland.com 24 HR CC HOTLINE 0844 395 4000 DF CONCERTS & the agency group presentation in association with

+ THE VIRGINMARYS

O2 Academy Glasgow Monday 15th November

+ FOUND

GLASGOW ORAN MOR

www.skunkanansie.net

SUNDAY 21ST NOVEMBER FEATURING JENNY LEWIS AND JOHNATHAN RICE

GLASGOW ORAN MOR SATURDAY 27TH NOVEMBER

EDINBURGH CABARET VOLTAIRE

JENNYANDJOHNNYUSIC.COM

TUESDAY 30TH NOVEMBER

+ GRAVENHURST

GLASGOW CLASSIC GRAND FRI 3RD DEC Album Margins out now on Billingham Records. www.paulsmithmusic.eu

GLASGOW BARROWLAND SUNDAY 12TH DECEMBER Glasgow Oran Mor

Tue 14th December

REVIEW

55: LIstings: Plan your November nightlife 63: Starter for 11 with Kele Okereke; and Crystal Baws with Mystic Mark

PLEASE NOTE: CHANGE OF VENUE DUE TO PHENOMENAL DEMAND

+

29: Our Music Editor Travelled to Tunisia and all we got was this in-depth diary 32: Jacob Kerray is this month's Showcase, featuring paintings and statistics 34: fashion designer-artist Florence To presents her androgynous designs and light projections 36: Food & Drink featuring veggie recipes, a Christmas food festival (yes, already), news and cocktails

39: Music: New albums from The Thermals, Over the Wall and Shipping News Catch our lugs 46: Clubs: Guid nights to get pure mangled at, ken 48: Film: The month's best film and DVD releases, plus some events to get you out the house 50: Art: Our enlightened opinions on New Work Scotland and Robin Thomson 51: Reading: New books we think you should read Digital: How to make money out of apps 52: Performance: Venue of the month, and a look ahead to November's shows 53: Comedy: Profiling Jason Cook and up and comer Matthew Winning 54: Competitions: WIN! Rubadub equipment, original artwork and booze

WEDNESDAY 17TH NOVEMBER

O2 ACADEMY GLASGOW

MONDAY 22ND NOVEMBER www.miauk.com

The Coral + CHERRY GHOST

Glasgow O2 ABC Friday 19th november GLASGOW ARCHES

THURSDAY 25TH NOVEMBER

L

I

V

Critically acclaimed new album ‘Butterfly House’ out now HHHHQ H H H H Uncut H H H H The Times H H H H The Sun “One of the most musically accomplished and influential bands around today” The Independent "One of the most consistently brilliant British bands of the last ten years" NME

E

O2 ACADEMY GLASGOW

FRIDAY 19TH NOVEMBER

THE ALBUM ‘HEADFIRST’ OUT NOW GOLDFRAPP.COM

+ SH*T ROBOT

GLASGOW BARROWLAND WEDNESDAY 17TH NOVEMBER WWW.DFARECORDS.COM WWW.LCDSOUNDSYSTEM.COM

TICKETS 24HRS 08444 999 990 • www.ticketmaster.co.uk • www.gigsinscotland.com

IN PERSON GLASGOW Tickets Scotland, EDINBURGH Tickets Scotland, Ripping, DUNDEE Grouchos.

October 2010

THE SKINNY

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Hero Worship

Editorial In November The Skinny has, intentionally or not, been taken over by moustaches. We’ve got Alasdair Gray sporting one from his student days on our cover, Mike Leigh’s being analysed in exquisite detail in our interview on p24, and a fine array of painted examples on display in our Showcase. Let these be an example to you all to join in with Movember and raise some money for prostate cancer. You won’t look stupid. Honestly.

We were very excited this month to be able to spend some time talking to Alasdair Gray about his art, his writing, Glasgow and how the three intertwine (or not). It was astonishing to learn that a man so embedded in the country’s artistic and literary identity is barely represented in national art collections. This month’s two major exhibitions (in Talbot Rice and The Modern Art Gallery) and the release of his ‘autopictography’ should do something to redress this balance, making the work of one of Scotland’s great artists accessible to all.

We’ve also had chats with Edwyn Collins about

himself and the impending boxset collection from the original indie band, Orange Juice, in advance of his gig in Glasgow this month. The aforementioned Mike Leigh kindly indulged our questions on his forthcoming film, Another Year, and Remember Remember’s Graeme Ronald talks us through their new EP track by track.

This month’s Performance focuses on Instal Festival, bringing music with a theatrical leaning to Glasgow’s Tramway, while Breakin’ Convention brings the art of b-boy dance to the capital.

Elsewhere, Les Savy Fav’s ‘nutcase-in-chief’ Tim Harrington talks mad performance, Neil Clements out-intellectualises our Art Editor, Portishead’s Geoff Barrow pays tribute to John Carpenter and artist-designer Florence To takes over our Fashion section.

Finally, we’re going to be running our Showcase Christmas card special again this December.

We’re looking for non-traditional designs that sum up Christmas as you see it. For the chance to see your work in print, send images to showcase@ theskinny.co.uk That should be enough to be getting on with.

[Rosamund West]

THIS MONTH'S COVER

Gracing our cover this month is a self portrait by Alasdair Gray, taken from a letter he wrote to his friend, artist and filmmaker Robert Kitts in 1955. It is pencil on graph paper, and dates from Gray's time at art school. For budding artists it surely presents the question: will your youthful sketches be on a magazine cover in 50 years' time? You can see more of Gray's work in A Life In Pictures, the book charting his artistic career.

Out now, published by Cannongate, £35

Shot of the month

Killing Joke, HMV PICTURE HOUSE, 15 OCT

BY Markus Thorsen

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THE SKINNY November 2010

Mick Foley Playwright and performer Rob Drummond explains his devotion to a wrestling legend

It is unclear to me exactly why the sight of a man throwing himself twenty feet from the roof of a metal cage onto a table should elicit my instant and everlasting respect. Perhaps it’s something to do with sacrifice. When Mick Foley landed on that table at WWF’s King of the Ring pay-per-view in 1998 he dislocated his shoulder and knocked himself unconscious. It was crazy. Idiotic. Dangerous.

Worth it.

Foley gave every single fan in that arena and watching at home a moment of sheer exhilaration that they will never forget, but more than this, he redefined his chosen art form. He took wrestling by the neck and squeezed. He didn’t need to jump. He didn’t need to take the pain.

But when a picture comes into your mind; when an idea forms; when art reveals itself to you, reason must take a back seat. He didn’t need to jump. He had to.

But Foley is not a one trick pony, famous only for this questionable act. He is a loving husband and father. An intelligent and erudite family man, known for his generosity and charity work. His autobiography went to number one in the New York Times bestseller list, putting paid to the ludicrous and insulting myth that wrestling fans can’t or don’t read and paving the way for a new wave of wrestling literature.

If you haven’t heard of Mick Foley, regardless of

your feelings towards professional wrestling, do yourself a favour and check him out. I guarantee your life will be richer for knowing him.

Rob Drummond is currently training to be a wrestler for his new play Rob Drummond: Wrestling that will be staged in The Arches in February 2011. A lifelong wrestling fan, the training has only increased his love and respect for Mick Foley

SKINNY ON TOUR

Meet Truman. He’s a big fan of The Skinny. He likes to hang out in public spaces, reading the mag, catching up on what’s going on over in Scotland. But where is he this month? If you think you know the answer, go to www.theskinny.co.uk/ competitions and register your guess. You will win a lovely prize. And Truman’s love. Probably.

Closing date: Friday 26 November

OPINION Annie Hall

Reel Talk Paul or Pauline Neil Clements

Scopophilia ART EVENTS

ILLUSTRATION: Nick Cocozza

Art has at least one dominant feature: it is always in flux. Designed for human interaction, it plays on our evolutionary tendencies, our often too hasty intuition to determine its place in the world. It at once invites a quick solution, a swift classification, only to elude it at the next turn. It casts off our fleeting assumptions, seemingly undermining our every thought. It’s slippery to say the least.

So why bloody bother? If artworks interrupt the flow of meaning, like the artist Neil Clements suggests in my interview with him on page 25, then why waste our time? Why invite more confusion, more uncertainty, into our already complex and manic lives?

To suggest that it helps provide us the tools to deal with our muddled existence is too prescriptive, too utilitarian. Art rarely has a pragmatic objective, and if it does it’s often flawed. Art is not science or legislation. Art is confused.

This, I would like to suggest, is its fundamental principle. It makes a game of meaning. It knows that we try define it with our limited means, blind to shades of grey, incapable of seeing beyond the dichotomous either/or. And in the end it remains indefinable.

Left bewildered, we’re to be content with this vague, unstable outcome. Finding we’ve learnt nothing of life and its volatility, we get on with it nonetheless, perhaps a little agitated by our ambiguous encounter.

Art is awkward, vague, opaque, and regardless of how much time you spend with it, it always leaves you baffled. Unless it’s crap, of course.

[Andrew Cattanach]

The Proposition George Michael is the Most Dangerous Man in Rock’n’Roll George Michael is the single most dangerous man in music. That, by the way, is not just because he might record again.

Have you followed this maniac’s path of destruction? What a free spirit! He’s currently accumulating offences like he’s trying to complete the set.

Indeed it would appear his lawyers advised him the only way to try, play down that infamous and very public crotch-meets-undercover-cop episode in Los Angeles is by out-doing it.

The bad news is that this emerging catalogue of wrong-doing probably qualifies him as the single most ‘rock and roll’ individual of the moment. The simple act of just being in a car with him is now officially classed as the third most hazardous music-related activity, behind sharing a balcony with Pete Doherty and playing drums with your face. Not bad going for a stubbly old jessie who, in the mid 80s, ruined once and for all the iconic ‘cigarette packet rolled up in the t-shirt sleeve’ for all the world’s straight cowboys.

His oral adventures in California are but the velvety tip of the iceberg too. As far as drugs are concerned Michael has courted many of the classics to great effect, including a recent debacle when his crack caused problems in another toilet.

He’s also managed to slickly combine the world

of narcotics with that of automobiles. Creative highlights include being caught asleep behind the wheel of a moving vehicle and – rather brilliantly – parking at speed through the front window of Snappy Snaps whilst stoned. Oh yeah, and he’s done time. Hard time. In an actual jail. Those were eight fidgety weeks I’d wager.

Let’s be clear, George Michael is not up there with the greats; he’s never plumbed the alcoholic depths of John Bonham, battled the sociopathic self-destruction of GG Allin, satisfied the insatiable appetite for dead prostitutes of certain hair-metal bands. No, it’s really just a lack of decent competition that’s put him where he is.

Now fingers are bound to be pointed as the inquest begins. Why couldn’t someone a bit less crap just man up? Why can’t Liam Gallagher be half as raffish as he thinks he is, or The Killers actually do some killing?

The fact is we, the vicarious-thrill-seeking, record-buying public, have been repeatedly let down by sell-outs, charlatans and poseurs for the last decade at least. Towers Of London are a perfect example. If the Sex Pistols were a full steak dinner, Donny Tourette and his team of bozos are a happy meal. Totally unsatisfying and without a single culturally-nutritious benefit.

Their short-lived musical belch very tellingly betrays the industry’s craving for notoriety and the profitable, youthful rebellion it courts. ‘Controversial’ has been reduced to a mere check box on the application form to pop stardom and it’s interesting how the resultant controversy seems to have frequently become irrevocably entangled with – if

not outright confused for – misogyny.

Ke$ha probably thinks she’s controversial.

Maybe to some she is, but surely only those people whose gormless, goldfish-like expressions are matched by their stupefyingly short memories.

Madonna did this schtick back when she still had her own teeth! Plus Madonna had an entire book of smut dedicated to her, whilst Ke$ha might just manage a few nipple-peppered pages in Loaded before she slides down her own mucousy ramp to obscurity.

Sure, Amy Winehouse has the broken-heeled slouch and mascara-streaks of a gin widow, but she hardly oozes danger does she? Real reckless abandon takes a lot more than a potty mouth and hot pants. Randy Rhoads flew his plane into Ozzy’s tour bus for fuck’s sake! Modern music icons just don’t take enough pride in their work. For example, despite all their sinewy posturing, the least Gallows could do is stop riding around in stupid bloody Rockstar Energy Drink buses and go buy some motorbikes, a bottle of LSD and ride out to Beachy Head. Whatever happens happens. Worst case scenario, maybe it’ll make their music more ‘timeless’ and their tattoos more profound.

As it stands, George Michael shows no signs of slowing down, whether it’s for old age or a shopfront. By default he has ascended to a position of unrivalled contemporary hedonism and it stands as tragic testimony to the banality of our times that such a musically flatulent man can hold such office.[Marc DeSadé] George Michael just got out the slammer and promises to be good.

Perhaps my favourite moment in all of cinema is the one in Annie Hall where Woody Allen’s Alvy Singer takes on a pretentious blow-hard who’s loudly pontificating about the merits of Fellini, Beckett and, most memorably, Marshall McLuhan, while waiting in line for a movie. Breaking the fourth wall, Alvy takes him aside and introduces him to the real-life McLuhan who’s been listening offscreen. The deadpan Canadian philosopher proceeds to put the tweed jacket-wearing prick in his place: “You know nothing of my work. You mean, my whole fallacy is wrong.”

Since taking the reins of The Skinny Film section, this seminal scene has become my nightmare.

The line between cutting critic and hyperbolic hack is a fine one. It’s pretty easy to do an entertaining hatchet job on the latest Katherine Heigl rom-com or Michael Bay mechanophilia, but it’s much harder to write a thoughtful, robust review of such one-star cannon fodder. Even harder is to see past the hoopla and hype surrounding the latest festival favourite or Oscar contender, or write a review of a Michael Haneke film that is both forensic and funny.

So, how do I avoid becoming the print equivalent of Annie Hall’s arsehole critic? Perhaps a less naval gazing opinion piece as my opening article would have been a start? I guess all I can do is be honest and fair. Will I be more Paul Ross than Pauline Kael?

Let the internet pedants decide.[Jamie Dunn]

SEX, Gender & POLITICS

people like a label There’s currently a fierce debate going on in some corners of the internet, although it’s not exactly new. The gist of the argument goes thus: the label ‘bisexual’ is exclusionary because the word itself reinforces the idea that there are only two genders.

This is more or less the case, sure – but I don’t see insular bickering doing much to advance things, either. At the end of the day, when I step out of my radical bubble which may or may not be largely internet-based in the first place, I am not going to meet a whole lot of people who understand what I mean when I say that I’m queer. Mostly, they are going to assume that queer is synonymous with gay. Which it isn’t, by the way. And so, given that most of the general public classifies sexuality in terms of straight, gay, and bi, I am going to go with bi, even if it is not my preferred term, because it saves me from having to verbalise an entire fucking thesis every time the topic comes up (Though even then, there was the straight man who rewrote the definition of bisexual and explained to me that I’m doing it wrong and I’m actually a lesbian. I guess if he’s my alternative, then sure).

People like labels, even when they may only be familiar with a few of them. Once, in conversation with a workmate, who knew I lived with my thenboyfriend, I casually mentioned an ex-girlfriend, and she stopped in her tracks: “I’m confused.” “I’m bi,” I explained, and then the discussion moved on smoothly. I didn’t know why I even needed to say it, but I sure as hell preferred this solution over an impromptu discussion of the complexities of my feelings about sex, gender and attraction.

While the binary gender system may indeed require smashing, I really wonder what kind of world the proponents of that argument live in: a superqueer counterculture where everyone holds a degree in gender theory? Or do they live like the rest of us, and just spout that fucking thesis to bewildered passersby whenever the subject comes up? If they do, more power to them. They’ve got more energy than I have.[Nine]

November 2010

THE SKINNY

7

TUe 2 NOV

Wed 3 NOV

Celebrating the launch of Alasdair Gray's 'autopictography' A Life In Pictures, Irregular, Canongate's literary night pops up in Glasgow with a stellar line-up of authors, artists and musicians. Featuring Liz Lochhead, Louise Welsh, Roddy Woomble, compere Jenny Lindsay and David Shrigley on the decks. Oran Mor, Glasgow, 8pm, £6

Leaving no musical style untinkered with, Outkast's Big Boi arrives in Glasgow as part of his first ever solo UK tour, seamlessly flitting from mass choir rapping to abstract techno. Hats off. O2 Academy, Glasgow, 7pm, £22.50

SUN 7 NOV

MON 8 NOV

Spanning an impressive four decades, Edwyn Collins plucks gems from his (rather large) back catalogue and latest album, ahead of the release of the Orange Juice Anthology. Óran Mór, Glasgow, 7pm, £15

The second Northeast of North (NEoN) digital arts festival kicks off in Dundee, this year based around the theme of 'character'. Amongst the packed programme will be the rather wonderful Japanese typographical artist Akinori Oishi. Various venues, Dundee, until 14 Nov

PHOTO: DEREK M CHAPMAN

Edwyn Collins returns to the Glasgow stage, Remember Remember play on the 5th of November, and Instal takes over the Tramway

PHOTO: Jonathan Hyde

HEADS UP

COMPILED BY: ANNA DOCHERTY

Sun 14 Nov

Mon 15 Nov

INSTAL returns to explore some very un-average ideas of what music is. Gentle or inspiring; challenging or troubling? The notion is that music is much more than just the sum of its parts. Open up. Let new ideas in. Tramway, Glasgow, until 14 Nov, £25 festival pass

New monthly market, Magpie Market, sets up shop at The Lot with a colourful array of up-cycled accessories, kitsch jewellery, vintage finds, and knitted bits 'n' bobs, from the likes of Plastic Bat and Cissyface Vintage. The Lot, Edinburgh, noon, free

Classical experimentalist Hauschka transports us with his beautiful, blustery piano orchestrals. Seriously lovely. Oran Mor, Glasgow, 7.30pm, £10

jean-luc guionnet & eric la casa

PHOTO: Estella Klawitter

Sat 13 Nov

Cissyface Vintage

Sat 20 Nov

Sun 21 Nov

Mon 22 Nov

Punk rock a la 1999? Yes, please. We still harbour a soft spot for Jimmy Eat World, and we have a feeling that the new album, back with producer Mark Trombino, will be a good 'un. Barrowland, Glasgow, 7pm, £tbc

Dreamy girl/boy duo Beach House have long since had us in a tizzy for their floaty melodies and angelic 'ooh-aah' vocals. It's so dreamy their most recent LP was even recorded in a converted New York church called Dreamland. Óran Mór, Glasgow, 7pm, £12.50

A live voting audience (i.e. YOU) and a panel of industry stalwarts (including our very own Music Editor, natch) decide who out of Kitty the Lion, Pooch, Come On Gang, Jakil or The Stagger Rats will be crowned the Hog The Stage champions, and get to play at Edinburgh's Hogmanay street party, alongside Biffy Clyro and The Charlatans. HMV Picture House, Edinburgh, £5

Titus Andronicus make us want to get messy and start a bar-room brawl, and then fall asleep in someone's arms, such is the nature of their hopelessyet-full-of-hope, frustrated punk narratives. Óran Mór, Glasgow, 7pm, £8

PHOTO: Marianne Ventrice

Fri 19 Nov

Sat 27 Nov

PHOTO: Ross Trevail

The bold beauty of The National's current form is unmistakeable, and we shall be down the front for this one. O2 Academy, Glasgow, 7pm, £tbc. The party continues at Flying Duck, as Pin Up Nights host the official after-bash.

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THE SKINNY November 2010

Presenting over 30 acts from Edinburgh and beyond in three of the capital’s staple venues, SneakyFest showcases a bill of raw, intelligent hip-hop, hard-assed country and mature indie rock with the likes of Eaters, Homework, A Fight You Can’t Win, Washington Irving, Three Blind Wolves and a smattering of top local DJs amongst the highlights. We salute them all. Sneaky Pete’s, Cabaret Voltaire and Electric Circus, 3pm – 3am, £10 adv Three Blind Wolves

PHOTO: Pete Dunlop

Fri 26 Nov

THU 4 NOV

FRI 5 NOV

SAT 6 NOV

Hundreds of intricately-carved little figures and pieces of scrap material come to life at SHARMANKA KINETIC THEATRE, sculptor/mechanic Eduard Bersudsky's rainbow-lit miniature wonderland.

Trongate 103, Glasgow, until 30 Nov, £8 (£5)

In a stroke of booking genius, REMEMBER REMEMBER pop up at Stereo on, yes, the fifth of November!

7pm, £6 To read Graeme Ronald's track by track guide to the new EP see page 19

TUE 9 NOV

WED 10 NOV

THU 11 NOV

FRI 12 NOV

With their sweeping rock instrumentals, GOD IS AN ASTRONAUT know it's about more than just traversing the line between loud and quiet. These chaps go straight for the sensory jugular. King Tut's, Glasgow, 8pm, £10

White trash storytelling doesn't get much better than DRIVE-BY TRUCKERS, particularly on new album The Big To Do, which is all late night brawls and leathery livers. ABC, Glasgow, 7pm, £15

As part of their new dark film season, CCA screen 1959 oddity THE ACT OF SEEING WITH ONE'S OWN EYES, a silent look at life in a real Pittsburgh morgue.

Torsos are scalpeled open, and brains removed from skulls, but it's fascinating rather than all-out grotesque.

Honest. CCA, Glasgow, 7pm, £3 (£2)

This year's Diamond Eyes proved that DEFTONES are still very much at the height of their powers, with frontman Chino Moreno howlin' them out with undiminished intensity. O2 Academy, Glasgow, 6.30pm, £25

TUE 16 NOV

WED 17 NOV

THU 18 NOV

Essex beatsmith GOLD PANDA showcases his bedroom produced electronica, built from crackly vinyl samples, second-hand instruments, and nuggets of inspiration gleaned from his dog, Daisy. King Tut's, Glasgow, 8pm, £7.50

Creating the kind of sneaky bugger beats that manage to both blend into the background and simultaneously wrap themselves around your nuggin, LCD SOUNDSYSTEM stage a two-night Glasgow take-over.

Barrowland, Glasgow, 7pm (and 7pm the following night), £21.50.

Their 2010 album Say It may have taken a slightly more grown-up direction, but BORN RUFFIANS are still some of the chirpiest-sounding chaps in indie pop.

Support comes from local faves FOUND. Electric Circus, Edinburgh, 7pm, £8.50

TUE 23 NOV

WED 24 NOV

THU 25 NOV

Bringing together those two happiest of bedfellows – torturous vocals and serious riffage – PULLED APART

BY HORSES are just about our favourite way to show our eardrums who's boss. Óran Mór, Glasgow, 7pm, £7

With scratchy fiddles and incessant accordion, LAU are the poster boys of Celtic folk. But it's less about genre and more about stirring songs and the fire with which this trio deliver them. The Queen's Hall, Edinburgh, 8pm, £13 (£11)

The Liquid Room's weekly student party night, Scream, is taken over by guest dubstep DJ, and one third of Magnetic Man, SKREAM. So, just to re-cap, that's Skream@Scream. Got it? The Liquid Room, Edinburgh, 10.30pm, £10

SUN 28 NOV

MON 29 NOV

TUE 30 NOV

Tinny drumbeats, pummeling riffs and the lackadaisical stoner drone of Wino makes each SHRINEBUILDER song sound like a perfect stand-alone moment in time.

Holy Mountain noise-it-up on support duty. Óran Mór, Glasgow, 7pm, £15

Jenny Lewis and Jonathan Rice pair up and sound like a match made in folk-pop heaven, touring as JENNY AND JOHNNY. Fat Sam's, Dundee, 8pm, £14. The duo also play Glasgow's Óran Mór on the 27th and Edinburgh's Cabaret Voltaire on the 30th.

A hit at this year's Edinburgh Festival, THE BOY WITH TAPE ON HIS FACE returns for more mute mischief. The Stand, Edinburgh, 8.30pm, £8 (£7)

PHOTO: DANNY CLINCH

Having smashed the Slam Tent at this year's T in the Park, FAKE BLOOD arrives at The Arches with his kit-bag of turbo-powered electronic house (i.e. disco cuts and crunching bass that will make you dance until you dribble). The Arches, Glasgow, 11pm, £13

NOVEMBER 2010

THE SKINNY

9

ART

Autopictography: A Study in Gray

Glasgow polymath Alasdair Gray is starting to receive the celebration his work deserves with a new book spanning his career and two exhibitions in the capital. The Skinny popped round his gaff to learn more about his prolific life in art and writing interview: adeline amar

“I’ve always had a habit, when engaged in a job, to make it as ambitious as I could – which has often delayed things hugely. And this is another example of that.” I’m sitting in Alasdair Gray’s living room, in the West End of Glasgow, and he is pointing at the copy of A Life in Pictures I’m holding on my lap. Published in October, the book is a thick, gorgeous account of his life from early childhood to the present, with details of Gray’s paintings, writings and murals. As he explains, the discussion and writing phases of the book have been a long and at times bumpy ride: originally discussed with Canongate in the 1980s, the final contract was only signed in 2004 when Gray promised to deliver all the material for the book by the end of the following year – it has taken an extra five years to get to that stage, and the book itself has been remodelled several times before becoming Gray’s autobiography. Or, as he likes to call it, an ‘autopictography’. “At one point it was going to be devoted purely to my pictures of Glasgow and its people, then other ideas came, like the notion of arranging the material chronologically. I suppose I also wanted to present aspects of all my visual work, including the illustrations to the books and book designs.”

It is no wonder the book has taken so many years to complete; Gray goes into great detail to explain how he first started to draw and write, with mentions of a youthful art class at Kelvingrove and his years at Glasgow School of Art, to pretty much any other thing you’ve always wanted to know about the author. And despite wishing a couple of edits, Gray himself is satisfied with the result. “My wife and other friends are discovering errors and wee bits that need corrections. I do feel that some of the prose in the later chapters has a rushed look, I could have said some things better if I’d spent a few more hours improving it.” He laughs, “That’ll be for the paperback edition. But, on the whole, I’m pretty pleased with it.”

Active since the 1970s, Gray has become quite an emblematic figure in Scotland. Trained as a painter and muralist at Glasgow School of Art, he is also an incredibly prolific writer – novelist, poet, playwright, pamphleteer – and taught creative writing at the University of Glasgow with friends Tom Leonard and James Kelman. His art famously adorns the walls of Ashton Lane’s Ubiquitous Chip and the Òran Mór, while his novels have a steady place on the literature curriculum of Scottish universities (back in my days as an English student, one could even end up studying him four times in one year). His debut, and possibly most famous novel, Lanark: A Life in Four Books motivated Anthony Burgess to declare Gray the best Scottish novelist since Walter Scott and compare the book to Joyce’s Ulysses. Interestingly, Lanark also epitomises the way Gray works: written over 25 years (Gray started it at 18), it is carefully illustrated by Gray himself (a habit he brings to all his books) and in the main takes place in a dystopian, pre-war Glasgow.

This pre-war section of the book is heavily autobiographical, with details of the main character’s childhood and time at Glasgow School of Art – descriptions which have not always been seen as positive. “This section does have accounts of my father, mother and sister, and friends that are very much as I remembered them.

At the same time, that story was being written in

12 THE SKINNY November 2010

Above: eden and after, 1966, oil on board 38 x 38cm Right: london road between templeton's carpet factory and monaco bar (end of Arcadia Street III), 1977, ink drawing tinted with watercolour, acrylic and oil on paper, 70.7 x 132.7cm Far Right: night street self portrait, 1953, ink drawing, coloured 2006, 54.5 x 43cm

order to end tragically; so in describing quite a lot of my early life, I angled it towards darkness. My sister, when she read it, was quite upset because she could see that the book was quite accurate in many ways, but her childhood she remembered as a rather happy one... And so was mine in many ways, but I was playing down the happiness in order to prepare for the final grimness.” Gray places a dramatic emphasis on the last word, referring to the main character’s eventual suicide.

“She started writing down her own memories of the past. She felt if she didn’t, my fictional account would swamp hers.”

In A Life in Pictures Gray seems careful of people’s feelings, ensuring no description comes across as spiteful. Quite the opposite, the book is almost bittersweet, with various elegiac accounts of friends and relatives he’s lost through the years.

“My art is influenced by the people I’ve loved – or for that matter hated – or lost through death. In my books, mostly fictions, many of the characters are versions of people I’ve known.” Will some recognise themselves in your work? “Well, those who are still alive will. But they are friends and I’ve said nothing about them that’s untrue and nothing they wouldn’t want said.”

To what extent has Glasgow influenced his work, then? After all Gray was born and went on to spend most of his life in the city. Glasgow and his art seem so deeply intertwined – from the Necropolis’ description in Lanark to his various cityscapes – that one has almost become a symbol of the other and vice-versa. Would his art have turned out the same, had he been in any other city?

He seems almost offended by the question. “Of course! Had I grown up in any city in the world, with parents who encouraged my writing and painting and story telling, I’m sure it would have!

My parents would never have called themselves artistic, but my mother was musical. They gave me pencils and crayons and paper – they obviously liked to see me using them. I wrote silly little rhymes and they liked me to recite them at parties.

My father typed them out for me.” He pauses, gathers his thoughts and adds slowly. “I’m not hugely fond of local patriotism. I think people who go round praising their own nation or their own locality are generally a bit insecure about it. We should all take our own localities for granted as the place where we live, but at the same time we shouldn’t claim that they're better than anywhere else. In some respects it may be, but if we really know where we live then we know it’s not really satisfactory. No place is ever good enough! There may be very conservative-minded individuals who think that where they live is good enough because they’re earning enough money, but democracy would be impossible if people were perfectly satisfied with what they have.” He shakes his head and quietly adds, “Sorry I shouldn’t go into that sort of stuff.”

In the 1960s and 70s Gray struggled with a lack of income and considered moving to London in the hope of seeing his career flourish. “Maybe I would have been a success, but maybe not. Here at least I had an aunt I could visit for meals when I was hungry,” he adds with a smile. “I had friends like Liz Lochhead, Tom Leonard, Jim Kelman and Archie Hind. I thought, ‘These are good writers; they have tried London but they don’t see any point

living anywhere else but here.’ I’m not satisfied or pleased with the condition of Glasgow, but there’s nothing rotten or wrong with it that isn’t evident anywhere else. Like any artist, all you can use is the material that your life has provided you with.”

Gray cites his parents’ picture books as his earliest inspiration. William Blake, to whom he’s often compared, but also Rudyard Kipling, Wyndham Lewis – all books illustrated by their own authors. He marvels over his discovery of a book of Thomas Hardy’s poems which the author had illustrated himself, mentions Victor Hugo’s sketches and drawings and comments. “Most writers have a pictorial imagination. I don’t think myself at all unique. What I thought was ‘well, if they can do it, so can I.’ Too much teaching is explaining to children what they’ll never probably understand and therefore be unable to do. It’s very often a matter of systematic discouragement.” In a dramatic voice, quoting a line probably heard too

❝

I’m not hugely fond of local patriotism. We should all take our own localities for granted as the place where we live, but at the same time we shouldn’t claim that they're better than anywhere else.

ALASDAIR GRAY

❞ often, he implores, “You’ll never make a living by being an artist!” He laughs but quickly becomes serious again: “And it is difficult!”

For years he relied on commissions for a living and gives examples of two he received in the 1960s to reproduce a Garden of Eden mural he had painted in Greenhead Church (now destroyed) – one of them by a neighbour aware that the Grays had just had a newborn son and were badly off at the time. He opens the book and points at a painting of Eve waking up next to Adam, then another one of the couple kneeling and embracing by a lake and notes that the latter has recently been acquired by the Scottish National Gallery of Modern Art. “I’m glad they have got that one. When I’ve got an image that I think shows something that satisfies me I keep using it again and again. The image of Adam and Eve embracing – I’ve kept reproducing it in different contexts. That seems to me my best representation of a loving couple. I don’t see why I need to go out of my way to invent a new image

for that. I’ve also used it as an illustration in one or two books and so forth.” (It is one of the main illustrations in Lanark.)

Does he consider himself as a visual artist rather than a writer then, I ask, gesturing towards the sunny living room that is clearly used both as a studio and a library, with walls lined with books and pots filled with brushes. “I don’t see a need to describe myself. If you take the line that I am what I do, then I am what I have done. I’ve always had stories and words going through my head but also drawing, designing things, using my hands...” Gray is notorious for being relentlessly productive in both writing and drawing, which makes me wonder how he balances the two, or even just one activity without hitting a creative block. “Since I tended to write and to draw with the same kind of pen, I’ve generally found that when I’ve been working well at one thing that is writing, it’s been a great relief to take holidays from it by drawing or painting.

But the periods in which I don’t feel imaginatively productive – periods of depression I suppose, which do keep happening...” He laughs, “‘Ah well Gray, you’re over 70 now, your imagination is running out, your mind will undoubtedly fail one day and it’s probably already started!’ But when things get going imaginatively again: my mind is generally working in both areas. Because one’s a holiday from the other.”

And he is not likely to stop any time soon, with two exhibitions of his visual work opening in Edinburgh this month to coincide with the publication of his book. The Talbot Rice Gallery is focusing on his graphic art while The Scottish National Gallery of Modern Art is planning a one-room display mainly concentrating on portraits. But at 75, the busy artist is not stopping there and has more projects in mind for the coming few years. One of them involves finishing large works (he mentions one of 12 x 7 feet) started in the early 1960s, for a retrospective at Kelvingrove Museum in 2014. For this he will need a larger, dedicated studio space than his current house – or his wife’s house, as

he notes, who has kindly let him put up shelves to stack his books almost up to the ceiling. In the meantime, he has already started work on a tiled mural commissioned by the Glasgow Subway while still hoping to one day be able to complete his work in the Òran Mór auditorium. The latter is, however, more intricate to realise since it requires having scaffolding installed for two or three weeks in a row to enable Gray and his assistant to finish their work – weeks during which the venue would have to decline bookings, not currently a financially viable situation. Gray hints at a possible documentary film about his work that is currently in discussion. With the appropriate funding, the auditorium could be rented for the required amount, allowing Gray time to finish the work.

As the interview draws to a close I ask him if there is any young, contemporary artist whose work he has recently noticed – he has for instance been linked to Lucy McKenzie and Stuart Murray.

“There are artists whose work I greatly like. But like too many elderly artists I tend to concentrate on my own work,” he chortles. “Of course I’m always on the look out for ideas I can pinch from other people, living or dead! There is work I’ve seen in reproductions and invitation cards and I thought, ‘Oh I like the look of that, a lot of skills there, I admire this bit and that bit,’ but it’s always struck me as a distraction from what I’m trying to do myself.”

A Life In Pictures is out now, published by Canongate, £35 Gray Stuff – Designs for Books and Posters 1952-2007 is at Talbot Rice Gallery, Edinburgh until 11 Dec, Tue-Sat 10am-5pm. Admission free Sottish National Gallery 50th Anniversary Displays, Scottish National Gallery of Modern Art, Edinburgh until 23 Jan, daily, 10am-5pm. Admission free Irregular will be hosting a special night in Glasgow’s Oran Mor to celebrate the release of the book. Featuring Alasdair Gray, Liz Lochhead, David Shrigley, Roddy Woomble, Louise Welsh, My Latest Novel, Lord Cut-Glass and compered by performance poet Jenny Lindsay. 8pm, £6 www.alasdairgray.co.uk

November 2010

THE SKINNY 13

MUSIC

Rated PG He might punch you in the face when you show up at their gig, but Les Savy Fav's Tim Harrington is a self-confessed kitten interview: Paul MitchelL

Les Savy Fav’s nutcase-in-chief Tim Harrington ponders the scenes of mayhem that always ensue when he and the rest of the New York indie 5-piece play their renowned live sets. Manic screaming whilst hanging from every available fixture, kissing random audience members and on-stage costume; one wonders if he ever gets bored with the exuberant theatrics, perhaps long to come out one evening to just stand there and sing? “Nah, I don’t really like singing that much,” he deadpans (or does he?).

But sing he does; also growl, rasp and shriek on each of LSF’s five studio albums to date. A true word of mouth success story, the noise-art rockers have foraged their way around small venues since their inception in 1995, eventually coming to more mainstream attention in 2007 with fourth studio album Let’s Stay Friends. They’ve just released Root For Ruin, a record continuing the LSF ‘tradition’ of high octane surrealism. But it’s how this phantasmagoric approach to music translates on stage that is LSF’s (well, Harrington’s in particular) calling card.

For example, in one notorious incident in L.A. earlier this decade, the frontman saw fit to accessorise his ensemble with a rather foppish cane being wielded by an audience member. Jumping off stage to acquire the stick, he met with stiff resistance, the owner using said cane to smack the singer, with Harrington ultimately punching him squarely in the face to make him stop. Naturally, they were kissing a few minutes later.

Reflecting on the incident and his stage persona in general, he says, “If God has given me

14 THE SKINNY November 2010

any skill, it’s an ability to guess what people are and aren’t comfortable with at our shows. That one stands out as a situation where it was weird and unexpected, but I’m always amazed how our band’s energy makes people very comfortable, even though it’s crazy. I think there are some people who would say ‘Oh my God that guy scares me’, but for every person who feels like that there are those that will say ‘Well this guy is officially the biggest jackass here, so I’ve got nothing to worry about’.”

But should we not be scared a little Tim, you do punch people in the face for fun? “Awwwhhh. I’m a kitten really. My favourite ever band description, or of my style, came many years ago in Germany where it was suggested that I was like a PG GG Allen.” Hmmm...GG Allen (real name, Jesus Christ – honestly) of course, playing in punk bands such as The Scumfucs, The Texas Nazis and The Murder Junkies, was noted for defecating on stage and then consuming said waste matter, selfharming and attacking audience members while singing about racism, misogyny and paedophilia.

So LSF are a milder version of that then – you’ll be OK as long as you bring your mum.

Given that the madness is an integral aspect of the band’s very being, is it something he gives a lot of thought to, perhaps preparing certain routines in advance? “There’s no rehearsal. I can imagine if I was operating a pretty demanding and specific dance routine, I’d possibly get tired of it at some point. Really I’m just arbitrarily spazzing out and I have an unlimited resource of that. In the five minutes before we go on

❝

The last time we lived in hard times economically, the fallout from that, musically, was punk.

Now we're suffering again and we get what? Freak folk?

Tim Harrington

❞

stage, I’ll try and think of some things I want to do. But really my style of freaking out is pretty low-impact. Sometimes people make suggestions of things they’d like to see me try. But the way to get me not to do something is to ask me to do it. Since grade school, that’s always been a real mantra for me.”

OK then, so the ‘moves’ aren’t rehearsed, but Harrington admits it might be possible that the whole LSF sound, and what makes it onto record, is influenced by how they might envision the songs being played out on stage? “Maybe, but it’s hard to say. You could spend a really long time in the studio and not stumble upon the correct way you should be singing something, and then the first time you play it live you sing it the right way. I don’t know what that is about, little nuances tend to just present themselves because you’ve got this whole group of people giving you instant feedback. I think on Root For Ruin, it’s somewhat of a different record from our other stuff in terms of the way we went ‘Let’s not really think about this thing too much and let’s make a party record’. We wanted to make songs that are really fun to play as opposed to songs that are really designed to make people think, or are complicated and try to really impress people. And since we’ve been playing those songs it’s turned out to be true. They are bitching to play and fun to listen to.”

Admitting that it is a more direct album, lyrically and musically than in their more experimental past, Harrington explains the rationale behind that, feeling that as ‘elder statesmen’ of the circuit, they’re entitled to do whatever they want.

“This was my attempt to hit Iggy Pop or Mick Jagger’s ability to milk one cliché or phrase out for an entire song. We wanted to get at, for lack of a better word, a total ‘naïve’ energy. ‘Is this awesome?’ ‘Yeah!’. As opposed to ‘Is this awesome, how does this fit in to our milieu?’. I feel like there’s a trend towards connoisseurship in music these days. Every hipster has more music on their telephone than probably the biggest most annoying hipster ever had in like 1986, in his whole collection. And that necessarily breeds a kind of annoying connoisseur attitude where everything is dissected and made needlessly complicated and academic. and I think for Root For Ruin, if there was anything we really thought about before going into the studio it was, ‘why not just write songs from like the energy we had when we first started the band’. I feel like being an older band, having put out a lot of music and played a lot of shows, it gets easy to end up eating up your own ass, and Root For Ruin is just straight up shitting out your ass, without eating it.

So, is this the Les Savy Fav legacy then, don’t eat your own shit? “I don’t know if we’re trying to leave a message, but the last time we lived in hard times economically, the fallout from that, musically, was punk. Now we’re suffering again and we get what? Freak folk? What was an enraged punk energy now seems to be more pacified punk apathy, whatever that means. The 70s was like a baby temper tantrum and this is like a baby with a snuggy rubbing its nose. I’m not sure that’s a good thing.”

Playing O2 ABC2, Glasgow on 13 Nov Root For Ruin is out now on Wichita www.lessavyfav.com

© 2010 Jack Daniel’s. All rights reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks.

OUR BARRELMAN, JEFF CROWELL, HAS THREE LOVES. DIANE, HIS WIFE. BUTCH, HIS DOG. AND JACK, HIS TENNESSEE WHISKEY. (HE ASKED THAT WE KINDLY LIST THEM IN THAT ORDER.)

Be wise. Drink responsibly.

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BRUGAL HITS THE STREETS

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Last month, Brugal Rum brought a much-needed taste of the Caribbean to the autumn streets of Edinburgh by staging a live painting event slap bang in the middle of the city. Taking inspiration from the vibrant street art culture of Brugal’s native Dominican Republic, five local street artists drew, painted and sprayed four specially commissioned murals, bringing a splash of colour and heat to an October weekend in the capital.

Their brief was to take inspiration from the Dominican Republic, and they all produced murals that were unique and vibrant, painting beaches, flowers, a Caribbean carnival and of course some cocktails to entertain passersby in the middle of Castle Street.

16 THE SKINNY NOVEMBER 2010

Rekor and Syrkus Rekor and Syrkus are the team behind Recoat Gallery, Glasgow’s dedicated exhibiting space for urban art and design which happily celebrated its third birthday this summer. They’ve previously created artwork for T in the Park and Hinterland Festivals, painted murals all over Scotland, and designed covers for Gum Magazine. They create large-scale pieces together, full of chunky shapes and weird, twisted characters. They were inspired by the carnivals of the Dominican Republic to create their mural featuring weird and wonderful figures in lurid colours bedecked in feathers, horns and headdresses.

Syrkus, aka Amy Whiten, brought the team together for the project: “It’s been a great project.

It’s a nice theme, really inspiring! It’s challenging, and interesting for everyone to come up with a concept. Each artist has looked at a different aspect of the culture, whatever they were inspired by or interested in. Everyone’s managed to come up with something quite different, and still stick with their own style.

“We decided to make a carnival theme, because everything for this project is inspired by the culture of the Dominican Republic. As soon as I started researching it, I saw these amazing characters, and I thought ‘That’s it, that’s what it’s got to be.’ They’ve got these devils with big horns and loads of feathers.

It’s really different from anything else ‘carnival’ I’d ever seen."

Best moment of the event, from Syrkus: “Two guys turned up who are from the Dominican Republic and they went through all my drawings with me and told me the actual proper names for all the people.

Apparently their carnival tells a story, so there are people who are always winners, and people that are always the baddies and all sorts of stuff. Because it was all in another language I hadn’t fully understood it all, so it was great to find that out. “ Conzo Conzo specialises in graffiti art and graphic design inspired by cartoons and small-town Scottish culture. He recently co-founded the Destrukt Design Agency in Glasgow and managed and took part in the Scottish Secret Wars team in their European battles through 2009/2010, a globally renowned ‘live draw’ movement. For the live paint he made a striking piece featuring Dominican Republic flora and fauna set against Edinburgh Castle and a wistful blue sky, symbolising the arrival of the Caribbean spirit in the Scottish capital.

Lyken Mark Lyken is a painter from Dundee who began making graffiti in the 80s under the name Lyken Love. He divides his time between painting letter based work & expressionistic paintings for exhibitions. He regularly collaborates with acclaimed fellow Scottish artist, Elph and will be painting the infamous exhibition trains at the Village Underground in Shoreditch, London in November 2010.

His distinctive style brings a contemporary, more abstract edge to this live paint campaign, combining a traditional hand-drawn feel alongside a more modern use of the Brugal colours.

“Because Brugal’s a rum from the Dominican Republic I’m putting elements of that within my painting. It starts off with an abstract layer, then on the top I put more detail, and a crate of rum. I work in a mix up of spray paint and emulsion. The abstract layer is more like the work I do on canvas for exhibitions, as a 'fine artist'; it’s nice doing a project like this with someone else and still keeping those elements within it.

"To be able to paint a massive painting in the middle of Edinburgh is pretty dope. As the kids are saying!”

Vues Vues is a Canadian artist who lives and works in Scotland. He has painted internationally and recently won a place in the Scotland Secret Wars team for the renowned Euro League of 2009/2010. His usual style is graphic and strong, heavily influenced by his graffiti background, comic books and hip hop culture.

For this project he has channelled his bold style and taken inspiration from the shores of the Caribbean to Scotland to reflect the essence of Brugal.

“The work was inspired by the Dominican Republic!

I researched it online, and it came up with lots of pictures of sexy girls on beaches. So that’s what I did.

Sexy girls on beaches. And a delicious cocktail. "

Recently launched in the UK, Brugal is the Dominican Republic’s number one selling rum and is the only rum distilled, matured and bottled on the island. The Brugal family has managed the brand for five generations, and this tradition continues today, currently headed up by Franklin Brugal.

Brugal is perfect for serving neat, on the rocks or simply with a dash of soda or coke.

To find out more about what’s happening, please look for Brugal Pimped My City on Facebook or follow Brugal on Twitter @BrugalCityPimping.

For more information on Brugal rum visit www.brugal-rum.com.

November 2010

THE SKINNY 17

MUSIC

Postcard from the Edge The legendary Edwyn Collins talks new music, bright horizons, and that battle back from the brink

Three Cheers for Our Side Edwyn speaks about the forthcoming release of the complete works of Orange Juice, Coals To Newcastle

interview: Paul Mitchell Photography: Ross Trevail

“I got on well with everyone in the studio. Even Johnny Marr.” Edwyn Collins laughs mischievously when namechecking the illustrious cast recruited to work on his seventh solo album, Losing Sleep.

The former Orange Juice frontman was able to draw on a contacts book that included the likes of Franz Ferdinand’s Alex Kapranos and Nick McCarthy, Roddy Frame (Aztec Camera), Ryan Jarman (The Cribs), members of The Drums and of course, the legendary Smiths guitarist Marr.

Recorded in his own West Heath Studios, Collins maintained harmony by insisting on some simple ground rules. “I wanted it direct, I wanted it positive and I wanted it fast,” he intones before his partner Grace Maxwell adds: “Edwyn doesn’t like any mucking about in the studio. Well, you can muck about and have a laugh but nothing self-indulgent.”

Hilariously and in unison, they adopt the comically exaggerated affectations of the tortured artist. “Oh I’m not sure, this isn’t really working for meeee. I need to find my muuuse.” Collins continues:“I just get on with things and try to make them exciting but searching for ‘my muse’? It’s too much for me. It’s... shit in fact.”

Collins takes his entourage on a British tour in

18 THE SKINNY November 2010

November, minus his special-guest contributors, but hints at the potential of a couple of surprise appearances along the way saying, “It may or may not happen, we just don’t know who can turn up or not, but we hope some of the guests can show up on occasion.” Then he directly addresses what could have been considered the elephant in the room.

“I’ve been finding that the gigs are going well, my talking is still dodgy, but my singing is getting there.”

At the beginning of the interview, before Grace makes her appearance, Collins admits that he needs her help. “Just a little bit, but we can give it a go right now if you want?” It’s not just out of a sense of politeness that he makes this offer; there’s an air of determination which suggests he’s more than willing to test himself in a scenario he’s basically had to relearn from scratch in the past five years, ever since he suffered a massive stroke which could, and possibly should have killed him.

And so, though it was the intention to keep the focus strictly on Edwyn Collins – the musician (and to be fair, the music is the reason we were having the conversation in the first place), it quickly becomes apparent that the music and his continued remarkable recovery from an inability to speak, read, write, walk, even think, are inextricably

linked. In addressing it directly and using it as a framing reference for everything that’s happened in his career since, Collins is certainly not fishing for sympathy, nor feels ‘patronised’ when it keeps coming up. It gets mentioned in every interview he’s done simply because he keeps bringing it up. If anything, there’s a distinct sense of pride in everything he’s accomplished since that devastating setback, and a fierce desire to continue in that progressive vein. “I’m coming on slowly, and it’s very invigorating. After six months in hospital where I couldn’t say a thing, now the possibilities are endless,” he explains.

“Edwyn’s life is very busy and full-on and he’s actually flourishing because of all the interviews he’s doing. That’s helping him enormously, it’s a nice challenge,” comments Grace, who last year published an account of their experiences in her book, Falling and Laughing. “He used to be famous for his onstage patter, so he’s really fighting to get that back.”

Collins is also without the use of his right hand, robbing him of the opportunity to play guitar properly. Whilst he hopes to rectify this in time for the next album, he’s found inventive ways of circumventing the problem. “I bought a dictaphone for £20 which I use to record all my thoughts about a song, not just vocals. Guitar parts, rhythm parts, piano parts; and then I tell the other guys what I’m thinking and they play it.”

Collins frequently goes out of his way to thank the people who have helped him with his recovery, particularly of course, Grace. He laughs when he says “Grace. Thank you to her for getting me well again... and stuff like that,” but becomes instantly more serious, surprising even Grace by saying “Five years ago, I was frightened all the time about life’s downsides and how my condition was affecting my confidence. I was very vulnerable, but thanks to everyone, I’m normal again.”

It is a recovery Grace has attributed somewhat to Collins’ ego, though she’s quick to clarify that it’s a healthy ego, in a nice way. “He’s not ever been an arrogant guy,” she explains, “but I think he has been focussed, tunnel-visioned, able to absorb himself, in himself all his life, and that can outwardly appear to be quite selfish sometimes.

But I don’t think he could help it. I just think he had an interesting inner life and even at school, he was not troubled about what people thought of him or their interpretation or reaction to him. I think that’s really helped him in his recovery because people who don’t know him, generally assume he is mentally deficient.

“You see a lot of weirdness which goes on around him, which he actually doesn’t pay the least bit of heed to. So where you have people who’ve had something bad happen to them and talk about how hurtful the world’s reaction has been, Edwyn doesn’t have that problem. He’s not troubled by that, because, in the nicest possible way, he doesn’t care. It’s all about his own satisfaction and his own reading of himself.”

Collins is convinced that the only course of action in such a scenario is to meet the challenge head on, citing the first six months where he was hospitalised and unable to speak as the most frustrating period of the process. “Being pushed around in hospital is a no-no. I needed to get home and start asserting myself again. Not to do that is anathema to my personality.”

Edwyn Collins plays Òran Mór on 7 Nov www.edwyncollins.com

Edwyn Collins’ Orange Juice are often credited with defining what it meant to be an ‘indie’ band.

Founding (along with then-manager Alan Horne) their very own label, the legendary Postcard, the band’s literate yet wryly humorous take on music paved the way for the likes of The Smiths to take that concept into the stratosphere. On 8 Nov, Domino Records are to release a comprehensive seven-disc Orange Juice box set called Coals To Newcastle.

About as definitive an Orange Juice collection as it’s likely to get, the six CDs include the band’s four studio albums, You Can’t Hide Your Love Forever, Rip it Up, Texas Fever and The Orange Juice along with rarer b-sides, including the 12” version of Rip It Up and recordings from the band’s numerous BBC sessions. An accompanying DVD includes the band’s appearances on The Old Grey Whistle Test and a live performance called Dada With The Orange Juice.

Typically, Collins himself is quite circumspect and self-effacing when it comes to discussing his own legacy and that of the band. “It’s not my place to sit here and discuss that, as it’s really for the fans to interpret. To me, when I see someone like Tony Blair asking ‘What will my legacy be?’ I just think, ‘Shut up!’. Is there anything more pompous?”

Although he now considers it a significant milestone in his career, for years Collins refused to play the band’s biggest hit, the top-ten bothering pop classic Rip It Up. His rationale for this is disarmingly humble. “I couldn’t go out there and play just one hit, but when I had two (solo smash A Girl Like You) I felt I had enough confidence to play them both.” Partner Grace Maxwell isn’t buying any of it, laughing out loud before saying: “Oh dear. That’s one of the idiotic things you read people say in the NME or something like that.”

If Collins does have any regrets about his time in Orange Juice it lies in the fact that each successive release seemed to garner less critical acclaim than its predecessor, even though Collins was convinced that they were improving all the time. In advance of the Coals To Newcastle release he and Grace have been going through old press cuttings, particularly negative reviews from the likes of NME and Melody Maker which he admits did affect him quite personally.

Now, well he’s much more sanguine, taking great delight in skewering to so-called music industry bibles. “’Hmm, he promised much and delivered little, didn’t he, Edwyn Collins?’. I was 24 with four albums already and had formed a label. What was that? Behave yourselves.”[Paul Mitchell] Coals to Newcastle is released via Domino Records on 8 Nov www.edwyncollins.com

MUSIC

Day of the Scorpion

Remember Remember's Graeme Ronald tests your Greek mythology and gives an insight into the recording of his cosmic new EP TEXT: GRAEME RONALD ILLUSTRATION: DAVID LEMM

The Scorpion was sent to Earth by Zeus in answer to the boastful hunter Orion’s claim that he could slay any of the earth’s creatures. A long and bloody battle ensued, ending with Orion dead at the tail of the Scorpion. Zeus, merciful as he could be, raised both the slain hunter Orion and the victorious Scorpion into the heavens, but placed them at exact opposite sides of the Galaxy.

At the tail of the Scorpion sits RR Scorpii, a variable star whose brightness oscillates dim, then bright, then dim, then bright again, over a period of 280 days.

Thus RR Scorpii by Remember Remember begins, a gentle breeze of guitars, glockenspiel and cello slowly building to a full cosmic storm on the unashamed Space Rock of track 1, Lips, named in tribute to both Anvil’s lead singer and James’s thunderous solo sax performance.

This record is very much an ensemble piece with 8 players contributing in total*. Track 2, Get Good, began life on a piano in my friend's front room

❝

I’ve made my guitar sing like a woman!

GRAEME RONALD

❞

about 5 years ago, but now finds itself fleshed out to a part gamelan, part TV theme, rock waltz.

Luckily, there was a metallophone and a xylophone in the Green Door Studio (where we recorded), left over from an orchestral music project, which allowed us to go percussion crazy.

Aria, the third track on the record, is the only tune written from scratch during the time we were in the studio. I had borrowed an octave shifting pedal one day and taken it home. After an hour or two of messing about the eureka! moment came and I ran through to the kitchen exclaiming “I’VE MADE MY GUITAR SING LIKE A WOMAN!” to my slightly bemused girlfriend. We recorded it the next day.

Fourth and final is Ghost Frequency, a song which I actually wrote when I was about 19 and my influences were perhaps a little less mature...the working title of the song was The Floyd, I’ll leave it at that. In terms of arrangement and instrumentation, we went wild!! (if you’re into that sort of thing), more metallophones, layering single flute lines into chords, a gorgeous harmonium singing like an orchestra in a box, a melancholy cello and a Sur Saj Tarang, officially the “most psychedelic” instrument ever. Recording the motorik rock ending was probably the most fun I’ve ever had in the studio, every instrument oscillates brighter and dimmer and brighter again, for 280 days (well, about 8 minutes). *The Full Ensemble: Graeme JD Ronald - piano, guitars, metallophone, xylophone, harmonium, sur saj tarang, Ethereal Dialpad Andy Brown - drums, percussion James Swinburne - saxophone, clarinet, flute Joanne Murtagh - glockenspiel, percussion Joseph Quimby Jr - guitars Stacey Sievwright - cello Steven Kane - guitars, percussion Tommy Stuart - synthesizers RR Scorpii is released via Rock Action on 1 Nov Remember Remember play Stereo on 5 Nov

Broken Records The Skinny:Layout 1 26/10/2010 12:57 Page 1

www.myspace.com/rememberremember

Out Now

"Staggeringly graceful songs...it is an elegant and utterly beautiful record." - 8/10 "A deuce of a modern rock-band record, punchy and tuneful..." - T H E "Another cracking album!"

-

w w w. b ro ke n re c o r d s b a n d . c o m

NME

WORD

THE FLY w w w. 4 a d . c o m

November 2010

THE SKINNY 19

PERFORM

The Third Sound

After an eighteen month absence, and heralded by Kill Your Timid Notion’s radical overhaul at the DCA, Arika bring their experimental festival of sound Instal to a new venue with a new attitude Words: Gareth K Vile

Mattin

Photo: Johnny Maclaughlin

An Invitation to Engage Glasgow Open School explains its unique relationship to Instal

Tam Dean Burn

During the first decade of the twenty-first century, Instal brought international experimental musicians, like The Boredoms and Current 93 to The Arches, and acted as a spearhead for the vibrant alternative music scene. Yet for Barry Esson and Bryony McIntyre, this was only the first step.

Challenging the idea that it is enough for alternative music to simply avoid populist or mainstream tastes, they began to consider ways to alter the nature of the festival experience itself.

Their inspirations come as much from visual art and philosophy as music: their statement that they are trying to question why there has never been a “non – cochlear” sonic art is clearly influenced by maverick artist Marcel Duchamp, who insisted on creating art that by-passed visual pleasure and

aimed directly for the mind. “Non – cochlear” music emphasises the emotional and intellectual engagement alongside the act of listening.

This question has been posed by avant-garde performers throughout the past century – the experiments of John Cage come to mind immediately.

Yet Esson notes that even Cage only took it so far.

Retelling a famous story about Cage’s visit to a sound chamber that was designed for “perfect silence”, Esson adds a new punchline to the anecdote. When Cage came out of the chamber, he told the scientists that it was broken, and that he heard a low hum and a high drone. It was quickly explained that these sounds were actually his body’s own noises, usually drowned out by ambient sound. “I like to think that there was a

Walking in Circles One of the highlights of Instal, Tam Dean Burn steps out on an audio journey around Glasgow's Southside interview: Gareth K Vile Overheard teams Tam Dean Burn with his old allies at Resonance FM. Describing it as “bookending the festival, coming out from there, coming back to there like the Prodigal Son, hopefully still in one piece,” Burn is enthusiastic about this forty-eight hour stroll around the city, but not without trepidation.

A variation on the “psycho-geographical” wander, Overhead has Burn walking the Southside, recording as he goes, before returning to a Tramway base camp for a grand finale. In the

20 THE SKINNY November 2010

improvisatory spirit of Instal, he is “playing it by ear,” although he does wonder where he end up.

“I definitely think it is going to be – hopefully not too psycho!” he laughs. “I am spiralling around Tramway, so I could get into psycho territory.”

Overhead combines Burn’s interest in radio work – “I love the open ended nature of it: because it is radio you can do things much more freely” – and durational performances –“ I’ve done them for the National Review of Live Art and at Tramway” – as well as his love of music.

third sound,” Esson explains. “The sound of his thoughts thinking ‘there are two sounds here’.”

The challenge Arika have posed themselves is to follow that third sound: both to resist what they see as an “anti-intellectual” sentiment, and to involve the audience in the process of creating the festival.

Mattin, a recent graduate of Whitney Independent Study, which also featured conceptualist Jenny Holzer, brings his distinctive brand of aesthetic philosophy, and Glasgow legend Tam Dean Burn will be recording himself on a forty-eight hour stroll around Tramway’s environs. The entire event will be curated to encourage dialogue and argument, with an open ended structure that forces Esson and McIntyre to hand over control of Instal to the participants.

“It’s been of enormous importance to me,” he explains. “When I left drama college in 1980, my first piece was a two-hander, but we got my mates, The Fire Engines, to play some of their songs, some songs that were written for the show, and we called it an oratorio. It was combining theatre with contemporary music.”

Burn admits that he is always “looking for the opportunity to break boundaries”: this walk gives him the chance to do this both literally as he moves through the city and artistically, as part of a festival that resists easy definition. At the same time, it connects to Burn’s own history as a performer, always seeking new forms and collaborations, politically engaged and returning to the importance of music.

instal takes place on 12-14 Nov, Tramway www.arika.org.uk/instal/2010

We were initially approached by ARIKA. As part of their attempts to create a ‘non-festival’ they were looking for groups interested in self-organised educational and musical projects, and due to previous members’ involvement (unINSTAL and the Dundee arrangement) we were approached as a ‘collective’ (an external classification which gave us immediate worries) in order to bring our own methods to their project. We decided to treat INSTAL as a ‘class’ for which we would produce external ‘artefacts’: these will range from performances, pre-agreed tactics, interventions, pre-chosen ‘stances’, as well as our agreement concerning becoming part of a development and organising group with Mattin, Ray Brassier and others.

An action (as this decision is) is usually a positive step, as consensual action is rare these days (and the basis on which we gave consent/consensus is dubious). On this wary basis we accepted.

However the school has continually debated whether we should be involved with a project that, for example, receives Glasgow City Council, National Lottery (a ‘tax on hope’) and Arts Council funding: we were worried about the implications and the positioning within the material outgrowths of ideology that this would place us in.

It is not that we suspect ARIKA, but perhaps we are worried that if they were truly able to change the nature of the art-factory/market/totality they would not be allowed to exist. That they do is simultaneously a marvel (for the subversions they achieve) and worrying (for the attacks they haven’t received).

Based on recent experiences with groups that claim that ‘consciousness’ and ‘awareness’ are suitable and sufficient balms to corrupting effects of market forces and patronage we have rejected (thusfar) all material support from ARIKA, preferring to attend much like a collective ‘member of the public’. This is not to say we are satisfied with the position, and our involvement and our actions at INSTAL will hope to take this into account and attempt to denature the assumptions of this arrangement.

READING

WHY YOU MIGHT LOVE LENNOXLOVE

The LENNOXLOVE BOOK FESTIVAL is a new festival, in only its second year. It’s a short series of events, over just the three days from 19-21 November, and it takes place in Lennoxlove house, the ancestral home of the Dukes of Hamilton. After the success of the first year, the programme has expanded and so the three days will be full to bursting with authors this year.

And that means there’s some that you should probably know about WORDS: RYAN AGEE

ONE OF the biggest names at the festival is Iain M Banks, and the ‘M’ is important since he’s written a new novel using his sci-fi name. In fact, Surface Detail is also a Culture novel (which probably pleased his publishers - they’re very popular). For those who don’t know, and you really should, The Culture is Banks’s grand invention, a utopian socialist society in space, around which various novels occur. Surface Detail sees The Culture helping out one Lededje Y’breq, a slave from a less advanced society, in a truly epic tale involving several other plot strands – including the battle to abolish hells(!) – and a massive amount of imagination. You can hear the possessor of that imagination in conversation on 20 November.

And not to make Mr Banks feel old, but he’d published 7 books by the time Daniel Sloss was born (and nearly 8, trivia fans – Use of Weapons first hit the shops two days after Sloss was born).

Sloss, who will be appearing on the 21st at 6pm, is that maddeningly young comedian you’ve seen on telly talking about how maddeningly young he is (and I’m not old!) It’s a good thing he’s actually funny then.

If comedy is not to your taste, and you’re more of a fan of, um, murder, then you’ll be glad to know that crime writers are well represented. In particular, two Scots will be appearing, Quentin Jardine, and Ian Rankin. Jardine will be talking about his latest, A Rush of Blood, featuring his recurring cop Bob Skinner, and Rankin will be talking about… actually, Rebus has retired, so it won’t be him. To find out what Ian Rankin is up to now, best attend the event.

Speaking of people who get up to things, spin doctor Alasdair Campbell’s new volume of diaries, Prelude to Power, will be promoted by the man himself on 20 November. Something of a must for political junkies, the diaries cover the period just before New Labour came to power in 1997, with all of the manoeuvring and bargaining that entails. And as an ex-journalist in a prominent position, Campbell may be the ideal man to cover the period.

DANIEL SLOSS

Other journalistic events include BBC correspondent Fergal Keane talking about his account of the Siege of Kohima in 1944, ominously entitled Road of Bones on 19 Nov. Similarly, there’s the former master of the swingometer, Peter Snow, talking about the career of the famous general in To War With Wellington, also on the 19th.

Of course, war might not interest you, and so happily there’s another BBC man appearing with a light comedy hour – Nicholas Parsons, once annoyingly mainstream, now an appealingly cult figure, especially as the host of the long running Radio 4 show Just A Minute. He’ll be talking about his career to promote his autobiography, featuring everyone from Norman Wisdom to Paul Merton, on the 21 Nov. It’s a pretty varied programme then, and in an unusual, but very appealing setting.

LENNOXLOVE HOUSE, NEAR HADDINGTON, 19-21 NOV WWW.LENNOXLOVEBOOKFESTIVAL.COM

NOVEMBER 2010

THE SKINNY 21

MUSIC

THE THING ABOUT JOHN:

BARROW ON CARPENTER As John Carpenter prepares The Ward – his first feature-length film in almost a decade, GEOFF BARROW explains his hold over PORTISHEAD WORDS: GEOFF BARROW IN INTERVIEW WITH DAVE KERR

MY FIRST encounter with John Carpenter’s music was most probably hearing it in an early hip-hop track that sampled it. I had a weird flexi-disc of Bomb the Bass called Mega Blast – they’d sampled Assault on Precinct 13. I can always remember thinking ‘that’s a wicked riff,’ with the synths, it was this dark electro hip-hop. That was also the first film of his I discovered. I was aware of Escape From New York, but it was Assault on Precinct 13 that had the most impact on me.

I’d be interested to find out if some of the guys from the early synth pop bands were aware of him, and what he did for them musically. You get something like Being Boiled by Human League, the first demos were around ‘78 – Assault on Precinct 13 was 1976, which means it was mostly in production in ‘75.

I can understand where he was coming from because his riffs are quite thriller-based, dark and doing what traditional strings would’ve. But the sparseness of it just created a massive atmosphere, outside of picture, if you’re just listening to the soundtracks. What an influence, it was always very menacing but also full of pathos – like the Sergio Leone/Ennio Morricone [who would later compose the music for The Thing with Carpenter] scores, but it’s also very discordant and basic.

That’s what brings the menace.

We’re pretty magpie-like, almost too much sometimes I think. Take our track Roads on the album Dummy – I’m trying to play the bit of incidental music after the girl got shot beside the ice cream van.

Because I didn’t have the soundtrack I didn’t know what it went like, which helped me write something original rather than me just trying to copy it.

Adrian [Utley]’s always collected – and I have as well – a lot of keyboards and synths that have just got that warbly thing, but we’re totally aware as well that the discordance is a really important part of the sound. Making that on the computer wouldn’t sound quite the same; you need to put it through an amp.

Escape From New York [1981] became a lot more, he’d progressed by that time because there were lots of sequencers going. I think that, with the way the technology developed, it would be interesting to hear what inspired his musical stuff: was it just budget and necessity that constrained it to synthesizers, or was he fully immersed in synthesizer music by then?

GEOFF BARROW

Portishead once did a little stint living in London for nine months, working in the studio of our manager. We had one track that directly sampled Escape From New York, and that was the basis of the tune. I put a beat behind it, but basically the synth was just a straight lift. It never made the record, but it pretty much would have if we had to release the record back then, that was our strongest tune. It came from sampling vinyl rather than knowing how to actually work a synthesizer – hopefully we’ve gotten past just taking other people’s music!

The [distinctly Carpenter-like] riff at the end of Machine Gun [from 2008 album Third] was going to be a tune, but I just thought ‘You can’t do it that blatantly.’ If you want homage, go to YouTube and look at Portishead’s The Truly Spectacular Conference Film. We made a film specifically for the Universal Conference in 2006 and it’s basically just pure Carpenter.

WWW.PORTISHEAD.CO.UK WWW.INVADA.CO.UK WWW.THEOFFICIALJOHNCARPENTER.COM

JOHN CARPENTER

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His scores are very discordant and basic. That’s what brings the menace GEOFF BARROW

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SOMEONE'S WATCHING ME!...

GEOFF recommends a score and a film from Carpenter’s vault (spoiler: there’s no horror)...

Assault on Precinct 13 OST (1976) I always listen to Assault on Precinct 13 in the car, and it’s amazing how long it doesn’t feel like there’s any need for movement. He’s quite happy with it being on a very simple level without filling it up with shit, percussion or whatever. The payoff is you’ve got this really discordant note that threads through the whole theme, then it bends down to be in tune. That Terminator soundtrack, they’ve got to have listened to Carpenter. Ade always talks about The Thing soundtrack, I know that less because it’s a horror film – it scares me! All that unnecessary stress, that someone’s behind a door and they’re going to jump out. I mean, why would you want that in your life? I’ve got kids and intense thoughts going through my brain just talking about real life, I don’t want extra shit.

22 THE SKINNY NOVEMBER 2010

They Live (1988) I was in L.A on our last tour, walking down this road, and I stopped at a magazine rack and then looked up left and realised it was exactly where the main character had the realisation scene with his glasses on. And I was like ‘fucking hell, I’m there!’ I was a massive wrestling fan when I was younger, and Rowdy Roddy Piper was brilliantly cast in They Live. I love the way they filmed the scenes in the TV studio at the end. We also made an Invada shirt that’s a still from the scene where the politician’s stood up in front of the sign saying ‘Obey’ behind him. What that film means... it’s brilliant.

THEY LIVE

WHEN I SCREAM YOU SCREAM ZOMBIE ZOMBIE'S COSMIC NEMAN explains the Parisian synth duo's fascination with the daddy of psychological thrillers, and why they were crushed by the corporate might of a toy giant for their dedication

Zombie Zombie’s admiration for the great horror soundtracks of the last century is no big secret, so how was it to try on John Carpenter’s tunes at Glasgow Film Festival earlier in the year?

It was our first time trying; I’m not sure we played them the best but we enjoyed ourselves. Glasgow Film Festival actually made the offer for us to do that, and we thought it’d be a pity to leave it at that one show and not record the tunes. So we recorded five John Carpenter covers and did this whole EP. We wouldn’t have dared do it ourselves; it was just nice that someone else gave us the excuse.

You and Etienne [Jaumet] come from very different backgrounds [playing drums in Herman Dune and working as a solo jazz/electronic musician respectively], how did you wind up making danceable reinterpretations of horror soundtracks?

It came from the instruments we’re used to.

Etienne’s keyboard has been used a lot in 70s movies – Carpenter used a lot of the same effects and drum machines, the same with Goblin on George A. Romero’s films. As teenagers we were big fans of Carpenter’s movies before knowing his music. He’s like Hitchcock in the way he executes some of his plots, and has a similar sense of adventure. It’s in the way they’re written – the plot, and of course if you’re into special effects they’re amazingly done. To me he really matters in movie history, I think he’s a pioneer of minimal music in general too. The idea was to show people that this guy wrote the best tunes and we should play them to people to make them move.

The stop-animation tribute to The Thing [Driving This Road Until Death Sets You Free] was a beauty, maybe there’s a future in scoring animated horror starring plastic action figures…

Some friends of ours made that video at home in Paris over four months; it takes a lot of time. I was really happy, it’s very well done. Because we used GI Joes – the toy by Hasbro – we weren’t allowed to broadcast it. This was right before they released a GI Joe movie and to them it was too violent.

That’s too bad for my friends who made it, because it would have been better to broadcast it on more than YouTube. We’ll have to do one without Hasbro toys next time. They’re a big company; we asked gently and they replied not very gently. We’d love to record a movie score though, any time; not only just a horror, but a comedy – anything![Dave Kerr] ZOMBIE ZOMBIE PLAYS JOHN CARPENTER IS RELEASED VIA VERSATILE ON 1 NOV ZOMBIE ZOMBIE RETURN TO THE GLASGOW FILM FESTIVAL WITH AN ORIGINAL LIVE SOUNDTRACK TO 1925 FILM THE BATTLESHIP POTEMKIN ON 23 FEB, 2011

ASSAULT ON PRECINCT 13

WWW.MYSPACE.COM/THEREALZOMBIEZOMBIE

Bringing together the best hip hip dancers from around the world, Breakin' Convention arrives in Edinburgh this month to show the capital how to meld street and theatre

FILM

PERFORM

No Sell Out, Just Breaks

Africa in Motion 2010

AiM returns to celebrate the cinema of the continent that continues to be criminally ignored

interview: Gareth K Vile

Togetherness Supreme

“I really like the Breakin’ Convention audience: it is an audience for both dance and theatre. They are very open minded for new stuff, but they still have the spontaneous energy one expects from a hiphop audience. It is because of events like BC that folks get interested in dance and start to dance themselves.”

European duo Sébastien and Raphael, who wax lyrical on the audience and event, are a fine example of what happens when b-boys meet contemporary dance, fusing high tech stage craft, breakin’ brilliance and original contemporary choreography. Breakin’ Convention is a rare example of a hip-hop dance programme that bridges the gap between the form’s street origins and the more theatrical manifestations that are most obviously represented in the crews that strike big through Britain’s Got Talent.

Sébastien and Raphael take their enthusiasm further. “BC is important for dance in general; it offers an international spectrum of dance to the British audience,” they affirm. “BC offers a programme which is challenging, artistic and allows the artists to evaluate themselves. It offers the hiphop vocabulary in different propositions and contexts.”

Breakin’ Convention had its origins in a collaboration between Sadler’s Wells Theatre in London and b-boy activist Jonzi D. Sadler’s Wells has long been both a home for dance and on a mission to make performance accessible. Recent Sadler’s initiatives have included programming at the Latitude Festival, while Jonzi D has been an influential voice in the shift of credible hip-hop into the mainstream of dance.

For the Edinburgh shows, Jonzi will be joined by the hardest working man in Scottish showbusiness, Tony Mills. Mills started off as a vet, became a bodypopper, and has just been touring a double bill of contemporary dance – which also appears at the IETM. A regular face at b-boy battles, Mills has a habit of finding outrageous outfits to match his bouncing enthusiasm.

With invitations going out to local crews, including the West Coast’s Flying Jalapenos, the event bridges the gap between touring companies and the street teams. It’s also a networking evening for b-boys, a gathering of clans, and a place to share experiences.

As a culture originating in the United States, hip-hop has made a natural global expansion.

Nevertheless, it has been shaped by national characters – a point made by Sébastien and Raphael.

“France has a large support for culture, and also good opportunities to present theatre and dance in venues,” they explain. “I also think that the general sensibility for culture is quite developed in France – certainly due to education.” Against this background, the particular history of France has encouraged b-boys. “The important number of immigrant and French with immigration background is important in the hiphop culture: this part of the population often can easily identify with our culture.”

They also note that there is a complex relationship between the state and the various communities. While there remain huge cultural issues and conflicts unresolved within French society, this does not harm creativity.

“The French authorities always supported culture and art in general, I think that this generates an artistic dynamic and pushes artists in their creations.” So far, so positive: yet the duo continue, “France has a link to ex-colonies and still has overseas departments and territories; these parts of the population are often stigmatised and live in ghettoised situations, economically more difficult. This might create anger, envy, ambition, energy – and artistic creation! This blend of the cultures also creates a mix of artists – intellectual, conceptual, spontaneous – with different energies from various cultural backgrounds.”

Perhaps this explains why hip-hop has taken a deep hold in France, and the rest of the world. As a dance form, it is vibrant, energetic and confrontational,

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BC is challenging, artistic and allows the artists to evaluate themselves.

It offers the hiphop vocabulary in different propositions and contexts

❞ encouraging the expression of even aggressive feelings and competitive ambition. Alongside rap, breakin’ has a strong connection to community, and can easily become political. By the time that the theatre began to recognise its dynamism, it was already taking names and naming injustices.

The greatest threat to hip-hop culture has always been its colonisation by the mainstream: those acts on BGT might have the flips and moves, but anyone who saw their touring shows would accept that they lack soul. There was even one crew who had a shameful scene where they gave props to major banking corporations. Against this, BC is a genuine collaboration between the scene and the proscenium arch.

Festival Theatre, 8-9 Nov 7.30pm (with pre-show foyer events from 6pm), various prices After Party, The Bongo Club, 9 Nov, 10.30pm, £5 www.breakinconvention.com/uk-tour-2010

African film is in the spotlight this month as the Africa in Motion (AiM) film festival celebrates its fifth birthday with a huge number of screenings at the Filmhouse, Edinburgh, 21 October – 5 November.

The extensive programme includes over 78 films from 28 African countries as well as poetry readings, creative workshops and other artistic events and discussions.

Founded in 2006 by Lizelle Bisschoff and Melissa Trachtenberg, AiM has grown from an audience of 1,300 people in its first year to over 3,000 attendees in 2009.

The idea for the festival was borne out of Lizelle’s film studies and her exigent concerns over the accessibility to African film. African cinema has been marginalised for most of its existence, the recent hype over Africa United, described as “Africa’s Slumdog Millionaire”, progressing the argument that the continent is under-represented in UK film-going culture.

The AiM festival is not only focused on the latest productions to come out of Africa, including UK premieres of Ramata (2009), Lagos Hot (2009) and Togetherness Supreme (2010); it also affords cinemagoers the chance to make up for lost time with screenings of classic films such as Jean-Marie Teno’s Africa, I Will Fleece You (1993) and Umm Kulthum: A Voice Like Egypt (1996), narrated by Omar Sharif.

Through creating a platform for African filmmakers to exhibit their work in Scotland, AiM has achieved international acclaim for its efforts. Last year the festival focused on the ideas of trauma, conflict and reconciliation in a pan-African context in honour of 2009 being the United Nations' International Year of Reconciliation. The AiM staff were asked to compile a report on the event for the UN Secretary General and received an award for their contribution towards highlighting reconciliation issues.

The Africa in Motion festival aims to counter stereotypes that are often pursued by the media and enable audiences to learn about the continent through voices and representations created by Africans themselves.

As much as this is a significant objective, the AiM directors add that the main reason for screening the films is “because we believe they are great films which should be seen the world over”. This includes the Highlands and Islands, which will be treated to a mini-tour of the festival after it closes in Edinburgh.

The ethos of inclusion is where AiM flourishes.

This year’s theme of celebration sees each day dedicated to a different aspect of African culture, and the complementary events which run alongside the main programme encourage families and individuals to play a part in a carnival of dance, music and art. [Matthew Stanger] Until 5 Nov, Filmhouse, Edinburgh www.africa-in-motion.org.uk/2010

November 2010

THE SKINNY 23

FILM

Bard of Bleakness

Much loved miserablist Mike Leigh discusses his latest film, Another Year, and his forty year filmmaking career interview: Jamie Dunn

❝

I make it my business to create good parts for women. Most female characters in film and television are subordinate to men. I try to address that Mike Leigh

❞

Arriving at the GFT’s Art Deco bar to meet perhaps our finest indigenous filmmaker, Mike Leigh, I’m greeted warmly by a large fleece pullover that has enveloped its small sexagenarian wearer.

Leigh, who has a reputation as a curmudgeon, appears casual and relaxed throughout the interview, which he performs slouched in a leather armchair like a discarded marionette. Throughout, I’m drawn to his wonderfully idiosyncratic facial hair, particularly his moustache, an unwieldy and lopsided mop of white. Hanging lower to the right of his face, it gives the impression of a constant sneer. That may be exactly what it is, in fact, as he’s notoriously suspicious of journalists (even lovely ones from The Skinny). Near the beginning his answers are slow and deliberate, peppered with long guarded pauses. But he eventually warms, or perhaps I begin to ask the right questions.

I start with the genesis of his latest film, Another Year. “It’s very hard to talk about the idea because it’s about a lot of things.” says Leigh. “It comes out of a whole lot of ongoing themes and preoccupations about the way we live: work, families, relationships, parents, children, togetherness, warmth, generosity, loneliness... you name it. One thing that is a bit specific, I suppose, is that having made Happy-Go-Lucky, which focuses, for the most part, on youngish people, I decided to make a film that, apart from anything else, starts from where I and people of my age are. I’ve been about a bit you know,” he says with a gentle chortle. “I’m looking at a shrinking future.”

So it’s a personal film? “All my films are personal, and this one is a particularly personal one,” Leigh tells me. He’s reluctant, though, to concede when pressed that any of his characters are autobiographical. And who could blame him for distancing

24 THE SKINNY November 2010

himself from the oddballs he’s created throughout his 40-year career – particularly the degenerate males. From tightly-wound authoritarian Keith (Roger Sloman) in Nuts in May, to David Thewlis’ tour-deforce of misanthropy as Johnny in Naked, right up to Happy-Go-Lucky’s unhinged driving instructor Scott (Eddie Marsan), Leigh’s men tend to be neurotic, frustrated and seething. “It’s complicated, really.

Given that we’re talking about Another Year you’d have to agree that Tom, Jim Broadbent’s character, and his son character Joe are not in that category.

So not all my males characters are like that. But, I suppose I would have to concede the notion that we males are an oppressed species, of course we are,” he says, only half jokingly.

Perhaps his male characters tend towards life’s darker recesses because they’re surrounded by such indomitable women – few male filmmakers can claim to have helped create so many strong female characters. “That’s also complex. There’s Mary [Lesley Manville’s character in Another Year] and there’s Cynthia in Secrets and Lies, who are very vulnerable and weak,” he says defensively.

“The truth is I don’t think in terms of weak men, strong women or vice-versa, I do people. And society, or at least the heterosexual world that I mostly deal with, is made up of the compound experiences of men and women.”

This may be so, but apart from perhaps Thewlis as Johnny, the most commanding, memorable performances in his films have come from the female contingent of his unofficial repertory group. As Beverly in Abigail’s Party, Alison Steadman gave the 70s a monstrous icon of bad taste; for her emotionally wrought performance in Secrets and Lies, Brenda Blethyn was garlanded with awards from Cannes and BAFTA; and Imelda Stanton, who has a

small role in Another Year, was similarly awards laden for her stoic and heartbreaking turn as the titular backstreet abortionist in 2004’s Vera Drake. “That’s one thing I do consciously do,” Leigh concedes, “I make it my business to create good parts for women. Most female characters in film and television are subordinate to men. I try to address that.”

In a bid to find less contentious ground I move onto an extraordinary moment in Another Year where Tom and Gerri, the happily married middleaged couple of the piece (played gracefully by Jim Broadbent and Ruth Sheen), discover that their only son Joe (a mischievous Oliver Maltman) has been seeing Katie (Katrina Fernandez) surreptitiously for several months when he brings her round to the family home for an impromptu lunch. Tom and Gerri are delighted that their “dark horse” son has found a companion, but this sweet scene between two loving couples at opposite ends of life’s spectrum turns rather ugly when Gerri’s needy co-worker Mary (a scene stealing Lesley Manville), who has in earlier scenes made clear her desire to be more than just “Auntie Mary” to Joe, arrives unannounced. This scene, like all others in Leigh’s oeuvre, is a result of the director’s singular improvisation stage of preproduction. His assembled cast, having already created their characters in one-toone sessions with the director, create dialogue and conflict from scenarios masterminded by Leigh, who acts as omniscient puppet-master.

Did Broadbent, Sheen and Manville know that Maltman’s character was in a relationship before this rehearsal? “Absolutely not, that’s how it works. I set it up and they had no idea, it happens for real – horrible. I knew [Lesley’s character, Mary] wasn’t going to be pleased, but everything in my films is manufactured this way. When it works it’s

remarkable, it’s magic.” From this improvisation session the scene is “distilled down to something that’s dramatic and cinematic.”

This unique approach has won Leigh and his actors many admirers, but there is a vociferous group of critics unappreciative of this dramatic alchemy who accuse the director and his cast of creating grotesque caricatures, a conclusion which I believe comes from a fundamental misunderstanding of Leigh’s films. Lazy critics tend to lump them, along with all British films that deal in a serious way with the issues in society, into the catch-all category of British social realism. But Leigh’s films have as much in common with the Ealing Comedies or the Boulting Brothers as they have to do with kitchen sink dramas. Leigh agrees: “People talk about Ken Loach and Mike Leigh in the same breath,” he explains in third person. “They see them as similar.

We both know, you and I and indeed Ken and I, that they make, fundamentally, very different films.”

Of course, in this context of social realism many of his characters appear to be caricatures. Take, for example, Aubrey (Timothy Spall) from Life is Sweet (1990), a supposed “culinary genius” chef with a bizarre Mid-Atlantic accent and wardrobe that suggest a blindfolded shopping spree at T.K. Maxx, whose crumby restaurant serves dishes such as ‘Tongue in a rhubarb hollandaise’ and ‘Tripe soufflé’ (this, of course, was an age before Heston Blumenthal made such concoctions de rigueur).

Compared to the naturalism of the British New Wave, Spall’s performance is positively cartoonish.

Consider, however, Aubrey and Leigh’s other extreme creations in terms of the varied influences that he cites: “Pantomime, variety, circus, in theatre it’s Beckett, Pinter, Chekhov. I’m also influenced by the likes of Ronald Searle [legendary British cartoonist].” It seems to me that those who criticise Leigh’s films’ lapses in realism miss the point: he’s not interested in trying to recreate a facsimile of life on screen; he’s getting to the essence of things – sometimes through naturalism, sometimes through vaudeville.

At 67, Leigh is unlikely to change his ways. But, as one of the few directors improving with age, why would he?

Another Year opens nationwide on 5 Nov www.anotheryear-movie.com

ART

Sing us Out Artist Neil Clements runs intellectual rings around The Skinny in anticipation of his new exhibition at SWG3 inTerview: Andrew Cattanach

Left: RV2, 2010. Oil on Canvas, 233 x 171cm Above: AF2, 2010. Oil on Canvas, 222 x 250cm

“I was interested in the idea that artworks are essentially barriers that exist between the viewer and the artist,” explains Neil Clements in his studio in Govanhill, Glasgow. This is odd from someone so clear on what he aims to achieve with his art.

Whatever uncertainty might exist between the viewer and the artist, there is little evidence that Clements harbours any ambiguity when it comes to his own output.

Articulate and efficient in his speech, he systematically marks out the parameters of his work and its reception. He knows how it functions, how it behaves in the gallery, how it forms part of a larger art-historical context. He references minimalist and conceptualist practises of the 1960s, teasing out the subtle differences between the two seemingly divergent attitudes, meanwhile demonstrating his almost encyclopaedic knowledge of contemporary art history.

Originally a painter, Clements has recently introduced elements of text, sound, light, photography and sculpture into his practice. “I’ve always conceived of the sound and the photography works as a sort of method of staging the paintings,” he explains. “It was always about creating a situation where you were challenging the relationship someone will have with painting, which is quite conventional.”

At first Clements’ paintings seem unbearably conventional. They are meticulously executed abstracts on shaped canvases. Normally limited to two colours, often shades of black and white, the paint is applied following the contours of the canvas edge. And yet, despite their formal austerity, there is a degree of camp to these works, a kind of affected machismo.

This is unsurprising seeing as the canvas shapes are based on various guitar models, and more specifically, the angular kind popular among heavy metal guitar heroes. Here Clements marries two seemingly opposing histories, the development of minimalist painting, particularly the introduction of shaped canvases by artists such as Frank Stella, and the pointy-guitar movement, with pioneering designs such as the Gibson Explorer.

Both pursuits share a similar sentiment, according to Clements. “Heavy metal music and Abstract Expressionism were both very earnest,” he says, with their “idea of the single male performer or the idea of the autonomous individual; all the romantic, almost fatalistic attitudes that were attached to this form of work, this kind of approach to making art.”

Despite the prominence of the paintings in his oeuvre, Clements is frank about what they achieve independently: “They are actually quite rhetorical, quite simple things. They only say one thing,” he explains.

The large space in Studio Warehouse, Glasgow, where Clements shows this month, provides him an opportunity to look beyond his paintings’ limited resources and consider how the various exhibits will interact. “I like the idea whereby putting this beside this means you’re almost countering your own logic. That makes it more complex. And so the viewer then actually – because they’re being faced with all these things – has to gather up and make the average or the aggregate of all the parts.”

It’s in this sense that Clements talks of “staging” an exhibition. He sees art, and his own art in particular, as theatrical or performative. It plays with the affected purity of minimalism and the camp severity of metal music. And the work itself manages, in the end, to span two supposedly disparate characteristics, the austere and the baroque.

This very incongruity not only makes Clements one of the most interesting artists working in Scotland today, but assists in averting any irrefutable interpretation of his work. And despite his ability to be clear and succinct in conversation, he attempts no such transparency when it comes to making art.

“I don’t see the point in taking things to a logical conclusion,” he says. And nor should he.

Preview Friday 29 Oct 7.30-9.30pm. Exhibition talk by Dominic Paterson Thursday 11 Nov 6.30pm 30 Oct – 20 Nov Weds – Sat 12 – 6pm www.swg3.tv

ANOTHER WORLD Dalí, Magritte, Miró and the Surrealists

Until 9 January 2011

Dean Gallery Belford Road, Edinburgh £7/£5

www.nationalgalleries.org

National Galleries of Scotland is a charity registered in Scotland (No. SC003728)

November 2010

THE SKINNY 25

MUSIC

DAYDREAM VACATION...

MARK PETERS of ambient shoegaze wonders ENGINEERS talks us through the ten tracks he couldn't bear to be without on a desert island WORDS: MARK PETERS

1) John Martyn – Just Now (Bless The Weather, 1971) This is on the Bless The Weather album and I first heard it when I was 19, four years younger than he was when he recorded it and it’s one of the songs that has had the most profound effect on me. I think it was the combination of the new found maturity in his voice expressing feelings of sadness and loss juxtaposed with a tone of acceptance and hope that originally affected me both philosophically and musically. Some songs that you have liked can lose relevance but this still has the same effect on me whenever I hear it.

2) George Harrison – All Things Must Pass (All Things Must Pass, 1970) Interestingly, this has a similar chord progression to the John Martyn song and also explores themes of loss and acceptance. As with many of his songs, (perhaps because he was in the biggest band in the world) it comes from a much less personal perspective and although it’s not his most directly spiritual set of lyrics it has a universal sentiment that I find very appealing. He made the first recording of this on his 26th birthday during the recording of the White Album, as The Beatles were falling to pieces around him.

3) Dion – In And Out Of The Shadows (Born To Be With You, 1975) I love music that creates a believable snapshot of a particular time even though you know that

it’s essentially a fantasy. I’m not sure of the exact reasons but this to me sounds like a romantic (yet not sentimental) portrayal of late 50s New York – perhaps the main thing that Dion and the album’s producer, Phil Spector had in common. Apparently the first meeting before making the album was in a barely lit room where Spector stepped in and out of darkness mumbling the lyrics at a reticent Dion to illustrate why they should make it together.

In light of recent events this is more than a little creepy, although it was probably just the kind of PR spin that made him such a successful and notorious producer.

4) The Beach Boys – Big Sur (Landlocked bootleg 1971) The version I like best is on the Landlocked bootleg as I think the one on Holland is possibly a cynical attempt to cash in on the Neil Young – Harvest trend of the day. This again creates a wonderful fantasy of the subject matter and although Mike Love’s lyrics only deal with it on a subjective, superficial level I think the arrangement of this is one of the best examples of why I love their music so much. It has a hazy, intangible feeling of wonderment in regard to the landscape and suggests how the pioneers may have felt when they were exploring the new world. I hope it gets a proper release at some point.

5) Sonic Youth - Teenage Riot (Daydream Nation, 1988) This is just one of those brilliant tracks that never loses it's edge. Sonic Youth get a lot of credit for being an art/punk/

experimental group but people seldom remark that they are very advanced musically. I love modal tunings and get a lot of my inspiration for the louder stuff we do from them.

6) Fleetwood Mac – Walk A Thin Line (Tusk, 1979) It pleases me to see Tusk getting the respect it deserves these days, as many people always used to react to Fleetwood Mac with a raised eyebrow.

Lindsay Buckingham’s solo tracks on it have economical production and the rich fidelity on this is offset by haphazard, double tracked drumming. Nonetheless it expresses a feeling of serenity in the face of turbulent events, which is a mood I’ve attempted to tap into on our new album.

7) Big Star – September Gurls (Radio City, 1974) Another fantasy song that in reality was created in an entirely different universe from the one it depicts. It has an elegiac tone musically that is offset by youthful, anglophile energy in the production, playing and singing. I’m more of a fan of #1 Record and especially Third/Sister Lovers but this is my favourite song by them because it perfectly nails everything that is great about their music in 3 minutes. I’m not the biggest fan of guitar solos generally but this has my favourite of all time on it.

8) The Blue Nile – Over the Hillside (Hats, 1989) This conversely has a circumstantial feel and even though it comes very close, it never resorts to sentimentality.

To me it feels like walking through town after an uneventful and depressing rainy night out, but instead of losing hope or looking for hope elsewhere it celebrates and finds comfort in familiar urban surroundings. I only heard this for the first time a few years ago, but within the first few bars I knew it would be a firm favourite for a long time.

9) Van Morrison – Astral Weeks (Astral Weeks, 1968) I’m always highly suspicious of songwriting that cites stream of conscious lyric writing as a driving force, as it’s often to blame for a lot of badly written rubbish, but this has something special that (unlike many examples) completely justifies its status as a classic. Its captivating atmosphere completely draws you in to his dreamlike world and even though you may not necessarily understand what he’s describing, you are completely enthralled by the enigmatic passion of the delivery. There were already leanings towards jazz in the New York folk scene, but this created the template that the likes of Tim Buckley drew inspiration from for years to come.

10) Serena-Maneesh – Don’t Come Down Here (SerenaManeesh, 2006) He might think me foolish to say this, but I think Emil Nikolaisen is musically the modern day equivalent of the great European composers like Grieg and Sibelius. I love the image of the band and I think that they are hands down the best rock and roll band in the world at the moment. But the best thing about them is his use of seemingly random textures to create complex and sometimes dissonant harmonics that completely elevate them from whatever genre they might get lumped in with.

IN PRAISE OF MORE IS RELEASED VIA KSCOPE ON 1 NOV WWW.MYSPACE.COM/ENGINEERS0

MARK PETERS (4TH FROM LEFT) LOOKS ON AS NEW BAND MATE ULRICH SCHNUASS BUMS ANOTHER FAG

26 THE SKINNY NOVEMBER 2010

Celebrating 20 years as the go-to nightspot for the rock-oriented clubber, Glasgow’s CATHOUSE staff recollect five moments from its colourful history ◗ Oasis played the Cathouse on their first tour after being signed at King Tut’s. They were supported by The Verve and their famous B-Side cover of I Am The Walrus was recorded live during the show ◗ Donald MacLeod [Cathouse founder] booked Pearl Jam to play the Cathouse on Brown Street and in-between the time of booking and their actual Glasgow show, Jeremy went stellar in the charts and the band became international superstars to which the contract remained. That show has gone down in rock and roll history as an amazingly intimate experience for both the band and the fans. ◗ During a European tour, New York band Biohazard had been growing increasingly concerned of reports about the violent reputation of Glasgow / Glaswegians, so much so that when they arrived for their Scottish show at the Cathouse it transpired that one of them had managed to smuggle an uzi automatic into the country. ◗ Prog outfit Dream Theater arrived to play the Cathouse and immediately began grumbling

FROM THE ARCHIVE:

The Skinny's former metal correspondent Jamie Borthwick recalls one of the most memorable occasions at The Catty in recent times, the night Dillinger Escape Plan brought the pain (15 Feb, 2008)

rrrrr

Like a poised guillotine, it's only right a wait so agonisingly protracted as Dillinger's three-year absence from these shores should be ended with the atrocious velocity of Panasonic Youth.

A single gasp and the hydraulic whir of 43% Burnt is upon us, forcing the hurried conclusion that this is not going to be a night of quietly catching up between interspersed crooning.

The pit is writhing like an orchestrated fit-pact by epileptics anonymous, Ben Weinman's pick is bludgeoning the guitar with every swipe of his wide

but precise thrashes, and Greg Puciato is hanging from the light rigging like a grotesquely sinuous bat. The band-crowd dynamic gets booted upside down by DEP as they regularly pounce into the sweat-drenched entity before them.

As guitarist Jeff Tuttle and Puciato are chaired through the room and Weinman hauls himself hand-over-hand by the rigging to the back, their finest balance of math-o-metal and musicality – Sunshine the Werewolf – screeches out the night's ferocious entertainment. [Jamie Borthwick] PHOTO: PETER PELOSI

MUSIC

20 YEARS OF BLOOD, SWEAT AND BEERS about having the wrong kind of orange juice on their rider; “We need no sugar, no additive organic orange juice,” Donald recalls. So, he took the cartons away, got a black marker, drew large lines through the nutritional contents and took them back into the dressing room. The band thanked him very much for his efforts and proceeded to drink the OJ. ◗ While onstage at the Cathouse on Brown Street, Roy Villasenor, bassist with robust rockers Downset was rocking so hard (and was so large) that he actually crashed through the staging and got stuck, wedged in by a combination of his sheer body size and his enormous feet.

The local crew had to chop the stage up around him in sections to free him and allow the show to continue.[The Cathouse] CATHOUSE 20TH BIRTHDAY PARTY TAKES PLACE ON 27 NOV, 10.30PM–4AM LEVEL 1 DJ MUPPET SPINS ROCK, METAL AND ALT. TUNES + SPECIAL GUEST DJS LEVEL 2 DJ BILLY SPINNING POP PUNK, HARDCORE, DUBSTEP AND HIP-HOP + SPECIAL GUEST DJ

THE DILLINGER ESCAPE PLAN'S GREG PUCIATO ROCKING THE CATHOUSE

WWW.CATHOUSEGLASGOW.CO.UK

12—14 Nov 2010 • Tramway, Glasgow braver newer musics

Music is about More than just Music.

3 days of events that explore un-average ideas about sound and music Unmissable performances, in-depth discussions, films, and installations.

Programme online at arika.org.uk Book on +44 (0)845 330 3501 or at tramway.org Day Pass £10 - Festival Pass £25 Co-produced by Arika & Tramway In association with The Arches – thearches.co.uk

Who will you end up spending the night with?

The Marriage of Figaro 29 Oct to 4 Nov Glasgow | Inverness | Aberdeen | Edinburgh scottishopera.org.uk/under-26 Registered in Scotland Number SCO37531 Scottish Charity Number SCO19787

NOVEMBER 2010

THE SKINNY 27

28 THE SKINNY November 2010

TRAVEL

In a galaxy not so far away…

Armed with a pen, a camera, and a mild disdain for Euro house, our Music Editor walks the coasts of Tunisia…

WORDS: DAVE KERR

1 Ancient remains on the coast of Carthage

3 Monastir mausoleum

“When I was searching in 1977 for a place to make the first Star Wars movie,” George Lucas explained to a Tunisian newspaper in more recent times, “I found Tunisia the ideal country for filming: beautiful countryside, unique architecture and a very high level of technical sophistication.”

Not even Lucas’s penchant for changing a scene after the fact could embellish Tunisia’s natural allure. Dubbed “the jewel of the Mediterranean” (jostling for the crown alongside Croatia and Cyprus), the ideal climate of the North-African coastal region – not to mention its strange coalescence of Islamic culture with a very European outlook on hospitality – makes for an accessible destination.

Scottish city dwellers will have seen the ubiquitous ad campaign scrawled down the side of double-deckers since the start of 2010; so why Tunisia now? Well, with a wealth of attractive historical sites and a coastline boasting over 800 miles of beach to explore, Tunisia has become a tantalising – and affordable – option for backpackers and budget holidaymakers alike as direct flights to Monastir and Tunis have opened up in Glasgow, Edinburgh and Aberdeen over the last year. Sun-chasers might want to put that bottle of perma-tan away; the Republic’s autumn months yield ample rays to replenish the soul.

Incidentally, if a few days of beach sand isn’t enough to temper that pilgrimage to Tatooine and the Mos Eisley Cantina, try trekking a little further inland to the small town of Matmata where you can even stay at Luke Skywalker’s gaff – AKA the Sidi Driss Hotel — costing the equivalent of £12 per night. A daily coach service runs from Tunis (via Sousse).

But this itinerary was about the coast…

Day One 09.00 Roughly 9 miles from Tunisia’s capital, Tunis, we visit the coasts of the ancient city of Carthage, most notably the well-preserved excavations around Carthage Acropolis – the birthplace of Hannibal – which still clearly shows the lasting damage inflicted by the Roman Empire during the Punic Wars (see picture 1). The cypresses lining the surrounding streets and the turquoise-tinted sea lend the area a sense of calm despite the evidence left behind by its turbulent history.

2 Poseidon holidays in Port El Kantaoui

4 Hammamet entertainment

11.30 The next port of call is Sidi Bou Said – a picturesque, strictly blue and white village – perched on the cliffs overlooking the Bay of Tunis.

Carpeted shisha cafes are popular in the area, and comfortable traditional courtyard houses make for affordable off-season lodgings. Jalebi – a sweet, melt-in-the-mouth, pretzel shaped delicacy – comes recommended as a snack, available from local bakeries and street vendors.

14.30 We transfer to Tunis and visit the working market place which is a UNESCO world heritage site in the present day. Eyes to the floor, it’s a haggler’s delight and a battle through the medina, to which there are two distinct sides. One entrance is purely a tourist trap littered with jewels and curios while another is relatively hassle free and geared more towards locals, lined with stalls selling clothes and fresh produce. It’s also worth noting the comparatively cosmopolitan feel of Tunis versus the more remote family enclosures littered around the northern region of the republic, not to mention its close proximity to ample amenities, making for a comfortable self-catered stay. The catacombs in the south west of the city are also said to be worth a look, but that’s not on the cards for us today.

19.30 For dinner and an overnight stay we retreat to the fairly flashy Mövenpick Hotel in the centre of lively Sousse (there’s a tenner-a-night hostel down the street we’ll, er, need to investigate next time).

Like many Tunisian hotels and restaurants, European cuisine is at the heart of the menu. Our charming host from the National Tourist Office woos us with tales of interpreting for Sean Connery and introduces the party to a local drink called “Boukha.”

Day Two 09.00 A little tender the morning after, we saunter along the road towards Sousse’s town centre on the hunt for some approximation of a breakfast burrito; a western saloon with a picture of Clint Eastwood across the front looks like a possibility but some pidgin French directed at the guy at the till fails to breach the language barrier. A word to the wise; don’t stray far from the more Westernised conclaves of the resorts without a phrasebook.

13.00 With dreams of pastry-based goods in ruins, we take a short drive to Port El Kantaoui for lunch – read: a tasty lamb Chorba soup – at La

Daurade restaurant, which has a stunning seaside view that falls under the watchful eye of Poseidon himself (see picture 2). A range of leisure facilities, including the prestigious El Kantaoui Golf Course are in close proximity in this particularly green neck of the land. For those more inclined to engage with the local culture, a walk through the Bedouin villages makes for a worthwhile excursion.

16.30 Nearby Monastir is characterised by its fortified Ribat (or fort), constructed in the ninth century. Initially intended as a means of warding off seafaring invaders, the Ribat has found a new lease of life as a Roman museum and film set in latter years, doubling as Jerusalem in Life of Brian.

We take a trip next door to the mausoleum (see picture 3) which contains first president Habib Bourguiba – the leader of Tunisia’s struggle for independence – a gallery, and various artefacts collected from his time in office.

18.30 Returning to Sousse for dinner and an overnight stay back at the Mövenpick (see picture 5), we recline in the neighbouring restaurant/club for a taste of the nightlife. Euro house pumps through the snug lounges and the DJ doesn’t have any Tribe Called Quest, but we’re assured there are many popular clubbing options in town (and various Ministry of Sound-friendly figures regularly paying visit, ye club heads). Boukha, by the way, in its Judeo-arab dialect simply means “alcohol spirit” (N.B. these guys named their national paper La Presse). Based on figs, it’s popularly consumed as an aperitif or digestive.

Suffice it to say, a cheeky bottle travels home in the duty free bag. Menthol shisha? Not so appealing.

Day Three 09.00 We leave for Hammamet, stopping to visit the capital’s busy craft centre of Nabeul – full of embroidery and pottery, if that’s your caper – to load up on souvenirs and take in a bit of theatre where folk bounce around in traditional attire with an array of pottery firmly balanced on their skull (see picture 4). The thriving agriculture lends Nabeul a vibrant feel repeatedly found throughout the Hammamet region.

13.00 Lunch in Yasmine Hammamet – a relatively new tourist development just a few miles from Hammamet itself. Its popularity as a family destination ensures that last minute bookings are virtually impossible to come by during the peak season. One

❝

There’s a twisted Butlins vibe where folk limbo dance dressed as a drag Baron Samedi in the twilight hours, but there’s no harm in that

❞ such resort is the Magic Life Hotel, which counts a private beach, gyms, five-a-side courts, windsurfing gear and first class restaurants boasting multi-cultural cuisine in its all-inclusive package. The place bustles with UK, French and German tourists when we arrive and it’s a friendly, communal experience. There’s a twisted Butlins vibe where folk limbo dance dressed as drag Baron Samedi in the twilight hours, but there’s no harm in that.

21.00 We move on to an open air café in downtown Hammamet (neighbouring a club called Oasis – the largest in Africa, unless you set up a PA in the Congo) which becomes an afterhours hangout with a dancefloor. The Boukha flows as our charismatic guide pulls another chapter from his storybook and tells us how he once mediated a rug deal (a rug deal) for Pink Floyd’s David Gilmour – another of Tunisia’s high profile frequenters.

Hopes of a spontaneous bandaoke performance of Shine On You Crazy Diamond on our last night are dashed by the arrival of a Bollywood queen in between more sporadic bursts of Euro house, which is par for the course. It’s been relaxing, it’s been euphoric, and it’s been pretty weird. But I’ll be back, Tunisia. www.cometotunisia.co.uk

5 Local transport in Sousse

November 2010

THE SKINNY 29

TRAVEL

ADVERTISEMENT FEATURE

Go Away!

To Munich Christmas Market

Photo: www.heatheronhertravels.com

Here in Scotland spring has made its way seamlessly into autumn and the forecast remains at ‘pish’.

Dismally, the Met Office definition for a British White Christmas appears thus; ‘a single snow flake (perhaps amongst a shower of rain and snow mixed) to be observed falling in the 24 hours of 25 December.’ Not much to look forward to, is it? Hardly makes the Barras sound like a Dickensian Christmas.

Looking for a weekend getaway? Of course you are. How about somewhere that at the very least does winter properly? We recommend Bavaria in the South of Germany and more specifically its capital Munich where you can find one of the best Christmas markets, in the country famed for its Christmas markets. That’s a pretty great Christmas market.

Sample a proper winter and combine it with a touch of shopping and drinking. In the markets

there will be snow, lots of it; also woolly hats, carols, photogenic red noses and steaming Glühwein glowing mellowly in the candlelight. Stamp your way around the markets off the Marienplatz sniffing that heady combination of roasting almonds and obscene but delicious sausage as well as the fresh pine tang from the vast Christmas trees. Put the finishing touches to your shopping and then polish off your evenings by downing your bodyweight in good German beer, smug in the knowledge that the reinheitsgebot purity law will keep your hangover to a minimum.

The Munich Christmas markets run from 11 November to 12 December and are a miracle of soft focus festive glitz. Easyjet flies from Edinburgh and Munich is full of great, cheap hostels.

Christ, if you’re the type, you could even ski.

[Jan Webster] www.christkindlmarkt-muenchen.de

To Aberdeen’s Winter Festival Ah Christmas. Chestnuts roasting on an open fire, Jack Frost indulging your foot fetish, and, eh, Lemmy screaming Killed By Death all up in ya face. Or so it goes in Aberdeen, where hard rocking Motörhead(8 Nov) feature on the line-up of Aberdeen’s Winter Festival, taking place in the Silver City from late October all the way through to the beginning of 2011.

Formally kicking off with a fireworks spectacular on Aberdeen beach (5 Nov), the festival encompasses a wide range of activites. Following (gingerly) in Motörhead’s footsteps will be The Hollies (10 Nov), Jools Holland’s Rhythm and Blues Orchestra (featuring Alison Moyet, 18 Nov) and the Modfather himself, Paul Weller on 5 Dec. With ceilidhs and carol-singing aplenty some of the stand-out spectacles promise to be that of the ominously titled Danse Macabre (6 Nov for some wholesome fun, honest) and Aberdeen’s Singing Chorus Concert (24 Nov) whose theme this year is ‘Pop Go The Classics’.

Multi award-winning comic creation The Pub Landlord (Al Murray) brings his delightful strain of xenophobia to town on 28 Nov and fairytale afficionados are spoilt for choice with both Sleeping Beauty and Cinderella going toe-to-toe from 4 Dec. Our money’s on the conscious one.

A parade full of entertaining characters heralds the switching on of the lights on 21 Nov and the organisers have teamed up with www. aberdeenhotels.org to offer great deals on accomodation to any out-of-towner who wants to join in the festivities. [Paul Mitchell]

www.aberdeenswinterfestival.com

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THE CITY CAFE ADVERTISEMENT FEATURE

THE CITY CAFE How do you know the City Cafe? If you've lived in Edinburgh for any amount of time, you will have come across the City Cafe at some point, and if you haven't, you should've. Since its opening in the early 80s, the City Cafe has offered the people of Edinburgh good food, drink and a great atmosphere for meeting pals for brunch, lunch, early evening drinks, pre-club drinks, and general anytime celebration.

The venue's recently undergone a rebirth. It's not been redesigned or re-thought, just refined. What was needing fixed and finished has been restored, and the venue remains familiar because it sticks to the original aim: an original 50s style American diner. Original grey metal lights and red, black and chrome colour scheme retain the same feel as the cafe everyone already knows and loves. High sided leather booth seats invite you to channel that diner vibe to hide away with a date, or spy on talent over a milkshake with girlfriends. With the addition of glitter in the table tops, a popcorn machine, pepper grinders disguised as baseball bats hanging behind the bar, ice cream and cakes on display and cute staff uniforms, it's clear this is the way the Cafe always wanted to be.

For lunch and dinner, classic American dishes can be got from the flame grill, with a bunch of burgers and chops and cutlets on offer. The menu also offers kids’ meals, some classic sweets and classic flavour milkshakes, plus, everything on the menu is on offer from 7.30am – 1am. Why not try the signature dish, Mofongo, which is a Puerto Rican recipe made of marinated meat, rice and the unlikely coupling of thick banana, garlic and chilli – seriously, this dish is a must try. Late night drinkers can also share platters of ribs, flat breads and nachos, right up until closing time. Serving up proper big breakfast options like eggs Benedict, full cooked (meaty or veggie), stacks of pancakes, French toast and lashings of bacon and syrupy stuff, this is undoubtedly still a great place to lose a hangover, or get one.

Ultimately the City Cafe wants to be a 24 hour diner, and politics aside, one day it will be. Until then, the Cafe's relaxed and easy going vibe, coupled with it's newly refined 1950s attitude, makes a great place for the people of Edinburgh to hang out.

The City Cafe "Serving the people of Edinburgh since 1980" 19 Blair St Edinburgh EH1 1QR 01312200125 PHOTO: CHRISTOPHER ESPIONOSA FERNANDEZ

The City Cafe captures the quintessential diner feel

Complete with an original wurlitzer

Original windows have been extended to help watch the world go by

NOVEMBER 2010

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SHOWCASE

Jacob Kerray

Dr Chu'lak Escamillo’s complete Significances Retrieved from UGKP muscle-punk diskette by First Officer Matthew Raymond Black, Serjeant-at-Law Norman James Hogg and Spielefuhrer Jacob Kerray.

Yossi Grimmelshausen is the quickest player to reach 500 premier league goals in a mind-shattering 65 games.

“Manchester United fans. Save money on expensive new kits by simply strapping a large fake penis to your forehead. It is now clear to all, as to your allegiance.” Was translated into Spanish 13 times in December 1995.

In the year 2035 the universe's first energy-based player Claricticos ("Little Claridge" in his native Nebulese) was banned and then reinstated by the Scottish Football Association. His alterations in air pressure (causing movement of the ball in the air) were first deemed illegal then, on appeal, 'in effect not unlike touches on the ball with the chest head or foot'. He was, however, forced to glow claret and navy - the colours of his club Inverness Caledonian Thistle – and inform the referee if he believed he had handled. However, in 900 professional appearances he was called offside 4538 times due to his particles.

Cloaking devices were made illegal in 2160 after a Planetoid Super Shield match between Red Star Belgrade and Raal Young Boys when two goals were given after phantom deflections. The disqualification of Red Star was said to have been a major step in the illegalisation of all stealth technology leading to the formation of the United Federation of Transplanetary Balkanisation.

Fernando Lázaro Carreter scored 58.47% of his goals with his legs.

The highest player that is still playing in the Premier league is obviously Santiago Ramón y Cajal. With 50% of ‘leggers’ scored, he is lying in 2nd.

Goal nets were first used in 1791. This data was retrieved from muscle-punk diskette ¡No manches !XII. This was all it contained.

It can be viewed intermittently between decks 5 and 6. Touching is permitted but erections are not guaranteed by the new UEFA.

The Librarian Striker George Weah was cloned in 1997 and 17 successful models were kept in stasis for a number of years, however when awakened in 2196 they were not granted work permits to play in any of the federations top flight leagues.

On July 9th 1997 Stuart Foot scored.

The most violent game of ‘Stretch Football’ ever recorded was played inside the data-glove compartment of the Spanish president Manuel Concepción’s Limo in 2035. Whilst being rocked, beaten and graffitied by pro-globilisation protesters the yen collapsed and 13.2 corporate lawyers were re-sleeved into dangerous strategic positions.

The Eternal Governor holds the current record for yellow cards in the league with 91 in his long and surely permanent career, currently 3 ahead of 2nd in the list Noble Savage.

Shakin’ Stevens, the Chelsea and Mexico defender, died of space sickness 2.3 seconds after being jettisoned for in-game subordination in March 1994. The publicity surrounding the death of the 29 year old left-back, who had never lost a game while playing for England, was instrumental in persuading his arch rival Dr Wolfgang Schnell to participate in a mass demonstration against totalitarian football regimes.

Chelsea, Man Utd and Liverpool used the most amount of disposable players this season with 30. Aston Villa used the least with only 21 ‘tiro amistosos’ used up.

On Boxing Day 1993 a referee at a friendly match in north London drew a KF7 Soviet and shot dead a player who disputed a penalty decision. The referee escaped on horseback Ὠ Benjamin Massing of Spanish Cameroon is still the only player to be investigated by police after a particularly fair/nasty challenge on Claudia Cannegia in Milan in 1990. Massing was sent to court but could not be convicted as insufficient evidence was put forward. Massing’s lawyers said their client was playing the ịballos! not the ịmanos!

The Govan Giants used television evidence to show why they should avoid the death penalty at an SNFA disciplinary hearing in 1995 (tr2343/yz0005). This was the first time a Scottish human team used TV footage to escape body-sleeve dismissal.

There has been a staggering 19,628 yellow cards dished out since the league was formed. Shared out by 1,961 players. Bewildered and suspended. Insensible on the ground. Baffling.

Bishop McClintock has played the most PL games with 573 matches played. He's currently ahead of Ryan García-Iglesias (548), Jerry ‘Spain under Franco’ Speed (535), Solomon ‘top shelf’ Campbell (496) and Elroy ‘beauteous virgin’ Hernández (469). jacob kerray's work is on show at the collective gallery until 28 nov

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November 2010

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FASHION

Florence To Glasgow based designer Florence To's ethically focused and beautiful collections fuse form with function. After her recent experiments using visuals in her work, and as she moves towards a non gender biased aesthetic, we caught up with her to see the results

Fashion and Visual Artist Florence To www.florence-to.com Photographer Ania Mroczkowska www.aniamroczkowskaphotography.com Hair and Make-up Artist Vikki Skilling vikkiskilling@hotmail.com Models Emmanuel and Mafara at Model Team Location Assembly Hall, The Glasgow School of Art 1 Cotton silk blue shirt £190, black asymmetric trousers £150 2 White sleeveless shirt £155, grey jersey box top £90, charcoal trousers £180 3 White double collar shirt £125, charcoal trousers £180 4 As 1 5 Black wool lining sleeveless shirt £ 180, navy accordion neck piece £40, grey asymmetric trousers £165 6 Nylon and lace shirt £210, charcoal trousers £180 To read an interview with Florence, go to www.theskinny.co.uk/articles/lifestyle/fashion

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ADVERTISEMENT FEATURE

FOOD & DRINK

Festive food

To get into the spirit this Christmas, you may want to check out all the tasty treats on offer at the Foodies Festival. If you made it to their summer event you’ll know that there will be free samples galore from local restaurants, Scottish food producers and alcohol merchants. You will also know that you will almost certainly be

seduced into parting with cash for those (perhaps, in the strictest sense) unnecessary yet must-have balsamic dressings from Little Doone Foods or the Scottish cheeses from Edinburgh Larder’s collection.

And that giving into that temptation will leave you feeling very very happy.

Alongside eating, drinking and being merry check out some seasonal cocktails and wines, or keep an eye out for some early Christmas gift shopping. Chocolate and Love are an online boutique chocolate store with a huge range of products at the high quality and more unusual end of the sweet tooth spectrum, ideal for those hard to buy for relatives.

Learn some new skills for Christmas entertaining as (we’re very sorry to inform you) a bottle of Buckfast and a few value mince pies do not a fancy shindig make.

Foodies can teach you how to produce creative canapés, mix the most fabulous cocktails and even master which wine will go perfectly with that big slab of beef. Looking for some tips on how to make the pigs in a blanket fly off your Christmas table? There will be top notch chefs from across the whole UK creating festive recipes right before your eyes. And a wine tasting stand. ‘Nuff said

Edinburgh's Diminished Reserve has been created

by Paul O’Donoghue, the general manager at Bond 9 84 Commercial St, Leith. Bond No9 lounge bar stands on the site of a former whisky bond building on the shore at Leith. Leith was the heart of Edinburgh’s Gin Distilling in the 1770s when there were eight licenced distilleries and almost 400 illegal stills in Edinburgh and its port of Leith. The best place for a fantastic Edinburgh Gin Cocktail.

Assembly Rooms, 3-5 Dec, £10 www.foodiesfestival.com

Food News November Portobello Organic Market Brighton Park, Brighton Place, Portobello, Edinburgh Opening Times: 10am to 2pm, Sat 6 Nov, Sat 4 Dec and the first Sat of every month thereafter.

Contact Details: Polly Cooke, PEDAL - Portobello Transition Town, on 0131 258 4483 or polly@pedal-porty.org.uk www.pedal-porty.org.uk

Portobello Organic Market features the very best of artisan and organic food, drink and arts & crafts sourced from the south east of Scotland. The market is held on the first Saturday of each month, with November’s event on 6 and a Christmas special on 4 December. New stalls for November include salmon, game, fudge and screen prints, and in December we'll have a range of festive foods and giftware. With an open plan layout and up to 25 stalls selling a wide range of produce, plus musicians and face painting, what better way to start your month?

The Auld Hoose

The Auld Hoose, 23-25 St. Leonard’s Street, Edinburgh, EH8 9QN Opening Times Bar: Mon-Sat: 12.00 noon-12.45am, Sun: 12.30pm-12.45am Kitchen: Mon-Sat 12 noon- 9.30pm, Sun:12.30pm-8.00pm 0131 6682934 www.theauldhoose.co.uk

The Auld Hoose (located on St.Leonard’s Street, Edinburgh) is that rare thing on the Southside – an alternative pub. It has an excellent reputation for traditional pub food, hand pulled real ales endorsed by CAMRA (the Campaign For Real Ale, for the newbies), 24 single malt whiskies and an eclectic jukebox with an awesome selection of punk, metal and goth music.

ANYONE can head along on a Monday between 5 and 9.30pm for a a 15% discount on food. Students are entitled to a 10% discount on food at all times.

Quiz night is Tuesday from 8pm. Make sure you arrive in good time to claim a table.

The Auld Hoose also provides free Wi-Fi.

Good Seed Bistro

100-102 Dalry Rd, Edinburgh, EH11 2DW www.goodseedbistro.com

The Good Seed Bistro is just six months old, but has already established a reputation as a friendly spot to enjoy some homely cooking in a cosy environment.

Their ethos is all about the homemade, with a little bit of a Mediterranean twist, and the chef strives to use locally sourced, organic ingredients where possible. They do coffee and cake, Sunday brunch, and three course meals, and provide vegetarian and gluten free options as an integral part of the menu rather than an afterthought. They’ve just introduced a range of craft beers from two Italian breweries, served in 75cl bottles and designed to complement the flavours of their menu. Head along to Dalry to try a beer from Birra Del Borgo or Baladin to go with your Aubergine rolls or your Parmigiana.

Edinburgh's Diminished Reserve

Living veggie With Hillhead Bookclub {hb} A vegetarian life can often be one of frustration and compromise: politely informing friends that ‘fish doesn’t qualify’ or feigning a smile when a hapless waiter suggests ‘the chicken dish’. Fortunately, vegetarian dining can also be incredibly tasty, healthy and satisfying. {hb} is all about good quality homemade grub served by friendly folk who’re a bit rough round the edges, but will happily explain the wide selection of veggie dishes on offer...without suggesting the chicken. Or the fish.

In pan 2: Sauté 400g of mixed wild mushrooms (avoid the magic variety) in some real butter. Keep on a low heat. This is all you need to do.

Until we see you down Vinicombe Street, here’s a wee recipe to get your meat-free juices flowing.

Put together on your favourite plate: pancakes, then ‘shrooms, then sauce. Don’t be too precious though…

Foolproof Parsley Pancakes: a 3 pan plan…

Enjoy with a good drink and some great tunes: we’ve just cracked open a Brew Dog Punk IPA and are settling back to The Courage of Others by Midlake.

Add a half pint of milk, 5 tablespoons of plain flour, 1 free range egg and some chopped parsley together in a mixing bowl and mix away. Put to one side for a moment… this is your pancake mix.

In pan 1: Heat a half pint of cream (with a pinch of salt and cracked pepper). Just before it comes to the boil add 200g of grated Isle of Mull cheddar and stir it in. Keep on a heat… this is your sauce.

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50ml Edinburgh Gin 20ml Nardini Aqua Di Cedro 3 dashes Peychauds Bitters Stirred and strained into a French Cordon Glass With a Bollinger foam: 75ml Bollinger 12.5ml Gomme 1 medium egg white

In pan 3: While your ‘shrooms are cooking, heat your 3rd pan with some butter and add the pancake mix into various weird shapes. Keep sliding a spatula under to avoid it sticking. Flip over while moving hips in a jiggly style.

As a Brucey bonus, this will be running as a special in {hb} for all of November alongside all our regular homemade favourites. A paltry 5 pounds for Skinny readers. Quote 'Skinny' when ordering.

P.S. Get your christmas jumpers ready for next month’s vegetarian Christmas dinner. Proper cosy style.

Through a soda stream and layered on top.

Finished with a wide lemon twist Get along to Bond 9 to enjoy this fantastic cocktail: Commercial St, Edinburgh, Midlothian EH6 6LX 0131 555 5578 www.bondno9.co.uk

Hillhead Bookclub 17 Vinicombe St Glasgow G12 8BE 0141 576 1700 www. hillheadbookclub.com

2 3 1 . o n n o s a Re

DINNER FOR TWO, THREE COURSES WITH WINE, £72 lic

1 LYNEDOCH ST,GLASGOW G3 6EF, TEL.0141 331 0273

Image courtes

Taking its cues from both stylish bistros and old school country pub chic, The Drake is conveniently situated at the edge of the West End, far enough away from the bustle of the city centre without being inconvenient for the city centre. With a menu based firmly on comfort food, with generous portions and attentive service, it combines a fashionable interior with a comfortable atmosphere.

The wine list is diverse – plumping for a solid New Zealand white was a good complement to both fish and meat dishes – and the menu filled with classic favourites. Certainly, the locally sourced seafood is The Drake’s strength. Both the platter of smoked and shell fish, and the fish stew are simply presented and avoid fussy recipes,

allowing the quality of the produce to dominate.

The vegetarian options are solid, too: a falafel starter and the vegetable risotto are familiar treats.

The 10 oz rib-eye steak is the pride of the menu: offered with chunky chips, crisped to perfection, and a choice of sauces, this dish will challenge the largest appetite. The marbled meat is cooked to order, and the chef certainly knows how to get the balance between medium and rare. The Diane sauce is a winner, too. The range of desserts is limited, perhaps a recognition that the hearty main courses will be enough.

Nevertheless the crumble is, once again, sustained by the fresh ingredients, and the kitchen is ready to whip up a simple request for a fruit salad.

As winter draws in, The Drake will become a firm favourite for anyone looking for good portions and warmth against the Glasgow cold. [Gareth K Vile]

y of Repub

FOOD & DRINK

THE DRAKE

her t e g o T e im T g in d n Spe There’s always a reason to visit St James .

Tel: 0131 557 0050 www.stjamesshopping.com

OISHII Tucked away amid the traditional pubs at the west end of Rose St, Japanese restaurant Oishii comes as a welcome surprise on a street more commonly associated with pre-marital booze ups. The interior is sleek yet comfortable, a collection of shining black table tops and wicker which thankfully owe more to function than design concept. The chef works away behind the counter top, and diners can sit at the bar and watch him prepare their food, should they so desire.

The menu offers a wide selection of sushi-type dishes, ramen, tempura, accompanied by a little bit of explanation for people (me, for example) who are novices when it comes to Japanese cuisine. We ordered gyoza chicken and spicy tuna hosomaki for starters, followed by a mixed tempura and the Oishii ramen. It was my first time trying the gyoza, soft savoury dumplings fried on one side and accompanied by a dipping sauce, and I’m very pleased to have encountered them. Crispy on the outside and moist on the inside, the meat was delicately flavoured and perfectly complemented by the sauce. The tuna in the hosomaki

was fresh, soft and only moderately spicy; the tight seaweed rolls disappeared pretty damn quickly.

The tempura was light and crispy, and the ramen a generous pile of succulent roast pork, egg, vegetables, noodles and a rich broth. I became strangely obsessed with the fried rice, which, containing peas and sweetcorn and spring onion and something of delicious yet indefinable flavour, represented an unexpected improvement on what had seemed previously to be an unimpeachable dish. Desserts of green tea ice cream and azuki bean pancakes presented an unexpected mixture of textures and flavours that somehow worked well together.

To accompany the meal we had a bottle of the house white, which turned out to be a South African sauvignon blanc that went easily with all the dishes. With the bill coming to around £40, Oishii offers a place dedicated to creating tasty, authentic food at reasonable prices in an unpretentious environment, safely removed from stag dos. [Rosamund West] DINNER FOR TWO, THREE COURSES, WITH WINE, £40.

172 ROSE STREET, EDINBURGH, EH2 4AB, TEL. 0131 225 5286

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MUSIC

Live Music Highlights

METAL COLUMN

words: Mark Shukla

The outrageously talented Meursault take November by the scruff of the neck with a trio of dates at Dundee Dexters on 4 Nov, Aberdeen Beach Ballroom on 5 Nov and Glasgow Stereo on 6 Nov. You know the drill by now: stirring future-folk atmospheres, impeccable songcraft, gut-wrenching emotionality and much more.

These guys put us through the wringer every time.

So far this year there are few Scottish artists who have released a better LP than Edwyn Collins’ Losing Sleep and on 7 Nov the man himself will hit Glasgow Òran Mór to demonstrate that he can still generate just as much energy, soul and wry humour in a live setting. Dude is a legend – no way this will be anything other than fantastic.

Ash may not be as popular as they once were but b’christ they’ve been keeping themselves busy.

Having made good on their promise to record and release 26 singles in the past year in order to underline ‘the death of the album’ (don’t worry irony fans, the tracks have indeed been compiled onto two new cds) the band will emerge blearyeared from their studio/prison to play Edinburgh Liquid Room on 11 Nov and Dundee Fat Sams on 12 Nov. They can still light it up – should be a good ‘un.

It’s been a while since Deftones played round these parts; their sporadic Scottish sojourns being all the more reason to waste no time in securing a ticket for their upcoming date at Glasgow Academy on 12 Nov. Those who’ve seen them previously know to expect an onslaught of sensation; a unique and ferocious majesty – those who haven’t are in for a hell of a treat.

Despite their huge influence on the indie scene, art-punk veterans Les Savy Fav are one of those bands who never seem to get the recognition they deserve. Fuck knows why, given their consistently brilliant output and the joyfully unhinged onstage antics of frontman and international beardmagnate Tim Harrington. Don’t think twice about dropping the notes to see them at Glasgow ABC 2 on 13 Nov. Melissa Auf der Maur released one of the most accomplished rock albums of 2010 – not that many people noticed – and on 13 Nov she flies into Glasgow Garage to give Scotland a taste of its shadowy, romantic magic. Fey as hell, but she wears it well.

Born Ruffians are an odd lot. When they signed to Warp in 2006 their jerky, jangly freak-pop was as incongruous in the context of that label as it was to the milieu of their supposed indie peers – and they’ve got stranger since then. Playful, noisy and prone to flexing this way and that under the strain of their own nervous tension we’d put money

Deftones

on their gig at Electric Circus on 18 Nov being a hugely enjoyable affair.

Caribou are hands-down one of the finest bands on the circuit right now. The gorgeous, techno-inflected pop-psych of Swim was one of the revelations of 2010 and in the live setting Dan Snaith and friends are able to disassemble and rebuild its architecture in the most fascinating ways. Snaith may have a PhD in maths but he’ll be droppin’ pure science at Glasgow ABC on 21 Nov. With a cracking second album on the shelves and positive reviews coming in from all quarters, it feels like the world is The Phantom Band’s for the taking right now. They’ll surely be in celebratory mood when they play Glasgow Òran Mór on 21 Nov and with such a buzz around them you’d better look lively if you want to secure a ticket for this show.

An opportunity arises for five young hopeful groups of various persuasions (read: cheery electro-pop, folk, danceable post-punk and selfproclaimed ‘gypsy death funk infused indie’) to play the Edinburgh Hogmanay Street Party when Hog the Stage descends on the HMV Picture House on 21 Nov. Having all paid their dues on the local circuit over the last few years, Kitty the Lion, Pooch, Come on Gang!, Jakil and The Stagger Rats have run the gauntlet of 150 other unsigned bands to stake their claim. Attendees will be given

a vote to cast on the night, with BBC Scotland’s Vic Galloway, Ed Stack of Ten Tracks, our own Music Editor and one more special guest judge also in the ranks.

A lot of bands have a reputation for outrageous stage behaviour but few actually live up to their own hype. Into this placid sea of pulled-punches and un-grazed knees dive Pulled Apart by Horses – shark-bait in one hand, plugged-in toaster in the other. Now watch them pull a stripped-down acoustic set out of the bag just to spite me. Get loco at Hustlers Pool Bar in Dundee on 19 Nov, Inverness Ironworks on 20 Nov, Aberdeen’s Cafe Drummond on 21 Nov and Glasgow Òran Mór on 23 Nov. If there was a genre called stoner-punk (and thank fuck there isn’t) then Florida-based veterans Torche would be its number one exponents.

Thick, pacey fuzz riffs and a bruising rhythm section make them a favourite of those who live life heavy. Punish those neck muscles at Glasgow Stereo on 24 Nov. Formed by Jenny Lewis (Rilo Kiley) together with partner Johnathan Rice, the accurately named Jenny and Johnny serve up breezy, melodic pop and playful foot-tapping rock n’ roll. Fans of old-fashioned songcraft and boy/girl harmonising can get their fix at Glasgow Òran Mór on 23 Nov, Dundee Fat Sams on 29 Nov and Edinburgh Cabaret Voltaire on the 30th.

HOT TICKET OF THE MONTH The National

Caribou

Photo: Ross Trevail

Photo: Ross Trevail

O2 Academy 26 Nov

Returning to the status of critical darlings without ever quite returning to the same well, the National have built a reputation of being one of the most solid rock bands in recent history. With a distinct sound marrying Matt Berninger’s baritone over alternatingly atmospheric and sparse guitar work, as well as string and piano flourishes, the Brooklyn band are also no slouches when it comes to live performance. While their style has mellowed slightly, most notably on this year’s High Violet, they still have a cache of high-octane highlights from previous albums to keep the crowd stirred and the eyes glazed in wonder. [Jason Morton] 7pm, returns only. A deluxe version of High Violet is released via 4AD on 22 Nov The National

www.americanmary.com

Kicking off what is perhaps Scotland’s single greatest metal month of the year, Finnish Cello quartet Apocalyptica, like off-cuts from Lucifer’s Orchestra, showcase their infamous classical metal stylings at Glasgow’s ABC (3 Nov). If you can’t find your dinner jacket, we instead entreat you to a death metal triumvirate at The Garage in the company of Job For A Cowboy, Whitechapel, and Annotations Of An Autopsy the following night (4 Nov).

Elsewhere, Canadian workhorses Cancer Bats take to the tiny floor of Cafe Drummond, Aberdeen (6 Nov) where carnage is a certainty. If that’s not quite enough to shake the foundations of the Granite City, Motörhead, with human cockroach Lemmy leading the charge, are set to speed-metal the shit out of the AECC (8 Nov), and Glasgow Academy (9 Nov).

When it comes to bringing the pain, it’s a meagre month for the capital. But She Said Records’ launch night, featuring the post-hardcore stylings of Skinny favourites United Fruit and progressive math rock peddlers Pensioner (Sneaky Pete’s, 26 Nov) is well worth your shrapnel.

Back in Glasgow, Dez ‘Coal Chamber’ Fafara’s Devildriver and metalcore stalwarts 36 Crazyfists slay the unlikely confines of The Arches (7 Nov), whilst energetic Canadians Alexisonfire and Amorphis ignite the ABC and Cathouse respectively on the 9 Nov. Like some impossible 80s flashback, the mighty Annihilator, thrash legends Exodus and eh, W.A.S.P., usurp the Garage throne within a week of each other (14, 19 and 21 Nov respectively).

However, UK sludge veterans, Charger, joined by homegrown grindcore heroes Co-Exist (Classic Grand, 18 Nov) and maniacal Californian hardcore crew, Trash Talk (Captain’s Rest, 19 Nov) are on hand to offset any morbid retro-fascination.

Industrial insanity awaits the Arches, courtesy of (sort of) reassembled digital hardcore progenitors Atari Teenage Riot (there’ll be no replacing the late Carl Crack, and Hanin Elias has indefinitely stepped away from the music business), whilst Swedish death metal vendors Arch Enemy and Malefice return to the Garage (both 24 Nov). Yet another huge Garage bill plays host to All That Remains, Soilwork and Caliban on 28 Nov, with outstanding doom supergroup Shrinebuilder (comprising members of Melvins, Neurosis, Om and The Obsessed) plus Glesca sludgers Holy Mountain (now expanded to a three-piece with Idlewild/DeSalvo’s Allan Stewart donning a wifebeater and picking up bass duties) simultaneously laying waste to the Òran Mór.

Thrash maniacs Wolves In The Throne Room cap things off at the Classic Grand on 30 Nov, but honourable mention should go to glam revivalists Marseille – featuring Neil ‘Art Attack’ Buchanan on axe duties (for real). If you’re in Fife, St. Andrews Uni Student Union is your only destination on 26 Nov. Keep ‘em peeled for a life-sized Satan made out of macaroni and old tyres.[Ryan Drever and Dick Jones]

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KRS-One The Liquid Room, 7 Oct

rrrrr

photo: Edmund Fraser

“Waste no time,” KRS-One pleads of his DJ in-between classics. Aware that this boom-bap battle mass falls at the mercy of The Liquid Room’s infamous curfew, the ever urgent “Teacha” bounds the stage in a t-shirt emblazoned with the face of fallen comrade Scott La Rock, doling out vivid lyrical snapshots of a life immersed in street culture, tonight inflamed by the hype of freestyle champion Supernatural.

An early flash of his calling card (Sound of Da Police)

The Fruit Tree Foundation presents Music Like A Vitamin HMV Picture House, 1 Oct

rrrr Idlewild’s Rod Jones and former Delgado Emma Pollock have been ploughing the admirable Music Like A Vitamin furrow for a few years now, gathering together a collective of noted performers from Scotland and elsewhere to perform as part of the Scottish Mental Health Arts and Film Festival.

Tonight, there’s a special twist to the tale, as the artists in question have collaborated to create an album of entirely new compositions, on sale at the venue as The Fruit Tree Foundation: First Edition, and performed live for the first time. The album is

an eclectic mix of styles, with the set swinging from the alt-country of Dead Leaves and a Swollen Leg, to Alasdair Roberts’ darkly humorous Scottish ballad Beware Beware. Taking turns to mix and match on stage, with any occasional mishap which occurs in the process being described

by Scott Hutchison as ‘charming’; and he is of course correct.

A little bit surprisingly, the album has spawned some impressive chunks of what can only be described as ‘power pop’ and in the live setting it is these (I Forgot To Fall, Forgotten Anniversary and the ensemble closer Favourite Son with Broken Records’ Jamie Sutherland guesting on vocals) that fully ignite an already unforgettable show. [Paul Mitchell]

No Age / Male Bonding Stereo, 9 Oct

rrr For Glasgow fans of Sub Pop Records, tonight was a brutally hard choice. With Mudhoney also playing down the road at The Arches, a crucial decision needed to be made; old guard or new blood? Judging by the size of the crowd at Stereo, many have opted for the latter and are rewarded with a gig of staggering contrasts.

Male Bonding’s backbreaking tour schedule would be enough to finish off many other bands, but tonight it has proven to be the making of them. Opener Crooked Scene thunders out with blistering precision, the bratty punk melody shining brightly through the breakneck pace. This continues unabated with T.U.F.F. and Pumpkin, all hitting their targets perfectly.

Finishing their set with a searing

www.fruittreefoundation.com

photo: Markus Thorsen

DOOM The Arches, 20 Oct

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HMV Picture House, 15 Oct

rrrr Revered for their role in [rearranging] rock’s ever-changing template at least twice – from post-punk frontrunners to proto-industrial metal pioneers – it’s safe to say there aren’t many of Killing Joke’s pedigree left. Stalking the stage in a black boilersuit with a maniacal grin spread across his painted face – somewhere in-between Michael Myers and Mola Ram – Jaz Coleman tonight brings his unique sense of the theatrical back to the capital in the form of the group’s original incarnation.

Confidently spending their maverick hit Love Like Blood by the second song, they lean on material from recently released fourteenth album Absolute Dissent – the first LP to feature said lineup since 1982 – whilst cherry-picking enough from all

eras to keep the house locked on.

Whether throwing down the primal likes of The Great Cull, or updating their dubby roots with Ghosts of Ladbroke Grove (while Coleman dances a deranged Vogue), Killing Joke’s intensity becomes engrossing; Geordie Walker’s unmistakable guitar sound proves a highlight in its own right – segueing through Requiem into Eighties, slowing his riff until it sounds like Come As You Are as he flashes a knowing grin.

“People keep asking me ‘what’s going to happen in 2012?’” says Coleman by way of introducing the ferocious Asteroid. With his talk of crashing markets, societal control, UFO sightings and an enduring predilection for the occult – who else do you query about the End Times? And what better band to soundtrack it. [Dave Kerr] www.killingjoke.com

40 THE SKINNY November 2010

photo: Stewart Fullerton

Killing Joke

DOOM has released some of the most fascinating hip-hop albums of the new millennium and created a lexicon that transcends the standard of most contemporary emcees.

On record he’s a supervillain and The Arches is the perfect venue; the underground lair with its ceiling’s metal pipes on show sets a scene straight out of a comic book.

Casually strolling to the stage, his character loses a little of its patented mystique, but this needn’t particularly matter because DOOM is a masterful rapper. Performing a huge array of cuts from his countless personae, he’s relentless,

incites a few from the crowd to throw vinyl copies of Criminal Minded – an album Ice Cube recently told us was a profound inspiration to Eazy-E – and their own demos up on stage in equal shows of respect and desperation. Then, as if two legends for the price of one wasn’t quite enough, Supernatural deftly channels the voice and spirit of Busta Rhymes, Slick Rick and Biggie Smalls as ‘The Three MCs’. So when KRS leaves us with a rebuttal to Nas’s claim that Hip Hop is Dead, it speaks loudly for the last 75 minutes: “Real hip-hop is over...here.”

[Alex J. Murphy]

photo: Scott_Carroll

LIVE REVIEWS

www.krs-one.com

rendition of the fantastic Year’s Not Long, Male Bonding leave the stage triumphant.

No Age can bring the noisepunk when they feel so inclined, previous Glasgow shows have been raucous, ear-splitting affairs that have transcended the unfortunate temperance of their records, but tonight the cylinders just aren’t firing.

Opener Life Prowler sounds almost apologetically polite and throughout No Age sound flat and monotone when they should have grabbed the crowd by the neck. It leaves songs like recent single Glitter exposed as what they really are; ineffectual slacker-pop strum-alongs with no tension, build or suspense.

Ending with an overdriven version of Boy Void is too little too late; tonight Male Bonding brought the party to Glasgow but No Age stayed in the kitchen. [John Keys] www.myspace.com/nonoage

never stopping for breath for over an hour, doling out notable fan favourites like ALL CAPS, Rhymes Like Dimes and Glasgow’s (formerly America’s) Most Blunted.

So it’s a damn shame the soundman lets us down tonight; the levels are pumped into overdrive, rendering many tracks almost indistinguishable.

Toward the front of the venue the music is so loud that the lyrics are inaudible, and at the back everything is drowned in a swamp of sound. When it should have been easy to get wrapped up in DOOM’s sinister universe, we were too often struggling just to make out a syllable.

[Grant Brydon] www.metalfacedoom.com

Grass Widow / Trash Kit 13th Note, 7 Oct

rrrr Since the last time Trash Kit came to Scotland, they’ve gained a good amount of positive press recognition, released their debut album on the esteemed label Upset The Rhythm and played at All Tomorrow’s Parties. The hard work is paying off in all the right ways too, as tonight the London based trio have never sounded better.

From the serrated clatter of 50ft Woman to the infectious tropical beats of Cadets and Natascha, Trash Kit all but demand that you kick your shoes off (just as guitarist/ vocalist Rachel Aggs does at the beginning of their set) and dance around with a giddy grin.

Musical references to the early days of Rough Trade are a mere starting point, Trash Kit have taken that template and made it totally their own.

Newly signed to the excellent Kill Rock Stars label, San Francisco’s Grass Widow may

The Twilight Sad / Errors The Liquid Room, 12 Oct

rrrr The final date of a joint tour between Scotland’s foremost post so-and-so combos was always going to be catnip for a certain clientele. In fact, one rather excitable woman spends the duration of those Kilsyth boys’ thunderous set chanting James Graham’s oblique lyrics and openly weeping like it’s Shea Stadium, 1965. The rest of us are able to keep our outward emotions in check, but at times we’re on a similar plane.

Errors are first up, fighting some initial sound worries, but soon wriggling comfortably into a tight set that plucks all the right highlights from their brief catalogue so far. Obvious new cuts like Supertribe have the crowd jerking in unison whilst a re-working of Mr. Milk also leaves its mark, all backed by the deft and

forgo the skipping, Africantinged rhythms of Trash Kit but their drummer Lillian Maring certainly shares the same syncopated inventiveness, conjuring fantastically abstract patterns one minute, then forcefully locking down the beat the next.

It complements perfectly the almost contradictory elements Grass Widow blend together in their songs; Hannah Lew’s thundering yet melodic basslines, Raven Mahon’s spindly yet harmonised guitar and nestling within songs such as Old Disguise and the breathtaking Celebrate The Mundane they bring the delicacy and complexity of a watchmaker to their songwriting within its perfect post-punk attack. Their beautiful three-part, almost madrigal-like vocal harmonies throughout complete Grass Widow’s stunning, inventive and individual sound. [John Keys]

www.myspace.com/ grasswidowmusic

mesmerising drumming of James Hamilton.

Back to The Twilight Sad then, as at first they also wrangle with some sound worries. No surprise, given the narrow sonic limits their sound surely needs for success. But they get it way right tonight, adding some restraint and texture to the sheer wall-ofnoise we are accustomed to.

Cold Days from the Birdhouse and She Would Darken the Memory bear this out in exemplary style. It’s a short set too, but only in that the boys have doffed their cap to Errors to give them a hearty ‘support’ slot. The promotional posters humorously billed this as a heavyweight boxing match.

In that respect, tonight is an amicable draw. It’s the crowd who win. [Darren Carle] www.myspace.com/weareerrors www.myspace.com/ thetwilightsad

RECORDS

THE DIRTY DOZEN

ASH drummer RICK MCMURRAY takes some time out to water The Skinny’s plants, have a cup of tea and cast a critical ear over November’s singles INTERVIEW: DARREN CARLE PHOTOGRAPHY: MARKUS THORSEN Sparrow and the Workshop – Black to Red (Distiller Records, 1 Nov) For the first couple of seconds there I thought it was going to be really twee, but I actually quite like it. I’m a bit of a Blondie fan and it’s got that kind of vibe to it. I’d definitely go and check them out. I’m going to give that a four (out of five) just to leave room for something to go one better.

Tricky – Ghetto Stars (Domino, 29 Nov) Tricky is one of those things where it’s never really that instant for me. You have to really be in the mood but with a few listens I can see me getting quite into this. It’s more of a late night, movie soundtrack kind of thing, but it sounds like a bit of a grower so I’ll give it a three.

Kele – On The Lam (Wichita, 8 Nov) I’ve got to be quite diplomatic here (Kele’s Bloc Party band-mate Russell Lissack recently joined Ash as a touring guitarist). I could be a total bastard and slag this off so we could steal Russell for good, but I wont. It’s always been something within Bloc Party I guess, but obviously Kele felt he had to do this particular sound on his own to bring it to the fore. I don’t find it at all contrived like some people do, but I’m more of a Bloc Party fan. I think I’ll give that a three as well.

Steve Mason – Boys Outside (Domino, 15 Nov) This has a three o’clock in the afternoon, having a cup of tea kind of vibe. I think I’d prefer to watch Countdown myself, but only because I really like Countdown. It’s a pretty nice tune but it’s not really exciting me as much as The Beta Band would. I don’t want to slag it off ‘cos it’s not a bad song or anything so I’ll give it a three, again.

We See Lights – A Safer Sound (Unsigned, Out Now) It’s very Snow Patrol with the production. It’s not really doing anything for me this, I’m afraid. He’s even pronouncing his words like Gary (Lightbody).

We’ve already got a Snow Patrol, thanks very much. One’s enough. That’s a two I’m afraid.

Mystery Jets – Show Me the Light (Rough Trade, 1 Nov) I can take them or leave them to be honest. It’s pretty cheesy-riffic! That bass synth is grating on me a little bit. [Later] Yeah, that’s just doing my head in. It seems to be fighting against itself, like

EP REVIEWS THE BUG

INFECTED EP 15 NOV, NINJA TUNE

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it’s trying to be two things at once and ends up being neither. That’s a two.

Night Noise Team – Burning (Permwhale Recordings, 8 Nov) I really like the intro, but the verse is a bit melodramatic. It’s sounding like two totally different songs. It’s got some good ideas in it, but the chorus is more like a good verse and then the verse just sounds like a totally different song. It’s ambitious, but it’s not quite working for me. I’ll give it a three.

The Volitains – Lovely Bones (Playground Records, 15 Nov) It’s not the most dynamic of songs but I reckon they have potential with someone with a great voice like that. I’m kind of expecting something to really explode with that voice but it’s just not happening. It feels like it needs something else just to do this justice. It’s frustrating actually but I’ll give it a three.

Rival Schools – Shot After Shot (Atlantic, 14 Nov) (Ten seconds in) This could be a contender already. Sounds great; sounds like a driving song.

There’s a nice, fat bass on it. It’s not necessarily a single, it’s just a really great track. Great production as well, with a bit of a Swervedriver vibe to it. I’ll be checking them out on the back of this. I’ll give that a four.

The Jim Jones Revue – Shoot First (Pias Recordings, 8 Nov) It’s kind of Jon Spencer Blues Explosion meets The Beatles. It could be a grower, but the Blues Explosion have done this a lot better. If this is the best they’ve got... it’s not bad, I’ve just heard it done a lot better. I’ll give that a very average two-and-a-half.

Wild Palms – To the Lighthouse/Draw In Light (One Little Indian, 8 Nov) Little bit of Cocteau Twins in there. It’s definitely interesting. It’s good, I just thought it was going to go down a ‘noise-fest’ there but it’s more interesting. Although it is getting a little more ‘angsty’ in places. Bits of it seem to be thrown in, like it’s trying to be ‘less obvious’, but I think it’d be better off being more obvious really.

I’ll give it a three.

TEEBS

WHY LIKE THIS? 1 NOV , BRAINFEEDER

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Twenty years on, and Ninja Tune’s fire still burns bright. Hot on the heels of its retrospective mix comes this four-tracker that neatly sums up the label’s aesthetic – forward-thinking eclecticism that never forgets its hip-hop, dub and soul roots. First cut Catch A Fire is an eerily disconnected future dancehall rub that sounds like it was recorded over a telegraph wire (in a good way). Roots Manuva pops up on the second track, a weighty number that does nothing to lift the ominous mood, but the highlight is Autechre’s typically irregular version of Skeng, a squelchy robo-ragga remix that contains the memorable line: “Shot in the face / make you scream for the nurse; doctor can’t fix you / send for the hearse.’

[Euan Ferguson]

Los Angelite Teebs (Mtendere Mandowa) is another protégé of beatsmith Flying Lotus, whose music is released on his burgeoning Brainfeeder imprint. But while his contemporaries look largely to the future, Teebs’ approach is more traditional, sticking with mellow jazz samples and chopped breakbeats to create something which wouldn’t sound out of place in the better parts of DJ Shadow’s discography.

One wonders if Teebs ever stuggles to find his MPC through the thick clouds of weed smoke, given the laid-back bluntedness of the title cut Why Like This? and the two tracks that follow. The highlight is Arthur’s Birds, which takes a simple chord sample of glistening bells and strains it through heavy compression and staggered beats, with hypnotic results. [Martin Skivington]

WWW.MYSPACE.COM/THEBUGUK

WWW.MYSPACE.COM/TEEEB

SINGLE OF THE MONTH Mirrors – Hide and Seek (Skint, 15 Nov) Couldn’t really be more eighties if it was wearing leggings, could it? I like it though. There’s been so much eighties [revivalist] stuff around recently, it’s just ridiculous, but this is done so well, it’s actually amazing. It’s my favourite, definitely. It doesn’t actually sound like a tribute or a pastiche to the eighties, it just sounds of the eighties. If you didn’t know any better you’d think it was some hidden gem from that decade.

I’ll give that a four and, yeah, Single of the Month.

ASH PLAY THE LIQUID ROOM, EDINBURGH ON 11 NOV AND FAT SAM’S, DUNDEE ON 12 NOV TO WIN A BIG PILE OF ASH STUFF, INCLUDING LIMITED EDITION VINYL AND TICKETS, GO TO WWW.THESKINNY.CO.UK/COMPETITIONS WWW.ASH-OFFICIAL.COM

REMEMBER REMEMBER

people other

RR SCORPII

With its twinkling glockenspiels and lazy trumpets there’s a tinge of the twee about new Remember Remember release RR Scorpii, the first release from former Royal We member Graeme Ronald (and guests) since his self-titled debut popped up in 2008. A list of instruments as long as a fisherman’s forearm are deployed in a weave; stylish and durable enough to please a Hebridean spinner.

The central refrain to opening track Lips is so happy and immediate it runs the risk of instantly transforming into the opening music for an Australian soap opera.

Get Good is more restrained but inhabits the same musical landscape, while the other two songs take a more downbeat, introspective road. Too short for a fully immersive experience, maybe, but enough to dip in a sturdy toe for a good soak. [PJ Meiklem]

DRINK

1 NOV , SELF-RELEASED

1 NOV, ROCK ACTION

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OTHERPEOPLE

HELLO

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With recent live shows having demonstrated something of an arsenal of potential singles at their disposal it's a wonder how Glasgow’s Otherpeople even decided how to allocate A and B sides to this very evenly balanced single. As it stands lead tune Drink is a steadily accumulative celebration of disorientation which ironically betrays that this band have a very good idea of where they are heading and where their pop-orientated strengths lie. With lush, layered backing vocals eventually entering the fray it makes for a memorable and succinct, hummable introduction to a band with a lot more to say in the future. [Austin Tasseltine]

PLAYING STEREO ON 5 NOV

SUPPORTING WAVVES AT THE ARCHES, GLASGOW ON 8 NOV

WWW.MYSPACE.COM/REMEMBERREMEMBER

WWW.MYSPACE.COM/OTHERPEOPLELOVEYOU

NOVEMBER 2010

THE SKINNY 41

ALBUM REVIEWS

RECORDS

ALBUM OF THE MONTH: THE THERMALS PERSONAL LIFE

1 NOV, KILL ROCK STARSW

rrrr With their tinny, post-punk guitars and fragmented lyrical critiques of bible-belt America, Oregon three-piece The Thermals openly acknowledge their ideological and musical debt to the 90s – a more wide-eyed time when the ‘alternative’ moniker still carried a scrap of significance with it.

Fifth long-player Personal Life does little to change that stance; but where earlier triumphant releases More Parts Per Million or religious concept album The Body, the Blood, the Machine were firstly hot-blooded squall and then melody, this time out it’s the other way around; the easy groove on Never Listen to Me being an excellent example, fusing post-punk edginess with genuine soul.

EARTH

A BUREAUCRATIC DESIRE FOR EXTRACAPSULAR EXTRACTION 15 NOV, SOUTHERN LORD

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Hutch Harris’s limited voice has always been an easy thing to relate to and never more so than on Personal Life, where the lyrics deal not with the big themes of albums past, such as religious hypocrisy, but with relationships and other real life minutia and detritus. A more ‘mature’ sound then, to use an often-abused phrase.

Not in the sense of a once great young band going rank rotten with money grubbing, middle-of-the-road dirge, but in the sense of an already impressive group not just fulfilling its potential but soaring past it. [PJ Meiklem] WWW.THETHERMALS.COM

SHUGO TOKUMARU

CHICKENHAWK

8 NOV, SOUTERRAIN TRANSMISSIONS

1 NOV, BREW

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PORT ENTROPY

MODERN BODIES

This record actually marks the coming together of Chickenhawk’s limited edition debut album and its following EP, awkwardly titled the A. Or Not?, plus the track Scorpieau, previously only available via compilation. Given that mixed bag of sessions, Modern Bodies makes for a surprisingly fluid listen. Their take on bludgeoningly heavy rock with a subtle, sneering raunchiness is similar to that of Icelandic miscreants Minus.

Fierce, rolling riffs and turbulent drumming are mashed into a dense paste with choppy metal and a quirky sense of Daughters-esque mania.

Aforementioned opener Scorpieau is an especially great attention-grabber whilst Matt Reid’s rabid, compelling drumming is to the fore on Son Of CERN. The backgound staff here have a good pedigree with engineers, producers etc having worked with everyone from Napalm Death and The Pixies to Jeff Beck, so it’s a sturdy, punchy recording. There’s an entertainingly knowing swagger about Chickenhawk sadly missing from most of their stoic, heavy contemporaries. [Chris Cusack]

EARTH WILL RETURN WITH A NEW STUDIO ALBUM IN EARLY 2011

Live, Shugo Tokumaru plies his trade with little more than an acoustic guitar and an effects pedal or two. It’s near impossible to imagine Port Entropy as the product of such modest labour; rather, it evokes some manner of elaborate clockwork contraption – a mechanical contrivance of finely-tuned percussion and alchemic music-box delights.

Turning Port Entropy’s crank animates pistons and cogs, causing beautiful harmonies to skip through tubes and pipes, delivering melodies that blend child-like whimsy with intricate musicianship, eccentric invention with dreamy nostalgia. While Tokumaru is evidently fond of the sixties Brit sound – Drive-Thru closely echoes The Kinks’ Picture Book – he successfully stakes out new ground. Tracking Elevator and Rum Hee offer two particularly transformational examples of his fourth album’s considerable charms, the latter managing to trump Jónsi in the day-glo elf-pop stakes. As the cogs settle with Malerina’s enchanting finale, Port Entropy begs to be wound afresh. [Chris Buckle]

WWW.SOUTHERNLORD.COM/BAND_EAR.PHP

WWW.MYSPACE.COM/SHUGOTOKUMARU

WWW.MYSPACE.COM/CHICKENHAWK

This almighty bastard of an album represents the collation of Earth’s two early EPs and comes resplendent with that same sense of chilling, north-western nihilism that still permeates the contemporary output of Dylan Carlson’s troupe. Some songs have dated slightly in light of their more complex and musically honed later work. That said, it is fundamentally a collection of much older recordings and, judged on its own merits, adeptly charts their early development. Geometry of Murder is a stand-out, slow-burning its way through seven minutes-plus like a vintage Sabbath 45” played at the wrong speed. Ouroboros Is Broken is a particularly dense experience; like a long, very lonely night, it’s an exercise in endurance but, as such, is pretty representative of the sentiments it seeks to convey. Later recordings are more accessible and new arrivals might be advised to alight at a different station, but for doom and drone enthusiasts this is something you really should own. [Chris Cusack]

SUPPORTING ALEXISONFIRE AT ABC, GLASGOW ON 9 NOV

THE FLOWERS OF HELL

BELVEDERE MOUNTAIN EXPRESS

GREGORY AND THE HAWK

15 NOV, OPTICAL SOUNDS

15 NOV, PIGEONHOUSE

15 NOV, FAT CAT

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O

CAULDSTANE SLAP

LECHE

The Flowers of Hell aren’t a band in the typical sense, their assemblage more akin to that of an orchestra. Greg Jarvis assembles a revolving line-up of talent around him, a congregation to which members of Broken Social Scene, Guided By Voices and Spiritualized have all previously belonged. Past releases have advanced an impressive synthesis of post-rock and neo-classical sounds, embellished with traces of shoegaze and an unorthodox compositional style. O is something less conventional still: a single forty-five minute improvisation in which repetition of any sort is avoided. Its tongue-in-cheek working title was apparently Business Suicide, and it undoubtedly has a snow-drop's chance in Hades of shaking free from its niche, so loosely arranged that it threatens to collapse for lack of structure. An accompanying DVD showcases Jarvis and co to better effect, with footage shot in less avant-garde days, before highfalutin artistic ideals endangered their enjoyableness. [Chris Buckle]

On Cauldstane Slap, Edinburgh’s Belvedere Mountain Express explore a strain of playful, nostalgic electronica overlaid with accordion and, on four of the seven songs here, the thin, clear vocals of Becky Rose Fisher. Although the foundation is electronic, the album has a rich, fuzzy, and markedly organic atmosphere: whirrs and bleeps scattered liberally throughout the mix create a sense of teeming, intermingling activity, with synth washes completing the sense of fantastical, cinematic magic.

Central member Howard Goodman has a delicate ear for sounds and samples – ticking clocks, steam-engine puffs – that bring out analogue electronica’s latent pathos and fragility. For some, the tone will grate: there is a childlike naivety and sincerity to the melodic narratives, marked by simple major-minor key shifts, that sets Cauldstane Slap even beyond Múm on the twee indie-electronica scale. Yet those very characteristics give the album a genuinely haunting, unearthly atmosphere not quite like anything else out there. [Sam Wiseman]

Type ‘Gregory and the Hawk’ into YouTube and, alongside self-uploaded videos and phone-shot live clips, you’ll find an inordinate number of fan-performances – multiple pages of acoustictoting adolescents mimicking Meredith Godreau’s style and evidencing how personally effecting it can be. The twee vocal affectations and pizzicato melodies of Landscapes suggest a contracted Joanna Newsom, chopped down to bitesize dimensions and occupying a breezier milieu (it’s hard to imagine, for instance, Newsom dropping Cutting Crew quotes, as Godreau later does). But Godreau is a canny operator, sifting the seriousness into delicate pop on the likes of the springy uke-led Olly Olly Oxen Free and injecting Over and Over with an echoing counter-melody that reverberates across acoustic arpeggios. A sweet syrupiness can occasionally encroach (Soulgazing is particularly saccharine on first listen), but Godreau is largely successful at balancing flavours, soaring from feather-light whimsy to more emotive territory with flair. [Chris Buckle]

WWW.MYSPACE.COM/FLOWERSOFHELL

WWW.MYSPACE.COM/BELVEDEREMOUNTAINEXPRESS

WWW.MYSPACE.COM/GREGORYANDTHEHAWK

ERRORS

CELEBRITY COME DOWN WITH ME 15 NOV, ROCK ACTION

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VARIOUS

45 A-SIDE RECORDS PRESENTS THE GLAD CAFE OUT NOW, 45 A-SIDE

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TAPSO II TAPSO II

8 NOV, TAPSO

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The title of this record may conjure up the possibility of an intriguing new x-rated game show, but the reality is actually a lot more fun; all your favourite (maybe) left of centre bands remixing one of this year’s top albums. Eschewing foreplay, the eight track remix album goes straight for the thrusting bit with the Wax Stag version of Germany cranking up the synths until the dancefloor squeals with delight.

The best tracks here pull the same trick; Mogwai’s groovy take on Supertribe a similar if not quite so eager beast, while the Ceephax Acid Crew take the Justice-esque squelch of Jolomo and bury it behind keyboards so spacey Buzz Aldrin would blanch. Unsurprisingly for a remix record, it’s Errors’ electro side that comes out strongest across the piece. All except the Twilight Sad’s turn, the band trim original album opener Bridge or Cloud into a big, fuzzy cuddle of a tune fit only for the post-rave snuggle down. A suitable note to end it all on. [PJ Meiklem]

While Glasgow’s hardly starved for venues, those living south of the Clyde are generally underserved. Opening in early 2011, the Glad Cafe aims to rectify the situation. Raising both funds and buzz for the forthcoming arts venue and Southside “creative hub” is local DIY label 45 A-Side Records, who’ve compiled a diverse selection of central-belt talent.

Some listeners will gravitate towards the earnest indie of Barn Owl or Admiral Fallow’s low-key ballad Concrete Oaths, while Fox Gut Daata and Dam Mantle cater to the other end of the spectrum, the former serving up laidback glitch-ridden electronics and the latter an ominous collage of sampled shouts and squelchy beats. From the slow-build, delicate melodies proffered by The Japanese War Effort to Yahweh’s bubbling lullaby, fingers crossed The Glad Cafe will echo this dynamic curatorial approach in its bookings; with these thirteen-tracks as heralds, it’s off to a splendid start. [Chris Buckle]

Tapso II are an Italian three-piece with an intuitive awareness of the dynamic possibilities of the power trio: whether via quiet bit/loud bit, fast bit/slow bit, or messy bit/tight bit excursions, they understand the value of contrast and juxtaposition. Sonically their influences will be unmistakeable to fans of late-90s US math rock.

The drums carry the muscular clarity that Steve Albini, as an engineer, has practically trademarked, while the formula of ominously sustained guitar arpeggios punctuated by bruising, syncopated and heavily distorted riffs has been well-worn by Shellac and Slint’s many followers. On Tapso II, it is the presence of violin – the third facet of the band’s sound – that saves them from generic anonymity. This element is utilised in a distinctive grinding, repetitive way; whether laid over squalls of distortion or delicately understated fretwork, it ensures that the band bring something strikingly different to an already-crowded field. [Sam Wiseman]

WWW.WEAREERRORS.COM

WWW.THEGLADCAFE.CO.UK

WWW.MYSPACE.COM/TAPSO

42 THE SKINNY NOVEMBER 2010

THE CONCRETES

TWIN SHADOW

BRIAN ENO

8 NOV, LICKING FINGERS

15 NOV, 4AD

15 NOV, WARP

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WYWH

Swedish octet pop collective The Concretes have put the departure of former front woman Victoria Bergsman behind them to come up with a curiously restrained collection of slinky tunes. Drummer Lisa Milberg has stepped up to the plate and her sad, engaging vocals make an interesting counterpoint to the band’s light disco sound.

At times the album’s sound is so light it’s in danger of flying away; songs such as Crack In The Paint and even single All Day in danger of hitting you as insipid, rather than inspiring, especially after a few listens; a bit like the sound of Celtic chanteuse Enya hanging out with some cool kids for a week. On the other hand, when the band play with an edge the results are much more interesting, the darker What We’ve Become a highlight as are the tight beats and guitar lines of Knck, Knck. [PJ Meiklem]

FORGET

SMALL CRAFT ON A MILK SEA

PLAYING THE ARCHES, GLASGOW ON 4 DEC

Like post-dawn melancholia after a glittering soiree, Forget is alternately bittersweet and euphoric. The debut album from Twin Shadow (AKA George Lewis Jr.) shimmers and struts with disco-flair one moment (on the funk-tinged Shooting Holes) before turning solemn and intimate the next. There are echoes of both The Associates’ brooding aesthetic and Saturdays = Youth’s nostalgic sparkle, but an ear for invention and the immaculate production of Grizzly Bear’s Chris Taylor ensure this is never a retro masquerade.

A clarity of vision cuts through the various stylistic detours; Forget might possess hints of yesteryear, but it never surrenders its steady sense of self. Whether sighing hushed come-ons (“as if it wasn’t enough just to hear you speak/they had to give you lips like that” Lewis Jr. purrs on Tyrant Destroyed), or howling denials of love on indelible first single Slow, Forget quietly but assuredly announces a singular new talent. [Chris Buckle]

Warp’s signing of Brian Eno was a symbolic coup for the label, the spiritual homecoming of a common ancestor to their entire roster’s two-decade output. But Small Craft On A Milk Sea does not indicate a return to the cutting-edge for Eno, who’s been wallowing in abstract ambient sound design for longer than Warp’s lifetime.

When Small Craft summons some energy, as in early tracks Horse and 2 Forms of Anger, racing drums, buzzing insects and squawking mechanical birds form a frightening scene, before the latter track’s guitars explode and enflame for a full minute. But for the most part, Small Craft drifts aimlessly in featureless ambience. For all that he achieved in his first decade-or-so as a musician and producer – and his legacy of innovation in rock and electronic music is peerless – it’s difficult to detect anything of genius or inspiration in his 2010 output.

[Ally Brown]

WWW.MYSPACE.COM/THECONCRETES

WWW.MYSPACE.COM/THETWINSHADOW

WWW.BRIAN-ENO.NET/

YOUNG HUNTING

ATTACHMENT IN A CHILD AND THE SUBSEQUENT CONDITION

If, as some suggest, the very idea of the album is currently facing an existential threat, nobody told Edinburgh’s Young Hunting. Attachment in a Child and the Subsequent Condition is as audacious an attempt to defend the format imaginable, a sprawling concept-driven industrialambient opus. Taking psychoanalytic theories of child development as their central theme, Young Hunting incorporate field recordings and effects loops into an ultimately song-centred sensibility, although ‘song’ is an elastic concept here. Structures are characterised by multiple gradual shifts: from stuttering electronics, through Coil-style thudding beats and groaning bass, to melt into blurred shoegaze noise or sombre synth chords. Spoken-word vocals hold the shifting morass together.

This approach proves effective in conjuring an alien intensity, albeit one difficult to sustain over sixteen tracks: Attachment...’s grandiose ambition means it can, at times, feel less like a defence of the album format than an illustration of why it is currently being challenged. [Sam Wiseman] WWW.MYSPACE.COM/YOUNG_HUNTING

OVER THE WALL

8 NOV, LIME RECORDS

22 NOV, MOTIVE SOUNDS

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HERE IN THE GOLDEN RAYS

1 NOV, AGENDA

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HAIGHT-ASHBURY

With accents that sound distinctly more Pacific than Scottish West Coast, and a misnomer borrowed from San Francisco’s historic, hippy-harbouring suburb, one could be forgiven for missing Haight-Ashbury’s home-grown credentials. However, given the quality of the Glaswegian trio’s debut, it seems pertinent to impress that they do in fact hail from Scottish soil.

That said, there’s barely a hint of influence from this side of the pond on Here in the Golden Rays, as from the first bars of opening gambit, Freeman Town, the album drenches itself in a rounded history of America’s musical heritage from the sixties to date, with heart-flipping indie grrrl harmonies, grunged-up guitars, bastardised psych-folk, and shimmering L.A. rock all on show. And whilst accusations of regurgitation aren’t quite without foundation, they’re rendered redundant in the face of an album which so astutely and wonderfully reworks such a vast span of influence. [Paul Neeson] PLAYING KING TUT’S WAH WAH HUT, GLASGOW ON 25 NOV; THE DOGHOUSE, DUNDEE ON 26 NOV; CAFE DRUMMOND, ABERDEEN ON 27 NOV AND ELECTRIC CIRCUS, EDINBURGH ON 28 NOV WWW.MYSPACE.COM/HAIGHTASHBURYUK

TREACHEROUS

Marrying a resolutely indie aesthetic to the openeyed, reach-for-the-stars sincerity of anthemic 80s rock, Over the Wall enfold you in an almost embarrassingly overenthusiastic hug from the outset of Treacherous and don’t let go. Superficially, the most obvious touchstone here is Arab Strap, another Glasgow-based two-piece whose wryly romantic indie-guitar narratives unfurl against a backdrop of cutesy electro-pop. The tone here, however, is a world away from Aidan Moffat’s murmured confessionals. Lyrically, Over the Wall exult in simple, heartfelt avowals of affection, and that sincerity finds its counterpart in racing, climbing power chords and trumpet blasts. In terms of both instrumentation and structuring, there is an impressively imaginative variety here: songs build from softly-spoken, organ-backed intros to exuberant dual-vocal cacophonies, or shift unexpectedly into euphoric guitar solos.

For some, the hug will feel cloying, but it indicates a distinctive personality that is rare among Over the Wall’s peers. [Sam Wiseman] PLAYING VOODOO ROOMS, EDINBURGH ON 12 NOV AND CAPTAIN’S REST, GLASGOW ON 20 NOV WWW.MYSPACE.COM/OVERTHEWALL

KING CANNIBAL

KELLY STOLTZ

SHIPPING NEWS

8 NOV, NINJA TUNE

1 NOV, SUB POP

15 NOV , AFRICANTAPE / RUMINANCE

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THE WAY OF THE NINJA

TO DREAMERS

ONE LESS HEARTLESS TO FEAR

A back catalogue 20 years old is fertile ground for someone tasked with assembling a retrospective; given Ninja Tune’s history as an innovator in record mixing, it’s fitting a simple linear approach was avoided for The Way of the Ninja. DJ King Cannibal has cannibalised 256 songs and samples from the label’s canon, splicing, looping, cutting and pasting them into a nostalgic but forward-looking compendium.

The expansive tracklisting is available online, but fans will know precisely what to expect: classics such as DJ Vadim’s The Terrorist and Roots Manuva’s Witness the Fitness rub together with The Herbaliser, Mr Scruff, Wiley and Coldcut while breakbeat morphs into jungle, dub steps up, rap gets grimey, house becomes funky and jazz and soul is subverted into something fresh and new. Almost all of what is vital in British urban music is contained, catalogued and celebrated within: this is the way label compilations should be. [Euan Ferguson]

Sitting somewhere between the Velvet Underground and T Rex, San Francisco multi-instrumentalist Kelley Stoltz’ musical horizons remain fixed firmly in the past. With his seventh long player the aforementioned mix with the Beatles and Beach Boys in a pleasing lo-fi blend that, predictably enough, always evokes something you’ve heard once before but can’t quite put your finger on. That’s not necessarily a bad thing, as Stoltz retains some of the song writing genius of his heroes.

He is a strong, economical craftsman, refusing to overload his tunes when a fuzzy guitar and a direct lyric will do the job. While acknowledging its not inconsiderable debt to Lou Reed’s Sweet Jane, I Remember, You Were Wild has one of those breezy infectious tunes that stay with you all day; ditto Ventriloquist. When he sings: “Baby I’ve got news for you; I just bought new shoes for you,” it’s hard not to smile. A nice dream then, just not an entirely progressive one. [PJ Meiklem]

As the band themselves declare, “one helluva lot has happened” to Shipping News since their terrific 2005 album Flies The Field. With founder guitarist Jason Noble currently battling cancer, this already frequently introspective band could have been forgiven for retreating even further into themselves. Instead they’ve resurfaced in apparent good spirits with a self-confessed “rowdy, aggressive and adolescent” new outlook. This latest release was recorded entirely live and features an unexpected but consistent blend of old and new material. It’s a gritty, crisp-sounding collection that sits brilliantly somewhere in-between Slint and Fugazi (2003’s brief Radiohead fixation having evidently waned).

Do You Remember The Avenues? is a tense, confrontational barrage of bass hooks whilst Bad Eve is the only real trace of previous melancholy majesty. Despite the fact that some of the material is already out there, One Less Heartless To Fear is so unflinchingly gripping that the chances are there won’t be many complaints. [Chris Cusack]

WWW.NINJATUNE.NET/THEWAYOFTHENINJA

WWW.MYSPACE.COM/KELLEYSTOLTZ

WWW.MYSPACE.COM/SHIPPINGNEWSTGQS

YUSUF AZAK

TURN ON THE LONG WIRE 15 NOV, SONG, BY TOAD

rrrr Yusuf Azak is a singer-songwriter without peer, thanks to a voice that proudly earns the epithet ‘acquired taste’. With each encounter, either in a live setting or on past EPs, his peculiar gasping sigh grows more fondly familiar and less curious, to the point where Turn on the Long Wire can be instantly enjoyed, without the initial moment of adjustment previously required. Of course, if this debut album is your first Azak experience, his odd cadence and wheezy timbre might still surprise, but the songs herein are the finest, most accessible tracks he has thus far committed to tape. Strings are used more extensively than in the past, augmenting intricate guitar-work and fleshing out his gentle sound, while structurally, Azak’s grown incrementally more conventional, with verses and choruses where once there was mist. But such refinements are always to his credit, pointing Azak towards a peerlessness of a different sort. [Chris Buckle]

TOP FIVE ALBUMS 1

THE THERMALS

PERSONAL LIFE

FORMER GHOSTS NEW LOVE

8 NOV, UPSET THE RHYTHM

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YUSUF AZAK PLAYS CELLAR 35, ABERDEEN ON 25 NOV AND GAMBETTA, GLASGOW ON 26 NOV

Have you ever seen a caffeinated spider spin a web? Imagine the same effect when giving Ohioan ambient trio, Emeralds crack – a rumbling beat you’d associate with Tearist (whose Yasmine Kittles makes an appearance, noticeably on Only in Time) and the haunting vocals of Freddy Ruppert. At first bite the many legged project may not make an impression, but give it time and the synth-pop outfit’s sophomore album will make you itch. Setting itself to be as decisively divided as debut Fleurs, the richly halting despondence of main man Ruppert doesn’t just make us wonder if he’s going to pop it; his voice contrasts alongside the vocal brilliance of his female counterparts. Chin Up featuring Zola Danilova is the unquestionable stand-alone, while Ruppert’s And When You Kiss Me is a tepid try by comparison, reflecting the fact that the whole album is a maelstrom of good, bad and plain listener isolation. Which is what makes it so damn interesting. [Ali Ryland]

WWW.MYSPACE.COM/YUSUFAZAK

WWW.MYSPACE.COM/FORMERGHOSTSSLEEP

2 3 4 5

SHIPPING NEWS

ONE LESS HEARTLESS TO FEAR

OVER THE WALL

TREACHEROUS

ERRORS

CELEBRITY COME DOWN WITH ME

YUSUF AZAK

TURN ON THE LONG WIRE

NOVEMBER 2010

THE SKINNY 43

MUSIC

WORKING ON A DREAM

Having banked our house on OVER THE WALL being one of "the next guid things" in 2009, we subsequently lost everything and now run this magazine from a wigwam made of chip wrappers. But you can't rush perfection...

INTERVIEW: RYAN DREVER & SAM WISEMAN

TO RECAP: Over the Wall emerged in the mid-noughties from the Glasgow collective of the same name and whittled themselves down to two members – Bathgate’s Gav Prentice and Ben Hillman of Bridlington, Yorkshire – before proceeding to create the exuberant, Springsteen-inflected take on electropop we know them for today.

A long time coming (though it’s no Chinese Democracy), their impending debut album – Treacherous – wraps a cavalcade of cutesy beats, trumpet, organ and anthemic power chords into an impressively varied but compact whole. Lyrical themes are similarly diverse, ranging from romantic escapes of everyday drudgery to vampires, via snooker and Rafael Benitez. We spoke to them about their chemistry as a two-piece, the recording process, and their shared love of Peter Gabriel and Star Trek.

Your debut album has been a wee while in the making, how did you approach it?

Gav: Basically we wanted the album to sound a lot bigger than the EP, some of the songs we had for the album needed something different. At times it still sounds pretty lo-fi because we’ve still used some parts that we recorded ourselves in our flat, which was how we did all of the EP. We worked with a producer called Mark Whitelaw, who among various other things in a rather mental career has worked with rave legends like QFX and went to LA to play guitar with Faith No More.

Subsequently he knows tricks for how to make guitars sound huge or make a beat fill a room which we had no idea how to do. In the end it took us far longer than we ever intended to, because we

44 THE SKINNY NOVEMBER 2010

PHOTOGRAPHY: COLIN MACDONALD

became obsessed with getting it right and these things just snowball; Mark was keen to indulge our ridiculous requests. But then it didn’t destroy us.

There seems to be a sense of hope and resilience in the face of confusion and uncertainty throughout the album – Settle Down in particular…

Ben: Absolutely. A lot of themes seem to be about that uncertainty about growing up and where you are taking yourself and your future. I suppose there aren’t any obvious love songs on there. It’s quite difficult to write a song and remove yourself from it, but we have tried – there’s a storytelling aspect to bring the themes out rather than just having it all about us. In Istanbul for example, we wanted to set a scene, as in have a song about a specific event. That scene being the halftime team talk that Rafa Benitez gave to Liverpool during the Champions League final in 2005. What he said must have worked; I hope it was similar to what we thought it might have been.

Gav: The Crucible is sung from the point of view of a wife who’s been cheated on. The message is a similar one of ‘we’ve still got each other’ to some of our other songs, but it’s set during the World Snooker Championship in Sheffield.

Do you play everything yourselves on the album – are there any additional musicians?

Gav: Despite it having a much bigger sound than our previous stuff it’s actually had less input from other musicians. This wasn’t by design, it’s just that it would have been impractical to keep getting other people in when you’re spending so long crafting it.

❝

When we realised that it was just the two of us on the record we felt proud.

Then we remembered how long it had taken us, and we felt shame GAV PRENTICE

❞

So we would just have a go, and I’m glad we did; when we realised that it was just the two of us on the record we felt proud. Then we remembered how long it had taken us, and we felt shame.

You’ve played some interesting shows in your time together, what would you say have been your best and worst live experiences so far?

Gav: The worst was in my home town of Bathgate. The bouncer on the door got slashed in the face before we went on and came in with his t-shirt covered in blood, spluttering to the barmaid to get help. There followed an almighty ruckus in the car park outside in which some policemen got a bit of a kicking too. One of the guys involved in all the trouble came in and, to our horror, went up to the place we were playing to watch the show.

There was a really weird atmosphere all night and it remains the only place we’ve ever played where someone actually shouted “SHITE!” at us after a song. Good times.

One of the best was the Fence Away Game on the Isle of Eigg last month. We were worried that, not by anyone’s intention, we would be the outsiders on the bill with no previous Fence Collective involvement, but we were made to feel so welcome and included by everyone involved that it was really quite touching. Kenny, of King Creosote fame, introduced us as ‘The Wall!’ and was genuinely mortified to hear he’d got our name wrong, but we thought it was hilarious. When we started playing the place, which was the community hall on Eigg, went mental and there were people on their friend’s shoulders and everything, despite it being about four in the morning.

Besides Fence and of course Jean Luc Picard, who has been a collective musical inspiration to the band?

Gav: Always Springsteen. The way his music reflects changes in himself as he ages as well as changes in what the world is coming to is the ultimate goal really; not many people come close to him in any art form in that regard. Peter Gabriel is someone who we’ve grown into loving together I think, he’s probably the most direct influence in terms of actually copying sounds! As a consequence the future for Over the Wall might get a little proggy. Apart from that I’d say a lot of non-musical influences were important to the album – such as Cameron Crowe films that inspire genuine hatred from people. but that we love.

Ben: I love listening to a song that sounds simple but is actually secretly complicated. Peter Gabriel is definitely a master of this. When I hear songs like Solsbury Hill it makes me want to try and write a song straightaway. I think Yeasayer have a lot of brilliant pop songs but they are really intricate too.

It’s nice to try and give yourself that challenge.

What’s next for Over the Wall?

Gav: The last time we spoke to The Skinny we said that when our debut album came out the affairs, coke habits and Star Trek: The Next Generation box sets would follow. Now that those days are upon us I’m not sure where to start.

Series three or four?

PLAYING VOODOO ROOMS, EDINBURGH ON 12 NOV AND CAPTAIN’S REST, GLASGOW ON 20 NOV. TREACHEROUS IS RELEASED VIA MOTIVE SOUNDS ON 22 NOV WWW.MYSPACE.COM/OVERTHEWALL

em? If so we’ll take the lithe and of Isabella Rosellini, couple it with strionics of Elton John, and marry ture-race breeding of the Olsens and -a-sacrificial-cow ambition of James his sexual, ambitious future-race wrapped in plastic, à la Joan Rivers.” unds elaborate and messy, it fits ties; if their answers sound articulate eflects their crafty, cultured smarts. s are too readily vilified for not nailnd,” they argue. “It seems to us that te can produce the most interesting ts.” Their particular palette reaps r-way musical input that doesn’t turally in the same direction. be fair to say that we began this at the approach has been to try and

he crow’s nest, is all guitar-cradling earing, while Sam will go down hing to the last at his cockpit of ively explain Glasgow (via Fife) ael plays at drums and dressing gine room, and Pablo stands at indy rhetoric and last night’s m for a celebrity endorsement on at ‘Got Milk’ campaign has done sales over the years – want to e-Drink lovers as spokespersons for

kle yanmcgoverne.co.uk

MILK SUPPORT FOUND AT THE ELECTRIC CIRCUS, EDINBURGH ON 7 AUG AS PART OF THE EDGE FESTIVAL

challenge each other, taking our disparate inspirations and finding ways to harmonise them. We enjoy sifting through the noise.” When the sifting is finished, nuggets of Lizard King stargazing, smooth 80s grooves, moody atmospherics, deadpan humour and prog-squiggles remain. The unorthodox blend slips through genres like cow lactose through fingers. “We converge in strange places,” they acknowledge.

Milk confound classification in part through tactical shyness. Their low-profile moniker and lower-profile web presence constitute a genuine attempt to avoid the pigeonholing that rubberstamps acts straight from the womb. Milk are leaving their options open and keeping followers guessing.

“We’re still in the formative stages of playing this music together, so anything that allows the freedom to go off on creative tangents is a must,” they explain. “The name gave us the blank slate. If you treat a band’s name as a statement of intent, then ours remains open to interpretation.” Refreshingly, in an age where choosing a MySpace background sits uncomfortably high on new-starts’ ‘to do’ lists, they’re uninterested in cultivating a potentially-straitjacketing online persona. “We want the opportunity to surprise others and ourselves.”

Live, they don’t let such opportunities pass them by. But what about recordings? Any releases on the horizon? “In this regard,” they assert, “we reserve the right to remain mysterious.” Seems Milk will be whetting appetites a little longer yet.[Chris Buckle]

reat source of calcium, won Sean Penn an , hang on, something’s off. Google has failed , you’ll have to introduce yourselves…

t Milk?

NOVEMBER 2010

WE NO LONGER CHARGE BOOKING FEES

THE SKINNY 45

AUGUST 2010

THE SKINNY 51

See www.edinburghpeoplesfestival.org for further details and tickets

• Drama from SpartaKi Theatre Company

• Why the finest comics in Edinburgh end up in Gorgie

• Aid for Afghanistan - a concert

• 3rd Annual Hamish Henderson memorial lecture

• Photographic exhibition 'The Bad and the Beautiful'

• Investigating Rebus's Edinburgh

• Tour Edinburgh's dramatic radical past

PLAYING KING TUT’S WAH WAH HUT, GLASGOW ON 25 NOV; THE DOGHOUSE, DUNDEE ON 26 NOV; CAFE DRUMMOND, ABERDEEN ON 27 NOV AND ELECTRIC CIRCUS, EDINBURGH ON 28 NOV HERE IN THE GOLDEN RAYS IS RELEASED VIA LIME RECORDS ON 8 NOV

FILMHOUSE 88 LOTHIAN ROAD EDINBURGH Box Office 0131 228 2688 BOOK ONLINE at www.filmhousecinema.com

August 7th-14th • Film premiere of 'Morticia' by Nabil Shaban

WWW.MYSPACE.COM/HAIGHTASHBURYUK

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Highlights from this year’s hugely successful two-week festival, which took place in March at BFI Southbank. The season includes LLGFF Closing Night Gala Children of God, a fascinating and politically bold study of sexuality in the Bahamas; lesbian comedy And Then Came Lola; erotically charged crime thriller The Fish Child; acclaimed Argentinian drama Plan B; and two programmes of shorts, one for the girls and one for the boys!

London Lesbian & Gay Film Festival On Tour 10 Aug to 2 Sep

A key work from an era that’s now considered the last Golden Age of American cinema, Bob Rafelson’s superlative character study established Jack Nicholson as the foremost actor of his generation. One of the few honest American films about social class, family and alienation. Don’t miss this wonderfully restored classic.

Five Easy Pieces 13 Aug to 19 Aug

www.theelectriccircus.biz www.theelectriccircus.biz

Directed by Juan José Campanella and showcasing two of Argentina’s biggest stars, this is a riveting thriller spiked with witty dialogue and poignant romance. Receiving rave reviews and awards, it was also the surprise winner of this year’s Oscar® for Best Foreign Language Film, beating off stiff competition from The White Ribbon and A Prophet.

MUSIC

The Secret in Their Eyes 13 Aug to 9 Sep

INTERVIEW: PAUL NEESON

recommends this month...

Pledging their love for a bygone era, Glasgow trio HAIGHT-ASHBURY aim to take the flower power baton from their spiritual fore-fathers across the Atlantic

HOME OF THE EDINBURGH INTERNATIONAL FILM FESTIVAL

films worth talking about

Clockwise from top left: Pablo; Callum; Michael; Sam

MUSIC

WINTER OF HAIGHT

WITH DEBUT album Here in the Golden Rays released this month, Glaswegian trio Haight-Ashbury are finally finding prominence on the Scottish circuit. Yet despite being in the early stages of their career, they already carry the weight of a rich musical heritage on their shoulders.

Having taken their name from the San Franciscan neighbourhood famous as being the epicentre of the city’s music scene during the Summer of Love in 1967, they follow in the footsteps of some timeless greats, but was the name choice based on a fascination with that era, or was it just a catchy name for a band? “A fascination is about the right word for it,” asserts guitarist Scott. “I love the bands from that period like Grateful Dead, and in particular early Jefferson Airplane. I visited the Haight-Ashbury district just before we got together so it was in my head at the time. We like the name because it tells you what we’re about in a word or two.”

And it is very much what they’re about. Taking their lead from the psychedelic-folk origins of those forebears, they produce sprawling songs that hark of that era’s indulgence and experimentation. Although Scott insists that much of their signature style was a happy accident. “The psychedelic aspect wasn’t what we set out for but we stumbled into it. We tried to avoid the classic song structures to begin with and it just evolved from there.”

Enamoured as they are with the sound of the sixties, the defining sound of Here in the Golden Rays is rather less specific. With vocalists Kirsty and Jen dropping their regional accents for a lilt that owes more to a collage of nineties U.S. indie bands, there’s little evidence of the Glaswegians’ origins – so was the Americanisation of the band an intentional one? “Yes and no,” says Scott.

“Kirsty and I grew up listening to Déjà Vu, Blue and America religiously. My favourite artists are Chris Whitley and Stephen Stills so there is an intense American influence.”

Despite the heavy influence, Scott still feels that Haight-Ashbury are a more complex beast.

“Scottish groups like Stealers Wheel and the Jesus and Mary Chain have had just as much of a say in the sound of the album. Tracks like Sympathetic Strings ended up with quite a Celtic sound, as well as a heavy eastern influence with the sitar. Nothing was intentional, we’re happy with however it’s interpreted.”

Regardless of the band’s intentions, or the listeners’ interpretation, the end product is garnering some fine attention, not least of all from Radio 6’s Lauren Laverne. It’s a platform which has proven pivotal in their rise. “The support from all of the BBC6 DJs for our single Freeman Town in the summer was brilliant,” Scott enthuses. “We gained a lot from it. We didn’t know how radio friendly our songs were, but it’s great that people will still take chances with relatively unheard of new bands.”

Perhaps the most exciting outcome of their airtime was a gigging slot with one of Scotland’s indie royalty. “The Vaselines offered us the support for their whole tour just from hearing the song on the radio,” says Scott. “We’d love it if there was more of that to come.”

For the time being, however, Haight-Ashbury are taking to the stage as headliners on their November tour of the U.K., with the promise of delivering something special. “We pride ourselves on the way we set up live,” Scott offers. “Without using any backline we still create a lot of sound.

What you hear on the record should pretty much be what you hear at the gigs… we hope.” Should that be the case, then November promises to be an exciting chapter in Haight-Ashbury’s promising future.

CLUBS

PREVIEWS Numbers

Thunder Disco Club

Sub Club, 5 NOV

SWG3, 19 NOV

11pm-3am, £10

The SWG3 Studio Warehouse has begun to establish itself as a fresh and unique venue for clubs in Glasgow, with recent events held there by local institutions like Optimo and Subcity. Friday 19 Nov will see the boys of Thunder Disco Club adding to this reputation as they hit the venue with their individual blend of insatiable Hi-NRG Italo Disco and sensual 80s influenced visuals.

Always colourful with their descriptions, they promise “betamax sleaze” to kick off proceedings, which translates into a pre-club screening of cult classic The Warriors. This may be only the first of many visual treats as past events have featured everything from 360 degree visuals to a video-wall composed of old TV screens.

It’s remarkable that the four man group have built up such a popular and definite style in little over a year. They can certainly stand alongside Glasgow’s disco heavyweights, such as the monthly Melting Pot and RPZ club nights. This is the first outing of the group’s own solo club night in some time, and the Studio Warehouse party ought to properly allow Thunder Disco Club to treat their audience to the sounds and sights behind their rapid rise. [Cal Sweeney]

www.nmbrs.net

9pm-3am, £7 (£6)

Mim Suleiman

Black Sun Empire

Huntleys and Palmers Audio Club, 6 NOV

Xplicit, Bongo Club, 12 Nov

Since their parties commenced in December 2007, Huntleys and Palmers Audio Club have pursued a daring booking policy, promoting acts as diverse as Silver Apples, Kelley Polar and Marissa Nadler at a variety of Glasgow venues. You just can’t tell what genre of music they’re going to champion next.

La Cheetah is the home of their new bimonthly residency Highlife, which aims to embrace everything across the “black Atlantic diaspora”, from Chicago house and disco to UK funky and Fela Kuti. In a typically adventurous Huntleys and Palmers Audio Club move, they have booked Mim Suleiman as Highlife’s special guest for November.

The Zanzibar-born singer songwriter, who sings in both her native Swahili and English, has just enjoyed the distinction of becoming the first artist to release a full album on Gerd Janson’s acclaimed Running Back label. Tungi has been described by Janson himself as a collection of “futuristic African beat music with a discotheque twist, crossed with transmissions from outer space.” Suleiman will be accompanied onstage by her collaborator and percussionist Chris Fingaz, and is unlikely to play a venue as intimate as La Cheetah anytime again in the near future. Don’t miss out! [John D. McGonagle]

Edinburgh’s drum and bass phenomenon Xplicit presents a characteristically busy bill this month at the Bongo Club. Live headliners are Dutch production trio Black Sun Empire, on tour to promote their fourth album Lights and Wires.

Whilst Black Sun Empire are primarily a drum and bass act, their live set is clearly inspired by the likes of Xplicit favourite Ed Rush, meaning that you can expect elements of jungle and neurofunk amongst what Xplicit promises to be “an all-out audio assault.”

Of course, Xplicit never have one headliner when they can have two, and the much-loved Norwegian DJ Teebee will also be in attendance, returning to Xplicit to showcase music from his Subtitles Music imprint. Perhaps best known for his 2007 collaboration Anatomy (with UK duo Calyx), Teebee is a turntable master who is unlikely to disappoint. Keeping everything together will be Xplicit residents ENO and The General, plus Jungledub providing reggae and dub upstairs.

Despite the wealth of talent which they cram into every event, Xplicit rarely get the blend wrong, and this intriguing bill suggests that things should get a little more dark and futuristic than normal. [John D. McGonagle]

Having long established themselves as one of the most forward thinking nights in Scotland, Numbers are back with another huge lineup.

With past guests including the likes of Martyn, Floating Points, Kode9, Rustie, Hudson Mohawke and Untold, it’s a given that the music on offer is always going to be fantastic. This month it’s the turn of three artists who front some of the most exhilarating aspects of UK Bass music. First off is Joker, representing the very cutting edge of dubstep.

His own brand of ‘Purple’ dubstep is a fantastically melodic spin on the format. Next up we have James Blake, the very epitome of future-looking music, borrowing elements of everything from R’n’B to dubstep seamlessly. With releases on the infamous R&S label, his recent EP Klavierwerke has been one of the most exciting releases of the year. Finally, be sure to catch the golden boy of London label Night Slugs – Girl Unit. His sound is a sub driven blend of juke, hip hop, house and ghetto that has to be one of the most refreshing sounds of 2010. If there is one night to go to this year... it has to be this one! [Luke Dubois]

www.myspace.com/huntleysandpalmers

Rendezvous Berlin Bierhaus, 6 Nov

Lee Foss has spent most of this year creeping into the subconscious of the vast majority of Resident Advisor’s readership; as one half of the charmingly named Freelance Lovers with Lee Curtiss, and having worked with Jamie Jones as Hot Natured, Foss is certainly getting around. A growing underground star of 2009, this year is shaping up to be a significant one for the LA/ London based producer, having gathered notable support from the likes of Damian Lazarus, Phillip Jung, (M.A.N.D.Y.), and Heidi.

Throughout his sets fresh house grooves wash up on the shore of freshly combed, soulful R&B stylings, making for a scintillating and entrancing auditory experience which is best served with Foss’s almost signature springboard basslines and keyboard melodica. With the capacity to flip a dancefloor upside down in the flurry of unconventional sounds and vocal whirlwinds with which his productions have become synonymous, Rendezvous have surely bagged themselves a winner. [Calum Sutherland]

Door: £8 before midnight/£10 after. Students: £6 all night www.myspace.com/leefoss

46 THE SKINNY November 2010

Fake Blood and Count and Sinden Cabaret Voltaire, 26 Nov

Sugar Beat Club welcomes two of this century’s most notorious electro perpetrators in a double billing this November.

Both Fake Blood and The Count and Sinden need no introduction to those who were more than willingly cajoled into the electro house scene when it exploded in the second half of the last decade. Genre stalwarts and influential figures, both have operated under different monikers and experimented with different sounds throughout their time in the dusty, sweat-drenched spotlight of the British electro scene. Whether as Hervé, (The Count) or one half of The Black Ghosts (Fake Blood) or around 3/7s of Machines Don’t Care (all three), this trio of electronic misfits have been responsible for some of the most perverse, fidgety dance floor clunking of the past four or so years.

Fans should have come to expect nothing less from Sugarbeat. Founded in 2005 by The Utah Saints, the club night has hosted a vast and diverse number of different club artists from Stanton Warriors to Justice, a bracket just wide enough for tonight’s acts to land right in the middle of. [Calum Sutherland] www.sugarbeatclub.com/

Last Man Standing

Death Disco turns eight this month with Brodinski donning clown make-up and dishing out the party bags (or your money back) Words: Chris Duncan

There are a few veterans of the electro wars of 2007/08 who know fine well that landing a few well-placed victories in the form of Ed Banger bombshells does not mean that the war is won.

Admittedly, Justice stormed the beaches with success and Uffie never suffered trenchfoot, but it’s fair to say that most have not enjoyed the lengthy, general’s career that they expected. For them, there is no parade.

Luckily, Brodinski suffered no such fate. In spite of rising to fame off the back of music blogs, notorious for demolishing the very acts they initially build up, he has remained a producer of consistent quality ever since the arrival of his excellent debut "Bad Runner" on Mental Groove.

It was with this track that Brodinski became known to some of the most influential people within the dance music scene. Soon artists such as A-Trak, Busy P, Erol Alkan and the Dewaele brothers of 2manydjs fame were all taking notice of his varied and well-researched sound. Following sets across Europe, Brodinski was invited to remix the likes of Bonde de Role, Klaxons, Das

Pop, Shoes, D.I.M, Heart Revolutions and Adam Sky, as well as making himself comfortable behind the production desk at Tiga’s label Turbo and creating a mix for the Suck My Deck series.

His latest release, the double CD The Best of Everything features two mixes from the Parisian powerhouse, with his more familiar mixture of electro appearing on one side, and a surprising hip-hop blend starring on the flip with input from DJ Orgasmic.

After a long stint of working solo, Brodinski is now one half of The Krays, a collaboration between himself and long time friend and producer Yuksek. The pair have already remixed the likes of Ebony Bones and Peaches to devastating effect.

[Chris Duncan]

The lanky Parisian one is joined by the Count and Sinden, Mikix the Cat, The Aikiu, Mustang, Dansette Junior and the Death Disco residents Hushpuppy, Josh Jones and Wavy Graves. Sat 20 Nov, 10.30pm-3am, £7/£14 www.deathdisco.info

The Arches, 253 Argyle Street, Glasgow 0141 565 1000 www.deathdisco.info

CLUBS

NOVEMBER HIGHLIGHTS

November’s a bit pointless, isn’t it. It lingers in the festive limbo between Halloween and Christmas like an uninvited guest, flicking ash on the carpet and twirling a terrible ‘charity’ moustache, starting most sentences with “As an artist”. We can’t make much of a case for bonfire night either. Fireworks stop being fun and interesting once you’ve reached a certain age. Like six. So it’s left to us to find good reasons to justify November’s otherwise arbitrary inclusion in the Gregorian calendar.

One of the best ones belongs to Glasgow dance music collective Numbers, who are set to have a very good November indeed. Following last month’s launch of their bi-monthly Numbers night at Sneaky Pete’s (which was, let us assure you, heavin’), 5 Nov sees them curate the bass-loving triumvirate of Joker, James Blake and Girl Unit back in the Sub Club for some after-hours fun. Numbers will also hit Berghain in Berlin on 10 Dec with an all-star cast: Hudson Mohawke, Rustie, Untold, Redinho, Jackmaster, Spencer and N>E>D. Said cast will arrive accompanied by gunfire, bling and slow-mo explosions (but not your silly fireworks, November), because this lineup is a Big Deal.

Back in Edinburgh, Green Velvet (you may know him better under his Cajmere moniker) drops by Cabaret Voltaire on 13 Nov to headline Pulse’s 1st birthday. He’ll join Pulse regulars Darrell Harding, Andy Problems and Ritchie Bryson for an epic session of highbrow Chicago house music. Diploapproved wonk factory Rusko arrives at the same venue a mere 48 hours later on 15 Nov. Sneaky Pete’s hosts an altogether less wobbly affair. Alex Egan of Astronomer and Skulljuice fame brings his remixing skills (The XX, Joakim, Silver Columns, Micachu) and lovely hair (just sayin’) to the 100-capacity venue for Playdate on 27 Nov. While very much in the Kitsune mixtape mould

(interpret that caveat how you like), Egan’s eclectic range of electro, pop and disco means that his record bag should swell with crowd pleasers.

Same goes for Affi Koman’s slot at TicTacToe on 13 Nov. Expect a superior selection of techno and house, and probably some tech-house too (since electronic music folks enjoy a good portmanteau so much) from the Sunday Circus regular.

Some big names are getting themselves about at The Arches this month – Fake Blood (6 Nov) and Booka Shade (25 Nov) being amongst the better ones – but a trip to Koman would be a seriously good call on your part.

That brings us nicely onto Detroit house veteran Terrence Parker. Parker has been at the hub of Detroit house and gospel house music for the last three decades. He’s done loads and loads of valuable and noteworthy stuff, all of which is exhaustively catalogued on his website, which serves as a fairly accurate homage to how BBC News at 10 will look once the Treasury has a swing at it with Geocities and a bottle of PVA glue. Best of all, Parker uses a telephone handset as a monitor. What’s not to like? Catch him at Subculture on 27 Nov. Return To Mono will feature Slam and Maetrik slathering thick gloops of techno filth-sweat onto your furrowed brows at Subclub on 11 Nov. Maetrik, real name Eric Estornel, has links with Claude VonStroke via the latter’s Mothership label and a variety of other established European techno and house imprints.

Finally, get your OMGs and emoticons out for Matthew Dear as he does the double on the 4 and 5 Dec at Stereo (Glasgow) and Sneaky Pete’s (Edinburgh) respectively. So it’s not ‘til December – I think we’ve established why November doesn’t get the last word here. [Ray Philp]

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6TH BUFFDAY PARTY

FRIDAY 26TH NOVEMBER With Guest DJ

CRAIG CHARLES

(BBC 6 Music Funk & Soul Show)

PHOTO: EVA MUELLER

& Buff Residents

142 Bath Lane Glasgow 0141 248 1777 thebuffclub.com facebook.com/thebuffclub GREEN VELVET

NOVEMBER 2010

THE SKINNY 47

REVIEWS November Events

FILM

The Filmhouse is hosting an Introduction to European Cinema, a season of films screening in collaboration with the Film Studies course at the University of Edinburgh, but open to the public. It offers rare opportunities to see a selection of influential films representing various movements in cinema.

On 3 Nov, Hitchcock’s first talkie film, Blackmail, is screening. Following a police investigation, this was influential for its experimentations in narrative structure. Also showing is Jean Vigo’s L’Atalante (17 Nov) and Vittorio De Sica’s Bicycle Thieves (24 Nov).

The American Les Beaux Gosses

The American

Director: Apichatpong Weerasethakul

Director: Anton Corbijn

Starring: Thanapat Saisaymar, Jenjira Pongpas, Sakda Kaewbuadee, Natthakarn Aphaiwomk Released: 19 Nov Certificate: 12A

Starring: George Clooney, Irina Björklund, Violante Placido, Paolo Bonacelli Released: 26 Nov Certificate: 15

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Apichatpong Weerasethakul’s Palme d’Or winner Uncle Boonmee Who Can Recall His Past Lives is a unique and mesmerising piece of filmmaking, but it won’t be to everyone’s taste. As he charts the decline of ailing farmer Boonmee (Thanapat Saisaymar), Apichatpong’s stunning shot composition and measured pacing draws the viewer into the richly mysterious world he has created.

Extraordinary sights abound – including spirits, monkey ghosts and an amorous catfish – and the director shifts gears with incredible fluidity, unfolding a story that is alternately amusing, unsettling and finally very moving. With a slightly more linear narrative than his earlier bipartite films, this is perhaps Apichatpong’s most satisfying and impressive work to date, but its ponderous nature and inexplicable happenings will undoubtedly alienate many viewers. That would be a terrible shame, because Uncle Boonmee is such a generous and imaginative work of art, and for those who surrender to its strange rhythms and wondrous imagery, it can be a truly intoxicating film experience. [Philip Concannon]

The American is low on incident but rich in mood. Watching Corbijn’s follow-up to Control (2006) is like flicking through a portfolio of the former music photographer’s perfectly composed portraits, only instead of Depeche Mode or Bono we have Gorgeous George doing his best Lee Van Cleef impression, all taciturn and squinty eyed. Suppressing all his trademark twinkle, Clooney plays Jack (aka Edward), the eponymous assassin-cumgunsmith who’s holing up in a labyrinthian village in the Abruzzo region of Italy while on the lam from some surly Swedes. What’s so impressive about this sophomore feature is that despite having a script that amounts to little more than a collage of crime film clichés – a pulpy stew of conflicted killer on one last job, his hooker-with-a-heart-of-gold girlfriend, and an avuncular priest ready to give absolution – it feels vivid and vital. In its best moments the film plays like a lucid nightmare, with Clooney trapped in a picturesque purgatory. [Jamie Dunn]

Mammoth

Machete

Director: Lukas Moodysson

Director: Robert Rodriguez

Starring: Gael Garcia Bernal, Michelle Williams Released: 5 Nov Certificate: 15 TBC

Starring: Danny Trejo, Jeff Fahey, Steven Seagal, Robert De Niro, Jessica Alba, Michelle Rodriguez, Lindsey Lohan Released: 26 Nov Certificate: 18

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Lukas Moodysson’s approach to filmmaking was becoming increasingly experimental, so it is a surprise to see how conventional Mammoth is. His follow-up to the monochrome, plotless, Jena Malone-narrated avant-garde film Container is an internationally set narrative about relationships, particularly those between parents and children. Three stories are woven together: Leo (Gael Garcia Bernal) exploring the possibilities of a new life for himself while on a business trip in Thailand; his wife Ellen (Michelle Williams) trying to juggle work and spending time with their daughter; and their nanny (Marife Necesito), working in America to provide a better life for her sons in the Philippines. Moodysson is well-versed in bleakness, but Mammoth lacks the emotion shown in his acclaimed Lilya 4-Ever, while the writer/director’s flair for social exploration here seems incomplete. Yet the lead performances are subtle and believable, and the European electronica soundtrack is distinctive.

It’s just a shame there isn’t more of Moodysson’s creativity on show. [Becky Bartlett]

It‘s refreshing to have Danny Trejo acting the title role of Robert Rodriguez’s latest Mexploitation offering. Looking like he has lived the life, the grizzled Machete hacks his way through the star-studded cast using every implement known to man after being double-crossed by a gruesome crime syndicate headed by Michael Booth (Jeff Fahey), who sneakily sets him up as an assassination patsy. Women feature predictably: Yvetta (Jessica Alba) is the hot immigration cop who teams up with Machete and his vigilantes, including a skimpily clad revolutionary, Luz (Michelle Rodriguez); meanwhile Booth’s daughter (Lindsey Lohan) likes a spot of familial three-way while enjoying her father’s narcotics. Then it just gets silly. In true grindhouse form, Machete will win fans by wearing its action-filled lack of depth on its sleeve whilst still having its heart in the right place. Yet, despite some amusing irony and violence Itchy and Scratchy would endorse, the movie is too repetitive in its ham-fistedness, which, at length, becomes tedious. [Juliet Buchan]

Another Year

Let Me In

Director: Mike Leigh

Director: Matt Reeves

Starring: Jim Broadbent, Lesley Manville, Ruth Sheen, Peter Wight, Oliver Maltman, David Bradley, Imelda Staunton Released: 5 Nov Certificate: 12A

Starring: Chloe Moretz, Kodi Smit-McPhee, Elias Koteas, Richard Jenkins Released: 5 Nov Certificate: 15

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For four decades Mike Leigh has been exploring, with a mischievous relish, the lives and loves of the inhabitants of London’s urban sprawl. His latest centres on Tom and Gerri (Broadbent and Sheen), a sweet – if slightly smug – middle-aged couple who are utterly content with their ageing bodies and days spent pottering on their allotment. But their happiness hasn’t rubbed off on the pathetic souls who enviously bask in their bonhomie, such as Gerri’s work colleague Mary (Manville), a lonely mutton-dressed-as-lamb lush who’s growing more desperate for companionship by the day. But not desperate enough to consider Tom’s unattached childhood chum Ken (Wight), a walking ball of cholesterol who inhales cans of John Smith’s like most people consume oxygen. Told over four acts (one for each season), Leigh and his note perfect cast have crafted a bitterly funny tale of sadness and frustration, where life, contrary to what Leigh’s earlier film titles suggest, is rarely sweet or happy-go-lucky. [Jamie Dunn]

48 THE SKINNY November 2010

In Glasgow, the CCA’s new season of darkly themed films, Dark Visions, continues with Stan Brakhage’s The Act of Seeing With One’s Own Eyes on 11 Nov. Devoid of sound, score and narrative, it portrays, in grizzly detail, the daily activities of working life at a Pittsburgh morgue. Film critic Jonathan Rosenbaum called it “one of the most direct confrontations with death ever recorded to film.”

From 11-28 Nov the French Film Festival is in Scotland, showing a selection of previews, special films without UK release dates, and retrospectives.

Celebrating the work of Academy Award winner Pierre Etaix, Le Grand Amour (The Great Love), a tale of love, marriage and longing, is screening at the Filmhouse in Edinburgh (11 Nov) and the GFT (12 Nov), with Etaix in attendance. Amongst the previews is Les Beaux Gosses (The French Kissers) at the GFT on 17 Nov. This coming-of-age film by first-time director Riad Sattouf was the break-out comic success at the 2009 Cannes Film Festival.

For full programme details, check out the festival’s website.

Photo: Kris DeWitte

Uncle Boonmee Who Can Recall His Past Lives

www.vivamachete.com

rrr Matt Reeves’ Let Me In may be a pointless exercise, but as pointless exercises go, it’s not a bad effort. This English-language remake of the cult Swedish horror Let the Right One In generally sticks to the template of Tomas Alfredson’s original, to the point where it occasionally feels like a shot-for-shot retread, but Reeves makes a few judicious alterations that prove effective. He focuses more on the emotions of his central relationship, with Chloe Moretz and Kodi Smit-McPhee both delivering sensitive, nuanced performances as vampire Abby and lonely Owen. He also ditches the cat sequence from the first film and ups the ante with a thrilling car crash, but some of his directorial touches – like the constant 80s pop references or the shoddy CGI depiction of Abby’s attacks – fall flat. You win some, you lose some, but on balance this is an enjoyably sinister and superbly acted picture. Let Me In might lack the novelty of its predecessor, but it still possesses some bite. [Philip Concannon]

Steven Severin

The Cameo is also hosting a special event on 18 Nov, in which Steven Severin, co-founder of legendary band Siouxsie and the Banshees, will be performing an avant-garde live musical accompaniment to Jean Cocteau’s surrealist masterpiece Blood of a Poet. With costumes designed by Coco Chanel, Cocteau’s visually dynamic film has no distinguishable linear narrative, giving Severin poetic licence to interpret the images, and this unique evening is essential viewing for fans of surrealist cinema.

Finally, on 27 Nov bring a strong cup of coffee or six to the Cameo in Edinburgh for All Night Horror, five classic 70s and 80s horror films screened throughout the night, separated by some rare vintage horror trailers. Included in the line up is Dario Argento’s classic Suspiria, Frank Henenlotter’s Basket Case and the original Black Christmas. For those who manage to stay awake, it promises to be a gory, funny and altogether disturbing night. [Becky Bartlett]

Suspiria

FLIM

DVD REVIEWS WHATEVER WORKS

GET HIM TO THE GREEK

THE SECRET OF KELLS

DIRECTOR: WOODY ALLEN

DIRECTOR: NICHOLAS STOLLER

DIRECTOR: TOMM MOORE, NORA TWOMEY

STARRING: LARRY DAVID, EVAN RACHEL WOOD RELEASED: 22 NOV CERTIFICATE: 12

STARRING: RUSSELL BRAND, JONAH HILL, SEAN COMBS RELEASED: 1 NOV CERTIFICATE: 18

STARRING: BRENDAN GLEESON, EVAN MCGUIRE, CHRISTEN MOONEY RELEASED: 1 NOV CERTIFICATE: PG

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The depth of Woody Allen’s fall from box office grace was revealed by the cinema poster for Whatever Works, which buried his name in the fine print. The DVD sees the filmmaker returned to top billing, but is the film a return to form? The story of Boris (Larry David), self-proclaimed genius and “man with a huge world view surrounded by microbes,” who meets and marries a pert young Southern belle, only to find himself embroiled in her family’s troubles, will be familiar to anyone who knows Allen’s work. This is unsurprising as the movie recycles an unproduced script of his from the 1970s, but here his handling of the farcical plot lacks his deft touch from that period. Yet David brings his trademark churlishness to the misanthropic Boris and delivers the often very funny monologues with great relish. And it’s a rare film these days which makes you laugh out loud with a joke about William Faulkner. [Keir Roper-Caldbeck]

Russell Brand’s turn as reclusive rock star Aldous Snow does little to stretch the comedian. The character, first seen in Forgetting Sarah Marshall, sticks close to Brand’s usual stage persona: louche and wanton, but cut through with sharp self-analysis and intellectual one-upmanship worthy of Pseuds Corner (while being chased down a long hotel corridor he shouts: “It’s Kubrickian!”). He even gets to keep his dandyish clothes and finger-in-a-light-socket hair. Jonah Hill is suitably conflicted as the innocent, charged with shepherding his drug- and sex-fuelled idol to a comeback gig at the Greek Theatre in LA, who finds himself dragged into a world of rock ‘n’ roll excess.

This often funny, always vulgar comedy keeps the self-obsessed Snow plausible enough to maintain a satirical edge, but it is Sean “P. Diddy” Combs who, in a film-stealing turn as the music exec from hell, provides perhaps a more authentic glimpse of the unhinged avarice and egotism that drives the entertainment business. [Keir Roper-Caldbeck]

A TOWN CALLED PANIC

PREDATORS

DIRECTOR: STEPHANE AUBIER, VINCENT PATAR

DIRECTOR: NIMRÓD ANTAL

STARRING: RELEASED: 15 NOV CERTIFICATE: PG

STARRING: ADRIEN BRODY, TOPHER GRACE, ALICE BRAGA RELEASED: 1 NOV CERTIFICATE: 15

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Based on a Belgian television series, A Town Called Panic is a deranged stop motion film by Stéphane Aubier and Vincent Patar, creators of the instantly recognisable Cravendale milk adverts. Far from the smooth animation of films like Coraline, the directors’ style is jerky and rough, deceptively primitive and all the more bizarre as a result. Following Cowboy, Indian, Horse and their friends through various madcap adventures stemming from a forgotten birthday present, A Town Called Panic is unlike anything seen before. As our heroes’ exploits take them to the North Pole, the bottom of the sea and the centre of the Earth, the manic, surreal visuals are accompanied by a sharp, very funny script that will appeal to children and adults alike. It may seem short at 78minutes, but it stays dynamic and interesting because of it. Quite frankly, there’s only a certain amount of crazy one can take, and this will push your mind to the limit. [Becky Bartlett]

Predators opens with a bang. Or, more accurately, a whoosh. Our hero (Adrien Brody) wakes to find himself plummeting through the air towards the ground. A parachute opens and deposits him in an unfamiliar land along with an assorted bunch of warriors and killers who have had the same rude awakening. As the long delayed 'proper' sequel to Predator, the film strips what was already the leanest of the classic 1980s action flicks back to the bone. It has less a plot than a predicament.

The cast have all the back-story of a deck of Top Trumps. The only question is how – and in what order – they will die. Avoiding wallto-wall CGI, Predators uses real forest locations, real stunts, and real men-in-rubber-suits to return a steely simplicity to the modern action movie. Brody is surprisingly effective as a Hemingway-quoting mercenary whose aquiline profile and preferred weapon rewrites the old saying: Big nose… big knife. [Keir Roper-Caldbeck]

The polished work of Pixar and its peers has left a large void for alternatives, and The Secret of Kells, basing both visuals and storyline on the famous Celtic manuscript, the Book of Kells, delights in filling it. Brendan, a young boy longing to assist the renowned ‘Illuminator’ Brother Aiden in illustrating the ancient Book of Iona, struggles under his authoritarian uncle Cellach, whose concerns lie solely with the impending Norse invasion. Requiring magical tools, Brendan steals off to the forbidden forest where he meets a shape-shifting Faerie who assists him while fumbling elegantly through the ornate flora and fauna. The textured, richly patterned imagery merges Celtic swirls, knots and mazes to unique effect.

Graphics range between the innocent quality of an Eric Carle collage to stark stylisation depicting monstrous Vikings and pillaged townsfolk. While the plot at times lacks focus, the theme of light in the darkness is illuminated wonderfully by considered and hypnotic animation. [Juliet Buchan] NEWVIDEO.COM/SECRETOFKELLS

TINTIN AND THE MYSTERY OF THE GOLDEN FLEECE DIRECTOR: JEAN-JACQUES VIERNE

STARRING: JEAN-PIERRE TALBOT, GEORGES WILSON RELEASED: OUT NOW CERTIFICATE: PG

rrr This live-action Tintin adventure from 1961, which sees the boy reporter and Captain Haddock on the trail of lost gold in the Aegean, gets so many details right that it will provoke shivers of recognition in those who know and love the books. Much of this is down to the actors’ spooky resemblance to their comic book counterparts: dressed in the iconic plus-fours and skyblue jumper, Tintin is played by Jean-Pierre Talbot, an ex-fitness instructor who brings martial arts skills and an unexpected physical presence to the role, while Captain Haddock keeps his bushy beard, seafaring clothes and anger management issues. Is this only for hardcore Tintinophiles? Probably.

Yet the film has great period charm (the images of Istanbul are particularly beguiling), striking production design and costumes, and the same mix of globe-trotting adventure, exotic characters, and slapstick that have made the books so enduring. It certainly makes an intriguing template for the Spielberg’s upcoming adaptation. [Keir Roper-Caldbeck]

WWW.PREDATORS-MOVIE.COM

NOVEMBER 2010

THE SKINNY 49

ART

REVIEWS

NEW WORK SCOTLAND 2010 COLLECTIVE 16 OCT – 28 NOV

rrr New Work Scotland kicks off again, and first up we have considerably dissimilar Glasgow based artists Shelly Nadashi and Jacob Kerray.

Originally from Israel, Nadashi graduated from the MFA programme at Glasgow School of Art in 2009 and is perhaps best known for her performance art.

As well as an overcrowded installation consisting of two video works and two sculptures, Nadashi performs an offsite piece called Why Stone.

Seated in chairs set well back in the Thomas Morton Hall, Leith, the audience face a stage with a door at its rear. From the door extends a thick rope that traverses the hall and is tied to a wooden cut-out in the shape of a rock.

From backstage comes the sound of singing voices before Nadashi, lying on her side, slides onto stage.

She tells how often she swims in the week and that

she’s naked when she does so and pays particular attention to her body. She makes swimming motions.

Endearing and innocuous, the performance ends too soon. Nadashi manages to charm but provides little in the way of bite. It’s unclear what she sets out to achieve with her work, aside from making us all quite like it.

Jacob Kerray’s paintings are in the main portraits with funny names. Drawing on Star Trek and traditional baroque portraiture alike, Kerray has produced a few laugh-out-loud works, particularly one largescale portrait where the subject has barely a stump for a head. Likewise, Prince Khan Noonien Singh of the United Great Khanate Principalities 1993 has a funny face, football boots and a ruff around his neck.

Where Nadashi could have edited her space better, Kerray might have upped the excessive salon-style hang and added a load more work.

He is a proficient painter with a good sense of humour, nonetheless. [Andrew Cattanach] COLLECTIVE 22-28 COCKBURN STREET EDINBURGH EH1 1NY TEL: 0131 220 1260 WWW.COLLECTIVEGALLERY.NET

ROBIN THOMSON GENERATOR PROJECTS 25 SEP – 24 OCT

rrrr Duncan of Jordanstone graduate Robin Thomson returned to Dundee recently for a two-week gallery residency at Generator Projects, putting together an epic and immersive video and sculptural installation. This multi-screen project contemplates the very beginnings of recorded sound and is based on an 1860 phonautograph recording, conjuring up a few of the ghosts lurking within this particular machine.

In the first gallery we see slides of desolate urban landscapes and expanses of parkland, a disconcerting backdrop for a loudspeaker suspended from the centre of the ceiling. Suitably primed, we step into the principle display for what the artist describes as “a kind of spontaneous wiretap or short-circuiting of sequential talk.” Invoking the spirits of scientific luminaries Thomas Edison and

Alexander Graham Bell, these dusty precursors are channelled into a vivid phantasmagoria.

On a large screen in the main room Thomson’s 25-minute film By the Light of the Moon plays.

Against a backdrop of retina-scorching computer graphics and backed by a soundtrack of cut-up and reconfigured voices, an eclectic cast of characters act out a multi-sensory carnival. A scientist wearing a rubber mask, American Indians, ghosts and monsters all parade through a lysergic landscape that reimagines the source’s crackly recording as a shamanistic tech-fair.

Given that his present job is acting as social media maestro for the electroclash act Peaches, it comes as little shock to see that Thomson is adept at producing savvy imagery. More interestingly he has created an environment that fizzes with energy, a ghost story for our web-2.0 fireside.

[Ben Robinson]

WWW.GENERATORPROJECTS.CO.UK

BA [Hons] Acting for Stage & Screen* BA [Hons] Communication, Advertising & PR BA [Hons] English BA [Hons] English & Film BA [Hons] Journalism BA [Hons] Photography & Film BA [Hons] Popular Music BA [Hons] Television* BDes [Hons] Design & Digital Arts* BDes [Hons] Graphic Design BDes [Hons] Product Design BDes [Hons] Interior Architecture BMus [Hons] Music *direct entry to 3rd year only

Application deadline 15th January 2011 Visit www.ucas.ac.uk for more details

School of Arts & Creative Industries www.napier.ac.uk/sci 50 THE SKINNY NOVEMBER 2010

Image: Kaylie Allan, BDes (Hons) Graphic Design

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READING

REVIEWS SURFACE DETAIL

NEMESIS

ELLIOT ALLAGASH

BY PHILIP ROTH

BY SIMON RICH

BY IAIN M BANKS

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This is Iain M Banks’ 11th sci-fi novel, and 8th featuring the utopian socialist space society The Culture. The plot revolves around events in a less advanced society, where a slave called Lededje Y’breg (in scifi, no-one can call you Sharon) attempts to escape her owner, fails and is killed… or so it would seem.

But The Culture bring her back, and thus begins one of the best types of plot, a revenge plot. There’s also a war going on, in a virtual reality, in order to put an end to hell. Or hells. Really, it’s best to read it to get the idea. Or ideas. The book is so crammed with information that Banks can occasionally seem to be skimming through, say, vast histories of events in The Culture to get to a good bit. That said, these histories are interesting enough to make you want more detail, and you will read on compulsively because it’s a compelling plot. Lededje’s quest to get revenge upon her hissable ex-owner Veppers is a great spine around which Banks can structure various other, more complicated plots, which eventually collide with the main strand. As usual for a Culture book, it’s a great read. [Ryan Agee]

DIGITAL

OUT NOW. PUBLISHED BY ORBIT. COVER PRICE £18.99

BLIGHTY: A CYNIC’S GUIDE TO BRITAIN

BY STEVE LOWE & ALAN MCARTHUR

rrrr

Philip Roth’s last book, The Humbling, was rather poor, and his previous two, Indignation and Exit Ghost, were okay but not up to his high standards. It is a joy to be able to say, then, that Nemesis is up to those high standards and then some. It’s a book set in Newark, a common Roth setting, because it’s his home town, but it’s set in 1944. The main character is Bucky Cantor, a 23 year old who was exempted from the draft because of his eyesight, but clearly feels guilty about this, especially as his friends have gone to war. The guilt theme is then expertly developed, as a polio outbreak affects the community, and Bucky, who works as a playground director, has to watch as children he knows gradually succumb to the disease. And although he’s well respected in the community, and there’s rarely a harsh word said to him, Roth somehow keeps him in doubt and off balance. Eventually Bucky gets out of town to a summer camp where his girlfriend works… but guilt follows him there too. It should be a slight story, but the precision of the writing and the handling of themes make this a stunning return to form for Roth. [Keir Hind]

Elliot Allagash, the book’s namesake and driving character is a blatant mash up of John Irvine’s Owen Meany, and the rich brat from Kick-Ass: a 15 year old chauffeurdriven, scrawny genius with a sickly constitution, a penchant for martinis and a megalomaniacal millionaire for a father. The characters are unoriginal, and the plot follows suit: Allagash targets dumpy, unpopular Seymour because he needs a new hobby – making Seymour the most popular boy in school (Hark! Emma; Clueless). The story is told through Seymour’s eyes and what follows is a couple of years filled with strategic ploys, games and purchases ultimately making Seymour the epicentre of cool. But then, in a ‘cruel twist’, Seymour begins to question the integrity of his friendship with Allagash and what follows is a clumsy and dull introspective period for both characters. Simon Rich is a young author, and has some kudos in US comic circles, but this novel, aside from its blatant plagiarism, is clumsy and weak, and its attempts at humour unfortunately fall well short of laugh out loud or even silent appreciation. Rich should do 30 back to back shows at the Edinburgh fringe, that’ll sort him out. [Renée Rowland]

Britain: you thought it was all about Cameron, Clegg, Simon, Cheryl and Churchill (the talking dog, not the wartime leader). Turns out there’s a lot more to it than that. Blighty is billed as ‘a cynic’s guide to Britain’. But it’s more silly than sarky. Steve Lowe and Alan McArthur trek across the country (and Gibraltar) in search of quintessentially British experiences – the Last Night of the Proms, a charity polo match, an Eisteddfod. Along the way, they lob in historical factoids, offer comical observations and grab a sound bite from Prince William. Delivered in a breezy tone, it’s not unlike being given a guided tour of Windsor Castle by Harry Hill. But amidst the chirpy bonhomie, the authors let off a few stink bombs. Such as highlighting the SNP’s love-in with a “world-famous homophobe”, and naming one of Britain’s top ten racists as Churchill (the wartime leader, not the talking dog). Approaching journey’s end, they reflect on the nature of Britain. Who are the English? When was Wales? Why is Garry Bushell? The first two questions are easy enough.

Answering the third may require another volume.

[James Carson]

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APP-LICABLE SKILLS The new summer job is all in your pocket WORDS: ALEX COLE ILLUSTRATION: SAM BREWSTER

BITE-SIZED TECH NUGGETS WITH ALEX COLE

THE FEED

SIDE JOBS usually have two main hallmarks: they reflect skills we love and kinda wish we could make a living off of, and that there’s no way in hell we could manage to achieve that. Making purses and doing some photography on the side can pull in extra cash, but can’t always make ends meet. And if your skills lie in sitting at the computer all day, a few years ago there wasn’t much on offer for you.

But today we have apps. And making an app is the kind of job that can almost replace cutting lawns in the summer.

While tiny little widgets have been around for years, Apple introduced the world to the app that lives on the mobile, and that these can be written by anyone, and then sold. After a rocketing number of apps and purchases transformed the mobile forever, other big names like Android got in on the marketplace goodness and made their own app stores. While the process is slightly different in some cases, the money-making potential is much simpler: find something you’d like your mobile to do, code an app on your own machine, post it in the app

store; and if it’s approved, make a chuck of change.

Course, it’s not always that simple. For Apple’s tightfisted, walled-garden approach to apps, you’ll need to know a bit of Objective-C, have a Mac to begin with, and have to get your app approved (which can be a dicey prospect), as well as making sure it works for the iPhone, iPad, and their varying versions. Also, they take a huge chunk of your profits to boot. For Android, it’s much easier to get your app up, and you have a lot more freedom in how you put it together – there’s even a prototype version of a simple app builder, which turns the process into something like a Flash game. Still, you don’t yet have quite the audience that Apple does.

But the most telling thing about these new app developers is their age – there are a whole slew of coders under 16 making apps that, on their own, sell for a few quid, but after millions of downloads, have turned a few weeks' work into a full-time business. Best of all, you don’t have to be hired by anyone to start.

Just don’t work on any fart apps. We’re full up.

CIVILIZATION V PUBLISHER: 2K GAMES RELEASE DATE: 24 SEP PLATFORM: PC PRICE: £26.99

rrrrr The Civilization series has always struck something fundamental in many categories of gamer, mostly because you can get exactly what you want out of it, and nothing you don’t. Like world domination with mass armies? Knock yourself out. Like micromanaging and number crunching? Go to town.

History buff? Well, just roll up your sleeves.

Civ V is the next major addition to the line-up, and it’s a beaut. The landscape looks lush and the water glistens in the sun, and that’s just a backdrop for armies of pikemen and cannons

knocking each other senseless. The game has a great art-deco UI that really suits the series, and watching armies literally charge into each other and die in battle is neverending fun.

The gameplay goes a long way towards simplifying the choices for n00bs. You get a clear sense of what discoveries lead to certain units and wonders, and you can either tinker with every detail or just let the AI handle the details for you. New options like turning a captured city into a puppet state make upkeep a lot easier, and in general the choices you make are less all-or-nothing decisions and more about making the game match your play style.

Civilization is great fun, and if the huge modding community from the previous game is any indication, this is the game that will keep on giving for a long while to come.[Alex Cole]

GOOGLE ROADTESTING FLEET OF SELF-DRIVING CARS; NOT SCARY AT ALL • MOBILE NUMBERS REVEALED ON FACEBOOK, STALKING SUDDENLY AS EASY AS FRIENDING • BLU-RAY CODE REVEALED, ANTI-PIRACY GUYS SWEAR THEY’LL TRY SOMETHING JUST AS POINTLESS NEXT TIME • BLACKBERRY PLAYBOOK ANNOUNCED, POTENTIALLY FIRST BB PRODUCT TO BE NAMED ‘AWESOME’ • EVERYBODY DENIES RELEASING THE STUXNET VIRUS, IRAN WONDERS WHO PUT ‘KICK ME’ SIGN ON IT • ‘THE SOCIAL NETWORK’ GETS SOLID REVIEWS, CAN A FARMVILLE MOVIE BE FAR BEHIND?

NOVEMBER 2010

THE SKINNY 51

Photo by Laurence Winram

PERFORM

Venue of the Month:

TrAVERSE A veritable institution of Scottish Theatre, which remains contemporary, fresh and experimental WORDS: SALLY SMITH

Straddling dual roles is a task taken in the stride of the Traverse Theatre. An accessible centre for new writing in Scotland, the theatre has been a long stander on the Scottish Theatre scene, building on each success in its various locations within the capital throughout its history spanning almost five decades.

Since 2008 the theatre’s direction has been led

by Artistic Director Dominic Hill; who, whilst fully embracing the principle role of ‘Scotland’s New Writing Theatre’, isn’t afraid to recognise the potential of adapting work by contemporary playwrights and opening its doors to some of the country’s best modern works from varied and innovative touring companies. This convergence of sorts works to forge the dual space theatre’s reputation for producing quality contemporary performance.

This November The Trav (as it is affectionately known) teams up with acclaimed site specific company Grid Iron for an Autumnal co-production of Spring Awakening (2-13 Nov): the combination will no doubt ignite Frank Wedekind’s controversial critique of the claustrophobia of sexually oppressive German culture. This production is adapted to turn of the century Scotland struggling under the control of Calvinist rule whilst looking to the emerging freedoms of continental Europe. Using a giant classroom as a metaphor for the learning curve of adolescence, rebelling against the restrictions of the adult world that are seen to be confining blossoming sexual intrigue.

Ascendancy undergoes further inspection, and the programme takes on another genre, as Music Theatre Wales tours to Scotland with Philip Glass’s chamber opera In The Penal Colony (16 Nov). Based on a dark short story examining the justice system, the work contemplates man’s inhumanity and intolerance and the cruelty of authority, with Glass’s haunting music a strong platform for this intense psychological work.

Psycho-analytical opera may sound a little

ponderous for your taste, however, the programme really is accommodating: mid-November sees the launch of the theatre’s second annual Autumn Festival, including dance, music and puppetry for all ages; and they mean all ages. Baby O (16 & 17 Nov) is an interactive aural adventure from Scottish Opera. Created for babies, the multisensory music experience within an interactive secret garden proves it is never too early to enjoy the arts; and for those already on the road, Saturday Stories (27 Nov) with Andy Cannon promises to whisk the over 5s away in many an adventurous tale of a weekend morning.

Even if the theatre is not your natural stomping ground, in which case you can test the water in the comfort of the funky Trav Bar for Noisy Words (18 Nov), a one-off event combining composers and writers, for an impromptu medley of creativity. Also, if you are a paid-up member of the creative crowd then they are inviting writers to submit proposals for the event.

For those more intrigued by the physical than the vocal, Fran Darkin’s London based company are performing Disgo (18 & 19 Nov). This interactive work merges dancers and audience with the company’s signature theatrical choreography. Bathed in an immersive light and sound the piece promises to be intimate not intimidating. Alternatively, Scottish Dance Theatre’s powerful bill of five varied dance pieces builds on their success at last year’s Fringe.

And lastly, if you’ve ever pondered theatre from the critic’s side of the stagelights you may find some insight in An Evening with Gareth K Vile (20 Nov). Yes, that would be this very magazine’s Performance Editor, and yes, this would be a shameless plug. Are critics really just failed performers carting around the proverbial chip on their shoulder? All will be revealed in this chat show merging of critical theory and entertainment.

PREVIEW Scottish Dance Theatre Dundee Rep, 16-18 Nov, Traverse, 21 Nov, Tramway, 24-25 Nov

With a tour schedule that takes them from Glasgow to Aberdeen and back again, with a few stops en route, plus a programme of works exhibiting the range of the company’s repertoire, neither geography nor picky personal preferences should be an issue. These technically exquisite and utterly engaging performers from the Scottish Dance Theatre never cease to amaze.

For those who failed to catch them at the Fringe, look out for showings of The Life and Times of Girl A, NQR and Drift. Ben Duke’s highly theatrical Girl A combines dance and text in a humorous narrative, while NQR explores integrated performance and the concept of ‘normality’. Equally contrasting is Drift, choreographed by James Wilton, which is a fearlessly physical duet that will satisfy the desires of those who appreciate an element of danger in their dance.

Also on display are pieces devised by the

Spring Awakening (2-13 Nov)

www.traverse.co.uk

PREVIEW multi-talented company members. A Little Shadery, Dreamt for Light Years and The Long and the Short of it have all been developed in-house and indicate SDT’s capacity for innovation. “Creativity is our real currency,” notes Artistic Director, Janet Smith. “We want to experiment with more fluid performance events, so we have an alternative behind-the-scenes performance coming up at The Rep this Autumn called Backstage Pass.” This intimate encounter is set to tear down traditional dancer/spectator boundaries and is one for the adventurous.

If eager to learn more about the company and the creative process, then book for SDT Interactive or attend one of the pre-show talks. With such an array of events on offer, this pioneering company has left us spoilt for choice. [Laurin Campbell] Dundee Rep, 16-18 Nov, 7.30pm, various prices Traverse, Edinburgh, 21 Nov 7.30pm, various prices Tramway, Glasgow, 24-25 Nov, 7.30pm, various prices www.scottishdancetheatre.com

The Monster in the Hall Citizens Theatre 2 - 13 Nov

“The thing about teenagers is that their starting position is that you’re probably bullshitting them.”

So says acclaimed playwright David Greig, a writer with a proven track record in creating interesting scripts. “So, you have to win them.” The latest play Greig hopes to win audiences with is The Monster in the Hall. In it, a young woman has to care for her eccentric father, who suffers from MS, and fears the authorities will interfere.

The idea came from a guidance teacher who spoke about a bright but troubled student. “She was having to look after her mum and was worried about Social Services finding out she was doing that because she was afraid

52 THE SKINNY November 2010

they would want to separate them. I just thought that was interesting. I didn’t know about that sort of world, that there were kids in that situation.”

To better understand the situation, Greig did a series of workshops with youths who were carers. “I got a lot from them, their stories, and it all snowballed from there.” However, the play itself isn’t based on real events. “It’s total fiction. In fact, in some places it’s improbable fiction and is actually a farce.”

Though Monster is billed as a play for teenagers, Greig thinks it will play to a larger audience. “If you write a good play for teenagers, then everyone will like it because what you’ll have to do in order to make it work is have really good characters and a really good story with good humour.”[Michael Cox] Citizens Theatre, Glasgow 2 - 13 Nov, 7.30pm Various prices

COMEDY

In Profile: JASON COOK

TO BE USED FOR THE SKINNY ONLY

“I never travel without my diary. One should always have something sensational to read in the train.”

It’s a chance for him to tell some great stories, like accidentally knocking dolphins unconscious and helping incompetent muggers words: BERNARD O'LEARY ILLUStration: Running for crayons

By Oscar Wilde

22 October–20 November 2010 Riding a unicycle, running a half-marathon, taking a picture of himself every day for a year, drinking tea through a Kit Kat… these are some of the things Jason Cook is going to be doing over the next twelve months. They are all based on suggestions from Edinburgh audiences when he debuted his new show, The End (Part I), at this year’s Fringe. But this isn’t simply another comedian taking on wacky bets. “The whole point,” he says, “is, at the end, to see if I’m happier.”

Jason doesn’t seem like the kind of person who needs “recipes for a better life”, as he calls these challenges, to be happy. A genial Geordie with startlingly quick comic reflexes, he learned his trade as an MC in unforgiving venues like Newcastle’s Hyena Club before founding the anarchic comedy night Jason’s Asylum in Manchester. On stage, he’s energetic and engaging and has a flair for bonding with the crowd. He’s warm and kind during audience interactions, although he denies this. “I’m really not! I’m a complete cunt to them, I just do it with a smile and apologise after.”

His solo Edinburgh debut, 2007’s My Confessions, gave a glimpse of his more introspective side.

The deeply personal material, delivered without

embellishment or poetic license, reduced audiences to tears and was voted one of the best shows of the last decade by Chortle. The End (Part I) continues in that vein, dealing with a near-death experience and how it made him question his life so far.

It’s a chance for him to tell some great stories, like accidentally knocking dolphins unconscious and helping incompetent muggers. He admits to a lot of his own failings, even reading out an embarrassing email from his wife about how highmaintenance he is, whilst inviting the audience to think about what really makes them happy. Whilst the current show tours the UK – with dates in Edinburgh, Glasgow and Aberdeen this month – Jason will be working his way through the twenty tasks set for him. Negotiations are currently ongoing to turn this into a TV show and we can definitely expect The End (Part II) at next year’s Fringe.

Does he think he’ll come back a happier person next August? “Well, if I drag myself onstage crying and shitting I think we’ll all know how it’s gone.”

BOX OFFICE: 0131 248 4848 GROUPS 8+: 0131 248 4949 www.lyceum.org.uk/earnest Company No. SC062065 Scottish Charity Registered No. SC010509

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T H E

Jason Cook: The End (part 1) The Lemon Tree, Aberdeen, 6 Nov, 7.30pm, £10 The Stand, Edinburgh, 7 Nov, 8.30pm, £9(£7) The Stand, Glasgow, 8 Nov, 8.30pm, £9(£7) www.jasonlovescomedy.com

New Act of the Month:

Matthew Winning Age: 25 Based in: Glasgow (originally from Paisley) First gig: March 2009 Number of gigs: Over 200 How did you get into comedy? I’ve always had an interest in writing comedy, when I was younger I used to do a lot of stuff with my friends just for fun – making videos, that sort of thing. I thought stand up would be a good way to get into writing comedy by myself. So I signed up for Vic Gee’s course [at the University of Strathclyde] in 2009. Then in 2010 I was in the final of the Chortle Student Comedy Awards.

Comedy courses are great for giving you confidence to get up on stage, and I did learn a lot, but I learn more from gigging. The pitfalls of these courses is that people can think that once they’ve done it, that’s them a comedian. I’ve always learned you need to do at least 50 gigs before even thinking about whether you’re funny.

How would you describe your comedy? I really just do stuff that would make me laugh or that I’d like to see on stage. For me it’s really important to write for myself and not worry about what others think. That way, you deliver jokes more honestly, which audiences can sense. I don’t believe in doing

“One of the most vivid renderings of Wilde’s play for some years.”

The Herald

COMEDY CLUB LIVE COMEDY

7 NIGHTS A WEEK jokes for jokes’ sake; they need to be original and interesting, and give an insight into your persona.

Who are your heroes on the Scottish comedy scene? Something I find very annoying is that there are some absolutely fantastic acts in Scotland who don’t get nationwide recognition; people like Paul Sneddon [the man behind Vladimir McTavish and Bob Doollally] and Mark Nelson. Mark was very supportive when I first started, and just watching him really inspires me. It’s not that we necessarily do the same type of comedy, but he’s just such a good writer, and so good at what he is doing.[Lizzie Cass-Maran] Catch Matt gigging all over Scotland this month: Edinburgh: Absolute Beginners, The Beehive, 1 Nov, 8pm, £2 (£1) Glasgow: State Bar, 13 Nov, 8:15pm, £6 (£5) Aberdeen: SNAFU, 16 Nov, 8pm £5 (£4)

333 Woodlands Road, Glasgow

0870 600 6055 5 York Place, Edinburgh

0131 558 7272 www.thestand.co.uk

November 2010

THE SKINNY 53

COMPS

Win a Korg MicroKorg XL plus accessories with RUBADUB! As RUBADUB continue to celebrate 18 years of business and the launch of their new website, we've teamed up with our RUBADUB brethren once again to offer you the chance to win the most sought-after compact synthesiser of the moment: the Korg MicroKorg XL. We're also giving away a case, good quality headphones and cables for you to integrate it with your music set-up.

The ubiquitous MicroKorg has become something of a staple in the music scene worldwide, being used by everyone from Mike Patton to Moodymann. Its successor, the imaginitively titled MicroKorg XL, is fast becoming another success story with bigger sounds and an even better feature set than its predecessor. A musthave synth for anyone in the business.

RUBADUB is an independent music store and distributor based in Glasgow, owned and run by music enthusiasts. Specialising in all things underground and electronic, RUBADUB have been supplying music equipment, vinyl and CDs to musicians and music lovers alike for the last eighteen years. Whether you’re after the latest slab of vinyl or a full studio setup, the friendly and knowledgeable staff at RUBADUB will be able to help.

Vino how to party – win a wine-tasting event!

Edinburgh-based independent wine retailer Vino Wines are offering Skinny readers the chance to win a wine tasting session for you and up to 15 friends. Or, at least they'll become friends once the evening ends.

Besides stocking a wide selection of superior wines (as the name would suggest), beers, malts and spirits, Vino Wines offer regular tasting events. October has already seen cocktail masterclasses, an Australian wine special and a visit from brewing iconoclasts Brewdog With stores in Comiston Road, Broughton Street and Grange Loan, Vino Wines are already well-placed to offer their expert knowledge of wine, beer, malts and spirits to the discerning connoisseur.

For more information on forthcoming events, visit www.vinowines.co.uk.

Q: Which European country is the largest producer of wine in the world?

Closing date: Friday 26 November To enter, visit www.theskinny.co.uk/competitions Terms and Conditions: For the facts, Drinkaware.co.uk. Entrants must be 18 years of age or over.

54 THE SKINNY November 2010

Q: Name the MicroKorg XL’s predecessor.

Closing date: Friday 26 November

To enter, visit www.theskinny.co.uk/competitions

Win brugal rum and original artwork Brugal Rum is bringing a true taste of the Caribbean to the Scottish capital this autumn, introducing Edinburgh to the laid back style of its homeland and splashing some of its Dominican spirit across the city.

Taking inspiration from the Dominican Republic's thriving street art culture, artists Conzo, Rekor and Syrkus, Lyken and Vues took part in a live paintbox event on Castle Street on the 15th and 16th October. To find out more turn to page 16.

To celebrate we are giving one Skinny reader the chance to win an original piece of art created

by Syrkus and five runners up will receive a bottle of Brugal Añejo Golden Rum.

Q: Which artist took part in the Brugal paintbox?

A BANKSY B SYRKUS C ROLF HARRIS Closing date: Friday 26 November To enter, visit www.theskinny.co.uk/competitions Terms & Conditions: Entrants must be 18 years or over.

The prize is non-transferable and there is no cash alternative. For full conditions please see www.theskinny.co.uk/competitions

Glasgow music Tue 02 Nov

Moss

NeverSayDie!,ParkwayDrive,ComebackKid,BleedingThrough,Emmure, Your Demise, We Came As Romans

Ambient alternative.

Captain’s Rest, 20:00–23:00, £tbc

Showtek (Sied van Riel, Kutski B2B Dutch Master, MCDV8) O2 Academy, 20:00–23:30, £15

Hardstyle beats.

Vaccines Captain’s Rest, 20:00–23:00, £5

Dub pop.

Casiotone For The Painfully Alone

Bloc Party mainman.

The Fiction

Esoterica

Rock and blues covers.

O2 Academy, 20:00–23:30, £10

Alternative rock.

Top Oxjam line-up.

In aid of Yorkhill Children’s Foundation.

Pivo Pivo, 20:00–23:45, £5

Indie pop, rock and soul.

Metal hardcore.

Atomic Blondie

Bismarck,DeathbyAmbition,Centrix

Oxford minimal pop quintet.

Moss

XY Vs XX (Willie G Trio, Rell, Luigi Strauss)

Ste McCabe, Stella Zine, Glasgow Glam Bangers

Ambient melodic pop from Holland.

Pivo Pivo, 20:00–23:45, £7 (£6)

Captain’s Rest, 20:00–00:00, £5

Trio of live bands.

Chris Devotion and The Expectations

Them:Youth

Rock with a capital ‘R’.

Gambetta, 19:30–22:30, £tbc

Nice ‘n’ Sleazy, 19:30–23:00, £tbc

Indie types.

13th Note, 21:00–23:30, £tbc

Gorilla Movement The Wise Monkey, 21:00–00:00, Free

Acoustic Session

Funk, soul and blues.

Open mic hosted by Ross Clark.

The Good Fight, Pareto, Terry Balfour

Oran Mor, 19:30–00:00, Free

Dr Mango and the Chick Peas Tchai-Ovna, 20:00–22:00, £2

Traditional and contemporary music.

Bloc+, 21:00–00:00, Free

Indie pop and acoustic.

Dry The River, Washington Irving

Fri 05 Nov

Pop and folkiness.

Sondura, Toy Fires, Tempercalm

Come On Gang, The Seventeenth Century, I Build Collapsible Mountains

Rock and pop.

Noise pop and acoustic folk.

Captain’s Rest, 20:00–23:00, £5

King Tut’s, 20:00–23:00, £5

XY Vs XX (The Lotus Project, The Carol Creighton Band, Joanne Summer, Debbie Kate) Pivo Pivo, 20:00–23:45, Free

Battle of the sexes.

Tuesday Music Club

Butterfly & Pig, 20:30–12:00, Free

Open mic night.

The Glasgow Slow Club Bloc+, 21:00–00:00, Free

Classic Grand, 19:00–22:00, £6

The Reasoning O2 ABC, 19:00–22:00, £12

Guitars and harmonies.

Audio Driver, Laura Osbourne & the Lorrettes, David McDonald, Franny McKeown

The Ferry, 20:00–00:00, £12

Battle of the sexes.

Halt Bar Hijack

Blochestra

Halt Bar, 20:00–00:00, Free

Underground band takeover.

Fury & The Ambassadors

Fri 12 Nov

O2 Academy, 19:00–22:30, £26

INSTAL 10

The Wise Monkey, 21:00–00:00, Free

50s rock and soul.

35th anniversary tour.

Revelry Thieves, Calm as The COlour, Velvet Audio, Sons of The Morning Star

Ash

Box, 21:00–00:00, Free

Shiverin Sheiks

Musical showcase.

Slouch, 21:30–23:30, Free

Wild Nothing

Sun 07 Nov

Stargaze synth melodies.

DevilDriver, 36 Crazyfists The Arches, 18:30–23:00, £17

Modern metal.

Cheap Trick

XY Vs XX (The Miss’s, Floryn and Lauryn, Pamela Quinn)

Nice ‘n’ Sleazy, 19:30–23:00, £4

State Bar, 20:00–22:30, £4

The Stones Roses Experience (The Cairos) Maggie May’s, 20:00–22:30, £6

O2 Academy, 19:00–22:30, £tbc

Alternative rock.

Rezurex, Zombina and the Skeletones, Gin Goblins Stereo, 19:00–22:30, £7

Indie, punk and pop.

Tribute night.

Kate Walsh (Jono McCleery) King Tut’s, 20:00–23:00, £12

Acoustic folk.

Captain’s Rest, 20:00–23:00, £tbc

Man At The Window (Jono) Pivo Pivo, 20:00–23:45, Free

Dub reggae supergroup.

Mitchell Museum (Miniature Dinosaurs, Miaoux Miaoux)

Dire Straits tribute.

Pivo Pivo, 20:00–23:45, £4

Classic Grand, 19:00–22:00, £12

Punk stalwarts.

Edwyn Collins

Money For Nothing

Unsigned Glasgow talent.

The Ferry, 20:00–00:00, £12

Jacob Yates & The Pearly Gate Lockpickers (Male Pattern Band, Black Jash)

Nice ‘n’ Sleazy, 19:30–23:00, £7

Cry Parrot showcase.

Foxy Shazam, Neon Trees

Unsigned indie, rock and pop.

King Tut’s, 20:00–23:00, £7

Pivo Pivo, 20:00–23:45, £4

Soulful rock and pop.

Openmiking

TheLibertyClub,AnaTrashandthe Sociopaths, TV Revo, Crystalline

Turn up and do your thing.

Halt Bar, 20:30–23:00, Free

Lev & Friends

Acoustic punk and rock.

The Rudiments

Jazz and gypsy faves.

Pivo Pivo, 20:00–23:45, £3

Cafe Cossachok, 21:00–23:30, £6

Classic Grand, 19:00–22:00, £8

Folk pop, indie and punk.

Bloc+, 21:00–00:00, Free

Butterfly Strategy Butterfly & Pig, 21:00–12:00, Free

Acoustic acts; local and far-flung.

Mon 08 Nov

Live indie pop and DJs.

Vinyl Night

Glaswegian hard rockers.

Full metal racket.

Hip-hop, mod, funk and ska.

The Nimmo Brothers

O2 ABC, 19:00–22:00, £6

Oran Mor, 19:00–22:00, £15

Local brothers play the blues.

Akala

Meursault, Olympic Swimmers, Happy Particles

Hippity-hop rock. In ABC 2.

Trio of talent.

James Walsh

Wolfe Tones

Stereo, 19:00–22:30, £5

Classic Grand, 19:00–22:00, £10

Open Mic Night Cathouse, 19:00–22:00, Free

Open mic with a karaoke twist.

Wavves, Otherpeople, Paws The Arches, 19:30–22:30, £9

Experimental trio.

Acoustic Open Mic Nice ‘n’ Sleazy, 19:30–23:00, Free

Microphone free-for-all.

Starsailor man goes solo.

Barrowlands, 19:00–23:00, £16

Acoustic folk.

Salsa Celtica (Julie Fowlis)

Universal You

Donald Macdonald & The Islands, Wedge DJs

Celtic and Cuban fusion.

Glam rock.

Indie folk busking session.

Strawberry Ocean Sea, The Only Jones, The Doys

Hollowtin Sorrows, Underclass, Demolition Party

Yaman

O2 ABC, 19:00–22:00, £16

King Tut’s, 20:00–23:00, £6

Furious electronic songwriter.

Single Skin Promotions

Freedom Call, Neonfly, Farseer

Oran Mor, 19:00–22:00, £10

Kid Adrift

Rock types.

Roses Kings Castles, Fiction Faction, Reverie

Nice ‘n’ Sleazy, 19:30–23:00, £6

Spoken word and acoustic music.

Annie Stevenson, Driller, Devour Maggie May’s, 20:00–22:30, £5

The Liquid Ship, 19:30–01:00, donations

Tchai-Ovna, 20:00–22:00, £2

13th Note, 21:00–23:30, £tbc

Charogne Stone, Mr Mercaille

Butterfly & Pig, 21:00–12:00, Free

Hip-hop, mod, funk and ska.

Thu 11 Nov Philip Sayce (Marcus Bonfanti) O2 ABC, 19:00–22:00, £12

The Mezingers, Leagues Apart, The Stay Gones

Box, 21:00–00:00, Free

Slouch, 21:30–23:30, Free

Rock covers.

Sun 14 Nov INSTAL 10

13th Note, 20:00–23:30, £tbc

Indie punk and powerpop.

XY Vs XX (Iona Marshall, Shauna Joy, Ashleigh Moyes, Rona Topaz) Pivo Pivo, 20:00–23:45, Free

Classic Grand, 19:00–22:00, £6

Acoustic folk.

Oil City Confidential O2 ABC, 19:00–22:00, £tbc

Punk rock.

The Coral

O2 ABC, 19:00–22:00, £19

Alternative rock.

Wilko Johnson Band O2 ABC, 19:00–22:00, £13

R’n’B singalong. In ABC 2.

Goldfrapp

O2 Academy, 19:00–22:30, £22.50

Electronic pop loveliness.

Battle of the sexes.

Jimmy Eat World

Tuesday Music Club

Alternative emo rock.

Butterfly & Pig, 20:30–12:00, Free

Barrowlands, 19:00–23:00, £tbc

Open mic night.

Butterfly Fridays

Three days of events that explore unaverage ideas about sound and music.

The Glasgow Slow Club

Resident bands and DJs.

Diana Vickers (Spark)

Relaxed night with guest musicians.

Tramway, 15:00–00:00, £10 (festival pass £25)

O2 ABC, 19:00–22:00, £13

X-Factor pop poppet.

Faderhead (Uberbyte, Surgyn)

Bloc+, 21:00–00:00, Free

Wed 17 Nov

LCD Soundsystem

Butterfly & Pig, 19:00–03:00, Free

Jools Holland

SECC, 19:30–22:30, £32.50

Eclectic pianist.

Kobra and The Lotus

Nice ‘n’ Sleazy, 19:30–23:00, £tbc

Barrowlands, 19:00–23:00, £21.50

Electronic music assault.

Disco funk takeover.

Metallic rock.

No Dancing (Withered Hand, Ambulances, q without u, Galoshins)

A-Ha

City of Statues, Keava, In The Wilderness

Singalong rock.

Stereo, 19:00–22:30, £6

Indie pop and aocustic rock.

Vom, Cosmic Dead, Xavier and the Bastard, Noma

SarahBlasko,TheTiny,LauraHealy

Nice ‘n’ Sleazy, 19:30–23:00, £5

Assertive pop, folk and rock.

Classic Grand, 19:00–22:00, £10

Maggie May’s, 20:00–22:30, £5

King Tut’s, 20:00–23:00, £6

Experimental pop and indie folk.

SECC, 19:30–22:30, £tbc

Indie, psych and experimental.

An Evening With Heather Peace Sloans, 20:00–23:00, £8.50

AcousticeveningwiththetheLipServicestar.

Wolf Gang King Tut’s, 20:00–23:00, £7

Maggie May’s, 20:00–22:30, £5

King Tut’s, 20:00–23:00, £8

Trash Talk

Captain’s Rest, 20:00–23:00, £8

Experimental types.

The Rose Parade

Pivo Pivo, 20:00–23:45, Free

Indie rock.

Pivo Pivo, 20:00–23:45, £3

Creation Studios Present

From Russian With Lev

Live showcase.

Russian and Klezmer folk.

Cafe Cossachok, 21:00–23:30, £6

Openmiking

What’s That Noise?

Turn up and do your thing.

Breakdown Bands (Hiroshima Blackout, The Lift Shake Incident, Face the Sun, Fool On, Streetlights, Baby Taylor)

Live band showcase night.

Acoustic Tribute Night

Live bands night.

Pivo Pivo, 20:00–23:45, Free

Bloc+Jam

Postcard Vs Factory tribute singalong.

Who’s Next

Acoustic jam. Good with toast.

Detour 1st Birthday

The Ferry, 20:00–00:00, £12

Butterfly Strategy

Fresh Scottish tunes.

Folk trio.

The Floe, Sharon Martin, Another Love Party, Steven Milne King Tut’s, 20:00–23:00, £5

Pop, acoustic and electro.

Glasgow Ska Train Live ska.

The Who tribute.

You Already Know, Dead Otter, Circle Of Tyrants 13th Note, 21:00–23:30, £tbc

Alternative, electro and thrash metal.

The Beat Seekers Slouch, 21:30–23:30, Free

Sat 13 Nov

Vinyl Night

Altered Sky, Ghost Ride The Whip, Censor Thoughts, Fireproof Match

Jeana Leslie, Siobhan Miller

Rock with a capital ‘R’.

Muso (Mickey 9’s, Codeen) Live indie pop and DJs.

King Tut’s, 20:00–23:00, £7.50

Experimental.

Oran Mor, 19:00–22:00, £17

Pop and rock.

Alternative indie pop.

Rock and R’n’B.

Buff Club, 21:00–03:00, £4 (£3)

Gold Panda

Fri 19 Nov

Boyce Avenue

Marshall’s Place

Bloc+, 21:00–00:00, Free

Experimental types.

Tchai-Ovna, 20:00–22:00, £3

Garage punk and new-wave.

The Sexual Objects, Flesh, Wake The President

Jazz classics and modern standards.

Grouper, Lawrence English, Rafael Anton Irisarri

13th Note, 21:00–23:30, £tbc

Indie and mod charity showcase.

Brel, 19:30–22:30, £5

Relaxed acoustics.

Tchai-Ovna, 20:00–22:00, £2

Jazz session with bassist Gus Stirrat.

CCA, 19:30–23:00, Free

Captain’s Rest, 20:00–23:00, £7

Buff Club, 21:00–03:00, £4 (£3)

O2 ABC, 19:00–22:00, £8

Wed 10 Nov

Drive-By Truckers

Scragfight, No Fit State, Witches Revenge

Seeds of Thought

Esben and The Witch (Gallops)

The La Barrons (Static Acts, Restless Sinners)

Thu 04 Nov

Relaxed night with guest musicians.

Oran Mor, 19:30–00:00, Free

Gus Stirrat

Pakistan Benefit Gig

Live Jazz

Eclectic music night.

Butterfly & Pig, 21:00–12:00, Free

Bloc+, 21:00–00:00, Free

Showcase night.

Halt Bar, 20:00–00:00, Free

Underground band takeover.

Experimental types.

Alternative country.

Sat 06 Nov

Muso (Toy Tin Soldier, Foxgang, Nick Scroggie)

The Glasgow Slow Club

Nice ‘n’ Sleazy, 19:30–23:00, £tbc

Halt Bar Hijack

Brel, 19:30–22:30, Free

Johnny Cash tribute

Oxjam Presents

Open mic hosted by Ross Clark.

Indie pop showcase.

Jericho Hill

The Woodwards, Signe Tellefson, Jim Byrne

Turn up and do your thing.

Bloc+, 21:00–00:00, Free

Butterfly & Pig, 20:30–12:00, Free

Open mic night.

The Arches, 19:30–22:30, £10

Indie legend.

Collective Gets Eclectic

Mellow pop.

Tuesday Music Club

Beloved Edinburgh sextet.

Battle of the sexes.

Alternative rock, thrash and metal.

Ska and punk.

Kill Cassidy

Resident bands and DJs.

Broken Records

Rockabilly ninjas.

Slouch, 21:30–23:30, Free

Alternative indie and rock.

Pivo Pivo, 20:00–23:45, Free

Jinx Lennon, The Girobabies, Roscoe Vacant, Billy Liar

13th Note, 21:00–23:30, £tbc

Stereo, 19:00–22:30, £6

O2 ABC, 19:00–22:00, £15

Oran Mor, 19:00–23:00, £15

Openmiking

Halt Bar, 20:30–23:00, Free

British India, St Deluxe, Penguins Kill Polar Bears

Butterfly & Pig, 19:00–03:00, Free

Captain’s Rest, 20:00–23:00, £tbc

Homesick Aldo, James Murray, Manchild

Live music, burlesque and magic.

O2 ABC, 19:00–22:00, £12

Butterfly & Pig, 19:00–03:00, Free

Indie, rock and pop.

King Tut’s, 20:00–23:00, £6.50

Classic Grand, 19:00–22:30, £6

Butterfly Fridays

Failsafe

Rock and pop.

Baudelaire (Buckfast, Whiskey Blitz, The Flying Jalapeneos)

Indie all the way.

Tellison, Thisfamiliarsmile, Pacific Theatre

Lush folk pop.

O2 Academy, 18:30–22:30, £25

Metallic rock.

The Wise Monkey, 21:00–00:00, Free

Stereo, 19:30–22:30, £6

Acoustic Session

Raybandos

Deftones (Coheed & Cambria)

The Arches, 19:00–23:00, £12.50

Pivo Pivo, 20:00–23:45, £tbc

Oran Mor, 18:00–22:00, £10

Clash tribute charity night.

Richie Kotzen

Pivo Pivo, 20:00–23:45, £5

Define Pop Festival (Futuristic Retro Champions, Pooch, Vendor Defender, Epic 26)

Alternative rock.

Pop and punk fusion.

Oran Mor, 19:00–23:00, £21

6 day riot

Ambient rock and experimental.

Glowstick-style party night.

Clash for Kids

Butterfly Fridays

Acoustic Americana.

Nice ‘n’ Sleazy, 19:30–23:00, £tbc

King Tut’s, 20:00–23:00, £10

Three days of events that explore unaverage ideas about sound and music.

New music in Barrowland 2.

Youth music competition. In ABC 2.

Alternative rock.

God Is An Astronaut, The Lava Experiments

Tramway, 11:00–00:00, £10 (festival pass £25)

Cherri Fosphate, The Phaetons

City Sounds 2010

Intimate evening with Divine Comedy man.

The Arches, 20:00–22:30, £7.50

The Wise Monkey, 21:00–00:00, Free

O2 ABC, 19:00–22:00, £18

Barrowlands, 19:00–23:00, £7

Goo Goo Dolls

An Evening with Neil Hannon

Tchai-Ovna, 20:00–22:00, £2

Guitars and bass.

The Scuffers, Andy Tucker and the Scattered family

Stereo, 19:00–22:30, £4

Indie rock.

San Fran and the Siscos

Garage psych and indie.

Hungarian-style ceilidh.

Oran Mor, 19:00–23:00, £5

Indie and alternative.

O2 ABC, 19:00–22:00, £15

TanchazCeilidh(TheJaniLangBand)

Punk and minimal folk.

Motorhead (Michael Monroe, Skew Siskin)

Live band showcase night.

Wed 03 Nov

O2 Academy, 19:00–22:30, £22.50

13th Note, 21:00–23:30, £tbc

Funk, soul and blues.

Sham 69

One half of Outkast.

Tacobells, Pekko Kappi

Tue 09 Nov

Guitar riff rock. In ABC 2.

Big Boi (Theophilus London, Boom Monk Ben, Profisee)

Unsigned rock talent.

13th Note, 21:00–23:30, £tbc

Seditionaries

The Retrofrets, Freaky Jesus, Mondegreen, Amorettes

O2 ABC, 19:00–22:00, £2

Pivo Pivo, 20:00–23:45, £3

Gorilla Movement

Resident bands and DJs.

Orchestral rockers.

Bloc+, 21:00–00:00, Free

King Tut’s, 20:00–23:00, £9

Bring an instrument and join in.

Relaxed night with guest musicians.

Apocalyptica (Pain of Salvation)

Pivo Pivo, 20:00–23:45, Free

Blondie tribute.

Bloc+, 21:00–00:00, Free

Indie, pop and punk.

Back To The Future: Superheroes 7th Birthday (Darren Styles, Mark EG, Breeze, Bass Generator)

Foals (Toro Y Moi, Pet Moon) O2 Academy, 19:00–22:30, £14

Apache Viking, Go Heeled

Demon Hunter

Showcase night.

13th Note, 20:00–23:30, £tbc

Tue 16 Nov

Kele (Cocknbullkid)

Indie, rock and pop.

The Santa Cause (El Dog, Gogobot, The Black Hand Gang, Airplay)

Someone’s Son, Black Velveteens, James Murray, Arsenic & Old Mice

King Tut’s, 20:00–23:00, £10

Captain’s Rest, 20:00–23:00, £8.50

Experimental pop.

Oxjam Present (Miaoux Miaoux, Das Contras, Jay Brown, Andy Miller)

O2 ABC, 18:00–22:00, £14

Local Natives, Superhumanoids

INSTAL 10 Tramway, 14:30–00:00, £10 (festival pass £25)

Three days of events that explore unaverage ideas about sound and music.

13th Note, 21:00–23:30, £tbc

Bloc+, 21:00–00:00, Free

Butterfly & Pig, 21:00–12:00, Free

Acoustic acts; local and far-flung.

Pivo Pivo, 20:00–23:45, £tbc

Halt Bar, 20:30–23:00, Free

13th Note, 21:00–23:30, £tbc

Bloc+, 21:00–00:00, Free

Muso

Punk and experimental electronica.

Sat 20 Nov

Butterfly & Pig, 21:00–12:00, Free

Lahannya

Thu 18 Nov

Indie rock female.

Charger, Conan, Co-Exist

Hauschka (Peter Gregson, Alistair MacDonald, Glasgow Improvisers Orchestra)

Punk, metal and hardcore.

Oran Mor, 19:00–23:00, £10

13th Note, 21:00–23:30, £tbc

Dreamy pop.

Hip-hop, mod, funk and ska.

O2 Academy, 19:00–22:30, £20

Animal Lover, Deadly Viper Guitar Squad, The Red Orchestra

Vinyl Night

Cathouse, 19:00–22:00, Free

Skunk Anansie (The Virginmarys)

Soundhaus, 20:00–03:00, £6 (£5 members)

Beach House

Live indie pop and DJs.

Open mic with a karaoke twist.

The Ferry, 20:00–00:00, £12

U2 tribute.

Buff Club, 21:00–03:00, £4 (£3)

Mon 15 Nov

Open Mic Night

U2-2

Oran Mor, 19:00–22:00, £12.50

Classic Grand, 19:00–22:00, £7

Gothic rock.

Lulo Reinhardt Project O2 ABC, 19:00–22:00, £14

Classic Grand, 19:00–22:00, £8

Gypsy guitar.

Ultimate Eagles

Mike Fantastic (2 Thirds of Youth, Hello Hello, Make this Relate)

O2 ABC, 19:00–22:00, £15

Dusseldorf-based pianist/composer.

Eagles tribute.

The Admiral, 16:00–22:30, £7

Acoustic Open Mic

LCD Soundsystem Barrowlands, 19:00–23:00, £21.50

Microphone free-for-all.

Disco funk takeover.

Leftfield

Define Pop Festival

Pocket Radio, Paul Shevlin

The Electro, trip-hop and house giants are back.

Define Pop Festival Indie pop showcase.

Nice ‘n’ Sleazy, 19:30–23:00, Free

O2 Academy, 19:00–22:30, £5

Disco pop jokers.

Barrowlands, 19:00–23:00, £tbc

Bluesy rock.

Indie pop showcase.

Stereo, 16:00–03:00, £7

Matt Schofield

Macmaster/Hay

Les Savy Fav

Contemporary blues guitarist.

Experimental types.

Jools Holland

Harp and drums loveliness.

Oran Mor, 19:00–22:00, £12.50

Shakey Shakey Promotions

New York indie rockers.

Michael Simons

Boogie Woogie pianist.

The Irrepressibles

Folk and blues fingerstyle guitarist.

Indie and pop showcase.

The Arches, 19:30–22:30, £12.50

Screw This Way (Inner Sight, Rally, Battle For Second Place)

Brel Sessions

Randolph’s Leap (Inspector Tapehead)

Bear, Inner Logic

Pop punk five-piece.

With Laura Wilkie and Sarah Hayes.

Kraul, Jack The Wolf, The Awesomeness

Emeli Sande

Brel, 19:30–22:30, £6

Ten-piece performance orchestra.

Nice ‘n’ Sleazy, 19:30–23:00, £tbc

Punk rock.

A Little Bit of Figaro Tchai-Ovna, 20:00–22:00, Free

O2 ABC, 19:00–22:00, £6

Nice ‘n’ Sleazy, 19:30–23:00, £5

Experimental pop.

Preview of the Scottish Opera’s Marriage of Figaro, featuring a cellist and guitarist.

Thomas Kivi and Sarah Pray

Sonic Hearts Foundation, Blue Nova, Hiva Oa, Stewart Traquir

Singer/songwriters from the US.

The Arches, 19:30–23:00, £13

Tchai-Ovna, 20:00–22:00, £2

Brel, 20:00–22:30, Free

King Tut’s, 20:00–23:00, £7.50

Alternative nu-jazz.

The Blood Arm Captain’s Rest, 20:00–23:00, £8

Tchai-Ovna, 20:00–22:00, £3

Indie rock.

Miscued Vein, The Hype, John’s Weans

XY Vs XX (Donald MacDonald and the Islands, Jack in the Green, James McKay, Mikey Reid)

Nice ‘n’ Sleazy, 19:30–23:00, £5

Maggie May’s, 20:00–22:30, £5

SECC, 19:30–22:30, £32.50

The Plimptons, The Murderburgers, The Kazoo Funk Orchestra, The Paraffins Nice ‘n’ Sleazy, 19:30–23:00, £6

Captain’s Rest, 20:00–23:00, Free

Experimental pop and punk.

Ryan Bingham

Station, Emerald Black, Models For The Radio, The Subordinates

EP launch.

King Tut’s, 20:00–23:00, £13.50

Maggie May’s, 20:00–22:30, £5

Americana rock.

Rock, punk and indie.

Feeding Egon (Cyclephante, Nespresco)

Holy Fuck, Buck 65

Pivo Pivo, 20:00–23:45, £3

Punk rock and lyrical beats.

Steve Hackett

Dirty Keys, New York Tourists, Only Guilty Man

King Tut’s, 20:00–23:00, £11

Indian music on sitar and flute.

Oxjam Presents showcase.

Maggie May’s, 20:00–22:30, £5

Indie and rock.

Dave Dominey

Selective Service (Ewan Butler)

Always Read The Label, Shauna Joy, Always A.M. All-out rock-out.

Alternative rock.

Serious riffs and beats.

Maggie May’s, 20:00–22:30, £tbc

Funked-up bass loops,

Indie, rock and pop.

Battle of the sexes.

Electric rock guitar.

Indie, rock and pop.

Bella Rebel

Tokyo Police Club

Brel Sessions

Sonny Marvello (The Cinnamons, Dirty Demographic, Galleries)

Blochestra

Scottish Enlightenment

Indie pop.

The Arches, 20:00–23:00, £12

Bloc+, 21:00–00:00, Free

Halt Bar Hijack

Indie rock showcase.

Stereo, 20:00–22:30, £5

Ian Siegal, Ben Prestage

Brel, 20:00–22:30, Free

Nice ‘n’ Sleazy, 19:30–23:00, £tbc

Tchai-Ovna, 20:00–22:00, £2

Maggie May’s, 20:00–22:30, £5

Captain’s Rest, 20:00–23:00, £tbc

King Tut’s, 20:00–23:00, £9

With Laura Wilkie and Sarah Hayes.

Maggie May’s, 20:00–22:30, £5

EP launch.

Maggie May’s, 20:00–22:30, £5

Blues songwriters.

Pivo Pivo, 20:00–23:45, Free

Bring an instrument and join in.

Hard rock attitude.

The Ferry, 20:00–00:00, £20

13th Note, 21:00–23:30, £tbc

EP launch.

Pivo Pivo, 20:00–23:45, £5

Halt Bar, 20:00–00:00, Free

Underground band takeover.

November 2010

THE SKINNY 55

GLASGOW MUSIC THE ROLLIN’ CLONES

PULLED APART BY HORSES

THE FERRY, 20:00–00:00, £14

ORAN MOR, 19:00–23:00, £7

THE FIRE AND I (SOMEONES SONS, 6IXTY PERSONS, EYES OWN)

MATT MIDGLEY, DEER CHICAGO, DEAD ROBOTS

Rolling Stones tribute.

Alternative rock from Leeds

STUNTMAN MIKE, 30 SECOND WANK LINE, APE MAN ALIEN, HOUNDS OF AUDIO PRIME

BLACK BREATH (HUSH)

Alternative rock. In ABC 2.

Alternative indie and folk.

THE ARCHES, 19:30–23:00, £8

NUALA KENNEDY

THE ROTISTAS

ALI MURRAY

STEREO, 19:00–22:30, £11

BOX, 21:00–00:00, FREE

Punk and indie.

THE SHIVERING SHEIKS THE WISE MONKEY, 21:00–00:00, FREE

Country rock and bombastic pop.

TALONS BLOC+, 23:00–02:00, FREE

Experimental punk.

SUN 21 NOV

CARIBOU (FOUR TET, JAMES HOLDEN, NATHAN FAKE, ROCKETNUMBERNINE)

O2 ABC, 19:00–22:00, £6

Ska and punk.

THE WISE MONKEY, 21:00–00:00, FREE

EVERY WEDNESDAY

Folk musician from Lewis.

THE NATIONAL (PHOSPHORESCENT)

RAYBANDOS

9pm-1am, FREE.

KING TUT’S, 20:00–23:00, £10

Alternative rock by the daddies.

TCHAI-OVNA, 20:00–22:00, £2

THE PARLOTONES Indie rock.

XY VS XX (AUGUSTALIA, SUSANNA MCDONALD, CHRISTINE BOVILL, LINKY GRAY) PIVO PIVO, 20:00–23:45, FREE

Battle of the sexes.

TUESDAY MUSIC CLUB

O2 ACADEMY, 19:00–22:30, £TBC

THE SKATALITES THE ARCHES, 19:00–23:00, £16.50

Rootsy reggae.

UNDERWORLD (SILVER COLUMNS) BARROWLANDS, 19:00–23:00, £22.50

Ambient electronica.

BUTTERFLY FRIDAYS

Canadian electronic heroes.

TV BUDDHAS

Resident bands and DJs.

LEFTFIELD

13TH NOTE, 21:00–23:30, £TBC

Punk types.

LES MCKEOWN’S BAY CITY ROLLERS

THE GLASGOW SLOW CLUB

THE ARCHES, 19:30–23:00, £17.50

O2 ACADEMY, 19:00–22:30, £24

Influential dance.

Open mic night.

BLOC+, 21:00–00:00, FREE

BUTTERFLY & PIG, 19:00–03:00, FREE

Rock covers.

SUN 28 NOV

ADAM LAMBERT CAST

ORAN MOR, 19:00–23:00, £15

STEREO, 19:30–22:30, £6.50

Live electronics.

STEREO, 19:00–22:30, £6

WED 24 NOV

Alternative soloist.

HYPE WILLIAMS

KLAXONS

A DAY OVERDUE

WING AND A PRAYER

Lo-fi psych.

THE PHANTOM BAND ORAN MOR, 19:00–23:00, £12

CLASSIC GRAND, 19:00–22:00, £6

MARC ALMOND O2 ABC, 19:00–22:00, £23

ASHLEY COLLINS, CROSSOVER, THE INFLUENCE, CASINO CITY

Indie rock.

VOODOO SIX Hairy hard rock.

TORCHE

Electro-pop, rock and indie.

STEREO, 19:00–22:30, £9

GORDIE TENTREES, JOHN WORT HANNAM

Punk and indie rock.

BLITZEN TRAPPER, PEARLY GATE MUSIC KING TUT’S, 20:00–23:00, £10

Country electro and alternative.

EAST END TRINITY, CROSSFIRE, RAZORBLADE SMILE, SEKTOR C PIVO PIVO, 20:00–23:45, £TBC

Florida-based rockers.

ATARI TEENAGE RIOT

STATE BAR, 20:00–22:30, £6

BILLY KELLY SONGWRITING AWARD FINAL

AND SO I WATCH YOU FROM AFAR, TUBELORD, CARNIVORES

POWER OF ACCORDIAN

ORAN MOR, 19:00–23:00, FREE

Six acts compete for £5,000 prize.

Experimental punk and progressive.

PIXIE LOTT

Teenie popster.

Electro rock.

13TH NOTE, 21:00–23:30, £TBC

NICE ‘N’ SLEAZY, 19:30–23:00, £TBC

GHOSTS OF PROGRESS

CAFE COSSACHOK, 21:00–23:30, £6

Jazz guitar.

BLOC+JAM BLOC+, 21:00–00:00, FREE

Acoustic jam. Good with toast.

BUTTERFLY STRATEGY BUTTERFLY & PIG, 21:00–12:00, FREE

Acoustic acts; local and far-flung.

MON 22 NOV

OPEN MIC NIGHT

CATHOUSE, 19:00–22:00, FREE

Open mic with a karaoke twist.

STEVE HARLEY O2 ABC, 19:00–22:00, £23

Acoustic singer/songwriter.

TITUS ANDRONICUS ORAN MOR, 19:00–23:00, £8

American rock ‘n’ roll.

ACOUSTIC OPEN MIC NICE ‘N’ SLEAZY, 19:30–23:00, FREE

Microphone free-for-all.

YAMAN TCHAI-OVNA, 20:00–22:00, £2

Indian music on sitar and flute.

BREL SESSIONS BREL, 20:00–22:30, FREE

With Laura Wilkie and Sarah Hayes.

THE MUMMERS

SECC, 19:30–22:30, £TBC

MAN’S RUIN, JOHN MULHEARN Rock and electro-folk.

LIVE JAZZ

TCHAI-OVNA, 20:00–22:00, £2

Jazz classics and modern standards.

XY VS XX (QUEEN JANE)

Scuzzy blues album launch.

THE LATECOMERS LAURIES BAR, 20:15–23:00, FREE

Acoustic pop loveliness.

DROPKICK

Unsigned indie, rock and pop.

OPENMIKING

HALT BAR, 20:30–23:00, FREE

Turn up and do your thing.

MUSO (WHAT THE DEAD KNOW, D-CORUM, TWO RIVERS) BUFF CLUB, 21:00–03:00, £4 (£3)

Live indie pop and DJs.

VINYL NIGHT

BUTTERFLY & PIG, 21:00–12:00, FREE

Hip-hop, mod, funk and ska.

THU 25 NOV

THE BLUETONES

ORAN MOR, 19:00–22:00, £13

Indie rock survivors.

WE ARE SCIENTISTS (GOLDHEART ASSEMBLY) O2 ABC, 19:00–22:00, £TBC

Experimental indie rock.

KID CANAVERAL

STEREO, 19:00–22:30, £6

Alternative indie-pop.

BOOKA SHADE

THE ARCHES, 19:30–23:00, £14.50

Electro techno.

NICK BRUCE BAND NICE ‘N’ SLEAZY, 19:30–23:00, £TBC

BLOC+, 21:00–00:00, FREE

Acoustic jam. Good with toast.

BUTTERFLY STRATEGY BUTTERFLY & PIG, 21:00–12:00, FREE

Acoustic acts; local and far-flung.

MON 29 NOV

OPEN MIC NIGHT

BLACKBIRD STUDIOS

Open mic with a karaoke twist.

CATHOUSE, 19:00–22:00, FREE

THE MEATMEN

Indie pop chaps.

11pm-3am 20th nov:

Hardcore punk.

ACOUSTIC OPEN MIC

SAT 27 NOV

Microphone free-for-all.

dananananayKRoyd djs, scotland’s indEpEndEnt soundclash

SLOUCH, 21:30–23:30, FREE

MADNESS AFTER PARTY PIVO PIVO, 13:00–23:45, £TBC

NICE ‘N’ SLEAZY, 19:30–23:00, FREE

BOBBY CONN (THOMAS TRUAX) THE ARCHES, 19:30–23:00, £9

Ska train hosted all-dayer.

Avante garde pop.

MADNESS

MICHAEL SIMONS

O2 ACADEMY, 14:30–17:00, £12-£26.50

TCHAI-OVNA, 20:00–22:00, £2

Matinee performance legends.

Folk and blues fingerstyle guitarist.

A LITTLE MIXED UP 2 (DC FONTANA, THE UNIVERSAL, THEM BEATLES, THE LAYNES, BUTTON UP, THE PRIVATES)

BREL, 20:00–22:30, FREE

Mod-influenced mini-fest. In ABC 2.

O2 ABC, 15:30–22:00, £15

AIDEN, FRANCESQA, THE DEAD FORMAT

SUNDAY 14th

JENNY & JOHNNY

KING TUT’S, 20:00–23:00, £10

EMELi SANDE & GUESTS

ORAN MOR, 19:00–22:00, £14

Punk rock, pop and hard folk.

Jenny Lewis and Jonathan Rice.

RINGO DEATHSTARR, RIOTEERS

MADNESS (PAUL HEATON)

13TH NOTE, 21:00–23:30, £TBC

BLOCHESTRA

NO MEANS NO

BLOC+, 21:00–00:00, FREE

THE REGIMENTS, DILECTRICS, AAMES

Complex punk instrumentation.

THE ARCHES, 19:00–23:00, £13.50

Bring an instrument and join in.

MAGGIE MAY’S, 20:00–22:30, £5

THE SAW DOCTORS

TUE 30 NOV ATHLETE (ALICE GOLD, STONEY)

SPOKES

KING TUT’S, 20:00–23:00, £6

BIFFY CLYRO

Thoughtful indie pop.

Bring an instrument and join in.

TUE 23 NOV

HEAVEN 17 (MARK JONES)

Jazz-pop combo.

ALBERT LEE (HOGAN’S HEROES) THE FERRY, 20:00–00:00, £17

Country rock guitarist.

Electronica house.

THE DEADCLASS, TRAGIC CITY THIEVES, BILLY LIAR

BRIGADE

13TH NOTE, 21:00–23:30, £TBC

STEREO, 19:00–22:30, £8

Alternative punk, glam and rock.

GORILLA MOVEMENT

O2 ABC, 19:00–22:00, £20

Guitar rock four-piece.

SQUEEZE (THE LIGHTNING SEEDS) O2 ACADEMY, 19:00–22:30, £33.50

Pop rock legends.

THE WISE MONKEY, 21:00–00:00, FREE

Funk, soul and blues.

FRI 26 NOV

SECC, 19:30–22:30, £TBC

Scottish rockers.

THE STRIKE NINETEENS NICE ‘N’ SLEAZY, 19:30–23:00, £TBC

4th DECEMBER CHRiSTMAS SPECiAL 10:30pm - 3am

CLASSIC GRAND, 19:00–22:00, £12

Black metal and rock.

THE RUDIMENTS, THE GAZELLES, ARCADIAN KICKS

ORAN MOR, 19:30–00:00, FREE

BURLESQUE / ART PERfoRMANCE / RETRo SoUNDS

Open mic hosted by Ross Clark.

oN SALE NoW:

MAGGIE MAY’S, 20:00–22:30, £5

MAGIC CARPET CABARET

F.O. MACHETE, LITTLE DOSES

Ssinger/songwriters and bands.

5/12: CHRiS BRokEN & GEoff fARiNA 8/12: NiNA NASTASiA & GUESTS 11/12: PENGUiNS kiLL PoLAR BEARS, SHUTTER 19/12: ACoUSTiC LADYLAND & GUESTS

Punk, indie and rock.

TCHAI-OVNA, 20:00–22:00, £2

KING TUT’S, 20:00–23:00, £6

SHOOTING STANSFIELD (BIRDHEAD)

HALT BAR HIJACK

EP launch.

Alternative rock and indie.

HALT BAR, 20:00–00:00, FREE

Underground band takeover.

FLATS, ANA TRASH AND THE SOCIOPATHS

THE ARCHES, 19:00–23:00, £8

O2 ABC, 19:00–22:00, £14

13TH NOTE, 21:00–23:30, £TBC

56 THE SKINNY NOVEMBER 2010

HAiGHT ASHBURY

WOLVES IN THE THRONE ROOM, ROSE KEMP ACOUSTIC SESSION

MACFLOYD

Pink Floyd tribute.

SUNDAY 28th

O2 ABC, 19:00–22:00, £17

Indie popsters.

CAVE (PRAYER RUG, THE COSMIC DEAD) Post punk psych-out.

10:30pm-3am

With Laura Wilkie and Sarah Hayes.

TCHAI-OVNA, 20:00–22:00, £2

PIVO PIVO, 20:00–23:45, £TBC

LAST SATURDAY MoNTHLY

BREL SESSIONS

BARROWLANDS, 19:00–23:00, £21.50

BLOC+, 21:00–00:00, FREE

3rd SAT MoNTHLY

O2 ABC, 19:00–22:00, £TBC

Folky rock.

BLOCHESTRA

10:30pm-3am

THE DRUMS (VIOLENS, TWO WOUNDED BIRDS)

THE WISE MONKEY, 21:00–00:00, FREE

Experimental pop and indie rock.

RAY HARRIS AND THE FUSION EXPERIENCE (THE ACUTONES, RAYMOND MEADE)

2nd SATURDAY MoNTHLY

EP launch.

HAIGHT-ASHBURY

Alternative types.

6 DAY RioT, AARoN WRiGHT & THE APRiLS

BLOC+JAM

Ska pop.

Psych blues.

SATURDAY 6th

Alternative electro rock.

Indie and rock.

13TH NOTE, 21:00–23:30, £TBC

5pm-3am

13TH NOTE, 21:00–23:30, £TBC

PIVO PIVO, 20:00–23:45, FREE

Battle of the sexes.

LoST WEEkEND BANDAokE EVERYBoDY

THE FLOOD

FOLK FAE FIFE Music from the’Kingdom’.

EVERY fRiDAY

CAFE COSSACHOK, 21:00–23:30, £6

13TH NOTE, 21:00–23:30, £TBC

Alternative powerpop.

BoRN RUffiANS, foUND

Virtuoso accordianist Georgie Gajjic.

O2 ACADEMY, 19:00–22:30, £TBC

THE TALLEST MAN ON EARTH STEREO, 20:00–23:00, £11

PIVO PIVO, 20:00–23:45, FREE

PIVO PIVO, 20:00–23:45, £5

Blues funk.

Acoustic folk.

CAPTAIN’S REST, 20:00–23:00, £7

SINGLE SKIN PROMOTIONS PRESENT

KING TUT’S, 20:00–23:00, £8

Experimental pop.

WE HAVE BAND

THURSDAY 18th

PIVO PIVO, 20:00–23:45, £3

Energetic punk.

BETATONE DISTRACTION, KOCHKA, BO DEADLY NIGEL CLARK

VEGETABLE TRUCK

Alternative blues and prairie folk.

KING TUT’S, 20:00–23:00, £6.50

monthly music mixER, sEminaRs & dj sEts

KING TUT’S, 20:00–23:00, £7

THE ARCHES, 19:00–23:00, £18.00

Legendary digital hardcore thrash-out.

Full-on punk.

Indie electro, alternative and rock.

MAGGIE MAY’S, 20:00–22:30, £5

MAGGIE MAY’S, 20:00–22:30, £5

THE BLACK RATS, SKINNY MACHINES NICE ‘N’ SLEAZY, 19:30–23:00, £TBC

NICE ‘N’ SLEAZY, 19:30–23:00, £5

HERCULEAN

Experimental folk rock.

7pm

Up-and-coming four-piece.

Blues-influenced singer/songwriters.

Electro glam.

THURSDAY 4th

Heavy metal supergroup.

SCOTT CASSIDY

Poppy punk.

nEw IndIe & AlternAtIve

SHRINEBUILDER

Relaxed night with guest musicians.

BARROWLANDS, 19:00–23:00, £16

10:30pm - 3am

BARROWLANDS, 19:00–23:00, £20

Liverpudlian rockers.

STRAIGHT LINES

TCHAI-OVNA, 20:00–22:00, £2

EVERY THURSDAY

O2 ABC, 19:00–22:00, £TBC

Rock in leather pants.

Powerpop from yesteryear.

NICE ‘N’ SLEAZY, 19:30–23:00, £TBC

cult sounds FRom thE REtRo undERgRound

SLOUCH, 21:30–23:30, FREE

TEK ONE

Progressive pop beats.

bar / live music / club / private karaoke rooms

Alternative punk rock.

Metallic punk.

BUTTERFLY & PIG, 20:30–12:00, FREE

O2 ABC, 19:00–22:00, £16

BOX, 21:00–00:00, FREE

Experimental and guitar punk.

PIVO PIVO, 20:00–23:45, £TBC

TUESDAY MUSIC CLUB BUTTERFLY & PIG, 20:30–12:00, FREE

Open mic night.

THE GLASGOW SLOW CLUB BLOC+, 21:00–00:00, FREE

Relaxed night with guest musicians.

www.theelectriccircus.biz 36-39 Market Street. 0131 226 4224 tickets: ticketweb.co.uk 08444 77 1000 Ripping Records, tickets Scotland.

Facebook/twitter: electriccircusedinburgh

ECqtr.indd 1

26/10/10 14:52:11

EDINBURGH music Tue 02 Nov Happy Birthday (Mitchell Museum, Morris Major) Sneaky Pete’s, 19:00–22:30, £7

Marriage of twee and grunge.

Marina & The Diamonds (Cocknbulllkid)

Az-Tech Closing Party The Caves, 22:00–03:00, £7 (£6 members)

Last ever Az-Tech, with a mystery guest.

Evol The Liquid Room, 22:30–03:00, £6

Alternative, indie and rock.

HMV Picture House, 19:00–22:30, £15

Sat 06 Nov

Michelle Shocked (Kat Healy)

Day Riot (Aaron Wright and The Aprils)

Kate Bush-inspired femme.

Thu 11 Nov

Sun 14 Nov

Veronica Falls (Cloud Nothings, Miles Mayhem)

Emeli Sande

Funk and jazz fusion quartet.

Eagles tribute.

SCO: Handel’s Messiah

Alternative jazz.

The Plimptons (The Murderburgers)

Raymond Gubbay

Orchestral recital.

Album launch.

SCO: New Romantics II

Sneaky Pete’s, 19:00–22:30, £7.50

Ambient shoegaze.

Ash The Liquid Room, 19:30–22:00, £16

Alternative indie.

Texas narrative folk singer.

Sunny pop harmonies.

Blues for Big Town (Missing Cat, James Carr and The Engines)

Paloma Faith

Delta Mainline

EP launch. Free copies for all.

Queen’s Hall, 19:00–22:30, £16.50

Corn Exchange, 19:00–22:30, £17.50

Electric Circus, 19:00–22:00, £3

Bongo Club, 19:00–22:00, £7

Electric Circus, 19:00–22:00, £7.50

Thee Moths

Bongo Club, 19:00–22:00, £5

Weird folk pop.

Plan B

HMV Picture House, 19:00–22:30, win tickets

Grime, soul and maybe even reggae Win tickets via www.rsvoriginals.co.uk.

The Jazz Bar, 20:00–23:00, £4 (£3)

Nobles Bar, 21:00–01:00, Free

Usher Hall, 19:30–22:30, £18.50-£22.50

Punk rock from all over.

Wed 03 Nov

Melodic light orchestra.

Salsa Celtica

Atlas (Aviation For Kids)

Celtic and Cuban fusion.

Starsailor frontman goes solo.

Sneaky Pete’s, 19:00–22:30, £tbc

Heavy rock.

Tinchy Stryder

Usher Hall, 20:00–22:30, £16

WORLD PREMIERE QUINTET The Jazz Bar, 20:00–23:00, £4 (£3)

Hand-picked five-piece.

HMV Picture House, 19:00–22:30, £15

The Big Green Ceilidh

ThisIsNotATogaParty(Metaltech)

Dancin’ to Da Hooley ceilidh band.

Alternative grime.

Maggie’s Chamber, 19:00–23:00, £2

Student-friendly gig.

UB40 (British Kid) Usher Hall, 19:30–22:30, £35

30th anniversary tour.

Ben Bryden’s Bright Noise The Jazz Bar, 20:00–23:00, £5 (£4)

Sax-backed alternative rock.

Indigo The Liquid Room, 22:30–03:00, £3 (£1)

Indie, pop and alternative.

Rudolf Steiner Hall, 20:15–23:00, £10 (£8)

Wounded Knee Nobles Bar, 21:00–01:00, Free

Psych-folk.

Sun 07 Nov Roses Kings Castles Cabaret Voltaire, 19:00–22:00, £6

With Adam Ficek of Babyshambles.

Dead Dead Dead Music Floorshow (Feed The Rhino, The James Cleaver Quintet, Plague Vessel) Studio 24, 19:00–23:00, £5

Thu 04 Nov

Local heavy and hardcore.

Buddy Whittington (Lights Out By Nine)

Bob Hilary’s Massive Mellow

The Caves, 19:00–22:00, £13

An evening of blues.

The Last Battle, The Scottish Enlightenment, Very Well Wee Red Bar, 19:00–22:00, £4

Folk and pop offerings.

Juan Martin Queen’s Hall, 20:00–22:30, £17.50 (£15.50)

Flamenco guitar virtuoso.

Unpeeled The Jazz Bar, 20:00–23:00, £4 (£3)

New bands showcase.

Dave Arcari (Lee Paterson) Voodoo Rooms, 20:00–01:00, £5

Acoustic blues.

Folk Night Nobles Bar, 21:00–01:00, Free

Er, a night of folk.

The Freaky Family The Jazz Bar, 23:00–03:00, £2 (£1)

Groovy funk four-piece.

Fri 05 Nov The Mine Presents (Tourettes, March Her To Norway, Black International) Wee Red Bar, 19:00–22:00, £4

Trio of live bands.

Madhat, Silver Tonguem, Marrik and Skatabrainz, Gorilla Tactics

The Jazz Bar, 20:00–23:00, £4 (£3)

Electro-acoustic rhythms.

Cranchan Bannerman’s, 20:00–23:00, Free

Classic rock covers.

The High Lonesome Nobles Bar, 21:00–01:00, Free

Acoustic blues and rock.

The Beay Nasties The Jazz Bar, 23:30–03:00, £2 (£1)

Bainbridge Presents: Amplified (Underclass) The GRV, 19:00–22:00, £5

The Beay Nasties

Foot-stomping Celtic folk.

The Caves, 19:00–22:00, £12

Bluesy rock.

The Scottish Enlightenment Wee Red Bar, 19:00–22:00, £5 (£4)

Minimal pop.

The Jazz Bar, 23:00–03:00, £2 (£1)

Jazz rock four-piece.

Tue 09 Nov Leith Folk Club (Crosby Tyler) The Village, 19:30–22:45, £8

Soft-voiced Los Angeleno.

Hebrides Ensemble Queen’s Hall, 19:45–22:30, £14 (£7)

Contemporary chamber music.

Great Jazz Jam The Jazz Bar, 20:00–23:00, £2 (£1)

Open-stage jam session.

Ambient folk.

Symphony performance.

Bomb the Music Industry (Cradle to the Rave)

Usher Hall, 19:30–22:30, £10-£32

Symphony performance.

Ludovico Einaudio Queen’s Hall, 20:00–22:30, £20-£25

Swedish pianist.

Frankly badass Scottish rock.

The Jazz Bar, 20:00–23:00, £4 (£3)

Various blues artists.

The Beay Nasties The Jazz Bar, 23:30–03:00, £2 (£1)

Sneaky Pete’s, 19:00–22:30, £6

Get Loose Promotions Showcase Bannerman’s, 20:00–23:00, £5

Indie rock up-and-comers.

Limbo 3rd Birthday (Over The Wall, How To Swim, The Oates Field)

Tue 16 Nov

Contemporary piano compositions.

Electro pop.

Metal album launch night.

RSNO: Imogen Cooper

Rachel Sermanni

Mozart recital.

Cambridge folk singer.

Brawth, The Ballachulish Hellhounds, Ten Gallon Bratz, Roy Hende

Lulo Reinhardt Latin Swing Project

Jazz Bar Big Band

Voodoo Rooms, 20:30–01:00, £tbc

Live music night.

Johnny Cash Tribute

White Lies

HMV Picture House, 19:00–22:30, win tickets

Moody rock Win tickets via www.rsvoriginals.co.uk.

The Guilty Lily, 21:00–23:30, Free

Leith Folk Club (Tich Frier)

Peter Powderkeg Project

Passionate folk.

Tribute singalong.

The Village, 19:30–22:45, £6

Queen’s Hall, 20:00–22:30, £12 (£10)

Gypsy guitar.

Black Rose

Foot-stomping Celtic folk.

HMV Picture House, 19:00–22:30, £20

Sneaky Pete’s, 19:00–22:30, £6

The Jazz Bar, 19:30–22:30, £4 (£3)

Live jazz jam.

Royal Marine Band Concert Usher Hall, 19:30–22:30, £12-£16

Jazz Bar Quartet The Jazz Bar, 20:00–23:00, £4 (£3)

Henry’s Cellar, 20:30–03:00, £5

Nobles Bar, 21:00–01:00, Free

Eclectic showcase.

Departure Lounge Tropical Soundclash (Miles Cleret, Asazi Space Funk Explosion, Astroboy, Jiminez, Mr Zimbabwe)

Bannerman’s, 20:00–23:00, £5

Exuberent marine singalong.

Open-stage jam session.

Jazz Bar Quartet

Wed 17 Nov

Modern jazz four-piece.

Marcos Valle (Becc Sanderson Passionflower Trio, Astroboy)

Vlad in Tears (Calatrilloz, Driller, The Black Lights)

Haight Ashbury Love Music (Miyagi)

Acoustic jazz.

Bannerman’s, 20:00–23:00, £4

Autumn Notes

Alternative powerpop.

Alternative music showcase.

Indie rock newcomers.

Sat 27 Nov

Canongate Kirk, 11:30–14:00, £5 (£4)

Michael Bolton

Guilty As Sin

Glamour & The Baybes

Acclaimed singer/songwriter.

Three-piece covers band.

Jazz rock four-piece.

Chris Stout, Catriona McKay

David Rotheray

Sneakyfest (And So I Watch You From Afar, Three Blind Wolves, Age Of Consent, Penguin Prison)

Harp and fiddle instrumental.

Acoustic singer/songwriter.

Andy Park

Evol

Nobles Bar, 21:00–01:00, Free

Aberfeldy off-shot.

Evol The Liquid Room, 22:30–03:00, £6

Soprano, piano, classical guitar and harp.

Bruncheon!

Out of the Blue Drill Hall, 11:30–15:00, Free

Brunch and live music in the caf?.

Mitchell Museum, Capitals Electric Circus, 19:00–22:00, £5

Scotsman Radar band winners.

British India (Penguins Kill Polar Bears, St Deluxe) Sneaky Pete’s, 19:00–22:30, £6

Great Jazz Jam

The Jazz Bar, 20:00–23:00, £2 (£1)

Voodoo Rooms, 19:00–01:00, £6

Usher Hall, 19:30–22:30, £39.50

Queen’s Hall, 20:00–22:30, £12 (£10)

The Jazz Bar, 20:00–23:00, £6 (£5)

Jazz legend and his big band.

Schitzophonics, Centrix Bannerman’s, 20:00–23:00, £4

Pop rock.

Garage rock.

Grasscut

Macfloyd

Experimental post punk.

HMV Picture House, 19:00–22:30, £14

Pink Floyd tribute.

The Liquid Room, 19:30–22:00, £19.50

The Hollies Usher Hall, 19:30–22:30, £21.50-£25

Old-school rock.

Horse Queen’s Hall, 20:00–22:30, £15.50

Voodoo Rooms, 20:00–01:00, £10

Nobles Bar, 21:00–01:00, Free

The Liquid Room, 22:30–03:00, £6

Alternative, indie and rock.

Sat 20 Nov BabyO: Scottish Opera

Out of the Blue Drill Hall, 10:30–11:00; 11:30–12:00; 13:30–14:00 £5 (£3 baby)

The Jazz Bar, 23:00–03:00, £2 (£1)

Tue 23 Nov Daniel, Fred & Julie Sneaky Pete’s, 19:00–22:30, £7

Stripped back acoustic.

Marc Almond HMV Picture House, 19:00–22:30, £23

Thu 18 Nov

Canadian heavy metallers.

Out of the Blue Drill Hall, 10:30–11:00; 11:30–12:00; 13:30–14:00, £5 (£3 baby)

Electric Circus, 19:00–22:00, £5

BabyO: Scottish Opera

Yrock Presents

Local band showcase.

The Village, 19:30–22:45, £8

Great Jazz Jam The Jazz Bar, 20:00–23:00, £2 (£1)

Wed 24 Nov Havana Rocks, The Amorettes Bannerman’s, 15:00–23:00, £4

Sleazy glam rock.

Various shades of rock.

Lau

Blank Canvas, Scrap Brains, Heirs of Dust

Alternative folk trio.

Unsigned indie, rock and pop.

The Jazz Bar, 20:00–23:00, £6 (£5)

Electric Circus, 19:00–22:00, £8.50

Blues-infused rock.

Hand-picked five-piece.

Happy-go-lucky indie pop.

Soul Foundation

Indigo

Eclectic Mud (Fuz ‘n’ Lee)

Dansette Junior

Cabaret Voltaire, 19:00–22:00, Free

Electro-pop chaps.

The Jazz Bar, 20:00–23:00, £4 (£3)

Acoistic tunes.

WoolWOrths Nobles Bar, 21:00–01:00, Free

Singer/songwriter showcase.

The Beay Nasties The Jazz Bar, 23:30–03:00, £2 (£1)

The Caves, 22:30–03:00, £9 (£7)

Foot-stomping Celtic folk.

Evol

Mon 29 Nov

Afro-funk, Latin and reggae.

The Liquid Room, 22:30–03:00, £6

Alternative, indie and rock.

Sneaky Pete’s, 15:00–22:30, £10

Cross-venue all-dayer.

Great Junction Music Studios Showcase (Seven Deadly Sins, Jaego) Henry’s Cellar, 19:00–22:00, £4

Showcase night.

Lostboy The Liquid Room, 19:00–22:00, £20

Noisy rhythms and guitar.

Irish singer and flute player.

Sneakyfest Electric Circus, 19:00–22:00, £tbc

Live band five-venue takeover.

Energy Cabaret Voltaire, 19:00–22:00, £6

Punk and rock.

Straight Lines (Atlas) Sneaky Pete’s, 19:00–22:30, £tbc

Hard rock.

Zoe Warshaw Roxy Art House, 19:00–23:00, £5

Student band showcase.

Jazz Bar Big Band

The Jazz Bar, 23:00–03:00, £2 (£1)

Jazz rock four-piece.

Wee Red Bar, 19:00–22:00, £4 (£3)

Tue 30 Nov

999, The Vibrators

Jenny & Johnny

Alternative indie.

Citrus Club, 19:00–22:30, £10

Cabaret Voltaire, 19:00–22:00, £14

Punk noisemakers.

Jenny Lewis and Johnathan Rice team-up.

Interpol

The Wedding Present (Ringo Deathstar)

Corn Exchange, 19:00–22:30, £22.50

The moody men of Indie rock return.

Skatalites, Bombskare HMV Picture House, 19:00–22:30, £15

Queen’s Hall, 20:00–22:30, £11-£15

Reggae and ska.

Graham Stephen Septet

The Draymin (Dead Sea Souls, Radio Arcade) The Liquid Room, 19:30–22:00, £6

Folk and jazz compositions.

Alternative indie beatmakers.

Breakbeat D’n’B.

Indigo

Karen Matheson

The Liquid Room, 22:30–03:00, £3 (£1)

Indie, pop and alternative.

Glamour & The Baybes

The Wynd

Chas & Status

HMV Picture House, 19:00–22:30, £14

Stringjammer

The Jazz Bar, 19:30–22:30, £4 (£3)

Less Than Jake (Zebrahead)

Sneaky Pete’s, 19:00–22:30, £tbc

Bannerman’s, 20:00–23:00, £4

Punk, rock and folk.

Live jazz jam.

Art of Privilege, A Fight You Can’t Win, Supercharger,The Sunset Strips

HMV Picture House, 18:30–22:30, £15

Dead Class, Billy Liar, Tragic City Thieves (Facehandle)

Bongo Club, 19:00–22:00, £11

30-minute shows taking you into a magical secret garden full of busy bees, ducks and splashing fish. Suitable for babies aged 6-18 months.

Henry’s Cellar, 19:00–22:30, £5

Usher Hall, 19:30–22:30, £20-£25

With The Manfreds, Alan Price and Cliff Bennett.

Leith Folk Club (Gordie Tentrees)

Open-stage jam session.

Bongo Club, 19:00–22:00, £10

Maximum Rhythm ‘n’ Blues

Nuala Kennedy

Kobra and The Lotus

The Liquid Room, 22:30–03:00, £3 (£1)

The Liquid Room, 19:30–22:00, £tbc

30th anniversary tour.

Indie, pop and alternative.

Raw punk and hardcore.

Lounge funk, plus DJs.

The Guilty Lily, 21:00–23:30, Free

Jen & The Gents

Indigo

Born Ruffians (FOUND)

Nobles Bar, 21:00–01:00, Free

Voodoo Rooms, 20:00–01:00, £3

Voodoo Rooms, 19:30–01:00, £20

Roots songwriter.

WORLD PREMIERE QUINTET The Jazz Bar, 20:00–23:00, £4 (£3)

The Jazz Bar, 20:00–23:00, £4 (£3)

30-minuteshowtakingyouintoamagicalsecret gardenfullofbusybees,ducksandsplashingfish.

Suitableforbabiesaged6-18months.

Still Whisky

Bannerman’s, 20:00–23:00, £5

Thin Lizzy tribute.

Corn Exchange, 19:00–22:30, £20

Afro beat meat indie rock.

Stormy Sunday Blues

Modern jazz four-piece.

Usher Hall, 19:30–22:30, £10-£32

Vampire Weekend

Sweet-voiced folky rock.

Arcane Corps

Stipe (The Jokers)

Electric Circus, 19:00–22:00, £3

Psych-folk.

Bannerman’s, 20:00–23:00, Free

St Cecilia’s Hall, 19:30–21:30, Free

Metal, punk and ska.

Indie, pop and alternative.

Sneaky Pete’s, 19:00–22:30, £tbc

Sun 28 Nov Haight-Ashbury

Classic rock covers.

Jazz rock four-piece.

Iron Maiden tribute.

Chilled soul.

Iain McLaughlin & The Outsiders (James Mackenzie & The Aquascene)

Henry’s Cellar, 23:00–03:00, £5

Punk rock.

Laura Marling

Modern jazz four-piece.

Sax-headed quartet.

The Liquid Room, 22:30–03:00, £3 (£1)

HMV Picture House, 19:00–22:30, £tbc

999 After Party (Sick Sinus, The Murderburgers, Shock & Awe)

United Fruit (Pensioner, Verse Metrics)

Heaven 17 (DJ Mark Jones)

Moral Dilemma, Critikill (Happy Spastics, Facehandle)

Voodoo Rooms, 20:30–01:00, Free

Rollicking rock anthems a la Springsteen

Wee Red Bar, 19:00–22:00, £4 (£3)

Nobles Bar, 21:00–01:00, Free

Aberfeldy off-shot.

Metallic rock and punk.

CRANACHAN

Wandelung

Maiden Scotland

Bannerman’s, 20:00–23:00, £4

Multi-instrumental collective.

This Is A .44 Magnum, Two Steps To Envy, Supercharger, Jizz Monkey

REM tribute.

The Jazz Bar, 23:00–03:00, £2 (£1)

20th anniversary tour.

Bannerman’s, 20:00–23:00, £5

Gaslight Anthem (Chuck Ragan, Sharks)

Local talent showcase.

Glamour & The Baybes

The Jazz Bar, 20:00–23:00, £4 (£3)

Benn Clatworthy Quartet The Jazz Bar, 20:00–23:00, £5 (£4)

Usher Hall, 19:30–22:30, £17.50-£22.50

The Brubecks

Cabaret Voltaire, 19:00–22:00, £6

Jazz Bar Quartet

The Jazz Bar, 20:00–23:00, £4 (£3)

Modern jazz four-piece.

Ramshackle country rock.

Lost To The Landslide, A Fight You Can’t Win, Deco Arcade

Mon 22 Nov

Bannerman’s, 20:00–23:00, £4

Piano composer extraordinaire.

Jazz Bar Quartet

HMV Picture House, 19:30–22:30, £tbc

Fri 26 Nov

The Caves, 19:00–22:30, £8

Sharon Jones and the Dap-Kings RSNO: Paganini Variations

Queen’s Hall, 19:45–22:30, £10 (£7)

Hog The Stage

The Jazz Bar, 23:00–03:00, £2 (£1)

Groovy funk four-piece.

Progressive, technical rock.

Bannerman’s, 20:00–23:00, £5

Folk rock.

Sneaky Pete’s, 19:00–22:30, £8.50

Per Rundberg

The Freaky Family

Frank Satan & His Husbands Wee Red Bar, 19:00–22:00, £5 (£3)

Nobles Bar, 21:00–01:00, Free

The Remnant Kings Orchestra (Sebastian Dangerfield, Missing Cat)

Kitty the Lion, Pooch, Come On Gang, Jakil and The Stagger Rats battle-itout for the chance to play Edinburgh’s Hogmanay stage.

Cabaret Voltaire, 19:00–22:00, £5

Voodoo Rooms, 20:00–23:00, £5

Anarchist ska-punk.

Casiotone For The Painfully Alone Pop beats from Californian's farewell tour.

Peter Powderkeg Project

Er, a night of folk.

Remnant Kings go grand.

The Guilty Lily, 21:00–23:30, Free

Versus (The Foundling Wheel, Dead Boy Robotics, Lady North, Lipsync for a Lullaby, Miaoux Miaoux)

Heartfelf folk lyricist.

Sneaky Pete’s, 19:00–22:30, £5

The Spiders Web, 20:30–22:30, £8.00

Indie fae Leith.

Grunge rock.

The Levellers

Queen’s Hall, 19:00–22:30, £18.50

Voodoo Rooms, 19:30–01:00, £6

Queen’s Hall, 19:00–22:30, £15-£17

The Caezars

Stoner rock from Sweden.

Communicator

Wed 10 Nov

Brooklyn gospel funk collective.

Live jazz jam.

RSNO: Fantastique!

Sneaky Pete’s, 19:00–22:30, £tbc

Hip-hop showcase.

The Jazz Bar, 19:30–22:30, £4 (£3)

Macmaster/Hay

Usher Hall, 19:30–22:30, £10-£32

Bongo Club, 19:00–22:00, £17

Polish hip-hop.

Stripped-back acousticness.

HMV Picture House, 18:00–22:30, win tickets

The Liquid Room, 19:30–22:00, £17

Acoustic folk fiddle shredder.

Abradab

The Hoosiers

Jazz Bar Big Band

Seth Lakeman (Delta Maid)

30-minuteshowstakingyouintoamagicalsecretgardenfullofbusybees,ducksandsplashing fish.Suitableforbabiesaged6-18months.

Chasing Owls (The Last Battle, Micah Vincent)

Queen’s Hall, 19:00–22:30, £18

Country rock and jazz.

Out of the Blue Drill Hall, 10:30– 11:00; 11:30–12:00, £5 (£3 baby)

Mon 15 Nov

Raul Malo

Sat 13 Nov

Glamour & The Baybes

The Jazz Bar, 23:30–03:00, £2 (£1)

The illusion of music Win tickets via www.rsvoriginals.co.uk.

Mon 08 Nov The Jazz Bar, 19:30–22:30, £4 (£3)

The Jazz Bar, 20:00–23:00, £4 (£3)

Acoustic electric.

Philip Sayce

Alternative, indie and rock.

Live jazz jam.

William Douglas & The Wheel

New 14+ band night.

Foot-stomping Celtic folk.

Jazz Bar Big Band

Bannerman’s, 20:00–23:00, £5

The Jazz Bar, 20:00–23:00, £4 (£3)

Hand-picked five-piece.

Frantic Chat

Henry’s Cellar, 20:00–23:45, £5

Folk Night

Fri 12 Nov

WORLD PREMIERE QUINTET

Hong Faux, Vakunoht, Engines Of Vengeance

Mary Gauthier

Cabaret Voltaire, 19:00–22:00, £17

Bannerman’s, 20:00–23:00, £6

Progressive black metal.

Rockabilly scamps.

BabyO: Scottish Opera

The Jazz Bar, 23:00–03:00, £2 (£1)

Fen, A Forest of Stars, Acolyte

Mod-influenced indie rock.

Live on-stage mash-up.

Edinburgh Light Orchestra

Cabaret Voltaire, 19:00–22:00, £10

Bannerman’s, 20:00–23:00, £4

Florida-based pop outfit.

Rock for the unborn.

Henry’s Cellar, 19:30–03:00, £5

Boyce Avenue

Selective Service

Fri 19 Nov

Walk the Plank Showcase Night

BenefitforEdinburghCoalitionAgainstPoverty.

Sun 21 Nov

Hard-blowing 17-piece band.

Queen’s Hall, 19:30–22:30, £15 (£12)

Groovy funk four-piece.

James Walsh (Ben Montague)

Groovy funk four-piece.

Hand-picked five-piece.

The Jazz Bar, 20:00–23:00, £4 (£3)

Passionate singing duo.

Ones to watch showcase.

Live band showcase.

The Freaky Family

The Jazz Bar, 20:00–23:00, £4 (£3)

Edinburgh University Jazz Orchestra

The Freaky Family

Wombstock (Universal You)

Electric Circus, 19:00–22:00, £6 (£5)

Voodoo Rooms, 21:00–01:00, Free

Usher Hall, 19:30–22:30, £9-£27

Mary Ann Kennedy, Na Seoid

Run Lucky Free, The Steals, Callum Beattie, Boy Next Door, Holly

Benefit Night (The Fnords, Acid Fascists, Babylon Dub Punks, Roscoe Vacant, The Bludslugs, Glassface, Seafield Foxes)

Bannerman’s, 20:00–23:00, £5

Thu 25 Nov

Er, a night of folk.

Open-stage jam session.

Cattle & Cane, Screen Kids, Caro Bridges, Dan Gillan

Nobles Bar, 21:00–01:00, Free

The Jazz Bar, 23:00–03:00, £2 (£1)

South African melodies.

Queen’s Hall, 19:30–22:30, £6-£9.50

Folk Night

The Business, Bakers Dozen (On File)

Lounge grooves live jam.

Folk Night

Voodoo Rooms, 20:00–01:00, Free

Symphony performance.

WORLD PREMIERE QUINTET

Live showcase, DJs and prizes.

The Liquid Room, 19:30–22:00, £5

Voodoo Rooms, 20:00–01:00, £4

Rock and pop.

Oi-style punk from England.

One Way Chemistry, The Ex-Spectators

The Jazz Bar, 20:00–23:00, £2 (£1)

Queen’s Hall, 19:30–22:30, £9-£27

Jammin’ at Voodoo

Leith Folk Club (Rannok) Great Jazz Jam

Usher Hall, 19:30–22:30, £17-£29.50

Four Seasons by candlelight.

Er, a night of folk.

The Liquid Room, 19:30–22:00, £16

Hugh Masekela and The Mahotella Queens

Acoustic indie punk.

Augustalia (The Dull Fudds)

The Liquid Room, 19:30–22:00, £15

Alternative indie folk.

Psychedelic rockers.

Wee Red Bar, 19:00–22:00, £tbc

Henry’s Cellar, 20:00–23:45, £5 (£4)

The Ultimate Eagles

Bellowhead

Alternative soul singer/songwriter.

Lively polkas and ballads.

The Jazz Bar, 20:00–23:00, £4 (£3)

Voodoo Rooms, 19:30–01:00, £5 (£3)

Untapped Talent

The Village, 19:30–22:45, £6

Marco Cafolla

Queen’s Hall, 20:00–22:30, £16 (£14)

The voice of Capercaillie.

The Liquid Room, 19:30–22:00, £15

Alternative indie.

Leith Folk Club (Fiona J Mackenzie) The Village, 19:30–22:45, £6

St Andrews night extravaganza.

Great Jazz Jam The Jazz Bar, 20:00–23:00, £2 (£1)

Open-stage jam session.

November 2010

THE SKINNY 57

Glasgow CLUBS Tue 02 Nov

Symbiosis

The Rock Shop

Rubbermensch

Absolution

Killer Kitsch

Riot Radio

Irregular (Roddy Woomble, My Latest Novel, Lord Cut-Glass, David Shrigley DJ)

D’n’B special.

Soundhaus, 22:00–03:00, £5

Maggie May’s, 23:00–03:00, Free (£5 (£3) after 12)

Indie night.

Classic Grand, 22:30–03:00, £5 (£4)

Electro clash, 80s, and disco.

Indie rock.

Oran Mor, 20:00–01:00, £6

Audio Kandi Byblos, 22:30–03:00, £6 (£4)

Vocal house and mash-ups.

Literary club night celebrating Alasdair Gray’s autobiography.

Ballbreaker/Vice

Day of the Dead

Rock, metal and indie. Resident DJs.

The Garage, 23:00–03:00, £5 (£3)

Pop and chart.

I Am

Sub Club, 23:00–03:00, £4 (£2)

Eclectic house and techno.

Inked

The Garage, 23:00–03:00, £5 (£3)

Rock and punk with DJ Muppet.

Cathouse, 22:30–03:00, £6 (£5)

Rock, indie and metal.

Wax Works Ad Lib, 23:00–03:00, £4

Emo, punk and metal. Resident DJs.

Sabado

Funk, soul and disco.

Byblos, 22:30–03:00, Free (£8 after 11)

Revolt

Nice ‘n’ Sleazy, 23:30–03:00, £3

Soul Glo

Classic Grand, 22:30–03:00, £5 (£4)

Sun 07 Nov

Funk and R’n’B.

Fiasco (Miss Honey Dijon) Bar Bacchus, 22:30–03:00, £7 (£10 after 11.30)

Sunday @ Bookclub Hillhead Bookclub, 17:00–20:00, Free

Rockabilly social club.

La Cheetah, 23:00–03:00, £tbc

I Love the Garage More Than Yer Maw

Wed 03 Nov

Real funk and grit.

Jumble Fever

Numbers (Joker, James Blake and Girl Unit) Sub Club, 23:00–03:00, £10

Golden triple headliner.

Flying Duck, 23:00–03:00, £4 (£2)

Old Skool

Revolt

Funk, soul and disco.

Buff Club, 23:00–03:00, £6

The Garage, 23:00–03:00, £5 (£3)

Only Fools and House

Wednesdays

House, disco and electro.

Flat 0/1, 23:00–03:00, Free

Flat 0/1, 23:00–03:00, Free

Propaganda

Y’Uptae

Indie audio visual night.

Synth funk and urban jams.

The Garage, 23:00–03:00, £5 (£3)

Student fun night.

Take It Sleazy

Nice ‘n’ Sleazy, 23:30–03:00, £2

Alternative clubbing.

Thu 04 Nov Thursdays

Halt Bar, 20:00–00:00, Free

Deep house and slo-mo techno.

Satisfaction

O2 ABC, 23:00–03:00, £5

Riot Radio Maggie May’s, 23:00–03:00, £5

Indie rock.

Rumble The Garage, 23:00–03:00, £5 (£3)

Bouncy castle fun night.

Superfly Flying Duck, 23:00–03:00, £5

Electro, house and hip-hop.

Voodoo

80s sleaze, house and disco.

Gaga

The Garage, 23:00–03:00, £5 (£3)

Chart, current and classics.

Ghetto

Sub Club, 23:00–03:00, £3

Electronic sounds.

I.DJ

Shed, 23:00–03:00, £2

Punter iPod playlists.

Misbehavin’

Cathouse, 23:00–03:00, £3 (£2)

Electro, dance and dirty pop.

Rubbermensch

O2 ABC, 23:00–03:00, £4

Indie night.

Shake It Up

Maggie May’s, 23:00–03:00, £5

Indie, rock and pop.

Skint/Vengeance

Cathouse, 23:00–03:00, £3 (£2)

Cathouse, 23:00–03:00, £2 (£1)

Requests night plus hip-hop bar.

Hung Up Sub Club, 23:00–03:00, £tbc

Optimo-curated weekly party.

Love Music O2 ABC, 23:00–03:00, £7

Saturday night disco.

Shedkandi Shed, 23:00–03:00, £2

House and R’n’B.

Cathouse, 16:00–21:00, £6 (£3 member)

Rock, metal and indie. Under 18s.

Saturday @ Bookclub

Mon 08 Nov Buff Club, 23:00–03:00, £5 (£3)

Lock In Bamboo, 23:00–03:00, £5 (£3)

New night of party tunes.

Suck My Pop The Garage, 23:00–03:00, £5 (£3)

R’n’B, chart and dirty electro.

Tue 09 Nov Alibi The Garage, 23:00–03:00, £5 (£3)

I Am

Butterfly Saturdays

Sub Club, 23:00–03:00, £4 (£2)

Eclectic house and techno.

Live music from the residents.

Inked

Yoyo Saturday

The Garage, 23:00–03:00, £5 (£3)

Absolution Classic Grand, 22:30–03:00, £5 (£4)

Pop, punk, metal and rock.

Cathouse Saturdays Cathouse, 22:30–03:00, £6 (£5)

Rock and punk.

Sabado

Rock and punk with DJ Muppet.

Killer Kitsch Buff Club, 23:00–03:00, £4 (£3)

Highlife (Mim Suleiman) La Cheetah, 23:00–03:00, £8 (£7)

Thursdays

Live percussion and future afrobeats.

Emo, punk and hardcore.

Melting Pot (I-F)

Classic Grand, 23:00–03:00, £3

Cheap ‘n’ Nasty

Nice ‘n’ Sleazy, 23:30–03:00, £2

The Admiral, 23:00–03:00, £10

Electro beats.

Electro disco for dancin’ feet.

Mobile Disco

Fri 05 Nov

Chart, indie, hip-hop and cocktails!

Friday @ Bookclub

Hillhead Bookclub, 21:00–00:00, Free

Classic and underground disco.

Crash

Shed, 22:00–03:00, Free (£5 after 11)

Pop, dance and hip-hop.

Rubyfruit

The Winchester, 22:00–03:00, £5

Lesbian night. Part of Glasgay.

Spinbox

Soundhaus, 22:00–03:00, £5

Alternative clubbing.

The Garage, 23:00–03:00, £5 (£3)

Nu Skool Buff Club, 23:00–03:00, £6

Funky disco and soul.

Orderly Disorder Flying Duck, 23:00–03:00, £6 (£5)

Eclectic tech and dirty beats.

Power Tools Flat 0/1, 23:00–03:00, Free

Italo, disco and house.

Subculture Sub Club, 23:00–03:00, £10 (£12 after 12)

Dubbed-out electro.

58 THE SKINNY November 2010

Chart, indie, hip-hop and cocktails!

Nu Skool

Y’Uptae The Garage, 23:00–03:00, £5 (£3)

Student fun night.

In About It Nice ‘n’ Sleazy, 23:30–03:00, £2

Techno fun.

Thu 11 Nov Thursdays

Student fun night.

Homebass

Nice ‘n’ Sleazy, 23:30–03:00, £2

Sat 20 Nov

Shedkandi

Voodoo

House and R’n’B.

Cathouse, 16:00–21:00, £6 (£3 member)

Rock, metal and indie. Under 18s.

Saturday @ Bookclub

Shed, 23:00–03:00, £2

Sin City

Buff Club, 23:00–03:00, £3

Soul, disco and house.

Mon 22 Nov

Butterfly & Pig, 21:00–03:00, Free

Lock In

Pass The Peas (Andy Taylor, WeeG)

Byblos, 22:30–03:00, £3

Live music from the residents.

R’n’B and dirty chart.

Rectify

New night of party tunes.

Hillhead Bookclub, 21:00–00:00, Free

Blackfriars Basement, 23:00–03:00, £3 (£5 after 12)

Funky fix.

Flat 0/1, 23:00–03:00, Free

80s sleaze, house and disco.

Common People

Power Tools

Gaga

Fri 12 Nov Friday @ Bookclub

Classic and underground disco.

Flying Duck, 21:00–03:00, Free (£3-£5 after 11)

The best of the 90s.

Crash

Shed, 22:00–03:00, Free (£5 after 11)

Soundhaus, 22:00–03:00, £7 (£5 members)

Three rooms of techno and trance.

Audio Kandi

Byblos, 22:30–03:00, £6 (£4)

Vocal house and mash-ups.

Ballbreaker/Vice

Cathouse, 22:30–03:00, £6 (£5)

Rock, metal and indie. Resident DJs.

Classic Fridays

Classic Grand, 22:30–03:00, £5 (£4)

Flat 0/1, 23:00–03:00, Free

Chart, current and classics.

Subculture

I.DJ

Sub Club, 23:00–03:00, £8 (£10 after 12)

Punter iPod playlists.

Dubbed-out electro.

The Rock Shop

Minimal, techno and house.

Buff Club, 23:00–03:00, £6

Indie audio visual night.

The Arches, 23:00–03:00, £5

Cathouse, 23:00–03:00, £3 (£2)

One-off party night.

Wrong Island Nice ‘n’ Sleazy, 23:30–03:00, £3

Eclectic dance.

Sun 14 Nov Sunday @ Bookclub Hillhead Bookclub, 17:00–20:00, Free

Rockabilly social club.

Flat 0/1, 21:00–02:00, Free

Sub Club, 23:00–03:00, £3 (£2)

Underground dance fusion.

Thursdays

Hillhead Bookclub, 21:00–00:00, Free

The Garage, 23:00–03:00, £5 (£3)

Buff Club, 23:00–03:00, £6

Power Tools Flat 0/1, 23:00–03:00, Free

Wednesdays

Flat 0/1, 23:00–03:00, Free

Synth funk and urban jams.

Y’Uptae

The Garage, 23:00–03:00, £5 (£3)

Student fun night.

Dirty Noise

Nice ‘n’ Sleazy, 23:30–03:00, £2

Filth and grime beats.

Thu 25 Nov

Italo, disco and house.

Thursdays

Singles Night

Deep house and slo-mo techno.

Flying Duck, 23:00–03:00, £3

Halt Bar, 20:00–00:00, Free

R’n’B and dirty chart.

Saturday night disco.

Pop, dance and hip-hop.

Dubbed-out electro.

Shedkandi ( )

Audio Kandi

Thankyou Frankley (Let’s Talk About Trees)

O2 ABC, 23:00–03:00, £7

Shed, 23:00–03:00, £2

Buff Club, 23:00–03:00, £3

Nice ‘n’ Sleazy, 23:30–03:00, £2

Shed, 22:00–03:00, Free (£5 after 11)

Byblos, 22:30–03:00, £6 (£4)

Vocal house and mash-ups.

Sub Club, 23:00–03:00, £8 (£10 after 12)

Stereo, 23:00–03:00, £5

Ballbreaker/Vice

Live bands and DJ’s

Rock, metal and indie. Resident DJs.

Maggie May’s, 23:00–03:00, Free (£5 (£3) after 12)

Cathouse, 22:30–03:00, £6 (£5)

Classic Fridays

Classic Grand, 22:30–03:00, £5 (£4)

The Rock Shop

Byblos, 22:30–03:00, £3

Counterfiet

Cathouse, 23:00–03:00, £3 (£2)

90s nu-metal.

Feel My Bicep

Flat 0/1, 23:00–03:00, Free

80s sleaze, house and disco.

Gaga

The Garage, 23:00–03:00, £5 (£3)

Chart, current and classics.

Rock, indie and metal.

I.DJ

Tiger & Woods

Punter iPod playlists.

La Cheetah, 23:00–03:00, £10

Shed, 23:00–03:00, £2

Mon 15 Nov

Aternative rock, metal and punk.

Dubbed-out disco.

Rubbermensch

Burn

BeDeep (Andre Lodemann)

Bottle Rocket Nice ‘n’ Sleazy, 23:30–03:00, £3

Indie night.

Buff Club, 23:00–03:00, £5 (£3)

Disco, funk and electro.

Lock In Bamboo, 23:00–03:00, £5 (£3)

New night of party tunes.

Suck My Decks The Garage, 23:00–03:00, £5 (£3)

R’n’B, chart and dirty electro.

The Admiral, 23:00–03:00, £8 (£10 after 12)

Deep, melodic house.

Rockabilly social club.

Button Up Sleazy R’n’B, jump jive and exotica.

Flying Duck, 23:00–03:00, £5 (£4)

Buff Club, 23:00–03:00, £6

Flat 0/1, 23:00–03:00, Free

Eclectic house and techno.

House, disco and electro.

Inked

Propaganda

The Garage, 23:00–03:00, £5 (£3)

Rock and punk with DJ Muppet.

Indie, rock and pop.

Lock Up Your Daughters

Only Fools and House

Sub Club, 23:00–03:00, £4 (£2)

Sun 21 Nov

Acid, techno and rave.

Funk, soul and disco.

The Garage, 23:00–03:00, £5 (£3)

Shake It Up

Sunday @ Bookclub

La Cheetah, 23:00–03:00, £10

O2 ABC, 23:00–03:00, £5

Indie audio visual night.

O2 ABC, 23:00–03:00, £4

Indie dancetacular.

Inner City Acid Strike Back (Radioactive Man, The Dexorcist)

I Am

Pop classics and hip-hop.

Mobile Disco

The Garage, 23:00–03:00, £5 (£3)

Rock and metal, plus visuals.

Crash

Andy R plays the hits.

Shed, 22:00–03:00, Free (£6 after 11)

The Arches, 23:00–03:00, £14

Alternative birthday fun.

Flying Duck, 23:00–03:00, £4 (£2)

Satisfaction

Jilted, Froot

Yoyo Saturday

Wed 24 Nov

Subculture

Old Skool

Techno beats.

Buff Club, 23:00–03:00, £4 (£3)

Electro clash, 80s, and disco.

7-inch singles, all night long.

Alibi

Soundhaus, 22:00–03:00, £7 (£5 members)

Killer Kitsch

Classic and underground disco.

Sub Club, 23:00–03:00, £tbc

Alternative clubbing.

Butterfly & Pig, 21:00–03:00, Free

The Garage, 23:00–03:00, £5 (£3)

Rock and punk with DJ Muppet.

Revolt

Fri 19 Nov Friday @ Bookclub

Inked

Death Disco 8th Birthday (The Count and Sinden, Mikix The Cat, The Aikiu, Dansette Junior)

Cathouse Sundays Cathouse, 23:00–03:00, £2 (£1)

Sub Club, 23:00–03:00, £4 (£2)

Eclectic house and techno.

Funk, soul and disco.

Massive student night.

Nice ‘n’ Sleazy, 23:30–03:00, £2

I Am

Live DJ takeover.

Funky disco and soul.

Bizarre Contact

Hillhead Bookclub, 21:00–00:00, Free

The Co-Op

The Garage, 23:00–03:00, £5 (£3)

Nuke The Moon

Eclectic pickings.

The Garage, 22:30–03:00, £5 (£3)

Kino Fist

Rock, metal and indie. Under 18s.

The Garage, 23:00–03:00, £5 (£3)

Rock, pop and ska with DJ Haze.

Tue 23 Nov

Glasgow School of Art, 23:00–03:00, £8

Nu Skool

Bouncy castle fun night.

Cathouse, 16:00–21:00, £6 (£3 member)

Stoked

Conscious Sounds, King General, Mungo’s Hi Fi

Best in Show

I Love the Garage More Than Yer Maw

Soul, disco and house.

Voodoo

Buff Club, 23:00–03:00, £3

Funk and R’n’B.

Dance, R’n’B and chart.

Classic Grand, 23:00–03:00, £3

Sin City

Sat 13 Nov

Soul Glo

Byblos, 22:30–03:00, Free (£8 after 11)

Emo, punk and hardcore.

Rumble

New wave and Kraut.

Emo, punk and metal. Resident DJs.

Cathouse, 22:30–03:00, £6 (£5)

Chart, indie, hip-hop and cocktails!

Indie rock.

Nice ‘n’ Sleazy, 23:30–03:00, £3

Pop, punk, metal and rock.

Indie, rock and pop.

House and R’n’B.

The Garage, 23:00–03:00, £5 (£3)

Classic Grand, 22:30–03:00, £5 (£4)

Tictactoe (Affi Koman, Andrew & Stevo Doran)

Skint/Vengeance

The Garage, 23:00–03:00, £5 (£3)

R’n’B, chart and dirty electro.

Andy R plays the hits.

Sabado

Maggie May’s, 23:00–03:00, £5

Suck My Pop

Absolution

Rock and punk.

Rock, indie and metal.

Bamboo, 23:00–03:00, £5 (£3)

Alibi

Shake It Up

Riot Radio

Maggie May’s, 23:00–03:00, £5

Shed, 22:00–03:00, Free (£6 after 11)

Buff Club, 23:00–03:00, £5 (£3)

Pop classics and hip-hop.

Cathouse Saturdays

Sleazy R’n’B, jump jive and exotica.

La Cheetah, 23:00–03:00, £3 (£5 after 12)

Rubbermensch

Yoyo Saturday

Indie night.

Maggie May’s, 23:00–03:00, Free (£5 (£3) after 12)

The Thing

Distortion (Darren Quail)

Shed, 23:00–03:00, £2

Soundhaus, 22:00–03:00, £12 (£10 members)

Hardcore and tech-trance.

O2 ABC, 23:00–03:00, £4

Button Up

Globe-spanning underground dance.

The Garage, 23:00–03:00, £5 (£3)

Italo, disco and house.

Aternative rock, metal and punk.

Gambetta, 22:30–03:00, £3

Feel My Bicep

Live music from the residents.

Punter iPod playlists.

O2 ABC, 23:00–03:00, £7

Saturday night disco.

Satisfaction

Feel My Bicep

Shed, 23:00–03:00, £2

Love Music

Live beats and Patchwork visuals.

Straight-friendly gay night.

I.DJ

Nice ‘n’ Sleazy, 23:30–03:00, £3

Good music for dancing.

Sub Club, 23:00–03:00, £tbc

Optimo-curated weekly party.

Disco, funk and electro.

Tue 16 Nov

Chart, current and classics.

Upside Down

Hung Up

Butterfly Saturdays

Halt Bar, 20:00–00:00, Free

Butterfly Saturdays

The Garage, 23:00–03:00, £5 (£3)

The Arches, 23:00–04:00, £15

Dutch house producer.

Cathouse, 23:00–03:00, £2 (£1)

Requests night plus hip-hop bar.

Funk, soul and hip-hop.

Glasgow School of Art, 23:00–03:00, £5

R’n’B and dirty chart.

Gaga

Colour Present: Laidback Luke

Cathouse Sundays

Deep house and slo-mo techno.

Nice ‘n’ Sleazy, 23:30–03:00, £2

Indie dancetacular.

Funk, soul and hip-hop.

80s sleaze, house and disco.

The Garage, 23:00–03:00, £5 (£3)

Bouncy castle fun night.

The Garage, 22:30–03:00, £5 (£3)

Massive student night.

Thursdays

Teenage Lust

Satisfaction

Flat 0/1, 23:00–03:00, Free

Rumble

I Love the Garage More Than Yer Maw

Burn

Saturday @ Bookclub

Byblos, 22:30–03:00, £3

The Garage, 23:00–03:00, £5 (£3)

Maggie May’s, 23:00–03:00, £5

Hillhead Bookclub, 21:00–00:00, Free

Halt Bar, 20:00–00:00, Free

Deep house and slo-mo techno.

Y’Uptae

Thu 18 Nov

O2 ABC, 23:00–03:00, £5

Flat 0/1, 23:00–03:00, Free

Synth funk and urban jams.

One More Tune (Define Define, Foliage)

Nuke The Moon

Synth funk and urban jams.

Flat 0/1, 23:00–03:00, Free

Funky disco and soul.

Classic Grand, 23:00–03:00, £3

Love Music

Wednesdays

Wednesdays

Emo, punk and hardcore.

Propaganda

The Garage, 23:00–03:00, £5 (£3)

Rock and metal, plus visuals.

Thursdays

House, disco and electro.

Revolt

The Garage, 23:00–03:00, £5 (£3)

Alternative clubbing.

Wed 10 Nov Flying Duck, 23:00–03:00, £4 (£2)

Flying Duck, 23:00–03:00, £4 (£2)

Buff Club, 23:00–03:00, £6

Flat 0/1, 23:00–03:00, Free

Electronic house.

Rock, pop and ska with DJ Haze.

The Garage, 23:00–03:00, £5 (£3)

Optimo-curated weekly party.

Stoked

The Arches, 23:00–03:00, £13

Mobile Disco

Only Fools and House

Funk and R’n’B.

The Garage, 23:00–03:00, £5 (£3)

Current and classic indie pop.

Funk, soul and disco.

Nice ‘n’ Sleazy, 23:30–03:00, £2

Goth disco.

Rock and metal, plus visuals.

Buff Club, 23:00–03:00, £3

Flying Duck, 23:00–03:00, £4

Hung Up

Danse Macabre

Fake Blood (Clouds, Boom Monk Ben, Visual Aids)

Soul Glo

Underground dance fusion.

Half My Heart Beats

Requests night plus hip-hop bar.

Funk, soul and disco.

Dance, R’n’B and chart.

Sub Club, 23:00–03:00, £3 (£2)

Dance, R’n’B and chart.

Old Skool

Electro clash, 80s, and disco.

Byblos, 22:30–03:00, Free (£8 after 11)

Emo, punk and metal. Resident DJs.

The Co-Op

Up4it/Fresh Lick (Cesko, Danny Smith, John Newhall, Leon Watson)

Andy R plays the hits.

Pop classics and hip-hop.

The Garage, 23:00–03:00, £5 (£3)

Rock, pop and ska with DJ Haze.

Buff Club, 23:00–03:00, £3

Soul, disco and house.

Hillhead Bookclub, 21:00–00:00, Free

Shed, 22:00–03:00, Free (£6 after 11)

Stoked

Pop, dance and hip-hop.

Funk, soul and hip-hop.

Butterfly & Pig, 21:00–03:00, Free

Buff Club, 23:00–03:00, £3

Sin City

Disco, funk and electro.

Nice ‘n’ Sleazy, 23:30–03:00, £3

Sat 06 Nov

Flat 0/1, 23:00–03:00, Free

Cathouse Sundays

Damaged Goods

Cloak & Dagger Feel My Bicep

The Garage, 22:30–03:00, £5 (£3)

Massive student night.

Burn

Disco and funk.

Flying Duck, 23:00–03:00, £5 (£4)

Flat 0/1, 21:00–02:00, Free

Disco inferno.

Byblos, 22:30–03:00, £3

R’n’B and dirty chart.

Cathouse, 23:00–03:00, £3 (£2)

They will play The Fall.

Sleazy R’n’B, jump jive and exotica.

Rock and metal, plus visuals.

Wed 17 Nov

Cathouse, 22:30–03:00, £6 (£5)

Pandemic

Jelly Roll Soul (Space Dimension Controller)

Funk, soul and disco.

Cathouse Saturdays

Maggie May’s, 23:00–03:00, £5

Rock and punk.

Late Of The Pier guest DJ.

Nuke The Moon

Indie, rock and pop.

Skint/Vengeance

Button Up

Club-cum-jumble-sale.

Pop, punk, metal and rock.

Underground house and techno.

Underground house.

Flying Duck, 19:00–22:00, Free

Shake It Up

Classic Fridays Aternative rock, metal and punk.

Buff Club, 23:00–03:00, £4 (£3)

Nuke The Moon

Killer Kitsch (Radio Zarcop)

Buff Club, 23:00–03:00, £4 (£3)

O2 ABC, 23:00–03:00, £4

Hillhead Bookclub, 17:00–20:00, Free

Flat 0/1, 21:00–02:00, Free

Scientist Launches Dubstep Into Outerspace (Scientist Vs The Upsetters, Pinch, Sgt Pokes, Loefah, Electric Eliminators) Glasgow School of Art, 21:00–03:00, £14

Party guests.

Maggie May’s, 23:00–03:00, £5

Skint/Vengeance

Cathouse, 23:00–03:00, £3 (£2)

Emo, punk and metal. Resident DJs.

Soul Glo

Buff Club, 23:00–03:00, £3

Funk and R’n’B.

Stoked

The Garage, 23:00–03:00, £5 (£3)

Rock, pop and ska with DJ Haze.

The Co-Op

Sub Club, 23:00–03:00, £3 (£2)

Underground dance fusion.

Thursdays

Classic Grand, 23:00–03:00, £3

Emo, punk and hardcore.

EDINBURGH CLUBS Pump Club

Nice ‘n’ Sleazy, 23:30–03:00, £2

Bass and dubstep.

Fri 26 Nov Friday @ Bookclub

Hillhead Bookclub, 21:00–00:00, Free

Classic and underground disco.

Intenzifi

Soundhaus, 21:00–03:00, £6 (£5 members)

Modern Lovers (Groove Armada DJs) Flying Duck, 23:00–03:00, £3 (£5 after 12)

Special guest DJ set.

Nu Skool Buff Club, 23:00–03:00, £6

Tue 02 Nov Circus Arcade

Electric Circus, 20:00–01:00, Free

Pop quiz and musical bingo.

Antics

The Hive, 22:00–03:00, Free

Rock, metal and punk.

Funky disco and soul.

Soul Jam Hot

Power Tools

Funk, soul and hip-hop.

Flat 0/1, 23:00–03:00, Free

Split

Sneaky Pete’s, 23:00–03:00, Free

Hardcore and D’n’B.

Italo, disco and house.

Crash

Subculture

D’n’B, breaks and techno. Rotating DJs.

Tuesday Heartbreak

Pop, dance and hip-hop.

Sub Club, 23:00–03:00, £8 (£10 after 12)

Dubbed-out electro.

Live funkout.

Shed, 22:00–03:00, Free (£5 after 11)

Soundsystem Club Show (Dawn Penn, The Fenomeno Show, Brina, Dirtsman)

Glasgow School of Art, 22:00–03:00, £10

Guest party night.

Audio Kandi

Byblos, 22:30–03:00, £6 (£4)

Vocal house and mash-ups.

Ballbreaker/Vice

The Rock Shop Maggie May’s, 23:00–03:00, Free (£5 (£3) after 12)

Cabaret Voltaire, 23:00–03:00, Free

The Jazz Bar, 23:00–03:00, £2 (£1)

Wed 03 Nov Hush

Rockabilly social club.

Button Up

Studio 24, 22:30–03:00, £6 (£4)

Axis

Electro, fidget and bass.

JungleDub

Bongo Club, 23:00–03:00, Free

Flat 0/1, 21:00–02:00, Free

Jungle and dubstep.

Sleazy R’n’B, jump jive and exotica.

Slap Bang

Cabaret Voltaire, 23:00–03:00, Free

New night of disco funk.

Movement

Cathouse Sundays Cathouse, 23:00–03:00, £2 (£1)

Alternative dance.

Requests night plus hip-hop bar.

Propaganda

Hung Up

Indie audio visual night.

Optimo-curated weekly party.

Sub Club, 23:00–03:00, £tbc

Maggie May’s, 23:00–03:00, £5

Love Music

Indie rock.

O2 ABC, 23:00–03:00, £7

Rumble

The Garage, 23:00–03:00, £5 (£3)

Dubstep, dancehall and electro.

This Is Music Sneaky Pete’s, 23:00–05:00, £3 (members free)

Indie and electro.

Skunkfunk (Federation of the Disco Pimp) The Jazz Bar, 23:30–03:00, £5 (£3)

The Ka-Tet

Chart, indie and retro.

Luvely The Liquid Room, 22:30–03:00, £12

Party tunes.

Tease Age Citrus Club, 22:30–03:00, Free (£6 after 11)

Indie, rock and soul.

Electric Circus, 21:30–00:00, £tbc

Music industry mixer, with guest speakers and DJs.

Citrus Club, 23:00–03:00, Free (£3 after 12)

D’n’B and dubstep.

Trash and Burn

Octopussy

Rock, metal and indie. Under 18s.

Glam and hair metal classics.

Lane Nightclub, 23:00–03:00, £10 (£6)

Yoyo Saturday

Shed, 22:00–03:00, Free (£6 after 11)

Pop classics and hip-hop.

Zeto

Soundhaus, 22:00–03:00, £6 (£5 members)

Techno beats.

Absolution

Classic Grand, 22:30–03:00, £5 (£4)

Pop, punk, metal and rock.

Cathouse Saturdays

Cathouse, 22:30–03:00, £6 (£5)

Rock and punk.

Sabado

Byblos, 22:30–03:00, Free (£8 after 11)

Dance, R’n’B and chart.

We Got Soul

Cabaret Voltaire, 23:00–03:00, £7 (£10 after 12)

House and disco.

Fake Sneaky Pete’s, 23:00–05:00, £3 (members free)

Breaks and electro.

Saturday Nite Fish Fry (Das Contras) The Jazz Bar, 23:30–03:00, £5 (£3)

Re-mixed disco and soul.

Everybody

Alternative metal and rock.

Disco, funk and electro.

Lock In Bamboo, 23:00–03:00, £5 (£3)

New night of party tunes.

Suck My Decks The Garage, 23:00–03:00, £5 (£3)

R’n’B, chart and dirty electro.

Tue 30 Nov Alibi The Garage, 23:00–03:00, £5 (£3)

Andy R plays the hits.

I Am Sub Club, 23:00–03:00, £4 (£2)

Rock and punk with DJ Muppet.

Killer Kitsch Buff Club, 23:00–03:00, £4 (£3)

Electro clash, 80s, and disco.

Funk and soul beats.

Sneaky Pete’s, 23:00–05:00, Free

Electric Circus, 00:00–03:00, £5

The Hive, 22:00–03:00, Free

Pop, rock and indie.

Jelly Baby

Fri 05 Nov

Sunday fun night.

Adventures In Sound

The Hive, 22:00–03:00, Free

Chart, indie and 90s hits.

Scream!

The Liquid Room, 22:30–03:00, £2 (£4 after 12)

Electronica student party.

Animal Hospital

The Liquid Room, 22:30–03:00, £tbc

Coalition Sneaky Pete’s, 23:00–03:00, Free

D’n’B and dubstep.

HMV Picture House, 23:00–03:00, £6 (£4)

Sick Note

Planet Earth

Citrus Club, 22:30–03:00, Free (£6 after 11)

Retro from 1970 to 1999.

Bongo Club, 23:00–03:00, £5 (£6 (£7) after 12)

Funk, soul and disco.

Cabaret Voltaire, 23:00–03:00, £13

Alternative, rock and metal.

Electric Circus, 00:00–03:00, £5

Studio 24, 23:00–03:00, £5 (£4)

Pop, rock and indie.

The Egg

Fri 12 Nov

Weekly indie institution.

Adventures In Sound HMV Picture House, 11:00–03:00, £1 (£3 after 12)

Indie and alternative.

Lost Weekend Electric Circus, 17:00–00:00, Free (£5 after 10.30)

Live music. DJs and bandaoke.

Selektance (12/11 Fausto, Mallorca Lee, QFX, Jason Cortez)

Mixed Up Mondays

Wee Red Bar, 22:30–03:00, Free

Mumbo Jumbo

Everybody

Fakin’ It

Reggae, dub and dancehall.

Studio 24, 23:00–03:00, £5 (£4)

Detroit soul and Chicago blues.

Redeemer

The Hive, 22:00–03:00, Free (£4 after 11)

I’m Just A Guy (Robigan, C-Biscuit, Ista Lion)

Land Of 1000 Dances

Funk and soul beats.

Mon 08 Nov

Twisted disco.

Cabaret Voltaire, 23:00–03:00, £5

Filthy techno special guest.

Bongo Club, 23:00–03:00, Free

Live music. DJs and bandaoke.

Cabaret Voltaire, 23:00–03:00, £1

Bassline breaks.

We Got Soul

Misfits

Bare

Sneaky Pete’s, 23:00–03:00, £3 (members free)

Pulse 1st Birthday (Green Velvet)

Dance music, old and new.

The Hive, 22:00–03:00, Free (£4 after 11)

Bass Syndicate

Indie and electro.

Lost Weekend

Misfits

Indie, rock and soul.

Cabaret Voltaire, 23:00–03:00, Free

Cabaret Voltaire, 23:00–03:00, Free

Hip-hop, urban and R’n’B.

Citrus Club, 22:30–03:00, Free (£6 after 11)

House and electro. In Speakeasy.

Citrus Club, 23:00–03:00, Free (£3 after 12)

Killer Kitsch

The Hive, 22:00–03:00, Free

Tease Age

Dub Kaoss

Indie and alternative.

Henry’s Cellar, 21:00–03:00, £5 (£4)

The Liquid Room, 22:30–03:00, £12

Fusion house and electronica.

It’s All Good (Tonykeo, Claudio, Gregsta)

Dubstep, breaks and D’n’B.

Hard-tek, jungle and breaks.

Musika (Radio Slave, Heidi)

Minimal and techno.

HMV Picture House, 11:00–03:00, £1 (£3 after 12)

Electric Circus, 17:00–00:00, Free (£5 after 10.30)

Alternative indie.

Sneaky Pete’s, 23:00–03:00, Free

Chart, indie and electro.

Buff Club, 23:00–03:00, £5 (£3)

Itch! (DVA)

The Garage, 23:00–03:00, £5 (£3)

Studio 24, 23:00–03:00, £8

Heavy bass, breaks and house.

Frisky

Ultragroove

Rock Show

The Garage, 23:00–03:00, £5 (£3)

Chart, indie, hip-hop and cocktails!

Space Ball

New releases and dancefloor killers.

Studio 24, 23:00–03:00, £5 (£4)

Club night team-up.

Burn

Inked

Mobile Disco

Cabaret Voltaire, 23:00–03:00, Free

Indie and electro.

Electric Circus, 22:00–01:00, £3 (£2)

Octopussy

Sun 07 Nov

House, techno and trance.

The Universal, 23:00–03:00, £5

Sick Note

The Mission/Redeemer

Dapper Dans

Eclectic house and techno.

Party night.

Chart, indie and electro.

Studio 24, 23:00–03:00, £5 (£4)

Live funk and reggae, plus DJs.

Inside Out

The Arches, 23:00–03:00, £tbc

HMV Picture House, 23:00–03:00, £6 (£4)

The Go-Go

Bongo Club, 23:00–03:00, Free

Party night with special guests.

Chart, indie and retro.

Rendezvous (Lee Foss, Blair Harrower)

Soul, disco and house.

Cathouse, 22:30–04:00, £tbc

The Jazz Bar, 23:00–03:00, £2 (£1)

Born To Be Wide

Sat 27 Nov

Cathouse 20th Birthday!

The Hive, 22:00–03:00, Free (£4 after 11)

Non-cheesy retro. In Speakeasy.

Voodoo

Live music from the residents.

The Ka-Tet

Thu 04 Nov

Cabaret Voltaire, 23:00–03:00, £3

Scream!

Mon 29 Nov

Bubblegum

Movement

Shedkandi

Butterfly Saturdays

Cabaret Voltaire, 23:00–03:00, Free

New night of disco funk.

Voodoo Rooms, 21:00–01:00, Free

Beep Beep Yeah! (Be-Bopa-Tallah, Kate and the Gang, Jumpin’ Jack)

Electric Circus, 00:00–01:00, £3 (£2)

Wee Red Bar, 23:00–03:00, £1 (£3 after 11.30)

Alternative clubbing.

Funky-edged soul.

New releases and dancefloor killers.

The Egg

Nice ‘n’ Sleazy, 23:30–03:00, £tbc

Slap Bang

Electric Circus, 22:30–03:00, £5 (£6 after 12)

The Hive, 22:00–03:00, Free

Hillhead Bookclub, 21:00–00:00, Free

Soul Spectrum

Thu 11 Nov

Chart, indie and 90s hits.

We Funk

Indie and alternative.

Bongo Club, 23:00–03:00, Free

Jungle and dubstep.

Alternative beats.

Electric Circus, 22:30–03:00, £tbc

Saturday night disco.

Classic Grand, 23:00–03:00, £3

JungleDub

HMV Picture House, 11:00–03:00, £1 (£5 after 12)

His & Hers

Telefunken

Frisky

Buff Club, 23:00–03:00, £3

Sneaky Pete’s, 23:00–03:00, Free

Sat 13 Nov

Blues and funk.

The Jazz Bar, 23:00–03:00, £2 (£1)

Party beats.

Shed, 23:00–03:00, £2

The Jazz Bar, 23:30–03:00, £5 (£3)

Electro, fidget and bass.

Retro tunes.

Soul and funk in the kitchen.

Bongo Club, 23:00–03:00, £8

The Hive, 22:00–03:00, Free (£4 after 11)

Dub Kaoss

Flying Duck, 21:00–03:00, Free (£3-£5 after 11)

Xplicit (Black Sun Empire, Teebee)

Beat Control

Sin City

Soul Kitchen

Wed 10 Nov

Wee Red Bar, 23:00–03:00, £4

Vintage dancin’ tunes.

Axis

Happy core.

Butterfly & Pig, 21:00–03:00, Free

Live funkout.

Vintage Violence

Electro, rock and cheese.

The Liquid Room, 22:30–03:00, £2 (£4 after 12)

Funk, soul and hip-hop.

The Jazz Bar, 23:00–03:00, £2 (£1)

Bubblegum

Electronica student party.

Saturday @ Bookclub

Tuesday Heartbreak

Indie and electro.

Indie and alternative.

House and R’n’B.

Cathouse, 16:00–21:00, £6 (£3 member)

D’n’B, breaks and techno. Rotating DJs.

This Is Music Sneaky Pete’s, 23:00–03:00, £3 (members free)

Live reggae rhythms, plus DJs.

Black Tent

Nice ‘n’ Sleazy, 23:30–03:00, £2

Cabaret Voltaire, 23:00–03:00, Free

The Hive, 22:00–03:00, Free (£3 after 11)

HMV Picture House, 11:00–03:00, £1 (£5 after 12)

Weekly indie institution.

Bouncy castle fun night.

Split

Underground house. In Speakeasy.

Bangers and Mash

Electro, rock and cheese.

Massive student night.

Riot Radio

Bongo Club, 23:00–03:00, £3 (£5 after 12)

Sneaky Pete’s, 23:00–03:00, Free

Beat Control

Garage and psych-out.

The Hive, 22:00–03:00, Free (£3 after 11)

Pin Up Nights: The National After Party

O2 ABC, 23:00–03:00, £5

Funk, soul and hip-hop.

Skunkfunk (Man At The Window)

Nice ‘n’ Sleazy, 23:30–03:00, £3

Blues and funk.

The Arches, 23:00–03:00, £tbc

Wonky

Cabaret Voltaire, 23:00–03:00, Free (£4 after 12)

Electric Circus, 21:00–01:00, Free

The Garage, 22:30–03:00, £5 (£3)

Pressure

Soul Jam Hot

Cult underground retro.

I Love the Garage More Than Yer Maw

Flying Duck, 23:00–03:00, £tbc

Funky Toykoblu crew.

Sat 06 Nov

House, disco and electro.

Indie after party fun.

Breakdancer convention after party.

Bangers and Mash

Sneaky Pete’s, 23:00–03:00, Free

Flat 0/1, 23:00–03:00, Free

Cabaret Voltaire, 23:00–03:00, £8

Souloco (Jamie McKenzie, Kirk Douglas, Chris Graham)

Hot Club

Hillhead Bookclub, 17:00–20:00, Free

Only Fools and House

Tokyoblu

Bongo Club, 23:00–03:00, £5

The GRV, 23:00–03:00, £5

Techno, electro and funk.

D’n’B evolution.

Sunday @ Bookclub

Buff Club, 23:00–03:00, £6

Cabaret Voltaire, 23:00–03:00, Free

Funky breaks. In Speakeasy.

Breaking Convention After Party (Colin Millar, Fryer, Isla Blige)

Hush

Classic Fridays

Funk, soul and disco.

Inkling (MC Silver Tongue)

IZU (Wolfjazz , Vennel Sound Source, UBM, M Trunk)

Live funk, plus DJs.

All things Bollywood.

Old Skool

Eclectic beats.

The Hive, 22:00–03:00, Free

Electric Circus, 22:00–01:00, Free

Bollynights

Aternative rock, metal and punk.

Rock, metal and punk.

Cult underground retro.

Sun 28 Nov

Classic Grand, 22:30–03:00, £5 (£4)

Antics

The GRV, 23:00–03:00, £3 (£4 after 12)

Rock, indie and metal.

Rock, metal and indie. Resident DJs.

Cathouse, 22:30–03:00, £6 (£5)

Dirt (Kid III, Onslaught)

Lane Nightclub, 21:00–03:00, £10

Hard dance party.

Twisted disco.

Planet Earth Citrus Club, 22:30–03:00, Free (£6 after 11)

Retro from 1970 to 1999.

Dubstep, D’n’B and techno.

Cosmic

Nu Fire

Psych-trance, house and visuals.

Wee Red Bar, 23:00–03:00, £1 (£3 after 11.30)

Saturday Nite Fish Fry (Hidden Orchestra, DJ Astroboy) The Jazz Bar, 23:30–03:00, £5 (£3)

Cinematic soundscapes, plus DJs.

Sun 14 Nov Rock Show The Hive, 22:00–03:00, Free

Alternative metal and rock.

Jelly Baby The Liquid Room, 22:30–03:00, £tbc

Sunday fun night.

Coalition Sneaky Pete’s, 23:00–03:00, Free

Dubstep, breaks and D’n’B.

Killer Kitsch Cabaret Voltaire, 23:00–03:00, Free

Dance music, old and new.

Mon 15 Nov

Studio 24, 23:00–03:00, £6 (£4)

Mixed Up Mondays

From hip-hop to dubstep.

Elementary (Toni Jarvis)

Hip-hop, urban and R’n’B.

Tue 09 Nov

One-off funky breakbeat session.

Circus Arcade

Furburger

Sneaky Pete’s, 23:00–03:00, Free

Electric Circus, 20:00–01:00, Free

Pop quiz and musical bingo.

Cabaret Voltaire, 23:00–03:00, £tbc

GHQ, 23:00–03:00, £tbc

Lesbian night.

The Hive, 22:00–03:00, Free

Bedbug (Rusko) Cabaret Voltaire, 23:00–03:00, £8

One-off dubstep special guest.

Nu Fire Sneaky Pete’s, 23:00–03:00, Free

From hip-hop to dubstep.

November 2010

THE SKINNY 59

EDINBURGH CLUBS TUE 16 NOV

THIS IS MUSIC

CIRCUS ARCADE

Indie and electro.

HUSH

SKUNKFUNK (STUART MCCALLUM BAND, AKI)

Cult underground retro.

Tunes chosen by ‘The Wheel’.

BANGERS AND MASH

TEASE AGE

ELECTRIC CIRCUS, 20:00–01:00, FREE

Pop quiz and musical bingo.

ANTICS

THE HIVE, 22:00–03:00, FREE

Rock, metal and punk.

SNEAKY PETE’S, 23:00–03:00, FREE

THE JAZZ BAR, 23:30–03:00, £5 (£3)

Live funk and samples, plus DJs.

WED 24 NOV ELECTRIC CIRCUS, 21:00–01:00, FREE

THE HIVE, 22:00–03:00, FREE (£3 AFTER 11)

Electro, rock and cheese.

SOUL JAM HOT

SAT 20 NOV

Funk, soul and hip-hop.

BEAT CONTROL

SPLIT

HMV PICTURE HOUSE, 11:00–03:00, £1 (£5 AFTER 12)

Electro, fidget and bass.

SNEAKY PETE’S, 23:00–03:00, FREE

CABARET VOLTAIRE, 23:00–03:00, FREE

AXIS SNEAKY PETE’S, 23:00–03:00, FREE

JUNGLEDUB

MAGIC NOSTALGIC ELECTRIC CIRCUS, 22:30–03:00, £5 (£6 AFTER 12)

CITRUS CLUB, 22:30–03:00, FREE (£6 AFTER 11)

Indie, rock and soul.

DARE! (JON PLEASED WIMMIN, ADAM LE CHIC) CABARET VOLTAIRE, 23:00–03:00, £5

D’n’B, breaks and techno. Rotating DJs.

Indie and alternative.

BONGO CLUB, 23:00–03:00, FREE

Jungle and dubstep.

Electronic dance. In Speakeasy.

TUESDAY HEARTBREAK

BUBBLEGUM THE HIVE, 22:00–03:00, FREE (£4 AFTER 11)

SLAP BANG

DEVIL DISCO CLUB (SKIBUNNY)

Chart, indie and retro.

CABARET VOLTAIRE, 23:00–03:00, FREE

New night of disco funk.

GREEN DOOR

BONGO CLUB, 23:00–03:00, £4 (£5 AFTER 12)

THE KA-TET

Disoc, funk and house.

THE JAZZ BAR, 23:00–03:00, £2 (£1)

Live funkout.

WED 17 NOV

STUDIO 24, 22:30–03:00, £5 (£4)

THE JAZZ BAR, 23:00–03:00, £2 (£1)

HUSH

Rockabilly, doo-wop and free cake!

Cult underground retro.

TEASE AGE

THU 25 NOV

CITRUS CLUB, 22:30–03:00, FREE (£6 AFTER 11)

MOVEMENT

ELECTRIC CIRCUS, 21:00–01:00, FREE

BANGERS AND MASH

THE HIVE, 22:00–03:00, FREE (£3 AFTER 11)

Electro, rock and cheese.

AXIS

SNEAKY PETE’S, 23:00–03:00, FREE

Electro, fidget and bass.

JUNGLEDUB

Indie, rock and soul.

VELVET (TRENDY WENDY) CABARET VOLTAIRE, 22:30–03:00, £6 (£4)

Gay and bi-girl night. In Speakeasy.

Blues and funk.

ELECTRIC CIRCUS, 22:00–01:00, £3 (£2)

New releases and dancefloor killers.

FRISKY THE HIVE, 22:00–03:00, FREE

SLAP BANG

BIG ‘N’ BASHY (TEKKERZ)

CITRUS CLUB, 23:00–03:00, FREE (£3 AFTER 12)

THE KA-TET

THE JAZZ BAR, 23:00–03:00, £2 (£1)

Blues and funk.

BONGO CLUB, 23:00–03:00, £5

Reggae, grime and jungle.

COSMIC 3RD BIRTHDAY

THE LIQUID ROOM, 23:00–03:00, £6

80s and 90s indie.

SNEAKY PETE’S, 23:00–03:00, £3 (MEMBERS FREE)

Electronica student party.

New night of disco funk.

MADCHESTER

PLAYDATE (ALEX EGAN)

ELECTRIC CIRCUS, 22:30–03:00, £5 (£6 AFTER 12)

Wonky pop guest DJs.

Resident takeover, plus guests.

SCREAM! (SKREAM, MC DREAD)

WIRE (DANANANAKROYD)

CABARET VOLTAIRE, 23:00–03:00, FREE

CABARET VOLTAIRE, 23:00–03:00, £7 (£5)

Chart, indie and 90s hits.

BONGO CLUB, 23:00–03:00, FREE

Jungle and dubstep.

KARNIVAL (STEVIE REID, NOBAD)

THE LIQUID ROOM, 22:30–03:00, £10

DUB KAOSS D’n’B and dubstep.

OCTOPUSSY HMV PICTURE HOUSE, 23:00–03:00, £6 (£4)

Special house guest.

REDEEMER STUDIO 24, 23:00–03:00, £5 (£4)

Alternative, rock and metal.

THE EGG

THU 18 NOV

Psych-trance, house and visuals.

Chart, indie and electro.

WEE RED BAR, 23:00–03:00, £1 (£3 AFTER 11.30)

MOVEMENT

DRIVEN

RIDE

Weekly indie institution.

SNEAKY PETE’S, 23:00–03:00, FREE

THE UNDERGROUND

ELECTRIC CIRCUS, 22:00–01:00, £3 (£2)

New releases and dancefloor killers.

FRISKY

THE HIVE, 22:00–03:00, FREE

Chart, indie and 90s hits.

MIASMA

WEE RED BAR, 22:30–03:00, £5 (£4)

Dubstep, breaks and electronic.

SCREAM!

THE LIQUID ROOM, 22:30–03:00, £2 (£4 AFTER 12)

Electronica student party.

DUB KAOSS

CITRUS CLUB, 23:00–03:00, FREE (£3 AFTER 12)

D’n’B and dubstep.

HOMEGROWN

SNEAKY PETE’S, 23:00–03:00, FREE

New D’n’B night.

OCTOPUSSY

HMV PICTURE HOUSE, 23:00–03:00, £6 (£4)

Chart, indie and electro.

SICK NOTE (DANSETTE JUNIOR)

CABARET VOLTAIRE, 23:00–03:00, FREE

Indie and electro.

STUDIO 24, 23:00–03:00, £5 (£4)

HENRY’S CELLAR, 23:00–03:00, £4

Industrial, EBM, goth and electro.

Hip-hop and electro.

THE EGG

SICK NOTE

WEE RED BAR, 23:00–03:00, £1 (£3 AFTER 11.30)

Indie and electro.

Weekly indie institution.

ULTRAGROOVE CABARET VOLTAIRE, 23:00–03:00, £7 (£10 AFTER 12)

House and disco.

WASABI DISCO SNEAKY PETE’S, 23:00–03:00, £3 (MEMBERS FREE)

House, punk and disco gone bad.

SATURDAY NITE FISH FRY (BIG HAND) THE JAZZ BAR, 23:30–03:00, £5 (£3)

Live funk and reggae, plus DJs.

SUN 21 NOV. ROCK SHOW THE HIVE, 22:00–03:00, FREE

Alternative metal and rock.

BONGO CLUB, 23:00–03:00, FREE

EVERYBODY

Live funk and soul, plus DJs.

Funk and soul beats.

ELECTRIC CIRCUS, 00:00–03:00, £5

Pop, rock and indie.

FRI 26 NOV ADVENTURES IN SOUND HMV PICTURE HOUSE, 11:00–03:00, £1 (£3 AFTER 12)

Indie and alternative.

Dubstep, breaks and D’n’B.

EVERYBODY

KILLER KITSCH

SNEAKY PETE’S, 23:00–03:00, FREE

THE HIVE, 22:00–03:00, FREE

Alternative metal and rock.

JELLY BABY THE LIQUID ROOM, 22:30–03:00, £TBC

Sunday fun night.

Live music. DJs and bandaoke.

MISFITS THE HIVE, 22:00–03:00, FREE (£4 AFTER 11)

PLANET EARTH

Funk and soul beats.

SUN 28 NOV ROCK SHOW

ELECTRIC CIRCUS, 17:00–00:00, FREE (£5 AFTER 10.30)

Twisted disco.

COALITION

THE JAZZ BAR, 23:30–03:00, £5 (£3)

LOST WEEKEND

THE LIQUID ROOM, 22:30–03:00, £TBC

Sunday fun night.

STUDIO 24, 23:00–03:00, £5 (£4)

Punk and new-wave.

SATURDAY NITE FISH FRY (PAUL MILLLS’ MIND EXCURSION)

WE GOT SOUL

JELLY BABY

WE GOT SOUL

BONGO CLUB, 23:00–03:00, FREE

CABARET VOLTAIRE, 23:00–03:00, FREE

CITRUS CLUB, 22:30–03:00, FREE (£6 AFTER 11)

Retro from 1970 to 1999.

BEARS NIGHT

COALITION SNEAKY PETE’S, 23:00–03:00, FREE

Dubstep, breaks and D’n’B.

KILLER KITSCH CABARET VOLTAIRE, 23:00–03:00, FREE

Dance music, old and new.

MON 29 NOV

STUDIO 24, 23:00–03:00, £5

MIXED UP MONDAYS

CABARET VOLTAIRE, 23:00–03:00, FREE

Fun gay night.

THE HIVE, 22:00–03:00, FREE

Pop, rock and indie.

Dance music, old and new.

CONFUSION IS SEX

Hip-hop, urban and R’n’B.

FRI 19 NOV

MON 22 NOV

Holy/whore themed glam trash.

BONGO CLUB, 23:00–03:00, £7 (£5)

BARE

ADVENTURES IN SOUND

MIXED UP MONDAYS

ELECTRIC CIRCUS, 00:00–03:00, £5

HMV PICTURE HOUSE, 11:00–03:00, £1 (£3 AFTER 12)

Indie and alternative.

LOST WEEKEND (IVORY)

JACKHAMMER WEE RED BAR, 23:00–03:00, £TBC

THE HIVE, 22:00–03:00, FREE

Techno and electro.

BARE

MODERN LOVERS (GROOVE ARMADA DJS)

Hip-hop, urban and R’n’B. CABARET VOLTAIRE, 23:00–03:00, £1

THE GRV, 23:00–03:00, £6

ELECTRIC CIRCUS, 17:00–00:00, FREE (£5 AFTER 10.30)

Dubstep, D’n’B and techno.

Retro, soul and funk.

Live music. DJs and bandaoke.

NU FIRE

MISFITS

SNEAKY PETE’S, 23:00–03:00, FREE

From hip-hop to dubstep.

SUGARBEAT (FAKE BLOOD, COUNT & SINDEN, UTAH SAINTS)

THE HIVE, 22:00–03:00, FREE (£4 AFTER 11)

Twisted disco.

TUE 23 NOV

PLANET EARTH

CIRCUS ARCADE

CITRUS CLUB, 22:30–03:00, FREE (£6 AFTER 11)

Retro from 1970 to 1999.

STEPBACK

WEE RED BAR, 22:30–03:00, £5 (£3)

Eclectic beats from Wolfjazz.

ELECTRIC CIRCUS, 20:00–01:00, FREE

Pop quiz and musical bingo.

ANTICS THE HIVE, 22:00–03:00, FREE

Rock, metal and punk.

COMPAKT (DUSTIN ZAHN)

SOUL JAM HOT

Top-drawer techno guest.

Funk, soul and hip-hop.

CABARET VOLTAIRE, 23:00–03:00, £TBC

SNEAKY PETE’S, 23:00–03:00, FREE

FAKIN’ IT

SPLIT

Hard-tek, jungle and breaks.

D’n’B, breaks and techno. Rotating DJs.

HENRY’S CELLAR, 23:00–03:00, £5 (£4)

FOUR CORNERS

BONGO CLUB, 23:00–03:00, £3 (£5 AFTER 12)

Funk, jazz, reggae and hip-hop.

CABARET VOLTAIRE, 23:00–03:00, FREE

TUESDAY HEARTBREAK THE JAZZ BAR, 23:00–03:00, £2 (£1)

Live funkout.

60 THE SKINNY NOVEMBER 2010

CABARET VOLTAIRE, 23:00–03:00, £15

CABARET VOLTAIRE, 23:00–03:00, £1

Dubstep, D’n’B and techno.

NU FIRE SNEAKY PETE’S, 23:00–03:00, FREE

From hip-hop to dubstep.

TUE 30 NOV CIRCUS ARCADE ELECTRIC CIRCUS, 20:00–01:00, FREE

Huge Sugarbeat line-up.

Pop quiz and musical bingo.

THIS IS MUSIC

ANTICS

SNEAKY PETE’S, 23:00–03:00, FREE

Indie and electro.

SKUNKFUNK (LE SALON DE JAZZ REFUSE) THE JAZZ BAR, 23:30–03:00, £5 (£3)

THE HIVE, 22:00–03:00, FREE

Rock, metal and punk.

SOUL JAM HOT SNEAKY PETE’S, 23:00–03:00, FREE

Live funk, plus DJs.

Funk, soul and hip-hop.

SAT 27 NOV

SPLIT

BEAT CONTROL HMV PICTURE HOUSE, 11:00–03:00, £1 (£5 AFTER 12)

Indie and alternative.

BUBBLEGUM THE HIVE, 22:00–03:00, FREE (£4 AFTER 11)

Chart, indie and retro.

CABARET VOLTAIRE, 23:00–03:00, FREE

D’n’B, breaks and techno. Rotating DJs.

TUESDAY HEARTBREAK THE JAZZ BAR, 23:00–03:00, £2 (£1)

Live funkout.

THE SKINNY IS LOOKING FOR: Accounts Administrator Part Time: Up to 8 hours per week Pay on application Responsibility will include managing the full transactional process up to trial balance performing various management accounting duties, in particular managing overdue accounts. You will need knowledge of Quickbooks Pro 2010, and attention to detail.

Please send CV to jobs@theskinny.co.uk and include an hourly rate if you are a freelance bookeeper.

DUNDEE DUNDEE MUSIC CLUBS

T H E AT R E

COMEDY

THU 04 NOV

G L A S G OW

GLASGOW

MEURSAULT DEXTER’S BAR, 20:00–22:30, £6

Scottish faves.

OPEN MIC DOGHOUSE, 20:00–23:45, FREE

Guest host Ian Black from EH!.

FRI 05 NOV RTK 9000 DOGHOUSE, 20:00–23:45, £5

THU 04 NOV FEVER READING ROOMS, 22:30–02:30, £TBC

Trash punk and rock.

FRI 05 NOV HEADWAY (PAUL DALEY) READING ROOMS, 22:30–02:30, £TBC

Leftfield guest DJ.

Funk and rock jam.

RENEGADES

SAT 06 NOV

Electro, trip-hop and funk.

MACFLOYD FAT SAM’S, 19:30–22:30, £10

Pink Floyd tribute.

DAVE ARCARI

KAGE, 23:00–03:00, £4

SAT 06 NOV FEVER

CCA SUCH A BLOKE/ STATE OF EMERGENCY 07:30PM, 04 NOV—06 NOV, £10 (£6)–£10.50

Hip hop creativity from Tony Mills.

FOUND

08:00PM, 06 NOV, £8

Aletterlostandalifeimagined.PartofIETM.

CITIZENS THEATRE THE MONSTER IN THE HALL

07:30PM, 02 NOV—13 NOV, NOT 7, 8, £12.50

David Greig reports for young indie comedy musical duty.

BEAUTY AND THE BEAST

VARIOUS TIMES, 27 NOV—29 NOV, NOT 28TH, FROM £6

Beauty meets beast. Love ensues.

MIDSUMMER

07:30PM, 02 NOV—06 NOV, £14.50

Musical comedy with Cora Bisset.

CHEKHOV SHORTS

07:45PM, 02 NOV—03 NOV, £8.50 (£5)

Two new plays by Carol Rocamora, inspired by two of Anton Chekhov’s short stories.

ROADKILL

07:00PM, 03 NOV—13 NOV, £12

Ankur Productions’ hard hitting expose of sex trafficking in Scotland.

THE MAIDS

07:45PM, 04 NOV—13 NOV, NOT 8TH, £8.50

Genet’s notorious, and murderous, tale of two sisters.

BETTE CAVETT

EDINBURGH

PLATFORM

BEDLAM THEATRE

MUSICAL

AMADEUS

THU 11 NOV

FAT SAM’S, 19:30–22:30, £10

DROP

Punk legends.

READING ROOMS, 22:30–02:30, £TBC

OPEN MIC

Dubstep and reggae.

DOGHOUSE, 20:00–23:45, FREE

Guest host Frankie Duffy from Kalel.

FRI 12 NOV

FRI 12 NOV

SPACEBALL

EMELIE SANDE

READING ROOMS, 22:30–02:30, £TBC

FAT SAM’S, 19:30–22:30, £7

Alternative nu-jazz.

CHARITY CONCERT (THE LAW, KALEL) DOGHOUSE, 20:00–23:45, £TBC

Wonk party.

NIC GREEN: TRILOGY

VARIOUS TIMES, 03 NOV—06 NOV, £12 (£9)

BRUNTON THEATRE

KAGE, 23:00–03:00, £5

THE BOOK CLUB (IS KILL, BEATMASTER2000) READING ROOMS, 22:30–02:30, £3.50

Guest DJs.

THU 18 NOV

MIXED BIZNESS (MR BENN, BOOM MONK BEN)

OPEN MIC

READING ROOMS, 22:30–02:30, £5 (£6

DOGHOUSE, 20:00–23:45, FREE

AFTER 11.30)

12:00PM, 04 NOV—06 NOV, FREE

Loveandidealism.Plusloss,almostinevitably

THE TAILOR OF INVERNESS

08:00PM, 04 NOV—05 NOV, £10 (£8)

An ordinary man caught up in WWII

HITCH

VARIOUS TIMES, 06 NOV—07 NOV, £8 (£5)

TIME DILATION

07:00PM, 12 NOV—13 NOV, £7 (£5)

3D sound to immerse and amaze

THE GRIMSTONES HATCHED 07:00PM, 15 NOV, £8 (£5)

A girl who reads dreams, marionettes and gothic fairytales

BONNIE AND CLYDE REDUX

07:30PM, 18 NOV—19 NOV, £8 (£6)

Classic tale re-imagined.

THE FREAK AND THE SHOWGIRL 08:00PM, 24 NOV, £8 (£5)

A speakeasy cabaret with secrets

THE STAND, 20:30–22:30, £10 (£9/£5)

SARAH MILLICAN: CHATTERBOX Sweet-yet-filthy Geordie comedian.

STRATHCLYDE STUDENTS’ UNION, 20:00–23:00, £2

Hip hop creativity from Tony Mills.

HIGHLIGHT COMEDY (JANEY GODLEY, MAT REED, SANDY NELSON)

THU 11 NOV

ALUN COCHRANE: JOKES. LIFE. AND JOKES ABOUT LIFE

07:30PM, 04 NOV—06 NOV, NOT 5TH, £10 (£6)–£10.50

07:30PM, 08 NOV—09 NOV, £16.50

LIGHT FLOODING INTO DARKENED ROOMS

07:30PM, 12 NOV, FROM £11.50

STOMP

TRAVERSE

Rhythmic, tapping and clattering theatre.

SPRING AWAKENING

READING ROOMS, 22:30–02:30, £5 (£7

CARRIE’S WAR

07:30PM, 16 NOV—20 NOV, FROM £11.50

Bawden’s coming-of-age tale in a beautifully staged new production.

DOGHOUSE, 20:00–23:45, FREE

AFTER 12)

Experimental, electro and alternative.

Disco, electro and funk.

THE HABIT OF ART

THU 25 NOV

ASYLUM

Alan Bennett reflects on creativity, inspiration and growing old.

KAGE, 23:00–03:00, £5

Alternative rock, metal and punk.

FRI 26 NOV

07:30PM, 23 NOV—27 NOV, FROM £11.50

TRAMWAY

A dissection of the dual nature of human personality.

07:30PM, 02 NOV—13 NOV, NOT 7, 8, FROM £10

Classrooms, sexual awakenings and metaphors for life.

DUNDEE DUNDEE REP A DOLL’S HOUSE

07:30PM, 02 NOV—06 NOV, £17

Classic drama that deigned to challenge the traditional role of women.

THE KING OF LOCHEE

07:30PM, 09 NOV—10 NOV, FROM £5

SCOTTISH DANCE THEATRE

MuscialbasedonthesocialhistoryofLochee.

FRI 26 NOV

BEARTRAP

Kathy Boyd directs this adaptation of Virginia Woolf’s classic.

LOSTBOY!

KAGE, 23:00–03:00, £4

I HOPE MY HEART GOES FIRST

FAT SAM’S, 19:30–22:30, £16

Art rock, indie and punk.

07:45PM, 06 NOV, £6.50

Triple bill, including The Life And Times Of Girl A.

SAT 27 NOV

THE LIFE AND TIMES OF GIRL A, NQR

FAT SAM’S MUSICAL

Scottish Dance Theatre double bill.

The staff perform songs from popular musicals.

Jim Kerr solo project.

HAIGHT-ASHBURY DOGHOUSE, 20:00–23:45, £5

Psych-folk.

AUTODISCO READING ROOMS, 22:30–02:30, £TBC

The Junction 25 gang explore ideas of love and loss.

07:30PM, 24 NOV—25 NOV, £11

MON 29 NOV

Electro and funk.

JENNY AND JOHNNY

TRON THEATRE

ASYLUM

BLOOD AND ROSES

FAT SAM’S, 20:00–23:00, £14

Jenny Lewis and Johnathan Rice pair-up.

KAGE, 23:00–03:00, £5

Alternative rock, metal and punk.

THE STAND, 20:30–22:30, £4 (£2)

Improvised comedy showdown.

07:30PM, 02 NOV—05 NOV, £8 (£5)

ORLANDO

07:30PM, 02 NOV—06 NOV, £13

MON 22 NOV IMPROV WARS

Oscar Wilde’s classic comedy.

KAGE, 23:00–03:00, £4

Chatting the female blues.

THE STAND, 20:30–22:30, £5 (£4/£1)

Resident Irish funnyman and pals.

07:45PM, 02 NOV—20 NOV, NOT 7, 8, 14, 15, FROM £12.50

THEATRE ROYAL

DEVIL DISCO CLUB (DIGITAL JONES)

Talent showcase hosted by Stu Murphy.

SUN 21 NOV MICHAEL REDMOND’S SUNDAY SERVICE

ROYAL LYCEUM

FELT

07:30PM, 08 NOV—13 NOV, FROM £11.50

THE STAND, 20:30–22:30, £8 (£7/£4)

Five top acts. Hosted by Martin Mor.

THE STAND, 20:30–22:30, £2 (£1)

THE STAND, 21:00–23:00, £13

Saturday fun. Hosted by Susan Calman.

THE IMPORTANCE OF BEING EARNEST

FRI 19 NOV

THE VAGINA MONOLOGUES

HIGHLIGHT, 21:00–23:00, £15

Comedy showcase. Doors open 7pm.

TUE 16 NOV RED RAW (GRAEME THOMAS)

SAT 20 NOV THE SATURDAY SHOW (THE REVEREND OBADIAH STEPPENWOLFE III, STEPHEN GRANT, VIV GEE, CHRIS TAVNER)

Mozart at his theatrical best.

TEVIOT ROW UNION

SAT 20 NOV

THE THURSDAY SHOW (STEVE GRIBBIN, WENDY WASON, SAJ, JIM PARK)

THE STAND, 20:30–22:30, £10 (£8)

Top class stand-up.

THE STAND, 20:30–22:30, £10 (£9/£5)

Prime stand-up hosted by Vladimir McTavish.

VARIOUS TIMES, MULTIPLE DATES, £15£47–FROM £15.50

JEKYLL AND HYDE

VARIOUS TIMES, 02 NOV—07 NOV, FROM £11.50

HIGHLIGHT, 20:00–23:00, £7 (£5)

FRI 19 NOV THE FRIDAY SHOW (THE REVEREND OBADIAH STEPPENWOLFE III, STEPHEN GRANT, THE WEE MAN, CHRIS TAVNER)

SCOTTISH OPERA: THE MARRIAGE OF FIGARO

Disco and dubstep.

Guest host Courtney Stuart.

HIGHLIGHT, 21:00–23:00, £12

THE STAND, 20:30–22:30, £12 (£10)

THE STAND, 20:30–22:30, £8 (£7/£4)

Five top acts. Hosted by Vladimir McTavish.

Contemporary dance choreographed

by Richard Aston.

Guest host Chunky from Lord Luken.

Retro pop and electric rock.

MON 15 NOV CLUB POWERHORSE PRESENTS STAND UP COMEDY (BRUCE FUMMEY, CHRIS HENRY, DANIEL WEBSTER)

Prime stand-up hosted by Bruce Devlin.

WHAT’S THE BEST MEDICINE? 08:00PM, 25 NOV, £8 (£5)

THE STAND, 20:30–22:30, £5 (£4/£1)

Resident Irish funnyman and pals.

SUCH A BLOKE/ STATE OF EMERGENCY

Laurence Clark combines observational and political stand-up. Part of DadaFest10.

DOGHOUSE, 20:00–23:45, FREE

WED 10 NOV

HIGHLIGHT COMEDY (JANEY GODLEY, TEDDY, MAT REED, SANDY NELSON)

FRI 19 NOV

OPEN MIC

THE FRIDAY SHOW (BOB MILLS, JOHN GILLICK, NAZ OSMANOGLU, BARRY MCDONALD)

B Boy jamboree starring Tony Thrills and Jonzi D.

Unsigned Italian funk rockers.

HANNEY GLOWPARTY (HANNEY, LOST CITY SOUL, KEMIKAL, MELODIA, COURTNEY STUART)

Talent showcase.

Fast-paced improv.

THU 18 NOV

SAT 20 NOV

Liverpudlian stand-up.

SAT 06 NOV

WHO’S NEXT

Alternative indie.

SECC, 20:00–22:30, £20

THE STAND, 20:30–22:30, £2 (£1)

BREAKIN CONVENTION

Alternative rock, metal and punk.

DOGHOUSE, 20:00–23:45, £6

JOHN BISHOP

RED RAW (STU & GARRY)

PARALLEL LINES

SAT 13 NOV

THE DRAYMIN

TUE 09 NOV

FRI 05 NOV

CTRL*ALT*DEFEAT

ASYLUM

DROUTHY’S, 20:00–23:00, £TBC

THE ARCHES

Weakening gang hierarchy leads to a time of change in Meerstrasse.

SUN 14 NOV MICHAEL REDMOND’S SUNDAY SERVICE

THE STAND, 21:00–23:00, £13

Saturday fun. Hosted by Martin Mor.

THE STAND, 20:30–22:30, £9 (£7)

WHOSE ROUND IS IT ANYWAY?

KAGE, 23:00–03:00, £4

WED 17 NOV

Mini theatre festival, turning Stereo into a 1920s speakeasy of jazz, cabaret, film, theatre and comedy.

02:30PM, 17 NOV, £4 (£3.50)

Soul-searching comedy.

Comedy showcase. Doors open 7pm.

TRANSMISSION

CYCLEPHANTE

11:00AM, 17 NOV—19 NOV, £6 (£5) DAY PASS

THE STRASSE

THE STAND, 20:30–22:30, £8 (£7/£4)

Five top acts. Hosted by Bruce Devlin.

FESTIVAL THEATRE

READING ROOMS, 22:30–02:30, £TBC

The Who tribute.

STAG NIGHT: BOOM AND BUST

Peter Shaffer’s unique masterpiece vibrantly re-imagined.

THE THURSDAY SHOW (BOB MILLS, JOHN GILLICK, NAZ OSMANOGLU, BARRY MCDONALD)

Addressing the challenges of being a woman today. Part of IETM.

Electro beats.

DOGHOUSE, 20:00–23:45, £9.50 (£5 MEMBER)

STEREO

07:30PM, 09 NOV—13 NOV, £5 (£4.50)

HIGHLIGHT, 21:00–23:00, £15

JASON COOK: THE END (PART ONE)

SAT 13 NOV

Children In Need charity gig.

Indie, pop, punk and metal.

Deconstructing the normal relationship between music and dance.

SAT 13 NOV HIGHLIGHT COMEDY (JONATHAN MAYOR, SCOTT AGNEW, ANDI OSHO, MARK WALKER) THE SATURDAY SHOW (STEVE GRIBBIN, WENDY WASON, SAJ, JIM PARK)

THE STAND, 20:30–22:30, £5 (£4/£1)

THE STAND, 20:30–22:30, £10 (£8)

New Zealand comedy genius.

THU 18 NOV

MON 08 NOV

Weeklyrunofnewplays.Plusapie.Andapint.

SHAM 69

MICHAEL REDMOND’S SUNDAY SERVICE (JOHN GILLICK, GUS LYMBURN, DANIEL WEBSTER, JASON ARNSTEIN)

JARRED CHRISTMAS STANDS UP

THE THURSDAY SHOW (THE REVEREND OBADIAH STEPPENWOLFE III, STEPHEN GRANT, THE WEE MAN, CAROLINE ROBERTSON)

THE ARCHES, 20:00–22:00, FREE

ASYLUM

08:00PM, 04 NOV, £8

All-girl stand-up hosted by Susan Calman.

HIGHLIGHT, 21:00–23:00, £12

THE GRIFFIN, 20:00–23:00, £3 (£2)

Comedy showcase. Doors open 7pm.

Comedy capers and quizzy-ness.

07:30PM, 16 NOV—20 NOV, £10.50

BALKANARAMA

THU 11 NOV

THE STAND, 20:30–22:30, £6 (£5/£3)

THE STAND, 15:00–17:00, £4

THE WEIR

A PLAY, A PIE AND A PINT

KAGE, 23:00–03:00, £5

Comedy for young ‘uns (i.e. no sweary words).

Comedy showcase. Doors open 7pm.

Rock and roll party night.

Alternative rock, metal and punk.

WICKED WENCHES (JANEY GODLEY, BETHANY BLACK, ELAINE MALCOLMSON, DEE CUSTANCE)

HIGHLIGHT COMEDY (JONATHAN MAYOR, ANDI OSHO, MARK WALKER)

Resident Irish funnyman and pals.

Acoustic blues.

Balkan orgy.

GLASGOW KIDS COMEDY CLUB

THE STAND, 20:30–22:30, £10 (£9/£5)

Prime stand-up hosted by Martin Mor.

THU 04 NOV

Rural Irish ghost stories give way to urban horror.

01:00PM, 02 NOV—29 NOV, £10

SUN 07 NOV

WED 03 NOV

WED 17 NOV CLUB POWERHORSE PRESENTS STAND UP COMEDY (KEIR MCALLISTER, STEPHEN CALLAGHAN, CHRIS CONROY AND DES CLARKE)

BRATCHY AND THE WEE MAN’S COMEDY PUB QUIZ

Chat show goes live.

ORAN MOR

READING ROOMS, 22:30–02:30, £7

THE STAND, 20:30–22:30, £2 (£1)

Talent showcase hosted by Scott Agnew.

THE STAND, 21:00–23:00, £13

Saturday fun. Hosted by Bruce Devlin.

FRI 12 NOV THE FRIDAY SHOW (STEVE GRIBBIN, WENDY WASON, SAJ, JIM PARK)

07:30PM, 09 NOV—13 NOV, £12

ART BAR, 18:00–23:00, £TBC

DUKE’S CORNER, 20:00–23:00, £TBC

TUE 02 NOV RED RAW (JOHN GAVIN)

THE SATURDAY SHOW (BOB MILLS, JOHN GILLICK, NAZ OSMANOGLU, BARRY MCDONALD)

08:00PM, 16 NOV—18 NOV, NOT 17, £15 (£12/£8)

FAT SAM’S 07:30PM, 18 NOV, £7.50

11:00AM, 02 NOV—06 NOV, £8.50

Promenade performance tracing lines from Russia to Glasgow.

Departs every ten minutes.

NOVEMBER 2010

THE SKINNY 61

COMEDY Tue 23 Nov Red Raw (Sean Hegarty) The Stand, 20:30–22:30, £2 (£1)

Talent showcase hosted by Sian Bevan.

Wed 24 Nov Best of Irish Comedy (Caimh McDonnell, Chris Kent, Jason Coughlan )

The Stand, 20:30–22:30, £7 (£6/£3)

Irish comedy special.

Thu 25 Nov The Thursday Show (Mick Ferry, Caimh McDonnell, Patrick Rolink, Jason Coughlan) The Stand, 20:30–22:30, £8 (£7/£4)

Five top acts. Hosted by Scott Agnew.

Fri 26 Nov Frankie Boyle

SECC, 20:00–22:30, £20

Close-to-the-bone ramblings.

The Improverts

Bedlam Theatre, 22:30–00:30, £4.50 (£4)

Edinburgh’s improv comedy troupe.

Sat 06 Nov

Sun 14 Nov

Thu 25 Nov

Whose Lunch Is It Anyway?

Stewart Francis: Tour de Francis

The Stand, 13:30–15:00, Free

Improvised stand-up. Hot food available.

Stu Who? and Keara Murphy masterclass showcase.

Top class stand-up.

The Thursday Show (Phil Nichol, Steven Dick, Chris Kent, Rick Molland)

Mon 15 Nov

The Stand, 21:00–23:00, £8 (£7/£4)

Beehive Inn, 21:00–23:00, £5

The Stand, 20:30–22:30, £10 (£8)

Highlight Comedy (Jojo Sutherland, Danny Buckler, John Ross, Steve Harris)

Red Raw (Graeme Thomas)

Comedy showcase. Doors open 7pm.

Highlight, 21:00–23:00, £13

The Saturday Show (Bruce Morton, Mark Bratchpiece, Bethany Black, Andy Fury) The Stand, 21:00–23:00, £13

Saturday fun. Hosted by Joe Heenan.

Sun 07 Nov Whose Lunch Is It Anyway?

The Stand, 13:30–15:00, Free

Prime stand-up hosted by Scott Agnew.

The Stand, 20:30–22:30, £9 (£7)

Jason Cook: The End (Part One)

Soul-searching comedy.

Absolute Beginners

Mark Watson

Beehive Inn, 20:30–23:00, £2 (£1)

Usher Hall, 19:30–22:30, £16.50

Line-up of new comic talent.

Tue 16 Nov Jarred Christmas Stands Up The Stand, 20:30–22:30, £10 (£8)

Queen’s Hall, 20:00–22:30, £15.50

New Zealand comedy genius.

Thu 18 Nov The Thursday Show (Neil Dougan, John Ross, James Christopher, Elaine Malcolmson)

Fri 19 Nov

Absolute Beginners

Beehive Inn, 20:30–23:00, £2 (£1)

Fit o’ the Giggles Masterclass Showcase (Bill Dewar)

Tue 09 Nov

Stu Who? and Keara Murphy masterclass showcase.

Sarah Millican: Chatterbox

Frankie Boyle

Sweet-yet-filthy Geordie comedian.

SECC, 20:00–22:30, £20

Close-to-the-bone ramblings.

St Andrews Comedy Special (Parrot, Chris Forbes, Davey See) The Stand, 20:30–22:30, £5 (£4)

All-Scottish celebration.

Mon 29 Nov Frankie Boyle

SECC, 20:00–22:30, £20

Close-to-the-bone ramblings.

The Stand, 20:30–22:30, £12 (£10)

Wed 10 Nov Melting Pot Comedy

The Stand, 20:30–22:30, £5 (£4/£2.50)

Comedy sketches.

Thu 11 Nov The Thursday Show (Carey Marx, Parrot, Derek Johnston, Gus Lymburn) The Stand, 21:00–23:00, £8 (£7/£4)

How Do I Get Up There?

Five top acts. Hosted by Susan Morrison.

Sketch trio. Hosted by Jeff O’Boyle.

Fri 12 Nov

The Stand, 20:30–22:30, £5 (£4/£2.50)

Tue 30 Nov Red Raw (Andy Sir)

The Stand, 20:30–22:30, £2 (£1)

Talent showcase hosted by Chris Henry.

Wed 03 Nov Broken Windows Policy (Ben Verth, Larah Bross, Caroline Robertson, Mike Walsh, Estoban MacGregor) The Stand, 20:30–22:30, £4 (£2)

Skits and character comedy.

Thu 04 Nov The Thursday Show (Bruce Morton, Mark Bratchpiece, Bethany Black, Alan Sharp) The Stand, 21:00–23:00, £8 (£7/£4)

Five top acts. Hosted by Joe Heenan.

Fri 05 Nov Highlight Comedy (Jojo Sutherland, Danny Buckler, Steve Harris) Highlight, 21:00–23:00, £10

Comedy showcase. Doors open 7pm.

The Friday Show (Bruce Morton, Mark Bratchpiece, Bethany Black, Andy Fury) The Stand, 21:00–23:00, £10 (£9/£5)

Prime stand-up hosted by Joe Heenan.

Upstairs @ The Beehive Beehive Inn, 21:00–23:00, £5

Live comedy showcase.

The Stand, 21:00–23:00, £10 (£9/£5)

Prime stand-up hosted by Raymond Mearns.

The Improverts Bedlam Theatre, 22:30–00:30, £4.50 (£4)

Canadian comedian with a knack for one-liners.

The Friday Fix Voodoo Rooms, 20:00–01:00, £tbc

Live comedy, followed by a band and DJs.

Fit o’ the Giggles Masterclass Showcase Beehive Inn, 21:00–23:00, £5

Stu Who? and Keara Murphy masterclass showcase.

The Friday Show (Phil Nichol, Steven Dick, Chris Kent, Rick Molland) The Stand, 21:00–23:00, £10 (£9/£5)

Prime stand-up hosted by Susan Calman.

The Improverts Bedlam Theatre, 22:30–00:30, £4.50 (£4)

Edinburgh’s improv comedy troupe.

Sat 27 Nov

Edinburgh’s improv comedy troupe.

Fit o’ the Giggles Masterclass Showcase

Sat 20 Nov

Beehive Inn, 21:00–23:00, £5

Fit o’ the Giggles Masterclass Showcase (Vladimir McTavish) Beehive Inn, 21:00–23:00, £5

Stu Who? and Keara Murphy masterclass showcase.

Saturday fun. Hosted by Bruce Devlin.

Tue 02 Nov

All-girl stand-up hosted by Susan Calman.

The Friday Show (Neil Dougan, John Ross, James Christopher, Elaine Malcolmson)

Sketches and stand-up

Fit o’ the Giggles Masterclass Showcase (Teddy)

The Stand, 20:30–22:30, £6 (£5/£3)

Beehive Inn, 21:00–23:00, £5

The Saturday Show (Neil Dougan, John Ross, James Christopher, Elaine Malcolmson)

EDINBURGH Wicked Wenches (Janey Godley, Bethany Black, Elaine Malcolmson, Dee Custance)

The Stand, 21:00–23:00, £8 (£7/£4)

Five top acts. Hosted by Raymond Mearns.

We Happy Few presents...

(Adam Mitchell, Ben Verth, Mickey Anderson, Hitch Hanrahan.)

The Banshee Labyrinth, 20:30–22:56, £3

Stream-of-consciousness funny man.

Stewart Francis: Tour de Francis

Talent showcase hosted by Billy Kirkwood.

Sun 28 Nov

The Stand, 21:00–23:00, £13

Stu Who? and Keara Murphy masterclass showcase.

The Saturday Show (Phil Nichol, Steven Dick, Chris Kent, Rick Molland) The Stand, 21:00–23:00, £13

Saturday fun. Hosted by Vladimir McTavish.

Sun 28 Nov Whose Lunch Is It Anyway?

The Stand, 13:30–15:00, Free

Improvised stand-up. Hot food available.

Stu Who? and Keara Murphy masterclass showcase.

Sun 21 Nov Whose Lunch Is It Anyway?

St Andrews Comedy Special

Highlight Comedy (Mickey Hutton, Colin Cole)

Improvised stand-up. Hot food available.

Comedy showcase. Doors open 7pm.

Sunday Night Laugh-In (Susan Morrison, Bruce Fummey, Daniel Webster, Alan Sharp)

Beehive Inn, 21:00–23:00, £5

Highlight, 21:00–23:00, £10

The Friday Show (Carey Marx, Parrot, Derek Johnston, Daniel Simonsen) The Stand, 21:00–23:00, £10 (£9/£5)

Prime stand-up hosted by Susan Morrison.

The Improverts

Bedlam Theatre, 22:30–00:30, £4.50 (£4)

Edinburgh’s improv comedy troupe.

Sat 13 Nov It’s Funtime

Bongo Club, 19:00–22:00, £5

Monster themed comedy quiz and games.

Fit o’ the Giggles Masterclass Showcase (Bruce Fummey)

Beehive Inn, 21:00–23:00, £5

Stu Who? and Keara Murphy masterclass showcase.

The Stand, 13:30–15:00, Free

The Stand, 20:30–22:30, £5 (£4/£1)

Chilled comedy hosted by JoJo Sutherland.

Mon 22 Nov Red Raw (Gary Little) The Stand, 20:30–22:30, £2 (£1)

Talent showcase hosted by Sean Hegarty.

Absolute Beginners Beehive Inn, 20:30–23:00, £2 (£1)

Line-up of new comic talent.

Tue 23 Nov We Happy Few presents...

(Adam Mitchell, Ben Verth, Mickey Anderson, Hitch Hanrahan.)

The Banshee Labyrinth, 20:30–22:56, £3

Highlight Comedy (Mickey Hutton, Sean Grant, Colin Cole)

Sketches and stand-up

Comedy showcase. Doors open 7pm.

The Saturday Show (Carey Marx, Parrot, Derek Johnston, Daniel Simonsen)

Best of Scottish Comedy (Vladimir McTavish, Daniel Sloss, Chris Forbes, Garry Dobson)

Saturday fun. Hosted by Susan Morrison.

Scottish comics. Hosted by Susan Calman.

Highlight, 21:00–23:00, £13

The Stand, 21:00–23:00, £13

62 THE SKINNY November 2010

Glasgow based artists respond directly to the gallery space, its history and architecture.

Fri 26 Nov

Close-to-the-bone ramblings.

Line-up of new comic talent.

11:00AM, 02 Nov—13 Nov, not 7th, 8th, Free

First solo Exhibition by Ortonandon (Katie, Sophie and Anna Orton).

Red Raw (Stu & Garry)

The Stand, 21:00–23:00, £13

Tatham and O’Sullivan: Direct Serious Action is Therefore Necessary

Talent showcase hosted by Nick Davies.

Frankie Boyle

Saturday fun. Hosted by Scott Agnew.

CCA

Ortonandon: Get Set

Mon 08 Nov The Stand, 20:30–22:30, £2 (£1)

GLASGOW

Five top acts. Hosted by Susan Calman.

The Stand, 20:30–22:30, £2 (£1)

Sat 27 Nov

The Saturday Show (Mick Ferry, Caimh McDonnell, Patrick Rolink, Jason Coughlan)

Canadian comedian with a knack for one-liners.

Fit o’ the Giggles Masterclass Showcase

Improvised stand-up. Hot food available.

SECC, 20:00–22:30, £20

Queen’s Hall, 20:00–22:30, £15.50

Alan Cochrane: Jokes. Life.

And Jokes About Life

The Friday Show (Mick Ferry, Caimh McDonnell, Patrick Rolink, Jason Coughlan) The Stand, 20:30–22:30, £10 (£9/£5)

ART

Wed 24 Nov

The Stand, 20:30–22:30, £6 (£5/£3)

The Stand, 20:30–22:30, £5 (£4/£1)

All-Scottish celebration. Hosted by Susan Calman.

Mon 29 Nov Red Raw (Andy Sir) The Stand, 20:30–22:30, £2 (£1)

Talent showcase hosted by Graeme Thomas.

Absolute Beginners Beehive Inn, 20:30–23:00, £2 (£1)

Line-up of new comic talent.

Tue 30 Nov The Boy With Tape On His Face The Stand, 20:30–22:30, £8 (£7)

Physical comedy fun.

DUNDEE Fri 05 Nov Just Laugh Comedy Club Fat Sam’s, 20:00–02:30, £9

Live stand-up and free entry to nightclub.

Sun 14 Nov Shazia Mirza Dundee Rep, 20:00–22:00, £14 (£9)

Award winning comedian and Guardian columnist.

11:00AM, 09 Nov—20 Nov, not 14th, 15th, Free

David Dale Gallery Darren Tesar

12:00PM, 05 Nov—14 Nov, not 8th, 9th, 10th, 11th, Free

Indiscriminate materials and objects.

Flying Duck All The Young Nudes

08:00PM, Tue 2nd, Tue 9th, Tue 16th, Tue 23rd, £4

Drawing class with a backdrop of DJ beats and a bar to the side.

Gallery of Modern Art Unsettled Objects

Various times, 02 Nov—29 Nov, Free

Contemporary photography, video and installation from artists’ based outside the UK.

Glasgow Print Studio Philip Reeves, Scott Campbell and Abigail McLellan

Various times, 02 Nov—07 Nov, Free

Three Scottish fine art printmakers exhibit in group show.

Glasgow School of Art Restore Us and Regain

Various times, 02 Nov—06 Nov, Free

Tommy Grace, Ged Quinn and Tony Swain exhibit in a group show that looks at archaic landscapes.

The Glasgow Girls

Various times, 19 Nov—29 Nov, not 21st, 28th, Free

Major exhibition of paintings, decorative and applied art by the ‘Glasgow Girls’

Sculpture Studio Risa Tsunegi: Not From Concentrate

12:00PM, 04 Nov—20 Nov, not 8th, 9th, 10th, 15th, 16th, 17th, Free

Sculptural work that pursues newly formed interests, after Tsunegi’s Sculptural Studio residence.

Hillhead Library The Artistic Gift

10:00AM, 22 Nov—29 Nov, Free

Mix of painting, illustration and photography from ten local artists.

Mary Mary Interference With Twigs

12:00PM, 13 Nov—27 Nov, not 14th, 15th, 21st, 22nd, Free

Quadruple hander between Audrey Capel Doray, Lotte Gertz, Hanna Sandin and Nicolas Party.

Mitchell Library Royal Glasgow Institute: Annual Show

Various times, 02 Nov—20 Nov, Free

Long running Institution has its annual show.

SWG3

Axolotl Gallery

Drill Hall

Neil Clements: Outro

Fiona Wilson

Branching Out: Anna Redpath

12:00PM, 03 Nov—20 Nov, not 7th, 8th, 9th, 14th, 15th, 16th, Free

Solo exhibition of new work using cultural motifs in abstract forms.

Sorcha Dallas Alex Pollard: Collaborations 11:00AM, 12 Nov—27 Nov, not 14th, 15th, 21st, 22nd, Free

Paul Muzni Various times, 05 Nov—25 Nov, Free

New figurative works and Uglow-inspired paintings.

Collective Gallery New Work Scotland

Street Level Photo Works

First instalment of this year’s NWS with Jacob Kerray and Shelly Nadashi.

Francis McCourt: Carbeth Various times, 02 Nov—14 Nov, not 8th, Free

Photos of the Scottish village of Carbeth exploring its contrasting nature.

Victor Albrow Various times, 02 Nov—14 Nov, not 8th, Free

Portraiture by Scottish based photographer where subjects look oddly statuesque.

The Arches Angela Steel: The Seven Deadly Sins 11:00AM, 12 Nov—29 Nov, Free

Medieval-inspired stained glass.

The Common Guild Robert Barry: Words and Music 12:00PM, 04 Nov—06 Nov, Free

Conceptual Art pioneer creates a new installation conceived especially for the gallery.

Tacita Dean 12:00PM, 20 Nov—27 Nov, not 21st, 22nd, 23rd, Free

Various natural forms as still life, focusing on growth, transformation and demise.

The Modern Institute Dirk Bell Various times, 02 Nov—13 Nov, not 7th, Free

Berlin-based artist working in sepia-toned drawings and paintings.

Simon Starling: Project for a Masquerade (Hiroshima) Various times, 20 Nov—29 Nov, not 21st, 28th, Free

Conceptual work from the 2005 Turner Prize-winner.

Tramway Artur Zmijewski: Democracies 12:00PM, 02 Nov—28 Nov, not 8th, 15th, 22nd, Free

11:00AM, 02 Nov—28 Nov, not 8th, 15th, 22nd, Free

Colours Gallery

Peter Nardini Various times, 02 Nov—24 Nov, not 8th, 15th, 22nd, Free

New landscape and figurative work.

EDINBURGH Axo Gallery We Are Gruesome 10:00AM, 05 Nov—07 Nov, Free

Collaboration between Coup Red and Axo Gallery celebrating all things gruesome, from mystical traditions to grotesque innovations.

12:00PM, 05 Nov—07 Nov, Free

Swiss-based artist who creates colourful, fantasy-style, paintings, drawings, texts and objects.

RSA 10:00AM, 29 Nov, £tbc

Dovecot Studios

Addressing the perceived imbalance of Scottish art and the place of Scotland in a European context.

Edinburgh Macmillan Art Show 2010

Sierra Metro

Spanish Realism, Hyperrealism and Surrealism.

10:30AM, 02 Nov—06 Nov, Free

Over 60 Scottish artists show, and sell, work in aid of Macmillan Cancer Suport.

Micheal Llyod: Twelve Vessels 10:30AM, 10 Nov—27 Nov, not 14th, 15th, 21st, 22nd, Free

Silversmith work chased with designs drawn from the natural world.

Edinburgh College of Art The Secret Confession

Bobby Niven 12:00PM, Multiple dates, Free

Radical artist experiments with mongrel forms.

Stills The Ethics of Encounter 11:00AM, 06 Nov—29 Nov, Free

Continuing the exploration into artists’ fascination with documentary modes and processes.

10:00AM, 06 Nov—29 Nov, Free

Exhibition of work by alumni of Edinburgh College of Art.

Edinburgh Printmakers Annual Open Day 11:00AM, 13 Nov, Free

Demonstrations, tours and artist talks.

Such and Such Such and Such: A Month Of Pop Ups 10:00AM, Multiple dates, Free

Part of a series of pop-up studio takeovers, starting with local fashion label Nonchalant.

Myths and Legends: From The Ancient To The Modern

Talbot Rice Gallery

12:00PM, 13 Nov—27 Nov, not 14th, 15th, 21st, 22nd, Free

Alasdair Gray: Gray Stuff

Through a variety of printmaking techniques, artists interpret various myths and legends.

Fruitmarket Childish Things Various times, 19 Nov—29 Nov, Free

Sculptures and projections from seven different artists, looking at what curator David Hopkins terms the ‘dark poetics’ of childhood.

Subodh Gupta: Take Off Your Shoes And Wash Your Hands

scotlandart.com

Rhubaba Patrick Graf

10:00AM, 02 Nov—10 Nov, not 7th, Free

Ingleby Gallery

Indian artist who explores his cultural identity through his art.

Solo exhibition of paintings and ceramics.

When Seeing Is Not Believing

James Hugonin

12:00PM, 02 Nov—28 Nov, not 8th, 15th, 22nd, Free

10:00AM, 19 Nov—26 Nov, Free

10 Dialogues: Richard Demarco

Examining the moral and ethical landscape facing us.

Recoat Gallery Solo show from Scottish graphic artist Chris MacFarlane focusing on advertising, obsolete signage and typography.

Angels and demons inspired paintings.

Abstract visual symbols from the GSA graduate.

A is for Etc

12:00PM, 02 Nov—07 Nov, Free

Various times, 05 Nov—25 Nov, Free

10:00AM, 02 Nov—20 Nov, not 7th, 14th, Free

A solo exhibition in celebration of the artist’s 60th birthday.

Susan Derges, Garry Fabian Miller: A Little Bit Of Magic Realised

10:00AM, 02 Nov—27 Nov, not 7th, 8th, 14th, 15th, 21st, 22nd, Free

Solo exhibition of the writer/ illustrator’s designs for books and posters from 1952-2010.

The Jazz Bar Dr Sketchy 03:00PM, 07 Nov, £7 (£6)

Glam burlesque drawing class.

GO!

DUNDEE Cooper Gallery First Unaffected Unaffected Formal Effects Last Various times, 02 Nov—29 Nov, not

10:00AM, 25 Nov—29 Nov, not 28th, Free

7th, 14th, 21st, 28th, Free

National Gallery Complex

London duo Charlotte Cullinan and Jeanine Richards utilise and reinvent conventional art forms.

William McTaggart (1835-1910)

DCA

A look at the careers of two camera-less photographers.

10:00AM, 02 Nov—29 Nov, Free

Oil paintings and watercolours by celebrated Scottish ar tist.

Gallery of Modern Art Another World 10:00AM, 02 Nov—29 Nov, £7 (£5)

Comprehensive exhibition of Surrealist art.

Jonathan Horowitz: Minimalist Works From The Holocaust Museum Various times, 27 Nov—28 Nov, Free

New work in response to Horowitz visiting the Holocaust Museum in Washington.

STARTER FOR ELEVEN:

KELE OKEREKE

CRYSTAL BAWS WITH MYSTIC MARK

We ask KELE a few tricky ones about the NME Album of the Year Awards.

Mudhoney remain atop the leaderboard with 5.5 points...is the London-based singer up to the challenge?

QUIZMASTER: PAUL MITCHELL Q. Silent Alarm was the overall winner in 2005.

Name any 5 of the rest of the top ten in that year with a point for each?

Kele: Erm, Franz Ferdinand? I don’t even know anything else that was out that year, sorry!

A. 2. Arcade Fire – Funeral, 3. Franz Ferdinand – You Could Have It So Much Better, 4. Antony & The Johnsons – I Am A Bird Now, 5. Kaiser Chiefs – Employment, 6. The White Stripes – Get Behind Me Satan 7. Sufjan Stevens – Illinoise, 8.

Kanye West – Late Registration, 9. Babyshambles – Down In Albion, 10. Gorillaz – Demon Days Kele: I honestly can’t remember too many of those, must have been quite busy round about then. (1 point) Q. Who won it last year?

Now it seems I can’t really remember much of last year either. Oh, hang on, was it The Horrors?

A. The Horrors – Primary Colours (1 point) Q. Where did A Weekend in the City [Bloc Party’s sophomore album] place in 2007?

Kele: I honestly have absolutely no idea. 30th?

A: Good news: Better than that, 20th. Bad news: 0 points Q. Who placed 5th in 2008 with their album Antidotes?

Kele: That’s the name of the Foals record isn’t it?

A. Foals (1 point). And for a bonus point do you think Yiannis from Foals rips off your singing style?

Kele: NEXT question...

Q. What’s the name of the Les Savy Fav album that placed at no. 5 in 2007?

Kele: Oh no! I do hang out with Tim [Harrington, LSF singer]... I’m just trying to think of what the record’s called.... no. Whoops! Sorry Tim. A. Let’s Stay Friends Q. Same as above, but with Outkast’s album which placed at no. 8 in 2003?

Kele: Speakerboxxx/The Love Below A. Speakerboxxx/The Love Below (1 point) Q. Any idea who the winner was in the year you were born (1981)?

Kele: Well if I can’t remember 2005....

A. Nightclubbing – Grace Jones Q. Which winning album in this decade (2004) had a track called Darts of Pleasure?

Kele: That’s Franz Ferdinand’s one isn’t it?

A. Franz Ferdinand by Franz Ferdinand (1 point) Q. In 1995, Maxinquaye by Tricky was NME’s album of the year, which act’s album came second that year?

Kele: Not a clue.

A. Oasis. Bonus point if you insult them again for our sake?

Kele: Been doing enough of that, sorry.

Q. Complete the next line in a lyric from a winning album. ‘Lights go out and I can’t be saved...’ Kele: Sorry, really not sure.

A. ‘...Tides that I tried to swim against’.

Coldplay: Clocks, from A Rush of Blood to the Head (2002 winner).

Q. And this one? ‘And it hurts all the time when you don’t return my calls...’ Kele: (laughs) Don’t have a clue mate!

Really? We don’t believe you, but OK then, A. ‘...And you haven’t got the time to remember how it was’. Bloc Party - Like Eating Glass.

With 5 points, that just cost you the chance of a haggis supper. Hard lines Kele.

Kele: That’s OK, I’ve still got my dignity.

KELE OKEREKE PLAYS THE ARCHES, GLASGOW 16 NOV KELE’S SOLO ALBUM THE BOXER IS OUT NOW ON WICHITA RECORDS WWW.IAMKELE.COM

ARIES 21 MAR – 20 APR Arians are known for their particularly large gas bills, but in times of recession they are also good at thinking miserly. As the builders put in your new basement there are a few questions still on your mind: are the cast iron wall chains, creche and selfdraining hosing paddock included in the cost? Make sure you check before signing anything.

UNDER THE INFLUENCE In the years when Oasis, Spiritualized and Queens of the Stone Age were cleaning up at the NME awards, Kele was listening to other things...

Suede – Dog Man Star (Nude, 1994) I bought this on cassette in 1995 and it was the only cassette I had, so I listened to it every night before going to bed. It’s a very dark atmospheric record but I didn’t have any frame of reference to go on, so I actually hated it at first. I had to keep putting it on until the songs and the images had seeped their way into my brain. I don’t listen to records in that way anymore, I listen to things really quickly, and if it moves me it moves me. I don’t often go back to things. I fell in love with that record in a really pure way.

BjÜrk – Homogenic (One Little Indian, 1997) This was probably the first electronic record that I really fell in love with to my core. I just loved the atmosphere of this album and its use of super-synthetic beats, with lavish, orchestral production, and how these two different worlds stuck together. It still seems like such a cold record, but also there’s a warm being living inside there, especially on songs such as All is Full of Love and 5 Years.

Mogwai – Young Team (Chemikal Underground, 1997) Britpop was very popular around the time I was a teenager and that’s what I thought music was until I heard this and it opened up a whole new universe of what you could convey with music. It didn’t have to be just ‘verse/ chorus songs, you could express so much more without repetitive form. I now listen to a lot of other things because of this record.

Destiny’s Child – The Writing’s on the Wall (Columbia, 2000) The production on this record is the best I’ve ever heard. It was a very important record in terms of a shift in how I perceived pop music. Before that I’d mainly been listening to guitar music, post-rock. When I got this record in 2000 it made me realise that music didn’t have to be long, drawn out and serious. Things could be concise, light and full of colour, and still be good.[Paul Mitchell]

TAURUS 21 APR – 21 MAY You’re sweating! You look like a shit pterodactyl! You’re a lonely worm, a meaty sack of worry, a poor sorry mollusc of a human. And what’s worse, due to the cross alignment of Mars and Jupiter, loudly repeating, ‘MAYBE WE SHOULD BUM WITH WIGS ON!?’ all the way through your Jobseeker Plus interview will fail to get your giro restarted.

GEMINI 22 MAY – 21 JUN The letters A and K are important, as is the number 47.

Slap the magazine in. Don’t hesitate! Immediately start pumping slo-mo leaden gut-busters through the air towards Kerry Katona’s thrashing blood-bomb of a torso.

CANCER 22 JUN – 23 JUL You have, without doubt, the largest hair in The Solar System.

and what was left of your common sense, but to take your star chart they’ll have to prise it from your cold dead fingers.

LIBRA 24 SEP – 23 OCT From time to time you find yourself wondering what things would be like if you hadn’t stabbed out both your eyes in a fit of childhood rage.

SCORPIO 24 OCT – 22 NOV Don’t worry, everything’s supposed to look like it’s made out of cartoons.

SAGITTARIUS 23 NOV – 21 DEC

As Mars clashes with the moon, illimitable mountains of thankless woe lie ahead, and like Sisyphus previously you will have to traverse them. Your psyche is nothing but a little chick in a doorway, shivering in a thunderstorm.

CAPRICORN 22 DEC – 20 JAN

Venus mentors your relationship chart and yet you are still single.

But does it surprise you considering you have Big Trouble in Little Vagina and Massive Purple Riding Hood sitting openly on your DVD shelf?

LEO 24 JUL – 23 AUG I think I see happiness on the horizon for a certain Leo this month, just as I know I’ll be happy the month when I see a bus wheel reverse over Jo Whiley’s Predator mask of a face.

AQUARIUS 21 JAN – 19 FEB As you dance like a panicked beetle, as you undress her with your eyes, a hollow bubble of hope inflates furiously inside you, a hope that one day you’ll make yourself so rich you’ll be able to just buy all her clothes off her right there on the dance floor. Trust me, that’s never, ever, ever going to happen.

VIRGO 24 AUG – 23 SEP Your partner may have left, taxing you of your heart, soul, mind, money, confidence

PISCES 20 FEB – 20 MAR You will spend your weekend sitting menacingly just below water level in the shallow end.

NOVEMBER 2010

THE SKINNY 63