The Skinny Scotland April 2016

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CULT U R A L

J O U R N A L I S M

April 2016 Scotland Issue 127

Music Emma Pollock Bossy Love Future of the Left Andrew Hung 2016 Festival Guide

Books Jenni Fagan Art Glasgow International Thom Isom

Film European Cinema Special: L谩szl贸 Nemes on Son of Saul Sebastian Schipper on Victoria Joachim Trier on Louder than Bombs

Theatre Post-Behaviour Comedy Katherine Ryan Mark Thomas

Frightened Rabbit "We've never been a come home hip band" MUSIC | FILM | CLUBS | THEATRE | TECH | ART | BOOKS | COMEDY | FASHION | TRAVEL | FOOD | DEVIANCE | LISTINGS

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P.12 Emma Pollock

P.15 Martin Boyce – Glasgow International

P.24 FEEL Festival – The Summer's Best Music Festival

P.30 Battle of the Decades – Fashion Trends 2016

April 2016 I N DEPEN DENT

CULTU R AL

JOU R NALI S M

Issue 127, April 2016 © Radge Media Ltd. Get in touch: E: hello@theskinny.co.uk T: 0131 467 4630 P: The Skinny, 1.9 1st Floor Tower, Techcube, Summerhall, 1 Summerhall Pl, Edinburgh, EH9 1PL 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.

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Editorial Editor-in-Chief Music & Deputy Editor Editorial Assistant Art Editor Books Editor Clubs Editor Comedy Editor Deviance Editor Events Editor Fashion Editor Film & DVD Editor Food Editor Games Editor Tech Editor Theatre Editor Travel Editor

Rosamund West Dave Kerr Will Fitzpatrick Adam Benmakhlouf Alan Bett Claire Francis Ben Venables Kate Pasola Kate Pasola Alexandra Fiddes Jamie Dunn Peter Simpson Darren Carle John Donaghy Emma Ainley-Walker Paul Mitchell

Production Production Manager Lead Designer

Sarah Donley Sigrid Schmeisser

Sales Sales Executives printed on 100% recycled paper

General Manager Chief Operating Officer Publisher

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Contents

Claire Collins Nicky Carter George Sully Caroline Baird Kyla Hall Lara Moloney Sophie Kyle

THE SKINNY

Contents 06 Chat & Opinion: Welcome to this here

magazine. Read last minute news! Have Mystic Mark tell your horoscope in Crystal Baws! And check out what other bits and bobs you can read online at theskinny.co.uk!

08

Heads Up: A cultural tour of the month ahead culminating in the spring bank hol.

LIFESTYLE

30 Fashion: A look back at the trends that

emerged from Paris, London, New York and Milan fashion weeks.

31

Deviance: We consider the empowering quality of the word 'fuckboy' and in the first of a new column, Millennial Wankers, we enter the world of ASMR or Autonomous Sensory Meridian Response.

FEATURES

10

They’re back from the US with their fifth album, and their first Skinny cover!

Frightened Rabbit introduce Painting of a Panic Attack.

32

Showcase: Our outgoing Northwest designer, Thom Isom, leaves in style with a spread of his work exploring environment and space, urban and natural decay

12

Ahead of her Stag & Dagger set, Emma Pollock talks The Delgados, Chemikal Underground and boozing with John Peel in Motherwell.

37

15

The biennial art extravaganza Glasgow International returns! We take a look at some of its community-based projects.

Food and Drink: Confused by all the dietary guidelines and #eatclean aspiration? Fear not, our nutritionally unqualified Food editor is here to cut through the bullshit. Plus Food News, and Phagomania celebrates the Rainbow Bagel.

16

Then we inspect Glasgow International after dark from Turner nominees Marvin Gaye Chetwynd and Jedrzej Cichosz, and roller rink choreography from Asparagus Piss Raindrop.

18

We’re celebrating European cinema this month as a trio of visionary filmmakers – Hungary’s László Nemes (Son of Saul), Germany’s Sebastian Schipper (Victoria) and Norway’s Joachim Trier (Louder than Bombs) – deliver films so good that they should shatter all talk of an EU Brexit.

21

Fondly referred to as a ‘general rabblerouser’ by the Metropolitan Police, Mark Thomas explains why he’s adamantly living up to the name.

22

Incisive wit Katherine Ryan chats about fame, the welcoming UK comedy scene and the meaning of Kathbum.

24

No idea where to pitch your tent this summer? We give you some tips with our guide to some of the summer’s best music festivals.

26

One of Scotland’s finest novelists, Jenni Fagan introduces her Panopticon follow-up The Sunlight Pilgrims.

29

Spring theatre used to mean Behaviour festival. We speak to some of those whose careers were made in The Arches to find out if there is anything filling that creative void. (tl;dr: there’s not.)

April 2016

REVIEW

39

Music: This month’s New Blood is Glaswegian duo Bossy Love, who’ve quietly become the most talked about band round these parts. Plus, new records from Explosions in the Sky, Deftones and Frightened Rabbit, exclusive words with Fuck Button Andrew Hung and your guide to this month’s gigs and festivals.

47

Clubs: Our new Clubs editor shares her picks of the essential nights across Scotland this month.

48

DVD: We’ve a reappraisal of Nic Roeg’s underrated Eureka ahead of its Blu-ray release.

49

Art: It’s an art supermoon, as British Art Show 8 and Glasgow International collide! Also reviews of Sarah Wright and Richard Slee.

50 Film: Jeff Nichols channels Spielberg with Midnight Special and last year’s Palme d’Or winner, Dheepan, finally makes it to cinemas.

51

Books: Poetry news celebrates our new Makar, Jackie Kay, and we review the latest from former Greek finance minister Yanis Varoufakis.

52

Theatre: Our Agony Aunt offers some advice to an aspiring actor-barista, plus reviews of The Destroyed Room and Moira Monologues.

53

Comedy: That’s Fife. That’s what all the people say.

54

Competitions: You could win tickets to Knockengorroch, or an Argyll Holiday.

54

Listings: Our curated guide to what’s on in Glasgow, Edinburgh and Dundee. It’s far handier than Google.

63

The Last Word: We catch up with Future of the Left’s Falco, who’s on uncharacteristically placid form. Maybe it’s cos he keeps punching himself in the balls.

Contents

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Editorial

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racing our front page for April you will find everyone’s favourite fearty beasts, Frightened Rabbit. Astonishingly, this is the first time this here gang have been on our cover, discounting their illustrated inclusion on an Albums of the Year lead back in the noughties as a particularly panic-stricken bunny. Their top secret return as Footshooters sold out the Art School in Glasgow quick as a flash last month, revealing a loyal and passionate fanbase eager to hear some new material. We speak to brothers Scott and Grant Hutchison about their return, cross-Atlantic musical collaboration and working with The National’s Aaron Dessner on new album Painting of a Panic Attack.

Elsewhere in Music this month you will find our team’s top picks for summer festivals both home and abroad. Fancy pitching a tent and getting mangled to a fine musical accompaniment?

We’ve got you covered.

Emma Pollock’s new album is her most acclaimed solo effort to date – we speak to the former Delgado about Chemikal Underground, her slow burn recording process and drinking with John Peel in Motherwell. We also have some words with much talked-about local live sensations Bossy Love, catch up with Fuck Button Andrew Hung in Hong Kong, and force Future of the Left’s Andrew ‘Falco’ Falkous to repeatedly punch himself in the balls in a bid to remain uncontroversial.

Art in Scotland reaches its biennial fever pitch this month as Glasgow International arrives in town with its glittering array of exhibitions shipping in major international artists, celebrating local talent and opening up formerly languishing public spaces. We look forward to a variety of projects which engage the community, and also cast an eye over some of the unusual after dark events taking place, for example Asparagus Piss Raindrop’s roller derby.

In Theatre this time of year would usually mean Behaviour festival in the Arches. Sadly the council have fucked that for everyone – we speak to a few of the incredible artists who wouldn’t be working

Shot Of The Month Grimes, O2 ABC Glasgow, 13 March by Ryan Johnston

had their early careers not been nurtured by that key institution, just to remember how valuable a visionary development space is.

Our Film section this month focuses on a few incredible new European releases as a sort of antiBrexit celebration of our continental comrades. We speak to László Nemes about Son of Saul, his raw Holocaust drama which has received the rare seal of approval from Shoah documentarian Claude Lanzmann, who described it as the ‘anti-Schindler’s List’. We also have words with Germany’s Sebastian Schipper on single-shot crime odyssey Victoria and Norway’s Joachim Trier on his New York-set Louder than Bombs.

Comedy has some big names this month – we speak to activist comedian Mark Thomas about Jeremy Corbyn, grassroots politics and rambling.

Incisive commentator Katherine Ryan drops by to talk fame, making the UK comedy scene her home, and why her latest show is called Kathbum.

In Books, we talk to Jenni Fagan ahead of the relase of her follow-up to the Panopticon, The Sunlight Pilgrims. Finally, in Deviance we present a veritable smörgåsbord of analysis around the evolution of the ‘fuckboy’, while our new column Millenial Wankers begins its diligent exploration of the smörgåsbord of onanistic delights available to generation Y. As always, the print publication you hold is just scratching the surface of the vast spread of articles The Skinny has recently produced. Head to the website for up to the minute cultural news, extended interviews and detailed cultural analysis.

Also cat pictures. Although they’re more on our Instagram. You should follow us on Instagram – there’s all sorts going on, from artist takeovers to competitions. You’re welcome. [Rosamund West] APRIL'S COVER ARTIST Amy Muir is a Scottish music & portrait photographer. Currently based in Aberdeenshire, she is a frequent city-hopper all over the country covering gigs. amymuir.com

Crystal Baws With Mystic Mark ARIES To make matters worse, this month you find out that ISIS don’t even believe in Santa.

TAURUS Give your body clock a good wind up with half a beak worth of cocaine.

GEMINI This month you do a fart so bad your family stops going to church.

CANCER You’re a freedom fighter. No matter what it takes, you will crush freedom wherever you find it. Stomping it out with your thick black boots.

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Chat

LEO Complicated Leo is often compared to a jigsaw puzzle, but that’s because you’re pathologically dull and spend all your time hiding in a cupboard at the old people’s home.

VIRGO In April, while observing a local cluster of heavenly bodies, your teen astronomer son inadvertently discovers something remarkable: a brown star. Hitherto only thought to exist in theory, the rare sight was glimpsed through the bathroom window of your nearest neighbour by your son’s powerful new telescope.

Though only seen for a fraction of a second, the grainy images give the teenage community a lot to think about.

Based on preliminary data, many local teen-scientists have given fascinating presentations on how they would go about probing the neighbouring brown star, although considering their current stage of technological and social development, these proposals remain mere flights of fancy.

LIBRA Your cat dies this month after you heroically fire it into space.

SCORPIO You love having a large family but you often have to freeze most of it for later. save her from the eternal damnation of our loving God. SAGITTARIUS In April you lose both your eyes in a skiing

accident, but luckily paramedics are on hand to pop a pair of emergency fake eyes in there and send you on your way.

CAPRICORN You’re kind and considerate. For instance you like to buy tins of premurdered food for your cat so he doesn’t have to go out and murder it for himself.

AQUARIUS Having frequently enjoyed smoking a joint after sex, this month you decide to honk on a mid-sex bong.

PISCES You’ve got to stop calling an ambulance every time you need a shit. twitter.com/themysticmark facebook.com/themysticmark

THE SKINNY

Win Restless Natives tickets!

T Dundee Design Festival It’s the UK’s only UNESCO City of Design, so what better way for Dundee to celebrate than with its very first design fest? The four-day affair features designer-led exhibitions, talks, forums and workshops, showcasing work from local designers alongside those from elsewhere in Scotland and much more far-flung locations. It’s held in the West Ward Works, an important historic centre for magazine and book production – so pay attention, comic nerds: this means there’s a chance to check out the former home of Beano/Dandy publisher DC Thomson. The full programme will be released in April; keep an eye on dundeedesignfestival.com in the meantime.

(25-28 May) Riverside Festival More big names planned for this year’s Electric Frog & Pressure Riverside Festival in Glasgow: Ben Klock lines up alongside Gaiser and Sven Väth on day one, alongside Scottish Album of the Year nominees Slam – whose Soma Records label celebrates its 25th year by bringing Laurent Garnier and Rødhåd to their own stage. Fatboy Slim, Jackmaster, Dimitri From Paris and Dixon Avenue Basement Jams all star on a hefty bill on the festival’s second day. Riverside Festival takes place at Riverside Museum, Glasgow, 28-29 May 2016. Full line-up: riversidefestivalglasgow.com Neu! Reekie! launches #UntitledTwo The Reekie racket-makers will launch their sophomore poetry anthology and compilation album on 29 April in Leith St Andrew's Church in a night entitled Going fur Gold. For a mere fiver you'll get a glimpse into the new project with an evening

he inaugural Restless Natives festival hits Glasgow between 9-15 May, starring Ghostface Killah, Future of the Left, Rolo Tomassi, Blanck Mass, Tim Hecker and many more – a delectable serving of unmissable music and film events across seven venues and studios in the city’s East End. With its heart and soul in the DIY scene, the community-minded festival is curated by some of Scotland’s best tastemakers, including the likes of The Skinny, Struggletown Records, Nice N Sleazy and Song, by Toad, all aiming to promote diversity and equality throughout the programme.

To celebrate the festival’s first year, we’re giving away a pair of golden tickets to a Restless Natives show of your choosing. To win, just head to

of live music, performances and readings. And, of course, also be booze and snacks aplenty. #UntitledTwo will be published on Sunday 1 May. Edinburgh Art Festival There’s solo shows a-plenty at this year’s Auld Reekie Art Festiva: Damian Ortega and Jonathan Owen are among the artists on display, with the Scottish National Gallery of Modern Art set to showcase the work of Joseph Beuys and there is a major exhibition to celebrate 30 years of Inverleith House. EAF 2016 will feature 43 exhibitions at partner venues across the city, alongside a host of pop-ups and major commissions including Turner Prize nominee Ciara Phillips's Dazzle Ship project at Leith Docks. EAF will announce the remainder of its events and commissions for 2016 in May; the Edinburgh Art Festival takes place at venues across the city from 28 Jul-28 Aug. Full programme: edinburghartfestival.com Rally & Broad Poet duo Jenny Lindsay and Rachel McCrum return for two more nights of music and performance in Edinburgh this month, committed as ever to gender-balanced bills, politically-conscious work and finding the best spaces for both new voices and established artists. We Could Be Heroes! gathers together Salena Godden, Supermoon, Tim Turnbull, Lucy Ribchester and Josephine Sillars for an evening of tales of heroes and anti-heroes, Bowie-themed imaginings, and general lyrical delight (22 Apr, Bongo Club, 7pm, £6/ 5), while their Masterclass Showcase! features short sets from the likes of Gavin Cruikshank, Angela Strachan, Hannah Lavery and Fiona J Stirling (14 Apr, Scottish Poetry Library, Crichton’s Close, 6.30pm, £3). Unmissable, we say. Unmissable! Rallyandbroad.com

theskinny.co.uk/competitions with the correct answer to the following brain-teaser: In which venue will Future Of The Left play at Restless Natives? a) Barrowlands b) Barras Art And Design Centre c) St Luke's restlessnativesfestival.org Competition closes at midnight on Sun 1 May. Winners will be notified via email within two working days of closing and will be required to respond within 48 hours or the prize will be offered to another entrant. Our Ts&Cs can be found at theskinny.co.uk/about/terms

Online Only theskinny.co.uk/music We recap a week of chaos in Austin, Texas with live reports on Iggy Pop, WOMPS, CHVRCHES and many more at the 2016 SxSW festival.

theskinny.co.uk/comedy We chat to “Britain’s answer to Chris Rock” Dane Baptiste, and ask if BBC Three’s move online could be good for British comedy?

theskinny.co.uk/clubs Apeiron Crew's Emma 'Solid' Blake delivers our latest Skinned, plus our chronological rundown of the UK dance music festivals near you.

theskinny.co.uk/theatre What do The Lion King, Game of Thrones and West Side Story have in common? William Shakespeare, that’s what. Don’t believe us, then check out our Theatre ed’s guide to these and other unexpected Shakespeare adaptations.

theskinny.co.uk/film Tom Geens talks to us about Couple in a Hole, his new film about a couple in a hole.

Spot the Difference

April 2016

difference, and see if you can work out what’s bugging us.

If you think you know the answer, head along to theskinny.co.uk/competitions and tell us your findings. The best or funniest answer will win a copy of Endgame by Ahmet Altan, courtesy of the righteous souls at Canongate.

Competition closes at midnight on Sun 1 May. Winners will be notified via email within two working days of closing and will be required to respond within 48 hours or the prize will be offered to another entrant. Our Ts&Cs can be found at theskinny.co.uk/about/terms

jockmooney.co.uk

TWO CATERPILLARS Ah, the humble caterpillar. The nascent form of the beautiful butterfly. The famously hungry hero of a treasured childhood tome. The source of your folks’ annoyance when they find out their greenery has once again been demolished by ravenous wee beasties.

We salute you, mighty caterpillar, with two identical images of your finest form – but hang on a second. Something is amiss. What a pa-larva!

Insect these pictures for the barely detectable

Opinion

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Compiled by: Kate Pasola

There’s no need to continue life as a quilt-burrito; spring has sprung and this month Scotland's got everything from Glasgow International to beer festivals, constellations talks to chocolate safaris. Crawl out from your hibernation, fellow human – there's merrymaking to be done.

Wed 30 Mar

Thu 31 Mar

Round off your March in the twinkliest of manners with Collective’s Short Introduction to Asterisms, Constellations and Star Clusters. Join Professor John Brown, Astronomer Royal for Scotland and artist James N Hutchinson atop Calton Hill for an initiation into all things starry and to catch a glimpse of research from Hutchinson’s recent project A Calton Hill Asterism.

Calton Hill, Edinburgh, 6pm, free

Move swiftly to get tickets to Linder’s new ballet Children of the Mantic Stain, a show in which technicolour Northern Ballet dancers perform choreography incorporating a rug created by Kristi Vana, Jonathan Cleaver and Dennis Reinmüller, exhibited as part of British Art Show 8. The dancers will also wear custom sportwear designed by Christopher Shannon. Fashion, tapestry and dance – how glorious.

Dovecot Studios, Edinburgh, 7.30pm, £8-20

The renovators and curators at Hidden Door are set to return to the ‘Burgh in late May, but the jubilations begin in advance with their launch party at the Roxy. In true Hidden Door form, the shindig plans are littered with entertainment and art, with live tunes, late night poetry, exhibitions and showreels galore.

Assembly Roxy, Edinburgh, 7pm, £7

Short Introduction to Asterisms, Constellations and Star Clusters

Children of the Mantic Stain

Wed 6 Apr

Thu 7 Apr

Rusalka: the tale of an enchanting water nymph who regrettably trades in her voice for access to the land and an opportunity to win the affections of her true love.

Sound familiar? Well, it shouldn’t. This isn’t some Ariel and Sebastian affair, it’s Antony McDonald's scintillating and menacing opera based on the most unsettling of folk tales. King’s Theatre, Glasgow, 7.15pm, ticket prices vary

Back for a fifth year, artist facilitator extraordinaires Nick Anderson and Rosana Cade bring Buzzcut, a live art and performance festival to Glasgow (6-10 Apr).

With help from Creative Scotland, the festival offers fees, accommodation and daily lunches to all those involved in the 50+ strong lineup of exhibitions.

Admission is by donation, but pay what you can – fullbellied artists are happy artists. The Pearce Institute, Govan, 10am, by donation

Five’s a lucky number for the arts in April, it seems.

Counterflows also returns this month, celebrating its own demi-decade of building platforms aplenty for ‘marginal, underground, or maybe even experimental’ music. This year’s featured artist is Zeena Parkins, a groundbreaking harpist known for her use of electronic processing, pedals and whammy boards to widen potential of an oft’ underestimated instrument.

Until 10 Apr, Glasgow, various venues, times & prices

Rusalka

Buzzcut

Credit: Cat Pennels

Tue 5 Apr

Hidden Door Festival

Zeena

Wed 13 Apr

Thu 14 Apr

Fri 15 Apr

Right, remember when you heard Dylan Moran was touring in 2015 and missed your chance to get tickets because he sold out?

Remember how annoying that was? Well, the floppy haired deadpanner is giving you two more chances to see Off The Hook, one today and one tomorrow. Consider this your official heads up, as it were.

12 & 13 Mar, Usher Hall, Edinburgh, from £23

The Stand’s branching out this month with its brand new Spotlight series in which it welcomes a lineup of six different comedians every month to, ahem, shine a light on a chosen theme or issue. The debut show welcomes Thomas Hind, Donald Alexander, Ally Houston, Will Hutchby, Rosy Candlin, Kimi Loughton and host Wis Jantarasorn. And this month’s theme? Feminism!

Wahey! The Stand, Edinburgh, 8.30pm, £5

Kate Tempest swings by the Mitchell Theatre midApril as part of Aye Write!

Festival, fresh from the release of book The Bricks that Build the Houses.

Raspy lyricism and heartening bars of Ted Hughes award-winning poery; what more could you want from your Thursday eve? Catch her before she continues her tour to Birmingham, Portland, Los Angeles and beyond. Mitchell Theatre Edinburgh, 6.30pm, £9

Demand for a regular reggaeton and dancehall night reached fever pitch after Bongo hosted a sweat-fest of a carnival in February. The Bashment and Dancehall Carnival is now set to return, just bigger and better (but hopefully no sweatier) under the roof of Studio 24. Dancehall queen Lady Chann takes the lead on the decks, with steel drummers, dancers and horns and whistles.Studio 24, Edinburgh,11pm, £4-12

Dylan Moran

Kate Tempest

Kimi Loughton

Credit: Bart Heemskerk

Tue 12 Apr

Tue 19 Apr

Wed 20 Apr

Thu 21 Apr

Fri 22 Apr

Meet Beach Baby, a four-piece from Dorset / Athens.

Influenced by everyone from The Cure to Nirvana, they’re an exhilarating twine of post-punk, shoegaze and sunny harmonies – everything the Vaccines should have been but sorta weren’t. This is their first headline tour after spending February supporting Sundara Karma. Stereo, Glasgow, 7pm, £6

Scottish Ballet matches Northern Ballet’s efforts this month to drive a traditional form into the truly contemporary, enlisting choreographer David Dawson to repaint Swan Lake with a modern varnish.

Casting an eye over rehearsal footage, Dawson’s choreographic retelling looks set to renew the beauty of an age-old classic. The show will also visit Aberdeen (27-30 Apr) and Edinburgh (25-28 May). 19-23 Apr, Theatre Royal, Glasgow, ticket prices vary

The UK’s longest-running horror film festival Dead By Dawn returns on 21 Apr, hosting an impressive roster of indie previews, old classics and shorts. Check out the Dead by Spawn website for information about lineups (and for a hilariously pedantic guide to conducting one’s self at a film fest). Until 24 April, Filmhouse, Edinburgh, weekend passes £75, individual event tickets available

Hankering for a gorgeous new screenprint or want dibs on a piece from your fave sculptor? Best get yourself to Glasgow Contemporary Art Fair preview evening. GCAF runs from 23-24 Apr, but tonight’s your opportunity to have a chinwag with featured artists and scout out your favourites, with price tags ranging from fifty quid to £10k. There will be booze and tunes, too!

Old Fruitmarket, Glasgow, 6pm, £9

Beach Baby

She Who Must Burn

Swan Lake

Thu 28 Apr

Fri 29 Apr

Produced in collaboration with National Theatre of Scotland, This Restless House is Scottish writer Zinnie Harris’s contemporary take on epic Ancient Greek tragedy The Oresteia.

Don’t be discouraged by the use of ‘epic’ – the story is carefully portioned into various performances, taking place on various dates and times for the duration of the trilogy’s run (15 Apr-14 May).

Citizens Theatre, Glasgow, 7pm, prices vary

After getting the folkparty started on 27 Apr, Edinburgh’s annual festival of celtic and traditional arts TradFest continues today. Throughout the twelve day season you’ll have the opportunity to catch over 90 events in 25 across the capital; from storytelling to dance, music, theatre, visual arts and crafts, all day every day. Until 8 May, various venues, times and prices

Following their Whitespace exhibition in October 2015, Pissed Modernism returns to Edinburgh for a second year. Inspired by the a currently pincer-sharp political awareness among Scottish citizens, the exhibition will showcase art offering comment and critique in the run up to the Scottish Elections. The exhibition week kicks off with a launch party ft. bevvies from Edinbrew and tunes

by Astuto Baffuto. The Number Shop, Edinburgh, 7pm, free

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Chat

This Restless House

Blindtext Leif

Credit: Brian Dunlea

Wed 27 Apr

Lady Chann

Glasgow Contemporary Art Fair

Pissed Modernism

THE SKINNY

Credit: Martin Parker

Heads Up

Tue 29 Mar

Sat 2 Apr

Sun 3 Apr

Mon 4 Apr

A World Premiere: Join Neil Buchanan for an immersive audiovisual experience whereby the Art Attack polymath interprets Taylor Swift's childhood sketches of a broken hovercraft live, employing his trusted Gibson SG and electric bassoon. Support comes from Wee Jimmy Krankie and Holographic 2Pac (DJ Set). Summerhall, 5pm, £75 (Metallers free)

George Orwell’s terrifyingly accurate forecast of the world going to utter shit is given the Northern Ballet treatment this April at Festival Theatre. Former Royal Ballet dancer John Watkins exploits the choreographic potential of 1984 and brings it to full, dystopian, dreadful life. Festival Theatre, Edinburgh, 2.30pm and 7.30pm £16-37

After igniting the geekiness on 2 Apr, Edinburgh’s Comic Con draws to a close after providing a two-day meeting post for all those whose hearts lie in the world of superheroes, comics and cosplay. Speaking of which, get your garms ready for their Annual Cosplay Championships on the Sunday – you could be in with a chance of landing 500 smackers. EICC, Edinburgh, 10.30am, individual ticket and weekend pass prices vary

The Science Festival cheers up your Monday twentyfold with Chocolate: Food of the Gods, a safari into the chemistry, history and future of chocolate. Hang out with some experts in the industry, sample some tasters and get yourself educated on the unofficial Top Food Invented

By The Human Race Ever.

Turns out it’s not all Willy Wonka and drumming gorillas – who’da thunkit?

Summerhall, Edinburgh, 8pm, £15

Comic Con

Sat 9 Apr

Sun 10 Apr

Mon 11 Apr

The UK’s largest children’s performing arts festival, Puppet Animation continues throughout the first half of March, and today sees Sokobauno Theatre’s Little Fawn traveling caravan pause its rickety voyage around the country in Edinburgh. Known for hosting riveting puppetry in a mightily intimate setting, it’s not to be missed if you’ve got little’uns to entertain. Goodtrees Neighbourhood Centre, Edinburgh, show and workshop times vary, £1

We’ll stop nerding out over the Science Festival eventually, but not before we’ve told you about Science Night at the Zoo. Your childhood dreams of gallivanting with giraffes after-hours are about to be realised with an eve of animals, street food, photo booths, animals, comedy, animals, and silent disco-dancing. Oh, and did we mention ANIMALS? Edinburgh Zoo, 4.30pm, £8-12

Cowgate’s answer to Brick Lane is back – and what an answer it is. Slaloming in and out of venues along the Old Town, Cowgate Pop Up Market #3 will transform the likes of La Belle, Bongo, Sneaky’s, Opium, Mash House, City Cafe and CabVol into a beehive of arts, crafts, vintage, music and tasty treats. And not a horrifying megabus journey in sight. Perfect. Various venues, free, 1pm

Brush up on your script scribbling skills at CCA's Scottish Screenwriters workshop, one of a series of regular meetings designed to facilitate screenwriters in refining their style and accessing group critique. There are often actors at hand to help workshop your new material throughout the meetings and opportunities for schmoozing with industry pros at the end. We’re expecting big things from you. CCA, Glasgow, 7pm, free

Little Fawn Travelling Caravan

Cowgate Pop Up Market

Science Night at the Zoo

Credit: The Bongo Club 4

Fri 8 Apr

Chocolate: Food of the Gods

Scottish Screenwriters

Sun 17 Apr

Mon 18 Apr

How do we love today’s recommendation, Stewart Brewing Beer Festival?

Let us count the ways. It’s a beer festival. Job done.

But no, really – with five collaboration beers on offer (including The Skinny’s very own grapefruity Hop Off The Press), local food trucks bringing bespoke spreads for your delectation and live music, it is, as they say, a nobrainer. Stewart Brewing, Loanhead, 3pm, £12.50-15

Irish exports and talented jokesmiths Foil Arms & Hog nip across to the central belt this month, giving you a prime opportunity to catch their newest show Skiddlywup. They sold out relentlessly at the fringe, so it’s worth catching them pre-fringe while you can get a seat. See them in Glasgow on 18 Mar, too. The Stand, Edinburgh, 8.30pm, £12

Treat yourself to some fine soul and jazz improv from The Funky Knuckles, a group comprising the sidemen of everyone from Erykah Badu to Beyoncé. Known for a dynamic collective sound distinct from that of their individual projects, they’re a testament to the magical effects of musical teamwork. La Belle Angèle, Edinburgh, 7pm, £14

Stewart Brewing Beer Festival

Credit: Sarah Donley

Sat 16 Apr

Skiddlywup

The Funky Knuckles

Mon 25 Apr

Tue 26 Apr

Yet another art related must-see this April, Outskirts also makes a welcome return to Glasgow.

If you like your art genres blurred and your boundaries traversed, make sure to get to Platform on 23 Apr. SAY award-winning Kathryn Joseph collaborates with Twilight Sad’s James Graham, Matthew Bourne underscores a fascinating moving images montage, and there’s even talk of aerial performances. Intrigued? Thought so. Platform, Glasgow, 3.30pm, £10

Glasgow Restaurant Festival draws to a close today after offering a month’s worth of opportunities for hungry Glasgowdwellers to get their foodie kicks in a series of dining experiences across the city. In the final week of the festival 60 of Glasgow’s restaurants participate in bringing specially priced, bespoke menus before your hungry eyes. Keep an eye on the Glasgow Restaurant Festival website for a programme of events.

A sad day indeed as Glasgow International bids farewell after gracing the west coast with its seventh edition.

Since 2005 the biennial showcase has brought a colossal programme of local and international artistic talent before Glasgow based eyeballs, filling out both the classic and quirky venues the city has to offer with contemporary deliciousness. 8-25 Apr, various venues times and prices

Since the 2015 release of Kiss That Wealth Goodbye, Exmagician have continued to expand their multi-era psychedelia, with their latest LP Scan The Blue seeing a whole lotta flangey synth and lazy garage vocals; truly suited to a roof-down road trip. Failing that, catch them in the equally pleasant environ of Sneak's (also at Hug & Pint on 25 Apr). Sneaky Pete’s, 7pm, £6

Twilight Sad

Glasgow Restaurant Festival

Cosima von Bonin, Missy Misdemeanour (Detail), 2010 Courtesy of the Artist & Galerie Neu Berlin

Credit: Bob Goedewaagen

Sun 24 Apr

Credit: Euan Robertson

Sat 23 Apr

Exmagician

Sat 30 Apr

Sun 1 May

Mon 2 May

Even if the weather's still gross, don't let that stop you marking the official start of taps aff season with the best of ‘em. And by the best of ‘em, we mean Beltane Fire Society, who annually celebrate the inception of summer with fire juggling, body paint, drums and beautifully batshit behaviour. Wrap up warm though, it’s on Calton Hill and you’ll probably freeze. Calton Hill, Edinburgh, 8pm, £8-10

Glasgow Zine Fest’s main event – the zine fair itself – spills into The Old Hairdressers today. Have a wander and take the opportunity to peruse tables and tables of selfpublished works by local artists and zine makers.

There’s usually some craft on offer too, last year’s crafting highlight being a collection of chintzy badges embroidered with the word ‘twat’. The Old Hairdressers, Glasgow, 12pm, free

Throughout the first week of May, Queen Street’s Cass Art will host the Scottish Society of Botanical Art’s first exhibition of 2016, A Spring Fling. All of the paintings on show will be for sale so prepare to accidentally invest in some flowery goodness to bedeck your walls. How very seasonal. Cass Art, Glasgow, 30 Apr-6 May, free

Beltane Fire Society

April 2016

Glasgow Zine Fest

A Spring Fling

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Credit: Colette Norwood

1984

Neil Buchanan

Credit: Carter Ferguson

Fri 1 Apr

Credit: Amy Muir

This Must Be The Place Interview: Katie Hawthorne Photography: Amy Muir & Kate Johnston

Frightened Rabbit congregate at Glasgow’s Art School for a secret show and a dress rehearsal of their fifth album, Painting of a Panic Attack

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t’s a rainy Tuesday night in early February and a mysterious band called Footshooters have sold out Glasgow’s Art School. Despite their apparent lack of internet presence and zero indication of any gigging history, tickets to the show vanish in record time. Hours before doors, Scott Street is full of excited faces exchanging knowing, secretive glances. Frightened Rabbit fans aren’t easily fooled; the protective hush is testimony to their determination in not giving away the game.

“We didn’t really want it to be a secret,” the band’s founder and frontman Scott Hutchison admits, grinning. In a tiny, homely dressing room, The Skinny catches up with Scotland’s favourite timorous beasties ahead of their not-so-secret show; it’s Frightened Rabbit’s first official gig in two years, and marks the first ever airing of their fifth studio album, Painting of a Panic Attack.

For Selkirk brothers Scott and Grant Hutchison, a show at the Art School feels like something of a homecoming. Scott studied a four year course in illustration here – or, kind of here – and the venue, as it was then, marked the site of the band’s debut gig. “I left in 2004,” he remembers, “and where I studied was destroyed… but I spent many evenings here, not actually playing... No! We did play downstairs here, once, about twelve years ago?”

“It was in the bar!” volunteers Grant. “Just as a two-piece. There was maybe… six people there?

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No, really. I’m not exaggerating. It was my first ever gig with Scott, I had stuff written down ‘cause he’d only just sent me the songs.”

“Our friends put us on the bill out of… sympathy? I actually think the first time the name Frightened Rabbit ever turned up on a poster was for the Art School!” Scott recalls, triumphantly.

And, surprisingly, the band as we now know it – Scott, Grant, Billy Kennedy, Andy Monaghan and touring guitarist turned full-time member Simon Liddell – haven’t played a show here since.

This feeling of coming full circle is apt, given that Painting of a Panic Attack is the result of a rejuvenated, re-focused band – one which has rediscovered its voice and its motivation. Frightened Rabbit’s fourth album, 2013’s gigantic Pedestrian Verse, was a milestone in many ways. Their major label debut for Atlantic Records, the album was pegged as a truly dramatic departure from the band’s early work – finally accomplishing the scale in sound Scott had always hoped for – and saw them undertake an exhaustive touring campaign.

Grant describes the process as leaving them “crawling over the finishing line,” causing the band – and Scott in particular – to reappraise “if the world needed another Frightened Rabbit album.”

“I think we might have been telling ourselves, and trying to convince other people that it was a departure, because it was what we wanted,” Grant

admits. Scott concurs: “I think Pedestrian Verse became a conclusion of sorts – of something we’d been trying to do with albums previous. For me, that was when we actually achieved it and, for that reason, it felt much freer to move into other territories this time.”

Grant agrees: “Yeah, this time around, at no point did we sit and go, ‘Oooh, I don’t think that ending’s quite big enough.’ Which, you know, we genuinely did [with Pedestrian Verse]! Leo [Abrahams, producer] had us playing guitar orchestras...”

“It was heaven at the time!” Scott enthuses.

“After not having the means, initially, to make big music in a tiny room… and then slowly getting used to how a studio works. All those things culminated in that album.”

Painting of a Panic Attack sees the band put that studio savvy into practice with a far less bombastic approach. Scott describes it, hesitantly, as a new “subtlety... hopefully! But we’re still processing it. We haven’t done a lot of interviews yet, and it’s talking about it that sort of clarifies it for us. But I do think this one is less immediate. It might be one that takes time...”

After Pedestrian Verse, Scott moved permanently to Los Angeles. The small matter of the Atlantic Ocean turned the band into a long distance relationship, relying on previously alien techno-

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logies in order to write their new material. Communicating via recording software and email forced an evolution: Scott had to learn a new technological self-sufficiency, and Grant admits to having “extended his repertoire”, although he still frowns when describing his initial distrust of anything other than an acoustic drum kit. “We had to look beyond what we’d become comfortable with,” Scott explains.“ We had to approach it without too much of a defined idea of what our roles in [the record] would be. But in the end the differences in how you make a record are what become the differences in how it sounds! It’s important not to see them as obstacles.”

Concluding months of flurrying emails, the rest of the band joined Scott Stateside – at the legendary garage-turned-recording studio owned

by Aaron Dessner of The National, in New York. After meeting on tour, Dessner and Scott spent time together, “half work, half socialising. Then it became clear that he was interested in making the album! It was incredible, I mean, we’ve clearly been influenced by his music.”

Under Dessner’s guidance, snippets of the original transatlantic email-demos were woven within the finished record; Scott explains, excitedly, how his home-made keyboard horn section was mixed with work by Sufjan collaborator Benny Lenzo.

THE SKINNY

Credit: Both pictures on page 11 – Kate Johnston

Grant describes Dessner as “virtuosic”, and credits him with pushing the band far beyond their usual comfort zones – and attention spans.

“It wasn’t always easy – he doesn’t stop working!

He’ll be like, ‘So... what do you guys think about the sub in that floor tom at 2.33?’ I’d be like, ‘Pffff, sounds like a drum to me.’”

“No matter how far our reach may extend, there’s still a core of people who are in this club…”

Scott Hutchison

“It was a blessing and a curse! He’s a brilliant man,” grins Scott. But is Dessner happy with the result? Both brothers look at each other, nervously.

Scott squirms in his seat. “I… think so.”

Painting of a Panic Attack is a beautiful album,

April 2016

and – this time – a true departure from their original sound. But while you’ll find fewer of Frightened Rabbit’s enormous choruses (Scott agrees: “Totally – it was like, can we do a big chorus now pleease Aaron?”) the band haven’t lost their familiar ability to pick apart personal battles and put them back together on a grand, cinematic scale.

They joke that “a guy at the label” recently described it as “a five or six course meal as opposed to a starter and then a big fucking main course.”

The analogy holds: Painting finds tension in its deliberate, intimate details rather than in an explosion of fireworks.

Even so, Frightened Rabbit’s heart still remains in the exact same place. “I think you have to build that world,” Scott emphasises. “I think it’s really important, especially for a long time listener of the band. No matter how far our reach may extend, there’s still a core of people who are in this club who understand some references which other people just don’t get. I think it’s really important to build a place that’s just ours.”

The record was almost titled Monuments: “To me, [the album] is supposed to be representative of a beautiful place that you go to remember something awful. But in the same way, a painting... it’s a beautiful representation, instead. Something terrible’s happened, and this album is about the place that you go.” He quips (correctly) that people

don’t typically come to a Frightened Rabbit album for a “good time” – but concedes, “there’s turmoil on this record but… well, my mum said it was healing.”

He’s right. Frightened Rabbit have a rare propensity for encouraging their listeners to open up. Surely it must make for an intense experience, to play to such receptive, reciprocative audiences? “Certainly I feel responsible to match it,” Scott nods. “We all have to bring a little bit of that and it’s a privilege, I think, that people have allowed the songs to be part of their lives so much that they can elicit that kind of response. It’s wonderful.

Someone said recently, ‘Oh fuck, I don’t like the new Frightened Rabbit song. I’m going to have to get rid of this tattoo.’” Grant laughs. “But it’s OK, he came around to it.”

Scott continues, reflectively. “I don’t think we’ve ever been a hip band... You know what I mean.

And for that reason, I think people come to the music for the right reasons; because they’re drawn to it. And the band, as well – especially Grant, he’s blunt about it if he doesn’t believe in what I’m singing.”

“People really hang onto every word he writes.

It wasn’t that the songs were shit – which they were, sometimes...” Grant’s interrupted by Scott’s admission.

“He just reminded me of why I started wri-

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ting songs in the first place,” he says. “You can get caught up in writing for other people, writing songs for your audience, writing songs for a label… but no, I will do it because I… I can’t make sense of life unless I’ve written a song, in a lot of ways.

And I’m still mildly shitting myself... I mean, you always are before a record comes out. But tonight, if this goes well I’ll shut up and get on with it. The first night is a really strange feeling. I just want it to be okay.”

As the lights go up, at the end of Footshooters/ Frightened Rabbit’s first ‘full’ gig at the Art School, there’s a hush. It feels as if, for the last hour, everyone in the audience has been in their own private place, at their own private show. After well-worn favourites like Holy and The Modern Leper, a generous sampling of Painting takes over; the acoustic bruiser Die Like a Rich Boy and cinematic showcloser Lump Street receive physical, emotional responses from this litmus test of long-serving Frabbit supporters. Downstairs in the bar, Scott’s being thanked by flushed, effusive fans. How did it feel then, to be back? “It felt great,” he beams.

“Really great.”

Painting of a Panic Attack is released on 8 Apr via Atlantic Frightened Rabbit play Glasgow HMV on 8 Apr; Edinburgh Coda on 10 Apr and Dunfermline Alhambra on 13 Apr frightenedrabbit.com

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Chemikal Reaction Interview: Chris McCall

Emma Pollock’s early career saw her fronting The Delgados and drinking with John Peel in Motherwell pubs. Now, as the record label she co-founded turns 21, she has released her best solo album yet. Just don’t ask her to make you a playlist

until spring of the following year. The process, while protracted, delivered results. “I don’t regret the length of time the album took. People always say: just make the right album, and not to worry about anything else. The fact is I’ve been doing this 20 years and people are still willing to listen to me. It’s reaffirming to know you can be a bit older in the industry, and a female, and still put a record out and have people want to listen.”

“Who knows where any of us would be if that record company hadn’t started”

Credit: Jannica Honey

Emma Pollock

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he Electric Bar in Motherwell was the unlikely venue for a music summit involving one of the most acclaimed Scottish groups of recent times and a DJ whose influence is still felt more than ten years after his death. It was in this modest pub in 1999 that The Delgados cemented their friendship with John Peel, a man who had by then done much to bring their music to wider public attention.

Fast forward to 2016 and Emma Pollock, then a Delgado but now an established solo artist, is laughing at the memory. “It was an amazing night.

[Delgados bassist] Stewart Henderson worked in the bar at the time and invited Peel and his producers to take part in the weekly quiz night. And he was terrible at it! There was a music intros round and he named the wrong Jimi Hendrix track – despite once having him on his show. I’m delighted he was as prone to faults with music as I am.”

The genial presenter was in town to film an episode for a long-forgotten Channel 4 series, Sounds of the Suburbs, in which he toured unlikely musical stomping grounds. Peel had chosen Lanarkshire for one of the instalments thanks to his love of all things Delgado, as well as other local acts like BMX Bandits and the Soup Dragons.

It seems scarcely believable now that a terrestrial TV channel would dedicate a UK-wide show to bands unknown even to the majority of Scots.

The Skinny hasn’t met Pollock in a Shawlands cafe on a dark March weeknight just to talk about the old days, however. The songwriter has a dynamic and introspective new album out, In Search of Harperfield, which has attracted some of the most glowing reviews of her career. Next month she will embark on her most extensive UK tour in several years. Meanwhile, Chemikal Underground – the record label she co-founded and co-owns with

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her former bandmates – remains at the forefront of the alternative scene north of the border.

But the Peel episode is a useful reminder of how Pollock’s time as a band member and then a solo artist straddled two very different eras of pop music.

Like all artists who built their careers on the once familiar business model of record sales and regular touring, the digital revolution was a storm her group didn’t see coming. “It’s unfortunate: when you look at the span of The Delgados, the peak of record sales was right in the middle,” Pollock explains. “Record sales were hit by the internet from around 2000. We saw ours fall for the first time after [Mercury-nominated] The Great Eastern.

And some of us mistakenly thought this was because people weren’t into us anymore. But in reality it had nothing to do with the band. I don’t think we understood the whole industry was closing in on itself.”

While The Delgados split in 2005, Chemikal has not only survived but thrived, becoming arguably the best-known of Glasgow’s independent labels. The company’s own Chem19 studio in Blantyre continues to attract so many bookings that Pollock herself struggles to book there. The irony is further compounded by the fact that the man responsible for running the studio is inhouse producer Paul Savage, aka Mr Pollock. “It’s been 21 years of Chemikal Underground, and who knows where any of us would be if that record company hadn’t started,” she admits. “If you make an album over five years, like I did for Harperfield, you don’t know if your independent record company will still be there at the end of it.

“It’s a real coming together of parts: me working with my husband – who was the drummer

in The Delgados – at the studio we started 17 years ago, and the promotion being done by the former bass player in the same band. Meanwhile, Alun [Woodward, guitarist] is still working in the background on his own stuff. His soundtrack for the Graeme Obree documentary, Battle Mountain, is about to be released and is really worth checking out. Sometimes it feels like we don’t see each other for months, but when we do see each other we’re still close.”

There are varied reasons for why Harperfield took five years to complete. “We didn’t shut ourselves in the studio,” Pollock stresses. “I have a son, and Paul – as a producer – doesn’t get home until after 9pm on week nights. I can’t underestimate how hard it is to be a working mum these days. There’s always one partner in a relationship with children who has to mop it all up to let the other partner do a very focused job. For a long time that focused job has been Paul’s, and the studio has built up over the past 10 years. He’s done a remarkable job. So I was just getting the album done when I could.”

Pollock also had to deal with the death of her mother and grandmother last year, both of whom had been unwell for some time.

Understandably, there was a period when music had to take a back seat. “We talk about death all the time, we hear about it in the news, but I didn’t understand it until my mum died,” she adds.

“I couldn’t grasp that she was no longer here. It was a very intense period. And in some ways, it focuses a person, you come out the other end of it and realise you have to seize life every day.”

The majority of Harperfield was mixed by the end of 2014, but several tracks – including lead single Parks and Recreation – were not completed

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The positive reception to the album has left Pollock feeling more secure as a solo artist than ever before. Shortly after The Delgados’ end, she signed a deal with indie heavyweights 4AD. The resulting album, 2007’s Watch the Fireworks, was a fine starting point for her solo career, but the partnership would ultimately fizzle out. “I think they were expecting too much: I was an indie artist coming from an indie background. You can’t reinvent yourself. I didn’t think it was that realistic to think of me as the next KT Tunstall at that point.

“I feel for one of the first times in my solo career I can justify being here,” she admits. “With 4AD, I felt I had been offered a platform on the virtue of the fact I had been in The Delgados. Now I feel like I have paid my dues a wee bit again.

I hope I’ve shown there is something after The Delgados that I can offer. That might sound a bit apologetic – I suppose I feel better in myself.”

Pollock is filled with renewed enthusiasm for her music. For someone who regularly plays solo shows, she’s excited to have assembled a full band for her appearence at Glasgow’s Stag and Dagger festival and May tour. She’s even embracing, with a certain degree of scepticism, the new promotional duties that have evolved since her last record, The Law of Large Numbers, appeared in 2010. “I was asked to create a Spotify playlist of other people’s songs to create interest in me.

That’s mental,” she says. “It seems to be all about being out there, to be seen to be interacting – but who’s that really benefiting? Spotify have put me on a few very big playlists, which is great, even if I’m not necessarily going to see any record sales from that. But there’s a belief that this is how you achieve something: you get in the back door and no longer brazenly ask someone to buy your album.”

It’s a long way from Sounds of the Suburbs, certainly.

With the success of Harperfield, does this mean we can rule out any Delgados reunion?

“We’ve talked about it very loosely, maybe once or twice,” she says, carefully. “It would only happen if we all felt a real need to go back in and make music together again. I don’t think we could reform just to play some shows.

“And would we not look like a bunch of tits if we decided to reform now the obligatory 10 years has passed?”

Emma Pollock plays at Stag and Dagger festival, Glasgow on 1 May; In Search of Harperfield is out now via Chemikal Underground emmapollock.com

THE SKINNY

April 2016

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THE SKINNY

Art For Goodness’ Sake Taking the Glasgow part of its title seriously, Glasgow International 2016 involves several community-oriented and socially-engaged projects. We talk to some of the artists facilitating these events and exhibitions

Interview: Adam Benmakhlouf

Ideological Warfare, Shotts

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ne of the biggest biennial art festivals in the UK is on its way: Glasgow International takes place between 8-25 April, and as usual, planning is key. We’ve done our best to furnish you with ample warning, offering highlights from the programme as details have been released – head to theskinny.co.uk/art for our top picks.

More specifically speaking, one of the most exciting strands of GI’s programme this year is the involvement of local communities within socially conscious exhibitions and art works. Mandy McIntosh has been representing this strand of artistic practice since the 90s. She often combines her fashion design training with her multidisciplinary practice and socially engaged projects.

For Glasgow International project Hap Up Easterhouse, she was invited to work with some of the many local groups that use the Platform space. With this almost complete freedom to shape and define her project, McIntosh spent some time engaging with the building, which even on a Wednesday early afternoon is thronging with people.

“We were watching all the kids coming out from the college and thinking they’re really present in the building. There’s this energy that’s electric,” says McIntosh. “I said I wanted to work with them before knowing what they did in the college. I went to meet a group to sit and observe them and their practice.”

All throughout the process, McIntosh describes the give-and-take reciprocity between her and the teenagers involved: “I was reacting to them and they were reacting to me.” All that was set in stone was that they worked together in the big Unit space at Platform, with plenty of materials provided by McIntosh.

It became clear that fashion featured large in their minds. “They’re really into North Face and Lacoste, and they’re really sharp and know what they’re wearing,” she says. “I didn’t turn up wanting to make a fashion project. It was me reacting to them.” McIntosh had her library of craft techniques books and started sharing information on how to fashion 3D objects, silk painting, block printing and as much as she could teach about being able to build structures and work in an ad hoc manner.

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“I was getting them to look at thinking about instantaneous things. Their taste in clothes is really different to what we‘ll see in the fashion show and exhibition, even though they felt really good in these clothes and they’ve become something other in these clothes. This isn’t what they would choose and it’s been really fun for them – and us – to play about with that.” Mandy McIntosh will host a fashion show of the clothes on the last weekend of GI as part of Outskirts Festival at Platform.

In addition, another outward facing project will be showcased throughout GI in the CCA. Called Third Hand, this exhibition collects together ‘Autonomous Art from Scottish Prisons’ (as its subtitle goes). Also a well-known Glasgow-based artist, Henry Coombes tutored at HMP Shotts, and shares some personal reflections on his time working with the students for this exhibition.

One of the central bodies of work in the show will be “eight sculptural heads made by the woman at HMP Corton Vale,” Coombes says. “The students at the learning centre were given armatures and clay, to produce a head in a single day.” Again, it was important to give these community groups freedom to produce. Without a set plan, “the dynamic body of work came out of the collective experience of the workshop.”

He tells of one student in particular – she had made a head with a pronounced Adam’s apple: “She changed the head into an apple with a stalk out of the crown and worm burrowing into the back.”

Here Coombes observed an important “trapping [of] meaning and emotion of personal significance.”

The poster image from the show comes from two large canvasses made in HMP Shotts, made “in response to Paolo Uccello’s Battle of St Romano and Rembrandt’s The Anatomy Lesson of Dr. Nicolaes Tulp.” These paintings were selected under guidance from the tutor, and then traced in outline onto canvas stapled to the wall, after “an open discussion about the work’s meaning, their feelings and reflections, historical context, and formal and technical elements.”

Made up from a host of pop culture references, the final paintings have had their original figures “transformed into characters from computer

Untitled Sculpture, Cornton Vale

game Mortal Kombat, with life energy bars. Mary Berry rides a My Little Pony into battle versus a medieval cavalry of bird men – the raw unfiltered imagery from the global nervous system of Google.”

In an important way, the tutor becomes “the gatekeeper of Google”, as there is “no internet access within the prison” and so “the tutor brings images in on request”.

“We were watching all the kids coming out from the college ... and there’s this energy that’s electric. I said I wanted to work with them” Mandy McIntosh

As for the title, Third Hand, it’s lifted from a Philip Guston interview and “describes the idea that when the artist is in harmony with the paint, the self and the environment, it feels like there’s a third hand making the work.” The prisoners Coombes talked to “described this moment as an escapism where time flies by, often finding themselves painting into the early hours.” For Coombes, being part of GI was an important way “to lift the work onto the critical platform it deserves”. As for the relationship between the title and the CCA’s past life as Third Eye Centre, and the prison art show held under this name, it turns out to be a happy, but unintended synchronicity.

ART

McIntosh and Coombes take artmaking out of its solitary associations and situate themselves within collective making projects. As Glasgowbased artist and founder of My Bookcase projects, Cristina Garriga tries to negotiate the private space of reading with the shared knowledge and experiences that come from physical books. Working with the community for Garriga has meant collaborating with the staff of the Glasgow Women’s Library (GWL).

There was an important and productive alignment of the objectives and ambitions of both GWL and My Bookcase. In this way, the My Bookcase GI project is not just an event in the library but intended to leave a marked legacy on the reading collection and recently opened building. Only open for a few months, the identity of the new reading room space and what it might be will be importantly shaped by Speaking Volumes, the My Bookcase project.

At the time of interview, Garriga had just come from a day of woodwork and making in a local workshop. With assistance, she’s making three large units based on the open covers of books. During the events planned throughout GI, they’ll open up fully. Also in the reading room are all of the books collected from recommendations by GI participants, artists and curators. It’s a neat way into the festival, via an equally social and private space for reading and engaging through books with the participating artists.

It’s just the same across Hap Up Easterhouse and Third Hand. Working with diverse communities, and lending themselves to unpredictability, these experimental projects broaden in an essential way who makes up the GI crowd. But just as importantly, they change in an important and visible way the nature of the festival itself.

Hap Up Easterhouse, Plaftorm, 9 Apr, platform-online.co.uk Third Hand: Autonomous Art from Scottish Prisons, CCA, 12-23 Apr Speaking Volumes, Glasgow Women’s Library, 8-25 Apr, mybookcase.org glasgowinternational.org

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The Unquotable Interview Credit: Amy Gwatkin, Courtesy of the artist and Galerie Antoine Levi

The esoterically erudite Stewart Home walks us through the influences for his upcoming Glasgow International exhibition Interview: Andrew Cattanach

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Furries in Love, Zoe Williams

No Gallery Needed GI’s gearing up for memorable events from Turner nominees Marvin Gaye Chetwynd and Jedrzej Cichosz, along with temporary lounge area Châteaux Double Wide, the Fantom Cinema and roller rink choreography from Asparagus Piss Raindrop Interview: Adam Benmakhlouf

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e’ve given a well-deserved shout out to the socially engaged projects of the Glasgow International festival on the previous page, but there’s further community building planned throughout 8-25 April, taking place across temporary bars, performance evenings, roller rink events and one-off cinemas.

Starting at 4.30pm on the first day of the festival (8 Apr), crypto-conceptual science fiction anti-climax band Asparagus Piss Raindrop strap their art onto roller skates. Translating their choreography into poetic teasers, they promise: “The performance, viewed in compressed snapshot will look like a hybrid of Giorgio Moroder’s giant poodle and a kind of floral gamelan scene circa 1986, with Prince going past, cute flames coming from his feet. Over the long form of real life time however, impossible to say. Costumes – certainly, lights (perhaps pointing the wrong way) – very likely, music – yes. We promised a flashback corner.”

Later on 8 April, from 7-9pm, Turner-nominated spouses Marvin Gaye Chetwynd and Jedrzej Cichosz’s unleash their Mega Hammer pop-up event on regular Art School club night PVC. “Popping up and bursting into action,” in their own words, Chetwynd and Cichosz’s schedule of collaborative performances will be part of the opening party.

Summing up what’s planned for Mega Hammer, Chetwynd describes “pure expression, almost like air guitar.” After our interview, Chetwynd shares the entire plans for the whole evening – we won’t give it all away, but you can start getting excited about artistic canapés, Guinness Book of Records achievements, and a 20-minute performance by Chetwynd and five performers with salamander and fire costumes.

Through 8-25 April in the Old Hairdresser’s, the collaborative project Fantom Cinema will present a programme based on Hauntology and the promise of future psychedelia. On 10 April, audiences are invited to participate in a five-minute unwaged internship to create a ‘Work Book’, published by artists Kevin Malcolm and Kristina Bengtsson. Then, until 15 April, there are scree-

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nings and discussions of international artists’ films, and a role-playing and radical world-building discussion card game.

Next we head to the Avant Garde music bar in Trongate, where Zoe Williams and Urara Tsuchiya will set up their Châteaux Double Wide in the basement. One of these events will feature a mix of “live Tinder and adult baby beauty pageant,” with judges lined up and a lifetime achievement award to be won – that takes place on 15 April, 8pm-12am.

Offsite, there will also be Hekate’s Sauna at the Old Barn inside Pollock Park on the weekend of 16-17 April, where Tsuchiya will host a dinner in the stables with performance artist Paul Kindersley dressed up as an animal. Aphrodisiac Feast’s inspiration is clear: “It’s a bit like Beauty and the Beast, but more pornographic.” In the film there are “fantasies about horses; it’s not really certain if it’s a dream or fantasy.” At the end, the protagonist has sex with The Beast, who is killed by her lust.

Speaking about Châteaux Double Wide, Williams describes not wanting it to become “seriously just art”. Also important was not to be “too precious.” In the same sense, Marvin Gaye Chetwynd describes being “unaccountable in a really positive sense, as if you’re protecting a little bracket of a moment when you can be irresponsible. No need for archival material, no need for health and safety, no need for curators.”

It’s important for an art festival to include a sauna, some saucy evenings and flame suits at a club night. Of course, we’d advise you to see the many, many programmed exhibitions, but also to make some noise and meet people. In this spirit, we’ll leave the last word to Asparagus Piss Raindrop: “The love connection comes from how we are with each other; tactile improvisations sewn into our everyday lives and then turned inside out.”

alking to Stewart Home is overwhelming. He’s an artist, novelist, art historian, activist, proletarian and communist. Down the phone he tells us about Bruce Lee, witches, martial arts, dynastic conflict in China, Amadeo Bordiga, Dada, punk, Jean Baudrillard, the Letterists and Situationism (please, just Google them).

The Skinny has called him to speak about his exhibition Re-Enter the Dragon at Queens Park Railway Club, which opens this month as part of Glasgow International, and every answer he gives requires a miniature history lesson. Although this is perfect (otherwise we wouldn’t have a clue what he was talking about), it more or less renders everything he says unquotable.

However, he does state one thing quite clearly: “You know what, I bloody love kung fu movies.” So much so in fact that he’s included one in the exhibition – only he’s given it a re-edit and added a new soundtrack, which he hopes will allow the audience to read new meaning into the original film (insert here a brief lecture on the role of détournement in Situationist cinema and particularly the work of René Viénet… or just Google it).

The film that he’s gone and chopped up is one belonging to the subgenre known as Bruceploitation. What are Bruceploitation films? They are films that have leading actors that look a lot like Bruce Lee (Lee-alikes), cashing in on Lee’s success after his death in 1973. Some of these films used marketing techniques that were intended to deceive audiences into thinking they were getting the real thing, and thus the stars had names such as Bruce Lei, Bruce Lie, Bruce Lai and Bruce Ly. Home has been a big fan of Lee since he was a child, and has subsequently found himself interested in the works of the great Lei, Lie, Lai and Ly too. But one Lee-alike has come to interest him above all the others: the Filipino actor Ramon Zamora, who is the star of the film on show at Queens Park Railway Club.

Zamora’s movies, according to Home, represent the hybrid culture of the Philippines, revealing

a mixture of Polynesian, Chinese, Spanish, and American influences, with both Buddhist and Catholic imagery throughout.

“It’s a very curious amalgamation of things because the Filipino culture is such a hybrid culture,” says Home. “And of course, I’m very much in favour of that. Cultural hybridity is something that I’d celebrate.”

“It’s a kind of boner-inducing hell” But when he’s not celebrating cultural hybridity, Home can often be heard getting irate about authenticity, and once wrote that the ‘desire for authenticity is the most cynical of all the pseudoneeds manufactured by bourgeois ideologists.’

Thus, one begins to understand why Zamora the Lee-alike appeals to Home’s artistic sensibilities.

He is a fake and a fraud, but in a good way.

In another work on show at the exhibition, Home gets up to a bit of inauthenticity himself. He’s taken some old photos of a now-dead witch he once knew and morphed his own image into the pictures. Ostensibly, it looks like Home with breasts, an odd amalgam of sexy underwear and sports gear, and a pair of strappy sandals, posing on a tiger-skin rug.

“I have an interest in the balancing of male and female in the human,” Home says. “It’s not a transgender thing, it’s a conception of gender being different from sex – so gender being something cultural or spiritual.”

And so the exhibition goes, pinging back and forth between the hypermasculinity of the kung fu movie genre and the occult androgyny of Home with a set of witch tits. What more could you ask for?

Re- Enter The Dragon, Queenspark Railway Club, 8-25 Apr

Asparagus Piss Raindrop: It’s Called Discharge, Roller Stop, 8 Apr, 4.30pm Marvin Gaye Chetwynd and Jedrzej Cichosz: Mega Hammer, The Art School, 8 Apr, 7-9pm Zoe Williams and Urara Tsuchiya: Châteaux Double Wide, Avant Garde Music Bar, 8-25 Apr Stewart Home with Chris Dorley Brown, Occult Androgyny

Fantom Cinema, The Old Hairdresser’s, 10-15 Apr

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THE SKINNY

April 2016

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Nightmare of the Living Dead Hungarian director László Nemes tells us how he approached filming the unfilmable with blistering Holocaust drama Son of Saul

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et in the Auschwitz-Birkenau death camp in 1944, László Nemes’s Academy Award-winning Son of Saul plumbs the depths of human cruelty.

The Holocaust has been filmed through multiple lenses, ranging from the sentimental to the macabre, but Son of Saul is an exercise in filming the unfilmable, with Nemes turning the unimaginable horrors of the Holocaust into a series of tangible nightmares.

Jean-Luc Godard famously stated that the reconstruction of the concentration camps for the sake of storytelling was an obscenity and a handful of critics have been disparaging of Nemes’s debut, with Manohla Dargis of the New York Times going as far as describing the film as “radically dehistoricised and intellectually repellent.”

When The Skinny sits down with Nemes to discuss the film, he explains his family’s connection to the Holocaust and his choice to represent humanity at its most desperate. “It’s a tragedy I know in a very intimate way,” he says. “This is the one that, although it only affected me in an indirect manner, it was very profound, as if the destruction of my family was already transmitted to me in my genes.”

This level of intimacy may be why the number of people who have found Nemes’s depiction of Auschwitz legitimate far outweighs the naysayers.

Shoah documentarian Claude Lanzmann, famous for his disapproval of dramatised representations of the Holocaust, praised the film as the “anti-Schindler’s List.” For Nemes it was incredibly important to avoid the type of sentimental narrative that has become synonymous with the Holocaust. “For me, films dealing with this subject tend to deal with it in a static way, presenting it from an outside perspective and I want to go into the inside,” he explains. “I wanted to have this immediate sense of reality, without all the projections of the post-war period; the safe path established by Holocaust films with the coats, striped uniforms and all the iconography. It had to be raw.”

This immediacy is achieved by Nemes and his cinematographer, Mátyás Erdély, via their precise control over what the camera glimpses. The film follows a Hungarian Jewish prisoner named Saul, played by Géza Röhrig. Erdély keeps the camera close to Saul’s eye level throughout, providing a very limited perspective of the events surrounding him. “I wanted to give the measure of the plight of one human being in a very visceral way,” Nemes says. “I wanted to communicate this through the means of cinema. Cinema can be a very immersive art form and I wanted to grab the viewer and take them on that journey.”

Nemes has been vocal in his desire for the film to be screened in 35mm. “The organic quality of the film stems from my interest in cinema being an immersive experience. I’m interested in films that transport viewers into a space and time that the viewer can’t feel. To me space means something, it means something regarding the continuity of life, and I’m really interested in that – how space evolves and its relationship to time.”

Shot in a square 1:37 aspect ratio to focus the attention on Saul rather than his surroundings, the film’s limited visual information leaves the soundtrack — and the viewer’s imagination — to do the harrowing task of visualising the action outside the frame. Audio is therefore central to the film. “Sound was paramount and we worked on it extensively,” says Nemes. “I was there for the entire process of sound mixing, even picking which fire sounds from the library to use. This film had to be visceral and sound is there constantly to say much more than the image, it gives the mental image to the audience of the enormity of the context.”

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Interview: Patrick Gamble

Son of Saul presents the Holocaust as a conveyor belt of inhumanity. For Nemes it was imperative that the camp looked and felt manmade, from the grinding metal doors that imprisoned the victim’s blood-curdling screams, to the crunch of human bones and roar of the fire pits.

“It’s a crematorium, a simple factory designed to kill people on an industrial level. I didn’t want to take the viewer into a world of fantasy, I wanted the viewer to have this sense of reality.”

“I wanted to show that Hell is a constant possibility within civilisation” László Nemes

This focus on humanity’s capacity for evil is what separates Nemes’s film from other Holocaust narratives, forcing the viewer to understand that the atrocities at Auschwitz aren’t incongruities of history but merely one moment in the continuing chronicle of mankind’s proclivity for violence.

“There’s no one guy for you to project the evil on to – it’s machinery that’s already in place,” he says.

“It forces you to look at yourself. It’s why German audiences have problems with this film: you cannot identify the evil character. It’s a machine, a monster living inside us.”

Saul is a Sonderkommando, who, as the film’s opening caption explains, were prisoners coerced into assisting with the atrocities that occurred in the camps. The Sonderkommandos’ unique perception of the genocide formed the perfect perspective for Nemes to examine his own country’s culpability in the Holocaust. “In Hungary there were a few Nazi officers organising the round-up of Jews but everything else was done by the Hungarians. Not just the state but the citizens too; it was a collaborative effort to kill the Jews. This wasn’t only in Hungary, but Hungary had the record for the fastest deportations.”

The film opens with its most harrowing sequence, entering an Auschwitz crematorium where Saul’s duty as part of the Sonderkommando is to clean up the gas chambers after the mass executions. We learn nothing about Saul’s past, but his reaction to the screams behind the metal door implies that he’s been in the camp for some time. The work of the Sonderkommando was a form of complicity far beyond mere survival, as each knew they were to be killed at some point. They’re very much the walking dead and this proximity to death helped Nemes explore mortality and human behaviour from a unique vantage point. “I think the Sonderkommandos are victims to whom death is being stretched over a long period of time,” he suggests. “They experience death not in themselves but indirectly and in an extremely cruel way, sometimes having to burn their own families.

Their role is extremely hard to understand. They are in between the victims and the perpetrators, stuck in a world between the living and the dead.”

We see Saul and his colleagues looking

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on expressionlessly, their faces inanimate, as new arrivals are ushered into the chambers. They proceed with their duties like automatons, checking for valuables within the clothes of the recently slaughtered and scrubbing the blood from the chamber floor as the corpses are dragged away.

The performances in Son of Saul are terrifyingly detached yet full of pain and suffering. How did Nemes elicit performances of such entrenched suffering? “I made them read all the testimonies and manuscripts from the Sonderkommandos,” he explains. “I wanted them to read everything and know what the everyday life was in the crematorium. Then I tried to make them forget it all, so they had to integrate everything. Usually I had to bring down the emotional level on the set because they would project their own emotions into the scene. We had to find a frequency of resistance that was low-key and at the same time intense; a robotic way of being.”

The film’s title relates to the body of a child that may, or may not, be Saul’s son. Throughout the film, as his fellow Sonderkommandos undertake an elaborate escape plan, Saul desperately searches for a rabbi to perform burial rights on the corpse of the child. Is Nemes suggesting that religion could provide the possibility of peace within oneself during such atrocities, or is it an attempt to find hope and dignity amid the horror? “It is in a sense about religion: it’s about the God within, it’s just we try to kill God first. This film is about human suffering and the human experience in Hell and I wanted to show that Hell is a constant possibility within civilization.”

Son of Saul is released 29 Apr by Curzon/Artificial Eye

THE SKINNY

One-Shot Wonder Sebastian Schipper has made a thrilling single-shot crime odyssey set in Berlin, Victoria. Unfortunately, few believed he pulled it off without hidden edits. It’s time to set the record straight Interview: Patrick Gamble

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itting down with German actor-turned-director Sebastian Schipper to discuss his latest film, Victoria, is like reminiscing with an old friend about a wild night you both shared – an evening of danger and exhilaration, of nightclub euphoria and rooftop musings about life, death and everything in between. For Schipper, drawing in the audience is paramount: “I like entertaining. I don’t think that word is stupid; I trust that word. I wanted to tell a story that gives energy to people. At the same time some of these films that call themselves entertaining aren’t, because after five minutes you know how the film’s going to end.”

That’s certainly not a criticism you can level at Victoria. Running 134 minutes, it’s shot in a single take without any digital subterfuge. It opens with strobe lights and the relentless thump of techno music as the title character (Laia Costa), a young Spanish woman working in Berlin, dances by herself at an underground club. At around 4am, she decides to leave, but falls in with Sonne (Frederick Lau) and his friends, and finds herself on an unexpected adventure across the city.

Cut It Up Norwegian filmmaker Joachim Trier makes his way across the Atlantic for Louder than Bombs, a New York-set family drama starring Jesse Eisenberg, Gabriel Byrne and Isabelle Huppert. Thankfully he’s brought his indie sensibility with him Interview: Jamie Dunn

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ike the hip-hop that obsessed him as a teen, Joachim Trier likes to play with form. Listening to the likes of Afrika Bambaataa and Grandmaster Flash in the early 80s, he fell for the genre’s dirty formalism. “You could scratch a record, cut it up, and put it back together differently,” the Norwegian filmmaker recalls. “I remember getting a tape recorder with two tape decks, so you could record from one to the other, and I’d take all my favourite moments of every Beatles song or hip-hop song and record only that beat onto the mix to create that perfect melody, the perfect tune… and as I played it back it was the worst mish-mash you could imagine.” He bursts into a deep-throated laugh. “And in a strange way that’s what I’m still trying to do.”

Now 42, Trier applies his cut-up approach to moving image as well as sound – but the results are far more successful than those early tape-deck experimentations. He’s at the height of his powers with third feature Louder than Bombs, his Englishlanguage debut. The film deftly plays with time, space and point of view as it tells the story of a New York family – father Gene (Gabriel Byrne) and sons Jonah (Jesse Eisenberg) and Conrad (newcomer Devin Druid) – haunted by the death of their matriarch (Isabelle Huppert).

The difficulty to be who you are in any given environment – I connect that with a sense of Bergman” Joachim Trier

Speaking to The Skinny on a fresh February afternoon in Glasgow, the day after Louder than Bombs’ UK premiere at the city’s film festival, Trier explains that the fragmented structure of his film came out of a similarly fragmented writing process with fellow filmmaker Eskil Vogt (Blind). “We have a very incorrect, I’m sure, way of working,” he says.

“I sit with Eskil, we’ve written three films together

April 2016

now [the other two being 2006’s Reprise and 2011’s Oslo, August 31st], and we sit in a room for six months and discuss all kinds of ideas. It can be a formal concept, it can be character, it can be a scene, and slowly it develops.” The result is a freeform style where the focus is on character and formal expression over plot. “I like the fact that you feel there are some jumps and cuts and things that are left out.” It’s a form that fits the content perfectly. Like the characters, the film is littered with absences.

This all might sound like this is some alienating, abstract work, but Trier is simply putting his personal stamp on a very familiar tradition in American cinema – that of the family-in-existential-crisis drama. It’s a subgenre he clearly adores, although he’s keen to claim its Scandinavian roots. “I call it the Bergman-Woody Allen dynamic,” he says. “You know, if you look at the 80s movies from Woody Allen that I grew up watching – Another Woman, Interiors, Hannah and Her Sisters – or you look at Ordinary People by Robert Redford, or something like The Breakfast Club from John Hughes, all of that is very influenced by Scandinavian cinema through Bergman, I think.”

Come on, we protest. The Breakfast Club is influenced by Bergman?

“Think about it!” he says, laughing. “OK, maybe I’m reaching there, but I think there’s something going on with that kind of character portrayal and the devastation of identity that it deals with. The difficulty to be who you are in any given environment – I connect that with a sense of Bergman. I wish John Hughes was around – we could ask him.

He was an amazing filmmaker.”

Like many foreign filmmakers coming to America (think John Boorman with Point Blank or Wim Wenders with Paris, Texas), Trier’s outsider’s eye has proved laser-like. His probing of this New York milieu is full of sharp details and acute observations: “I hope so,” he says in response to our compliment, “because I tried to, in all humbleness, really go there and look. I wanted to know how highschool life in America is right now, so I went to high schools and looked at it.” And he didn’t find what he saw in his beloved Breakfast Club: “It wasn’t at all like they are represented in a lot of the films I’ve seen, so I don’t think America is always doing their reality either. You’ve got to find your own take on it.”

“I like entertaining.

I don’t think that word is stupid” Sebastian Schipper

At one point, one of Sonne’s friends tells Victoria they’re going to show her the “real Berlin.”

“Ha, what a fake statement,” says Schipper when faced with this quote. “I’m not sure it was ever in the top of my mind to make a Berlin film.” It may not have been Schipper’s intention to tap into the city’s psychogeography, but Victoria does have a vivid sense of place. The film takes the audience on a journey through the city, jumping from location to location (22 locations in total) and it’s fitting that the film’s end credits lead with cinematographer Sturla Brandth Grøvlen, whose restless digital camera accompanies the characters throughout.

“The film talks about money and privilege,” Schipper says while explaining why he decided to shoot around Friedrichstraße, a huge shopping

mile that’s divided by the notorious Checkpoint Charlie, where the Berlin Wall used to be. “There’s the former eastern part of Friedrichstraße, and crazily that part is now the main shopping centre of Berlin, while the former western part is the overlooked end of the street. We chose it because it doesn’t look like a spectacular part of town – there are no sights at all. I think it comes with us not wanting to tap into that fake, manufactured style too much. I wanted to take some of these words like ‘radical’ and ‘authentic’ and ‘real’ – words which have been kidnapped and forced to sell products – and I wanted to see what would happen if we decided to take these words seriously. What if we really do something with a punk rock attitude?”

There’s no denying that the film adheres to a punk rock aesthetic, and these anti-establishment sentiments are shared by the film’s characters. A burgeoning romance between Victoria and Sonne is put on hold when Sonne’s friends are ordered to meet with a professional gangster to whom they owe a debt. Victoria unwisely accompanies them to an underground parking lot, where they’re tasked with robbing a bank. It’s here, just past the hour mark, that Victoria goes full-throttle – and what began as a rambling Berlin-set homage to Richard Linklater’s Before Midnight evolves into a high octane retelling of Bonnie and Clyde.

“I knew that at a certain point you’ve got to put all your money on the table; raise the bar,” says Schipper of the tonal shift. “I try to pull the best of two worlds. I like indie films; I like how the characters are real people. But I also like genre films; I like seeing people robbing banks. I think I tried to force the best of these two worlds into Victoria.”

Before Victoria’s Berlinale premiere in 2015, both the Toronto Film Festival and Sundance rejected the film because they didn’t believe it could possibly have been shot in one take. And according to Schipper, even the Berlinale organisers had their suspicions. “Dieter Kosslick, the Berlinale director, came to me during the closing ceremony and he said, ‘Sebastian, tell me… did you cut?’ I said, ‘No we didn’t,’ and he said, ‘See, I knew it! But I had somebody come up to me and he said ‘I have information; there are three cuts in the film.’”

Schipper can’t help laughing at this recollection. “It’s funny because, of all the conspiracy theories in the world, this is the one time in my life where I know the truth.”

Victoria is released 1 Apr by Curzon/Artifical Eye

Louder than Bombs is released 22 Apr by Soda Pictures

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THE SKINNY

General Ramble Rousing Political comedian Mark Thomas walks us through his latest method of grassroots activism

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ondly referred to as a ‘general rabble-rouser’ by the Metropolitan Police, Mark Thomas seems adamant to live up to the name.

His activism has taken him on some pretty amazing journeys, from walking the Israeli Separation Barrier to flash mobbing an Apple shop in protest against the company’s tax avoidance. For some, it might be surprising that he’s found time to undertake a new show, but while talking it is clear that his passion for political engagement and performing has not wavered.

His most recent shows are theatre performances, mixed with the stand-up, activism and journalism which he’s well known for. His latest offering, Trespass, arrives in Glasgow this month and continues the trend.

Like most of his work, it is hard to distinguish the show from this activism, which seems to suit him just fine. At a time when the government has sold off the majority of our communal spaces, Trespass sets out to carve a small space in the urban world where mischief and random chance lurk. In order to do so Thomas draws on a seemingly odd weapon of choice: rambling.

“I’ve always been rambling,” he says, and you can hear the grin form on his face. “My house is full of old maps. It’s just a beautiful thing – even in London there are these amazing walks you can do, it’s not just down in the countryside. Me and my mates, we had this really weird one where we went up to the Kinder Scout – up to the peak district.”

The mass trespass of Kinder Scout, it transpires, was one of the most notable acts of initial trespass undertaken by ramblers in 1932, which suitably serves as the inspiration for Thomas’s new show.

“We were at the top of a waterfall,” he explains, “and it was flying back in our faces and we all just

went, ‘Fuck – we don’t belong here.’ It’s a weird feeling of being alienated... All sorts of writers talk about the alienation of people in cities when actually cities are where I feel most at home. It’s often the countryside where I feel alienated. I feel like I’m photobombing nature.”

Most people wouldn’t consider rambling as a political practice, yet it seems the perfect activity to reclaim these lost spaces in our inner cities. “I think we are on the verge of forming an ‘urban ramblers’. That is going to be really interesting as it means we are going to be fighting for rights of way, for access and for public space.”

Much like the fight for public access in the countryside, there seems to be a fight for public access and public land in the city.

“I feel like I’m photobombing nature” Mark Thomas

“Well it’s not just public access,” he says.

“Do you want the right to just walk along a barbed wire corridor through someone else’s land? No. That’s not access, that’s being shuffled through.

Quite often if you get out in the countryside and you actually go walking, some of the routes we’ve got – some of the rights of way – are these awful barbwire corridors, and it’s just crap. It’s about feeling a belonging to a place; thinking it’s ours; having a space and being able to use the space; being able to experiment and create in it. That’s not a wishy-washy thing, that’s a real thing, that sense of belonging.

“Every time you see a sign saying ‘no loitering’ or ‘no busking’, it’s another nail in the coffin of being able to feel free. It’s a really important thing – feeling that a place belongs to you, feeling that there is a sense of freedom, feeling that you are a part of this. It goes straight to the core of who we are, of our self-identity and so when you say ‘access’, I think it’s way more than that.”

One of the most powerful elements of Thomas’s show and activism is that they bring different people and groups together, planting the seed of communal spirit. “Communities exist whether we like them or not,” he says. “They are not always recognised as communities but they are [communities]. One of the stories that I tell in the show is about trying to create a community on a footpath because there is a community of people who use them. They’re just always on the move.”

His projects have a life beyond the stage and always start from a desire to make a difference – even if it is a small one: “What we did in that particular instance was to set up stalls and just offer free tea and cake, and discussion, and create this event where people stop and recognise that they are in a community. It should be said, of course, that it’s on someone else’s land – who was very upset that we were there, which was part of the purpose of it.” Thomas takes a boyish delight in ruffling some feathers, hence the ‘general rabblerouser’ title.

Trespass also deals with the current issue of certain people being shepherded out of London.

“There is this whole process of moving people out and creating these yuppie condos and flats,”

April 2016

Interview: James McColl Illustration: Kate Timney

COMEDY

he tells us. “It’s a massive issue in London, a massive issue in New York too. What we have to do is address it on a fundamental level, what we’re seeing is the end result of years – 36 years – of privatisation. If 36 years ago someone said, ‘We’re thinking of selling off council houses and getting private developers who will build homes that no one else will be able to live in except for the rich,’ everyone would have gone nuts. Now it’s a commonplace idea and a commonplace practice.”

Despite this, Thomas doesn’t think people are less interested in getting engaged, nor more apathetic.

“Look at what’s happening with the major parties. It doesn’t matter what you think of Jeremy Corbyn, the importance of his election is the rise in grassroots movements. The Green Party and the rise of the SNP are all signs that people aren’t happy with business as usual, so I’d argue that it’s not about apathy. There is a seeding anger that’s out there.”

Ever the optimist, Thomas is rather excited about the current boom of grassroots groups. “It should always be an exciting time for grassroots because grassroots are created by us and we need to get out there and do the work,” he says. “I love social media, I use Twitter a lot, but you can’t beat hooking up for a good demo. The interesting way people get their news is actually through coming together, going on demonstrations, talking to each other, hearing different opinions and different viewpoints and different experiences.

That is a way of getting news that is often ignored.”

Mark Thomas: Trespass, Tron Theatre, Glasgow, 13-15 Apr, 7.30pm, £10-£16 markthomasinfo.co.uk

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Comedy is a conversation F

ew comedians’ material is on the same level of high-calibre analysis and theme-spotting prowess as Katherine Ryan. Variously described as icy, waspish and acerbic, her cutting, introspective and and up-to-the-minute barbs tend to tear apart the pompous and powerful. By punching up, she can expect to ruffle some feathers along the way, but instead of political satire her examination is more on celebrity culture as a whole, or the media's odd reaction to and celebrification of a news story.

“I'll hang celebrity stories on a greater theme,” Ryan says, whether using an example of a martyred lion to demonstrate how obsessed we are with fame, or of a woman contractually obliged to keep working with her abuser.

"It’s not just about Kesha,” she continues.

“It’s about a recurring theme of women being assaulted and marginalised in that industry, and unfortunately that is not a new thing and it’s not going away. While the news changes, the themes remain the same: Oscar Pistorius in some ways is just OJ [Simpson] 20 years on. In a way it’s really discouraging.”

When on TV, Ryan is usually the one on the panel making incisive comments about celebrity, to the extent of making viewers guffaw into their tea, perhaps trying to figure out if the joke was too close to the bone. On the page, via her weekly column in NME, she wryly dissects politics, celebrity and the links between them, and in her live shows, she does all of this to ever-growing audiences.

The current run of her third live show Kathbum has been extended and extended again due to phenomenal demand. Since the new year she’s performed Kathbum 23 times (if you don’t count the night she was on top of a mountain in Austria as part of Altitude comedy festival). Glasgow’s Pavilion Theatre will be treated to number 32 in April. It all sounds exhausting.

“I say yes to a lot because I’m interested in a lot,” she tells us over the phone, just before show number 24 in Cambridge. “I just love comedy and I’m so open to watching other people in comedy.

Anything that makes me laugh, I want to watch it, I want to listen to it, I want to be part of it. But stand-up is the bones of all of that. It’s important to be doing live comedy, because comedy is a conversation, and that’s when you get to see people and meet them and see their towns.”

Ryan’s subject matter – pop stars, actors, make-ups and break-ups – has been likened to that of a women’s magazine, and in many ways this is accurate. It’s the editorial in that magazine, and how it treats its material, which makes it absolutely killer. “It’s important to entertain people and be funny and talk about the news, but somewhere in there I always hope to have an introspective assessment of an important theme that matters to me.”

Take that, Heat.

There is of course an irony in someone who speaks so critically of fame and celebrity status while becoming a regular on all kinds of TV shows, her face more and more familiar to the viewing public. Is she not concerned about becoming a celebrity herself?

It would seem not: when it comes to fame, “comedians are largely not interested. I don’t think that we court fame in the same way. Comedians, in my experience, are lovely, humble people, because even the biggest comedian in the whole world has to go on stage and risk dying on his ass.”

Anyone who has braved a preview show or a

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Interview: Jenni Ajderian

new material night will recognise this: comedians old and new all need to preview their new jokes on someone. “It’s like every time you write new material you become a new comedian. And it takes a really long time to get to the point where people come to see you on purpose; you have to slog it out on night buses, being heckled, and for that reason comedians are really supportive of younger comedians starting out. We’ve all done the same.

Actors or singers, you sometimes have an overnight success story, but with comedians it’s just not possible.”

Ryan, at this point, is far from new on the comedy scene, or on the shores of the UK. Having started doing stand-up at uni, she left her native Canada eight years ago and has been living, gigging and raising her daughter in the UK ever since. The comedy scene on this side of the Atlantic has been far more welcoming than the one out West.

“Every time you write new material, you become a new comedian” Katherine Ryan

“When you’re a comedian in Canada you have to travel a whole lot, of course, but you also have to play a lot of rural towns that are maybe just not interested in alternative comedy.”

A person on stage telling jokes about celebrities, does that really count as alternative?

“The fact is that at that time, as a woman, I was an alternative comedian. But I found a place in the UK because it’s such a positive culture: people will pay to see live music and art every night of the week, and comedy is valued. Because of that, different kinds of comedy are valued, and I think a lot of Canadian comedians come over here for that reason.”

While writing her current show, Ryan found herself in an odd place identity-wise. “I’ve got to a point in my own life where my daughter is six and a half. She’s definitely very British, and I’ve been away from my family for enough time that I can now take a pause and look at where they are and where I came from. Taking a look back rather than a look forward.”

Writing a speech for her sister’s wedding made the Ontario-born Londoner reassess what she left behind and what she moved towards. The show’s title, Kathbum, is taken directly from her childhood: this was her family’s nickname for her, and it has followed her ever since.

But what makes Ryan distinctive remains: “My style and my voice haven’t changed. I’m kind of taking the pressure off celebrities in this show, and putting it on my family. The people who really deserve it.”

PC police, fear not: judging by her daughter’s performance alongside her at knock-out five-star Fringe show The Wrestling last year, we can safely assume that the thick skin and the sense of humour run in the family.

Credit: Idil Sukan

Katherine Ryan chats about fame, the welcoming UK comedy scene and the meaning of her show title

Katherine Ryan: Kathbum: The Pavilion Theatre, Glasgow, 23 Apr, 7.30pm, £18.50/£15 katherineryan.co.uk

COMEDY

THE SKINNY

April 2016

23

SCOTLAND 23 APR

/ OUTSKIRTS

1 MAY

Photo: Sol Nicol

No idea where to pitch your tent this summer? From Glasgow’s own Restless Natives to Reykjavik’s Secret Solstice, The Skinny’s guide walks you through some of the more enticing music festivals on offer around the globe, both indoor and out Kathryn Joseph

Words: Katie Hawthorne

/ STAG AND DAGGER

GLASGOW: A celebration of Glasgow’s artistic community in all its diversity, Outskirts combines music, theatre, art and film for an ambitious but familyfriendly billing. Presented by Platform, the day’s activities range from experimental Glasgow theatre folk Company of Wolves to jazz duo Herschel 36 providing a unique soundtrack for seminal documentary Wunder der Schöpfung.

There’s an aerial performance from Ellie Dubois, Matthew Bourne and Michael England teaming up for a special performance of Moogmemory, and an interactive walk between Bridgeton and Easterhouse. Scottish Album of the Year winner Kathryn Joseph, in collaboration with James Graham of The Twilight Sad, concludes an evening that’s far left of the mainstream, but hyper-focussed on Glaswegian talent. Tickets £10/£7.50 (under-16s go free)

Slow Club

Photo: Sol Nicol

Option Paralysis

GLASGOW: Stag and Dagger returns to cause the usual chaos on Sauchiehall.

You know the drill: one wristband gains you entry to a multitude of stages, for an afternoon combining hotly pegged up-and-comers with long-serving indie legends. This year, venues range from the ABC (both 1&2) to cosier types like Broadcast and Nice N Sleazy, via the Art School, the Garage, and the CCA. Essentially, Stag and Dagger is mapped out to facilitate maximum levels of pegging-it between shows – with a quick stop for a chippy. At time of writing, the line-up’s yet to be fully revealed but early front-runners include We Are Scientists, Slow Club and Band of Skulls, plus Deaf Havana, Emma Pollock, Milk Teeth and many more. Tickets from £20

26-29 MAY

10–11 JUN

/ FESTIVAL OF HOUSE

Photo: Douglas Robertson

NR GALLOWAY FOREST PARK: “Music to the hills! People to the land!”

– Knockengorroch is a roots music festival that basks in world class, continentspanning artistic diversity, pitched up in beautiful, super-rural surrounds. Hop on a bus from Edinburgh, Glasgow, Carlisle or Dumfries and soon you’ll find yourself at a festival free from fences or pretension. Their line-up boasts the best in Celtic and world music; a broad, broad summary of a billing which ranges from Black Uhuru (legendary Jamaican reggae band) to Niteworks (Gaelic electronica from Skye) and winds up with an evening well-spent in the hands of Optimo. Positive vibes all round – and there’s plenty more TBA. Tickets £99/£91 (kids go free, but ticketed)

1–4 JUN

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26-27 AUG

Sacred Paws

NR LARGS, KELBURN CASTLE: Kelburn’s back, spanning myriad performance spaces with a barrow-load of added extra events, installations and pop-up surprises. As well as a cracking line-up of James Lavelle, Admiral Fallow and Hiatus Kaiyote, plus Souljazz Orchestra, Sacred Paws and Happy Meals among tons of others, you’ll be treated to takeovers by all your favourite party-starters.

If you need some time out from your dancing shoes, try your hand at laser quest or ‘neverending’ art trails, or explore the mysterious Twin Peaks cabaret.

Truly a roster for everyone, Kelburn remains as family friendly as ever, providing weird and wonderful antics for all interests and ages. Tickets £99

MUSIC

Pinact

INVERNESS, BOGBAIN FARM: Brew at the Bog specialises in talent-spotting hotly tipped new artists just before they break out – you’ll be in on the action before bands like Pinact, WHITE, HQFU, Tijuana Bibles and KLOE hit the big time. Headlined by Mercury Nominee C Duncan, the line-up also lists types like Outblinker, Colonal Mustard & The Dijon 5, and Blazin’ Fiddles for a full showcase of homegrown folk, electronica, indie and disco. Music aside, there’s plenty for the discerning drinker, too: if you’ve often thought that the great outdoors would be infinitely improved by a nice cold gin or a carefully crafted beer, then Brew at the Bog is the fest for you. Tickets £71.75 (inc booking fee)

/ KELBURN GARDEN PARTY

Underworld

ANGUS, PANMURE ESTATE: Backed up by night-life institution Rhumba, Festival of House is a brand new festival set in a stunning old estate. A boutique version of a big-fest experience, this seriously impressive first-year line-up is expected to attract some 15,000 electronic musos. Leftfield, Underworld and Rudimental head up the main stage, with some of the biggest names in the business to back them up. Dixon, Eats Everything, Bicep and Finitribe – amongst many others – will keep revellers firmly on their feet, supported by your favou-rite DJs from Hector’s House, Trash Disco and Paradise Palms. What a debut. Tickets: day tickets from £52.50, full weekender + camping from £148.50

/ BREW AT THE BOG

/ ELECTRIC FIELDS

Primal Scream

DUMFRIES & GALLOWAY, DRUMLANRIG CASTLE: Electric Fields expands to fill a full weekend. Headliners Primal Scream and the Charlatans lead a broad booking policy, with smaller stages curated by Sneaky Pete’s and Tim Peaks (Tim Burgess’ caffeine-fuelled festival experience). Everything Everything, Wild Beasts, Public Service Broadcasting and The Twilight Sad head for the main stages, with Erol Alkan, Joy Orbison and Factory Floor ready to handle the festival’s nightlife. C Duncan, Tuff Love, Bill Ryder-Jones, Admiral Fallow and Songhoy Blues are due to make appearances too, alongside rising Scots bands Neon Waltz, Model Aeroplanes and WHITE. Com-bined with tasty, proper food and an outlook of lush forestry, Electric Fields have cracked a simple, winning formula. Tickets £85 for the weekend

THE SKINNY

Photo: Colin Macdonald

GLASGOW: A festival for the East End, Restless Natives’ name is taken from the 1985 Ninian Dunnett movie, which celebrates ‘the spirit of the underdog’ – i.e., in this context, the spirit of anyone who’s tried to make self-funded art for a living. With nights curated by Fuzzkill Records, GFT, Nice N Sleazy, Song,

by Toad and Struggletown Records, you’ve got seven days of independently spirited art and culture. A killer line-up of Ghostface Killah, Future of the Left, Rolo Tomassi, Tim Hecker and Blanck Mass tops off the music listings, but a whole schedule of showcases, discussions, documentaries, tasty food and films (short and feature-length) awaits you. Tickets from £5 prices vary

Photo: Derek Robertson

Ghostface Killah

3-4 JUN

Photo: John Graham

KNOCKENGORROCH WORLD CEILIDH

/ RESTLESS NATIVES

Photo: Ross Gilmore

9-15 MAY

ENGLAND & WALES

MANCHESTER, VICTORIA WAREHOUSE: ATP recently announced that Drive Like Jehu’s curated weekend of punk-rock chaos would be held in Manchester, rather than Pontins, but the line-up remains consistently right-on. Brace up for METZ’s formidable live show and the rhythms of cult favourite Omar Souleyman, but the major slots are claimed by post-hardcore legends Drive Like Jehu (obviously), and John ‘Speedo’ Reis’s later bands Rocket From The Crypt and Hot Snakes. All three are reuniting for the occasion – as are The Monkeywrench (with Mudhoney’s Mark Arm centre stage). Don’t miss out on a true rarity. Tickets £35 per day, £100 full weekend

EAST MIDLANDS, DONINGTON PARK: The best and brashest rock festival in the UK has a predictably heavy-hitting line-up. The newly crowned Lemmy Stage will witness Rammstein, Black Sabbath, Iron Maiden, Korn and Deftones leading the pits, with Pennywise, Napalm Death and NOFX heading up the smaller stages. You’ll find the likes of Glassjaw, Disturbed, Neck Deep and Don Broco making appearances across the weekend too, completing a who’s-who of punk, hardcore and metal across the generations. Fearsome confirmation that Download remains on top for a reason. Tickets £104.50 for full weekend + camping

/ PARKLIFE

14-17 JUN

Wolf Alice

MANCHESTER, HEATON PARK: Parklife bests itself this year. Headed by the Chemical Brothers and Major Lazer, what follows is a proper bounty of contemporary music: Jamie xx, Years & Years, Annie Mac, Wolf Alice and DJ EZ hold up the rest of the top slots. Pushing grime’s mainstream revival is Stormzy, Novelist and Skepta, with Daniel Avery, Todd Terje and Ben UFO leading the nightlife. Fat White Family, De La Soul and Pusha T complete a thorough booking of the UK’s favourite party starters. There’s also a very impressive selection of street food, ready to provide some much needed TLC. Tickets from £95.00 for a full ticket

The Brian Jonestown Massacre

LONDON, VICTORIA PARK: Field Day is an evergreen source of hotly tipped indie favourites; it’s guaranteed to leave you sounding knowledgeable enough to moan about the Mercury Prize shortlist via social media, when the time is right. Headlined by James Blake on Saturday and PJ Harvey on Sunday, you’ve got similarly statuesque support in the form of Beach House, The Brian Jonestown Massacre, Deerhunter, Four Tet, Gold Panda, Holly Herndon, Parquet Courts and the legendary Thurston Moore. Younger blood is represented by NAO, Novelist, Girl Band and Kelala – just don’t blame us when Field Day release their clashfinder. Tickets £94 weekend, £54.50 Sat, £49.50 Sun

/ LATITUDE

18-21 JUN

Grimes

/ FIELD DAY Photo: Sam Huddleston

Deftones

Photo: Leah Henson

11-12 JUN

11–12 JUN

/ GREEN MAN

Photo: Ingrid Mur

METZ

/ DOWNLOAD

SUFFOLK, HENHAM PARK: Possibly the loveliest festival on this list, Latitude is turning into something of a gentle giant. With curators ranging from BBC 6 Music to Glen Matlock of the Sex Pistols, there’s music, theatre, poetry and film to suit all tastes and interests. The Maccabees have bagged their first ever headline slot, backed up by the eternally capable New Order and The National. Grimes, Kurt Vile, Beirut, M83 and Chvrches have second-incommand duties on lockdown, with Father John Misty, Courtney Barnett, Frightened Rabbit, Perfume Genius, John Grant and Protomartyr in slightly smaller letters. Really, Latitude, there’s no need to be so modest.

Tickets £197.50 full weekend

The Green Man

Photo: Caitlin Mogridge

10–12 JUN

Photo: Vito Andreoni

/ ALL TOMORROW’S PARTIES 2.0 Photo: Jelmer de Haas

22–24 APR

WALES, BRECON BEACONS: Green Man fully blooms for its 14th birthday.

20,000 discerning festival goers will nestle in amongst the beautiful Brecon Beacons, with a line-up that easily bags this year’s indie crown. Belle & Sebastian, James Blake, Wild Beasts, Warpaint and Grandaddy take the leading roles, with Battles, Julia Holter, Cate Le Bon, Emma Pollock, The Besnard Lakes and Awesome Tapes from Africa representing just a handful of the genres on offer. The festival site takes place on the cross-hair of mystical ley lines – and, as extra proof of the magic in the air, there’ll be 99 Welsh ales and ciders flowing freely. Even a week-long holiday won’t feel long enough.

Tickets £175 “normal” ticket, £220 for a week long “holiday”

FURTHER FIELDS

6–7 AUG

/ OFF FESTIVAL

DENMARK, ROSKILDE: Free-spirited Roskilde is the largest music festival in Northern Europe, and resolutely channels its original punk ethos, remaining non-profit since 1972. Humanitarian to its core, your ticket price includes a donation to one of Roskilde’s chosen charities. There’s real variation in this year’s line-up, too – up top is LCD Soundsystem, Macklemore & Ryan Lewis and New Order, alongside PJ Harvey, Red Hot Chilli Peppers and Tame Impala.

You’ll also find Wiz Khalifa next to Tenacious D, At The Drive-In next to Foals, plus Mac DeMarco and the Syrian National Orchestra for Arabic Music, with Damon Albarn and other guests. Pack stamina, this fest lasts 8 days.

Eight days. Tickets £211.83

26-28 AUG

Sleaford Mods

POLAND, KATOWICE: Out by a peaceful lake between Berlin and Dresden, Feel Festival has really nailed the whole holistic thing. Artsy, independent and supremely eco-conscious, Feel have a wholesome package of readings, cinema, theatre and early morning sports on the sand dunes to heal your heart and soul – and more than enough of Berlin’s favourite noisemakers to undo all of that good work. The line-up is still to be released, but previous years saw Ry X, Jan Blomqvist, The/Das and Marcel Freigeist take to the woods. Expect DJs from world-famous clubs like Kater Blau, Ritter Butzke and Wilde Renate. Tickets £69.56 inc. booking fee and rubbish deposit

April 2016

ICELAND, REYKJAVIK: Straight up, Secret Solstice has the most glamorous selling-points of all the festivals out there. This year, you can get down on a midnight sun boat party, in Iceland’s oldest geothermal lagoon, inside a glacier, or… inside a VOLCANO (it’s extinct, before you ask). We should point out that these are all ticketed extras, and a volcano pass will cost you a fiery £1470. But STILL. If you can somehow afford this after George Osborne’s latest budget, the fest also boasts Radiohead, Deftones and Die Antwoord, as well as Skream, Roisin Murphy, Afrika Bambaata and Action Bronson. What’s more, the sun will quite literally never set... Tickets £138.29 for a standard festival pass

/ ROCK EN SEINE

28 AUG–5 SEP

Foals

FRANCE, DOMAINE NATIONAL DE SAINT-CLOUD: If you're not sold on the idea of Coldplay domineering the Pyramid stage, Rock en Seine holds the solution to your summer. In a scenic, historical park just west of Paris, you'll find charismatic rock'n'roll types like Sunday headliners Foals, Iggy Pop and Eagles of Death Metal holding strong. Yer Last Shadow Puppets take the lead on Friday, with the inimitable Massive Attack heading up Saturday. Sigur Rós, Damian 'Jr. Gong' Marley, Chvrches, Clutch and Anderson. Paak fill out the rest of the fest's strong first sweep of announcements. The ticket's a bargain, too, so you'll even have plenty of budget left over for brie. Tickets £90

MUSIC

Die Antwoord

Photo: Martin Sopinec

Roskilde Festival

/ SECRET SOLSTICE

/ BURNING MAN

Burning Man 2015

NEVADA, BLACK ROCK CITY: No festival guide is complete without half-marvelling at, and half-mocking, the legendary burn. But really, Burning Man is next level. A temporary, semi-circular city is erected by a weird and wonderful community in the middle of the Black Rock desert – a prehistoric lake bed – surrounding a gigantic statue just waiting to be torched. This year’s theme is Carnival of Mirrors, and will see some 70,000 burners descend upon the desert to uphold the founding principles of inclusion, self-reliance and leaving no trace. If you want to find out how you’d fare in a sand-blast, register on 27 July for last-opp tickets. What to pack? At least 12 gallons of water, so that you don’t die of heat exhaustion. Extreme. Tickets from £269.27

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Photo: Max Talbot-Minkin

CROATIA, TISNO: Easily one of Europe’s most prolific dance festivals, Love International traditionally claims the biggest names in the industry. Dixon, Horse Meat Disco, Gerd Janson, Jackmaster, Ben UFO and Joy Orbison meet the likes of Shanti Celeste, Hodge and Glasgow’s own Melting Pot. Set in a private bay with sickeningly beautiful waters, this is a legitimate chance to head to a fest without packing your wellies. Dance on the beach, in Barbarella’s Discotheque or on one of the many massive boat parties, but be aware that the afters (curated by Futureboogie and Resident Advisor) cost extra. Pack yer suncream, and you’ll be zipping about on a taxi-boat without a care in the world. Tickets from £120 for a full week pass

16-19 JUL

Photo: Jonathan Ellenor

Jackmaster

/ ROSKILDE

Photo: Jassy Earl

25 JUN-2 JUL

Photo: Vegard S. Kristiansen

/ LOVE INTERNATIONAL

Photo: Sam Huddleston

29 JUN–6 JUL

Dead of Winter The Sunlight Pilgrims deals with those living on “the fringes of the fringes” – of geography, gender and society. Jenni Fagan, among Scotland’s most exciting novelists, here tells of its character and place: both warm and human, despite the cold wind

Interview: Dominic Hinde Illustration: Eunjoo Lee

basis for that reality and I like nodding to certain things that seem normal and regular. To me a place like Clachan Fells is real because I spent five years there when I was writing it. In The Panopticon I created a building that existed in its own right, and I did the same here. I gave myself a very solid framework and then you go and mine that for a story.

“I had really wanted to write a landscape novel for my first novel and didn’t, so this was an opportunity,” she says, before adding after some thought: “I wanted to write a novel that felt like a Sigur Rós record.”

It may be set against the backdrop of the Scottish hills, but The Sunlight Pilgrims is a long way from the introspective posh-boy-goes-for a-walk genre that often passes for a literary description of the Scottish landscape. Appearing at the same time as Amy Liptrot’s critically lauded The Outrun, it takes a similar approach to blending wilderness with the often chaotic lives of normal people, and the friction between the supposedly pristine landscapes of postcard Scotland and the larger global picture.

“I wanted to write a novel that felt like a Sigur Rós record” Jenni Fagan

F

or a novel five years in the making, Jenni Fagan’s follow-up to her much-lauded The Panopticon was almost eerily on point as the first printed copies landed on review desks. As she sits down in an Edinburgh café to chat about the cli-fi tinged The Sunlight Pilgrims, the front pages of the day’s newspapers are reporting that February 2016 was the hottest on record; runaway climate change is not so much speculative as reality.

The second thing that marks The Sunlight Pilgrims out as unintentionally current is that Fagan has written a trans novel when debates about nonbinary gender and trans people have been highly visible in the media. Just as Fagan has created a world where the seasons are lurching on the point of collapse, so are its gender norms. The novel has a main character who, as Fagan puts it, “happens to be trans.”

“I didn’t set out to write a book about a transsexual character, but Stella became that,” she says. A young teenager who identifies as a girl but is struggling with the onset of male puberty, and with eyes for a male friend, Stella is far from the only one with transgressive sexual mores. Incomer Dylan, a giant of a man child, fleeing the death of his family matriarchs and the repossession of the Soho arthouse cinema he grew up in, is in differing ways a source of attraction for both Stella and

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her mother. The local boys who are unsure how to deal with Stella and the sisters who run her religious school are made visibly insecure by the breaking down of the gender binary. All the while, runaway climate change has brought a new ice age to Scotland, and nobody is entirely sure what will happen to the tiny group of people living on a caravan site, flirting with the end of days.

Fagan’s second book is set in a geographically ambiguous location that is at once recognisable.

Like Iain Bank’s proto-Scottish town in Stonemouth – liberally mixing bits of Aberdeen, Inverness and Stonehaven – Clachan Fells is a proto-landscape that is at once post-industrial Midlothian, Fife, and Spean Bridge. “Clachan Fells is cut off – they’re on the fringes of the fringes,” she says of the fictional community she has created.

As a child, Fagan herself lived in a caravan in the shadow of the Pentlands, in the ashes of the Scottish coal industry – a place now covered in car dealerships and the blue cube of the IKEA Loanhead furniture warehouse. The Swedish furnishing giant even makes an appearance in The Sunlight Pilgrims, as the pastel-shirted staff are roped into morale-raising singing sessions for the climate refugees whose homes are too cold to live in. Instead, people have taken shelter in the pretend home of the IKEA showroom, queuing for meatballs and daim cake in the café.

“It has that quality of [Michel] Houellebecq and [JG] Ballard and the weird sensation of directing large amounts of confused people through a strange experience. It is a bit like an airport,” she says, fascinated by the sanitisation of the ordeal of dislocation.

The last few years have meant upheaval for Fagan too, keeping her busy since she broke onto the mainstream literary scene and was hailed as one of the best young writers in Britain by Granta magazine. After the success of The Panopticon, she wrote The Sunlight Pilgrims alongside working on the film adaption of her debut (to be directed

by Jim Loach, son of Ken) and a sizeable collection of poems (The Dead Queen of Bohemia, also to be published in April). ‘”I started writing about it five years ago, just after The Panopticon was published. I’d just had a baby and a number of close bereavements all at the same time. It was before some of the issues became topical. I wanted to do something different from The Panopticon, I didn’t want to just repeat the same thing again because people liked it.”

Whereas The Panopticon was about the psychology of a single building, The Sunlight Pilgrims is soaring in scale: “I liked the idea of being able to create Clachan Fells as a completely independent place, but I used my own experiences as a

BOOKS

“I’m friends with Amy. She comes and stays at my house.” In relation to the differing approaches to writing on the environment, Fagan adds: “I think really you can say that [Scottish poet] Kathleen Jamie is the foundation for a lot of what is coming now.” Jamie’s anti-masculine critique of the obsession with empty ‘wild places’ is subtly felt in the background, and The Sunlight Pilgrims offers gentle nods to the fantasies of Highland tourism and the masculinity to be gained from hunting and dismembering animals for show.

The high hills and shifting ice that surround Fagan’s characters situate them in deep time, where they openly speculate about their own transient situation – it is no coincidence that a significant plot element revolves around the disposal of human ashes. Although one of the main characters has suffered two bereavements, there is a striking ambivalence towards both death and the future throughout the book. “I wasn’t thinking about sci-fi or dystopian fiction,” says Fagan. “More just the fact that we live on a planet, and how much of modern life is designed to distract from the fact that we live on a planet and that our interaction with it is very short.”

The inability to grasp the changing state of the world is at the heart of The Sunlight Pilgrims.

At one point, as things take a chillier, grimmer turn, a TV channel lines up religious leaders and experts to provide narrative guidance to their dwindling number of viewers as an apparently permanent winter closes in, and an iceberg drifts ominously south towards Scotland from the Arctic.

Wilderness and masculinity are dead and anachronistic, and this is the new normal.

The Sunlight Pilgrims is out on 7 Apr, published by William Heinemann, RRP £12.99

THE SKINNY

April 2016

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MUSIC

THE SKINNY

Missed Behaviour Interview: Emma Ainley-Walker

Very few have forgotten the closure of The Arches, which shook Scottish culture last June. In the month that should have been dominated by Behaviour festival, we look back at the building’s theatrical legacy, with the artists it helped to shape

I

f Scottish theatre were to be divided seasonally, Behaviour festival would be the forerunner of spring, signifying a time of experimentation, of excitement and of something a little bit dark (or at least, not especially spring-like) taking place underground in the perfectly suited caverns of The Arches. Seven years after the festival’s first run, however, it is sorely missing from this year’s theatrical calendar.

We’re not quite a year on from the closure of The Arches, but the hurt caused by this building’s absence can still be felt in Scotland’s arts scenes, and its legacy remains visible in Scottish theatre.

But where will young and emerging artists turn to now to advance their careers? There are excellent and supportive programmes at the Traverse, at Tramway and throughout the Edinburgh festivals to name only a few, but the Arches – in particular Behaviour Festival – sparked something of a trend, with artists like Kieran Hurley, Rob Drummond, Gary McNair and Ishbel McFarlane finding a launchpad for their careers there. Not only that, but The Arches played host to renowned artists from Bryony Kimmings to Gob Squad and Dead Centre, all of whom found a comfortable home at Behaviour festivals past, bringing exciting and often awardwinning work to Scottish audiences.

With no Behavour for the first time in seven years, its absence is best expressed by those artists who found a home and a career there. The Skinny checked in with some of these artists to see exactly what the loss of both the festival and the venue means to them.

Rob Drummond

April 2016

Ishbel McFarlane

“I have been missing The Arches a great deal recently. More than usual. It’s still like a bereavement. At Arches Live time in the autumn I was conscious of the lack, but it’s not really until now that I realise how out of touch I felt with the scene, because there wasn’t that oasis that allowed you to check in with what’s happening, who is making work. It’s really clear that without Behaviour there is going to be a larger, wider lack in the whole Scottish scene. It’s much harder to see international companies’ work. I paid to go down to London in January this year to see some shows because nothing was coming here. But I can’t afford to do that more than once or twice.

“Winning Platform 18 changed my life. It was a supportive and supported environment to take my first steps as a lead artist on a full show. The award was supposed to give me support for the full year, to potentially help me tour the winning show, but a few weeks after I performed, the venue was closed and I was calling in favours on 20 hours’ notice to rush in and rescue my set before it was swallowed by the administrators. The staff were so helpful. Jill Smith, one of The Arches’ producers, went through the massive store areas to look out for my things. Jules, who was FOH manager came in especially to open the doors for me. They’d just been made redundant and were no longer getting paid, yet here they were, still helping artists.”

Ishbel McFarlane

Rob Drummond

“If The Arches didn’t exist I don’t know if I would now be making a living out of theatre. I was untrained, untested and had no idea what I was doing.

All I knew is that I wanted to make a living out of telling stories and the Arches gave me the time, space and support to learn how to do that. They didn’t blink when I told them I wanted to give an audience member a gun. They didn’t laugh at me when I said I wanted to become a pro wrestler.

Instead, Jackie just looked me in the eye and said, "That sounds exciting, let’s make it happen." It was a rough, ramshackle and at times chaotic institution where ambition led, and infrastructure and implementation had to catch up. Everyone was learning together and when we put on the world tour of Bullet Catch it felt like both me and The Arches had grown up together. It’s a shame we’ll never know how far it could have gone.

“Now, without The Arches, there is one less place for new artists to go to experiment and work out what their work is going to look like. I don’t want to speak too much for those artists but the main problem will be that, at a critical time in their development, they may not be exposed to the world class artists that I was. What would my practice now look like if I hadn’t seen (and shamelessly borrowed from) Tim Crouch, The TEAM, Ontroerend Goed, Ann Liv Young, and many many more dangerous, daring and unique performer/ writers that The Arches programmed? Growing up (and I mean that) in that building and seeing such an eclectic array of talent, both experienced and emerging – it was like a family atmosphere where everyone was pushing and learning from each other. I do a lot of mentoring work now and I’ve lost count of the times when the conversation has turned to The Arches. ‘You know where this work would have been perfect for? … If only it still existed you could have tried that out at The Arches … This feels like an Arches show …’ If anything I’m

even angrier now than I was at the time. It’s so reactionary and short-sighted. Fuck the police.

Fuck the council.”

“It felt like both me and the Arches had grown up together. It’s a shame we’ll never know how far it could have gone.”

Rob Drummond

Sita Pieraccini

“It’s very sad that The Arches has closed, it’s a difficult one. The Arches was a great platform. In a way it is quite exciting, even for the artists themselves, looking to new places. The people I’ve spoken to and have been in touch with like Dancebase and The Tron have been really supportive. It felt like quite a natural step for me at the time to be seeking other platforms. I think what Feral [the company started by Jill Smith and fellow ex-Arches producer Kat Boyle] are doing is really exciting, still championing the development of new work.

It doesn’t feel like there’s been a collapse in the scene, for me anyway. People have still found other spaces and venues — in a way it pushes people to create things in new ways.”

THEATRE

Sita Pieraccini

From Pieraccini’s positivity, and her push to find new ways forward in the light of the loss, to Drummond’s anger and McFarlane’s remaining grief, it’s clear to see that the emotional loss of The Arches is still hitting hard. Where are these artists now? McFarlane is now touring her Platform 18-winning show with Feral but, in her own words: “It has been much harder not having the building and the team all together. They were a venue who knew me after five years of working my way up the ladder. That is something huge that Scotland has lost.”

Drummond was recently announced as an associate artist at The Traverse. “Part of the reason I don’t feel that I can really speak for the artists who have been affected by the closure of the Arches is that it happened at a fortuitous time for me. I hate to think what my career would look like had it happened just three years earlier,” he says.

“Two of the upcoming shows I’m most excited about started life as Arches projects – one is on at the festival this year and the other is on at The National in London fairly soon.”

Pieraccini is fresh from appearing at Manipulate festival, with her show Bird, and is still working on Make A Hoo, with support from Feral. “Make A Hoo was at the last Arches Live before it closed,” she explains. After a redevelopment of the work supported by Feral, it has been commissioned for Manipulate 2017.

The careers of these three artists continue to grow, but without Behaviour and Arches Live, the opportunities that were offered to them are harder to come by, and Scottish theatre cannot help but continue to mourn. As McFarlane concludes: “The performance scene has lost its beating heart and its growing ground, and we are so much the poorer.”

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LE Y ST FE LI

FRILL SEEKER: JW Anderson

KEEP IT ZIPPED: Marques Almeida

DUVET DAYS: Stella McCartney

THE ACCESSORIES: Vanessa Seward

Fashion Month Trend Report Words: Sophie Benson

Following another hectic Fashion Month, we look at the themes across Paris, New York, London and Milan, with 1970s and 80s influences featuring strongly

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he journey from New York to Paris is a long one, and not just in terms of air miles. By the time Paris Fashion Week rolls round, NY, London and Milan can feel like a distant memory; the shows fading into a fog of fashion fatigue. While each week has its own nuances, the underlying trends come together as common threads that weave the whole unwieldy affair together into a more manageable package. With that in mind, let’s talk about some of the trends that dominated the AW16 landscape…

Battle of the Decades

While the 1970s still reign supreme, the 80s are steadily elbowing their way in. Saint Laurent opened proceedings in LA with their Pre-Fall collection; an ode to the 70s rife with Bowie-worthy tuxes, gleaming sequins, fluid lamé and deliciously jarring textures, all served up with an unmistakably glam rock vibe. Despite this celebration of 70s flamboyance, Slimane stepped straight into the next decade in the closing days of Paris; his 80s-infused couture collection dancing to the beat of after-hours excess with a definitive party girl spirit. This dichotomy does well to set the tone for the interplay between the two decades, which became apparent over the course of Fashion Month.

The likes of Chloé, Roberto Cavalli, Cynthia Rowley, and Elie Saab stayed true to the 70s aesthetic with pussy bows, skinny scarves, bell sleeves, shearling, kaftans, and flared trousers (to name just a few!) continuing the theme that has reached fever pitch on both the runway and the high street.

Gucci’s offering was, of course, rooted in the 70s but the 80s crept in through the boxy, oversized

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eyewear, exaggerated shoulders and veil front hats.

Interpreting the decade in a more conspicuous way, Véronique Leroy, Mugler and Isabel Marant offered up super wide belts, stirrup leggings, structured (but not quite Dallas-level) shoulders, doorknocker earrings and peg leg trousers. Those who wore them the first time round no doubt dread their return, but there’s no denying the era responsible for power dressing has the fashion world back under its spell.

Frill Seeker

The perfect antidote to the quiet refinement that has shaped our wardrobe in recent years, volume is the word of the moment. In terms of volume, Rosie Assoulin, Ellery, Beaufille and Jacquemus know how to unapologetically demand space. But if we’re talking surface area, frills are the way to go for those looking to gain more than a little extra elbow room. Already a surefire hit on the street style scene, frills and ruffles add a sense of frivolity and a touch of the theatrical to modern dressing.

This season saw designers being commanded by the zeitgeist rather than pushing through it and, as such, softly ruffled blouses, which have already rolled out to every corner of the high street, were ten a penny. However, thanks to some deft reimagining, frills proved to be far from passé.

From sweetly ruffled collars and cuffs at Roksanda to J.W. Anderson’s densely layered, architectural frills and Kenzo’s regal sleeves and shoulders, this burgeoning trend is taken to a newly decadent level.

Keep it Zipped

Quietly bubbling under and yet overlooked in many reviews in favour of gaudier, more overt talking points, the high neck zip-up top is sure to hit the high street ASAP, despite its subtlety. This athletic detail peppered the collections of 3.1 Phillip Lim, Paul & Joe, Marques Almeida and Christian Dior, often as a sporty counterpoint to sharp tailoring. It answers the question of how to cover our necks in a novel way (our current proclivity to do so demonstrated by the popularity of the ubiquitous turtle neck, the skinny scarf and – relative newcomer – the neckerchief). The trick to pulling off this trend is all in the contrast. Tuck it into patent leather trousers and you’re guaranteed to draw the lens of every awaiting street style photographer. Providing a more clearly signposted sportswear narrative, Lacoste and Vetements took their cues from Chas Tenenbaum and sent full tracksuit looks down the runway, with heeled boots and formal coats providing the balance.

Duvet Days

Answering the prayers of everyone who is in a symbiotic relationship with their bed, Balenciaga, MSGM and Stella McCartney took puffer jackets and quilting to new, king-sized proportions. It’s the school coat 2.0; all the warmth and comfort without a hint of embarrassment. At McCartney, plissé flares in rich jewel tones proffer a fresh perspective and an interesting sense of polarity.

While McCartney’s coats and gilets hung amorphously off the body, Demna Gvasalia chose the meeting point between structure and dishevelment as the talking point for his inaugural show at the helm of Balenciaga. Venturing away from the confines of outerwear, MSGM complemented

FASHION

their giant polka dot coats with quilted roll clutches and pillow-y wrap skirts; the latter in particular showing an intuitive approach to tackling current silhouettes and injecting them with a dose of the avant-garde.

The skirts will no doubt be seen on fashion editors at next season’s round of shows but the real-world incarnation of this trend will likely be in the form of sizable yet slightly less generously proportioned coats thrown nonchalantly over anything from sportswear to evening wear.

The Accessories

Accessories have a sense of offbeat luxury for AW16. Boxy, structured handbags were the style of choice for most designers but for those who prefer a hands-free approach, Proenza Schouler and Valentino showed bags nestled snugly under the armpit, while Off-White, Vanessa Seward and Vanessa Bruno’s models wore theirs belted at the waist. Fur stoles thrown loosely around the shoulders brought a sense of old school glamour to proceedings at Dries Van Noten and Fendi. Real fur, unfortunately, remains popular but brands such as Shrimps are flying the flag for faux fur on a luxury level. Elsewhere, while shoulders are still very much the body part of the moment, waists got a look in with bustiers and deconstructed corsetry at Prada and Loewe.

Fashion Month got off to a slow start and a sense of fatigue plagued many of the shows, but the resulting trends, while not the most progressive we’ve ever seen, are plentiful and instantly covetable; playing right into the hands of our current see-it-now, want-it-now approach to consuming fashion.

THE SKINNY

The Problem with Fuckboys Perhaps the word ‘fuckboy’ isn’t quite as empowering as we’d like to think

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he English language is terrifically handy. After centuries of Romans and Vikings and francophones passing through, leaving behind an alphabetti spaghetti of words, affixes and affectations, we’ve got a veritable buffet of linguistic knickknacks at our disposal. Also, nowadays the cementation of new words doesn’t require decades of usage or open-minded dictionary editors – the democratic nature of the internet means that pretty much any word will catch on if speakers have something to gain socially from its existence. Need a sassy li’l adjective for literally anything aboveaverage? ‘On fleek’ should do. Desperately want to belong but feel like ‘gang’ might be counterproductive? Go for ‘squad’ and you’ll be surrounded by like-minded people quicker than you can say ‘identity crisis goals’!

There’s also something seductive in hearing a word which takes a chunk of this vast, terrifying universe and neatly attaches a label. That’s probably why everyone’s constantly losing their shit over GIF-stuffed listicles about ‘wanderlust’ and untranslatable Japanese words. Speakers, the clever little vocabulary-curators we all are, are subconsciously aware that words are tools, and tools are useful as hell.

Which brings us to ‘fuckboy’ (or ‘fuccboi’ if you want to get all internetty about it). I could try to define the phenomenon of the fuckboy, alluding to Calvin Klein waistbands and flecked grey loungewear; IKEA lamp mood lighting and an unimaginative subscription to Spotify’s Bedroom Jams playlist; soulless 11pm WhatsApps and token Yankee candles; insensitive jokes-but-actuallynot-jokes about ‘Netflix and chill’ and canny avoidance of everything but one’s own sexual fulfillment. Yep, I could reduce fuckboys to their mythical

Words: Kate Pasola Illustration: Jacky Sheridan

penchants – perhaps you’ll smirk if it rings even slightly true. But we all know that’s simply fiction built on memes and tropes and Justin Bieber music videos. These tidily defined beta-males don’t really exist, partially because it’s bafflingly more easy for men to opt out of generalisations than it is for slutty ho-bag women. What’s more, the word fuckboy doesn’t really serve to label anything specific at all – just general shittiness, egotism and entitlement.

“Until now not a single word has so bitingly critiqued masculine ‘promiscuity’” The word’s somewhat troubling history also fails to shed much light. Originally a homophobic prison slur for a man whose sexuality is seen to depend on the pricetag, ‘fuckboy’ found its way into the rap songs of Cam’ron et al. in reference to those perceived as weak and lacking in conventionally masculine traits. Finally, it was yoinked into white Twitter and the neo-fuckboy was forever more bound to its status as a comic sans insult.

Why has a word with such a vastly broadened and wholly unagreed definition managed to permeate our conversations and captions? Perhaps it has something to do with the fact that until now not a single word has so bitingly critiqued

masculine ‘promiscuity’. Dudes get ‘Casanova’ or ‘bad boy’ at best, ‘manwhore’ or ‘love rat’ at worst.

These terms remain jovial and/or strong, serving to sneakily reassert masculinity despite the mildly judgemental dig. But ‘fuckboy’ feels different.

‘Fuckboy’ is spiky and obscene, and perhaps ‘fuckboy’ makes women who’ve been called sluts since the age of 13 feel empowered.

It did for me, albeit briefly. A man I dated for a couple of months read an article in which I’d casually dropped the term and asked me wide-eyed whether he fell into this category. Cue klaxons, jackpot SFX and tyrannical glee. Finally! Access to a slur which could make a man feel even a sliver

of what it is to have one’s sexual profile redefined, slandered, and arbitrarily linked to lifestyle and sartorial choices. It was maddeningly great, but it was also fleeting.

After all, being a feminist who says ‘fuckboy’ feels a tiny bit hypocritical. How are we to expect a ceasefire of sex-negativity if we’re constantly adding fuel to the shagging-shame bonfire? The fuckboy linguistic trend has been a fun exercise in creating empathy, but perhaps that’s where the name-calling should end. Two wrongs don’t make a right; and a slut and a fuckboy don’t make for equality either.

Millennial Wankers Words: Felicity Benefutuis

Meet the mysterious world of people who get off on the sound of whispered sweet nothings from the lips of YouTubers they’ve never met...

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elcome to Millennial Wankers; a column in which I’ll give you the lowdown on the weird and the wonderful in the world of modern wanking. In the coming months we’ll be exploring everything from interactive masturbation tutorials to hands-free orgasms, binaural orgasmic soundtracks to online erotic literature, meditationmasturbation to futuristic sex toys. I won’t pretend to be an expert, but what I currently lack in knowledge and experience in terms of modern erotic resources, I hope to make up for in enthusiasm.

This month I’ll be trying erotic ASMR. First, a little bit about ASMR or ‘Autonomous Sensory Meridian Response’. Not an intrinsically sexual experience, it is categorised by a feeling of ‘low grade euphoria’ as a result of relaxation, whereby specific acoustic and visual stimuli binaural recordings trigger bodily responses like tingly skin and shivers. Essentially, this boils down to watching someone pour and drink a glass of San Pellegrino

April 2016

on YouTube and hoping that the sound of carbonated liquid makes your skin tingle. As I watched this very video I pondered how on earth ASMR was meant to get me off – all I felt was a low-key urge to pee.

Then I discovered where I was going wrong.

The moment you type ‘erotic’ or ‘boyfriend’ alongside ‘ASMR’, a whole new world of men and women purring at you opens up.

It’s important to note here that some ASMR fans have a real problem with the erotic ASMR movement as they feel it corrupts an experience that was not intended to be about eroticism and sexuality, but rather about relaxation and intimacy. The tingles experienced are involuntary, starting in the scalp and moving down the spine, all because someone brushed their hair into an expensive microphone. In contrast, erotic ASMR invites you into specific roleplaying scenarios while maintaining that all-important sense of intimacy.

I learned a couple of things during my experimentation with ASMR. I learned that when a person makes kiss sounds into a microphone, the feeling of headphones buzzing in your ear is eerily similar to reality. I also learned that when you break down a kissing noise into its constituent parts without the actual sensation, it’s fucking disgusting.

The fantasy element is the most interesting part of erotic ASMR; if you’re looking for a specific roleplay to get you off, you can probably find it, no matter how kinky or niche. ASMR aims for immersion, which is where it ultimately failed me. Perhaps if the videos had stuck to ear kissing, breathing and the oh-so distinctive sounds of belts unbuckling and trousers hitting the ground, I might have been able to superimpose an image of my partner into the action.

But unfortunately for me, the ASMR creators also talk at you. I was stuck inside weirdly specific scenarios, with videos called things like Your First

DEVIANCE

Time or Your First Night As My Babygirl (nauseating).

What’s more, things often become interactive, with spaces left open in the monologue casting the listener in the starring role. Said monologues can get somewhat cloying, as the speaker relentlessly coos: “Let me kiss your cheek, it looks so good… wow, your other cheek looks so good. I’ll kiss that too. Your mouth looks so good!” and on, and on. If this happened to me in reality I would most definitely leave.

While this particularly intimate porn wasn’t my cup of tea (hard-hearted creature that I am), judging by the comments section and the 42,000 views on a single recording, it certainly is for many.

It covers kinks and niches that regular porn doesn’t access, and if you’re craving the romantic aspect of sex then perhaps erotic ASMR might be up your street.

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Thom Isom T

hom Isom is a freelance graphic designer and artist. He works with artists, musicians and cultural organisations from around the UK. He’s been designing the The Skinny Northwest since its inception in 2013; this month is his last issue.

Alongside his design practice Thom co-runs Deep Hedonia, a Liverpool-based arts and production group. Deep Hedonia have hosted events at FutureEverything, Sounds from the Other City, Sound City and FACT. Thom creates all visual output for the group, posters and video.

“My ideas explore environment and space, urban and natural decay. Through deconstruction and distortion of video I explore the problematic nature of urban expansion. My print work often samples fragments and textures of this material.”

Work includes: Your Clock is Always Present, video still British Council, Film + Music workshop, programme The Royal Standard, Playing by the Rules, poster Deep Hedonia, Samuel Kerridge, poster We Buy White Albums, video still with Rutherford Chang and In Atoms CAVE, catalogue Instagram and Twitter: @thomisom thomisom.com deephedonia.com

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Diet Another Day Words: Peter Simpson Illustration: Mark Doyle

As ‘The Man’ makes a move on your cans of pop and piles of red meat, we delve into the world of healthy eating

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The Paleo Diet

e’re living in turbulent times. First the World Health Organisation harshed our buzz with the slightly terrifying news that red meat was “probably” carcinogenic, which is one of the last things you’d want to hear about one of your favourite meals. Then the UK Government announced plans to bring in a sugar tax to try and stop us all from chugging cans of Irn-Bru like they’re going out of fashion. “From our cold, dead, diabetesinflated hands,” we shouted, to which the medical profession shrugged and said: “That’s fine, we’ll wait. This shouldn’t take long.”

Now, humans have always had a bit of a complex relationship with meat, whether it’s the reported 7,000 animals the average meat-eater gets through in a lifetime, or the oft-told tale that we’re powerless to avoid eating spiders in our sleep, we just love meat. Throw in the mid-2010s love for slow-smoked barbecue and enormous burgers, and it’s probably good our medical friends are at least trying to stop us all from turning into big balls of sweaty gristle. We probably won’t listen, but at least they’re trying.

And the soft drinks thing is sort of fair enough.

In January, Public Health England claimed that the average five-year-old eats the equivalent of their own body weight in sugar in a year, and setting aside various mechanical arguments (surely all that sugar makes them put on weight, which increases the amount of sugar they have to eat?) it doesn’t seem like an ideal start in life for the chubby little fellas.

Take the Paleo Diet, where dieters avoid refined and processed foods with the aim of eating like our stone-age forebears did. Cavemen always look fairly buff in those museum exhibits about Stone Age life, and hunter-gathering ‘feels’ like a decent basis from which to plan a diet, so it all seems kosher up to this point. The problem is, there are no accurate records of exactly what paleolithic man actually ate, which kind of undermines the whole premise. It’s a bit like finding a picture of your favourite celebrity, then planning your meals around what you think they might have eaten the day it was taken. Not exactly scientific, is the point.

“Managing your diet is a bit like spinning plates whilst trying to eat off them at the same time” The Alkaline Diet

Adult reference intakes

Even when diets get it right, they quite often come at things from the wrong angle. The Alkaline Diet recommends cutting down on ‘acid-creating’ foods like meat and refined sugars in order for your body to maintain an ideal pH balance. ‘Hmmm’, he said, furrowing his brow and nodding sarcastically. Cutting down on foods which are bad for you – good. Claiming that your diet can change the acidity of your blood, a claim which sounds like bullshit because, well, it is – not so good.

But even beyond the obvious problems like carcinogenic meat and sugary drinks, it’s a bit tricky to keep an eye on what exactly goes into our bodies.

Luckily, there are some recommendations to work with. The NHS recommends you, the average person, consume 2,000 calories a day. Nice round number, that.

Within that, you should have no more than 70 grams of fat (20 of which should be saturated), 260 grams of carbohydrates (90 of those could be sugar), 50 grams of protein and six grams of salt.

So far, so straightforward; you just mix your Soylent Green-like food substitute to the required thickness and bang – nutrition. But if you want to be all ‘Dining 1.0’ about it, and eat actual food, then this is the point at which things start to get a bit, well... hard to track.

The 5:2 Diet

Then there’s the current king of the diets, the 5:2.

Sacrifice two days of the week to fasting on just a few hundred calories, then go for your standard choices in the remaining five days – bish bash bosh, job’s a good ‘un, etc etc. The primary benefit of the 5:2 Diet is that it gets the pain of dieting out of the way in a comparatively short period, leaving you to munch on a standard diet the rest of the time. The downside is having to get by on around a quarter of your guideline calorie count without punching anyone. It has the backing of a surprising number of medical types, as well as that guy on your Facebook feed who constantly talks about ‘pushing the envelope’ through mouthfuls of raw courgette, and because it’s basically a remix of standard dietary advice it isn’t exactly bad for you. Can’t say we’re convinced, but knock yourselves out.

Our stock-in-trade is sarcasm and pictures of giant sandwiches – we might not be the ones to ask.

Five a day

As we all know, you need to get five portions of fruit and veg a day – after all, fruit and veg are good for you and they taste good. Unfortunately, they also contain a load of sugar (that’s why they taste so good), so that needs to come out of your allowance.

You should also aim for around six portions of whole grain a day, but without maxing out your carb intake. You’re gonna need some protein, from meat or another source, and ideally you’d also want around three portions of dairy a day, but watch out for the fat in all that meat and dairy. Oh, and the sugar. And the protein. And the salt.

Turns out crafting a plan is a bit like spinning plates while trying to eat off them at the same time, so it’s no surprise we’re drawn to trendy and catchily-titled diets that seem to offer a surefire way to manage your food intake. They seem scientific, there’s a rationale behind them, and quite often they come with a phalanx of press releases and natty graphic design. Unfortunately, each of these has its own glaring flaw and/or hilarious side effect.

April 2016

Is it all bollocks, though

So, let’s recap; taking charge of your eating habits is very, very tricky. It requires taking a conscious look at everything you consume, weighing up myriad nutritional factors, and some of the quick fixes that promise to help are misguided at best. That’s the bad news. The good news is that thing about eating spiders might not be true after all, although we do eat a surprising amount of dirt every year.

Wonder how many calories are in dirt...

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Food News

Competitive coffee, food science, delicious sushi and the glorious debut of our very own beer all feature in this month’s food round-up Words: Peter Simpson

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Press Image - Glasgow Restaurant Festival

e begin our April round-up in scientific fashion, with a trio of events from the Gastrofest strand of this year’s Edinburgh Science Festival. Lavish Leftovers (5 Apr, 8pm, £15) tackles the issue of food waste – basically, we all throw away far too much food and need to pull our collective socks up. The event will attempt to convince us of the error of our ways by serving up dishes made entirely of foraged leftover ingredients.

A Short History of the Cocktail (7 Apr, 8pm, £20) promises a potted history of the blended drink, discussing the role played by cocktail ingredients, flavour combinations and visuals in making your face screw up into one of those ‘smiles’ we’ve heard so much about. For those looking for a more family-oriented option, the Festival’s annual SciMart (3 Apr, from 11am, £3) combines food producers, researchers and chefs for a scientific take on the farmers’ market complete with a range of talks, demos and tastings. All Gastrofest events at Summerhall, 1 Summerhall Pl; sciencefestival.co.uk On the same weekend over in Glasgow, there’s a chance to try your hand at sushi-making with chef Mayuko Ieiri. Attempt the fine art of putting together a selection of nigiri, maki, and temaki – we expect your afternoon to be nearly as scientific as events over in Edinburgh, but with the added bonus of being able to eat any mistakes you make. 3 Apr, 4pm; Gesso Coffee Lounge, 20 St Georges Road; £29.50, book via eventbrite.co.uk Also in Glasgow this month, the Project Cafe on Renfrew Street plays host to a Syrian Supper Club. An evening of discussion and cookery led by a pair of Glasgow-based Syrian chefs, the night

aims to engage people with the humanitarian crisis in the country as well as its culinary culture.

All the money raised on the night goes to charity Syria Relief. 7 Apr, 7pm; Project Cafe, 134 Renfrew St; £10, book via cca-glasgow.com Over in Edinburgh, the Scottish Aeropress Championships hit Summerhall with a full evening of coffee-powered merriment. The centrepiece is the 36-person battle to brew the best aeropress cuppa, but there’s a whole host of other activities going on should the high-stakes coffeemaking prove too much to handle. There’s a brew bar featuring a host of the city’s best cafes selected by the team behind the Edinburgh Coffee Lovers blog, live music from former Meursault frontman Neil Pennycook’s Supermoon project, food and drink from Jones & Son, Brew Lab and Twelve Triangles, and a special coffee beer from Steampunk Coffee and Barney’s Beer. Plenty to be getting on with, basically. 21 Apr, 6.30pm; Summerhall, 1 Summerhall Pl; £10, summerhall.co.uk Oh, and one other thing – we made a beer!

Our lemon and grapefruit IPA, the cunningly-named Hop Off The Press, will be on tap at this month’s Edinburgh Beer Festival at the home of our beer collab chums Stewart Brewing. The festival also features one-off collaborations with Fallen, Hawkshead and Oregon’s Crux Fermentation Project, as well as a host of unique beers, food from some of Scotland’s best food trucks, and some live music as well. You’ll find us propping up the bar, nodding at our beer and fishing for compliments. Honestly, it’s delicious. 16 Apr, 3pm; Stewart Brewing, Loanhead nr Edinburgh; £15, tickets from bit.ly/EdinBeerFest

institution Beigel Shop. Being much more sensible and British, your multi-coloured beigels come with a range of savoury fillings such as salt beef or smoked salmon. We also note that the colours are slightly more muted and sensible in hue compared to their American rivals, although neither bakery were willing to dispel their exact secret behind the tones.

The trend for psychedelic rainbow foods appears to be spreading in 2016, with the next stop being doughnuts. Back across the pond, Moe’s Doughs Donut Shop launched rainbow doughnuts into internet virality. Already specialising in a large range of flavours, including their signature ‘cake dough donuts’, they simply blended existing

flavours into a kaleidoscopic ring of sugary delight.

We even got the lowdown straight from Moe on this one. With the combination of red velvet cake, sour creme cake, pistachio cake, strawberry cake, and blueberry cake, the rainbow cake donut was born.

What is the next chapter in this multi-coloured story? Even we don’t know at this stage, but if the next food craze doesn’t feature all the secondary and primary colours at once then rest assured we won’t be eating it.

theskinny.co.uk/food

Phagomania: Taste the Rainbow We welcome the latest food trend to spiral into unashamed childishness – the Rainbow Bagel

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t’s the latest food trend to, in the parlance of our times, ‘break the internet’. Bagels that scream “hyper mega unicorns life is awesome and I’m special yum,” like a bullet of internet hyperbole transformed into stark, sober reality. These very bright and colourful bagels are expertly made by The Bagel Store in Brooklyn, New York – the very land that brought us past Phagomania inspirations the Cronut and the ramen burger.

Scot Rossillo is a self-proclaimed bagel artist and the man singularly responsible for the Rainbow Bagel (a name he has trademarked). Following recent celebrity endorsements via Snapchat (in case you were wondering, Kim Kardashian BFF Jonathan Cheban snapped a load of bagels),

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Credit: Selfridges

Words: Lewis MacDonald

Instagram became awash with #rainbowbagel and Rossillo’s store hasn’t been able to keep up with orders since.

This hasn’t held back the production of many different versions of the bagel but behind the scenes the hand-crafted approach remains the same. Neon layers are flattened, cut and expertly twisted to form the playdough-esque ring. These are topped off with cream cheese and funfetti sprinkles, or even a full breakfast (as if things weren’t crazy enough).

Fortunately you no longer have to travel to New York to get your rainbow fix. As of two months ago, if you find yourself in London’s Brick Lane, you can land yourself a rainbow beigel from local

FOOD AND DRINK

thebagelstoreonline.com, facebook.com/BrickLneBeigelShop facebook.com/MoesDoughs

THE SKINNY

ADVERTISING FEATURE

Cocktail Column

G

iven the name, and the circumstances in which it tends to be called upon, the Bloody Mary has a fittingly messy origin story. Either it was invented in noted Ernest Hemingway hangout Harry's Bar in Paris in the 1920s, or it was devised by a bartender at New York's 21 Club in the 1930s.

Another popular theory is that the Bloody Mary was created by a comedian who used to frequent the 21 back in the day, or perhaps it just arrived one day fully formed, in a divine attempt to sort your hangover while also getting you the first of your five-a-day. It's exactly the kind of background story you'd expect for a drink which tends to arrive on weekend mornings alongside a hefty brunch, often with a bit of bacon or celery poking out of the top.

Of course, regardless of who came up with it, the important thing to remember about a Bloody Mary is that more is more. More garnish, more salt, more heat – it should be an excessive full stop of a drink, and the Basement Bar's Bloody Mary-inspired Hangover Cure certainly fits that description. Based around a unique house sangrita – the traditional Mexican accompaniment to a shot of tequila – the Basement's recipe works well with gins, tequilas and mezcals as well as vodka. Customise it to make it your own, and join the ranks of those who claim to have come up with the perfect Bloody Mary.

The Basement Hangover Cure INGREDIENTS: 1 litre Tomato Juice 100ml Apple Juice 100ml Lemon Juice 60ml Worcestershire Sauce 8 dashes Chipotle Hot Sauce 1 split Red Chilli 2 bar spoons Salt 2 bar spoons Black Pepper 12 sprigs Coriander 6 sprigs Mint 50ml pickle brine 50ml spirit (vodka, gin, tequila or mezcal) METHOD: Place non-alcoholic ingredients in a blender and mix until blended. Strain if desired. Add 75ml of sangrita to goblet with 50ml of your chosen spirit.

GARNISH: Garnish with a pinch of pepper, slice of chilli, pickled gherkin, slice of cucumber and coriander leaves.

10a-12a Broughton Street, Edinburgh, EH1 3RH basement-bar-edinburgh.co.uk

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Full job spec at: theskinny.co.uk /about/getinvolved

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Illustration: Yvette Earl

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Credit: Chris Payne

Credit: Euan Robertson

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Explosions in the Sky

CHVRCHES

Chris Cornell

Gig Highlights Take no heed of the doom-mongers; taps aff season is just around the corner. Chris Cornell walks in right on cue

e start in Glasgow, where CHVRCHES kick off the month (2 Apr) by rocking up at the Hydro alongside the Twilight Sad boys for their biggest headline show to date. If glowsticks, novelty foam hands and all other associated norms of the arena experience don’t float your boat, then Detroit post-punkers Protomartyr are also in town that same night, gracing Broadcast with their altogether more arcane brand of existential doom-fuzz.

Project portmanteau, Modeselektor and Apparat – aka Moderat – are ready to drop a new LP and with it comes a tour and date (5 Apr) at the O2 ABC. There aren’t many out there who pack bigger loops, grooves and samples than the Teutonic trio, but Glasgow upstart and beat maker extraordinaire Wuh Oh has also been carving out a name for himself on that front, having lately received a co-sign from Éclair Fifi on her inaugural NTS show. Check out the hype and get turnt up when he headlines King Tuts on 13 Apr. Does the mere mention of vernacular such as “turnt up” make your stomach turn? Do you ever want to just stop the world and get off? Then fear not, for Canadian folk crooner Basia Bulat’s music feels like escapism to another life; a magical realm sound tracked by gossamer keyboards and deft autoharp where idiots like us don’t exist.

She plays Broadcast on 15 Apr, following former Cap’n Jazz and Joan of Arc guitar virtuoso Victor Villareal performing his bluegrass-meets-postpunk-and-classical fusion on 11 Apr (also playing Edinburgh’s Sneaky Pete’s, 12 Apr).

Staying aboard the astral plane, Explosions in the Sky’s symphonic catharsis is now the stuff of legend; experience for yourself at the mighty Barras on 19 Apr. If that isn’t enough to cleanse the proverbial palette, you can literally do so at Stereo’s Vegan Connections festival (23 Apr) where tempeh, tofu and seitan play second fiddle to sets from Machines in Heaven, The Mermaids and Heir of the Cursed.

April 2016

One MC who would no doubt appreciate said jamboree is prolifically bizarre LA underground rapper Busdriver, who once famously freestyled bars like ‘give me a person burger because eating a hamburger is worse than murder’ at a McDonald’s drive-thru window – he plays ABC2 on 17 Apr. Following suit are local hip-hop crew Hector Bizerk, who launch The Second City of the Empire at The Art School (24 Apr). Expect Louie and co to be packing the usual live gesamtkunstwerk of attitude, breakdance and a shitload of drums.

If rock’n’roll is your bag then April has it all.

At the softer side of the spectrum lie Chicago scuzzmerchants Twin Peaks and their sanguine duuude rock: get your full charge of Vitamin D when they play Stereo on 16 Apr. Also purpose built for the $pring $unshine are psych-gazers Home$lice, launching their debut mixtape, the titularly understated Citizen Kane 2, at The Old Hairdressers on 29 Apr. Support comes from Sweet Creeps and dream pop triptych LYLO. Rounding up our Glasgow coverage is the battle

of the big hitters. In gig promotion parlance, the premise of ‘An evening with...’ may seem a bit showbiz, but given Mark Lanegan’s taciturn approach to audience interaction in the past, his appearance at the relatively intimate ABC (21 Apr) will not be the garrulous affair hinted at in the billing. Even if the stoic modern bluesman’s patter is in short supply, his body of work and long list of collaborators through the years certainly isn’t. For example, it was 25 years ago that Chris Cornell produced Screaming Trees’ Uncle Anaesthesia, and the Soundgarden frontman returns to Glasgow with his epic songbook the week after his old mucker (29 Apr, Royal Concert Hall). Without Timbaland, please.

On the east coast, Edinburgh’s month might not be as heavyweight but there’s still plenty for the calendar. First off, 80s synthpop revivalists APRIL Towers head to Sneaky Pete’s (5 Apr) days after entering the Kenyan iTunes charts at number one (seriously) with single Silent Fever. The venue also plays host to returning singer songwriter Eliza

Shaddad on 21 Apr, while Benjamin John Power’s teeth-rattling Blanck Mass project is booked for some paint-stripping digital distortion the following day.

South London grime collective Section Boyz made global headlines last month when they unveiled Drake and Skepta as special guests at their 15 quid Village Underground show. Who knows, maybe it will happen again when they play Electric Circus on 8 Apr (it most definitely won’t), but with or without Aubrey Graham, this still promises to be a mad one.

Last but not least we switch our attentions to Summerhall, who continue to knock it out the park. Denmark’s finest Efterklang went on indefinite hiatus in 2013, but have now regrouped under the guise of Liima; see their latest iteration showcase their majestic debut LP under the moniker on 13 Apr. And Tanjoubi Omedetou! Summerhall also house a special performance from pop-punk pioneers and Kurt Cobain favourites Shonen Knife, celebrating their 35th anniversary on 28 Apr.

Do Not Miss Ought, Broadcast, Friday 22nd April From Leonard Cohen to Arcade Fire and Grimes to Godspeed You! Black Emperor, Montreal’s status as one of the world’s preeminent music capitals has never been so sure. Ought can’t be considered natives of the City of Saints, but they did come together while studying at McGill University back in 2012. Since then they’ve pulled off a near-yearly hat-trick of critically acclaimed releases, with last year’s wonderful Sun Coming Down serving as a firm rebuke to the ridiculous notion that four dudes in a band with guitars can do no right nowadays.

Still, rather than create a live facsimile, Ought instead treat their albums as pliable guidelines (previously they have thought nothing of breaking into 40-minute noise freakouts on the basis that it felt right). Tim Beeler and his jittery lyrical unravellings have found him inevitably compared with the likes of Mark E. Smith and David Byrne, but the frontman carries himself with a conviction that insulates and stands above any accusations of pastiche. Ought may tread a well-worn path, but they’re leaving their own trail of breadcrumbs.

[Graeme Campbell]

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Credit: George Heaton

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Words: Graeme Campbell

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Photo: Ryan Johnston

Baio

King Tuts, 23 Feb

Photo: Ryan Johnston

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Glasgow ABC, 13 Mar

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“If you’re looking for your dream girl / I’ll never be your dream girl,” Claire Boucher sings, beaming, on mid-set track Butterfly. There’s no mistaking her intent. During her four-album career she’s been glamourised as an introspective genius here to confirm all your manic pixie dream girl fetishes – and last November, with her break-out record Art Angels, she put paid to that special brand of patronising nonsense. The album stands as a brave, prescient collection of songs that showcase her powerful, weird imagination in hypereal colour, and her live show is testimony.

Glow-in-the-dark chaos reigns as Grimes takes centre stage, flanked by three stands of keys and synth pads, her support-act/back-up vocals pal HANA and two dancers who combine the steely gaze of bodyguards with joyful, exuberant choreography. A hyperactive drumbreat sets the pace, and never once lets up for

the hour which follows – a breathless, flat-out trajectory through Grimes’ loudest, most vivid tracks to date. Racing from the front of the stage to the back, delivering vocals, tweaking knobs and almost tripping up her troupe, Boucher is a fireball and a loved-up, soldout crowd reacts to her every move: hands in the air from opener Genesis right through to the highkickin’ fist-pumps of closer Kill V. Maim.

Bouncing from the ethereal EDM of Flesh Without Blood to the gutteral antics of Scream, tracks blur – only to be broken up by Boucher’s effusive between-tracks chatter. She introduces at least three songs as her “favourite.” Older cuts like Be A Body and Oblivion appear reformed – harder, faster – so as not to slow the show for a single second.

But in a set so relentless, a moment of their originally intricate, blissed-out detail would have been welcomed – if only to make the highs feel even higher. There’s no time, no room for subtlety... but it makes for an undeniable spectacle.

[Katie Hawthorne] grimesmusic.com

baiobaio.com

Photo: Kate Johnson

Grimes

Chris Baio is one rather clever little cookie. On top of a Columbia University degree in Russian and mathematics, and comprising one third of Ivy League afro-punk pop progenitors Vampire Weekend, the New York state native is now flexing his myriad talents via Baio, his nascent solo moniker.

As Vampire Weekend’s ebullient bass player, it’s little surprise that Baio’s solo career is an excursion in rhythm. Last year’s debut release The Names (titled in reference to a Don Delillo novel because you know, Columbia) was a critically-wellreceived-across-the-board collection of electronica flirting with house, whiffs of dubstep and synth pop. An unusual billing for a mid-week King Tut's slot, perhaps, but nevertheless by virtue of both reputation and the promise of his new record, our leading man has attracted a substantial

Tuesday night crowd.

The tunes are at once both highly strung, in a typical Vampire Weekend vein, yet stratified and complex, eschewing hooks in some places in favour of more meandering, experimental alignments. Sister Of Pearl tranlates as perhaps the most Vampire-ish offering, as a roomful of heads bob in unison to the song’s wiggly bass and our frontman glides smoothly through a catchy versechorus-verse construction, while Needs is Baio at his more intellectual and introspective ('I forgot my needs,' he intones, over shimmering Hot Chipinspired keys).

The singer-songwriter’s trademark infectious beats underscore the performance, but the rambling melodic narratives in some of his more avant garde pieces seem to momentarily disconcert an audience intent on participating, but not exactly sure where they fit in. Perhaps a touch opaque for some listeners, as Vampire Weekend’s indeterminate hiatus continues, Baio’s introspective solo material will nonetheless certainly satisfy the group’s faithful followers. [Claire Francis]

Errors / Bossy Love

and as a result, it feels as if Errors take a little while to warm up. But, as the track from last year’s LP of the same name fleshes out, becoming more and rrrrr more enveloping, the band follow suit.

It’s a brave band that allows Bossy Love to open Spanning older cuts like Magna Encarta as for them. Pure heat from the very first bar, the well as more recent favourites like Slow Rotor and Glaswegian trio transform a sparse, early doors Genuflection, the set is holistic and warming, builcrowd into a fully fledged front row dance party. ding true, euphoric peaks against cosmic, pulsing Creamy, versatile R’n’B vocals delivered with a lulls. Stage chat is thin on the ground, leaving plenty zero-fucks punk attitude, vocalist Amandah has a of head-space for a transportative, spacy, poststarry, magnetic pull – but John and Ollie (on electro venture. Time flies, and when Steev drums and keys) give it out just as hard. Tracks Livingstone forewarns the crowd that they’ve one like Body and Sweat It Out have a weighty, glamotrack to go – and there’ll be no theatrics – he sparks rous exuberance that, simply put, should soundan outburst of enthusiastic dissent. “Er, right then… track all Saturday nights for the rest of time. Errors here’s your encore,” he says, and their set conshould feel understated, in immediate comparicludes as planned, unruffled, with Tusk. Their noson. The trio – intermittently joined by guest voca- nonsense approach gets an appreciative giggle list Cecilia Stamp – file out to take their place under from the Belle, but as the song’s spiralling, exacting the lights with very little ceremony, and a mental patterns fill the room, it’s missing an extra dusting re-adjustment is required as Lease of Life gradually of magic. [Katie Hawthorne] twinkles into being. This show was rescheduled from weareerrors.com November, standing alone from any tour dates – La Belle Angele, 5 Mar

The Coral

O2 ABC, Glasgow, 5 Mar

is greeted politely, the biggest cheers are reserved for the likes of Don’t Think You’re the First, a rolling 21st century R&B number that couldn’t have been The Coral were so prolific in the 2000s that no one written by anyone else. could begrudge them a break when they announced Those observing James Skelly’s men for the their hiatus. The Hoylake group released six albums first time tonight may wonder why their commerand 17 singles in barely a decade, a level of procial success far exceeds the likes of The La’s and ductivity more associated with the most fearless Shack – two cult Merseyside groups they owe a Motown acts of the 1960s. This is their first Glasgow considerable debt to. They remain defiantly lowshow in five years, and a capacity crowd is clearly key on stage and in interviews. When bassist Paul delighted to have them back.

Duffy proclaims this show to be the best of the For a group best-known for writing playful pop tour, it’s a surprising display of intimacy for a hits with subtle psych twists, The Coral have become band who usually offer nothing more than ‘thanks’ a surprisingly heavy live act. This new direction at the end of each song. But when they can end a works well for the most part, but the riffing next varied performance with a song as universally single (Holy Revelation) sounds rather awkward loved as Dreaming of You, there’s not a lot more when following the sunshine melodies of 2005 hit they need say. [Chris McCall] In the Morning. While new material like Connector

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Review

MUSIC

THE SKINNY

Bright Tomorrow The Skinny interrupts Andrew Hung’s holiday in Hong Kong to find out what makes the prolific Fuck Buttons man tick

Credit: Yn Dali

Interview: Finbarr Bermingham

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n a city that consists only of crowds, the one gathered to see Andrew Hung play his first solo gig in Hong Kong can be considered modest.

Nonetheless, the occasion is one of personal significance for the artist, best known as one half of Fuck Buttons. Hung is of Hong Kong descent and visits the city almost annually.

He’s got his folks in tow and has been spending the time bulking up on dim sum and street food.

“Usually, I just come here to holiday and get fat,” he confesses over a beer a few days later.

This time, though, he was coerced into performing and – shorn of his partner Ben Power (Fuck Buttons, Blanck Mass) – had slight jitters, wondering how to turn the music he’d coaxed from a Gameboy onto two fine EPs last year into a live performance. “I was Googling: ‘what’s the difference between playing live and DJing?’”

But he needn’t have worried. The set, enlivened by a kaleidoscopic and occasionally disturbing visual show by Scotsman Mike Middleton, was a lot of fun. The 8-bit stylings are fleshed out by moments of chipper dub. It’s a world away from the beautiful noise he creates on the day job, to which ‘fun’ is not normally an adjective freely prescribed.

It’s his solo work, Hung says, which has finally given him the answer to an interview question journalists never tire of asking. “I guess looking at my work and comparing it to Ben’s, it shows that he’s probably ‘fuck’ and I’m ‘buttons,’” he volunteers, unprompted. At the bar at the Social Room – a tiny venue hidden away on an obscure floor number amid the myriad skyrises that make up Hong Kong island – he is approached by a girl claiming to have had “an epiphany” during his set. This seems to be music to Hung’s ears, as he delves in for further information.

Throughout conversations he reveals that for him, music is all about emotional attachment.

The epiphany? Both parties politely declined to reveal.

A few days later, we’re sat in Club 71 nursing glasses of Tsingtao. The bar, a favourite for artists and their clingers-on, was named for an annual protest march held on 1 July in Hong Kong in support of the Tiananmen Square massacre, and demanding democracy, universal

April 2016

suffrage and other basic human rights. In the square outside the door, it’s said that revolutionaries plotted to overthrow the Qing Dynasty a century ago. On this balmy Wednesday in Asia, the results of America’s Super Tuesday are rolling in and it looks increasingly likely that Donald Trump will secure the Republican nomination. It seems appropriate to talk politics.

Hung, in a porkpie hat and a t-shirt emblazoned with tigers, thinks the prospect is equal parts terrifying and fascinating. “He’s gonna do it, isn’t he?

He’s gonna become the next president. I don’t know how to feel about it,” he says, but part of him thinks that it’s a process America and the world must go through: a cleanser, perhaps, of the ‘political class’ and a sign that we’ve reached rock bottom. He compares Trump to Nigel Farage and Rupert Murdoch, all the while questioning the very concept of democracy. “These politicians don’t actually have the power, do they?” he postulates, suggesting that the aforementioned Trump and Murdoch have been pulling the strings for so long, they may as well do it from the White House.

US politics aside, today is of significance for Hung, too. Earlier this afternoon, Beth Orton’s new single dropped, a precursor to an album he’s spent months producing with her in Los Angeles. Like many a teenager of the late 90s, Hung fell in love with Orton’s first two records, and when he got the call to work with her on Kidsticks, he jumped at the chance.

“We just wrote it together,” he explains. “I didn’t do any lyrics, but musically we worked on loops.

I loved that on her early stuff and this is a return to that electronic sound,” he says, clearly excited. Orton is notoriously shy, but Hung says that as the pair worked together more, he was able to tap into what she really wanted to get from this record. Moon, the single, is superb – a real evolution for Orton, but one which is also impossible not to compare to the salad days of Central Reservation. His real talent, he says, is drawing out emotional intelligence: capturing a feeling through sounds.

Many artists wheel out such vagaries, only to leave the recipient tittering at the thought. This reporter once held back sniggers as George Lewis Jr of Twin Shadow lambasted those who ignored the lyrics on hit single Five Seconds, preferring instead to wax about the eightiesness of the sound (extract:

“Five seconds in your heart / Straight to your heart / I can’t get to your heart / She said, five seconds in your heart / Straight to your heart / I can’t get to your heart”, and so on).

But as the beer flows and the conversation continues, it’s clear that Hung is not bullshitting.

The labels cast on Fuck Buttons (noise, post-rock, experimental, drone) don’t ever seem to capture the fact that their work is entirely visceral. Revisiting Street Horrrsing eight years after its release, the goosebumps appear on cue: it sounds positively primal (Bright Tomorrow and the segue into Colours Move, in particular). His conversation, too, is perceptive and inquisitive. By the time we part, it’s unclear who has interviewed whom. It’s an intangible concept, though, emotional intelligence, and one which Hung admits he has struggled with in the past.

“Looking at my work and comparing it to Ben’s, it shows that he’s probably ‘fuck’ and I’m ‘buttons’” Andrew Hung

“I used to be really self-conscious about that question,” he says when asked what he brings to Fuck Buttons. “I can play any instrument for 30 seconds, over and over. Give me a keyboard, a guitar, an accordion, but 30 seconds is my limit.”

His perceived lack of musical precocity, he says, looks all the more withering when he’s sat next to Ben – a multi-instrumentalist of some repute.

“Over the last few years I’ve become more confident in what I bring to the studio though.”

Case in point: late last year Jim Hosking approached Hung to produce the soundtrack for his new movie Greasy Strangler – a bizarre, twisted

MUSIC

and highly entertaining film. After initially offering him free reign over the project, Hung pushed him for some parameters. “I asked him how he wanted it to sound. What sorts of feelings he wanted to convey.” He got his answers, and bunkered down in his new home in rural Norfolk to devote himself entirely to the project. “It was the most intensely I’ve ever worked on something,” he says. But it worked: he captured exactly what Hosking had been looking for. The film went on to be named one of the finest at this year’s Sundance Film Festival and most recently brought down the house at SxSW in Austin.

He’s been a busy man, Hung. Fuck Buttons were commissioned to write a track for Jean Michel Jarre’s Electronica 1: The Time Machine project last year, appearing alongside the likes of Moby, M83, John Carpenter and Pete Townshend. The overall compilation is patchy, but there are a few gems on there, of which Immortals is one. “We just got the call saying that he wanted to work with us and to be honest, you don’t really turn down Jean-Michel Jarre,” Hung says. Jarre sent the band a load of “noodling” on a synth via Dropbox and dared them to do their worst. The process continued, Postal Service style, until they landed on something they liked.

Over the next few months, Fuck Buttons will reconvene to start work on album number four.

The band’s dynamic couldn’t be any more different than the work done with JMJ. Nothing is pre-planned, nor ever has been. “We just go into a studio and jam, like we always have,” says Hung, excited once more at the prospect. He seems, in fact, quite excited about most things and it’s refreshing to speak with someone who loves what they do so much. Perhaps it’s because he’s on holiday.

As for the immediate future, in two days he’ll fly to Singapore for the second part of his solo Asian mini-tour. “I’m half thinking of just playing a set of Fuck Buttons songs, not mixed, one after another.

I tried it once and it went down a storm,” he says.

And why not? After all, they are fucking excellent.

Andrew Hung’s Rave Cave EPs are out now. His collaboration with Beth Orton, Kid Sticks, is released on 27 May soundcloud.com/andrew_hung

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Album of the Month Explosions in the Sky

The Wilderness [Bella Union, 1 Apr]

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As with any Explosions in the Sky record, it’s difficult to arrive at the right words. The adjective palette feels curiously lacking, similes are out of reach. Facts we can do – the band’s sixth (non-soundtrack) album, the nine tracks present are little in duration compared to what came before – yet beyond that, the post-rock descriptive framework sees the beatific auspices and sheer attention to detail behind The Wilderness undersold.

What isn’t in doubt is that the Texan quartet’s latest feels very much attuned to textural evolution; of taking any dichotomy between light and shade, melody and discord, or quiet and loud, and applying

Autolux

it in novel configurations. The material also doesn’t want for flexibility; The Ecstatics balances upon a percussion-led midpoint, while Logic of a Dream turns its centrifugal force in on itself.

Disintegration Anxiety even flirts with dub rhythms, without any whiff of a band trying too hard.

That The Wilderness is informed by naturalism is perhaps an obvious statement to make, considering its title. Yet there’s nothing pastoral here; each layer of complexity arriving unforced, be it the lamenting timbres of Landing Cliffs, the spiky two-and-a-half minutes of Infinite Orbit, or the restrained muscularity of Colours in Space, perhaps the track most akin to the back catalogue. A beautiful record; you just wish the vocabulary existed to do it justice.

[Duncan Harman] Playing Glasgow Barrowland on 19 Apr explosionsinthesky.com

Colin Stetson

Pussy’s Dead [30th Century Records, 1 Apr]

SORROW: A Reimagining Of Górecki’s 3rd Symphony [Kartel, 8 Apr]

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A few weeks before their third record, Pussy’s Dead, was due to hit the shelves, Autolux settled in for a Reddit AMA: “If NASA offered you the opportunity to go to space, would you do it?”

Greg Edwards replies, “I think, for us, that would be redundant.”

Pussy’s Dead sounds both alien and familiar. With sexy, creepy tracks about hip infections spiked with anthemic, breathy vocals celebrating how ‘it’s so so sad, to be happy all the time,’ Autolux waste no time in re-stamping their authority.

You might have thought you enjoyed some other bands’ moody, rude, theatrical experiments in the six years since Autolux’s second record Transit Transit... but you were wrong. Edwards, Carla Azar and Eugene Goreshter have taken their sweet time, and Pussy’s Dead is satisfyingly, luxuriously self-indulgent as a result. Change My Head and Reappearing will ring familiar to long-serving fans, but on the whole Autolux are taking giant steps towards a brave, gross new world.

[Katie Hawthorne]

Górecki’s Symphony No. 3 is a masterpiece of minimalism. It makes sense, then, that a fellow master of the minimal – avant-garde saxophonist Colin Stetson – should reappraise the Polish composer’s most famous work. Like Max Richter’s retooled Vivaldi LP, this is a fresh, inventive take on a classical standard. Even those who do not have an Ultimate Classical Chillout CD rattling around in a glovebox should be able to recognise the occasional leitmotif in its brooding new form: given a gurgling menace from Stetson’s bass saxophone here, a jangle of electric guitars there.

Minimalist in style, if not scope, there’s lashings of Godspeed You! Black Emperor in its audacious bluster and experimental fervour. It is, almost by definition, not for everyone, and it is a stretch to say Stetson improves on the lush instrumentation of the original.

But that isn’t the point. This is something at once new and familiar, and it demands your attention immediately. [John Nugent]

autolux.net

colinstetson.com

Deftones

Gore [Reprise,8 Apr]

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The Sacramento survivors continue to evolve and compel in their 28th year. What keeps us leaning in is the visceral push and pull between frontman Chino Moreno and guitarist Stephen Carpenter; if Moreno’s stargazing lyricism and ambient adventures on guitar evoke the ‘dream’ then Carpenter’s doomy low-end frequencies certainly pepper it with the ‘metal’.

Gore is unquestionably weighted towards the former.

‘The record’s ours to break / the more we build / the crowd goes wild,’ Moreno howls on Rubicon, acutely aware that it’s time to wrestle with the blueprint. What subsequently unfolds is easily their most stylistically varied record since 2006’s Saturday Night Wrist; relentless twists that turn into reasons to press play.

Carpenter’s heavyweight licks are strategically placed, rendering the likes of Phantom Bride a delicate sway with a devastating finish in its dying seconds. His fleeting interplay with Jerry Cantrell’s sprawling guest solo reaches past minor curiosity to become an essential encounter on a record with countless unfurling highlights.

[Dave Kerr] deftones.com

RM Hubbert

Yeasayer

Telling the Trees [Chemikal Underground, 29 Apr]

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Telling the Trees marks something of a new chapter for RM Hubbert. His last album, Breaks & Bones, completed three deeply personal records that channelled grief and depression into something singularly beautiful. Now he’s moving on – in fact, Hubby pitches Telling the Trees as a deliberate mirror image to the trilogy’s centrepiece Thirteen Lost & Found – a tantalising prospect given that album’s SAY-scooping form.

The opener sees author Anneliese Mackintosh spin a wryly apocalyptic tale enriched by rolling, groaning crescendos; next, Self-Portrait in a Convex Mirror interlinks Anneke Kampman’s vibrant vocals with Hubby’s crisp, percussive playing; and later, The Dog sets Kathryn Joseph’s devastating lyrics to the album’s simplest, most unadorned instrumentation. All in, it’s a diverse, bravura undertaking that sees Hubby not only moving on, but upwards as well. [Chris Buckle] Playing The Art School, Glasgow on 29 Apr, Assembly Roxy, Edinburgh on 1 May rmhubbert.com

John Carpenter

Lost Themes II [Sacred Bones, 15 Apr]

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There’s always a strong sense of trepidation when it comes to approaching any sequel; difficult to surpress the scepticism that it’s not the usual indolent offering of dusted-down scraps from the cutting room floor, dredged up in the name of a quick and easy buck.

Not so with Lost Themes II, the companion and in every way equal counterpart to horror legend John Carpenter’s surprise (and superb) release of last year. The unashamedly 80s aesthetic – which hallmarked the first Lost Themes – is pleasingly and emphatically recurrent on the second. From the minimalist noir of Dark Blues, to the glacial synth of Persia Rising, and the electric pulse of Virtual Survivor, it’s reassuring, irresistable sci-fi nostaglia.

With two studio records, a remix album and a full tour unveiled in little over a year, it’s a buzz to see Carpenter finally embrace the alternate career path that was there from those foreboding first chimes of Halloween. [Claire Francis] theofficialjohncarpenter.com

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Review

Amen and Goodbye [Mute, 1 Apr]

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Alun Woodward

Music From Battle Mountain [Chemikal Underground, 8 Apr]

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If there’s a suspicion that Brooklyn’s Yeasayer try just a little too hard, it’s not a feeling that their fourth LP is going to disprove; Amen and Goodbye is that strange combination of quirky yet over-polished – pristine pop with all of the interesting spikiness filed down. A succession of musical concepts, interspersed with the occasional instrumental thrown in to warp the context, yet as lead track I Am Chemistry demonstrates, such ideas are scattered indiscriminately Much more successful – the slow-burn ballad of Prophecy Gun; the straight-ahead pop of Dead Sea Scrolls – is when the band stop telling us how clever they are, allowing melody and subtlety to take prominence. Yet even then we’re never far away from more gurning at the gallery – Child Prodigy even heads down a medieval pastiche route, for reasons never explained. Yeasayer constantly threaten to come out with a startling album; alas, Amen and Goodbye isn’t it. [Duncan Harman]

It’s been seven years since Alun Woodward’s last album, so the very emergence of Battle Mountain feels like a triumph.

Written to accompany David Street’s documentary of the same name (a portrait of celebrated cyclist Graeme Obree during his attempts to break the land speed record), it sees Woodward assume the role of screen composer for the first, but hopefully not last time.

It figures cycling would be the theme to coax Woodward back into the saddle, given his former band’s past intersections with the world of professional pedalling. Bikes aren’t the only echo of those heady days either, with the delicately poised I Was the King sounding beautifully continuous with the peaks of The Great Eastern et al.

Surrounding this (almost) solitary song are equally absorbing instrumental pieces, from Black Box’s harmonic drones to the clockwork chimes of In School – all contributing to a soundtrack as creative and distinctive as the man that inspired it. [Chris Buckle]

yeasayer.xyz

twitter.com/lordcutglass

Frightened Rabbit

Painting of a Panic Attack [Atlantic Records, 8 Apr]

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If someone were to ask ‘what do you want from a new Frightened Rabbit album?’ it would probably sound a lot like Painting of a Panic Attack: an album comprising excellent songs, with a few truly great ones chucked in to raise the bar. The band’s progress these days is marked by minor tweaks rather than wholesale change.

Their fifth LP is slightly less verbose than the gloriously loquacious Pedestrian Verse, but it’s poetic, it’s witty, it’s candid and it’s lovely. Scott Hutchison’s take on LA street scenes are gripping and his turn of phrase (“the tinnitus of silence” on opening track Death Dream) remains up there with the very best. Then there are the tunes: the celestial chorus lines of Woke Up Hurting and Little Drum are those moments of pure magic that an artist might hope to unearth once in a lifetime. [Finbarr Bermingham] Playing Glasgow HMV on 8 Apr; Edinburgh Coda on 10 Apr; Dunfermline Alhambra on 13 Apr | frightenedrabbit.com

RECORDS

Tim Hecker

Love Streams [4AD, 8 Apr]

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Streams, as in flows forth. As in transmits online.

As in whatever you want it to mean, really, because with explanations like “a riff on the ubiquity and nihilism of streaming of all forms of life,” Tim Hecker clearly isn’t too big on specifics.

But then, should we expect any less? His music has always been opaque, whether comprising amorphous clouds of drone or fiercely juddering static.

By the same token, Love Streams feels suggestive of a dichotomy between the emotionally pure and the technologically stark: Castrati Stack in particular expands on previous album Virgins in a manner both captivating and profound, while the sliced vocal of Music of the Air drips with desolate frustration atop mounting drones.

Ultimately, it’s a triumph – a dense, paranoid and phenomenally pretty exploration of post-millennial wonder that’ll keep you coming back, even as it fills the pit of your stomach with dread.

[Will Fitzpatrick] Playing Restless Natives, Glasgow on 15 May

THE SKINNY

September Girls

Future of the Left

Age of Indignation [Fortuna Pop!, 8 Apr]

The Field

The Peace and Truce of Future of the Left [Prescriptions, 8 Apr]

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The Follower [Kompakt, 1 Apr]

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2014’s Cursing the Sea did just enough to flag the potential of this Dublin five-piece: their shadowy debut was sharply styled but that winning aesthetic alone couldn’t quite sustain an album ultimately light of a few killer hooks. Age of Indignation is a convincing and credible advance, and September Girls return with their songcraft finely honed.

The title track’s ferocious guitars; the feral, tempo-switching Catholic Guilt; opener Ghost with its blistering wig-out coda: this is high-stakes, dark pop. Lauren Kerchner’s swirling keys provide colour and drama and the shared vocals hit the mark every time. Tellingly, Age of Indignation is true to its name: September Girls’ lyrical concerns are informed by a clear-eyed social commentary. Of course, they’re far from alone in this particular sector but on this evidence they’re vying for pack leadership. [Gary Kaill]

“The proper music abounds,” sneers Andrew Falkous, taking potshots at the tedium of ‘authenticity’ while barrel-rolling between jagged slabs of math-centric post-hardcore and spacious Pixies surf. “Add another finger to your English breakfast / You army surplus motherfucker,” he spits on Eating For None – another takedown in a blur of painfully funny non-sequiturs and prescient satirical portraits.

You’d swear the music was a sideshow to the laugh factor if the Shellac-taut likes of Miner’s Gruel weren’t so ear-bleedingly addictive.

As ever, the potent gallows humour of The Peace And Truce... derives from direct experience: No Son Will Ease Their Solitude feels close to the bone in assessing the notion of parenthood as a suitable cure for careerist ennui. The conclusion? Everything’s fucked.

Still, here’s the funny side. [Will Fitzpatrick]

Swedish producer Axel Willner’s 2011 album title, Looping State of Mind, perhaps sums up his music as The Field better than anything. Referencing his penchant for minimal samples on a tight replay as well as the hypnotic quality it often evokes, fifth album The Follower is very much in the same vein. Dare we say that Willner’s beats, moods and tempos are more consistent this time out, lending The Follower a much easier inroad on first listen.

This is not to say that the record suffers for its immediacy or indeed that it’s without surprises. The stealthy gear change on Monte Verita is a downtempo delight while Reflecting Lights is a sombre, Kraftwerkian epic that’s in a state of constant flux yet somehow rigid and unmoving. As such, it’s difficult not to think of John Peel’s oftquoted summary of The Fall: “always different, always the same.”

[Darren Carle]

Playing Glasgow O2 ABC on 16 May | septembergirls.tumblr.com

Playing Glasgow’s Restless Natives festival on 14 May | futureoftheleft.net

kompakt.fm/artists/the_field

Moderat

Knifeworld

Parquet Courts

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III [Monkeytown Records, 1 Apr] ‘Why must I hide / In the forests of my mind?’ asks Sascha Ring – aka Apparat – in the opening lines of Eating Hooks. It’s as clear a sign as any that III, the third album from Berlin-based super-trio Moderat, is far more insular than much of the collaborators’ previous imaginings.

Modeselektor’s beats are oceanic, secret-keeping, while Apparat’s vocals have found a new, deeply personal clarity: anyone who’s turned up for another Rusty Knife or Bad Kingdom will need to take a moment, because III demands thorough concentration to feel fully immersed in the album’s glitchy, dreamy neuroses.

It’s initially difficult to imagine this record fitting within Moderat’s well-honed festival presence; give it time, and understated, outspoken tracks like Finder and Running float to the surface. Elsewhere, there’s a space-age r’n’b influence that feels far more appropriate for savouring in solitude: III is a record for getting lost in your thoughts, rather than losing your mind on the floor. [Katie Hawthorne] Playing Glasgow O2 Academy on 5 Apr moderat.fm

Bottled Out of Eden [InsideOut, 22 Apr] Knifeworld’s Kavus Torabi has never been afraid to use the crawlspace between prog, psychedelia and full-blown, overt pop, only to fill it with the expansive, the melodydriven and the just plain quirky. The band’s third LP is no exception – imagine XTC collaborating with Captain Beefheart whilst slurping on a mojito or two, and you might get some idea.

Now an eight-piece, the band’s myriad instrumentation here is deliberately aligned to spontaneity; recorded in just nine days, there’s a fresh, snappy feel embedded across tracks such as High/Aflame and I Am Lost. Admirably, Knifeworld feel little compulsion to drown the audience under the weight of an octet’s musicianship.

Neither is this all up-tempo hijinx; both Foul Temple and Lowered into Necromancy offer reflective moments amidst the complex time signatures and rhythm section playfulness. The overreaching effect is one of pleasantly drifting through vogue and template, the subtle application of guitar, sax and keys adding to the mood.

[Duncan Harman]

After last year’s wilfully difficult Monastic Living EP, you’d be forgiven for expecting Parquet Courts’ latest full-length album to take a similarly off-the-wall approach to melody and structure. Hold those horses, because the NYC four-piece might have just made their most cut-and-dried record yet.

It turns out – when you strip away the fuzzy, stoner-psych walls of the band circa 2012’s Light Up Gold, and put the hedonistic blather of their Sunbathing Animal incarnation on ice – you’re left with infectious, sparse and clarified rock songs. Desert-dry lyrics and dust-bowl guitar lines turn Human Performance into a character-study of washed-out, boozed-up self-awareness.

“My eyes feel like / Cigarette burns / I’ll brush my teeth / That’s good for me,” deadpans frontman Andrew Savage on I Was Just Here.

And there we have it; this summer’s anthem for every blinding festival comedown. Human Performance might have sacrificed the band’s rickety immediacy, but they compensate with wise, grass-stalkchewing authority and grubby, plentiful hooks. [Katie Hawthorne]

knifeworld.co.uk

parquetcourts.wordpress.com

PJ Harvey

The Hope Six Demolition Project [Island, 15 Apr]

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Cate Le Bon

Tacocat

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Crab Day [Turnstile, 15 Apr]

“I will not dignify this inane composition with a response,” was former Washington, D.C. mayor Vincent Gray’s (disingenuous) response to The Community of Hope, the lead track from The Hope Six Demolition Project. For the listener, though, the major failing of PJ Harvey’s ninth album is linked to its unique provenance, a social commentary that’s far too vague for its own good. There are moments, when you wish she’d colour her observations with a dusting of a poetry, skew the view, make us work, let us in.

On A Line in the Sand, she sings, “How to stop the murdering? / Bad overwhelms the good.” In Medicinals, she eyes a shopping mall, imagining the ground as it was before, unspoilt by commercial encroachment. The arrangements are austere, the sound board elementary, the observations free of insight or fire. Expectations raised by the invention of her back catalogue, PJ Harvey’s least beautiful record falls uncomfortably short. [Gary Kaill]

“A coalition of inescapable feelings and fabricated nonsense,” reckons Cate Le Bon of her fourth album. Difficult to argue: Crab Day is a madcap wonder, and if its singular aesthetic is ultimately less an advancement of the vision and more a honing of the craft, its offbeat artistry is way beyond the everyday humdrum.

Those doleful vocals are still Le Bon’s unmistakable trademark and, set against her teeter-totter arrangements (clipped, dry guitars; jerky rhythms; puckish horns), they support a rich and intrepid musicality. Crab Day, like its predecessor (the staggering Mug Museum), is underpinned by a bold stoicism far removed from calculable, sweetened melodics. Yet, when it really sparks, as on the mesmerising coda of eight-minute closer What’s Not Mine or We Might Revolve (a spare, insistent pummel that recalls the fidgety formalism of early Throwing Muses), it yields an emotional resonance that is difficult to deny and impossible to resist. [Gary Kaill]

pjharvey.net

catelebon.com

The Coathangers

Mogwai

Nosebleed Weekend [Suicide Squeeze, 15 Apr]

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Atomic [Rock Action, 1 Apr]

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We’ve somehow reached a decade since Atlanta noisemongers The Coathangers first appeared, emerging from scrappy beginnings to become firm favourites of garage rock sophisticates everywhere. Fifth album Nosebleed Weekend offers a few more tweaks and its many peaks are pretty damn impressive.

They’re best at their noisiest (Down Down switches from bluesified twitches to a soaring chorus without batting an eyelid; Dumb Baby simply runs rampage across an angular, Bratmobile-esque seethe) but in all honesty there’s rarely any let-up. Nosebleed Weekend goes for the gut and mostly hits it dead-on.

Occasionally their ideas get the better of them, e.g. the baffling Squeeki Tiki – there must be a reason its dizzy, cold sweat necessitates backing vocals from Harry Corbett’s puppet pal Sweep, but it’s not immeditely apparent. Still, it’s not much of a drawback, and their hit-rate is undeniably high. [Will Fitzpatrick]

Upon motive alone, this is a poignant release – a reworked version of the original soundtrack created for Belfast-born director Mark Cousins’ docufilm Atomic: Living in Dread and Promise. Released to mark the 70th anniversary of the bombing of Hiroshima, the movie makes for stunning, and certainly at times harrowing, viewing – and the group reflect the filmmaker’s vision with selfsame precision.

Infusing the tracks, as Mogwai’s Barry Burns noted in a recent Q&A fundraiser, with “tonnes of vintage synth” was a creative lightbulb moment, or a stroke of pure happenstance – but in any case, it’s a decision which evokes precisely the right dose of reverie.

From the buoyant heralding of Ether, to the majestic, ominous sway of Pripyat, and the chilling, hypnotic beat of synth-heavy U-235, Atomic picks up where the krauty electronic wash that coloured Rave Tapes left off, and sees the band brandishing some of their most compelling work to date. [Claire Francis]

thecoathangers.com

mogwai.co.uk

April 2016

Human Performance [Rough Trade, 8 Apr]

RECORDS

Lost Time [Hardly Art, 1 Apr] Seasons change, trends come and go, yet one thing is forever guaranteed: some joyless swine is itching to tell you that guitar pop is dead. Don’t plan any funerals just yet, though – Tacocat’s third album positively brims with the good stuff. The neon hooks of FYP make clear why they were recently chosen to reboot the Powerpuff Girls theme, and they’re smart and funny enough to namecheck R.E.M. in the lyrics to Night Swimming.

Singer Emily Noaks’ subjects veer from the endearingly breezy I Love Seattle to the more pointed mainsplain diss Men Explain Things To Me. It’s all propped up by a suitably loose-hipped blend of surf, garage rock and pop-punk – its merits (pep, sass, tunes) come to the boil in the ludicrously catchy I Hate The Weekend, but Lost Time is such an enjoyable half-hour you’ll barely worry about favourites. Melody, thy name be Tacocat. [Will Fitzpatrick] twitter.com/TacocaTs

The Top Five 1 2 3 4 5

Explosions in the Sky

The Wilderness

Mogwai Atomic

Tim Hecker

Love Stream

Frightened Rabbit

Painting of a Panic Attack

Deftones Gore

Review

43

Under Construction Quietly, steadily, Bossy Love have become the most talkedabout band in Scotland. In a new feature-length interview we find out where they plan to go from here Interview: Tom Johnson Photography: Emily Wylde

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nyone who follows emerging music hopes to stumble upon something in its infancy so great that one day they’ll be able to tell their grandchildren, ‘I was there!’ with a rueful smile and a honeyed glaze of the eye. We jest, of course, but stories like this pepper the history of music; from the ‘I’ve seen the future of rock and roll!’ review of an early Springsteen gig to the Sex Pistols’ fabled ’76 show in Manchester which inspired the formation of Joy Division, The Smiths, The Fall and The Buzzcocks.

We’ve no idea what Glasgow’s Bossy Love will go on to achieve but it’s true that the response to their live shows over the past few months has been nothing short of cultish. Delivering a hybrid of outlandish pop music there’s really no one else like them – in Scotland or beyond. Led by Amandah Wilkinson’s powerhouse performance (previously frontwoman for mid-noughties starlets Operator Please) the duo is completed by John Baillie Jnr, who Scot-rock fans might well remember from the much-missed Dananananaykroyd – adding his trademark frenetic drumming and production skills to the sublime mix.

Long-term – and initially long-distance – friends, Bossy Love took shape when Amandah sent some of her songs to John for a little added spice. He did his thing, she loved it, and then she moved to London where the pair continued playing around with the handful of songs she had under her belt. “It felt like synergy, as soon as we started working together,” Amandah tells The Skinny, as we sit down with the duo fresh from the release of sparkling new single Want Some. “I would work all week in London then jump straight on a Megabus to Glasgow, spend the weekend working on songs, then jump back on the bus straight to work for the Monday morning. It was pretty crazy. Finally moving here was a realisation that I could do whatever I want.”

Buoyed by the move and a shared love for pop music’s more esoteric corners, the project advanced as they honed their craft as a songwriting pair. “I didn’t have any friends who were into that type of music,” says John. “We both love Prince, but we love a certain side of him that others don’t… the super weird, horny B-sides! But more than that, I think our skills are just so complementary,” he adds. “Amandah called it synergy and it’s absolutely that; we’re able to come up with stuff that neither of us could ever do without the other.”

Something Amandah strongly agrees with: “A lot of my songwriting was very industrial and I always craved warmth; John’s production brought that straight away.”

That live show, which is currently winning them such hearty praise, was a far more pared back affair in the beginning. “We still didn’t know what it was at that point,” Amandah admits. “We knew the songs felt good, and sounded great, but we just didn’t know. We got a residency in Edinburgh and John would DJ and drop some of our songs into the set, or we would play bootlegs and I would sing over the top.” John interjects: “There was a great reaction to it in the room, but we didn’t do anything outside of that. We didn’t push it at all.”

Setting the tone for the understated way they’ve gathered pace since, the band also quietly put their debut ‘mixtape’ online with zero PR or fanfare. “The idea was always to go against this

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hype thing,” says John, “where you put everything you have in to releasing one track online, and then you play a show, and then you choose a label, and then you go, ‘Fuck! How do we make an album?!’

– we just weren’t interested in that level of seduction...or dishonesty.”

The band still talk staunchly about this kind of self-preservation and it’s plainly obvious that it’s a map they intend to follow precisely. “Obviously both of us have done the rounds,” jokes Amandah.

“We believe that the best way to be transparent and honest is to just let songs go. I’m not scared about not being able to write more songs; it’s all channelled from somewhere else. So we just do what feels right and put it all out there.”

John summarises their simplistic goal as songwriters: “I think we both yearn for a level of honesty that isn’t always there. The way some people put themselves across is so full of layers and we just couldn’t do that without our insides curdling.”

“You release one track online, then you play a show, then you choose a label, and then you go, ‘Fuck!

How do we make an album?!'”

John Baillie Jr

It’s refreshing to hear a band on the cusp of something special speak so candidly about not playing ‘the game’, but history tells us that such ideals become harder to adhere to the more popular an artist becomes. “I just really feel like it would be so much work to keep up some sort of imagery,” says Amandah. “It can’t work like that. We can’t do that. I would feel very uncomfortable being anyone else but me because this project, specifically, is all about connection – a real connection.”

“We’ve built this thing so slowly that the people we’ve ended up with on our team are the people that get us,” adds John. “You can tell from a mile away the difference between someone who gets it and someone who feels like they have to tell us what we’re doing wrong. And there have been many.”

Bossy Love are remarkably astute at what they do. The relationship between John, Amandah, and live compatriot Ollie, is a joy to watch; vibrant instrumentals are the perfect backdrop for Wilkinson’s wonderfully brash lead performance.

A genuine star; she sings, dances, and dictates, from start to exuberant, sweaty finish. “You definitely feel that energy, and it pours back into you,” Amandah says of the crowd reactions they’ve had thus far. “We had no idea it was going to be that way though, it was just like, ‘cool, this works,’ but

it’s been really amazing.”

Perhaps the one hurdle they might have to confront is whether or how to inform their studio recordings with this developing instrumental live show. “We’ve had a talk about this. I believe the two are different entities, I don’t think you have to be the same live as you are on record; they can definitely exist in their own worlds.”

“They are two completely different processes,” agrees John. “The live thing is us, as musicians, interpreting these recordings we’ve done, which themselves are these weird projects where we try and capture a specific mood. I wouldn’t say that we’re against shifting it, but we won’t try and shoehorn it in.”

Theirs has been a very measured and considered journey thus far. Yet these past few months have shown a change of pace: more press, certainly, but also a couple of flashy single releases, bigger shows, and a handful of interviews. “We’ve just taken on management,” John tells us, “so things should pick up again now that we have someone working that side of things for us. We seem to have

MUSIC

lots of cool people that like us, and that’s really nice, but our goals are still to just make more songs and play more shows, it’s as simple and boring as that.”

This reserved outlook doesn’t mean they’re against this whole thing taking off, however. “Oh of course, totally,” Amandah responds, when asked if they’re open to the idea of sustained success; a subject John is quick to expand upon. “A lot of our decisions aren’t made to prevent success.

We’re just trying to make sure everything is sustainable; to make sure we can afford to tour, record ourselves, and we think that will make whatever happens easier to deal with. It also makes this whole thing less of a gamble, and way more fun.”

“Making music is a total outlet for me,” stresses Amandah in sum. “I don’t write with anything – or anyone – else in mind, it’s all just a totally therapeutic thing. In fact all I’ve ever wanted to do was make something that sounded like Missy Elliott!”

New single Want Some is out now facebook.com/bossylovemusic

THE SKINNY

April 2016

CLUBS

Review

45

Clubbing Highlights Words: Claire Francis Illustration: Fran Caballero

Our brand new Scotland Clubs editor introduces a rundown of her picks of April's best nights in Glasgow, Edinburgh and Dundee

an appearance of his own at Nightvision’s massive closing party on 29 April, ensuring that both floors of The Liquid Room will be pounding with the Swede’s characteristic hard, looped cuts and thoughtfully blended selection of tracks. Teamed up with Jamie Jones’s melodic groove, and with more acts TBA, this one is bound to fill up quickly (£8-12).

DUNDEE (AND ELSEWHERE) Dundee’s highlight this month is the iconic ‘Baron of Techno’ – Brighton-born, Amsterdam-based Dave Clarke makes his highly anticipated Headway and Reading Rooms debut. Don’t be put off by the techno statesman’s prickly relationship with the music media; his intimidatingly gruff performing demeanour masks a love of insistent, schizophrenic, hip-hop infused beats that has permeated his decades-long career. With residents Andy Barton, Graeme Binnie and Neil Clark in tow, we can’t think of a better, beastier way to mark Headway’s 12th birthday (29 Apr, £10-15).

Finally, if you fancy taking your techno out into Scotland’s wilds, consider making a weekend of it at Skye Live 2016. Two days of DJs, bands and fresh coastal air, this boutique mini-festival is held in Portree, on the beautiful Isle of Skye. Happening over the bank holiday weekend, the festival’s thoughtfully curated line-up boasts a number of techno and electronic heavyweights, including perennial favourite Âme, electronic pioneers Simian Mobile Disco, archive-mash-up geniuses Public Service Broadcasting and Belfast duo Bicep, as well as a swag of home grown talent in Jackmaster, Denis Sulta and OOFT (29-30 Apr, day tickets £55, weekend tickets £95).

Do Not Miss Helena Hauff, Lory D (live), Wardy & Dom D’Sylva La Cheetah Club, Friday 8 April

Tickets are moving like lightning on this one, and with good reason – our fine friends at La Cheetah have managed to deliver Hamburg high priestess, the darkly divine Helena Hauff AND Italian techno stallion Lory D, all on one late-night (4am) licensed bill.

If you missed Hauff ’s performance at The Art School last year, mark this as a very fortunate chance to catch this artist on the rise. Hauff ’s rapidly expanding fanbase hinges on her bleak aesthetic and industrial, throbbing beats, with many ears pricking up after the release of 2015’s debut, the decadently shadowy, analog-production slanted Discreet Desires. Having built a reputation for being a rather taciturn performer, the Golden Pudel alumni has nonetheless raised eyebrows with a string of killer sets, including her much lauded Dekmantel festival turn last year.

Though Lory D’s music may not have infiltrated the mass market, the former frequent underground regular at Paisley’s Club 69 is no stranger to our shores. Credited with migrating the acid house sound from London to Rome, the elusive artist has been quitely making his indelible mark on the Italian stage since 1989. Add to the mix the esteemed, apocalyptic slant of the Sounds Never Seen label owner, and the scene is set for a dark techno showcase of epic proportions (£10-12).

GLASGOW

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ope, it’s not an April Fool’s joke, folks – our action packed month kicks off with none other than the ‘three deck master’ himself, Mr Ben Sims. One of the UK’s most proficient electronic music exports, Sims’ funk-tinged beats are the stuff techno dreams are made of, and are guaranteed to resonate in all their distinctive glory via La Cheetah’s recently revamped sound system. There were still a few tickets floating about at the time of going to print; snap one up now, quick sticks (1 Apr, £10-14).

Subbie lives up to its usual high standards this month with a firm fistful of exciting listings, including Running Back label boss Gerd Janson.

Something of a house music renaissance man, the German DJ cut his teeth guesting at Mannheim’s renowned Milk Club, and now juggles slots at Frankfurt’s Robert Johnson club while moonlighting as a Groove music journalist and holding down a staff spot at Red Bull Music Academy. Silky smooth disco cuts and clean, minimal beats await (30 Apr, £10-12).

Our hot tip, though, is the stellar double billing of Newcastle wunderkid Patrick Topping and Edinburgh up-and-comer Theo Kottis.

Both acts have been gaining rapid ground on the more ambient, dance-oriented end of the spectrum in an impressively short space of time.

Topping’s big breakthrough came last year in the form of two mega hits; his remix of Coyu & Edu Imbernon’s El Baile Alemán climbed to the number one spot on Beatport’s Pulse (Streaming) Tech-House chart, which the 27-year-old then backed up with another number one in his Green Velvet collaboration When Is Now. Meanwhile, local lad Kottis has taken big strides since

April 2016

emerging onto the scene in 2014 – anyone who can boast a warm up slot for giant Nicolas Jaar in the still-early stages of their career is a sound shout in our book (Sub Club, 14 Apr, £6-10).

EDINBURGH Over in the capital, you can’t get much bigger than Pulse’s showcase at La Belle Angele, featuring German techno supremo Len Faki. Longtime Berghain resident, in-demand producer and multiple label owner, Faki brings his idiosyncratic, never-dated sound and famed audio-visual extravaganza to Edinburgh, with support from Pulse resident DJ Darrell Harding, and house-hybrid regular around these parts, Sean Laird. Consider this an essential education in classic Berlin techno (29 Apr, £19).

Then there’s the third in a series of Jackhammer Presents gigs at The Caves, with Glaswegian DJ/ producer and head of BEK Audio Gary Beck at the helm. A mainstay on the circuit and a proponent of unique, urgent techno, Beck has ticked quite a few of the ‘made it’ boxes, from acclaimed debut release Bring A Friend in 2012, to a BBC Radio 1 Essential Mix and a Boiler Room session, as well as shows at Fabric and a spot at Awakenings festival. Hailed as one of Scotland’s best new producers, support booking Hans Bouffmyhre is also a good reason to arrive early (8 Apr, £8-10).

Techno also reigns supreme at The Mash House on 22 April, when Dutch guru Bart Skils shows off his beloved percussive beats. One of Holland’s most respected and in-demand exports, Skils has worked with the likes of Joris Voorn, Christian Smith and Adam Beyer, and this touch of Amsterdam’s finest is sure to get crowds moving. Adam Beyer, meanwhile, makes

CLUBS

Review

47

Something Different & A Bagful of Fleas Director: Věra Chytilová Starring: Vladimir Bosak, Eva Bosáková, Jirí Kodet Released: Out now Certificate: PG

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Rocco and His Brothers

Director: Luchino Visconti Starring: Alain Delon, Renato Salvatori, Annie Girardot Released: Out now Certificate: 15

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Vera Chytilová’s 1962 short A Bag of Fleas is an exuberant, experimental work notable for its feminist politics and tendency to blur the boundaries of artifice and documentary. When viewed alongside its predecessor, the following year’s Something Different could rightfully be considered more of the same. Though her debut feature found Chytilová with nothing new to say, it nevertheless confirmed an intention to explore and push the limits of her form.

Averse to conventional narratives, the storytelling here is loose and gently abstract. Fleas was shot in a real factory dormitory, its non-actor residents turning in naturalistic performances and defying prevalent female stereotypes. Most of the action is shown from a single character’s first-person perspective, while one scene abandons visuals entirely as the girls chat after lights out. The film culminates in a disciplinary hearing, but plot is secondary to playful innovation.

A more sombre tone is sustained throughout Something Different, where two separate narratives are intercut to evoke women pushed to their limits. Tawdry and frustrating domestic scenes sit next to documentary-style footage of a real-life champion gymnast in training. Both protagonists are governed by men and social expectation, and it’s with varying shades of tragedy that each cling to their routine even when presented with the opportunity to serve themselves.

There’s something unmistakably mercurial about these pieces, as the filmmaker could never have foreseen the results of her wilfully unconventional methods. Both she and her casts worked faithfully in the moment to ensure an elusive honesty runs through every frame.

Luchino Visconti is a contradiction. He was an Italian aristocrat and a communist, and a celebrated opera director who directed Italy’s first neo-realist film Ossessione, 1943). His filmography is split between gritty neo-realism and lavish operatic excess – two aspects of his character he never quite managed to reconcile save in this brilliant 1960 working-class opera.

The film tells the story of five brothers who – along with their mother – flee the desperate poverty of the rural Italian south towards the promise of a better life in industrial Milan in the north.

Somewhat unconventionally broken into sections – one for each brother – the film gradually shows us the tragic and corruptive influence the city has on the family.

Successfully combining the melodramatic with urban realism, Visconti manages to re-frame the socio-political aspects of his earlier work within the thematic and emotional outline of his subsequent period.

That the film so successfully fuses these two forms is thanks to a uniformly strong cast – particularly Renato Salvatori, whose tortured intensity commands the screen – and the shimmering chiaroscuro cinematography, which visually sets the film apart from other neo-realist films and would later influence Scorsese’s Raging Bull.

At just under three hours, Rocco and His Brothers is undoubtedly an epic: a swooning family tragedy about the corruptive and de-humanising effects of capitalism and the personal desolation it can result in. By finally joining the operatic with the neo-realist, Visconti made the quintessential Italian film.

DVD Extras: Second Run have form for high-quality Chytilová DVD releases, and this disc is no exception. Both titles are sourced from immaculate prints, with A Bagful of Fleas enjoying its longoverdue world premiere on a digital format. The sound is crisp and the subtitles read naturally, while an accompanying booklet offers an illuminating essay on the Czech New Wave. [Lewis Porteous]

DVD Extras: A variety of expansive extras including a 2003 French documentary about the film, an illuminating hour-long documentary about the life and work of Visconti, and interviews with Cardinale, Girardot and cinematographer Giuseppe Rotunno.

[Michael Jaconelli]

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Released on Bly-ray by Eureka Entertainment

DVD

Eureka

Director: Nicolas Roeg Starring: Gene Hackman, Theresa Russell, Rutger Hauer, Mickey Rourke, Joe Pesci Released: Out now Certificate: 18

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Gene Hackman plays Jack McCann, a Yukon gold prospector turned tycoon who, holed up on Eureka, his private Caribbean ranch, has grown bored and drunk on his own power. McCann, whom Hackman imbues with an impressive sense of sweaty paranoia, refuses to concede anything to anybody (modern film fans will note the obvious influence on Daniel Day Lewis’s Daniel Plainview in There Will Be Blood) and thus finds himself lonely and abandoned. His stubbornness and misplaced pride prove his undoing as he refuses to make a deal with a shady business group and outright rejects his daughter Tracey’s (Theresa Russell) smarmy playboy suitor (Rutger Hauer).

From its icy beginning, Nicolas Roeg laces his film with incestuous allusions and hints of the occult. Images, such as that of McCann’s daughter Tracey having sex wearing nothing but her father’s gold or of a late grisly murder, linger and resonate, heightened by the director’s trademark associative editing style.

If the film never quite reaches the sublime heights of Roeg’s best work, that is not to say it is not still to be recommended – after all, this is the director responsible for such jewels as The Man Who Fell to Earth, Walkabout and Don’t Look Now. Eureka maintains and showcases that classic Roegian mix of the languid and the manic, of slow and patient stretches that erupt into chaos and almost supernatural violence that will stick with you for days.

DVD Extras: Eureka’s release of Eureka (if ever a distribution company were destined to release a film…) is packed with extras, but the highlights are undoubtedly three new interviews, with producer Jeremy Thomas, writer Paul Mayersberg and editor Tony Lawson.

Mayersberg is especially enlightening in his account of how the film morphed from a biopic of real-life prospector Sir Harry Oakes into something much more mythic. [Tom Grieves]

For more DVD reviews, go to theskinny.co.uk/film/dvd-reviews

THE SKINNY

Art News It’s a special bumper month in Scottish art, as the British Art Show in Edinburgh coincides with Glasgow International. Here’s our pick of the 62 openings and events planned for the weekend of 8-10 April

Installation View

Sarah Wright

Glasgow Print Studio

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Sarah Wright makes it difficult to skip ahead in Fresh Starts. Installed in Glasgow Print Studio’s spacious gallery, translucent curtains are made to divide the space. Most of the printed works and found material work doesn’t veer too far from A4. They’re only fully intelligible once approached, so the new body of work can’t be taken in with a single glance around, and so it is that movement, sequencing and groupings are brought into play.

Getting closer, the images are of fashion photography and off-kilter takes on the selfie, and include see-through plastic sleeves of found haberdashery items – elastic underwire, hooks, zippers.

Starting off, there’s a repeated close-up cosmetic ad portrait, rotated 90 degrees. All feeling too close already, the overlaying of one-to-one scale flatbed scanned images of metal hoops make for a pressed-up picture plane.

The one-to-one representations and slight enlargements of magazine pictures keep all the cropped images back and make-up palettes no further than arms’ length. There’s an intimate scrutiny, and the feeling of an enquiry into representation that’s out to collapse separative distance.

To this end, perspective and depth are complicatedly shrunken with embossment, and onecolour etching-type prints that make a kind of compressed figure-of-eight shape into a little scattered motif. Then it appears as a little fastener (according to the list of works) in a plastic bag across the room. It doesn’t become any more self-explanatory as it slips from image to object.

Laying out only so many originals, copies, objects and embossments, there’s a deliberate reducing of elements and parts. But any demystifying or simplification only brings to the surface a further ambiguity – all the more complicated in plain sight. [Adam Benmakhlouf] Sarah Wright, Fresh Starts, Glasgow Print Studio, run ended Lawrence Leek, Unreal Estate, 2015

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Installation View

Richard Slee

Tramway

rrrrr In Work and Play at Tramway, established British ceramicist Richard Slee presents sculptures of utility objects. But instead of being as useful as usual, they’re made of ceramic, either entirely or in one important part. Hence the unicyle with the ceramic wheel on the far wall.

Then there’s a metal container full of ceramic headed hammers. There’s an over-repetition of what’s essentially a one-liner. It’s a busy show, making for a hodgepodge aesthetic, with his work (of an admittedly exquisite finish) spread across wooden boards on supports. Nothing is risked by its staidly slapdash merchandising; however, knowing this reference may or may not be the case, it comes across more as a tidy design fair.

There are moments when the work hints at something worth mentioning. The green ceramic

bows (as in bow and arrow) on the wall that are joined by two taut cords set up a tension beyond the literal, which could go towards setting up a kind of slapstick comedy timing. Importantly, it’s the only part of the show that makes more than pat reference to its space.

Also interesting, there’s a ping pong table with balls that are in white, decorative and curved holders. They seem to illustrate motion, and make for an ornamental kind of sport-themed visual.

It does well to set up a nicely yet awkwardly heavy, ornamental image of velocity and movement.

Then again, along with the bubble at the end of the toy gun and some of the less intelligible works mounted on long canes, it all goes phallic.

In the ostensibly 'funny haha' context, it’s just ano-ther cheap joke, and any interesting take on a cera-mic impotence is left hanging. [Adam Benmakhlouf] Richard Slee, Work and Play, Tramway, run ended

pril 2016 presents a rare visual arts eclipse, as Glasgow International coincides with the continuing British Art Show 8 in Edinburgh. Essentially, there’s more art to see than hours in the day this April.

Forewarned is forearmed when it comes to GI, and we’ve been keeping tabs on it since September. Head to theskinny.co.uk/art for the programme rundown and an interview with festival curator Sarah McCrory, while on pages 15-16 of this very issue, we look at the festival’s social and community-oriented projects. At the time of writing, there are 62 openings scheduled between Thursday 7 and Sunday 10 April. By any standards, it’s an extravaganza so be sure to settle on your itinerary in advance.

Amongst the stellar programme of artist talks and activities, there are some one-off events that deserve special reminders. As one of the main billings for the festival, Lawrence Lek will be exhibiting his video game software rendering of the Glasgow-built QE2 luxury ocean liner, illustrating its fictional return to the city, and on 9 April, composer and cellist Oliver Coates will perform the soundtrack live in Tramway at 1.30pm.

There’s more performance on Saturday 9 April from 6-9pm, when artists’ collective Opera Autonoma unveil their multi-disciplinary production at The Albus, Unit 7, 100 Brook Street. Elements of the choreography and costumes look towards military drills and outfits – with one eye on militaristic power relations, the collective provides a critical examination of their sublimation by fashion and the wider culture industry.

Also across opening weekend (8-10 Apr), you can catch the live performance of Leila Hekmat’s new work at Koppe Astner (Fri, 9pm; Sat, 9pm; Sun, 5pm, with complimentary cakes). Deconstructed biographies and unconscious bodily movements are combined with a fizzy boundary between

private imagination and publicly political history.

Admission is £3 at the door.

Meanwhile, Talbot Rice hosts a British Art Show 8 event to coincide with the closing reception of the Association of Art Historians’ conference. Starting with a panel discussion on the topic of British Art Now, there will then be a chance to view the exhibition and enjoy a wine reception with – presumably – many art historians. The event’s scheduled for 6-7.30pm on Saturday 9 April.

A little later on in the month, a special event has been arranged by Dundee Contemporary Arts to accompany its current exhibition Grey Gardens. Themed around concrete and modernism, on Sun-day 20 April there will be an intimate event held in a modernist house by Dundee architect James Parr, on the outskirts of the city.

As well as a tour from the owner, there will be contributions from DCA Exhibitions Curator Graham Domke and artist Mairi Lafferty, who made a work entitled LOVE about Parr’s “maligned Tayside house.”

Three of the featured artists this month (Mandy McIntosh, Marvin Gaye Chetwynd and Jedrzej Cichosz) will be part of the Outskirts festival at Platform on Saturday 23 April. McIntosh will present the fashion pieces she’s been working towards with Easterhouse teenagers, while Chetwynd and Cichosz will doubtless have something exciting up their sleeves, most likely with makeshift costumes and loosely planned choreography. They’ll be featured alongside new music collaborations, theatre production, specially commissioned jazz and an aerial performance.

Rounding off the month, another take on British Art Show 8 is given, this time by the Leeds and Edinburgh curators. On Friday 29 April from 1-5pm, a symposium of key BAS8 figures participate in a symposium at the Scottish National Gallery, in the Hawthornden Lecture Theatre. Tickets are free to book.

See venue websites for full details.

April 2016

ART

Review

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Credit: Image Courtesy Lawrence Leek

Credit: Patrick Jameson

Words: Adam Benmakhlouf

Film Event Highlights It’s anarchy in our cinemas this month, with blood, radicalism and alchemy on our screens courtesy of Dead by Dawn, the Radical Film Festival and the Alchemy Film and Moving Image Festival Words: Jamie Dunn

Louder than Bombs

Louder than Bombs

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cotland’s most disreputable film festival, Dead By Dawn (21-24 Apr), returns to spill guts and gore across Filmhouse’s screens this month. Top of this year’s bloody pile is opening film Green Room (21 Apr), a fat-free punks v Nazis siege movie from Blue Ruin director Jeremy Saulnier. We also like the look of pregnancy horror Antibirth (23 Apr), mainly for its pairing of cult actors Natasha Lyonne and Chloë Sevigny. There are plenty of classics too (including a double bill tribute to Wes Craven, 22 Apr), plus a spattering of shocking shorts. The full programme can be found at deadbydawn.co.uk From the visceral to the radical – over the May Day holiday weekend Glasgow will host the second Radical Film Festival (29 Apr-2 May), following on from the inaugural event in Birmingham last year. It’ll be a space outside the mainstream for organisations to hold events, which will range from a radical cycling outing to feminist film screenings at Glasgow Women’s Library. The focus of the festival is its 1 May “unconference,” an egalitarian forum to debate the future of film in Scotland and further afield. “It’s totally open,” say the organisers. “You don’t even need to be that radical.” See radicalfilmnetwork.com for full details.

Similarly radical, in form at least, is the Alchemy Film and Moving Image Festival (14-17 Apr). Over four days, Hawick, in the Borders, plays host to some of the best of what experimental film and artists’ moving image has to offer. Highlights look to be the world premiere of Silver (15 Apr), Allan Brown’s dream logic feature following a man from outer space who’s trying to emancipate his father, and Jennifer (16 Apr), by Nina Danino, which invites us into the closed-off life of a Carmelite nun for a day.

Director: Joachim Trier Starring: Jesse Eisenberg, Gabriel Byrne, Isabelle Huppert, Devin Druid, Rachel Brosnahan, Ruby Jerins, Megan Ketch, David Strathairn, Amy Ryan Released: 22 Apr Certificate: 15

Dheepan

Dheepan

Director: Jacques Audiard Starring: Antonythasan Jesuthasan, Kalieaswari Srinivasan, Released: 8 Apr Certificate: 15

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Memories can be distorted to reframe the past in a more favourable light, but what happens when the truth becomes unavoidable? Joachim Trier’s Louder than Bombs opens with the birth of Jonah’s son, but is far more concerned with death. Jonah (Eisenberg) is the son of famed war photographer Isabelle Reed (Huppert), who died two years ago in a car crash. His brother Conrad (Druid), only 12 at the time, doesn’t know her death was a suicide.

It’s a secret that threatens to rupture the family’s delicate dynamic once revealed in a forthcoming New York Times article.

Perceiving memory as something malleable, Trier’s delicate use of flashbacks and sound allows the narrative to inch along like a cortège, beautifully conceptualising how the mind seeks to reorganise the entropy of memories into a satisfying narrative. As the membrane between reality and fabrication becomes perilously thin, Isabelle’s aura adopts greater significance for each family member, with Louder than Bombs effortlessly evolving into an abstract, yet emotionally intelligent ghost story. [Patrick Gamble]

Jacques Audiard’s Dheepan begins with a woman scouring a Sri Lankan refugee camp in search of an unclaimed child, grabbing any girl she finds unattended and demanding to know if her parents are alive. She needs the girl, we discover, to pose as her daughter so that she and a man, also a stranger to them both, can make use of the IDs left behind by a man named Dheepan and his family, allowing them legal passage to Europe. Wherever we find ourselves, we do what we must to get by. When that place is horrific, our actions will likely be ugly.

As they settle in to the Parisian project they now call home, each of the three has their own trials and indignities to overcome as they try to forge a real life as a pretend family. Powered by three strong, naturalistic performances, some of the best scenes are the quietest ones, in which a real connection is momentarily sparked between strangers borne together by sheer necessity. [Ross McIndoe]

Our Little Sister

Midnight Special

Director: Hirokazu Kore-eda Starring: Haruka Ayase, Suzu Hirose, Masami Nagasawa, Kaho Released: 15 Apr Certificate: PG

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Director: Jeff Nichols Starring: Michael Shannon, Joel Edgerton, Kirsten Dunst, Jaeden Lieberher, Adam Driver, Paul Sparks, Sam Shepard Released: 8 Apr Certificate: 12A

Based on manga Umimachi Diary, Our Little Sister sees three upwardly mobile adult sisters attend the funeral of the father who left their family years ago for another woman. At the ceremony they meet, for the first time, their teenage half-sister Suzu (Hirose), who’s unhappily living with her selfabsorbed mother. On a whim, oldest sibling Sachi (Ayase), the de facto head of the family unit, invites the teen to come live with the trio in the ancestral home they inherited from their grandmother, in which they’ve fostered the cheerful atmosphere of a sorority house.

For anyone familiar with the trajectory of Japanese director Hirokazu Kore-eda’s career, his latest film will feel right at home. Like I Wish and Still Walking, this is a slice-of-life drama about a fractured family that never explodes into big emotional scenes of wild gestures. Instead, there’s a leisurely focus on the little details of the in-between moments of life, no less powerful for a lack of showiness. Perfectly pitched and bolstered by four beautiful lead performances, Our Little Sister, with the gentlest of touches, both breaks one’s heart and makes it swoon. [Josh Slater-Williams]

Sight unseen, a trip into sci-fi territory might not have been the first thing one would expect from Jeff Nichols following rural dramas Shotgun Stories, Take Shelter and Mud. But this is far from an outlier, and, for a filmmaker of obvious religious and spiritual concerns, steeped in Americana and born in 1978, to evoke the “powerful innocent on the run from nefarious government types” movies of the 80s makes perfect sense: Nichols wants to believe in something, and he wants you to as well.

But like Take Shelter, Nichols’ 95% magnificent sophomore effort, Midnight Special’s ending almost critically undermines what is, for the most part: an excellent and unsettling piece of genre cinema, as Shannon, Edgerton and Dunst lam it with a child of extraordinary abilities (Lieberher) who may or may not be the saviour of mankind. Nichols has a real flair for tension and lean visual storytelling, and it’s these elements (along with the performances) that stick in the memory; jettisoning them for a more-than-atouch overblown finale sticks in the craw. [Chris Fyvie]

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Released by 8 Apr by Entertainment One Richard III

Radical seems to be the theme of this month’s column as the mighty Scottish Queer International Film Festival (SQIFF) brings filmmakers and audiences together on 29 Apr to ask the questions: what is queer cinema? What would we like it to be? And why does the mainstream film industry get it so wrong? The night takes the form of informal discussion in the Club Room at CCA, Glasgow, followed by a programme of short films and clips submitted by filmmakers.

Finally, the 400th anniversary of the Bard’s death is coming up, but his work remains as vital as ever. GFT marks the occasion with a Shakespeare on Film season, which includes Akira Kurosawa’s epic takes on King Lear (Ran, 1-7 Apr) and Macbeth (Throne of Blood, 17-18 Apr), and a rare screening of Richard Loncraine’s Richard III (28 Apr), which sets the play in a fascist state resembling Nazi Germany. The latter is followed by a live satellite discussion with star Ian McKellen.

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I Am Belfast

Director: Mark Cousins Starring: Helena Bereen, Richard Buick, Shane McCaffrey Released: 8 Apr Certificate: 15

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Mark Cousins is arguably one of the best film essayists of our time, and the kind of thoughtful, gentle and poetic auteur that a city as traumatised and as beautiful as Belfast deserves. Here he uses the imaginative conceit of Belfast as a blonde woman (Helena Bereen) with a golden double-ended clip in her hair (shades of Kim Novak in Vertigo).

I Am Belfast forms a kind of audiovisual reverie around Cousins as narrator conversing with Belfast, and listening to the stories of this interesting, elusive, 10,000-year-old woman. She explains her name means where 'salt meets sweet', and often returns to this image, conveying a city divided by bigotry, walls and colours, slowly healing into a whole of peacefully coinciding, complementary differences. Cousins walked every street of the city gathering footage and sound, and he has a knack for finding beauty and significance in the arbitrary and quotidian; the queer and comical in the tragic. [Rachel Bowles]

FILM

Couple in a Hole

Director: Tom Geens Starring: Kate Dickie, Paul Higgins, Jérôme Kircher, Corinne Masiero Released: 8 Apr Certificate: 15

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Taking its cue from its title – which manages to be both metaphorical and resolutely literal – Belgian writer-director Tom Geens’ latest feature follows married British couple John (Paul Higgins) and Karen (Kate Dickie) as they scratch out their meagre existence in a hole beneath a dead tree in the French countryside. As we learn that their self-imposed exile from civilisation is in response to the untimely death of their child, what unfolds is a strange and occasionally moving study of grief and the different forms it can take.

That the film holds the attention in its methodically slow beginning is thanks largely to Sam Care’s beautiful photography of the French woodlands and Kate Dickie’s semi-feral performance as a grieving mother. Details and backstory are parcelled out just often enough to make the film feel like a mystery in its earlier stages, and despite an unconvincing finale the film stands as a memorable example of the devastating power of loss. [Michael Jaconelli]

THE SKINNY

Bard is a Four-Letter Word

We weigh up the announcement of new Makar Jackie Kay, from both the poetry world and general public – also the published works of four Faber New Poets and our picks of the live poetry events in Scotland this month

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pring has sprung, and, in terms of news, it’s pretty obvious what the focus for April will be: Scotland’s new and third Makar, Jackie Kay, has landed, and the Twitterverse has gone crazy with excitement and congratulatory shout-outs.

What’s lovely is that so many people evidently wanted this to be the end result. Videos and photos show Kay, with her irrepressible beam, being greeted at the Scottish Poetry Library by an equally delighted First Minister. Nicola Sturgeon wrote a glowing introductory piece for The Guardian on the qualities she would bring to the role – most noticeably her honesty and poignancy in dealing with difficult, often personal subjects, and her innately Scottish sense of humour – which made her “the perfect choice.”

While there’s no denying that all of the favourites for Makar (including the likes of Tom Leonard, Douglas Dunn, Kathleen Jamie and Don Paterson) could have made something amazing of the job, I have to agree with Sturgeon. Kay’s already received an MBE for her services to literature, is a great all-rounder, and whatever your personal take on her style, Kay’s comments on becoming poetry’s ambassador leave no doubt as to her agenda or suitability for the role.

She is definitely a people’s writer who wants to get out and get involved, and it’s clear she will thrive on finding new ways to make poetry a tool for better communication and social interaction.

As an artist who has had to fight hard against being

What I Learned from Johnny Bevan

By Luke Wright

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With its cute couplets and wry nods to Twitter and twerking, What I Learned from Johnny Bevan reads at first like a piece from a poetry night at a good student bar – witty and wordy in a way that’s perfect for a few laughs before you move on to the next act and the next pint. Aptly enough it was performed by its author, the spoken word star Luke Wright, during Edinburgh Festival in 2015 – winning Fringe First and Stage Awards. As it dips back into the uni days of London lit student Nick, though, it gradually unravels into both a detailed portrait of life on the left in the triumphant days of Thatcherism’s demise, and a tragic tale of romantic aspirations ground down by the drudgery of daily life and the immovability of the institutions that maintain it.

At the age of 20, the battles to come are a reason to rally and fuel for righteous anger; at 30 they’re just bitter reminders of all those already lost. The Gatsby to Nick’s Carraway – or maybe the Dean Moriarty to his Sal Paradise – Johnny Bevan himself makes for an irresistible and impossible bastard in a losing battle with the world. Wright’s snappy rhymes are the perfect medium for the crackling conversation of uni days, bouncing up off the page with the fresh energy of youth, camaraderie and rum. [Ross McIndoe] Out now, published by Penned in the Margins, RRP £9.99

April 2016

‘boxed’ (lesbian, black, woman, adopted etc.) she also has lots to teach younger writers about dealing with identity struggles, and is living proof that a strong identity is something you forge, not something you inherit or take for granted – a very important quality in the current socio-political climate.

“A strong identity is something you forge, not take for granted” In other news, as ever there’s a heap of things to get involved with or go and listen to this month.

Highlights include Connie Voisine and Alan Gillis giving a joint reading on 7 April at The Scottish Poetry Library, and explorer poets Chrys Salt and Joanna Lilley leading a poetic journey in Edinburgh University’s screening room on 19 April in The Yukon: The Land that Night Forgot. If you fancy a great night of spoken word, multiple slam champion and global performer Ash Dickinson is launching his new book Strange Keys at the Bongo Club in Edinburgh on 16 April. He’s been dubbed ‘surrealist’, ‘clever’ and ‘funny’ – not an easy mix to pull off – and his topic range is equally offbeat.

On to print – it’s been a heavy few days of reading, and top of the list were four gorgeously colourful, slim-line pamphlets from this year’s Faber New Poets. Put together they look almost edible, and content-wise are the literary equivalent of a several-mini-course dinner; all the styles complement each other, but contrast sufficiently, meaning that going straight from one to another (always a hazard of the job) doesn’t make you feel overfed or bored.

While they are interesting to look at together, ironically (and probably riskily) one of the most interesting angles is when you compare and contrast same-gender pairings. Sam Buchan-Watts has what I call a ‘camera-pan’ voice, which methodically and sensitively explores a variety of objects, thought trains and scenes, often through the medium of prose poetry – one for lovers of the stream-ofconsciousness. I particularly enjoyed Car Game Logic, on the surreal paradox of sitting still on long journeys and how roads are essentially a no-man’s land. On the other hand, awkward small talkers and fans of e e cummings might be more inclined to try Crispin Best (plausible as the former’s darker love child with Spike Milligan), whose kaleidoscopic blurtings contain a myriad of ‘wish I’d said it first’ one-liners, my favourites being ‘you have no idea/ of the distances I would travel/ just to disappoint you’ and ‘I’m an optimist/ that’s what I like about you’.

Elaine Beckett and Rachel Curzon are both very moving to read for their acute depiction

All That Man Is

And The Weak Suffer What They Must?

By David Szalay

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By Yanis Varoufakis

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Or: all that man isn’t. Male readers beware – Szalay is in no mood to gloss over the shortcomings of his gender as he exposes with clear-sighted precision the multiple and (largely) disastrous failings of his characters. He positions the reader uncomfortably in the midst of the miserable events their various unthinking actions have led them to, over the course of nine trim, untitled stories.

The opening sections are almost too unflinching. Two disaffected students bum around eastern Europe; one of them sleeps with their Czech landlady out of jaded curiosity. In Cyprus, a young French deadbeat holidays alone until he forms a grim sexual liaison with an English mother and daughter. The book improves hugely as Szalay’s protagonists become older, and narratives thicken as his scope broadens. The tale of Kristian, a Danish tabloid hack who pursues an adulterous politician despite his own affairs, reads like a compact thriller and is better for it.

Szalay is too sharp by far to overstate the inevitable impact of his fellow man’s actions but it is writ large beside every mid-life-crisis-induced property deal, drink, boredom and cash-fuelled sexual encounter: amidst the debris there’s always a woman left wondering how on earth these idiots get to be in charge. Szalay’s first short story collection has little in the way of answers: no failing when he exposes the problem in such style and with such rigour. [Gary Kaill]

Last January, Yanis Varoufakis was catapulted from a quiet life as an economics professor into the centre of the Eurozone crisis, as finance minister in Greece’s radical government. Five months later he resigned, having failed to win concessions from the European elite that controls Greek debt. This book is a withering critique of that elite and a history of European monetary economics, tracing the roots of Europe’s crisis back to 1944, when the economist John Maynard Keynes proposed a new set of institutions for the war-torn global economy.

Keynes and Varoufakis have obvious similarities: towering intellects, eloquent communicators, both defeated by forces out of their control.

America vetoed Keynes’ proposals, with devastating long-term consequences, particularly the “inane”, “depoliticized” Eurozone which stymied Varoufakis’ efforts.

His disdain for the Eurozone’s irrationality drips from each page of this book, but it is hard to tell whether the villains are stubborn central bankers and finance ministers, or global capitalism itself. Varoufakis’ analysis suggests that the problem is systemic, but his proposals imply that the right ideas, might “save capitalism from itself.”

The social movements, workers’ organisations and parties necessary for radical change only get a walk-on role in an otherwise thrilling set of historical dramatisations. Perhaps Varoufakis is a little too fond of elites to beat them. [Rory Scothorne]

Out 7 Apr, published by Jonathan Cape, RRP: £14.99

Out now, published by Vintage, RRP £16.99

BOOKS

Words: Clare Mulley

of complex scenarios and topics, but it is their tones which separate them. Beckett is bluffly warm and conversational, whether speaking purely on her own account or mingling what others say with her take on them, and her imagery is bold and very rich, incorporating the everyday into the ethereal – pink tulips wrapped in snow-flecked cellophane is one example. Eco-based poems Melting and Killer Whale stayed with me, as did my empathy with Norfolk Winter ’72 (‘I’d said fuck a couple of times too many…/ when everyone else was saying bloody.’) Curzon’s is a quieter voice, laying out ideas like information in an academic journal, but this surface coolness only serves to highlight and intensify the emotive magma boiling beneath the crust: ‘I go over the top because I like to give./ People may find this extravagant/ and alarming.’ Hydra pierces deep, and anyone who is a parent or uncomfortable in hospitals will find a sympathetic voice in Ultrasound – the unvoiced, would-be chatty ramblings of a terrified new mother under the blandness of medic-speak.

Connie Voisine and Alan Gillis, Scottish Poetry Library, 7 Apr, £5/4 entry Chrys Salt and Joanna Lilley, Screening room, Edinburgh University, 19 Apr, free entry Ash Dickinson launches Strange Keys, Bongo Club, 17 Apr, free entry This Changes Things is out now, published by Bloodaxe Books, RRP £9.95

The Wolf Trial

By Neil Mackay

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The premise is intriguing: in a small town in 16th century Germany, a serial killer is captured and tried as a werewolf. There are moments of gory, shocking detail – an unflinching account of the killer licking the warm blood from the cheek of a baby he’s killed is particularly horrifying. This being the 16th century, there’s plenty of torture, accusations of devil worship and battles between church and state. There are bumbling guards, meddling officials, brilliant lawyers – all told from the point of view of the lawyer’s boy, writing an account many years after the events. At its heart is the worrying idea that this killer could be human: much better to be a werewolf, and assign all the psychopathic qualities to ‘the Other’.

It’s a good story let down by a cloying prose style. Mackay has chosen to write a faux-authentic account: the sentences long and roundabout, often doubling back to pin down their meaning.

This, admittedly is how a 16th century lawyer might have done it, perhaps, but is an infuriating pastiche. Mackay has left no gaps to fill – his research and authorial intent rule supreme. Every detail is overstated in case the reader missed an important point. It drags where it should have pace, and whole swathes of it could be gutted to leave a slimmer, quicker, livelier whole. [Galen O’Hanlon] Out 21 Apr, published by Freight Books, RRP £13.99

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Life Advice from a Cynical Theatre Critic Our resident agony aunt ponders more of your theatre-based angst – this month, how does an actor handle spending more time making macchiatos than working the stage?

Credit: Mihaela Bodlovic

Words: Amy Taylor Illustration: Josie Sommer

The Destroyed Room

Traverse Theatre

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The Destroyed Room takes its name from Jeff Wall’s 1978 photograph, showing a site of structured devastation, shedding no light on why this has happened, or what will happen next.

This is mirrored in the piece: a contextless room, inhabited by performers whose relationship is unknown, having a conversation whose only context is the performance itself. Within this vacuum, each performer brings their own experiences and opinions gleaned through the lens of modern media.

The performers follow a semi-improvised discussion of how we react to local crises versus global crises, natural disasters versus terrorism, and whether or not sandals are racist. It begins comfortably enough so the audience almost feel as if they want to join in, but as bottles are finished and predilections for consuming tragedy

Hey Trash, I trained for four years to be an actor. I graduated three years ago and I work in a coffee shop. Thanks to Facebook, I know that all my friends are doing so much better than me; they have agents, they have careers, and all I can do is make a mean macchiato. I feel like my dreams are dying slowly.

Is it time to get a real job?

Yours, The Eternal Barista A: Hey hey Barista, You already have a ‘real job’. You are working. You are earning. You are paying your way. The bills get settled, your rent gets paid on time, and after all that, you may even have a little left over for food or some kind of treat. And everyone loves Baristas, for they are the gatekeepers to coffee. I fucking love you, man.

Sure, making cup after cup of coffee for the general public isn’t the job that you trained for four years to do, and it isn’t what you saw yourself doing on graduation day, but you have some level of security. It can feel like life is just passing you by in a situation like this, especially when your uni pals, or friends from school plaster all their achievements on their Facebook page, Instagram account or Twitter for all to see.

But you and I and just about everyone on the planet know that what we put online is just a selection of the great and the oh-god-how-shitwas-that events that happen to us. So, while it may seem like your uni friends are doing well with their amazing new house that they’ve just bought, the new baby that they’ve just fired out, or the awe-inducing luxury holiday they're posting from (Why? Just... why? You’re on holiday, take a break from your own bullshit), you don’t know

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Review

that for sure.

Keep off social media. Don’t compare yourself to others who seem to be doing so well, because they might not be. They might have had to put their own dreams on the backburner, they might be struggling with a career change, they might have no idea what it is that they want to do with their lives at all.

Nevertheless, it’s important to let you be you, and let your friends be them. In fact, if they’re just Facebook friends, then fuck ‘em. If you find that some people’s updates are a little more smug than you’d like, just delete them, or unsubscribe from their updates. Out of sight, out of mind and all that.

The most important thing that you need to do right now is stick to your dream of acting. If you feel like this fantasy is on its last legs, then you need to do everything you can to keep it going. Can you afford to drop a shift a week? If so, use that time to find new opportunities; open castings, auditions, more training – if you feel you need it.

Contact people you know in the industry, let them know you need an agent, that you’re looking for work. You don’t need to tell them that you work in a coffee shop and everything’s been a bit shit, all you need to tell them is that you’re keen to kickstart your acting career. If people don’t know that you’re looking for work, then they won’t contact you. Put yourself out there.

If you want your dreams to survive and thrive, then you can’t give up. Please, don’t give up, no matter how many doors are slammed in your face, no matter how many rejections you get, you can’t quit. You mustn’t quit.

Eternally yours, Trash Do you have a theatrical problem you'd like help solving?

Email trash@theskinny.co.uk

The Moira Monologues Tron Theatre

rrrrr

Moira Bell is a legend, and she’s back for just one night as part of the Glasgow International Comedy Festival to tell you exactly what makes that so.

Alan Bissett’s one-man (one-woman?) show is exactly what it suggests. In a series of monologues, Moira Bell of Falkirk takes us through her life – from dog wars to dates, friendship to football, we see it all. What ensues is a hilarious, but subtly smart work that takes society slowly apart and points out its many hypocrisies and pitfalls.

From the dark undertones of neighbourhood enmity, which touches on domestic violence, to jokes designed to place a mirror up to the middle class theatre-going audience (who would go to the theatre on a Friday night, anyway?), Bissett certainly has something to say with this performance.

THEATRE

come to light, nastiness sets in. Judgement and self-righteousness become the currency as the room begins, imperceptibly and fascinatingly, to flood.

The Destroyed Room provokes the audience to ask unsettling questions about the difference between awareness, empathy and voyeurism. While the form promises deeper meaning, the conversation edges towards the vacuous: no opinions are offered which you haven’t heard before. Presumably this is the point, but can become dull viewing. The emotional climax is undercut by a superfluous epilogue, and the feeling on leaving is one of general annoyance.

It is admittedly more effective in its aftermath, as irritation may be less at the questions than at personal reflections. The Destroyed Room is unforgiving in its depiction of western apathy, but frustratingly restrictive in its preclusion of hope for the future. [Caitlin MacColl] The Destroyed Room, Tron and Traverse Theatres, run ended vanishing-point.org

It is not Moira’s first outing, and that is clear from the competent, familiar and loving way in which Bissett performs the role in his skinny jeans and knee-high boots to the way in which the audience, almost like a home crowd at a football match, cheer for Moira to succeed; and succeed she does. This is something of a given for a one-night-only performance of an acclaimed show, but without Bissett’s command of the role, it would not hold up. Instead, the laughter and the cheers rise throughout the performance.

It would be wonderful to see more women with Moira’s sense of self, it would be wonderful to see more female writers and performers giving voice to these characters, but Bissett does a mighty fine job, and with the simple direction of Sacha Kyle, it’s a sure hit. [Emma Ainley-Walker] The Moira Monologues, Tron Theatre, run ended.

THE SKINNY

That’s Fife…

There’s a month-long line-up of comedy across the Kingdom of Fife over April, with headliners including Nina Conti, Ed Byrne and a special double bill for Father Ted fans

Ed Byrne

Ardal O'Hanion

Y

oung comedy festival That’s Fife is set for its most ambitious year yet, bringing a programme of standout acts to Dunfermline, Glenrothes, Kirkcaldy and St Andrews.

Festival director Evan Henderson started That’s Fife in 2014, while working as programme director at Adam Smith Theatre, Kirkcaldy. Now coming into its third year, the festival partners with The Gilded Balloon, who bring three decades worth of comedy expertise to the table and add to their active calendar of year-round events.

It all starts on April Fool’s Day, and while the leading names include familiar faces from TV, the live experience finds these shows at their most rewarding – especially in the case of ingenious ventriloquist Nina Conti, who plays Rothes Hall, while also arriving in Glenrothes is stand-up Ed Byrne with his Outside Looking In tour. Then there’s a Father Ted-inspired double bill in Dunfermline’s Carnegie Hall: headliner Ardal O’Hanlon will perhaps never grow out of being best known for playing sublime innocent Father Dougal, but then that’s a compliment to his performance in the classic sitcom. He’ll be supported

by Michael Redmond, who famously played the uncomfortably reticent Father Stone and is also a local favourite for his regular Sunday Service gigs.

Other notable appearances come from Fife comedian Kevin McMahon, the physicist turned magician and one third of the innovative sketch group The Colour Ham. Last year’s Fringe favourite George Egg returns with his hit show Anarchist Cook, about the meals he’s cooked in hotel rooms ‘with the utensils they unwittingly provide’, and Al Porter also follows his Fringe success and recent Live At the Apollo appearance by topping the bill of a strong line-up in Carnegie Hall.

The latter show is also part of the regular Fife Comedy Circuit nights which The Gilded Balloon have introduced to their expanding showcase

April 2016

Credit: Mark Nixon

Nina Conti

Credit: Both pictures by Idil Sukan

Words: Ben Venables

of year round comedy, including Friday nights at Drygate, Glasgow and also in the studio space in Festival Theatre, Edinburgh. Karen Koren is founder of The Gilded Balloon and in 2015 was awarded the panel prize by the main Edinburgh Fringe award judges in recognition for her contribution to comedy over the last 30 years. “There’s a real appetite for comedy,” she says, speaking to The Skinny from Melbourne Comedy Festival.

“Drygate is doing very well now – it’s taken a little bit to get the local comedy audience – but they know we put a good programme on and are really enjoying it. We’ve been building that up for a couple of years, and that’s what we want to do for Fife.”

“There's a real appetite for comedy” Karen Koren

Koren is confident the festival will continue to grow: “We’re hoping to make it a lot bigger,” she says, of the long-term ambitions. While many commute to Edinburgh from Fife, she believes the programme will attract an audience from beyond the United Kingdom – not only due to the quality of acts, but the venues too. “We also have the Byre Theatre in St Andrews,” she says, and adds that the four “lovely venues” will make a nice trip for Edinburgh residents, while providing comedy fans in Fife with something closer to home.

In addition to the main programme the festival also features children’s shows, photography exhibitions and classic comedy films.

That’s Fife comedy festival, 1-30 Apr. The full programme can be found at onfife.com/fifecomedy

COMEDY

Review

53

Win a country break in a hot tub lodge!

T

ucked away in an elevated position within the countryside lies Hunters Quay Holiday Village, offering spectacular panoramic views across the Holy Loch and the Argyllshire Mountains.

Surrounded by an enticing array of walks and wildlife, and with local towns Inveraray, Dunoon and Rothesay on its doorstep, the award-winning Argyll Holidays park is perfect for an escape from the city. There’s a huge range of activities to keep you occupied, including archery, fencing, climbing and swimming, not to mention an all-weather leisure complex with two heated pools, sauna, steam room and Jacuzzi, fitness centre and dance studio.

We’ve teamed up with Argyll Holidays to offer you the chance to win a three-night country break for up to eight people at a luxury hot tub lodge at Hunters Quay Holiday Village. To be in with a chance of winning, point your computer towards theskinny.co.uk/competitions and tell us the correct answer to the following question: Which James Bond movie filmed action scenes in the Arrochar Alps? a) From Russia With Love b) Goldfinger c) You Only Live Twice For more information on Argyll Holiday’s luxury hot tubs breaks visit argyllholidays.com or follow them on Facebook or Twitter.

Competition closes at midnight on Sun 1 May. Prize includes activities at the park including archery, fencing, climbing and swimming. Winners will be notified via email within two working days of closing and will be required to respond within 48 hours or the prize will be offered to another entrant.

Our Ts&Cs can be found at theskinny.co.uk/about/terms

Win tickets to Knockengorroch!

S

cotland’s original roots music festival Knockengorroch returns! Taking place in the beautiful Southern Uplands of Galloway, the self-described ‘world ceilidh festival’ features a dazzling array of incredible roots and dance music from Scotland and very, very far beyond: Black Uhuru, Skerryvore and Optimo (Espacio) all star on a typically packed bill, while there’s much more in terms of visual and performance arts, workshops and activities for family members of all ages – speaking of which, under-11s go free!

The festival takes place between 26-29 May and we’ve got a pair of tickets (include camping) to give away! For your chance to win, simply head to theskinny.co.uk/competitions and answer this simple question:

54

COMPETITIONS

In what geographic region does the World Ceilidh takes place? a) Southern Uplands b) North Pole c) Cumbrian moors

Competition closes at midnight on Sun 1 May. Under-18s must be accompanied by an adult. Winners will be notified via email within two working days of closing and will be required to respond within 48 hours or the prize will be offered to another entrant. Our Ts&Cs can be found at theskinny.co.uk/about/terms

THE SKINNY

Glasgow Music Tue 29 Mar YEARS & YEARS

O2 ACADEMY GLASGOW, FROM 19:00, £23

Electro-pop trio from London, fronted by Olly Alexander, who’s also known to dabble in the acting circuit.

ROOM 94

KING TUT’S, FROM 20:00, £10

Rising pop/rock outfit from Hertfordshire for fans of the Busted and McFly era.

TELLISON (MUNCIE GIRLS)

BLOC+, 21:30–23:00, FREE

The infamous indie four piece hit the road following the release of their third album last summer.

Wed 30 Mar YEARS & YEARS

O2 ACADEMY GLASGOW, FROM 19:00, £23

Electro-pop trio from London, fronted by Olly Alexander, who’s also known to dabble in the acting circuit.

PRIMAL SCREAM

O2 ABC, FROM 19:00, £27.50

The Glasgow-hailing alternative rock lot, made up up Bobby Gillespie et al, perform in support of 11th studio album, Chaosmosis.

HYPOCHRISTMUTREEFUZZ

NICE ‘N’ SLEAZY, 19:30–22:00, TBC

Experimental by name, experimental by genre. Belgian five piece Hypochristmutreefuzz bring their neozunk vibes before Scottish eyeballs.

KIRSTEN ADAMSON (NOAH NOAH)

STEREO, 19:00–22:00, £5

The best bits of Kate Bush and Debbie Harrie all rolled up in a rising star who’s visiting the Stereo Rooms this April. Support from Noah Noah.

NOW WE ARE TEN

PLATFORM, FROM 19:00, £3.50

This year Platform celebrates double figures, and to mark the occasion the Creative Collective have been researching what it means to be ten. Catch songs and stories from Platform’s community performance group.

Thu 31 Mar CATHOLIC ACTION

NICE ‘N’ SLEAZY, FROM 20:00, £6

After releasing their first ever single L.U.V on Luv Luv Luv records, Catholic Action do some jubilating at Nice ‘N’ Sleazy with a little help from their pals.

COLOUR OF WHISKY (HELEN REEVES TRIO + TAM T CAMERON)

TRON THEATRE, FROM 20:30, £7.50

Get a glug of soul syrup from Colour of Whisky’s complex harmonies, bittersweet melancholy and jolly banjo jigs.

RIPPED FROM THE WIRE SPINE (JOSEPHINE SILLARS) THE HUG AND PINT, FROM 19:30, £6

Following the launch of her show in August 2015, Josephine Sillar brings a yet grander affair to H&P, with a little help from filmmakers, poets and musicians galore.

STRETCHED

BLOC+, 21:30–23:00, FREE

Your monthly home of everything progressive jazz and post-rock.

THE SHEEPDOGS

STEREO, FROM 19:00, £8.50

Canadian rock’n’roll sextet who formed in Saskatoon, Saskatchewan in 2006.

ANTON & THE COLTS (GRAEME QUINN QUINTET + MARK COPELAND MUSIC)

BROADCAST, FROM 19:00, £4

A headliner band made up of seasoned veterans of the folkacoustic scene, with support from Graeme Quinn and his quintet.

Anyone else feel like he missed out on an incredible pun opportunity here?

LITTLE SIMZ

THE GARAGE GLASGOW, FROM 19:00, £8

Experimental English rapper with high profile fanz including Kendrick Lamar and Jay Z.

Fri 01 Apr MATT & KIM

KING TUT’S, FROM 20:00, £13.50

American indie duo hailing from Brooklyn, whose celebrated DIY approach has helped them rise through the ranks since the mid 2000s.

JACK GARRATT

O2 ABC, FROM 19:00, £15

London-based singer/songwriter starting to rise up the ladder towards a meagre amount of fame.

BLUEBIRDS

13TH NOTE, 20:00–23:45, £5

Bluebirds launch their new EP with support from Leeds’ FEHM, The New Fabian Society and Future Glue.

MIKE DINGHAM

BROADCAST, FROM 19:00, £10

Singer-songwriter hailing from the Northwest, bringing tunes from his debut Fight to Forgive to Glasgow’s Broadcast.

SPRING TIME TEA DANCE

PLATFORM, 13:00–16:00, £3.50 - £8

A traditional tea dance led by a live swing band, with dancing instructors on hand to offer guidance on your foxtrot. How civilised!

Springtime really does bring out the best in us, doesn’t it?

THE COLOUR LINE (F.O.E.S + MEGALOMATIC)

NICE ‘N’ SLEAZY, FROM 20:00, £6 - £8

Hull’s finest make a fifth return to G’ Town after the release of their new record The Long Awaited Seal Of Disapproval. They’ll be joined by Scousers F.O.E.S and Megalomatic.

OTHER HUMANS

THE HUG AND PINT, FROM 19:30, £6

Synth-pop trio chock with 80s synthesizers and suitably dark vocals. This show marks the launch of new single Goths in Hot Weather (hah).

SHOWHAWK DUO

CLASSIC GRAND, FROM 19:00, £15

Instrumental acoustic duo made up of guitarists Mikhail Asanovic and Jake Wright, who span a wide stylistic spectrum, from 70s pop to operatic overtures.

SINE WAVE: BEAU WANZER (GARY GRITNESS + ISLE + PARTIAL + KUNST + FULL DOSE)

STEREO, FROM 23:00, TBC

Deep, shuddering techno from Beau Wanzer, packed with creepy grooves and mesmerizing beats.

CRASH CLUB (INSOMNIAC PROJECT + TRIBAL HIGH + THEWISEGOLDFISH DJS) STEREO, FROM 19:00, £6.50

Electro rockers Crash Club headline Stereo as part of a run of shows promoting their new EP. ALTERED SKY

THE GARAGE GLASGOW, FROM 19:00, £7

Well and truly one for the Paramore fans.

Sat 02 Apr CHVRCHES

THE SSE HYDRO, FROM 18:30, £25

Electro-pop trio from G’ Town, currently embarking on a mammoth world tour.

DISCIPLES

SWG3 GLASGOW, 22:00–02:00, TBC

Trio of Londoners Disciples step from behind the scenes of the likes of Afrojack and Ms Dynamite and bring the fruits of their debut EP to SWG3’s Warehouse.

BROADCAST, FROM 19:00, £9

Detroit four-man unit bring the fruit of their haunting third album to Glasgow’s Broadcast with support from Fuzzkill’s frantic racketeers Sweaty Palms.

THE BREW (THE WIRED)

NICE ‘N’ SLEAZY, FROM 20:00, £10

Brit rock trio with a rare father/ son line-up that seems to work for ‘em.

April 2016

O2 ABC, FROM 19:00, £20

BRIAN FALLON AND THE CROWES

Jonnie Common launches his latest release Kitchen Sync, a ten track instrumental LP which solely employs the sounds made by kitchen utensils. Kudos for both his resourcefulness and dedication to punning.

The Gaslight Anthem frontman shows us his new solo stuff.

THE HUG AND PINT, FROM 19:30, £13

BROADCAST, FROM 19:00, £10

CHERRY SUEDE

Ottowa rockers nip into H&P as part of their UK tour. Expect lots of woahs and whammy boards.

PARADISE FOUND

O2 ABC, FROM 19:00, £8

Four piece from Perth playing a high octane set full’a big choruses and tasty riffs.

PREACHER (COMEDY OF ERRORS, THE TOI)

O2 ABC, FROM 19:00, £10

Melodic progressive rockers.

Sun 03 Apr NEWTON FAULKNER

O2 ABC, FROM 19:00, £21.50

London-based singer/songwriter known for his guitar playing, which involves rhythmically tapping and hitting his guitar’s body.

BLACK PEAKS

KING TUT’S, FROM 20:00, £10

The Brighton-based tech-rockers take a trip up North ahead of releasing their debut album, Statues.

JIM JONES & THE RIGHTEOUS MIND (STERLING ROSWELL) BROADCAST, FROM 19:00, £10

Rock’n’roll artist Jim Jones plays a set in Broadcast with his new(ish) band The Righteous Mind.

THE BESNARD LAKES

THE HUG AND PINT, FROM 19:30, £12.50

The Montreal indie outift unleashes new album, A Coliseum Complex Museum, which was preceded by EP Golden Lion late last year.

TY DOLLAR $IGN

THE GARAGE GLASGOW, FROM 19:00, £15

Rapper also known as Tyrone Griffin comes to Garage all the way from the USA. More specifically, LA.

Mon 04 Apr JANET JACKSON

THE SSE HYDRO, FROM 18:30, £35 - £75

Youngest member of the iconic Jackson clan, whose pop career spans decades.

PVRIS

O2 ABC, FROM 19:00, £12

American rock group from Massachusetts whose debut album is out now.

TELEMAN (PELTS)

KING TUT’S, FROM 20:30, £12

London-based indie three-piece – formed from breakaway members of Pete and the Pirates – making nerdy chic indie music, not completely unlike Alt-J. DAN OWEN

BROADCAST, FROM 19:00, £7

Melodic, bluesy and lyrically insightful singer-songwriter.

PAWS (CODIST + BRIDAL SHOWER)

THE HUG AND PINT, FROM 19:30, £5

The fuzzy and ferociously punky Paws play a set on home turf in aid of Diabetes UK.

Tue 05 Apr CC SMUGGLERS

NICE ‘N’ SLEAZY, FROM 20:00, £8

KING TUT’S, FROM 20:00, £7

PROTOMARTYR (SWEATY PALMS)

An electronic collaboration between Apparat and Modeselektor, bringing Berlin’s finest electro to the O2 Academy.

THE GLAD CAFE, FROM 19:30, £6 - £8

KING TUT’S, FROM 20:30, £7

TIBET (FOGGY CITY ORPHAN)

KELVIN ORAN MOR, FROM 19:00, £8.50

Wed 06 Apr

Ayakara launch latest single ‘Soothe Ya’.

Cardiff indie-rock foursome with a penchant for fuzzy guitars.

INGA COPELAND + RIAN TREANOR CCA: CENTRE FOR CONTEMPORARY ART, FROM 21:45, £10

JONNIE COMMON (BEAM + GB THOMSON)

Folk band CC Smugglers are currently writing new music set for release early 2016 and are eager to hit the road with their brand new record.

AYAKARA

13TH NOTE, 19:00–22:00, £5

MODERAT O2 ACADEMY GLASGOW, FROM 19:00, £21

RATIONALE (BETSY)

London-based singer and producer, celebrated for his emotive Tracey Chapman-esque vocals.

GILL LANDRY

BROADCAST, FROM 19:00, £8

Louisiana singer-songwriter and multi-instrumentalist, formerly of Old Crow Medicine Show.

FEAR OF MEN

THE HUG AND PINT, FROM 19:30, £6

The Brighton-based band return with new material.

APRIL TOWERS (STRAY SAINTS)

KING TUT’S, FROM 20:30, £7

Anthemic electronic pop duo who channel the essence of seminal Australian label Modular Records.

HUNTER & THE BEAR

They supported Eric Clapton once – perhaps the most remarkable thing about this industrious folk-rock four-piece.

THE INTELLIGENCE

Inga Copeland’s music arrives at the avant intersection of R&B, dancehall minimalism and electronic pop. Glasgow-based artist Rian Treanor opens with a set of fractured computer-based club music. Part of Counterflows 2016.

COUNTERFLOWS LATE NIGHT (CÜNEYT SEPETÇI + COUNTERFLOWS DJS) SARAMAGO CCA CAFE, FROM 23:00, FREE

Clarinet virtuoso Cüneyt Sepetçi, who specialises in a modern take on Turkish Rom (gypsy) music pays a visit to Saramago as part of Counterflows festival.

DIGNAN PORCH (LUSH PURR + THE POOCHES + TWEAKING)

BROADCAST, FROM 19:00, £6

Tooting-based project of Joseph Walsh playing hazy indie-pop jams.

A Glasgow based indie rock fourpiece with infectious hooks and anthemic choruses.

SECTION BOYZ

O2 ABC, FROM 19:00, £12.50

Section Boyz are an English rap group based in South London. In 2015 the group’s second mixtape Don’t Panic entered at number 36 independently, making their first UK Albums Chart entry, leading to a Best Newcomer award at the 2015 MOBOs. PAT THOMAS + GAIL GRICI T + ANTANAS DOMBROVSKIJ

CCA: CENTRE FOR CONTEMPORARY ART, FROM 18:00, £6

Pianists Pat Thomas and Gailª Griciªtª and sound artist Antanas Dombrovskij play a triple-header set as part of Counterflows 2016.

Buy your tickets here:

TREMBLING BELLS

THE GLAD CAFE, FROM 19:30, £9 - £11

bit.ly/patrick-wolf-stereo

Ever-adored five piece lineup, fronted by the entrancing Lavinia Blackwall.

PONS AELIUS

THE HUG AND PINT, FROM 20:00, £8

Six men, loadsae instruments and sweet folky vibes as part of H&P’s Folklub.

Patrick Wolf

Glasgow Stereo, 12 May, £17.50

THE GOLD CLASS (THE CHERRY WAVE + ODD LAW)

Raw post-punk from the shores of ‘straya.

NOTHING BUT THIEVES

O2 ABC, FROM 19:00, £12

The Southend on Sea ensemble take their eponymous debut album out on the road.

SHIPWRECK RATS

TCHAI-OVNA HOUSE OF TEA, FROM 20:00, TBC

Shipwreck Rats, a mostly Berlinbased bunch of rabble-rousers.

Fri 08 Apr THE CAT EMPIRE

O2 ABC, FROM 19:00, £25

The genre-busting Australian ensemble embark on their biggest world tour to date, blurring the line between hip-hop, jazz and reggae.

THE VAMPS

THE SSE HYDRO, FROM 18:30, £9.50 £47.50

Acoustic-driven British pop unit led by singer Brad Simpson.

TAPE YOUR OWN LIFE

QUEEN MARGARET UNION, 19:00–22:30, £6 - £8

Record label Tape Your Own Life hosts a showcase to mark the launch of their latest cassette release. Catch the likes of Barrie James O’Neill, The New Fabian Society, The 21st State and Fibonacci.

THE VRYLL SOCIETY (ECHO MOON + APACHA SUN)

KING TUT’S, FROM 20:30, £7

Liverpool-based five-piece mixing in everything from Funkadelic to Aphrodites Child and krautrock.

LACE (ZENNA PARKINS)

CCA: CENTRE FOR CONTEMPORARY ART, FROM 18:15, £6

Counterflows 2016’s featured artist, harpist Zeena Parkins performs her LACE project for the first time in the UK with her band Green Dome, The One Ensemble, Ruth Morley, Tony Bevan & Arnim Strum.

Find full listings at theskinny.co.uk/whats-on

Less twee than yer average traditional folk-makers, this band creates soundscapes featuring accordion, cello, fiddle and mandolin, bolstered by the vocals of Lorraine McCauley.

PATENT PENDING

Post punk purveyors Patent Pending stop by as part of their mammoth UK tour.

PAT MCMANUS

O2 ABC, FROM 19:00, £12

MEXRISSEY SWG3 GLASGOW, FROM 19:00, £14

Like a Morrissey tribute night, except the band involved have reimagined the songs of The Most Miserable Man On Earth in truly Mexican form, with brass, accordion and sunny, sunny vibes.

Sounds mental.

LUCIUS

THE ART SCHOOL, 19:00–23:00, £12

An evocative mix of torchy, steelinfused Americana and urban indie pop from duo of Berklee College of Music graduates Jess Wolfe and Holly Laessig.

FOREIGNFOX (AKROBAT + GREATER THE DIVIDE)

NICE ‘N’ SLEAZY, FROM 19:30, £6

Dunfermlinners Foreignfox bring indie, folk and post rock, Akrobat gets all acoustic on us and GTD play, well, whatever they want. They are playing this set in lieu of a divorce party booking.

HQFU (MØGEN)

THE GLAD CAFE, FROM 19:30, £5

GANGS BROADCAST, FROM 19:00, £6

Local four piece Gangs play a debut set in their home city.

COUNTERFLOWS FESTIVAL (SENSATIONAL + BILLY BAO + CHELPA FERRO) NICE ‘N’ SLEAZY, FROM 19:30, £8

Counterflows descends upon Nice 'N' Sleazy for an evening of underground music, featuring the fruits of Chelpa Ferro, Billy Bao and Sensational.

THE KVB (THROW DOWN BONES + BLOOD OF THE BULL)

THE HUG AND PINT, FROM 19:30, £8

Experimental electronica and shoegazey minimalism straight from the Berlin based bedrooms of KVB’s Nicholas Wood and Kat Day. PP ARNOLD

CLASSIC GRAND, FROM 18:00, £20

Soul legend who originally came to the UK as an Ikette with the Ike and Tina Revue, PP Arnold swings back in time – all the way to the sixties.

MORPHEUS RISING (BLACK ROSE)

STEREO, FROM 19:00, £8

The TYCI electro up-and-comer (who once supported Chvrches in London at what was just their third ever gig) takes to Glad Cafe’s stage.

Thrashy, gothy prog-rock from a five-piece, twin guitar metal band.

THE HUG AND PINT, FROM 19:30, £8

The Swedish rock band who formed in 1988 treat us to a gig after the release of A Greater Call earlier this year.

DOGHOUSE ROSES (JOSEPH PARSONS DUO)

A double bill featuring Scotland’s own Doghouse Roses along with stateside talent Joseph Parsons duo, featuring Freddie Lubitz on guitar.

OVERKILL

CLASSIC GRAND, FROM 18:30, £18

Thrash metal New Jersey unit who’ve grown accustomed to selling out their gigs. Get tickets for Overkill’s ‘Killfest’ while they’re still up for grabs.

THE SWISS FAMILY ORBISON

ORAN MOR, FROM 19:00, £14

The Swiss Family Orbison return to the stage for the first time in over ten years.

AUSTINN

O2 ABC, FROM 19:00, £8

Indie-pop sounds all the way from Luxembourg.

Sat 09 Apr THE VAMPS

THE SSE HYDRO, FROM 18:30, £9.50 £47.50

Acoustic-driven British pop unit led by singer Brad Simpson.

ZIBRA

THE GARAGE GLASGOW, FROM 19:00, £7

London-based indie/electro-pop trio fronted by Sam Battle.

CULT OF LUNA

THE GARAGE GLASGOW, FROM 19:00, £15

KELVIN (INDIGO VELVET + LITTLE WAVES)

ORAN MOR, FROM 19:00, £8.50

A Glasgow based indie rock fourpiece with infectious hooks and anthemic choruses.

Sun 10 Apr

FUNERAL FOR A FRIEND

O2 ABC, FROM 19:00, £20

The Welsh emo stalwarts take to the road for a final time.

PATENT PENDING

CLASSIC GRAND, FROM 19:00, £12

Post punk purveyors Patent Pending stop by as part of their mammoth UK tour.

NADA SURF (AMBER ARCADES)

KING TUT’S, FROM 20:30, £12

Brooklyn trio big on the melody, with Matthew Caws’ vocals soaring over gentle backing, with strings and the harmonic attributes of both bassist, Daniel Lorca, and drummer, Ira Elliot.

WILLIWAW

THE OLD HAIRDRESSERS , 18:00–20:00, FREE

Expect ukulele mayhem as Williwaw brings his merry cavalcade of melodious din to a live setting once more.

MAYBESHEWILL (YOU SLUT! + FLOOD OF RED) STEREO, FROM 19:00, £10

Intrumental quintet of the elegant rock variety Maybeshewill embarks on their final UK tour.

Wed 13 Apr

MACKLEMORE & RYAN LEWIS

THE SSE HYDRO, FROM 18:30, £29.50 - £35

Return of the Mack. Just kidding, it’s Macklemore.

MUSIC ACROSS BORDERS SCEENING (ANOTHER WORLD BAND + HESU + PARAGON) THE GLAD CAFE, FROM 19:00, £5 - £10

Catch Another World Band in concert with Gameli and Hesu and Paragon as part of a Music Across Borders screening at The Glad.

WUH OH (PEPPERMINT FICTION + STAR ROVER)

KING TUT’S, FROM 20:30, £5

A roster of excellent monikers including Wuh Oh, a producer who also goes by Peter Ferguson; alternative five-piece Peppermint Fiction and grungey popsters Star Rover.

ASHTON LANE (AL SHIELDS)

THE HUG AND PINT, FROM 19:30, £10

Former Mama’s Boys and Celtus guitarist, violinist, singer and songwriter Pat McManus continues his tour with a stop-off at the O2.

Scottish duo imbued with catchy radio hits and uplifting soulful melodies.

Mon 11 Apr

Thu 14 Apr

O2 ABC, FROM 19:00, £20

GLASGOW ROYAL CONCERT HALL, FROM 19:30, £30 - £40

The one-man alternative folk band that is Peter Kelly plays an intimate show, showcasing a new batch of tunes.

VAULTS

STEREO, FROM 19:00, £7.50

KING TUT’S, FROM 20:00, £7.50

THE HUG AND PINT, FROM 19:30, £6

LORRAINE & THE BORDERLANDS

THE HUG AND PINT, FROM 19:30, £8

KING TUT’S, FROM 20:30, £7

THE DUNWELLS (BRONZA RADIO RETURN)

NICE ‘N’ SLEAZY, FROM 19:30, £7

Glad Cafe gets a piece of the Counterflows action, hosting its own day-long festival of underground music, discussions, workshops and lectures.

BEERJACKET

Thu 07 Apr

Charles Howl move away from garage fuzz, instead embracing a poppy psych groove.

THE GLAD CAFE, 11:00–20:15, £6

The Welsh emo stalwarts take to the road for a final time.

STEREO, FROM 19:30, £10 - £30

A Preston-based pop artist whose voice sounds a little bit like a cross between Diana Vickers and Brendon Urie. Make of that what you will.

CHARLES HOWL

COUNTERFLOWS FESTIVAL (FRANK HERWIG + METTE RASMUSSEN AND ZEENA PARKS + STILL HOUSE PLANTS)

FUNERAL FOR A FRIEND

NATHAN GRISDALE

Folk rock bunch hailing from Leeds, made up of brothers Joseph and David Dunwell and cousins Robert Clayton and Jonny Lamb.

NICE ‘N’ SLEAZY, FROM 19:30, £5

Scumpulse return to Sleazy’s with their punky, dark metal.

CLASSIC GRAND, FROM 19:00, £12

NICE ‘N’ SLEAZY, FROM 19:30, TBC

American lo-fi post-punk all the way from Seattle, Washington.

SCUMPULSE (SHEER IGNORANCE + KINGPIN + VENOMWOLF)

A trio who describe themselves as an introspective electronica.

VICTOR VILLARREAL (ATLAS:EMPIRE + COLLEGE) BROADCAST, FROM 19:00, £7

Self described as both calming and manic rock, expect the somewhat eclectic from Victor Villarreal.

RYAN YOUNG & CRAIG IRVING (THE IONA FYFE BAND)

THE HUG AND PINT, FROM 20:00, £8

The first instalment of FreelanceFiddle series welcomes some talented folksters to H&P. OP (FRET! + ANXIETY + JOYCE DELANEY)

GREGORY PORTER

Grammy award-winning singer absolutely owning the jazz-soul crossover zone.

HIGH TYDE (CLAY)

KING TUT’S, FROM 20:00, £6

Brighton indie teens on the rise.

LIIMA

CCA: CENTRE FOR CONTEMPORARY ART, FROM 19:00, £12.50

Under the moniker of the Finnish for ‘glue’, Mads Brauer, Casper Clausen, Rasmus Stolberg and percussionist Tatu Rönkkö unite to administer you with a dose of synthy goodness.

PHAMIE GOW

TRON THEATRE, FROM 20:30, £7.50

Phamie Gow is an international musician, composer and recording artist, known for her groundbreaking compositions and celtic/ classic crossovers.

DECLAN SINNOTT

THE GLAD CAFE, FROM 19:30, TBC

Monday night noise and punk at Mono.

One of Ireland’s beloved musical icons and ex-member of both poetry-music group Tara Telephone and Celtic rock band Horslips.

Tue 12 Apr

THE HUG AND PINT, FROM 19:30, £4

MONO, FROM 20:00, £5

JEFF LYNNE’S ELO

THE SSE HYDRO, FROM 19:30, £50 - £110

A reincarnation of Electric Light Orchestra play through their classics and songs from new album Alone in the Universe.

NERINA PALLOT

ORAN MOR, FROM 19:00, £18.50

Reluctant to accept the label of the ‘singer-songwriter’ after a departure from her earlier style, Nerina Pallot insists that her most recent release is her ‘mid-life crisis’ album.

AMY SHIELDS (NOAH)

Local singer-songwriter Amy Shields launches her debut EP Hummingbird with support from Noah.

ORCHARD HILL (SPEAKING IN SHADOWS + SYREN CITY + FACE THE OCEAN)

CLASSIC GRAND, FROM 18:00, £6

Female fronted rock band Orchard Hill bring new musical goodies to Classic Grand.

LUX LISBON

STEREO, FROM 19:30, £12

O2 ACADEMY GLASGOW, FROM 19:00, £19.50

Rock-pop and indie with a country edge.

DIANA JONES

O2 ABC, FROM 18:30, £25

WOLFMOTHER

Hard rock and big hair from Sydney.

WILKO JOHNSON

CCA: CENTRE FOR CONTEMPORARY ART, FROM 20:00, £13

The inimitable guitarist and founding member of Dr. Feelgood returns to the live circuit with a UK headline tour, following his (not actually) farewell tour after his diagnosis with terminal cancer.

PLAGUE VENDOR (LOVE BUZZARD)

O2 ABC, FROM 19:00, £17

Nashville based singer songwriter Diana Jones returns to CCA, performing her classic material plus songs from her latest album Museum of Appalachia.

BROADCAST, FROM 19:00, £6

After their Californian inception in 2009, Plague Vendor refined their raucous and frenetic sound before releasing their debut Free To Eat in 2014.

MUSIC ACROSS BORDERS SCEENING (ANOTHER WORLD BAND + HESU + PARAGON) THE GLAD CAFE, FROM 19:00, £5 - £10

Catch Another World Band in concert with Gameli and Hesu and Paragon as part of a Music Across Borders screening at The Glad.

RED NOTE ENSEMBLE

THE HUG AND PINT, FROM 19:30, £5 - £8

Contemporary music ensemble Red Note perform music by Handel, Messiaen, John Cage and Harvey.

BRAINSTORM

Latvian indie-pop quartet.

Fri 15 Apr

THE CARNABYS (HELLO FUTURE)

KING TUT’S, FROM 20:30, £6

An explosive live band who honed their craft in pubs and clubs before going on to open for the likes of Bruce Springsteen and Kings of Leon.

BASIA BULAT

BROADCAST, FROM 19:00, £7

Autoharp-wielding Canadian folkstress, whose latest album, Good Advice, is out now.

KAELA ROWAN BAND

THE GLAD CAFE, FROM 19:30, £10 - £12

Formerly a singer with Gaelic music band Mouth Music, Kaela Rowan plays Glad Cafe as part of a Scottish tour with her own group.

Listings

55

STEVE IGNORANT THE HUG AND PINT, FROM 19:30, £12.50

Songs and stories from former Crass frontman Steve Ignorant.

THE LUMINEERS

BARROWLANDS, 19:00–23:00, £22.50

The Lumineers return with a jazzy tinge to their folk-rock timbre, touring the world with their new album Cleopatra.

GANGSTARR FOUNDATION FEAT. JERU THE DAMAJA

O2 ABC, FROM 19:00, £15

East coast collective Gangstarr Foundation bring nineties dusty boom bap sound to G’ Town.

OFF YER ROCKA TOUR 2016 (SCREAMING EAGLES + MASSIVE WAGONS) O2 ABC, FROM 19:00, £8

Record label Off Yer Rocker showcase some of its latest signings with a big ol’ UK tour.

Sat 16 Apr REEF

O2 ABC, FROM 19:00, £17.50

The Gary Stringer-led 90s rockers return to a live setting.

THE RAINBAND (THE HAZY SHADES)

KING TUT’S, FROM 20:30, £8

The Mancunian four-piece piece, founded in 2009 by lead singer Martin Finnigan and guitarist Phil Rainey, tour their latest release, Sirens.

ELIZA AND THE BEAR

THE GARAGE GLASGOW, FROM 19:00, £12

Five piece euphoric indie pop/ rock lot hailing from London and featuring neither Eliza, nor indeed a bear.

CEÒL ‘S CRAIC: CEÒL MÒR OSTAIG

CCA: CENTRE FOR CONTEMPORARY ART, FROM 19:30, £10 - £12

Ceòl Mòr Ostaig celebrates the fantastic musicianship being nurtured at Sabhal Mòr Ostaig, Scotland’s Gaelic college.

THE CARLOWAYS (SAHARA + REBEL WESTERNS + DANCING ON TABLES)

NICE ‘N’ SLEAZY, FROM 19:00, £5 - £7

A showcase of up-and-coming Scottish bands, ft. rock’n’rollcountry fusion Carloways alongside indie bands Sahara and Rebel Westerns. The eve will wrap with alt-rock crowd pleasers Dancing On Tables.

WILL ROBERT (JOHN RUSH + CAMERON ADAM)

THE GLAD CAFE, FROM 19:30, £6

A Cambridge singer with a unique percussive style of guitar playing,

FOGGY CITY ORPHAN (EARTHS + HOMEWARD JAMES + GHOST WRITER) THE HUG AND PINT, FROM 19:30, £5

Hilariously named after the Chinese translation of Oliver Twist, FCO are band made up of two brothers, their cousin and an entirely unrelated drummer.

TWIN PEAKS (THEE MVPS + ACE CITY RACERS)

STEREO, FROM 19:00, £8

Ragtag band of playful garage rockers hailing from Chicago.

Sun 17 Apr MUSE

THE SSE HYDRO, FROM 18:30, £45 - £75

The Devonshire stadium-fillers tour on the back of their new album, The 2nd Law. BEN HAENOW

O2 ABC, FROM 19:00, £25

Another from the X Factor stable, who was recently dropped from Simon Cowell’s label less than two years after being signed.

BRY (ORLA GARTLAND)

KING TUT’S, FROM 20:00, £10

Irish singer-songwriter and – god forbid – YouTuber, whose debut album is released this year.

TWIN HEART (MERRICK’S TUSK)

NICE ‘N’ SLEAZY, FROM 19:30, £7

Mon 18 Apr MUSE

THE SSE HYDRO, FROM 18:30, £45 - £75

The Devonshire stadium-fillers tour on the back of their new album, The 2nd Law. WHITECLIFF

KING TUT’S, FROM 20:30, £6.50

Four-piece based in Liverpool, featuring deliriously pretty vocals stretched over clever rhythms, eclectic and creative guitar parts and decent enough lyrics, too!

THE BRACKISH

THE HUG AND PINT, FROM 19:30, £5

A unique instrumental band featuring alumni of This is the Kit, Zun Zun Egui and The Liftmen.

Tue 19 Apr COUNTERFEIT

KING TUT’S, FROM 20:00, £10

Jamie Campbell Bower-fronted punk outfit.

THE KING KHAN & BBQ SHOW

BROADCAST, FROM 19:00, £13.20

Confusingly, these guys are in fact a two piece, made up of Arish ‘King’ Khan (self described as the one with snottier vocals and lead guitar parts) and Mark ‘BBQ’ Sultan who drums, plays non-lead guitar and identifies as a somewhat less ‘snotty’ singer.

DAVE ALVIN AND PHIL ALVIN AND THE GUILTY ONES

THE ART SCHOOL, 19:30–23:00, £17

Hyper-literate and intellectual rapping from an eccentric rising star.

Bristol-based synthy goth-punk lot, with all four members vocals’ playing an integral part of their sound.

JAKIL (PARKER)

KING TUT’S, FROM 20:30, £7.50

Edinburgh-born, London-living pop-rockers led by frontman Kieran O’Brien.

HACIENDA CLASSICAL

THE SSE HYDRO, FROM 19:30, £39.50

Pioneers of the iconic Hacienda sound team up with the 40-strong Manchester Camerata to revisit their classics in a live fusion event.

OUGHT

BROADCAST, FROM 19:00, £12.50

Think The Fall, but with more Canadian accents and less band member-replacing. Ought are captivating and ridiculous and life-affirming and tiring as hell.

Do. Not. Miss. This. Show.

HECTOR BIZERK

THE ART SCHOOL, 19:00–23:00, £10

Scotch hip-hop creators Hector Bizerk launch their latest album The Second City of The Empire.

ELIZA SHADDAD

THE HUG AND PINT, FROM 19:30, £7.50

Listings

Wildly literate, impossibly romantic and slave to the music, 35 year old Texan musician comes to Glasgow’s CCA. HANNAH LOU CLARK

BROADCAST, FROM 19:00, TBC

English songwriter celebrated for her gorgeous, moody pop songs.

WAKE UP RISE UP FEST (HELICON + FOREVER CULT + BLUE NOVA + FILTH SPECTOR + HOME$LICE + OOKY + KURTZ + MAYOR STUBBS)

Post-rock vets, whose repertoire of largely instrumental material grows this April with the release of seventh studio album, The Wilderness.

Wed 20 Apr 5 SECONDS OF SUMMER

THE SSE HYDRO, FROM 18:30, FREE

Aussie pop-meets-rock boy band who formed in Sydney back in 2011. They’re inexplicably massive.

BELLOWHEAD

O2 ABC, FROM 19:00, £21.50

Beast of a contemporary English folk ensemble (there’s 11 of ‘em) fusing folk, funk, rock, world, jazz, music hall and classical music into their mix, hitting stages with their farewell tour.

MARLON WILLIAMS

KING TUT’S, FROM 20:30, £8

The former Lyttelton choirboy does his angelic-voiced thing.

DUNGEN

CCA: CENTRE FOR CONTEMPORARY ART, FROM 20:00, £10

Swedish psychadelic and prog-folk rock band play CCA for the first time.

QUEER THEORY (BLACK DOVES + ICHI PINKS + MERLIN HAYWARD)

NICE ‘N’ SLEAZY, FROM 19:30, £5

An alternative evening of music, poetry, comedy and drag.

ALXNDR (ALL SHE KNOWS + PLEASURE HOUSE)

O2 ABC, FROM 19:00, £6

Alt pop from Newcastle, playing headline dates across the UK in the wake of debut EP RWND. KYGO

O2 ACADEMY GLASGOW, FROM 19:00, £18

Young producer from Norway gradually nudging his way into the mainstream.

Thu 21 Apr

NOEL GALLAGHER’S HIGH FLYING BIRDS

THE SSE HYDRO, FROM 18:30, £35 - £70

THE TOASTERS (ESPERANZA)

Longstanding ska ensemble formed in NYC by British frontman Rob ‘Bucket’ Hingley back in 1981.

Fri 22 Apr MICHAEL BOLTON

CLYDE AUDITORIUM, FROM 18:30, £25 - £59

The pop-rock balladmonger performs his greatest hits and a selection of songs from his new album, which celebrates music from the movies.

A Scottish Latin mini-festival featuring live music, workshops and parties through ‘til the naughty hours.

RENAISSANCE

O2 ABC, FROM 18:00, £17.50

Progressive rock pioneers who rose from the ashes of the seminal UK rock band, The Yardbirds.

Sat 23 Apr HOLLYWOOD UNDEAD

O2 ACADEMY GLASGOW, FROM 19:00, £17.50

LA group fusing rap with metal, with each member donning a mask and pseudonym.

KIP MOORE

O2 ABC, FROM 19:00, £15

Nashville singer-songwriter, who released his second album last year.

MARK MCGOWAN

CCA: CENTRE FOR CONTEMPORARY ART, FROM 19:30, £10 - £12

NICE ‘N’ SLEAZY, FROM 19:00, £6

MATT KIVEL AND BAND (LIZABETT RUSSO)

THE GLAD CAFE, FROM 19:30, £8 - £10

Los Angeles-based songwriter Matt Kivel brings some delightfully dark acoustics and fluttering strums to The Glad Cafe following the release of his 2016 LP Janus.

SHAKEY GRAVES (TAMU MASSIF)

THE HUG AND PINT, FROM 19:30, £10

Texan singer-songwriter Alejandro Rose-Garcia strums up some folky galore.

MAYIMBE Y BARBAEO FINES

CLASSIC GRAND, 13:00–02:00, £7 - £20

A Scottish Latin mini-festival featuring live music, workshops and parties through ‘til the naughty hours.

VEGAN CONNECTIONS (MACHINES IN HEAVEN + THE MERMAIDS + HEIR OF THE CURSED + BUNDERLAND + EAGERTONGUE + LEWIS GLASS)

STEREO, FROM 18:00, £3

Stereo brings the vegan community together for a night of bonding over a shared interest in cheeseavoidance and tasty live music.

THE JAMES HUNTER SIX

O2 ABC, FROM 19:00, £17

NICE ‘N’ SLEAZY, FROM 19:30, TBC

Citing Arcade Fire, Ryan Adams, and Bruce Springsteen as his inspirations, BFL’s known for his hearty, wistful acoustics and rounded melancholy. Catch him East-side this April.

MILDRED’S DAIRY (DUMB INSTRUMENT + BROKEN BY ROCK)

NICE ‘N’ SLEAZY, FROM 19:30, £8

Musical co-operative from Glasgow who claim to be ‘churning out the hits’. Are they milking it? Find out for yourself.

MT DOUBT (EARTHS + HAMISH JAMES HAWK + RISING PACIFIC)

Buy your tickets here: bit.ly/malcolm-middleton

Malcolm Middleton

Edinburgh Electric Circus 28 May, £12.40

UB40

O2 ACADEMY GLASGOW, FROM 19:00, £35

UB40’s three founding musicians dig out some classic reggae from their archives.

Tue 26 Apr

BROKEN HANDS (DOLOMITE MINOR)

KING TUT’S, FROM 20:30, £8

Impressively skuzzy garagey-blues sounds with a nod to psychedelic rock, courtesy of a just-aboutold-enough-to-vote quartet from Kent.

DAN SARTAIN

BROADCAST, FROM 19:00, £11

THE ALBATROSS

A debut headliner show from Gary Deveney and Kenneth Wilson’s collaborative project. Their tunes are melodic and prime fodder for a decent night of dancing.

Wed 27 Apr VANT

KING TUT’S, FROM 20:00, £6.50

London-based indie-rock quartet fronted by Mattie Vant, now signed to Parlophone.

MAX RAPTOR (FIZZY BLOOD + HERSHEL’S HEAD + KILL CITY RADIO)

NICE ‘N’ SLEAZY, FROM 19:30, £7

Punk-rockers from the Midlands play alongside Leeds based rock’n’roll unit Fizzy Blood, Hershel’s Head and Kill City Radio.

GLENN JONES

THE GLAD CAFE, FROM 19:30, £8 - £10

A return to Glasgow from the master of American Primitive Guitar, a style invented in the late 1950s by John Fahey.

PINACT (LIFE MODEL + SAVAGE MANSION)

THE HUG AND PINT, FROM 19:30, £5

Imagine the fruits of The Vaselines listening to Lightning Bolt and you’re halfway there. An intensely chaotic sound that wraps sheer pop song writing in Melvins-esque fuzz; a kiss and a punch.

SNEAKY PETE’S, 19:00–22:00, £7

Consumer Electronics are a punk / electro / noise duo comprising married couple Philip Best (exWhitehouse) and American artist Sarah Froelich.

THIS IS THE KIT (SINK)

ELECTRIC CIRCUS, 19:00–22:00, £10

Kate Stables’ project This Is The Kit released its third album Bashed Out earlier this year. Produced by The National’s Aaron Dessner, it was widely regarded as a breakthrough record.

Wed 30 Mar

TELLISON (FERRIC + MUNCIE GIRLS)

Learn about the intersection between art music and science in the best of ways – with a world première of a groundbreaking 21 minute landscape written by Jill Jarman and performed by percussionist Dame Evelyn Glennie.

Thu 31 Mar BANNERMANS, FROM 20:00, £5

AQUILO

Multi-era psychedelia, with flangey synth and lazy garage vocals; truly suited to a hair-inthe-wind road trip.

CONSUMER ELECTRONICS (CIRCUIT BREAKER)

ABSOLUTION INC

Mon 25 Apr

EXMAGICIAN

SNEAKY PETE’S, FROM 19:00, £7

EISF: THE SOUNDS OF SCIENCE

O2 ABC, FROM 19:00, £18

THE HUG AND PINT, FROM 19:30, £6

Tue 29 Mar

THE QUEEN’S HALL, FROM 19:00, £9 - £15

CAST (MEDICINE MEN + WILLOW ROBINSON )

Electronic duo, dreamily atmospheric and addicted to melancholy.

A a DIY feminist indie pop punk band from west London.

The infamous indie four piece hit the road following the release of their third album last summer.

Double headliner gig featuring prog folk-rock from Korpiklaani and pagan metal from Helsinki band Moonsorrow.

KATH BLOOM (SPLINTERED MAN + CAPT. LOVELACE)

THE HUG AND PINT, FROM 19:00, £5

Finger-lickin’ folk for your delectation from American artist Kath Bloom.

Mt. Doubt (AKA Leo Bargery) launches his latest single Afterglow. He’s been tipped by Vic Galloway as one to watch in 2016, so go and, er, watch him.

STEREO, FROM 19:00, £9

ORAN MOR, FROM 19:00, £10

THE GLAD CAFE, FROM 19:30, £7 - £10

THREE BLIND WOLVES

TBW bring their tight guitar lines and pleasingly Scottish flavoured vocals back to ol’ Stereo.

JAMIE MARTIN

O2 ABC, FROM 19:00, £3

Jamie Martin launches new material at Glasgae’s O2 ABC.

Fri 29 Apr RAT BOY

ORAN MOR, FROM 19:00, £10

Parlophone Records mischief maker Rat Boy (AKA Jordan Cardy) brings his Jamie T vibes to Glasgow.

THE BOXER REBELLION

STEREO, FROM 19:00, £13

The Boxer Rebellion are back, bringing atmospheric, energetic and driven rock to Glasgow’s Stereo after the March release of their single Big Ideas.

SHONEN KNIFE (BRUJA + TEEN CANTEEN )

CCA: CENTRE FOR CONTEMPORARY ART, FROM 19:00, £12.50

A fully female, fuzzy pop-punk rock band hailing from Osaka, with support from Bruja and Teen Canteen.

CONTROL (HATEFUL + BUZZBOMB + ROYAL OI) NICE ‘N’ SLEAZY, FROM 19:30, £7 - £10

Control are ANGRY! At everything!

They don’t wish to be labelled, so we’ll spare them that. That said, they’ve quite helpfully come up with ‘hooligan rock’n’roll’ for the curious. So we’ll go with that.

AMATRART (THE VEGAN LEATHER)

THE HUG AND PINT, FROM 19:30, £5

A new material launch from Glasgow-based electronic foursome AmatrArt (pronounced ‘Amateur Art’, duh).

THE BOXER REBELLION

STEREO, FROM 19:00, £13

The Boxer Rebellion are back, bringing atmospheric, energetic and driven rock to Glasgow’s Stereo after the March release of their single Big Ideas.

DARKSIDE XL

CLASSIC GRAND, FROM 21:00, £17

Darkside XL hosts a heavy night featuring the likes of Angerfist, Innominate, Triax and I:Gor. Walk the walk and get your tickets – because, to quote Mr Shneebly, you’re not hardcore unless you live hardcore.

JONATHAN CARR

Multi-instrumentalist singersongwriter who studied in Berklee and began his career collaborating with John Mayer.

SCOTLAND CALLING: ALL DAY PUNK FESTIVAL (SHAM 69 + COCKNEY REJECTS + ANGELIC UPSTARTS)

O2 ABC, FROM 12:00, £28

Get more punk for your buck at Scotland Calling, with over ten punk artists and bands swinging by for a set.

Sun 01 May MAC MILLER

O2 ACADEMY GLASGOW, FROM 19:00, £17.50

The young Pittsburgh rapper and self-taught musician, aka Malcolm McCormick, tours his latest LP Watching Movies With The Sound Off.

Mon 02 May LEWIS WATSON

KING TUT’S, FROM 20:00, £10

Fledgling young Oxford singer/ songwriter, best known for his stripped-down YouTube take on Tracy Chapman’s Fast Car.

COLOUR ME WEDNESDAY

Edinburgh Music

THE MASH HOUSE, 19:00–22:00, £7

KORPIKLAANI + MOONSORROW

THE HUG AND PINT, FROM 19:30, £6

Psychobilly and ‘real-deal indie’ from Jo and Nicky D’arc.

BENJAMIN FRANCIS LEFTWICH

Greg Dread, original bassmaster Leo Williams, the unmistakable MC Spee, reggae vocalist Earl 16 alongside Chris Compton on guitar and Bazil on technology make up the current Dreadzone live line up.

CLASSIC GRAND, FROM 18:30, £16

BROADCAST, FROM 19:00, £14

THE TWISTETTES (THE GIROBABIES + JOYCE DELANEY)

CCA: CENTRE FOR CONTEMPORARY ART, FROM 19:30, £16 - £18

Dreamy lyrical psych-pop from the banks of the Mersey.

Experimental rockabilly musician from Alabama, touring in support of this year’s new album, Century Plaza.

Punk rock lot hailing from Country Durham, reformed back in 2001 with Pauline Murray still leading proceedings.

KING TUT’S, FROM 20:30, £12.50

In-yer-face London six-piece with a totally original, wonderfully colourful sound and style. They’ve spent a year touring the UK and Europe following the release of debut album Carnival Flower, so see them on the central belt while you can.

DREADZONE

SHE DREW THE GUN

Glasgow based singer-songwriter Mark McGowan brings his divine combo of soul, blues and acoustic crooning to CCA. PENETRATION

Sat 30 Apr

MOLOTOV JUKEBOX

THE HUG AND PINT, FROM 19:30, £7

KING TUT’S, FROM 20:30, £8

MAYIMBE Y BARBAEO FINES

Thu 28 Apr

NICE ‘N’ SLEAZY, FROM 17:45, £6

A festival featuring the likes of doom harbingers Helicon, grungey Leeds trio Forever Cult, and tonnes more besides.

CLASSIC GRAND, FROM 19:00, £25 - £30

EXPLOSIONS IN THE SKY

R’n’b troubadour James Hunter returns with latest album, Hold On!

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HAYES CARLL

CCA: CENTRE FOR CONTEMPORARY ART, FROM 20:00, £15

BARROWLANDS, 19:00–23:00, £22

THE HUG AND PINT, FROM 19:30, £12

O2 ABC, FROM 19:00, £12

THE GARAGE GLASGOW, FROM 19:00, £7.50

CLYDE AUDITORIUM, FROM 19:00, £35

Contemporary country musician and regular fixture on the Billboard country singles chart.

After postponing their gig earlier this month, Britpoppers Cast play a new date at the O2.

THE HUG AND PINT, FROM 19:30, £10

BUSDRIVER (TUNER + BESSA + TUSCAN WHALE )

ASHESTOANGELS

DIERKS BENTLEY

Punkier than Daughter, more consistently driving than Soko and far more wintery than First Aid Kit, Londoner Eliza Shaddad will appease any cravings for haunting, passionate new songwriting.

Noel Gallagher and his new band of warriors tour in support of their latest LP Chasing Yesterday.

Brian Eno-endorsed instrumental noise rockers return with new stuff.

He’s more than his trumpet, this one. Massive prog house music peppered with brass.

Sun 24 Apr

Roots rockers Dave Alvin and Phil Alvin and the Guilty Ones (punchy!) return Glasgow in April touring their latest album, Lost Time.

There’s no support act, so get there for eight sharp if you’re keen to catch the whole thing.

Twin Heart are an alternative emo band from Ayrshire. You probably wouldn’t understand.

THREE TRAPPED TIGERS

TIMMY TRUMPET SWG3 GLASGOW, 22:00–02:00, £19.50 - £24.50

Indie rockers from hailing from bonny Belfast.

ALMA

ELECTRIC CIRCUS, 19:00–22:00, £6

Ambient, atmospheric soundscapes and soothing melodies.

HIDDEN DOOR FESTIVAL LAUNCH PARTY

ASSEMBLY ROXY, FROM 19:00, FREE

A vibrant and eclectic mix of arts and music at the Roxy to celebrate the launch of Hidden Door Festival, who have opted for the theme of ‘Electric City’ for this year’s event.

Fri 01 Apr

THE LONELY TOGETHER (AMY DUNCAN + ALAN R DAVISON)

ELECTRIC CIRCUS, 19:00–22:00, £7

An arresting alternative dreampop band hailing from Edinburgh play a local gig with support from Amy Duncan and Alan R Davidson.

HAPPYSAD

THE LIQUID ROOM, 19:00–22:00, £19

Indie rock, punk and reggae from a Polish four-piece who formed in 2001.

ILL FITTING THOUGHTS

THE MASH HOUSE, 19:00–22:00, £5

Blues alt-rockers Ill Fitting Thoughts launch their debut single Buskers at The Mash House.

BLOOD OR WHISKEY (NORMAN SILVER & THE GOLD + MATILDAS SCOUNDRELS + TARTAN HEATHER)

BANNERMANS, FROM 19:30, £10

Celtic Punk from Northern Irish shores.

Sat 02 Apr NATHAN CARTER

THE QUEEN’S HALL, FROM 19:30, £25

The Liverpool-born Irish singer tours with his band.

JACK GARRATT

THE LIQUID ROOM, FROM 19:00, £15

London-based singer/songwriter starting to rise up the ladder towards a meagre amount of fame.

QUIET AS A MOUSE (EARTHS + THE MINK STOLES)

ELECTRIC CIRCUS, 19:00–22:00, £7

Edinburgh based band Quiet as a Mouse formed in 2012, and will release their debut album in 2016.

The group’s live reputation has quickly grown, having supported Hinds, The Orwells, Palma Violets, Coasts and The Crookes.

BELLA & THE BEAR (OLLIE LEE)

SNEAKY PETE’S, 19:00–22:00, £5

Lovely acoustic duo offering warm musical storytelling with pleasing harmonies. Like a massage for the eardrums.

REBEL WESTERNS (E M I L I E + SWVLLOWS)

THE MASH HOUSE, 19:00–22:00, £5

Slinking, sun-soaked and uplifting, Rebel Westerns’ first release Honey Blood is bound to uplift.

OPIUM, FROM 20:00, £4 - £6

Sun 03 Apr DAN OWEN

Melodic, bluesy and lyrically insightful singer-songwriter.

JW JONES

BANNERMANS, FROM 19:30, £10

A Canadian Juno Award Nominated artist specialising in bluesy guitar sounds.

KIRSTEN ADAMSON (NOAH NOAH)

THE VOODOO ROOMS, FROM 19:30, £6

The best bits of Kate Bush and Debbie Harrie all rolled up in a rising star who’s visiting the Voodoo Rooms this April. Support from Noah Noah.

Mon 04 Apr RICK ASTLEY

THE QUEEN’S HALL, FROM 19:00, £29.50

Multi-million-selling singer, who once promised never to give you up (or let you down, run around and desert you, make you cry, say good bye or tell a lie and hurt you, while we’re on the subject), out touring his new album.

AKUA NARU

LA BELLE ANGELE, 19:00–22:00, £11 - £14

Hip-hop, spoken word and soul powerhouse Akua Naru stops by this spring.

NATHAN GRISDALE

ELECTRIC CIRCUS, 19:00–22:00, £10 - £30

A Preston-based pop artist whose voice sounds a little bit like a cross between Diana Vickers and Brendon Urie. Make of that what you will.

MEGALOMATIC

BANNERMANS, FROM 20:00, £6

A ‘Weegie rock band with a touch of prog to their timbre.

Tue 05 Apr HUNTER AND THE BEAR

ELECTRIC CIRCUS, 19:00–22:00, £10

Melody-rock driven four-piece Hunter & The Bear have supported many artists, most notably Eric Clapton on his 2014 UK Arena tour.

The band released their new EP Wildfire in July 2015.

APRIL TOWERS (POSABLE ACTION FIGURES + MAYHEGO)

SNEAKY PETE’S, 19:00–22:00, £5

Anthemic electronic pop duo who channel the essence of seminal Australian label Modular Records.

Wed 06 Apr ILAN VOLKOV + CKDH

THE SAFARI LOUNGE, 19:30–23:00, £5

Giant Tank has been servicing Edinburgh weirdos with experimental sounds since 2000. On this occasion they welcome Tectonics festival curator and former BBC Scottish Symphony Orchestra maestro Ilan Volkov to perform a one-off improvised duo with CKDH. CC SMUGGLERS

ELECTRIC CIRCUS, 19:00–22:00, £8

Folk band CC Smugglers are currently writing new music set for release early 2016 and are eager to hit the road with their brand new record. Catch them at the ‘leccy.

VLADIMIR (THE NEW FABIAN SOCIETY + THE DRAYNES + VISIONS OF ELLIE)

SNEAKY PETE’S, 19:00–22:00, £7

A return to Sneak’s for the menacing indie rock act who’re already a looming figure in the Dundee scene.

IDESTROY

BANNERMANS, FROM 20:00, £5

Bristolian trio of badass rockers named Bec, Becky and, er, Jen.

Thu 07 Apr

THE SWISS FAMILY ORBISON

THE CAVES, 19:00–22:00, £15.96

The Swiss Family Orbison return to the stage for the first time in over ten years, playing sweet pop goodness from their eponymous debut album of 1997, along with rare numbers from an unreleased second album.

CAST

THE LIQUID ROOM, 19:00–22:00, £20

After postponing their gig earlier this month, Britpoppers Cast play a new date at the O2.

CRAIG MCMORROWS (AARON WRIGHT + DARIO FERRANTE)

SNEAKY PETE’S, 19:00–22:00, £5

A night of master craftsman singer-songwriters.

THE SKINNY

Edinburgh Music FOREVER STILL BANNERMANS, FROM 19:30, £7

Four part powerhouse emo band from Copenhagen who’ll lull you into a false sense of security before screaming in your face.

DOGHOUSE ROSES (JOSEPH PARSONS DUO)

THE VOODOO ROOMS, FROM 19:30, £8

A double bill featuring Scotland’s own Doghouse Roses along with stateside talent Joseph Parsons duo, featuring Freddie Lubitz on guitar.

Fri 08 Apr SECTION BOYZ

ELECTRIC CIRCUS, 22:30–03:00, £12.50

English rap group based in South London.

RSNO DENÈVE RETURNS: THE AULD ALLIANCE

USHER HALL, FROM 19:30, £12 - £38

The Auld Alliance welcomes Stéphane Denève back into the Usher Hall for his first concert with the collective since he stood down as Music Director. Expect Debussy, MacMillan, Ravel, R Strauss and Ravel.

JACK & JACK

THE LIQUID ROOM, 19:00–22:00, £18

Known for their six second comedy sketches on Vine and chart hits, American pop duo Jack & Jack first gained recognition when their “Nerd Vandals” Vine went viral in 2013 and the HuffPost hailed it as the ‘the perfect Vine.’ An accolade indeed.

JUNEBUG (PEACKOCK MASSIVE)

SNEAKY PETE’S, 19:00–22:00, £6

Classic rock sounds from Glasgow.

GEORGIA GORDON (VISIONS OF ELLIE + THE CARVELLES + LYNDSEY CRAIG)

SNEAKY PETE’S, 19:00–22:00, £6

Raspy chilled rock vibes from Georgia Gordon performing tunes from album Prettiest Criminal.

EDINBURGH BLUES CLUB (PAUL LAMB AND THE KINGSNAKES + THE CHILLI DAWGS)

THE VOODOO ROOMS, FROM 19:15, £13

Regular blues club taking in touring blues acts from the UK and beyond.

DAVE GRANEY AND THE MISTLY

THE VOODOO ROOMS, FROM 19:30, £5 - £10

Melbourne-based Dave Graney heads to British shores alongside his current live band.

Sat 09 Apr THE CAT EMPIRE

THE QUEEN’S HALL, FROM 18:30, £25

The genre-busting Australian ensemble embark on their biggest world tour to date, blurring the line between hip-hop, jazz and reggae as only they know how.

TURRENTINE JONES

ELECTRIC CIRCUS, 19:00–22:00, £6

Described by Rolling Stone magazine as the ‘antithesis of mainstream music’, this Mancunian band has often been compared to Booker T. & the MG’s, and rather ironically, the Rolling Stones; blending blues, rock and pop into sinister but beguiling melodies.

PAT MCMANUS BAND

BANNERMANS, FROM 20:00, £12

Irish bluesy rock band featuring Pat McManus and his pals Marty and Paul who didn’t quite make it into the moniker.

DED RABBIT (EYES OF OTHERS + BLACK SPRING DJS + SNIDE RHYTHMS)

THE VOODOO ROOMS, FROM 19:30, £8 - £10

Band of brothers Ded Rabbit play an eclectic mix of indie and sax funk as part of Limbo’s Voodoo Rooms residency. Also featuring are Eyes of Others, Black Spring DJs and Snide Rhythms.

Sun 10 Apr GREGORY PORTER

FESTIVAL THEATRE, FROM 19:30, £30 - £40

Grammy award-winning singer absolutely owning the jazz-soul crossover zone.

FULKEN FOLK

THE BONGO CLUB, 23:00–03:00, £5 - £6

Mon 11 Apr

Sat 16 Apr

BANNERMANS, FROM 20:00, £6

LA BELLE ANGELE, 19:00–22:00, TBC

58 SHOTS

Classic rock all the way from Belfort.

Tue 12 Apr

VICTOR VILLAREAL (ATLAS:EMPIRE + COLLEGE) SNEAKY PETE’S, 19:00–22:00, £7.50

Victor has been seen as some sort of an enigma since he first started playing in a band called Cap’n Jazz. A protégée who creates melodic structures far beyond his own time.

TWISTING THE ORIGINALS

THE MASH HOUSE, 19:00–22:00, £5

Annie Hall, Kathryn Russell and Lianna Hamilton give a modern spin (literally) to a multi-genre spread of classics.

Wed 13 Apr 0

GANGSTARR FOUNDATION (JERU THE DAMAJA + BIG SHUG + AFU RA + DARKSOUL + TEKNIQUE + EL GREEN + JINX + MOG) ELECTRIC CIRCUS, 19:00–22:00, £14

Hip-hop legends Gangstarr Foundation hit the capital. The Foundation is a collective of East Coast MC’s all brought together by the epic duo Gangstarr.

Thu 14 Apr THE CARNABYS

ELECTRIC CIRCUS, 19:00–22:00, £6.50

The Carnabys are an explosive live band who honed their craft in pubs and clubs before going on to open for the likes of Bruce Springsteen, Kings of Leon, Lenny Kravitz, Black Crowes, Alabama Shakes and Blondie.

STANKLEY BRINKS (FRESHCHARD + MY PET LAD)

HENRY’S CELLAR BAR, FROM 19:30, £7

An evening of wry antifolk from the charismatic Stanley Brinks, with support from Freshcard and My Pet Lad. WILL ROBERT

SNEAKY PETE’S, 19:00–22:00, £8

A Cambridge singer with a unique percussive style of guitar playing, Will’s been getting regular play from Fearne Cotton, and will appeal greatly to those lucky people who caught Ben Howard’s show at Sneaky Pete’s.

SUGARMAN SAM & THE VOODOO MEN

BANNERMANS, FROM 20:00, £5

A blues-rock trio hailing from Hampshire.

Fri 15 Apr

HOLY MOLY AND THE CRACKERS (LO BIRD) ELECTRIC CIRCUS, 19:00–22:00, £6

A folk / punk band who play a ‘unique mash-up of folk/blues hoe-downs and French zazou in outlandish carnival style’.

BRIGHTR. + ANNA’S ANCHOR + A HOPELESS CAUSE

THE BANSHEE LABYRINTH, FROM 19:30, TBC

Acoustic emo gloom-pop from the south coast.

RSNO LAZAREV: CINDERELLA

USHER HALL, FROM 19:30, £11 - £38

A live rendition of Sergei Prokofiev’s magical ballet score as part of The Usher Hall’s anniversary cycle.

MARTIN TAYLOR & MARTIN SIMPSON

THE QUEEN’S HALL, FROM 20:00, £18.50

Award winning jazz guitarist Martin Taylor joins master of slide guitar Martin Simpson in an evening of fret-based fun.

CRASH CLUB (THE NICKAJACK MEN)

SNEAKY PETE’S, 19:00–22:00, £6

Electro rockers Crash Club headline Stereo as part of a run of shows promoting their new EP. LAURENCE JONES

THE MASH HOUSE, 19:00–22:00, £12.50

Laurence Jones, a blues-rocker from the land of Shakespeare brings his tunes to Edinburgh’s Mash Hoos.

AMERICAN HITMEN

BANNERMANS, FROM 19:30, £7

RECORD STORE DAY CELEBRATION

It’s the most wonderful time of the year – Record Store Day! Over 200 independent British record shops unite to celebrate their unique culture, and La Belle, in classic form, will be entertaining the crowds who come a-flocking to the capital. Huzzah!

STEVE IGNORANT’S SLICE OF LIFE

ELECTRIC CIRCUS, 19:00–22:00, £12.50

Former Crass frontman Steve Ignorant descends on Edinburgh for evening of songs and stories.

THE TOASTERS

CITRUS CLUB, FROM 19:30, £8 - £10

Longstanding ska ensemble formed in NYC by British frontman Rob ‘Bucket’ Hingley back in 1981.

JOHN MCCUSKER BAND: 25TH ANNIVERSARY TOUR

THE QUEEN’S HALL, FROM 19:30, £18

John McCusker celebrates 25 years as a professional musician in an extensive UK and European tour.

ANDY SHAUF + DAVID JAMES RITCHIE

THE MASH HOUSE, 19:00–03:00, £8

Storyteller and crooner of regrets and heartbreak Andy Shauf plays a joint show with Edinburghian singer-songwriter David James Ritchie.

RADICAL DANCE FACTION (BABYLON DUB PUNKS + RATS FROM A SINKING SHIP + TRIPWIRE DC)

BANNERMANS, FROM 19:30, £8 - £10

Dub punk unit RDF tour their April vinyl LP release Ammunition.

Mon 18 Apr

THE FUNKY KNUCKLES (THE MARK LETTIERI TRIO)

LA BELLE ANGELE, 19:00–22:00, £10 - £14

Dallas-based jazz-funk fusion band.

Tue 19 Apr

THE BRACKISH (HANS KLAMMER)

ELECTRIC CIRCUS, 19:00–22:00, £7

A thrillingly unique instrumental band featuring alumni of This is the Kit, Zun Zun Egui and The Liftmen.

At the core of the music are tight arrangements combined with improvisation, featuring interplay between two distinctive guitar voices.

AL SHIELDS (JOHN MCINTOSH)

SNEAKY PETE’S, 19:00–22:00, £6

With influences rooted in old-time country, folk and blues music, Al Shields has played with Peter Murphy, Joe Pug, Neal Casal, Red Sky July, and LA country rockers Dead Rock West.

ACEY SLADE

BANNERMANS, FROM 19:30, £10

Brooklyn-based ‘quazi glam’ artist tours new material.

Wed 20 Apr

AFRIKAN BOY (RANSOM FA)

ELECTRIC CIRCUS, 19:00–22:00, £8

It’s not often that you’d expect to find the bass-heavy sounds of urban London and the rhythmic beats of Nigeria sitting together on a track, but if there is one MC who’s not shying away from doing exactly that, then look no further than Afrikan Boy.

WRITTEN IN KINGS (PLAYING HOUSE + JOSH FUCHS) SNEAKY PETE’S, 19:00–22:00, £7

ELIZA SHADDAD (THE VIOLET KIND + LUNA DELIRIOUS) SNEAKY PETE’S, 19:00–22:00, £7

Punkier than Daughter, more consistently driving than Soko and far more wintery than First Aid Kit, Londoner Eliza Shaddad will appease any cravings for haunting, humane and intelligent new songwriting.

ZURICH

BANNERMANS, FROM 20:00, £5

Oxford pop-rock lot Zurich embark on their spring tour.

Fri 22 Apr

WIDE DAYS: ELLE EXXE + TONGUES

LA BELLE ANGELE, 20:00–22:00, FREE

Wide Days bring their showcase to La Belle for the first time, featuring sets from Tongues and Elle Exxe.

BLANCK MASS (SEVENDEATHS)

SNEAKY PETE’S, FROM 21:00, £10

HEY! HELLO!

Hey! Hello! is an international power pop band formed by British singer-songwriter Ginger Wildheart.

USHER HALL, FROM 15:00, £12 - £32

Celebrated pianist Melvyn Tan joins Bruckner Orchestra Linz for a Sunder afternoon of powerful Beethoven.

MATT KIVEL

SNEAKY PETE’S, 19:00–22:00, £6

LA based Matt Kivel conjures wonderfully layered and delicate folk that sews captivating storytelling to instrumental indulgence. For this album, he collaborated with Alasdair Roberts in his native Glasgow.

BLUETONES

DAN REED (THE KING LOT)

WYNNTOWN MARSHALS (DROPKICK)

THE VOODOO ROOMS, FROM 19:30, £10

Americana-styled Edinburgh lot with a penchant for guitars, catchy choruses and using music as a storytelling medium.

WIDE DAYS: BEST GIRL ATHLETE + BE CHARLOTTE

THE PLEASANCE, FROM 19:00, FREE

Scotland’s only existing musicbusiness convention. Pleasance will showcase Best Girl Athlete (AKA 16 year old Katie Buchanan) and rapper, beatboxer and general badass Be Charlotte.

Sat 23 Apr

SUPA & DA KRYPTONITES

LA BELLE ANGELE, 19:00–22:00, £6 - £8

Supa & Da Kryptonites bring the Edinburgh leg of their UK EP release tour to Cowgate. Turn up for hip-hop, funk, grime, soul and whatever’s found between.

MARTHA TILSTON

ELECTRIC CIRCUS, 19:00–22:00, £11

Critically acclaimed Martha Tilston and her band have played on some of the world’s most prestigious stages and festivals. Her new tour is a sparky union of folk, acoustic, trip-hop and electronica.

HALF FORMED THINGS (GAZE IS GHOST + CHRISSY BARNACLE)

WEE RED BAR, 19:00–22:00, £5

Cinematic pop three piece play their debut show at li’l Red with support from Northern Irish unit Gaze is Ghost and folk storyteller Chrissy Barnacle.

SCOTTISH CHAMBER ORCHESTRA: OLIVER KNUSSEN CONDUCTS MENDELSSOHN SYMPHONY NO 1

THE QUEEN’S HALL, FROM 19:30, £11 - £31.50

In a programme with impressive range, Oliver Knussen conducts Henze, Suckling, Britten and Mendelssohn with principle viola soloist Jane Atkins.

STEVIE CREED

THE LIQUID ROOM, 19:00–22:00, £10

Stevie Creed is a Scottish recording artist who’s often referred to as The Brooklyn Scotsman due to his affiliation with the New York borough.

All-day festival of new talent across several Edinburgh venues.

ELECTRIC CIRCUS, 19:00–22:00, £15

SUNDAY CLASSICS: BRUCKNER ORCHESTRA LINZ

BANNERMANS, FROM 19:00, £10

Portlander guitarist and singersongwriter Dan Reed plays a solo set.

BANNERMANS, FROM 19:30, £7

Thu 21 Apr

ELECTRIC CIRCUS, 19:00–22:00, £14

Anthemic punk power rock band Spear of Destiny were founded in 1983 by singer and songwriter Kirk Brandon.

Mon 25 Apr

BIG DISCOVERY FESTIVAL (SCHNARFF SCHNARFF + HUXTABLE + BENNY MONTEUX & THE BONES BRIGADE + THE ANGLES + KAPAULDIES’S GARAGE)

AMY LAVERE

SPEAR OF DESTINY

As one half of Fuck Buttons, Benjamin John Power has helped bring clattering electronica to the mainstream. In his solo guise of Blanck Mass, Power assembles similarly dense and sculpted soundscapes.

Driven by a thrive to perform live, Written In Kings have played in ma-hoosive venues in the the UK and beyond – they’ve even performed before a Rolling Stone.

Following the release of Runaway’s Diary, Memphis based chanteuse Amy Lavere swings by Bannerman’s for a wee set.

Sun 24 Apr

SNEAKY PETE’S, 19:00–22:00, £12

THE BIG DISCOVERY

THE MASH HOUSE, 14:30–22:00, £17

A new city music festival taking place across various venues within Edinburgh. This year’s venues include The Mash House, Cabaret Voltaire and Sneaky Pete’s.

THE BAD TOUCH (GANGS)

THE VOODOO ROOMS, FROM 19:30, £6

A brand new alt-sleaze five piece who sprouted from local soul.

Live folk from Àdhamh Ó Broin and the The Shipwreck Rats, and a set from Buff Club resident Gordie Holliday to round off the night.

A rock band from Utah featuring none other than Tim ‘Two Guns’ Cord, Dan ‘Hitman’ Cord, Phil ‘The Thrill’ Snyder and Dave Briggs.

Guess Dave wasn’t in the mood for nicknames.

April 2016

Find full listings at theskinny.co.uk/whats-on

SUSAN TOMES SOLO PIANO RECITAL

THE QUEEN’S HALL, FROM 19:30, £5 - £20

Multi award-winning pianist Susan Tomes indulges Queen’s Hall audiences in an evening of Haydn, Schumann, Debussy, Gyorgy Ligeti and Billy Mayeri.

THE LIQUID ROOM, 19:00–22:00, £21

A band who swooped into the music scene just as the Britpop boom began its retreat, Mark Morriss and the boys continue to go from strength to strength.

Tue 26 Apr STEVE MASON

THE LIQUID ROOM, 19:00–22:00, £20

The Beta Band frontman plays a solo set, still riding high on his early 2013 LP Monkey Minds in the Devil’s Time – a catalytic call-toarms with a mantric message sure to get the blood a-pumping.

EXMAGICIAN (THIRTY THREE CONNECTION + ACE ELEMENTARY)

SNEAKY PETE’S, 19:00–22:00, £6

Multi-era psychedelia, with flangey synth and lazy garage vocals; truly suited to a hair-inthe-wind road trip.

Wed 27 Apr

BENJAMIN FRANCIS LEFTWICH

ELECTRIC CIRCUS, 19:00–22:00, £12

Citing Arcade Fire, Ryan Adams, and Bruce Springsteen as his inspirations, BFL’s known for his hearty, wistful acoustics and rounded melancholy. Catch him East-side this April.

MOLOTOV JUKEBOX ELECTRIC CIRCUS, 19:00–22:00, £12

In-yer-face London six-piece with a totally original, wonderfully colourful sound and style. They’ve spent a year touring the UK and Europe following the release of debut album Carnival Flower, so see them on the central belt while you can.

BARE KNUCKLE PARADE

HENRY’S CELLAR BAR, FROM 19:30, £6

A band of five indie folk-rockers from the cobbled streets of Bath who refer to themselves as ‘sweat drenched, beer soaked pandemonium’.

RSNO STRAVINSKY’S SYMPHONY IN C

USHER HALL, FROM 19:30, £12 - £38

Thomas Søndergård conducts an evening of Schubert and Stravinsky as part of Usher Hall’s anniversary season.

SCOTTISH NATIONAL JAZZ ORCHESTRA: DAVE BRUBECK TIME OUT

THE LIQUID ROOM, 19:00–22:00, £12

PINACT (SWEATY PALMS + FACIAL SLURS)

SNEAKY PETE’S, 19:00–22:00, £5

Sat 02 Apr COLLAPSE

BEAT GENERATOR LIVE!, FROM 19:00, £7

London based metal makers being their UK tour to Dundee’s Beat Generator.

Fri 15 Apr

SPIKE & EFFIE’S BIRTHDAY GIG (THE UNROMANTICS + LESS THAN SOBER + VERTIGLOW)

Often referred to as the Polish Rolling Stones, Lady Pank is one of the more recognisable Polish rock bands in musical history, with over twenty albums and hundreds of singles since 1981.

MOULETTES

THE MASH HOUSE, 19:00–22:00, £14

Moulettes are a British band of multi-instrumentalists influenced

by Björk, Frank Zappa and Gentle Giant.

EDINBURGH BLUES CLUB (GERRY JABLONSKI AND THE ELECTRIC BAND + THE ANDY TAYLOR GROUP)

THE VOODOO ROOMS, FROM 19:30, £13

Regular blues club taking in touring blues acts from the UK and beyond.

RORY MCLEOD AND THE FAMILIAR STRANGERS

THE VOODOO ROOMS, FROM 19:00, £12

Travelling troubadour, circus drop-out, soulful storyteller and toe-tappin’ harmonica steward who, by the looks of things, looks set to reset your spirit with percussive miscellany, too. We won’t complain.

Sat 30 Apr

Country pop ensemble led by Jessica Clemmons, out on their first headline tour.

Alt rock veterans The Filthy Tongues stop by for set at the O2.

Sat 16 Apr

THE CARNABYS (THE NSA)

BEAT GENERATOR LIVE!, FROM 20:00, £5

An explosive live band who honed their craft in pubs and clubs before going on to open for the likes of Bruce Springsteen, Kings of Leon, Lenny Kravitz, Black Crowes, Alabama Shakes and Blondie.

Fri 22 Apr

SPEAR OF DESTINY (THE CHERRY BOMBZ)

THE VOODOO ROOMS, FROM 19:30, £10

DEREK RYAN

THE GARDYNE THEATRE, FROM 19:30, £10.75 - £19

Derek’s ‘One Good Night’ concert tour includes a mix of old favourites, classic country and Derek’s own original material.

Dance, chart and remixes in the main hall with Craig Guild, while DJ Nicola Walker keeps things nostalgic in G2 with flashback bangers galore.

Sat 02 Apr NU SKOOL

BUFF CLUB, 23:00–03:00, £6 - £7

Nick Peacock spins a Saturdayready selection of vintage disco, soul and funk.

CATHOUSE SATURDAYS

CATHOUSE, FROM 22:30, £5 - £6

THE ROCK SHOP

MAGGIE MAY’S, 22:00–03:00, £3 - £5

COLOURS (WILL SPARKS)

O2 ACADEMY GLASGOW, 21:00–03:00, £23.50

Late night Colours show for award winning Australian DJ Will Sparks.

TROPICAL

NICE ‘N’ SLEAZY, 23:30–03:00, £0 - £3

Eclectic, diverse and dancefloororientated beats.

Glasgow Clubs

LET’S GO BACK… WAY BACK (BOSCO + ROB MASON) LA CHEETAH CLUB, 23:00–03:00, £5 - £7

Old Skool House, acid, hip-hop and rave just like it was back in the day.

NIDIA MINAJ (CLEOSLAPTRA + DJ TABAKO)

THE ART SCHOOL, 23:00–03:00, £5 - £7

Thu 31 Mar JELLY BABY

O2 ABC, 23:00–03:00, £5

Thursday nighter of chart, disco and party tunes. Can’t say fairer.

Fri 01 Apr OLD SKOOL

Expect rhythmic hypnosis, psychedelic synth digression and pulverising genres moulded into one danceworthy, brain-spinning conglomerate.

MODIFIER (SILICONE SOUL + LAVALAVA + NOFACE.)

THE FLYING DUCK, 23:00–03:00, £5 - £7

Connoisseur’s mix of old-school jazz, funk and soul for your jivin’ pleasure.

Home grown electronica act Modifier launch their new single Eko with the help of Silicone Soul, Lavalava and Noface.

O2 ABC, 23:00–03:00, £4

STEREO, FROM 23:00, TBC

BUFF CLUB, 23:00–03:00, £6 - £7

PROPAGANDA

CATHOUSE FRIDAYS

CATHOUSE, FROM 22:30, £5 - £6

JAMMING FRIDAYS

MAGGIE MAY’S, 22:00–03:00, £3 - £5

Indie rock’n’roll from the 60s to 00s with resident tune-picker DJ Jopez.

HARSH TUG

NICE ‘N’ SLEAZY, 23:30–03:00, £0 - £3

Fri 29 Apr SUMMERHALL, FROM 20:00, £10 - £12

LA CHEETAH CLUB, 23:00–03:00, £10 - £14

Finger-lickin’ folk for your delectation from American artist Kath Bloom.

FRESH BEAT

Sat 23 Apr

Hip-hop and gangsta rap brought to you by the Notorious B.A.G and pals.

KATH BLOOM

SYCOPHANTASY

THE FLYING DUCK, 21:00–03:00, £3

Rock, indie and golden indie classics with resident DJ Paddy.

Anthemic punk power rock band Spear of Destiny were founded in 1983 by singer and songwriter Kirk Brandon.

BANNERMANS, FROM 19:30, TBC

South Carolina native Nikki Lane grips sixties Americana country and coolly yanks it into 2016. See it live in the Voodoo Rooms this spring.

THE ART SCHOOL, 23:00–03:00, £4 - £5

After commencing their debut clubnight in 2014, SYS celebate two whole years of revelrous existence. This just in: there may be balloons.

Or Caturdays, if you will. Two levels of the loudest, maddest music the DJs can muster; metal, rock and alt on floor one, and punky screamo upstairs.

Screamy, shouty, post-hardcore madness to help you shake off the week’s stressors in true punk style.

NIKKI LANE

SHOOT YOUR SHOT: SECOND BIRTHDAY BLOW-OUT (CUTMASTER COSMO + SHANE & GREENMAN + BON BON)

BEAT GENERATOR LIVE!, FROM 20:00, £12

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like.

The four rockers bring new album Murder At The Gin House to Bannerman’s with support.

SWG3 GLASGOW, 22:00–03:00, TBC

Notsosilent helps Philanthrobeats celebrate its fourth birthday by enlisting the Detroit talent that is DJ Rolando.

THE GARAGE GLASGOW, FROM 23:00, £3 - £6

Imagine the fruits of The Vaselines listening to Lightning Bolt and you’re halfway there. An intensely chaotic sound that wraps sheer pop song writing in Melvins-esque fuzz; a kiss and a punch.

THE BURNING CROWS (THE TOI + SHOCK! HAZARD)

PHILANTHROBEATS 4TH BIRTHDAY (DJ ROLANDO)

THE FILTHY TONGUES

SNEAKY PETE’S, 19:00–22:00, £8

JESS AND THE BANDITS

Student-friendly Friday night party, playing ? as one might expect – cheesy classics of every hue.

Glasgow based selector and producer Sycophantasy – AKA Catriona Reilly – spins up a treat in Flying Duck’s basement as part of their new rotation of underground DJ talent.

SKATERS

ELECTRIC CIRCUS, FROM 19:00, £11

WTF FRIDAYS SHED, 22:30–02:00, £0 - £6

BUSKERS, FROM 19:00, TBC

BEAT GENERATOR LIVE!, FROM 20:00, £9

LADY PANK

Mon 02 May

The Cuban Brothers are a unique entertainment proposition. Born of the loins of seventies Havana, nurtured on a diet of soulful, sexy tunes and inspired by the beats and breaks of a thousand B Boys - they combine music, comedy dancing.

Ayakara launch latest single ‘Soothe Ya’ with support coming from various artists.

THE LIQUID ROOM, 19:00–22:00, FREE

SUMMERHALL, FROM 20:00, £12

CUBAN BROTHERS

AYAKARA

BEAT GENERATOR LIVE!, 19:00–22:00, £6

A specially commissioned arrangement of Dave Brubeck’s works by respected composer Bill Dobbins.

THE QUEEN’S HALL, FROM 19:30, £0 £22.50

Thu 28 Apr

A fully female, fuzzy pop-punk rock band hailing from Osaka, with support from Bruja and Teen Canteen.

Thu 31 Mar

A birthday celebration gig featuring Spike & Effie’s own indie-rock’n’roll band The Unromantics, along with support from melodic pop band Less Than Sober and Dundonian trio Vertiglow.

Plasma punk brilliance from NYC sitting somewhere between Ariel Pink and The Libertines.

SHONEN KNIFE (BRUJA)

Dundee Music

MISSING PERSONS CLUB (BEN SIMS)

A rare opportunity to catch one of the techno heavyweights in the intimate surroundings.

JOHNNY KAOS

High energy techno-house artist Johnny Kaos returns to Glasgow following the February release of his Elevation EP. I LOVE GARAGE

THE GARAGE GLASGOW, FROM 23:00, £5 - £7

Garage by name, but not by musical nature. DJ Darren Donnelly carousels through chart, dance and classics, the Desperados bar is filled with funk and G2 keeps things urban and the Attic gets all indie on you.

LOVE MUSIC: MAGIC NOSTALGIC

O2 ABC, 23:00–03:00, £5

Saturday night disco manned by your man Gerry Lyons and guests.

Sun 03 Apr SUNDAY SCIENCE

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

As scientific as a club filled with tipsy Sunday night partiers can get, really. LED lights, glow in the dark wands, ‘Science’ cocktails and cannons. Unlikely to instigate any eureka moments, but it’ll do.

Listings

57

Glasgow Clubs WAZOURÚ (JOHN SANDBLOM + STOI)

JAMMING FRIDAYS

NICE ‘N’ SLEAZY, 23:30–03:00, £0 - £3

MAGGIE MAY’S, 22:00–03:00, £3 - £5

Big name in the Glasgow techno scene John Sandblom (AKA Signalement) takes a night out from being a resident DJ for Philanthrobreats, playing Sleazy’s alongside Stoi, creator of minimal and dubby techno.

Mon 04 Apr BURN

BUFF CLUB, 23:00–03:00, £0 - £5

Long-running trade night with Normski and Mash spinning the disco beats.

BARE MONDAYS

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

Lasers, bouncy castles and DJ Gav Somerville spinning out teasers and pleasers.

Tue 05 Apr KILLER KITSCH

BUFF CLUB, 23:00–03:00, £3 - £5

Eclectic midweeker playing the best in house, techno and electronic – or, in their words ‘casually ignoring shite requests since 2005.’

EILIDH MCMILLAN

NICE ‘N’ SLEAZY, 23:30–03:00, TBC

Breakfast Muffer Eilidh McMillan brings punk, rock and post disco to the table at Sleazy’s. #TAG TUESDAYS

THE GARAGE GLASGOW, FROM 23:00, £0 - £4

Indoor hot tubs, inflatables as far as the eye can see and a Twitter feed dedicated to validating your drunk-eyed existence. Millennials, eh?

Thu 07 Apr HIP HOP THURSDAYS

BUFF CLUB, 23:00–03:00, £3 - £5

Euan Neilson plays the best in classic r’n’b and hip-hop.

JELLY BABY

O2 ABC, 23:00–03:00, £6

Thursday nighter of chart, disco and party tunes. Can’t say fairer.

PVC

THE ART SCHOOL, 23:00–03:00, FREE

All-new Thursday nighter playing r’n’b, pop, hip-hop and more, plus live dance and performance.

UNHOLY

CATHOUSE, FROM 23:00, £2 - £4

Indie rock’n’roll from the 60s to 00s with resident tune-picker DJ Jopez WTF FRIDAYS

SHED, 22:30–02:00, £0 - £6

Student-friendly Friday night party, playing – as one might expect – cheesy classics of every hue.

HELENA HAUFF + LORY D (HELENA HAUFF + LORY D)

LA CHEETAH CLUB, 23:00–04:00, £10 - £12

Golden Pudel resident Helena Hauff plays La Cheetah along with techno extraordinaire Lory D. DON’T DROP (ANDHIM)

SWG3 GLASGOW, 20:00–02:00, £2 - £15

SWG3’s Don’t Drop welcomes duo Andhim for a night of super-house.

Support comes from Don’t Drop mainstays McEwan & Torrance, and visuals will be supplied by VJ Planet Arm. DEVIATION (BENJI B + GILA + BAKE)

THE ART SCHOOL, 23:00–03:00, £8

Freaky Freaky excitedly welcome Benji B’s seminal club night, Deviation to GSA’s party HQ after long, long last.

FRESH BEAT

THE GARAGE GLASGOW, FROM 23:00, £3 - £6

Dance, chart and remixes in the main hall with Craig Guild, while DJ Nicola Walker keeps things nostalgic in G2 with flashback bangers galore.

Sat 09 Apr NU SKOOL

BUFF CLUB, 23:00–03:00, £6 - £7

Nick Peacock spins a Saturdayready selection of vintage disco, soul and funk.

CATHOUSE SATURDAYS

CATHOUSE, FROM 22:30, £5 - £6

Or Caturdays, if you will. Two levels of the loudest, maddest music the DJs can muster; metal, rock and alt on floor one, and punky screamo upstairs.

THE ROCK SHOP

MAGGIE MAY’S, 22:00–03:00, £3 - £5

Rock, indie and golden indie classics with resident DJ Paddy.

WE SHOULD HANG OUT MORE (HARVEY SUTHERLAND)

LA CHEETAH CLUB, 23:00–03:00, £8 - £12

Cathouse’s Thursday night rock, metal and punk mashup.

La Cheetah welcomes Australian soul-house pioneer Harvey Sutherland.

SUB CLUB, 23:00–03:00, £5

THE BERKELEY SUITE, FROM 23:00, £8

OH-141 (AVALON EMERSON + RYAN MARTIN)

Club night from Glasgow based collective OH-141 who’re striving for equality in electro by showcasing up-and-coming artists and labels from near and far.

WALK N SKANK ( MUNGO’S HI FI + EVA LAZARUS)

THE BERKELEY SUITE, 23:00–03:00, £3 - £5

The full Reggae Roast lineup pack into the Berkeley Suite, including sets from label champions Vibration Lab, Clifford Jr and Adam Prescott.

THIRSTY

THE FLYING DUCK, 19:00–03:00, £6

Experimental eight hour allnighter, showcasing various noise, screams, art performance, Lydia Lunch-collaboratin’, esoteric vinyl slab rinsin’ and general madness from across the UK.

Fri 08 Apr OLD SKOOL

BUFF CLUB, 23:00–03:00, £6 - £7

Connoisseur’s mix of old-school jazz, funk and soul for your jivin’ pleasure.

PROPAGANDA

O2 ABC, 23:00–03:00, £4

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like.

CATHOUSE FRIDAYS

CATHOUSE, FROM 22:30, £5 - £6

Screamy, shouty, post-hardcore madness to help you shake off the week’s stressors in true punk style.

58

Listings

IVAN SMAGGHE

The French composer and producer plays a headline set alongside Yellow Door’s Paul Dey.

APACHE’S BIRTHDAY STOMP (MA BLA + TECHNOFERYERHEID + AJAY C + FOXTROT) AUDIO, 23:00–03:00, £5

Apache have thrown seven parties since their March 2015 launch and have decided to throw their eighth edition and first birthday in true off-yer-nut style; by inviting some bright’n’shiny underground talent into the Audio booth.

SUBCULTURE (LORD OF THE ISLES)

SUB CLUB, 23:00–03:00, £10

Subbie’s long-running house night invites Scottish producer, remixer and Nautilus Rising debutant Lord of The Isles to man the decks.

I LOVE GARAGE

THE GARAGE GLASGOW, FROM 23:00, £5 - £7

Garage by name, but not by musical nature. DJ Darren Donnelly carousels through chart, dance and classics, the Desperados bar is filled with funk and G2 keeps things urban and the Attic gets all indie on you.

LOVE MUSIC: ULTIMATE POWER

O2 ABC, 23:00–03:00, £5

Saturday night disco manned by your man Gerry Lyons and guests.

Sun 10 Apr SUNDAY SCIENCE

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

As scientific as a club filled with tipsy Sunday night partiers can get, really. LED lights, glow in the dark wands, ‘Science’ cocktails and cannons. Unlikely to instigate any eureka moments, but it’ll do.

BUZZCUT CLOSING PARTY THE ART SCHOOL, 22:30–03:00, DONATION

Glasgow’s by-donation arts festival Buzzcut wraps up proceedings with a big old shindig at the Art School. Fitting, really.

Mon 11 Apr BURN

BUFF CLUB, 23:00–03:00, £0 - £5

Long-running trade night with Normski and Mash spinning the disco beats.

GRANDMASTER CASH LAUNCH PARTY (BUSHIDO + T_A_M + TOO MUCH HYPE) THE ART SCHOOL, 23:00–03:00, £3 - £5

Astral Black host a launch party for their latest dancehall-infused release from Glasgow club producer, Bushido. Along for the ride are T_A_M and local DJ collective Too Much Hype.

PAUL THOMSON: ULTIMATE OUTER SPACE PARTY

NICE ‘N’ SLEAZY, 23:30–03:00, £0 - £3

An ultimate outsider party peaturing Paul Thomson of Franz Ferdinand.

NO RAVE #1 (ALEX SMOKE)

STEREO, FROM 23:00, £8 - £12

Tue 12 Apr

Soundscape crafter and techno artist Alex Smoke features as part of No Rave’s participatory club night, a project which seeks to create collective memories of rave nights. Expect holograms, roleplaying and unexpected narratives alongside your tunes.

BUFF CLUB, 23:00–03:00, £3 - £5

Sat 16 Apr

BARE MONDAYS

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

Lasers, bouncy castles and DJ Gav Somerville spinning out teasers and pleasers.

KILLER KITSCH

Eclectic midweeker playing the best in house, techno and electronic – or, in their words ‘casually ignoring shite requests since 2005.’

COMMON PEOPLE

THE FLYING DUCK, 21:00–03:00, FREE

Coupl’a hours of bingo followed by a 90s disco. What’s not to like? Get your dabber ready. #TAG TUESDAYS

THE GARAGE GLASGOW, FROM 23:00, £0 - £4

Indoor hot tubs, inflatables as far as the eye can see and a Twitter feed dedicated to validating your drunk-eyed existence. Millennials, eh?

Thu 14 Apr HIP HOP THURSDAYS

BUFF CLUB, 23:00–03:00, £3 - £5

Euan Neilson plays the best in classic r’n’b and hip-hop.

JELLY BABY

O2 ABC, 23:00–03:00, £6

Thursday nighter of chart, disco and party tunes. Can’t say fairer.

DARK PARTIALS PROJECT

NICE ‘N’ SLEAZY, 23:30–03:00, FREE

Mixed bag of house and techno obscurities.

PVC

THE ART SCHOOL, 23:00–03:00, FREE

All-new Thursday nighter playing r’n’b, pop, hip-hop and more, plus live dance and performance.

WALK N SKANK (HIGH PUBLIC FT. JR TOASTER + MUNGO’S HI FI )

THE BERKELEY SUITE, 23:00–03:00, £3 - £5

The full Reggae Roast lineup pack into the Berkeley Suite, including sets from label champions Vibration Lab, Clifford Jr and Adam Prescott.

SHOW: PATRICK TOPPING (THEO KOTTIS )

NU SKOOL

BUFF CLUB, 23:00–03:00, £6 - £7

Nick Peacock spins a Saturdayready selection of vintage disco, soul and funk.

CATHOUSE SATURDAYS

CATHOUSE, FROM 22:30, £5 - £6

Or Caturdays, if you will. Two levels of the loudest, maddest music the DJs can muster; metal, rock and alt on floor one, and punky screamo upstairs.

THE ROCK SHOP

MAGGIE MAY’S, 22:00–03:00, £3 - £5

Rock, indie and golden indie classics with resident DJ Paddy.

SUBCULTURE (DJ HARVEY)

SUB CLUB, 23:00–03:00, £18

Harri and Domenic enlist DJ Harvey for a slice of the Sub selecting action. It’s his second visit since the turn of the century, so expect a bloodbath in pursuit of tickets.

SHOOT YOUR SHOT

THE ART SCHOOL, 23:00–03:00, £4 - £5

SYS continue their regular-irregular-semi-regular-oh-whatever slot at the Art School, with visuals courtesy of Mango Bomato.

SLEAZE (LEWIS FAUTZI + HAND BOUFFMHYRE + LEX GORRIE + FRAZIER + NICK MCPHEAT)

LA CHEETAH CLUB, 23:00–03:00, £5 - £10

Sleaze return for an evening of no nonense techno, inviting Portugese techno talent Lewis Fautz to join the revelry.

LANCE VANCE DANCE

NICE ‘N’ SLEAZY, 23:30–03:00, £0 - £3

Red-hued adventure travelling through 70s funk, motown and 80s r’n’b, highlighted with glorious rays of disco sunshine. Or summat.

DO NOT SLEEP (DARIUS SYROSSIAN + HECTOR COUTO + JOSH BUTLER + LAUREN LANE) SWG3 GLASGOW, 21:00–02:00, £19.50

Mon 18 Apr BURN

BUFF CLUB, 23:00–03:00, £0 - £5

Long-running trade night with Normski and Mash spinning the disco beats.

BARE MONDAYS

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

Lasers, bouncy castles and DJ Gav Somerville spinning out teasers and pleasers.

Tue 19 Apr KILLER KITSCH

BUFF CLUB, 23:00–03:00, £3 - £5

Eclectic midweeker playing the best in house, techno and electronic – or, in their words ‘casually ignoring shite requests since 2005.’

JCDX (QUNQ)

BLOC+, FROM 21:00, FREE

Nottingham noisemakers JCDX (also known as JC Decaux) make their way to Glasgow’s Bloc to share an eve of soaring riffs, experimental rock and exhausting atmosphere. They will be joined by LA rockers QunQ. #TAG TUESDAYS

THE GARAGE GLASGOW, FROM 23:00, £0 - £4

Indoor hot tubs, inflatables as far as the eye can see and a Twitter feed dedicated to validating your drunk-eyed existence. Millennials, eh?

Wed 20 Apr NOT MOVING

NICE ‘N’ SLEAZY, 23:30–03:00, FREE

South African house, grime, jungle, r’n’b and hauntology – a tropical mix, ayes – from yer wumman Laurie Pitt.

Thu 21 Apr HIP HOP THURSDAYS

BUFF CLUB, 23:00–03:00, £3 - £5

Euan Neilson plays the best in classic r’n’b and hip-hop.

O2 ABC, 23:00–03:00, £4

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like.

CATHOUSE FRIDAYS

CATHOUSE, FROM 22:30, £5 - £6

Screamy, shouty, post-hardcore madness to help you shake off the week’s stressors in true punk style.

JAMMING FRIDAYS

MAGGIE MAY’S, 22:00–03:00, £3 - £5

Indie rock’n’roll from the 60s to 00s with resident tune-picker DJ Jopez

PARTIAL X KUNST (INTERGALACTIC GARY)

LA CHEETAH CLUB, 23:00–03:00, £5 - £7

Intergalactic Gary – The Hague’s finest, and an integral part of the Dutch west coast scene. His music spans across the decades, ranging from dark weirdo new wave and disco rarities to harsh rolling electro and italo classics.

Garage by name, but not by musical nature. DJ Darren Donnelly carousels through chart, dance and classics, the Desperados bar is filled with funk and G2 keeps things urban and the Attic gets all indie on you.

LOVE MUSIC: NOWT BUT NORTH

O2 ABC, 23:00–03:00, £5

Saturday night disco manned by your man Gerry Lyons and guests.

Sun 17 Apr SUNDAY SCIENCE

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

As scientific as a club filled with tipsy Sunday night partiers can get, really. LED lights, glow in the dark wands, ‘Science’ cocktails and cannons. Unlikely to instigate any eureka moments, but it’ll do.

Sat 23 Apr NU SKOOL

BUFF CLUB, 23:00–03:00, £6 - £7

Nick Peacock spins a Saturdayready selection of vintage disco, soul and funk.

CATHOUSE SATURDAYS

CATHOUSE, FROM 22:30, £5 - £6

I LOVE GARAGE THE GARAGE GLASGOW, FROM 23:00, £5 - £7

Hex chuck on a special residents’ party.

JELLY BABY

O2 ABC, 23:00–03:00, £6

Thursday nighter of chart, disco and party tunes. Can’t say fairer.

PVC

THE ART SCHOOL, 23:00–03:00, FREE

All-new Thursday nighter playing r’n’b, pop, hip-hop and more, plus live dance and performance.

UNHOLY

CATHOUSE, FROM 23:00, £2 - £4

Cathouse’s Thursday night rock, metal and punk mashup.

DOMESTIC EXILE

Gone are the days of So Weit So Gut. Witness the birth of something new.

Fri 29 Apr Connoisseur’s mix of old-school jazz, funk and soul for your jivin’ pleasure.

PROPAGANDA

O2 ABC, 23:00–03:00, £4

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like.

CATHOUSE FRIDAYS

Screamy, shouty, post-hardcore madness to help you shake off the week’s stressors in true punk style.

O2 ABC, 23:00–03:00, £5

LA CHEETAH CLUB, 23:00–03:00, FREE

Saturday night disco manned by your man Gerry Lyons and guests.

HAVEN (A1 BASSLINE)

LA CHEETAH CLUB, FROM 23:00, TBC

House and techno selected by A1 Bassline (Food Music/Pets Recordings). Support comes from residents, Conor and Stu. THE LVLZ SYNDICATE

THE ART SCHOOL, 23:00–03:00, £3 - £5

THE YELLOW MOVEMENT CLUB

I LOVE GARAGE

CATHOUSE, FROM 22:30, £5 - £6

EZUP (PEARSON SOUND)

A three hour set from Hessle Audio’s Pearson Sound. Sure bet to be a masterclass in dancefloor tune selection.

DJ EZ

SWG3 GLASGOW, 22:00–03:00, £18 - £20

Electric Frog limber up for a big night in SWG3’s TV Studio with DJ EZ, an artist whose following regard him as one of the true pioneers of garage.

An italo flavoured disco in Sleazy’s; the prime environment for celebrating your lovely life.

Sat 30 Apr

UNHOLY

Fri 22 Apr OLD SKOOL

PROPAGANDA

O2 ABC, 23:00–03:00, £4

CATHOUSE FRIDAYS

CATHOUSE, FROM 22:30, £5 - £6

Screamy, shouty, post-hardcore madness to help you shake off the week’s stressors in true punk style.

JAMMING FRIDAYS

MAGGIE MAY’S, 22:00–03:00, £3 - £5

Indie rock’n’roll from the 60s to 00s with resident tune-picker DJ Jopez GLITTERBANG

NICE ‘N’ SLEAZY, 23:30–03:00, £0 - £3

Exactly what it says on its sparkly tin - a dazzling night of disco Europop.

WTF FRIDAYS

SHED, 22:30–02:00, £0 - £6

Student-friendly Friday night party, playing – as one might expect – cheesy classics of every hue.

As scientific as a club filled with tipsy Sunday night partiers can get, really. LED lights, glow in the dark wands, ‘Science’ cocktails and cannons. Unlikely to instigate any eureka moments, but it’ll do.

Mon 25 Apr BURN

BUFF CLUB, 23:00–03:00, £0 - £5

Long-running trade night with Normski and Mash spinning the disco beats.

BARE MONDAYS

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

Lasers, bouncy castles and DJ Gav Somerville spinning out teasers and pleasers.

Tue 26 Apr KILLER KITSCH

BUFF CLUB, 23:00–03:00, £3 - £5

Eclectic midweeker playing the best in house, techno and electronic – or, in their words ‘casually ignoring shite requests since 2005.’ #TAG TUESDAYS

THE GARAGE GLASGOW, FROM 23:00, £0 - £4

Indoor hot tubs, inflatables as far as the eye can see and a Twitter feed dedicated to validating your drunk-eyed existence. Millennials, eh?

Thu 28 Apr HIP HOP THURSDAYS

BUFF CLUB, 23:00–03:00, £3 - £5

Euan Neilson plays the best in classic r’n’b and hip-hop.

I LOVE HIP HOP

THE BONGO CLUB, 23:00–03:00, £3

Weekly selection of hip-hop classics and brand-new classics to be.

TRASH

THE HIVE, 22:00–03:00, FREE

Alternative Tuesday anthems cherrypicked from genres of rock, indie, punk, retro and more.

HEY QT!

WEE RED BAR, 22:30–03:00, £3

Sweaty dance disco for queer folk and their pals.

Wed 30 Mar COOKIE

THE HIVE, 22:00–03:00, FREE

Resident midweek student rammy of chart, club and electro hits.

WITNESS (ROSS BLACKWAX + FAULT LINES + SKILLIS + SQUELCHY)

SNEAKY PETE’S, 23:00–03:00, £0 - £2

House, garage and bass adventures with Blackwax and Faultlines.

TRIBE

THE LIQUID ROOM, 22:30–03:00, £5 - £6

OSIUM

NICE ‘N’ SLEAZY, 23:30–03:00, £0 - £3

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

CATHOUSE, FROM 23:00, £2 - £4

Tue 29 Mar

Midweek fun night playing soul, funk, jazz, ska, disco and more.

Student-friendly Friday night party, playing – as one might expect – cheesy classics of every hue.

Sun 24 Apr SUNDAY SCIENCE

Edinburgh Clubs

A student focused midweek club, complete with fully heated beer garden and some of the city’s top DJ talent.

WTF FRIDAYS

THE ART SCHOOL, 23:00–03:00, FREE

All-new Thursday nighter playing r’n’b, pop, hip-hop and more, plus live dance and performance.

A top quality vinyl mix of classic and rare 60s and 70s psych, soul, freakbeat, ska and funk, dug deep from Andrew Divine’s vinyl archives.

SHED, 22:30–02:00, £0 - £6

Dance, chart and remixes in the main hall with Craig Guild, while DJ Nicola Walker keeps things nostalgic in G2 with flashback bangers galore.

PVC

DIVINE

THE ADMIRAL, FROM 23:00, £5 - £7

OLD SKOOL

BUFF CLUB, 23:00–03:00, £6 - £7

Or Caturdays, if you will. Two levels of the loudest, maddest music the DJs can muster; metal, rock and alt on floor one, and punky screamo upstairs.

LOVE MUSIC (NOWT BUT NORTH)

Garage by name, but not by musical nature. DJ Darren Donnelly carousels through chart, dance and classics, the Desperados bar is filled with funk and G2 keeps things urban and the Attic gets all indie on you.

NICE ‘N’ SLEAZY, 23:30–03:00, FREE

La Cheetah welcomes their guest of the month Luca Lozano. His releases on Sex Tags UFO, Optimo Trax, Crème Organisation and many more labels besides read like a list of house music triumphs.

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like.

I LOVE GARAGE

Dance, chart and remixes in the main hall with Craig Guild, while DJ Nicola Walker keeps things nostalgic in G2 with flashback bangers galore.

HEX LA CHEETAH CLUB, 23:00–03:00, £0 - £5

Garage by name, but not by musical nature. DJ Darren Donnelly carousels through chart, dance and classics, the Desperados bar is filled with funk and G2 keeps things urban and the Attic gets all indie on you.

THE ART SCHOOL, 23:00–03:00, £6 - £7

THE GARAGE GLASGOW, FROM 23:00, £5 - £7

THE GARAGE GLASGOW, FROM 23:00, £3 - £6

LA CHEETAH CLUB, 23:00–03:00, £4 - £8

STEREOTONE (LUCA LOZANO + ROSS CRAMMOND + WHEELMAN)

Connoisseur’s mix of old-school jazz, funk and soul for your jivin’ pleasure.

Highlife welcome the mighty Red Axes DJ team all the way from Tel Aviv for their first trip to the UK and their debut Glasgow show.

FRESH BEAT

THE GARAGE GLASGOW, FROM 23:00, £5 - £7

NICE ‘N’ SLEAZY, 23:30–03:00, FREE

Counterflows festival brings producers of ‘computer music for hooligans’ EVOL to the Art School, along with experimentalists N.M.O. HIGHLIFE: RED AXES

STEREO, FROM 23:00, TBC

Animate welcomes Glasgow electronic artist I Am Blip to Stereo along with Boogaloo and resident DJ Altered Mode.

Thursday session of the finest in northern soul and rock’n’roll.

BUFF CLUB, 23:00–03:00, £6 - £7

PROPAGANDA

I AM BLIP (BOOGALOO + ALTERED MODE)

DIY happy folk and makers-ofchange Yellow Movement Club swing by Sleazy’s.

THE ART SCHOOL, 23:00–03:00, £6 - £8

Connoisseur’s mix of old-school jazz, funk and soul for your jivin’ pleasure.

Artwork adopts his Grain alterego, bringing techno to Glasgow’s subterranean clubbing paradise.

NICE ‘N’ SLEAZY, 23:30–03:00, £0 - £3

Fri 15 Apr OLD SKOOL

ART’S HOOSE: ARTWORK VS GRAIN

SUB CLUB, 23:00–03:00, £8

IN THE BASEMENT

Cathouse’s Thursday night rock, metal and punk mashup.

BUFF CLUB, 23:00–03:00, £6 - £7

UTTU label showcase party with Dj Haus and Glasgow artists in tow.

O2 ABC, 23:00–03:00, £6

Thursday nighter of chart, disco and party tunes. Can’t say fairer.

The Toon Army’s finest techno wizard Patrick Topping plays at Sub with a little help from DJ / Producer Theo Kottis.

EVOL + N.M.O

LA CHEETAH CLUB, 23:00–04:00, £5 - £8

Grime MCs and producers from Glasgow presenting a night of local grime and rap talent.

JELLY BABY

This one’s for the folk craving the sounds of Ibiza, with SWG3 inviting the island’s clubbing big dogs Do Not Sleep to curate an eve of madness in G’ Town.

SUB CLUB, 23:00–03:00, £10

UNKNOWN TO THE UNKNOWN (DJ HAUS + P.O.L. STYLE + NIGHTWAVE + BLEAKER)

FRESH BEAT

THE GARAGE GLASGOW, FROM 23:00, £3 - £6

NU SKOOL

BUFF CLUB, 23:00–03:00, £6 - £7

Nick Peacock spins a Saturdayready selection of vintage disco, soul and funk.

CATHOUSE SATURDAYS

CATHOUSE, FROM 22:30, £5 - £6

Or Caturdays, if you will. Two levels of the loudest, maddest music the DJs can muster; metal, rock and alt on floor one, and punky screamo upstairs.

HOT CHIP

SWG3 GLASGOW, 22:00–03:00, £13 - £15

Hot Chip take over the SWG3 decks in a night featuring sets from Joe Goddard, Alexis Taylor, Felix Martin and The 2 Bears. For five hours.

Five. Hours.

JOHN DIGWEED

SWG3 GLASGOW, 22:00–03:00, £16 £19.50

John Digweed graces your bank holiday weekend with an extended thee hour set, ensuring you well and truly nail that two-day hangover.

SUBCULTURE (GERD JANSON)

SUB CLUB, 23:00–03:00, £10

Subbie loops Running Back label boss Gerd Janson into the Subculture action for one night only.

WEST END COMMUNICATIONS (MARSHALL BRILL)

LA CHEETAH CLUB, 23:00–03:00, £5 - £8

A new face with some serious talent, supported by some of the heavy hitters in a game that gives nothing back.

CATRIONA REILLY

NICE ‘N’ SLEAZY, 23:30–03:00, £0 - £3

Queer dance and r&b from the mastermind behind Sycophantasy.

LOCO KAMANCHI

THE BONGO CLUB, 23:00–03:00, £4 - £5

Thu 31 Mar

JUICE (KA MI + DAN JUICE + DECLAN)

SNEAKY PETE’S, 23:00–03:00, £0 - £2

Dan and Kami make weird waves through house and techno.

HULLABALOO

THE BONGO CLUB, 23:00–03:00, £2 - £3

Mash-up of beats, breaks and hip-hop from Trendy Wendy and Steve Austin.

HI-SOCIETY

THE HIVE, 22:00–03:00, FREE

Early weekend-welcoming (y’know, for students) chart anthems, bolstered by hip-hop, r’n’b and urban in the back room.

BOSSY

THE ANNEXE, 22:30–03:00, £3

Fresh Air FM brings the best of the best lady jams to The Annexe.

Fri 01 Apr FOUR CORNERS

THE BONGO CLUB, 23:00–03:00, £3 - £5

DJs Simon Hodge, Astrojazz and Johnny Cashback bring tunes from all over the globe to your Edinburgh based eardums.

PROPAGANDA

THE LIQUID ROOM, 22:30–03:00, £3 - £5

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like.

EVOL (THE EVOL DJS)

ELECTRIC CIRCUS, 22:30–03:00, £0 - £5

Edinburgh’s original rock ‘n’ roll party, mixing indie, pop, electro, hip-hop and alternative styles to make one hell of a party playlist.

DISORDER

THE MASH HOUSE, 23:00–03:00, £5

Techno and acid house enthusiasts Disorder are take over The Mash House with help from Darrell Harding (Pulse) and residents Dimebag, Elhoi VG and Dario J. MIKE HUMPHRIES

LA BELLE ANGELE, FROM 23:00, TBC

A rare visit to LBA from Mike Humphries, known to many as one part of Cold Dust and the techno guru behind record label MASTERTRAXX. Get your hopes up for a big night.

THE SKINNY

Edinburgh Clubs Sun 03 Apr

ON LOOP (MOXIE + SHANTI CELESTE + TELFORT) SNEAKY PETE’S, 23:00–03:00, £0 - £5

Good friend o’ Sneaky’s Moxie hosts her own night in the sensational sweat-pit, along with NTS pal Shanti Celeste and Edinburgh’s own good-placer Telfort.

FLY: APRIL FOOL’S PARADISE (MARQUIS HAWKES + JEZZ SIMPSON)

COALITION (BELIEVE + GAV MILLER + STU + JORDAN COCHRANE + GED & SKANKY B) SNEAKY PETE’S, 23:00–03:00, FREE

Weekly bass institution hosted by DJ Believe and friends.

THE CLUB

THE HIVE, 22:00–03:00, FREE

Two rooms of all the chart, cheese and indie-pop you can think of/ handle on a Sunday.

CABARET VOLTAIRE, 23:00–03:00, £7 - £10

Edinburgh and Glasgow-straddling night, with a powerhouse of local residents joined by a selection of guest talent.

Mon 04 Apr MIXED UP

THE HIVE, 22:00–03:00, FREE

FLIP

Monday-brightening mix of hiphop, r’n’b and chart classics, with requests in the back room.

THE HIVE, 22:00–03:00, £0 - £3

Yer all-new Friday at Hive. Cheap entry, inevitably danceable, and novelty-stuffed. Perrrfect.

NU FIRE (DJ FUSION + DJ BEEF)

SNEAKY PETE’S, 23:00–03:00, FREE

WICKED DISCOURSE

Hip-hop and bass since 2008.

WEE RED BAR, 22:30–03:00, £3 - £5

Wee Red Bar’s debut Wicked Discourse night welcomes artists Joe Hignet and Alex Taylor, who’ll be weaving a clubby tapestry of weirdness and wonder.

Tue 05 Apr

STUDIO 24, 21:00–03:00, £0 - £5

Alternative Tuesday anthems cherrypicked from genres of rock, indie, punk, retro and more.

I LOVE HIP HOP

THE BONGO CLUB, 23:00–03:00, £3

Weekly selection of hip-hop classics and brand-new classics to be.

TRASH

EDEN FESTIVAL: VOLTAN PSYCHEDELIC STAGE

THE HIVE, 22:00–03:00, FREE

Eden’s Voltan stage brings psytrance galore to Studio 24, with the likes of Macaque, Audio7, Oh My Josh and Nanoplex taking over both floors of the club.

HECTOR’S HOUSE

CABARET VOLTAIRE, 23:00–03:00, £4 - £5

Sat 02 Apr

The HH crew serve up their usual fine mix of electronic basslines cooked up with house beats.

STUDIO 24, 22:00–03:00, £0 - £5

CITRUS CLUB, 23:30–03:00, FREE

THE GO-GO

LOVELAND

Long-running retro night with veteran DJs Tall Paul and Big Gus.

Funk, soul, disco and and old-timey galore, Tuesdays at Citrus.

THE HIVE, 21:00–03:00, £0 - £4

Wed 06 Apr

BUBBLEGUM

Saturday mix of chart and dance, with retro 80s classics thrown in for good measure.

BIG ‘N’ BASHY (JON E CASH + DREAD D)

THE BONGO CLUB, 23:00–03:00, £4 - £6

Mighty mix of reggae, grime, dubstep and jungle played by inimitable residents Brother Most Righteous, Skillis, Era and Deburgh.

SPEAKER BITE ME

ELECTRIC CIRCUS, 22:30–03:00, £5 - £6

A night of indie, pop and R’n’B from the Evol DJs. Everything from Madonna, Snoop Dogg and Rihanna through to Belle & Sebastian and The Smiths. If a tune’s sure to get you dancing, you bet your bottom dollar it’ll get a play.

ETIKET (TOMMY VICARI )

THE MASH HOUSE, 23:00–03:00, £5

Etiket welcomes Tommy Vicari to the intimate confines of The Mash House, warmed up by residents Laurence Nolan and Jonny Herd and Jack Stanley.

THE MIDNIGHT HOUR (CALUM RUSSELL + THE CANDIDATES)

THE VOODOO ROOMS, FROM 20:00, £6

A welcome return from a semiregular events series striving to serve up tasty live performances and DJ sets and The Voodoo Rooms.

UNPOP!

WEE RED BAR, 23:00–03:00, £5

An indiepop dance party where turning up fashionably late just won’t do – early arrivals get free badges, cake and mixtapes, after all.

QUEENS: LAUNCH NIGHT (JOEY NEGRO)

LA BELLE ANGELE, 23:00–03:00, £20

An eccentric new club night which welcomes party-throwers at the top of their game to lead an evening of debauchery at LBA.

HEAL YOURSELF & MOVE #2 (DYNAMO DREESEN + HOUSE OF TRAPS) SNEAKY PETE’S, 23:00–03:00, £6

A new night run by Edinburgh based recording label Firecracker recordings, specialising in oddball house, techno and electronics.

FIASCO DISCO (HEY QT + SOUL JAM)

STUDIO 24, 23:00–03:00, £5

HEY QT residents spin alongside disco heroes and Edinburgh institution Soul Jam. Get groovy and glittery.

WITNESS (FAZE MIYAKE + ROSS BLACKWAX + FAULT LINES + SKILLIS)

SNEAKY PETE’S, 23:00–03:00, £0 - £5

House, garage and bass adventures with Blackwax and Faultlines.

TRIBE

THE LIQUID ROOM, 22:30–03:00, £4 - £6

A student focused midweek club, complete with fully heated beer garden and some of the city’s top DJ talent.

LOCO KAMANCHI

THE BONGO CLUB, 23:00–03:00, £4 - £5

Midweek fun night playing soul, funk, jazz, ska, disco and more.

Thu 07 Apr

JUICE (KA MI + DAN JUICE + DECLAN)

SNEAKY PETE’S, 23:00–03:00, £0 - £2

Dan and Kami make weird waves through house and techno.

HULLABALOO

FULL SPECTRUM (ASTROJAZZ + MAIN INGREDIENT) SUMMERHALL, 22:00–03:00, £9 - £11

A clubbing experience hosted under the umbrella of Edinburgh Science Festival returns, with Astrojazz and Main Ingredient scratching discs alongside digital artwork, bespoke visuals and audience responsive rave-aids. Y’should go – it’s educational!

BIGFOOT’S TEA PARTY (CHRIS + WRICK + GEORGE + JAMES)

SNEAKY PETE’S, 23:00–03:00, £0 - £5

Big Techno from Up North. With a successful Sub Club residency already added to their Aberdeen activities, it makes sense to tackle the capital in the venue that also reps authentic music. Their first bi-monthly show in a series of six.

ANIMAL HOSPITAL: FEBRUARY (REDSHIFT)

LA BELLE ANGELE, 23:00–03:00, £3 - £5

Things get dark and groovy as LBA invites emerging local techno artist Redshift for a jaunt in their haunt. So to speak.

HEADSET: GARAGE SPECIAL

THE BONGO CLUB, 23:00–03:00, £2 - £6

Fledgling night mixed up by a selection of Edinburgh DJs, including the chaps behind the Witness, Coalition and Big ‘n’ Bashy nights.

RUCKUS

THE MASH HOUSE, 23:00–03:00, £5

Grime, bass, dub and dancehall from a sound system collective based out of the SW.

ANYTHING GOES WITH PITCH MAD ATTACK (JONRAX + WONSKIE + AL THE KEMIST)

STUDIO 24, 23:00–03:00, £8 - £15

LA BELLE ANGELE, 22:30–03:00, £10

All-talking, all-breathing, fullyfunctioning’ rap fiend Dirty Dike plays a set at La Belle along with DJ Sammy B-Side.

Fri 08 Apr PLANET EARTH

CITRUS CLUB, 23:30–03:00, £5

Distinctly retro selections from 1960 to 1999, moving from Abba to ZZ Top. PULSE (VRIL + ORDE MEIKLE + PATRICK WALKER)

THE MASH HOUSE, 23:00–03:00, £10

Pulse returns to The Mash House after their sell out Fringe show in 2015 with Slam. They return with an extensive line up including VRIL (Dystopian), Orde Meikle (Soma), Patrick Walker (Forward Strategy Group) and residents Darrell Harding and Sean Laird.

PROPAGANDA

THE LIQUID ROOM, 22:30–03:00, £3 - £5

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like.

TEASE AGE

CITRUS CLUB, 22:30–03:00, £0 - £5

Long-running indie, rock and soul night, traversing the spectrum of classic and modern.

BUBBLEGUM

THE HIVE, 21:00–03:00, £0 - £4

Saturday mix of chart and dance, with retro 80s classics thrown in for good measure.

SOULSVILLE

THE BONGO CLUB, 23:00–03:00, £5

Raw, high energy r’n’b from DJs Francis Dosoo and Cameron Mason.

BEEP BEEP YEAH (BE-BOP-ATALLAH + AT THE HOP)

ELECTRIC CIRCUS, 22:30–03:00, £5 - £6

THINK TWICE (CRAIG SMITH)

After a six month hiatus Think Twice! is back, bringing a monthly party to its new home, La Belle.

MINGIN’

MIXED UP

THE HIVE, 22:00–03:00, FREE

Monday-brightening mix of hiphop, r’n’b and chart classics, with requests in the back room.

NU FIRE (DJ FUSION + DJ BEEF)

SNEAKY PETE’S, 23:00–03:00, FREE

Hip-hop and bass since 2008.

Tue 12 Apr I LOVE HIP HOP

THE BONGO CLUB, 23:00–03:00, £3

Weekly selection of hip-hop classics and brand-new classics to be.

TRASH

THE HIVE, 22:00–03:00, FREE

Alternative Tuesday anthems cherrypicked from genres of rock, indie, punk, retro and more.

HECTOR’S HOUSE

CABARET VOLTAIRE, 23:00–03:00, £4 - £5

The HH crew serve up their usual fine mix of electronic basslines cooked up with house beats.

Wed 13 Apr COOKIE

THE HIVE, 22:00–03:00, FREE

Resident midweek student rammy of chart, club and electro hits.

WITNESS (ROSS BLACKWAX, FAULT LINES, SKILLIS, SQUELCHY)

SNEAKY PETE’S, 23:00–03:00, £0 - £2

House, garage and bass adventures with Blackwax and Faultlines.

LOCO KAMANCHI

THE BONGO CLUB, 23:00–03:00, £4 - £5

Midweek fun night playing soul, funk, jazz, ska, disco and more.

Thu 14 Apr

JUICE (KA MI + DAN JUICE + DECLAN)

STUDIO 24, 22:30–03:00, TBC

SNEAKY PETE’S, 23:00–03:00, £0 - £2

HULLABALOO

THE BONGO CLUB, 23:00–03:00, £2 - £3

HI-SOCIETY

THE HIVE, 22:00–03:00, FREE

Early weekend-welcoming (y’know, for students) chart anthems, bolstered by hip-hop, r’n’b and urban in the back room.

Fri 15 Apr PLANET EARTH

CITRUS CLUB, 23:30–03:00, £5

Distinctly retro selections from 1960 to 1999, moving from Abba to ZZ Top. PROPAGANDA

THE LIQUID ROOM, 22:30–03:00, £3 - £5

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like.

RUMBLE

ELECTRIC CIRCUS, 22:30–03:00, £5

50s rock’n’roll, disco, sleaze, dirty blues, soul, garage rock and live bands – all jam packed into your Friday. Aren’t you lucky?

JULIEN JEWEIL

LA BELLE ANGELE, 23:00–03:00, TBC

Alternative party night taking over both floors of Studio 24, with Brian Dempster and Alan Joy playing downstairs, and Brett King and new kid on the block DJ Shapeshifter playing upstairs.

La Belle launches its Phoenik series, inviting French producer Julien Jeweil (signed to Richie Hawtin's Minus label) to whip up some elite late night techno.

THE MASH HOUSE, 23:00–03:00, £4 - £5

An artist semi-shrouded in mystery, Munich DJ talent Skee Mask brings his experimental and versatile sounds to Bongo’s booth.

A TWISTED CIRCUS

Carnival-styled Edinburgh music night showcasing a selection of musicians from across the UK. DR NO’S SKA CLUB

HENRY’S CELLAR BAR, 23:00–03:00, TBC

Baz and Dave spin out some belters under a strictly vinyl-only policy.

JESSE ROSE

CABARET VOLTAIRE, FROM 23:00, £8

DJ, producer, label boss and tastemaker Jesse Rose plays a show in the CabVol rave cave.

TEESH NO.33 (SEMI DELUXE + DJ CHEERS)

SNEAKY PETE’S, 23:00–03:00, £5

Oslo Hackney / The Pickle Factory resident Semi Deluxe is back to join DJ Cheers for their ‘all you can eat mind buffet’. Cosmic disco, boogie, soul, house, techno and electronica.

MIGHTY OAK SOUNDSYSTEM

THE MASH HOUSE, 23:00–03:00, £5

Heavyweight roots soundsystem Might Oak return with resident selectors Mighty Ben and Jofis.

April 2016

Mon 11 Apr

Mash-up of beats, breaks and hip-hop from Trendy Wendy and Steve Austin.

LA BELLE ANGELE, 23:00–03:00, £5 - £7

DIRTY DIKE + DJ SAMMY B-SIDE

Weekly bass institution hosted by DJ Believe and friends.

Sat 09 Apr

HI-SOCIETY

Early weekend-welcoming (y’know, for students) chart anthems, bolstered by hip-hop, r’n’b and urban in the back room.

SNEAKY PETE’S, 23:00–03:00, FREE

Dan and Kami make weird waves through house and techno.

Expect only the best pop tunes from the 50s, 60s and 70s at this retro pop club night.

THE HIVE, 22:00–03:00, FREE

COALITION (BELIEVE + GAV MILLER + STU + JORDAN COCHRANE. + GED & SKANKY B)

Anything Goes welcomes its first major artist to Studio 24. Pitch Mad Attack will stomp your soul with hardtek after support from local talent Jonrax and the AG residents.

THE BONGO CLUB, 23:00–03:00, £2 - £3

Mash-up of beats, breaks and hip-hop from Trendy Wendy and Steve Austin.

Sun 10 Apr

SUBSTANCE: SKEE MASK

THE BONGO CLUB, 23:00–03:00, £5 - £7

FLIP

THE HIVE, 22:00–03:00, £0 - £3

Yer all-new Friday at Hive. Cheap entry, inevitably danceable, and novelty-stuffed. Perrrfect.

WE ARE MINDER (LEZURE)

WEE RED BAR, 22:30–03:00, £3 - £5

A wide variety of dance-orientated music from across the spectrum.

Local lads Lezure take the reigns with support from the likes of Teddy Hannan, Pathew and Mr Fudson.

SLVR (LA FLEUR)

THE MASH HOUSE, 23:00–03:00, £5 - £12

SLVR is joined by the compelling DJ / producer / label owner / fashion designer / leading lady of Berlin’s Watergate to The Mash House.

Find full listings at theskinny.co.uk/whats-on

ELECTRIKAL SOUND SYSTEM PRESENTS BASHMENT & DANCEHALL CARNIVAL #2 WITH LADY CHANN STUDIO 24, 23:00–03:00, £4 - £10

The Bashment and Dancehall Carnival returns, except this time it’s bigger, better, (but hopefully no sweatier) under the roof of Studio 24. Dancehall queen Lady Chann takes the lead on the decks, along with dancers and steel drummers.

Sat 16 Apr TEASE AGE

CITRUS CLUB, 22:30–03:00, £0 - £5

Long-running indie, rock and soul night, traversing the spectrum of classic and modern.

THE EGG

WEE RED BAR, 23:00–03:00, £3 - £5

A salad of genres: 60s garage and soul plus 70s punk and new wave, peppered with psych and indie for good measure.

BUBBLEGUM

THE HIVE, 21:00–03:00, £0 - £4

Saturday mix of chart and dance, with retro 80s classics thrown in for good measure.

THE GREEN DOOR

TRIBE THE LIQUID ROOM, 22:30–03:00, £4 - £6

A student focused midweek club, complete with fully heated beer garden and some of the city’s top DJ talent.

LOCO KAMANCHI

THE BONGO CLUB, 23:00–03:00, £4 - £5

Midweek fun night playing soul, funk, jazz, ska, disco and more.

Thu 21 Apr

JUICE (KA MI + DAN JUICE + DECLAN)

SNEAKY PETE’S, 23:00–03:00, £0 - £2

Dan and Kami make weird waves through house and techno.

Mash-up of beats, breaks and hip-hop from Trendy Wendy and Steve Austin.

Early weekend-welcoming (y’know, for students) chart anthems, bolstered by hip-hop, r’n’b and urban in the back room.

Fri 22 Apr PLANET EARTH

CITRUS CLUB, 23:30–03:00, £5

GASOLINE DANCE MACHINE

THE LIQUID ROOM, 22:30–03:00, £3 - £5

CABARET VOLTAIRE, 23:00–03:00, £5 - £7

POP ROCKS (TALCOLM)

ELECTRIC CIRCUS, 22:30–03:00, £5 - £6

Crackin’ indie, pop and dance from the 80s and 90s. If you don’t hear Kelis or Wheatus at least once, sue us! (Don’t.)

DECADE

STUDIO 24, 22:30–03:00, £2 - £5

Fresh playlists spanning metal, pop-punk and alternative soundscapes.

WASABI DISCO (KRIS WASABI)

SNEAKY PETE’S, 23:00–03:00, £0 - £5

Edinburgh’s sleazy disco, house and techno overlord has many years of playing classic sets under his belt. Long may he continue. All hail Wasabi.

MESSENGER SOUND SYSTEM

THE BONGO CLUB, 23:00–03:00, £6 - £7

Conscious roots and dub reggae rockin’ from the usual beefy Messenger soundsystem.

FLOORPLAY

THE LIQUID ROOM, 22:30–03:00, TBC

George Street behemoth club night comes to Old Town for a one-off party at Liquid Room.

Sun 17 Apr

COALITION (BELIEVE + GAV MILLER + STU + JORDAN COCHRANE. + GED & SKANKY B)

TheSkinnyMag

HI-SOCIETY

THE HIVE, 22:00–03:00, FREE

Distinctly retro selections from 1960 to 1999, moving from Abba to ZZ Top.

More classic Italo and straight-up boogie allied with contemporary house and disco, as Edinburgh’s GDM crew do their thing.

theskinny.co.uk/whats-on

HULLABALOO

THE BONGO CLUB, 23:00–03:00, £2 - £3

STUDIO 24, 22:30–03:00, £2 - £5

Surf, blues and rockabilly from the 50s and early 60s, plus free cake.

Job done.

Find full listings & buy tickets on our site

PROPAGANDA

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like.

FLY CLUB

CABARET VOLTAIRE, 23:00–03:00, £7 - £10

Edinburgh and Glasgow-straddling night, with a powerhouse of local residents joined by a selection of guest talent.

DILF

STUDIO 24, 23:00–03:00, £8

Scotland’s newest club night tailored to gay men, brought to the Edinburghian public by Hudgie and Studio 24 resident DJ Eddy Murf.

ELECTRIKAL: 6TH BIRTHDAY (ELECTRIKAL SOUND SYSTEM + TUMBLE AUDIO + RUBBERDUB)

THE BONGO CLUB, 23:00–03:00, £5 - £8

It’s Bashy’s birthday, and they’re celebrating in the only way the know how – by hosting an England versus Scotland bassline throwdown, of course!

FLIP

THE HIVE, 22:00–03:00, £0 - £3

Yer all-new Friday at Hive. Cheap entry, inevitably danceable, and novelty-stuffed. Perrrfect.

EROS LA BELLE ANGELE, 23:00–03:00, £8 - £10

Jim Etherson and Lee Haggath reach into the Eros archives and chuck out anthems, mash-ups and floor-fillers for one night only at La Belle Angele.

LIONOIL INDUSTRIES (TELFORT + DJ YVES + PERCY MAIN + PHILIP BUDNY + HI & SABERHAGEN + EYES OF OTHERS)

THE MASH HOUSE, 23:00–03:00, £6

Lionoil Industries throw a house, boogie, afro and techno soiree, featuring Telfort, DJ Yves, Percy Main, Philip Budny, Hi & Saberhagen and Eyes Of Others.

WEE DUB (MC BROTHER CULTURE + ADAM PRSECOTT + VIBRATION LAB + CLIFFORD JUNIOR + ESCAPE ROOTS)

STUDIO 24, 23:00–03:00, TBC

Wee Dubbie reprises the good time reggae-reggae vibes with help from some top soundsystem and dub talent.

Sun 24 Apr

COALITION (BELIEVE + GAV MILLER + STU + JORDAN COCHRANE. + GED & SKANKY B) SNEAKY PETE’S, 23:00–03:00, FREE

Weekly bass institution hosted by DJ Believe and friends.

THE CLUB

THE HIVE, 22:00–03:00, FREE

Two rooms of all the chart, cheese and indie-pop you can think of/ handle on a Sunday.

SUCH A DRAG

ELECTRIC CIRCUS, 22:30–03:00, FREE

TEASE AGE

CITRUS CLUB, 22:30–03:00, £0 - £5

NU FIRE (DJ FUSION + DJ BEEF)

Hip-hop and bass since 2008.

Tue 26 Apr

Mon 18 Apr THE HIVE, 22:00–03:00, FREE

THE BONGO CLUB, 23:00–03:00, £3 - £7

Weekly selection of hip-hop classics and brand-new classics to be.

BUBBLEGUM

Alternative Tuesday anthems cherrypicked from genres of rock, indie, punk, retro and more.

MUMBO JUMBO

Monday-brightening mix of hiphop, r’n’b and chart classics, with requests in the back room.

Funk, soul, beats and mash-ups from the Mumbo Jumbo regulars and pals.

SNEAKY PETE’S, 23:00–03:00, FREE

THE HIVE, 21:00–03:00, £0 - £4

Tue 19 Apr

Saturday mix of chart and dance, with retro 80s classics thrown in for good measure.

THE HIVE, 22:00–03:00, FREE

THE LIQUID ROOM, 22:30–03:00, £3 - £5

Alternative Tuesday anthems cherrypicked from genres of rock, indie, punk, retro and more.

HECTOR’S HOUSE

CABARET VOLTAIRE, 23:00–03:00, £4 - £5

The HH crew serve up their usual fine mix of electronic basslines cooked up with house beats.

Wed 20 Apr COOKIE

THE HIVE, 22:00–03:00, FREE

Resident midweek student rammy of chart, club and electro hits.

WITNESS (ROSS BLACKWAX, FAULT LINES, SKILLIS, SQUELCHY)

SNEAKY PETE’S, 23:00–03:00, £0 - £2

House, garage and bass adventures with Blackwax and Faultlines.

FOUR CORNERS

THE BONGO CLUB, 23:00–03:00, £3 - £5

DJs Simon Hodge, Astrojazz and Johnny Cashback bring tunes from all over the globe to your Edinburgh based eardums.

PLANET EARTH

CITRUS CLUB, 22:30–03:00, £0 - £5

Distinctly retro selections from 1960 to 1999, moving from Abba to ZZ Top. PROPAGANDA

THE LIQUID ROOM, 22:30–03:00, £3 - £5

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like.

SURE SHOT (PETER SIMPSON + MALCOLM STOREY)

LA BELLE ANGELE, 23:00–03:00, £18

MIXED UP

Long-running indie, rock and soul night, traversing the spectrum of classic and modern.

TRASH

Fri 29 Apr

THE HIVE, 22:00–03:00, FREE

SNEAKY PETE’S, 23:00–03:00, FREE

Hip-hop and bass since 2008.

HI-SOCIETY

THE HIVE, 22:00–03:00, FREE

Early weekend-welcoming (y’know, for students) chart anthems, bolstered by hip-hop, r’n’b and urban in the back room.

Mon 25 Apr

THE MASH HOUSE, 23:00–03:00, £8

Sat 23 Apr

NU FIRE (DJ FUSION + DJ BEEF)

Mash-up of beats, breaks and hip-hop from Trendy Wendy and Steve Austin.

FOURBYFOUR (BART SKILS)

Solid party starters Lezure have a one-off bash at Sneaks and present Hessle Audio’s latest talent Bruce.

THE HIVE, 22:00–03:00, FREE

MIXED UP

HULLABALOO

THE BONGO CLUB, 23:00–03:00, £2 - £3

Golden age hip-hop and r'n'b night hosted by two bearded men with an equal love of food and music; The Skinny’s Food Editor Peter Simpson and one half of Edinburgh’s Kitchen Disco, Malcolm Storey.

LEZURE (BRUCE + SLOAN + DECLAN)

Weekly bass institution hosted by DJ Believe and friends.

Two rooms of all the chart, cheese and indie-pop you can think of/ handle on a Sunday.

JUICE (KA MI + DAN JUICE + DECLAN)

SNEAKY PETE’S, 23:00–03:00, £0 - £2

Dan and Kami make weird waves through house and techno.

SNEAKY PETE’S, 23:00–03:00, £7

Monday-brightening mix of hiphop, r’n’b and chart classics, with requests in the back room.

THE CLUB

Thu 28 Apr

Queen, queer or just straight up crazy, it matters not to Such A Drag’s groundskeeper Fanny (nor to her friends). Leave your judgements and dignity at the door and get involved in the live acts and dancing.

Always one step ahead of the game, Bart Skils has established himself as one of Holland’s most respected and highly demanded techno DJs.

SNEAKY PETE’S, 23:00–03:00, FREE

LOCO KAMANCHI THE BONGO CLUB, 23:00–03:00, £4 - £5

Midweek fun night playing soul, funk, jazz, ska, disco and more.

REWIND

Classics from the past four decades – from Abba to Gaga – mixed by The Liquid Room’s best selectors.

POP TARTS

ELECTRIC CIRCUS, 22:30–03:00, £5 - £6

I LOVE HIP HOP

THE BONGO CLUB, 23:00–03:00, £3

TRASH

THE HIVE, 22:00–03:00, FREE

HECTOR’S HOUSE

CABARET VOLTAIRE, 23:00–03:00, £4 - £5

The HH crew serve up their usual fine mix of electronic basslines cooked up with house beats.

LOVELAND

CITRUS CLUB, 23:30–03:00, FREE

Funk, soul, disco and and old-timey galore, Tuesdays at Citrus.

A night of pop bangers and sing along mayhem from our favourite in-house DJs from Pop Rocks, Sure Shot and Beep Beep, Yeah! and Speaker Bite Me. Expect pop music, old and new!

Wed 27 Apr

SNEAKY PETE’S, 23:00–03:00, £5

House, garage and bass adventures with Blackwax and Faultlines.

DEFINITION (MARTIN LIGHTBODY + MARK BALNEAVES)

Definition is now in its ninth year of underground house and techno.

Inspired by the likes of Sonar, Pressure, Fabric and Berghain, prepare to dance until you have holes in the soles of your shoes.

COOKIE

THE HIVE, 22:00–03:00, FREE

Resident midweek student rammy of chart, club and electro hits.

WITNESS (ROSS BLACKWAX, FAULT LINES, SKILLIS, SQUELCHY)

SNEAKY PETE’S, 23:00–03:00, £0 - £2

TRIBE

ELECTRIC CIRCUS, 22:30–03:00, £2 - £4

LEN FAKI

Berlin based DJ, producer and label owner Len Faki takes out a night of being in constant international booking demand and orchestrates some tech and house for your delectation.

CREATURES OF HABIT BIRTHDAY BASH (CARSIN THERAIN + ROSS ANDERSON)

HENRY’S CELLAR BAR, 23:00–03:00, £3 - £5

House, tech-house and pure techno from resident DJ Peter Annand.

Go along and spread the birthday cheer.

FLIP

THE HIVE, 22:00–03:00, £0 - £3

Yer all-new Friday at Hive. Cheap entry, inevitably danceable, and novelty-stuffed. Perrrfect.

GERD JANSON (GERD JANSON)

SNEAKY PETE’S, 23:00–03:00, £10

Resident at Robert Johnson, Panorama Bar, and Trouw and co-boss of the Running Back label, Gerd Janson’s known for his freewheeling approach to house and disco.

He’s also one half of the Tuff City Kids production crew and a notable music journalist.

RECIPE 003

THE MASH HOUSE, 23:00–03:00, £7

Founded by Electrikal Sound System’s residents, Recipe brings a bimonthly dose of the British sound system culture and underground dance, specialising in bassline, garage and drum & bass.

THE LIQUID ROOM, 22:30–03:00, £3 - £6

A student focused midweek club, complete with fully heated beer garden and some of the city’s top DJ talent.

Listings

59

TEK’IN’BURGH VS MUTINY FT. MR GASMASK STUDIO 24, 23:00–03:00, £7 - £10

Tek’in’burgh and Mutiny team up once again to host both floors at Studio 24. Downstairs, Mr. Gasmask tends to your acid house, tekno, and acidcore needs. If you prefer your beats a little more broken, head upstairs to Mutiny’s takeover.

DIVE: GODDESS

SUMMERHALL, 22:00–03:00, TBC

Edinburgh’s weird and wonderful queer party makers and art collective make their comeback after a six month absence in Edinburgh, ready to celebrate the Goddess in each and every one of us.

NIGHTVISION: SERIES 4 CLOSING PARTY (JAMIE JONES + ADAM BEYER)

THE LIQUID ROOM, FROM 21:00, £19.50 - £29.50

Adam Beyer makes an appearance at Nightvision’s massive closing party on 29 April.

Sat 30 Apr TEASE AGE

CITRUS CLUB, 22:30–03:00, £0 - £5

Long-running indie, rock and soul night, traversing the spectrum of classic and modern.

BUBBLEGUM

THE HIVE, 21:00–03:00, £0 - £4

Saturday mix of chart and dance, with retro 80s classics thrown in for good measure.

MAGIC NOSTALGIC (JP + DAN )

ELECTRIC CIRCUS, 22:30–03:00, £7 - £9

At Magic Nostalgic every half an hour a crowd member is invited up on stage to spin a wheel. Wherever it lands determines what kind of music gets played for the next 30 mins, be it Britpop, power ballads or Prince vs MJ. Oh, the delicious spontaneity.

RIDE (LAUREN DJ K + CHECK YE OOT)

SNEAKY PETE’S, 23:00–03:00, £0 - £5

Hip-hop and R’n’B Jams all night long. (All night.)

MADCHESTER

THE LIQUID ROOM, 22:30–03:00, £5 - £6

Long running Edinburgh club night celebrating the baggiest beats from the late 80s and early 90s.

BIG ‘N’ BASHY

THE BONGO CLUB, 23:00–03:00, £4 - £6

Thu 07 Apr

ROOMS THURSDAYS (MAX GALLOWAY + EMPATHIC)

READING ROOMS, 22:00–03:00, £3.50 - £5

Thursday nighter (as the name would suggest), with Dunc4an, Typewriter and guests playing anything and everything ‘good’.

Fri 08 Apr

HEIDI (VAN D AND JAMIE)

READING ROOMS, 22:00–03:00, £15

Heidi, of Radio 1’s In New DJs We Trust and label Jackathon Jams heads to the Reading Rooms for a night of slick house and techno.

AUTODISCO (RAHAAN)

READING ROOMS, 22:30–03:00, £10

After indulging the Reading Rooms in a birthday celebration last February, Rahaan brings back Autodisco for an April edition.

Prepare for a heavy groove.

WARPED

KAGE, 23:00–03:00, £4

Ska, screamo and pop-punk offerings now in a weekly Friday slot, moving from Alkaline Trio to Zebrahead as it goes.

Sat 09 Apr TRANSITION (SIGNUM)

BUSKERS, 20:00–02:30, £10

Signum stops by Buskers as part of his Past, Present and Future UK tour.

KAGE, 23:00–03:00, £4

Best of selection of rock, metal and alternative tunes to get your Saturday night movin’.

Sun 10 Apr HYPHY

READING ROOMS, 22:00–03:00, £3.50 - £5

Your more than necessary hip-hop fix o’ the week.

Thu 14 Apr ROOMS THURSDAYS

READING ROOMS, 22:00–03:00, £3.50 - £5

Thursday nighter (as the name would suggest), with Dunc4an, Typewriter and guests playing anything and everything ‘good’.

Fri 15 Apr

AUNTIE FLO + ANDREW

READING ROOMS, 22:30–03:00, TBC

Reading Rooms’ residents’ night Contour collaborates with North East to bring Auntie Flo + Andrew to spin the discs.

STUDIO 24, 23:00–03:00, £1 - £5

KAGE, 23:00–03:00, £4

New wave, synth, electro and the best of the 80s in the Studio 24 overpass.

KEEP IT STEEL

STUDIO 24, 19:00–03:00, £5

The Keep It Steel DJs play the best in heavy metal and hard rock.

TWEAK_ (ENZO SIRAGUSA )

CABARET VOLTAIRE, 23:00–03:00, £8

Tweak_ invites the man behind party record label Fuse to play tune-selector for the night. Gareth Sommerville takes control in Room 2, while Jonny Herd and Flic go back to back in the cafe.

Dundee Clubs Thu 31 Mar

NORTH EAST (BEN MARTIN)

READING ROOMS, 22:30–02:30, TBC

Jumping night in the Reading Rooms offering new underground tunes in every flavour from disco to techno.

Fri 01 Apr WARPED

KAGE, 23:00–03:00, £4

Ska, screamo and pop-punk offerings now in a weekly Friday slot, moving from Alkaline Trio to Zebrahead as it goes.

Sat 02 Apr ASYLUM

KAGE, 23:00–03:00, £4

Best of selection of rock, metal and alternative tunes to get your Saturday night movin’.

Sun 03 Apr HYPHY

READING ROOMS, 22:00–03:00, £3.50 - £5

Your more than necessary hip-hop fix o’ the week.

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Listings

ROOMS THURSDAYS

READING ROOMS, 22:00–03:00, £3.50 - £5

Thursday nighter (as the name would suggest), with Dunc4an, Typewriter and guests playing anything and everything ‘good’.

Fri 29 Apr

HEADWAY (DAVE CLARKE)

READING ROOMS, 21:30–03:00, £12

It’s Headway’s twelfth birthday!

They’re celebrating by inviting ‘the Baron of Techno’ that is international DJ Dave Clarke.

WARPED

KAGE, 23:00–03:00, £4

WARPED

Ska, screamo and pop-punk offerings now in a weekly Friday slot, moving from Alkaline Trio to Zebrahead as it goes.

Sat 16 Apr ASYLUM

KAGE, 23:00–03:00, £4

Best of selection of rock, metal and alternative tunes to get your Saturday night movin’.

Glasgow Comedy Tue 29 Mar RED RAW

THE STAND GLASGOW, FROM 20:30, £2

Open mic-style beginners showcase, plus some old hands dropping by to road test new material.

Wed 30 Mar

ALISTAIR BARRIE: NO MORE STAGE THREE

THE STAND GLASGOW, FROM 20:30, £8 - £10

In January 2015, Alistair Barrie’s wife was diagnosed with breast cancer. Get your tickets to his set all about the year after the diagnosis, and to quote his wife ‘watch another comedian make it all about himself’.

YESBAR VIRGINS

YESBAR, 21:00–22:30, £3

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland.

Thu 31 Mar

THE THURSDAY SHOW (JEFF INNOCENT + DIANE SPENCER + JIM PARK)

THE STAND GLASGOW, FROM 20:30, £5 - £10

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

Fri 01 Apr

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

Thu 21 Apr ROOMS THURSDAYS

READING ROOMS, 22:00–03:00, £3.50 - £5

Thursday nighter (as the name would suggest), with Dunc4an, Typewriter and guests playing anything and everything ‘good’.

Fri 22 Apr

REGGAE ROAST SOUNDSYSTEM (REGGAE ROAST + ADAM PRESCOTT + VIBRATION LAB + CLIFFORD JUNIOR + BROTHER CULTURE) READING ROOMS, 21:30–03:00, £6

Reggae Roast chuck out a night’s worth of skankable dub tunes from their custom built soundsystem.

Sat 23 Apr ASYLUM

KAGE, 23:00–03:00, £4

Best of selection of rock, metal and alternative tunes to get your Saturday night movin’.

Sun 24 Apr HYPHY

READING ROOMS, 22:00–03:00, £3.50 - £5

Your more than necessary hip-hop fix o’ the week.

Mon 04 Apr

INSANE CHAMPIONSHIPS WRESTLING: HAVE I GOT CHAIR SHOTS FOR YOU

THE STAND GLASGOW, FROM 20:30, £6

Tue 05 Apr

ASYLUM

Sun 17 Apr READING ROOMS, 22:00–03:00, £3.50 - £5

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland.

KAGE, 23:00–03:00, £4

THE FRIDAY SHOW (JEFF INNOCENT + DIANE SPENCER + JIM PARK + BRUCE DEVLIN)

Your more than necessary hip-hop fix o’ the week.

YESBAR VIRGINS YESBAR, 20:00–22:00, £3

Sat 30 Apr

Best of selection of rock, metal and alternative tunes to get your Saturday night movin’.

HYPHY

Comedy

What use, you might ask, does the world have for an ‘interactive wrestling-based comedy show’?

Well, comedy punter, the simple answer is that it’s 2016 and these things just happen. Live with it.

Ska, screamo and pop-punk offerings now in a weekly Friday slot, moving from Alkaline Trio to Zebrahead as it goes.

ASYLUM

Mighty mix of reggae, grime, dubstep and jungle played by inimitable residents Brother Most Righteous, Skillis, Era and Deburgh.

BETAMAX

Thu 28 Apr

THE STAND GLASGOW, FROM 21:00, £6 - £12

LAUGHTER EIGHT

YESBAR, 20:00–22:00, £10

Regular comedy slot kicking off at, aye, 8pm? Manned by a selection of hot talent from the local circuit.

GILDED BALLOON FRIDAY NIGHT COMEDY (AL PORTER + STUART MITCHELL + ANDREA HUBERT + SCOTT GIBSON)

DRYGATE BREWING CO., FROM 20:00, £12.50

A comedy eve on a Friday night in a brewery. Sold.

Sat 02 Apr

THE SATURDAY SHOW (JEFF INNOCENT + DIANE SPENCER + JIM PARK + BRUCE DEVLIN)

THE STAND GLASGOW, FROM 21:00, £15

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

LAUGHTER EIGHT

YESBAR, 20:00–22:00, £10

Regular comedy slot kicking off at, aye, 8pm? Manned by a selection of hot talent from the local circuit.

Sun 03 Apr

MICHAEL REDMOND’S SUNDAY SERVICE (JEFF INNOCENT + DIANE SPENCER + HANNAH SILVESTER + GARY SANSOME)

THE STAND GLASGOW, FROM 20:30, £5 - £6

Chilled Sunday comedy showcase manned by resident Irish funnyman Michael Redmond and his handpicked guests.

RED RAW

THE STAND GLASGOW, FROM 20:30, £2

Open mic-style beginners showcase, plus some old hands dropping by to road test new material.

Wed 06 Apr NEW MATERIAL NIGHT

YESBAR, 20:00–22:00, £3

Resident host Julia Sutherland introduces a variety of stand-up comedians from the Scottish circuit delivering all new material.

COMEDIAN RAP BATTLES

THE STAND GLASGOW, FROM 20:30, £4 - £6

Some of the country’s finest comedians go head to head in a battle of hip-hoppy wit.

Thu 07 Apr

THE THURSDAY SHOW (LLOYD LANGFORD + DANA ALEXANDER + JOE HEENAN)

THE STAND GLASGOW, FROM 21:00, £5 - £10

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

YESBAR VIRGINS

YESBAR, 20:00–22:00, £3

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland.

Fri 08 Apr

THE FRIDAY SHOW (LLOYD LANGFORD + DANA ALEXANDER + JOE HEENAN)

THE STAND GLASGOW, FROM 21:00, £6 - £12

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

LAUGHTER EIGHT

YESBAR, 20:00–22:00, £10

Regular comedy slot kicking off at, aye, 8pm? Manned by a selection of hot talent from the local circuit.

Sat 09 Apr

THE STAND GLASGOW, FROM 20:30, £2

YESBAR, 20:00–22:00, £10

RED RAW

Open mic-style beginners showcase, plus some old hands dropping by to road test new material.

Wed 13 Apr NEW MATERIAL NIGHT

YESBAR, 20:00–22:00, £3

Resident host Julia Sutherland introduces a variety of stand-up comedians from the Scottish circuit delivering all new material.

BBC COMEDY PRESENTS

THE STAND GLASGOW, FROM 20:30, £4

BBC Comedy and The Stand bring you an eve o’ sparkly new comedy talent at Glasgow’s Stand outpost.

Thu 14 Apr

THE THURSDAY SHOW (STU AND GARRY + SILKY + RAYMOND MEARNS)

THE STAND GLASGOW, FROM 21:00, £5 - £10

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

YESBAR VIRGINS

YESBAR, 20:00–22:00, £3

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland.

Sun 10 Apr

MICHAEL REDMOND’S SUNDAY SERVICE (ASHLEY STORRIE + KIRSTY MORRISON)

THE STAND GLASGOW, FROM 20:30, £6

Chilled Sunday comedy showcase manned by resident Irish funnyman Michael Redmond and his handpicked guests.

YESBAR VIRGINS

YESBAR, 20:00–22:00, £3

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland.

Mon 11 Apr

BENEFIT IN AID OF BIPOLAR SCOTLAND

THE STAND GLASGOW, FROM 20:30, £5 - £7

Gary Little , Susie McCabe, Jamie MacDonald, BMR and host Jellybean Martinez club together their comedy smarts to raise funds for Bipolar Scotland.

Regular comedy slot kicking off at, aye, 8pm? Manned by a selection of hot talent from the local circuit.

Sat 23 Apr

THE SATURDAY SHOW (PIERRE HOLLINS + MARY BOURKE + SCOTT AGNEW)

THE STAND GLASGOW, FROM 21:00, £15

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

LAUGHTER EIGHT

YESBAR, 20:00–22:00, £10

Regular comedy slot kicking off at, aye, 8pm? Manned by a selection of hot talent from the local circuit.

Sun 24 Apr

MICHAEL REDMOND’S SUNDAY SERVICE (RUTH COCKBURN + THOMAS BLACK)

THE STAND GLASGOW, FROM 20:30, £6

Chilled Sunday comedy showcase manned by resident Irish funnyman Michael Redmond and his handpicked guests.

YESBAR VIRGINS

YESBAR, 20:00–22:00, £3

Fri 15 Apr

THE STAND GLASGOW, FROM 21:00, £6 - £12

Mon 25 Apr

THE FRIDAY SHOW (STU AND GARRY + SILKY + RAYMOND MEARNS)

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

LAUGHTER EIGHT

YESBAR, 20:00–22:00, £10

Regular comedy slot kicking off at, aye, 8pm? Manned by a selection of hot talent from the local circuit.

Sat 16 Apr

THE SATURDAY SHOW (STU AND GARRY + SILKY + RAYMOND MEARNS)

THE STAND GLASGOW, FROM 21:00, £15

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

LAUGHTER EIGHT

YESBAR, 20:00–22:00, £10

Regular comedy slot kicking off at, aye, 8pm? Manned by a selection of hot talent from the local circuit.

SO... THAT WAS APRIL?

THE STAND GLASGOW, FROM 20:30, £5 - £7

Messers McTavish, Nelson and McAllister return with another show offering stand-up, satire and answers to the nation’s big Q’s.

Tue 26 Apr

Tue 19 Apr RED RAW

THE STAND GLASGOW, FROM 20:30, £2

Open mic-style beginners showcase, plus some old hands dropping by to road test new material.

Wed 20 Apr NEW MATERIAL NIGHT

YESBAR, 20:00–22:00, £3

Resident host Julia Sutherland introduces a variety of stand-up comedians from the Scottish circuit delivering all new material.

KATIA KVINGE + JOEY PAGE

THE STAND GLASGOW, FROM 20:30, £6 - £8

THE THURSDAY SHOW (THE REVEREND OBADIAH STEPPENWOLFE III + ALISTAIR BARRIE + JOHN WHALE + JOJO SUTHERLAND) THE STAND GLASGOW, FROM 21:00, £5 - £10

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

YESBAR VIRGINS

YESBAR, 20:00–22:00, £3

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland.

Fri 29 Apr

THE FRIDAY SHOW (THE REVEREND OBADIAH STEPPENWOLFE III + ALISTAIR BARRIE + JOHN WHALE)

THE STAND GLASGOW, FROM 21:00, £6 - £12

Resident host Julia Sutherland introduces a variety of stand-up comedians from the Scottish circuit delivering all new material.

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

Thu 21 Apr

PLATFORM, FROM 20:00, £8 - £12

THE THURSDAY SHOW (PIERRE HOLLINS + MARY BOURKE + SCOTT AGNEW)

THE STAND GLASGOW, FROM 21:00, £5 - £10

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

YESBAR VIRGINS

YESBAR, 20:00–22:00, £3

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland.

In January 2015, Alistair Barrie’s wife was diagnosed with breast cancer. Get your tickets to his set all about the year after the diagnosis, and to quote his wife ‘watch another comedian make it all about himself’.

Wed 30 Mar SCOTT CAPURRO’S GAY TURNAROUND

THE STAND EDINBURGH, 20:30–22:30, £8 - £10

DES MCLEAN

A stand up and storyteller who’s one of Billy Connolly’s favourite comedians. Apparently.

Sat 30 Apr

THE SATURDAY SHOW (THE REVEREND OBADIAH STEPPENWOLFE III + ALISTAIR BARRIE + JOHN WHALE AND HOST JOJO SUTHERLAND) THE STAND GLASGOW, FROM 21:00, £15

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

Thu 07 Apr

THE THURSDAY SHOW (JASON COOK + ANDREW STANLEY + DARREN CONNELL + SUSAN MORRISON) THE STAND EDINBURGH, FROM 21:00, £7 - £10

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

Fri 08 Apr

THE FRIDAY SHOW (JASON COOK + ANDREW STANLEY + DARREN CONNELL + SUSAN MORRISON) THE STAND EDINBURGH, FROM 21:00, £6 - £12

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

MONKEY BARREL COMEDY FRIDAY SHOW

BEEHIVE INN, FROM 20:30, £10

Californian comic Scott Capurro brings a set full of ‘ferocious’ yet actually-not-that-offensivebecause-it’s-ironic jibes to The Stand.

Regular weekend comedy showcase featuring a selection of up-and-coming acts from Scotland and beyond, topped with a guest headliner. See Facebook on the day for line-ups.

Fri 01 Apr

Sat 09 Apr

THE FRIDAY SHOW ( PETER PHILLIPSON + KIRSTY MORRISON + STU MURPHY)

THE STAND EDINBURGH, FROM 21:00, £6 - £12

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

THE IMPROVERTS

BEDLAM THEATRE, FROM 22:30, £5 - £6

Long-standing improv comedy troupe made up of an everchanging line-up of local students, whose rather fine show is built entirely on (oft daft) audience suggestions.

MONKEY BARREL COMEDY FRIDAY SHOW

BEEHIVE INN, FROM 20:30, £10

Sat 02 Apr

NEW MATERIAL NIGHT

YESBAR, 20:00–22:00, £3

Thu 28 Apr

YESBAR, 20:00–22:00, £3

ALISTAIR BARRIE: NO MORE STAGE THREE

THE STAND EDINBURGH, 20:30–22:30, £8 - £10

Wed 27 Apr

THE STAND GLASGOW, FROM 20:30, £6

YESBAR VIRGINS

Tue 29 Mar

Open mic-style beginners showcase, plus some old hands dropping by to road test new material.

RED RAW

THE STAND GLASGOW, FROM 20:30, £2

Sun 17 Apr

MICHAEL REDMOND’S SUNDAY SERVICE (SILKY + JOSEPH GOSS)

Edinburgh Comedy

Regular weekend comedy showcase featuring a selection of up-and-coming acts from Scotland and beyond, topped with a guest headliner. See Facebook on the day for line-ups.

Catch comics Katia Kvinge and Joey Page as they roll out their fringe material a part of a preview night at The Stand, Glasgow.

LAUGHTER EIGHT

YESBAR, 20:00–22:00, £10

LAUGHTER EIGHT

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland.

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland.

Regular comedy slot kicking off at, aye, 8pm? Manned by a selection of hot talent from the local circuit.

THE STAND GLASGOW, FROM 21:00, £6 - £12

Tue 12 Apr

THE STAND GLASGOW, FROM 21:00, £15

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

THE FRIDAY SHOW (PIERRE HOLLINS + MARY BOURKE + SCOTT AGNEW)

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

Chilled Sunday comedy showcase manned by resident Irish funnyman Michael Redmond and his handpicked guests.

THE SATURDAY SHOW (LLOYD LANGFORD + DANA ALEXANDER + JOE HEENAN)

Fri 22 Apr

THE SATURDAY SHOW (PETER PHILLIPSON + KIRSTY MORRISON + STU MURPHY)

THE STAND EDINBURGH, FROM 21:00, £15

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

MONKEY BARREL COMEDY SATURDAY SHOW

BEEHIVE INN, FROM 20:30, £10

Regular weekend comedy showcase featuring a selection of up-and-coming acts from Scotland and beyond, topped with a guest headliner. See Facebook on the day for line-ups.

Sun 03 Apr

THE SUNDAY NIGHT LAUGH-IN

THE STAND EDINBURGH, FROM 20:30, £1 - £6

Chilled comedy showcase to cure your Sunday evening back-towork blues.

THE SATURDAY SHOW (JASON COOK + ANDREW STANLEY + DARREN CONNELL + SUSAN MORRISON) THE STAND EDINBURGH, FROM 21:00, £15

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

MONKEY BARREL COMEDY SATURDAY SHOW

BEEHIVE INN, FROM 20:30, £10

Regular weekend comedy showcase featuring a selection of up-and-coming acts from Scotland and beyond, topped with a guest headliner. See Facebook on the day for line-ups.

Sun 10 Apr

STU & GARRY’S FREE IMPROV SHOW

THE STAND EDINBURGH, FROM 13:30, FREE

Long-running improvised comedy show with resident duo Stu & Garry weaving comedy magic from offthe-cuff audience suggestions.

GET THE POLITICAL PARTY STARTED

THE STAND EDINBURGH, FROM 20:30, £10

Straight off of Mock the Week, Have I Got News For You and Question Time, Matt Forde returns to The Stand with a brand new show which wrestles with some of the bigger questions in the aftermath of the election.

Mon 11 Apr RED RAW

THE STAND EDINBURGH, FROM 20:30, £2

Open mic-style beginners showcase, plus some old hands dropping by to road test new material.

Tue 12 Apr

DYLAN MORAN: OFF THE HOOK

USHER HALL, FROM 20:00, £25

The ‘Oscar Wilde of comedy’ returns with his first stand up in five whole years. Prepare your ribs for a hearty ticklin’.

AN EVENING WITH JO CAULFIELD AND FRIENDS

THE STAND EDINBURGH, FROM 20:00, £5

Long-running improvised comedy show with resident duo Stu & Garry weaving comedy magic from offthe-cuff audience suggestions.

Jo Caulfield returns after her 2015 sell out fringe run to record her new show entitled Disappointed With You. And, as promised, she’ll be bringing along pals Keir McAllister, Stuart Murphy, Richard Melvin and Gareth Waugh too.

Mon 04 Apr

Wed 13 Apr

THE STAND EDINBURGH, FROM 20:30, £2

USHER HALL, FROM 20:00, £25

STU & GARRY’S FREE IMPROV SHOW

THE STAND EDINBURGH, FROM 13:30, FREE

RED RAW

Open mic-style beginners showcase, plus some old hands dropping by to road test new material.

Tue 05 Apr

BENEFIT IN AID OF MARIE CURIE

THE STAND EDINBURGH, FROM 20:30, £7

The Stand hosts a night of comedy in order to raise funds for Marie Curie.

Wed 06 Apr VIVA LA SHAMBLES

THE STAND EDINBURGH, FROM 20:30, £4 - £5

DYLAN MORAN: OFF THE HOOK

The ‘Oscar Wilde of comedy’ returns with his first stand up in five whole years. Prepare your ribs for a hearty ticklin’.

STAND SPOTLIGHT: FEMINISM

THE STAND EDINBURGH, FROM 20:30, TBC

The Stand’s new Spotlight monthly invites six of the finest up and coming comics to shine a light on a topic relating to the charity theme. This debut show will focus on ‘Feminism’, with ticket money donated to Engender.

The Stand facilitates a monthly evening of total joke-pandemonium as Edinburgh’s top comics join forces.

THE SKINNY

Thu 14 Apr

THE THURSDAY SHOW (KEVIN GILDEA + KAI HUMPHRIES + SI BUGLASS + BILLY KIRKWOOD)

THE STAND EDINBURGH, FROM 21:00, £7 - £10

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

Fri 15 Apr

THE FRIDAY SHOW (KEVIN GILDEA, KAI HUMPHRIES, SI BUGLASS AND HOST BILLY KIRKWOOD)

THE STAND EDINBURGH, FROM 21:00, £6 - £12

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

MONKEY BARREL COMEDY FRIDAY SHOW

BEEHIVE INN, FROM 20:30, £10

Regular weekend comedy showcase featuring a selection of up-and-coming acts from Scotland and beyond, topped with a guest headliner. See Facebook on the day for line-ups.

Sat 16 Apr

THE SATURDAY SHOW (KEVIN GILDEA + KAI HUMPHRIES + SI BUGLASS + BILLY KIRKWOOD)

Sat 23 Apr

THE SATURDAY SHOW (IMRAN YUSUF + MATT REED + ASHLEY STORRIE + JOE HEENAN)

THE STAND EDINBURGH, FROM 21:00, £15

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

MONKEY BARREL COMEDY SATURDAY SHOW

BEEHIVE INN, FROM 20:30, £10

Regular weekend comedy showcase featuring a selection of up-and-coming acts from Scotland and beyond, topped with a guest headliner. See Facebook on the day for line-ups.

Sun 24 Apr

THE SUNDAY NIGHT LAUGH-IN

THE STAND EDINBURGH, FROM 20:30, £1 - £6

Chilled comedy showcase to cure your Sunday evening back-towork blues.

STU & GARRY’S FREE IMPROV SHOW

THE STAND EDINBURGH, FROM 13:30, FREE

MONKEY BARREL COMEDY FRIDAY SHOW BEEHIVE INN, FROM 20:30, £10

Regular weekend comedy showcase featuring a selection of up-and-coming acts from Scotland and beyond, topped with a guest headliner. See Facebook on the day for line-ups.

Sat 30 Apr

THE SATURDAY SHOW (NIGEL LAWRENCE + VLADIMIR MCTAVISH + RUTH COCKBURN + MARTIN MOR)

THE STAND EDINBURGH, FROM 21:00, £15

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

MONKEY BARREL COMEDY SATURDAY SHOW

BEEHIVE INN, FROM 20:30, £10

Regular weekend comedy showcase featuring a selection of up-and-coming acts from Scotland and beyond, topped with a guest headliner. See Facebook on the day for line-ups.

Long-running improvised comedy show with resident duo Stu & Garry weaving comedy magic from offthe-cuff audience suggestions.

THE STAND EDINBURGH, FROM 21:00, £15

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

Buy your tickets here: bit.ly/sarah-millican

MONKEY BARREL COMEDY SATURDAY SHOW

BEEHIVE INN, FROM 20:30, £10

Regular weekend comedy showcase featuring a selection of up-and-coming acts from Scotland and beyond, topped with a guest headliner. See Facebook on the day for line-ups.

Sarah Millican

THE STAND EDINBURGH, FROM 13:30, FREE

Long-running improvised comedy show with resident duo Stu & Garry weaving comedy magic from offthe-cuff audience suggestions.

Edinburgh Festival Theatre, 9-10 Jul, £29.50

THE STAND EDINBURGH, FROM 20:30, £2

Open mic-style beginners showcase, plus some old hands dropping by to road test new material.

Tue 19 Apr

BENEFIT IN AID OF SCOTTISH PARTNERSHIP FOR PALLIATIVE CARE

THE STAND EDINBURGH, FROM 20:30, £7

Keir McAllister, Stuart Mitchell, Elaine Miller and Gary Faulds perform in a charity evening of comedy hosted by Susan Morrison.

Wed 20 Apr SO... THAT WAS APRIL?

THE STAND EDINBURGH, FROM 20:30, £5 - £7

Messers McTavish, Nelson and McAllister return with another show offering stand-up, satire and answers to the nation’s big Q’s.

Thu 21 Apr

THE THURSDAY SHOW (IMRAN YUSUF + ASHLEY STORRIE + JOE HEENAN)

THE STAND EDINBURGH, FROM 21:00, £7 - £10

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

Fri 22 Apr

THE FRIDAY SHOW (IMRAN YUSUF + MATT REED + ASHLEY STORRIE + JOE HEENAN) THE STAND EDINBURGH, FROM 21:00, £6 - £12

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

MONKEY BARREL COMEDY FRIDAY SHOW

BEEHIVE INN, FROM 20:30, £10

Regular weekend comedy showcase featuring a selection of up-and-coming acts from Scotland and beyond, topped with a guest headliner. See Facebook on the day for line-ups.

April 2016

-SCAPE

9–25 APR, TIMES VARY, FREE

Featuring the work of Marion Ferguson, Belinda Gilbert Scott and Ruth Switalski, -scape brings three individual works together in a group show which challenges the romanticised notion of the landscape through sculpture, painting, sound and printmaking.

CCA: Centre for Contemporary Art PILVI TAKALA

8 APR –15 MAY, 11:00AM – 6:00PM, FREE

Pivi Takala gives an overview of her last ten years of artistic practice.

Takala’s work involves infiltrating regular environments such as offices, theme parks or even streets and through participation exposing the systems of each – and the cracks within.

THIRD HAND

12-23 APR, 10:00AM – 6:00PM, FREE

An exhibition of artworks created by people serving prison sentences in Scottish jails. The showcase includes both collaborative and individually created words and seeks to challenge the label of ‘outsider art’.

An interactive, provocative exhibition by Deniz Uster and Alberta Whittle in which visiting patrons make visa applications to a utopian, nomadic and autonomous state which takes the form of an intergalactic vessel.

Cass Art

A BOTANICAL SPRING FLING

FOIL ARMS & HOG: SKIDDLYWUP

30 APR-6 MAY, TIMES VARY, FREE

THE STAND EDINBURGH, FROM 20:30, £12

RED RAW

1 Royal Terrace

THE POLITY OF O

STU & GARRY’S FREE IMPROV SHOW

Mon 18 Apr

Glasgow

7-25 APR, TIMES VARY, FREE

Sun 17 Apr

Ireland’s biggest sketch act bring their critically acclaimed show to Edinburgh.

Art

Mon 25 Apr RED RAW

THE STAND EDINBURGH, FROM 20:30, £2

Open mic-style beginners showcase, plus some old hands dropping by to road test new material.

Tue 26 Apr BRIGHT CLUB

THE STAND EDINBURGH, FROM 20:30, £5

A selection of comedic academics do a stint of stand-up for your entertainment and enlightenment.

Laughs and learning in one neat package = tick.

Wed 27 Apr BONA FIDE

THE STAND EDINBURGH, FROM 20:30, £5 - £6

A brand new night which welcomes a stellar line-up of Scotland’s comics to perform material specially written for the theme of the night.

Tonight’s theme? ‘First times’.

Thu 28 Apr

THE THURSDAY SHOW (NIGEL LAWRENCE + VLADIMIR MCTAVISH + STEPHANIE LAING + MARTIN MOR)

THE STAND EDINBURGH, FROM 21:00, £7 - £10

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

PLANET CARAMEL: HOT BED

OPIUM, 20:00–22:00, £2 - £3

The delicious Planet Caramel return for a fifth month of their antics, supplying a tasty fondue of sketch comedy on the last Thursday of the month at Opium.

Fri 29 Apr

THE FRIDAY SHOW (NIGEL LAWRENCE + VLADIMIR MCTAVISH + RUTH COCKBURN + MARTIN MOR)

THE STAND EDINBURGH, FROM 21:00, £6 - £12

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

Dundee Comedy Fri 29 Apr

ED BYRNE: OUTSIDE, LOOKING IN

DUNDEE REP, FROM 19:30, £9 - £19

Irish funny’un Ed Byrne brings a new set to the Rep. OH GOODY!

THE GARDYNE THEATRE, FROM 19:30, £17 - £18

Comedy performer Tim Brooke-Tayler spins yarns from a lifetime on the circuit for a captive audience and in the company of broadcaster Chris Serle.

Sat 30 Apr

ED BYRNE: OUTSIDE, LOOKING IN

DUNDEE REP, FROM 19:30, £9 - £19

Irish funny’un Ed Byrne brings a new set to the Rep.

Cass Art hosts an exhibition of botanical art by members of the Scottish Society of Botanical Art. All of the paintings on show will be for sale, and every day an artist in attendance will be at hand to answer queries and carry out technical demos.

Compass Gallery GREGOR SMITH + BELINDA RUSH JANSEN

UNTIL 9 APR, TIMES VARY, FREE

Compass presents a joint exhibition showing The Far Shore, a selection of new paintings and prints by Gregor Smith based on the Scottish and Norweigen coastline, alongside new bronze sculptures and stone carvings from Belinda Rush Jansen in a show entitled Carving: In Celebration of Wildness.

David Dale Gallery and Studios DESDE EL JARDÍN

8-25 APR, 11:00AM – 7:00PM, FREE

Sol Calero’s latest work, which takes its title from the Spanish translation of the film Being There.

Desde el Jardín takes cues from a tropical garden or patio to create an immersive, transformative installation.

Glasgow Print Studio ROBERT SHAW

UNTIL 5 APR, TIMES VARY, FREE

Catch featured artist Robert Shaw, a painter and printmaker (based in Kirkwall, Edinburgh) throughout March and early April.

MEZZOTINT

8 APR-29 MAY, TIMES VARY, FREE

Nicolas Party’s work is concerned with taking familiar objects and exaggerating their presence. In Mezzotint he has created ‘little conversations’ between depicted objects and subjects, inviting the viewer to engage with this interaction.

Find full listings at theskinny.co.uk/whats-on

ANDREAS BEHN-ESCHENBURG 9 APR–1 MAY, TIMES VARY, FREE

Andreas Behn-Eschenburg is interested in investigating the artist’s agency, and in deconstructing the traditions of painting, reassembling them into other media and installations.

Glasgow School of Art

HOLD FAST, STAND SURE, I SCREAM A REVOLUTION

7–27 APR, TIMES VARY, FREE

Serena Korda brings a sound sculpture to the Reid Gallery in an exhibition which knits together her interest in primitive impulses, invented tradition and humanity’s off-kilter relationship with nature.

Glasgow Sculpture Studios

ALISA BAREMBOYM + LIZ MAGOR

8 APR–4 JUN, 11:00AM – 5:00PM, FREE

Soviet-born, New York-based artist Alisa Baremboym and Canadian artist Liz Magor present their first institutional exhibitions in Scotland and the UK. Their works share a dialogue about the human body and the interaction of the organic and the inorganic.

GoMA

WOLFGANG TILLMANS PICTURES FROM NEW WORLD

UNTIL 7 AUG, TIMES VARY, FREE

Turner Prize-winning Wolfgang Tillmans brings an exhibition of photographs from his series Neue Welt (New World) to GoMA. After ten years spent abstracting and conceptualising, Tillmans exhibits a re-enchantment with seeing the world for what it is.

WHO’S EXPLOITING WHO IN THE DEEP SEA?

8 APR–7 AUG, TIMES VARY, FREE

Cosima Von Bonin analogises the human condition via a series of works from 2006 onwards, all relating to a theme of ‘under the sea’.

From textile to music, sculpture to performance, video and painting, the exhibition is a charmingly multi-platform affair.

PAINTER’S TABLE

8-25 APR, TIMES VARY, FREE

Tessa Lynch’s GI exhibition which combines sculpture and script (and a performance on 23 Apr) in order to examine and narrate her own daily commute through the city of Glasgow; emphasising the mundane and ultimately creating a self portrait of sorts.

Hillhead Library A LIFE WORTH LIVING

UNTIL 3 APR, 12:00AM – 12:00AM, FREE

Nick Hedges’ collection of photos documenting poverty and abject living conditions in Newcastle, London, Belfast, Manchester, Birmingham, Burnley, Sheffield and Glamorgam. Commissioned by homelessness charity Shelter in 1968.

THIS SHOW MAY CHANGE

8-25 APR, TIMES VARY, FREE

A cross-disciplinary, nonhierarchical group show by Hamish Chapman, Joanna Dawson, Caroline Grape, Nick Lynch and Ewan McCaffrey which raises a playful eyebrow at ‘sometimes stagnant and presumptuous’ styles of curating and installation present in art.

Hunterian Art Gallery

WILLIAM HUNTER TO DAMIEN HIRST: THE DEAD TEACH THE LIVING

UNTIL 1 JAN 17, TIMES VARY, FREE

An exhibition curated by students on GSA / University of Glasgow’s course of Curatorial Practice featuring objects and art which explore moments of synergy between the fields of art and science.

Intermedia Gallery LOGIC MAY INDEED BE UNSHAKEABLE

UNTIL 1 APR, TIMES VARY, FREE

Using an installation which integrates loom mechanisms, data punchcards and an app, Elizabeth Hudson asks just how complicit are we in the amassing of data and rapidly expanding automation.

Kelvin Hall

SWG3 Glasgow

8– 25 APR, TIMES VARY, FREE

8 APR–30 MAR, 6:30PM, £10

BRIGHT BODIES

Claire Barclay draws upon Kelvin Hall’s history as a venue which facilitates the needs of an evolving cultural landscape in Glasgow.

Commissioned as part of GI, the work takes the form of a large scale installation occupying a nearderelict room.

BARRON FIELD

8– 25 APR, TIMES VARY, FREE

Helen Johnson brings a selection of large-scale paintings to Kelvin Hall in an exhibition whose style of construction makes as much of a statement as the artistic content within each work. Part of GI and in collaboration with Mary Mary.

Koppe Astner THE FRENCH MISTAKE

8– 10 APR, TIMES VARY, FREE

Leila Hekmat, Calla Henkel and Max Pitegoff exhibit a work which looks into unconscious movements of the body and considers the possibility of creating an environment on stage where private imagination is combined with public and political history.

Lillie Art Gallery SPARKLING AT SIXTY

UNTIL 31 MAR, 10:00AM – 5:00PM, FREE

The Embroiderers’ Guild’s 60th Anniversary Exhibition, featuring wall hangings, costumes, embellished panels and embroidered travelling Books inspired by poetry, art and landscapes.

Market Gallery OFFICE FOR MONUMENT CONSTRUCTION

8– 25 APR, TIMES VARY, FREE

Karolina Breguła presents a new film produced in Glasgow but set in a functional city in a state of flux, created to raise questions about institutional attempts to preserve collective identity.

Mary Mary HONEST ESPIONAGE

QR8

A bunch of Scotland’s finest artists and fashion buffs assemble to showcase their talent with QR8 in an effort to raise dollar for Impact Scotland. There’ll be DJs a-playing and drinks a-flowing, too.

TIME REGAINED

8 APR– 7 MAY, TIMES VARY, FREE

The first solo exhibition of Don Levy’s work in the UK; Time Regained combines rarely seen film and video with archive material, giving an insight into the understated works of an innovative filmmaker.

IDEAL-FORM-ZONE

UNTIL 25 APR, TIMES VARY, FREE

Adam Quinn, Andrew Sim and Felix Welch’s show which focuses on the changing relationship between artists and plazas – from classical temple to public square and beyond.

Scotland Street School Museum RAOUL REYNOLDS: A RETROSPECTIVE

8–24 APR, TIMES VARY, FREE

Part of Glasgow International, this retrospective exhibition is dedicated to the work of Raoul Reynolds (1882-1969), tracing a career of work which reflects immense social and historical change.

Skypark 1

ON THE EDGE OF A CONTINENT

8–25 APR, 12:00PM – 5:00PM, FREE

New work from Will Kendrick, Sulaiman Majali and Lewk Wilmhurst which takes a multi-platform approach to investigating the potential of a new-age society, engaging with the themes of beauty, exaggerated culture and self-gratification.

Street Level Photoworks POLITICAL LETTERS

8 APR–29 MAY, TIMES VARY, FREE

Mono

Widely exhibited German artist Catrine Val premiers her staged photo-works in a solo exhibition which questions the relative absence of female, global voices in philosophy, pointing out that existential questions are common to all of mankind.

UNTIL 30 MAR, TIMES VARY, FREE

8 APR–29 MAY, TIMES VARY, FREE

8 APR– 28 MAY, TIMES VARY, FREE

Mae Smith presents new paintings which employ a personalised iconography which engages with notions of sexual politics, gender, humour, the artist and studio.

MARIE ANINE MØLLER

Marie Anine Møller explores the notion of contradictions and creating a new ‘space’ from her photographic and textual works.

Platform

HAP UP EASTERHOUSE

8– 25 APR, TIMES VARY, FREE

Mandy McIntosh hosts a series of gatherings during which she engages with local people in creative activism, hoping to facilitate informal connections and the sharing of experiences.

OUTSKIRTS

8– 23 APR, 12:00PM – 10:00PM, £7.50 - £10

Yet another art related must-see this April, Outskirts makes a welcome return to Glasgow. If you like your art genres blurred and your boundaries traversed, make sure to get to Platform on 23 April.

Queens Park Railway Club RE-ENTER THE DRAGON

8– 25 APR, 12:00PM – 6:00PM, FREE

Artist and author Stewart Holmes combines video, performance, sculptural installation and text to explore hybrid cultures and their significance throughout recent history.

RollerStop

IT’S CALLED DISCHARGE

8 APR, 2:30PM – 4:30PM, FREE

Asparagus Piss Raindrop stage a live piece of performance art at Roller Stop as part of Glasgow International. Free skating taster sessions will be available post-show.

SET & SETTING

Mari Hokkane brings a collection of self-portraits featuring elaborate sets and installations which invite viewers to interpret the provocative and humorous situations narrated within.

The Art School MEGA HAMMER

UNTIL 7 APR, 7:00PM – 9:00PM, FREE

A reincarnation of Mega Hammer edition number one, which originally formed part of Open House Glasgow 2015. Mega Hammer will feature performers aiming to ‘demonstrate a lifestyle based on DIY, low budget, death metal and pure expression’.

ALGORHYTHM: 04

UNTIL 1 APR, 8:00PM – 11:00PM, £5

The final edition in a series of audio visual events programme which sees musicians, artists and DJs come together to perform live music and create visual art within the format of ‘the nightclub’. So like a club, but not actually a club.

Gotcha.

The Common Guild THE END OF TIME

8 APR–9 JUN, TIMES VARY, FREE

Drawing, photography and film

by Lebanese artist Akram Zaatari as part of his first exhibition in Scotland. The works reflect Zaatari’s interest in documentary making as an art form and its role in shaping both personal and collective history.

The Glue Factory ROUGH HOUSE

8-25 APR, TIMES VARY, FREE

Taking place in The Glue Factory, Rough House is a project by The Woodmill and #temporarycustodians. It involves 20 artists and writers including Jenna Bliss, Naomi Pearce and Mathis Grasser, and aims to identify methodologies for human co-operation.

The Hidden Noise

THE DECLINE OF WESTERN CIVILISATION

8-25 APR, 12:00PM – 6:00PM, FREE

A new video work by Baldvin Ringsted which counterposes the influence of American East Coast trash metal of 1980s Iceland with post-war idealism.

The Lighthouse COLOUR STRATEGIES IN ARCHITECTURE

UNTIL 3 APR, TIMES VARY, FREE

A showcase of exemplary architectural strategies from Berlin, Edinburgh and Zurich which demonstrate the role colour can play as a transformative and instrumental tool in architectural design.

The Mitchell Library SEASONS END

8 APR-25 APR, TIMES VARY, FREE

Tamara Henderson exhibits artwork that she began creating while partaking in a one-month residency at Hospitalfield Arts. It is a large-scale exhibition made up of two sculptures, entitled Garden Photographer Scarecrow and Body Fountain Fetch.

The Modern Institute MONIKA SOSNOWSKA

8 APR-21 MAY, TIMES VARY, FREE

A GI supported exhibition in The Modern Institute which showcases Monika Sosnowska’s ‘ambitious architectonic structures’ and installations which both embrace and resist the spaces occupied.

A PETITION FOR AN ENQUIRY INTO A CONDITION OF ANXIETY

8 APR-21 MAY, TIMES VARY, FREE

Joanne Tatham and Tom O’Sullivan present a show which negotiates the conditions and contexts through which contemporary art circulates.

The Telfer Gallery

THE HORIZONTAL WINDOW

8 APR-8 MAY, TIMES VARY, FREE

Part of Gl, The Horizontal Window is Sam Smith’s multi-faceted work comprising a large-scale installation which will act as a site for new video work and performance.

The work explores the role of the window as a framing device in Modernist architecture.

Tramway TROLLEY

8 APR-22 MAY, TIMES VARY, FREE

An exhibition by Alexandra Bircken and commissioned by Glasgow International. Bircken’s sculptures engage with the history of the Tramway space and reflect the tragic aspects of the now defunct tram line.

SHEILA HICKS

8 APR-22 MAY, TIMES VARY, FREE

A Glasgow International exhibition which features large scale, hand woven and twisted sculptures informed by artist Sheila Hicks’ research and experience while travelling South America.

PROVENANCE

8 APR-22 MAY, TIMES VARY, FREE

Amie Siegel’s specially commissioned Glasgow International exhibition traces the stories of furniture, tracing its journey backwards; from its end destination in New York apartments, through to its restoration and life as a for-sale item in an auction.

QE3

8 APR-22 MAY, TIMES VARY, FREE

Lawrence Lek exhibits his video game software rendering of the Glasgow-built QE2 luxury ocean liner. On 9 April, composer and cellist Oliver Coates will perform the soundtrack live at 1.30pm.

Listings

61

THE HEALTH BENEFITS OF EATING SILICA 14 APR, 1:00PM – 9:00PM, FREE

Lauren Gault and Zoe Claire Miller collaborate for an exhibition supported by GI which links their use of ceramics and seeks knowledge about the embodied knowledge of inanimate objects.

Transmission Gallery SIDSEL MEINECHE HANSEN

8 APR–14 MAY, 11:00AM – 5:00PM, FREE

A new body of work by Sidsel Meineche Hansen which is drawn from research into the production and commodification of the gender binary in VR and in computer generated pornographic representation.

NO RIGHT WAY 2 CUM

8 APR– 20 MAY, 11:00AM – 5:00PM, FREE

Sidsel Meineche Hansen presents a new body of work exploring the relationship between feminism, 3D genders and post-human sex. The show will feature an installation of animations which fall both into the genres of porn and horror.

WASPS Artists’ Studios Briggait WHO ARE YOU AND WHAT DO YOU WANT?

8– 25 APR, 10:00AM – 6:00PM, FREE

A show by our cartoonist Jock Mooney in which the themes of fertility, regeneration, economy, peace, health and prosperity are explored through visceral and dynamic and other-worldly imagery.

Wasps Artists’ Studios Hanson Street LAWS OF MOTION IN A CARTOON LANDSCAPE (II)

8– 25 APR, TIMES VARY, FREE

An attempt at ‘a thesis for the world after the end of history’, Holden’s filmwork Laws of Motion in a Cartoon Landscape (II) is a multi-screen film housed within its own immersive cartoon structure.

iota @ Unlimited Studios NO EXPECTED OUTCOME

14– 23 APR, 12:00AM – 12:00AM, FREE

An interim exhibition from The GSA Masters of Research in Creative Practices, showcasing the work of Masters students from diverse specialisms – photography, painting, sculpture, art history, writing, medicine, ecology and performance.

Edinburgh Art City Art Centre THE ARTIST AND THE SEA

UNTIL 8 MAY, TIMES VARY, FREE

Themed exhibition by a range of different artists capturing the character of the sea, taking in painting, drawing, printmaking, photography and sculpture, and including works by John Bellany, William McTaggart, Joan Eardley and Elizabeth Ogilvie.

Collective Gallery

KATIE SCHWAB: TOGETHER IN A ROOM

UNTIL 24 APR, 10:00AM – 4:00PM, FREE

Artist Katie Schwab presents a collection of works drawing on her research into histories of domestic design, showroom display and craft education, exploring ideas of function and decoration in their composition and arrangement.

Dovecot Studios CHILDREN OF THE MANTIC STAIN

UNTIL 30 MAR, 7:30PM, £8 - £20

BAS8-exhibited artist Linder’s ballet in Dovecot, featuring experimental choreography and a tapestry rug (currently exhibited at the National Gallery of Modern Art).

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Listings

Edinburgh Printmakers

ROBERT POWELL ARTIST TALK

1 APR, 6:30PM – 7:30PM, FREE

Edinburgh based artist Robert Powell discusses the inspiration for his new solo exhibition entitled Species of Space, and more generally about his wider artistic practice. This event is free but ticketed.

SPECIES OF SPACE

1 APR– 16 JUL, 10:00AM – 6:00PM, FREE

Robert Powell’s meditation on the notion of the city as a physical artefact, taking the form of a cardboard sculpture of a city, clad in screen-printed laser-cut wood veneers.

THE AMAZING VISIBLE CITY

2– 9 APR, 10:00AM – 6:00PM, FREE

Edinburgh Printmakers’ second gallery space is converted into a temporary artist’s studio where Powell will work to complete his most recent artwork Species of Space.

Edinburgh Sculpture Workshop CATALOGUE

2 APR– 12 MAY, 11:00AM – 5:00PM, FREE

Scottish National Gallery of Modern Art

BRITISH ART SHOW 8 @ SCOTTISH NATIONAL GALLERY OF MODERN ART

UNTIL 8 MAY, 10:00AM – 5:00PM, FREE

Touring show spread across a trio of Edinburgh galleries – Scottish National Gallery of Modern Art, Inverleith House and Talbot Rice – offering an overview of 42 artists deemed to have made a significant contribution to UK art in the past five years.

BY THE BOOK: SCOTTISH WOMEN ILLUSTRATORS

UNTIL 26 JUN, 10:00AM – 5:00PM, FREE

Celebrating the treasure trove of books illustrated and designed

by Scottish women in the early twentieth century, this exhibition shines a spotlight on Jessie M. King and Agnes Miller Parker – along with slightly lesser known names, too.

EXCHANGE: PERSPECTIVES ON BRITISH ART SHOW 8 NATIONAL TOUR

29 APR, 1:00PM – 5:00PM, FREE

A symposium which brings together key figures in the 2015-17 British Art Show 8 tour as it moves from Leeds to Edinburgh.

Edinburgh Sculpture Workshop presents an exhibition of artist and filmmaker Holly Antrum’s film work, Catalogue made with artist Jennifer Pike.

Scottish National Portrait Gallery

Inverleith House

UNTIL 24 APR, TIMES VARY, FREE

BRITISH ART SHOW 8 @ INVERLEITH HOUSE

UNTIL 8 MAY, 10:00AM – 5:00PM, FREE

Touring show spread across a trio of Edinburgh galleries – Scottish National Gallery of Modern Art, Inverleith House and Talbot Rice – offering an overview of 42 artists deemed to have made a significant contribution to UK art in the past five years.

Royal Scottish Academy RSA RSA NEW CONTEMPORARIES

UNTIL 30 MAR, TIMES VARY, TBC

Returning for a third year of championing Scotland’s budding artists, RSA New Contemporaries will showcase 61 art graduates cherry picked from the 2015 degree shows. Features everything from printmaking to sculpture, film to photography.

UN:REALISED

18 APR– 13 FEB 17, TIMES VARY, FREE

RSA showcases the architectural plans, sketches and competition entries detailing plans for buildings that never came to be. Have a wander and wonder ‘what if?’.

Scottish National Gallery ROCKS AND RIVERS: THE LUNDE COLLECTION

UNTIL 30 APR 17, TIMES VARY, FREE

Long-term loan from one of the finest private collections of 19thCentury Norwegian and Swiss landscape paintings, American collector Asbjörn Lunde, taking in 13 works by artists including Johan Christian Dahl, Alexandre Calame and Thomas Fearnley.

VISIONARY PALACES

UNTIL 12 JUN, TIMES VARY, FREE

An exhibition featuring the designs of Karl Friedrich Schinkel (1781–1841) for two palaces, one on the Acropolis in Athens and the other at Orianda on the Crimean coast, neither of which were realised.

THE EYE NEVER HAS ENOUGH OF SEEING

UNTIL 29 APR, TIMES VARY, FREE

An showcase of artworks created by people taking part in a wide variety of practical art courses organised by the National Galleries of Scotland, all led by award-winning artist David Forster.

DOCUMENT SCOTLAND: THE TIES THAT BIND

Photographic collective comprising of Colin McPherson, Jeremy Sutton-Hibbert, Sophie Gerrard and Stephen McLaren – four Scotsborn photographers, each exponents of documentary photography – featuring 50-75 photographs of, and about, Scotland.

THE UNTITLED

UNTIL 8 MAY, TIMES VARY, FREE

Throughout 2015, the National Galleries’ Outreach Team invited ‘the next generation’ to make the kind of art they would want to see, inspired by the work of contemporary artists – here young people from Alloa, Irvine and Edinburgh showcase the fruits.

St Margaret’s House CREEP ME OOT

2–16 APR, 10:00AM – 6:00PM, FREE

A special showcase of artworks that aim to explore the parallelism between disgust, excitement and desire.

IF WALLS COULD TALK

2–17 APR, 10:00AM – 6:00PM, FREE

Photographs capturing the story of people and buildings affected by the demolition of a Victorian factory.

STUDIO WORK

2–17 APR, 10:00AM – 6:00PM, FREE

A personal selection of interesting prints, paper works and sculptures by a local artist with autism.

THIRD TRY-MESTER

23 APR– 8 MAY, 10:00AM – 6:00PM, FREE

An exhibition of work by third year students from Edinburgh College of Art, running across all three galleries.

Stills

JOSEPH MCKENZIE: WOMEN OF DUNDEE / PHOTOGRAPHS FROM THE MARGARET MORRIS COLLECTION

UNTIL 9 APR, 11:00AM – 6:00PM, FREE

Two-part exhibition presenting a body of work by Joseph McKenzie, dating from the 60s, alongside photographic material from the Margaret Morris collection, dating from the 1910s-30s, all on display in Edinburgh for the first time.

LEWIS BALTZ WITH WORKS BY CARL ANDRE AND CHARLOTTE POSENENSKE

30 APR– 9 JUL, 11:00AM – 6:00PM, FREE

Stills presents an exhibition of photographs by Lewis Baltz (19452014) alongside artworks by Carl Andre and Charlotte Posenenske, curated to reflect the affinity that Baltz showed between his photography and the work of his Minimalist peers.

Talbot Rice Gallery

BRITISH ART SHOW 8 @ TALBOT RICE

UNTIL 7 MAY, TIMES VARY, FREE

Touring show spread across a trio of Edinburgh galleries – Scottish National Gallery of Modern Art, Inverleith House and Talbot Rice – offering an overview of 42 artists deemed to have made a significant contribution to UK art in the past five years.

The Fruitmarket Gallery CHANGE-THE-SETTING

UNTIL 5 JUN, TIMES VARY, FREE

In an exhibition tailored to the Fruitmarket Gallery’s own exhibition spaces, Sara Barker combines painting, drawing and sculpture in order to engage with the notion of space and the ways in which it can be imagined.

Whitespace WOMANHOOD

9–14 APR, 11:00AM – 6:00PM, FREE

An exhibition of photographic works by six young photographers, exploring the role and various representations of women in a contemporary society.

Theatre THIS RESTLESS HOUSE: PART 1

VARIOUS DATES BETWEEN 28 APR AND 14 MAY, TIMES VARY, £0.50 - £22.50

The first instalment of Zinnie Harris’ trilogy, an adaptation of the Greek tragedy The Oresteia. Full trilogy tickets are also available for £30.

THIS RESTLESS HOUSE: PARTS 2 & 3

VARIOUS DATES BETWEEN 29 APR AND 14 MAY, 7:00PM – 12:00AM, £0.50 - £22.50

The penultimate and final instalments of Zinnie Harris’ trilogy, an adaptation of the Greek tragedy The Oresteia. Full trilogy tickets are also available for £30.

IF I HAD A GIRL

13–16 APR, 7:30PM – 12:00AM, £8.50 - £12

A verbatim play by Mariem Omari which speaks on behalf those who have survived honour-based violence in Scottish ethnic-minority communities.

Lung Ha Theatre company’s The Silent Treatment, a play which follows the somewhat hushed action taking place over the course of a sponsored silence.

TRESPASS

Glasgow Citizens Theatre

THE SILENT TREATMENT UNTIL 9 APR, TIMES VARY, PRICES VARY

13-15 APR, 8:00PM – 12:00AM, £10 - £16

The King’s Theatre GREASE

13-17 APR, TIMES VARY, £10 - £41

Frothy musical favourite featuring leather clad limbs and hopelessly devoted highschoolers. Matinees also available.

PRISCILLA QUEEN OF THE DESERT

1-2 APR, 7:30PM – 12:00AM, £12.50 - £47.50

New theatrical production of the O.T.T. musical adventure where two drag queens and a transsexual get a cabaret gig in the middle of the desert. Matinees also available.

THE JAMES PLAYS: JAMES I, II, III

VARIOUS DATES BETWEEN 8–10 APR, TIMES VARY, £25 - £49

Vividly imagined, The James Plays bring to life three generations of Stewart kings who ruled Scotland from 1406-1488, with The King’s Theatre showing James I, II and III during April.

Trespass carries on from where Mark’s previous show 100 Acts of Minor Dissent left off. It is his usual odd mix of theatre, stand up, activism, a dash of journalism and dollop of mayhem.

Edinburgh Theatre

bit.ly/swan-lake-glasgow

Cooper Gallery

Assembly Roxy WITH A LITTLE BIT OF LUCK

18 APR, 7:30PM, £10 - £13

In a show that’s rhythmically underscored by a live mix of old school UK Garage, award-winning writer Sabrina Mahfouz explores the legacy of a cultural movement that defined the hopes of a generation.

Scottish Ballet Swan Lake Festival Theatre, Edinburgh, 25–28 May from £9

DCA: Dundee Contemporary Arts GREY GARDENS

UNTIL 1 MAY, 11:00AM – 6:00PM, FREE

Exhibition of art and architecture inspired by modernity and nature, including Modernist houses by Morris and Steedman, Peter Womersley’s Studio for Bernat Klein and the town art of Glenrothes and Cumbernauld. Part of the Festival of Architecture.

Generator Projects COME TO DUST

UNTIL 24 APR, 12:00PM – 5:00PM, FREE

Featuring Verity Birt, Jasper Coppes and Rosie Morris, Come to Dust brings together three artists, each developing their own perspective on the material remains of monuments and civilisations.

Hannah Maclure Centre THE MOTHER LOAD

UNTIL 15 APR, 10:00AM – 5:00PM, FREE

The Mother Load is a global network of women tethered together by their status as both mothers and artists. Through a series of workshops, performance, screenings and exhibitions this project seeks to more closely understand the nuances of networks.

The McManus TAKING A LINE FOR A WALK

UNTIL 17 APR, TIMES VARY, FREE

Showcase of pencil and paper works taking its title from a Paul Klee quote, featuring both playful and outsize works by artists including James Gunn, June Carey, Franziska Furter, Tim Knowles and Massimo Bartolini.

A story infamously written by JRR Tolkien during a spate of writer’s block while finishing Lord of the Rings. A curious tale oft’ regarded as parallel to the author’s own life.

Matinee performances available.

14-16 APR, TIMES VARY, PRICES VARY

UNTIL 23 APR, 11:00AM – 5:00PM, FREE

Designing and making posters together, Poster Club engage in the complexity of collective practice, and make works that question ‘political, social and economic discourses’. Their latest exhibition will take place throughout March and April.

14-16 APR, TIMES VARY, PRICES VARY

RUSALKA

NEW WHEAT, NEW MUD, NEW MACHINE

DANCE OF DEATH 22 APR–7 MAY, 7:30PM – 12:00AM, £9.50 - £14

A vivid re-imagination of August Strindberg’s The Dance of Death.

Think Who’s afraid of Virginia Wolf, except ten times darker...

Kinning Park Complex

HOWLING SPOON: PERFORMANCE KITCHEN

1 APR, 7:00PM, FREE

Pay what you can for a delicious vegan meal made up of food from Glasgow’s local grocers and find yourself simultaneously immersed in a variety show of live music and performance art.

Oran Mor

PAUL ZERDIN: SPONGEFINGER

18 APR, 7:00PM – 12:00AM, £17.50

Puppeteer Paul Zerdin (who you might recognise from America’s Got Talent) returns to the UK with his infamous puppets in tow.

Platform BREATHE

28 APR, 7:00PM – 12:00AM, £3.50 - £8

A new live performance by Scotland based artists White & Givan in which choreography is used to engage with the ideas of shared histories, remnants and dust.

PRIVILEGE

20 APR, 7:00PM – 12:00AM, £3.50 - £10

The Women's Creative Company come together once again to present a new piece of work examining what privilege and entitlement means to them.

Shed

THE GOLDEN TICKET

22-23 APR, 7:30PM – 9:30PM, £10

A comedy play featuring breakups, beanie babies collections and cardiac arrests. Based on a true story and written by James T. Tiffoney.

Antony McDonald’s production of Dvoªák’s Rusalka. The fairytale opera tells the tale of a water nymph who trades in her voice for access to the land and the object of her romantic affections.

NORTHERN BALLET - 1984

31 MAR–2 APR, FROM 19:30, £29.50 - £36

Yes, you’ve recognised the number and now you’re wondering whether George Orwell’s 1984 has been reimagined as a ballet. The answer is yes. Yes it has. And it’s set to be brill.

The Theatre Royal

King’s Theatre Edinburgh

VARIOUS DATES BETWEEN 5–9 APR, TIMES VARY, PRICES VARY

26–30 APR, TIMES VARY, PRICES VARY

RUSALKA

Antony McDonald’s production of Rusalka. The fairytale opera tells the tale of a water nymph who trades in her voice for access to the land and the object of her romantic affections.

Tramway 5 SOLDIERS

29-30 APR, 7:30PM, £8 - £12

A dramatic dance piece which demonstrates how how the human body remains essential to war, even in the 21st century. Critically acclaimed and choreographed by Rosie Kay (Sunshine on Leith).

OF MICE AND MEN

John Steinbeck’s Of Mice and Men is brought alive by director Roxana Silbert at Edinburgh’s King’s Theatre this April.

CANNED LAUGHTER

29 MAR–2 APR, TIMES VARY, FREE

A brand new comedy written and directed by Ed Curtis. Follow a band of three of comedians as they hit the big time and get their own television show in the 1970s, dissolve as a trio and reunite decades later.

JACKIE THE MUSICAL

12–15 APR, 7:00PM – 12:00AM, £18.50 - £33.50

Tron Theatre

All singing, all dancing seventies nostalgia fest Jackie The Musical continues its UK tour.

27-30 APR, TIMES VARY, PRICES VARY

19–23 APR, TIMES VARY, PRICES VARY

CRASH

A rare and poetic insight into the psychology of a banker’s world created by Scottish writer Andy Duffy. Theatre’s answer to Wolf of Wall Street.

BLACKOUT

20-23 APR, 8:00PM – 12:00AM, £7.50 - £10

Following a five star run in London, this brutally honest play based on interviews with recovering alcoholics makes its way to the Tron.

THE PAPER BAG

30-31 MAR, 8:00PM – 12:00AM, £7.50

A play set in a violent household featuring two imaginative children who’ve been forbidden from playing by an abusive aunt. Written

by Heloise Thual and directed by Lesley Eadie.

LEAF BY NIGGLE

1–2 APR, TIMES VARY, £8–£16

A story infamously written by JRR Tolkien during a spate of writer’s block while finishing Lord of the Rings. A curious tale oft’ regarded as parallel to the author’s own life.

Matinee performances available.

A new project highlighting experimental theatre and performance art.

The Edinburgh Playhouse THE ROCKY HORROR SHOW

28MAR–2 APR, TIMES VARY, £16.90 £71.90

The latest incarnation of the favourited rock’n’roll musical arrives in the Capital. Matinees also available.

12–16 APR, 7:30PM – 12:00AM, £15 - £49.50

Expect sequins, New Yawkers and sit-down-you’re-rocking-theboat galore in Playhouse’s run of Guys and Dolls.

MENOPAUSE: THE MUSICAL

Festival Theatre

Buy your tickets here:

OTHER FACES #1

22–23 APR, 7:00PM – 8:30PM, £5 - £8

GUYS AND DOLLS

LEAF BY NIGGLE

Dundee Art

Summerhall

THE 39 STEPS

UNTIL 30 APR, 7:30PM – 12:00AM, £24 - £27.90

One of the Nowlan sisters, someone off Casualty and the woman who played Heather Trott on Eastenders do a musical about ‘the change’. Apparently it’s hysterical!

Apparently.

Traverse Theatre CRASH

29–30 APR, TIMES VARY, PRICES VARY

A rare and poetic insight into the psychology of a banker’s world created by Scottish writer Andy Duffy. Theatre’s answer to Wolf of Wall Street.

INTERNATIONAL WATERS

30 MAR –16 MAR 26, TIMES VARY, PRICES VARY

Set in a dystopian future where even the 1% are seeking asylum (imagine!), International Waters follows four exceedingly rich members of the elite as they grapple in the watery dark using the only things they know: money, sex and madness.

THE SILENT TREATMENT

8–9 APR, TIMES VARY, PRICES VARY

Lung Ha Theatre company’s The Silent Treatment, a play which follows the somewhat hushed action taking place over the course of a sponsored silence.

RIGHT NOW

19 APR–7 MAY, 7:30PM – 12:00AM, £8 - £18

Written by award-winning Quebecois playwright Catherine-Anne Toupin and directed by former RSC Artistic Director Sir Michael Boyd, Right Now is the tale of neighbourly spirit gone awry, passionate encounters and unsettling revelations.

Usher Hall

IRVINE WELSH AND ROBERT CARLYLE

UNTIL 10 APR, 4:00PM – 12:00AM, £12

Begbie’s back! See Irvine Welsh in conversation with actor Robert Carlyle as he launches his new book, The Blade Artist. Part of Edinburgh International Book Festival’s Booked! Programme.

Dundee Theatre

Alfred Hitchcock’s spy thriller hit; recreated for the stage.

Dundee Rep

Royal Lyceum Theatre

27 APR, 7:30PM – 12:00AM, £11 - £14

I AM THOMAS

VARIOUS DATES UNTIL 9 APR, TIMES VARY, PRICES VARY

A comedy that’s seeping with black humour and songs, flitting between 17th-century Edinburgh and the present day to tell the tale of a man in the wrong place at the wrong time. Matinee and earlier performances available.

THE ILIAD

20 APR–14 MAY, 7:30PM – 12:00AM, £10 - £29.50

Award winning Scottish playwright Chris Hannan’s sparkling new adaptation of The Iliad; a tale of gods, heroes, love, jealousy and sweet, tasty revenge.

Find full listings at theskinny.co.uk/whats-on

DONALD ROBERTSON IS NOT A STAND UP COMEDIAN

Stop right there! Look at you, pigeon-holing this show already.

The title of his show might sound a dead ringer for ironic fringe sets, but rest assured that this is an intriguing, curious and charming monologue. And his name isn’t even Donald. It’s Gary.

The Gardyne Theatre HELLO DOLLY

1–2 APR, 7:30PM – 12:00AM, £17 - £19

Bird College of Dance, Music and theatre return to the Gardyne for a fifth year running with a Tony Award winning show about a socialite-turned-matchmaker called Dolly Levi. Matinees available.

THE SKINNY

Ceasefire In spite of his famously sharp tongue, Future of the Left's Andrew ‘Falco’ Falkous is trying his best to be a nice guy. Ahead of his band’s appearance at Glasgow’s Restless Natives festival, he tells us about The Peace and Truce of Future of the Left Interview: Will Fitzpatrick

ndrew Falkous is a reformed character.

“I’m really doing my best not to slag off other bands,” he explains, following a sixteen-year career as one of the premier agent provocateurs of UK rock music, first with Mclusky and now with the remarkable Future of the Left. “I’ve done interviews where I’ve made one disparaging remark about a band, and that’s always the headline. It’s always ‘MATT BELLAMY A GOBLIN, SAYS FALCO’.

I didn’t say he was a goblin!”

This newly-placid Falco certainly echoes the title of his band’s new album. The Peace and Truce of Future of The Left is suggestive of a much more sedate affair than their usual serrated riffola.

It’s a relief, then, to discover that FOTL remain as brutal and noisy as ever, with their frontman’s barbed lyricism on devilishly hilarious form as he tears strips from themes such as bourgeois selfentitlement and cultural complacency alongside a host of additional topics, all ripe for ridicule.

With cosier concepts such as ‘peace’ and ‘truce’ seeming pretty far from the record’s true essence, we have to ask: what’s with that title?

“It actually comes from a movement in the early middle ages called The Peace and Truce of God,” he says, “which was kind of a version 1.0 of chivalry – a code placed on knights to try and formalise their behaviour, to stop them from attacking strangers and taking all their stuff. It sounds far more worthy and mighty than it was – a bunch of rules for a gang of bullies, a formal reaction to misbehaviour. Basically, ‘God is with you, but don’t be too much of a bastard. There are limits to how much of a bastard you can be.’”

That almost makes it sound like the album itself is a manifesto, we suggest. This meets a skeptical response.

“Perhaps… That’s unconscious though. It’s one of my least favourite things about bands, when they have a manifesto. Maybe they grew up during the heyday of the music press, when you had to say a succession of really stupid things in order to hide the fact that your band sounded like Guns N’ Roses. Don’t get me wrong, it’s very nice to have things to say, but a rock band’s main function is to make rock music, I would think.

Unfortunately, we have a lot of artists – and I use that term loosely – who say controversial things in order to cover up the fact that they make incredibly bland music.”

Clinging firmly to his resolution, he offers no examples to support the point – this older, wiser Falco seems comfortably resigned to armistace: “If a band has an audience, that justifies the band and its actions, I suppose. Can’t blame people for being themselves. And the people that go out and support it… that’s their business.” He chuckles to himself. “I don’t have controversial opinions – it’s the fans who are at fault!”

The antagonism hasn’t entirely gone away then, we note.

“Yeah,” he replies. “The people I admire are prepared to grow on… well, not on a daily basis, who can be arsed? Fuck that. But even for somebody who enjoys speaking my mind, I’m genuinely horrified if I really offend somebody.”

The whole Future of the Left experience seems to ride on their mordant sense of humour, which meshes seamlessly with a penchant for pulverising riffs. The joke often seems lost on listeners, however, much to Falco’s exasperation:

April 2016

“I think humour is generally lost on people in music unless it’s of the Bloodhound Gang variety, the kind which screams, ‘I’m being funny now!’ I guess you’ve got to be quite serious about being funny to get it across properly. You’ll have heard popular comedy music, stuff like Tenacious D or whatever, where I’m assuming the prime reason is to make people laugh, as opposed to actually being this great rock band. If you want real hilarious comedy in your music you could always – no!

I was gonna slag off a band! I’m not gonna do it!”

“I don’t have controversial opinions – it’s the fans who are at fault!”

Andrew Falkous

In keeping with Falco’s muse since his time in Mclusky, current musical trends get quite a kicking on The Peace and Truce. This time it’s the turn of ‘serious’ musicians striving for pop music’s singular most worthless fallacy: authenticity, as depicted on The Proper Music. Its author seems to have expanded his thoughts on the subject since writing the album, however.

“It’s a bit of a weird one – at this moment in time, I’m as bored by the opponents of ‘proper music’ as I am by the proponents. In their desire to write brilliant thinkpieces on pop, they have fundamentally misunderstood the main calling of pop music, which is certainly not to have fucking thinkpieces written about it. It’s to jump around like a twat!

“I have a problem,” he continues, “in that I am completely contrarian. If you put me anywhere I’m going to end up disagreeing with everybody fundamentally. There’s even some comedians or political thinkers where I agree with everything they say, but the condescending way they put it across makes me want to disagree with them.”

Again, he offers no specific names (“I’ve just had so many problems over the years”), but continues the thought with a different kind of example.

“I don’t believe you stop anybody being racist by leaning over and screaming ‘racist!’ at them for 20 minutes. I just don’t think that works. It’s one of the things with the world: everybody thinks they’re right. Nobody’s deliberately being wrong.

Apart from… nope! I’m not gonna say it! It’s tough for me, I’ve punched myself in the balls four times during this interview.”

Future of the Left are often pegged as being a political band, although in keeping with Falco’s own irritations, this is an observational tendency rather than a means of hectoring or addressing subjects head-on.

“I admire anybody who holds political viewpoints which are contrary to their own interests.

It’s very easy to be on the left, to earn not much money and to want more for yourself and the people you know – it’s essentially self-interest. So I’m very aware that, with the economic position that I’m in, by default I’m on the left, unless I’m a crazy

Credit: Sebastian Nevols

A

person. But let’s face it: 98% of the people who come to our shows are gonna be… if not Labour supporters, then certainly not Conservative.

That’s true of the whole milieu of indie rock.

“Talking about politics would feel patronising, like engaging in an echo chamber. A three-minute pop song isn’t an incredibly discursive medium, I suppose. It’s very difficult to write songs saying, ‘I passionately believe in this, however there’s a caveat.’ It doesn’t make for a great rock song. ‘I believe political correctness is a good thing; however the movement can have its excesses.’ – that isn’t the way papers or concert tickets get sold.

‘This guy has a nuanced opinion on social justice, they rock!’”

And, of course, the really dangerous figures like Trump and Johnson are already beyond parody.

“Well, this is it. How do you parody Trump?

Johnson’s had a go at doing it himself; let’s face it, that man is far cleverer than he puts across. His bumbling fuckwittery is a tactic to disarm, whereas Trump is amoral. Anybody who only accepts information that confirms what they already know... it’s a sad position to be in.

“If I had a choice between Jeremy Corbyn and David Cameron, I don’t need to tell you which one I would save; it would be the real person rather than the android construct. But on Facebook

MUSIC

the other week somebody said, ‘How dare Cameron insult the way Corbyn looks? The ham-faced twat.’

And you’re like, ‘Don’t you see the irony in what you’ve just said?’ Apparently people don’t, and they gravitate towards what they know and what they like.” He laughs bitterly. “Good on them, that’s what I say! Let’s have a big fucking war. Like a colonic cleanse of the planet.”

The Skinny makes a thoroughly cheap gag about mandatory conscription for a certain type of listless, landfill indie band, which gets a more generous laugh than it deserves: “The possibilities literally have an end. Let’s not think about that.”

Of course. After all, we’d be wandering dangerously close to singling out individuals if we went down that route. Falco laughs once more.

“Yeah, we don’t want to single out individuals! Unless it’s for praise.”

Is that a hint of sarcasm we detect? Surely not. With the peace and truce of God on his side, provided he keeps his levels of bastardry within reason, who could doubt the sincerity of a changed man?

The Peace and Truce of Future of the Left is released on 8 Apr. Playing Glasgow’s Restless Natives festival on 14 May futureoftheleft.net restlessnativesfestival.org

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