The Skinny Scotland September 2016 (Cover Wrap Edition) by The Skinny

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CULT U R A L

J O U R N A L I S M

September 2016 Scotland Issue 132

THE Y SKINN ES U CONTIN E! INSID

Glasgow 13 â&#x20AC;&#x201C; 16 Oct

Show details and tickets at: uktour.redbullmusicacademy.com #RBMAUKTOUR

Red Bull Music Academy UK Tour

Liverpool 06

Thursday October

DIGITAL SOUL BOYS

SG Lewis, Suedebrown & Special Guest; Jamie Woon at The Palm House, 7pm – 11pm

Glasgow 13

Thursday October

CREDIT TO THE EDIT

SUB CLUB SPECIAL

Experience Kölsch live at Barrowland Ballroom supported by Nightwave & The I AM followed by a DJ Set at Sub Club at Barrowland Ballroom, 7pm – 10pm

GLA X LDN

Greg Wilson, Henry Greenwood, Peza & Derek Kaye

D Double E, Sir Spyro, Jammz, Capo Lee, Jack Dat, DJ Milktray B2B Rapture 4D, Bushido

at Buyers Club, 11pm – 3am

at The Poetry Club, 11pm – 3am

07 Friday October

A CONVERSATION WITH KREPT & KONAN at Constellations, 5pm – 7pm

FUTURE SOUNDS OF HIP-HOP

Krept & Konan, Rejjie Snow, Loyle Carner, Suicideyear, Siobhan Bell & No Fakin’ DJs

14 Friday October

Kenny Dope, Kidkanevil & No Fakin’ DJs at The Merchant, 11pm – 4am

Saturday October

09 Sunday October

CLUB COSMOS

at St. George’s Hall, 8pm – 11pm

#RBMAUKTOUR UKTOUR.REDBULLMUSICACADEMY.COM * shows/details subject to change

Saturday October

A DIFFERENT CIRCLES SPECIAL

DISCO SPIN

Jackmaster and Throwing Shade bring the spin at this micro-party in a Laundrette at Majestic Laundrette, 7pm - 11pm

LA CHEETAH’S 7TH BIRTHDAY

Actress (DJ Set), Mister Saturday Night, Beatrice Dillon, Lukid, Wardy & Dom D’Sylva

at Invisible Wind Factory, 10pm – 4am

D Double E curates an exploration of rhyme and the spoken word with AJ Tracey, Big Zuu, Dave, Footsie, Jammz, Lady Leshurr, Ocean Wisdom & Tommy Genesis

at Stallan-Brand Basement, 7pm – 11pm

at The Admiral, 11pm - 3am

Stargazing for the Post-Disco Generation with Moodymann, Hunee B2B Young Marco, Sassy J & Or:la

RHYMEANTICS

Lorenzo Senni, Denis Sulta & General Ludd

Mumdance B2B Logos, Doc Scott (’92-’94 set), Russell Haswell (Live), Beneath & Inkke

at Camp & Furnace, 7pm – 11pm

IMMORTAL SOUNDS OF HIP-HOUSE

A NUMBERS SPECIAL

at La Cheetah Club, 10pm – 4am

16 Sunday October

A CONVERSATION WITH YOUNG FATHERS at Mitchell Library – Jeffrey Room, 1pm – 2pm

STUDIO SCIENCE: A MODULAR SYNTH WORKSHOP Talk with Mumdance, Russell Haswell, Matthew Allum (ALM Busy Circuits) & Aleks Jurczyk (Rub a dub)

at Glasgow University – Melvin Room, 3pm – 4pm

THE SKINNY

.CO.UK

INDEPENDENT FREE

CULT U R A L

J O U R N A L I S M

September 2016 Scotland Issue 132

MUSIC Angel Olsen Frankie Cosmos How to Dress Well Shield Patterns Teenage Fanclub Dinosaur Jr Teen Canteen Cowtown

BOOKS Ron Rash Bloody Scotland

FILM Michael Barbieri Taika Waititi Take One Action

COMEDY Greg McHugh James Hamilton

CLUBS Theo Kottis Detroit Swindle

ART Katy Dove Sarah Forrest Kieran Milne The Print Project

THEATRE The Cheviot, the Stag and the Black, Black Oil Scottish Ballet

TROLLS, POP DUNGEONS & FINGERING

Hollie McNish interviews Charlotte Church

P.20 Pedro Alomdóvar

P.35 Living in Mexico

P.58 Scottish Ballet

P.42 Brian Finke

September 2016 I N DEPEN DENT

CULTU R AL

JOU R NALI S M

Issue 132, September 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. Get in touch to find out more.

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

Printed by Mortons Print Limited, Horncastle ABC verified Jan – Dec 2015: 30,875

printed on 100% recycled paper

Contents

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

Rosamund West Will Fitzpatrick Adam Benmakhlouf Alan Bett Claire Francis Ben Venables Kate Pasola Kate Pasola Alexandra Fiddes Jamie Dunn Peter Simpson Katie Hawthorne Amy Taylor Paul Mitchell

Production Production Manager Designer

Sarah Donley Kyle McPartlin

Sales Sales Executives

General Manager Publisher

George Sully Sandy Park Grant Cunningham Kyla Hall Sophie Kyle

THE SKINNY

Contents Chat & Opinion: a guide to the website 08 and our Jock Mooney cartoon. Heads Up: Your at-a-glance guide to 10 cultural happenings in September. FEATURES When Hollie met Charlotte: Voice of her 12 generation Hollie McNish speaks to performer and activist Charlotte Church about passion, politics and the creativity of kids.

14 Greg McHugh talks Fresh Meat and bringing Gary Tank Commander to Glasgow’s SECC. Greta Kline tells it like it is: the native 16 New Yorker behind Frankie Cosmos conjures universal truths from minute details of daily life, and we delve into her extensive Bandcamp archive.

17 Angel Olsen found the balance to con-

found her critics for a fourth time with new album My Woman – she chats about the process with us.

Krell dives into the weird dreams 18 Tom and holistic intentions behind Care,

How To Dress Well's fourth – and bravest – album.

StudioCanal reissue some of 20 As celebrated Spanish director Pedro Almodóvar's classics, we look at his early work. From a Sundance indie to the Spider21 Man reboot, it's been an eventful six

months for emerging actor Michael Barbieri. We speak to him about keeping it real in tender New York drama Little Men.

23 Glasgow-based artist Sarah Forrest talks Tall Tales touring exhibition and learning to play the drums. 24 Director Joe Douglas discusses the

new touring production of The Cheviot, the Stag and the Black, Black Oil.

27 Acclaimed US author Ron Rash dis-

cusses drawing out the 'wonder' from a snarling modern America in his outstanding new work Above the Waterfall.

From the set of Marvel's latest movie, 34 Taika Waititi takes a break from shoot-

ing Thor: Ragnarok to discuss his thrilling indie coming-of-age film Hunt for the Wilderpeople.

LIFESTYLE

35 Travel: Brexit got you plotting a move abroad? Here’s our guide to Living in Mexico.

36 Showcase: Marvel at the work of The

Print Project, who make stunning art and design using technology that’s more than 500 years old.

38 Showcase: Our pick of this year’s DJCAD degree show, Kieran Milne shows us his work.

41 Food & Drink: It’s that time of year

again: we’re launching The Skinny Food & Drink Survey 2017! Find out how you can take part.

43 Deviance: We look at the likes of Carly

Rae Jepsen, Beyoncé and Shura to find out just how far modern pop has come since Katy Perry kissed a girl and liked it.

REVIEW

45 Music: Teenage Fanclub and Teen

Canteen have a tête à tête; Leeds’ Cowtown discuss new album Paranormal Romance; Dinosaur Jr.’s Lou Barlow shares his hometown heroes. Plus a list of bands who should just give it a rest, a Sub City playlist, gig highlights for September and reviews of all the month’s finest album releases.

53 Clubs: Theo Kottis chooses some formative discs ahead of a date in Princes St Gardens. Plus our highlights for the month of September.

55 Art: Reviews of Alice Neel and Theresa

Duncan & Eddo Stern, plus September exhibition highlights.

56 Film: Reviews ranging from Captain Fantastic to The Clan.

57 Books: Reviews plus poetry looks back on a busy August in the Book Festival.

28 In anticipation of Bloody Scotland in

58 Theatre: We look forward to the

look at two films from this year’s 29 We Take One Action! Film Festival kick-

59 Comedy: Spotlight on James Hamilton.

Stirling crime author Russel D McLean investigates this year's line-up.

ing back against America’s lurch to the right.

Scottish Ballet autumn season, while Auntie Trash sets the world to rights.

60 Competitions: Win Dr Martens shoes or a meal at Tuk Tuk.

Ahead of a major exhibition at DCA, 30 curator Graham Domke gives an insight into Katy Dove's overlapping life and practice.

33 With new album Mirror Breathing, Manchester-based duo Shield Patterns enrich their electro template. They talk us though its creative development.

September 2016

61 Listings: What’s on where this month. Ahead of dates at FLY Open Air Festival, 69 Detroit Swindle discuss paying homage to house music and a forthcoming release featuring a UK electronic icon.

Contents

Editorial

Crystal Baws With Mystic Mark

he prospect of a Charlotte Church interview was first floated back in July, with a sly tip-off from Neu Reekie’s Michael Pedersen on the dancefloor of a rival publication’s launch party. It was shortly after Charlotte had made headlines by telling BoJo to go fuck himself in the wake of the Brexit shambles; we’d been hearing about the wonder of her Late Night Pop Dungeon for a while but it was that tweet – “I want my fucking European Union back you piece of shit!!!!!!” – that cemented our collective admiration for the former voice of an angel. Things escalated when it turned out the wondrous Hollie McNish shared our Church worship, and was keen to conduct an interview on our behalf. They met, they got drunk, they talked about fingering. Then they had a follow-up Skype to discuss other matters, like turning 30, dealing with trolls, and the complexities of motherhood. It is quite an exchange, and we’re very honoured to be hosting it. Our September issue continues with further excitement in the world of Music. We speak to Angel Olsen about touring Europe the romantic way, ahead of her fourth album My Woman. We delve into Frankie Cosmos’ (aka Greta Kline) Bandcamp treasure chest of 50+ digital releases and catch the native New Yorker over Skype to hear about second studio album Next Thing and headlining the Bowery Ballroom. Tom Krell aka How To Dress Well celebrates music’s ability to soothe without pacifying with fourth album Care; Manchester’s Shield Patterns introduce Mirror Breathing; and Dinosaur Jr.’s Lou Barlow reveals a few of his hometown heroes. Finally, we speak to Teenage Fanclub’s Norman Blake about their tenth album, Here, with TeenCanteen’s Carla J. Easton popping up to share some thoughts on the North Lanarkshire sound ahead of their eagerly-awaited debut Say It All With A Kiss. In Film, autumn means a deluge of specialised festivals arriving in Glasgow and Edinburgh. First up is Take One Action, back for another year to share their ethos of participation and activism. Release-wise, we talk to 14-year-old actor Michael Barbieri about an eventful six months moving from celebrated indie Little Men (out this month) to being cast in Spider-Man: Homecoming.

Continuing the indie / studio juggernaut progression we speak to Kiwi director Taika Waititi (he who created the brilliant What We Do In The Shadows) about his new film Hunt for the Wilderpeople, as he takes a short break from filming Marvel blockbuster Thor: Ragnarok. Before he cancelled his Book Festival appearance, we managed to grab some time with acclaimed US author Ron Rash, who shares his thoughts on the darkness of contemporary America. We preview Stirling’s Bloody Scotland with a short whodunnit by Scottish crime writer (and, according to his website, general miscreant) Russel McLean. Art looks forward to the arrival of touring exhibition Tall Tales with Glasgow artist Sarah Forrest, who fills us in on the physicality of learning to drum. DCA curator Graham Domke offers an insight into the overlapping creative practices of the celebrated Scottish artist Katy Dove, ahead of a major retrospective of her many works. In the last of our degree show Showcases, Dundee graduate Kieran Milne presents a snapshot of his final display, while we nod to our friends in the North’s cover image with a shared spread of beautiful, eye-popping designs from Leeds’ The Print Project. Speaking of those Northerners who live to the South, September sees the debut of our revamped North of England edition, which relaunches as a bimonthly publication expanding to cover Leeds as well as our mainstays of Liverpool and Manchester. We’ve come back bigger, brighter and angrier – pick up a copy if you’re in the area or head to the website to find out more about the three cities’ cultural happenings, plus some righteous fury. [Rosamund West] SEPTEMBER'S COVER:

ARIES Our God is a nerd god – the universe He made is all about geek subjects like mathematics and science. Not like the cool Gods out there who built entire universes out of sport, leather jackets, hair gel, and cigarettes. TAURUS You should really keep a pen around for making notes while working at the tattoo parlour. Your arms and the bodies of most of your clients are covered in hasty scribbles like ‘GET MILK’ and ‘CALL DAVE RE: DISHWASHER’. Most memo pads angrily walk out of the shop taking your lists with them. GEMINI Useful tip: those rolled up paper tubes you use to snort cocaine powder into your skull are in fact worth quite a bit and can be traded in for more cocaine with your local cocaine stockist. CANCER This September, to celebrate the anniversary of your divorce, you and your ex meet at the restaurant for a candle-lit argument.

VIRGO Next time you put the plates in the oven to heat up a little before serving, why not stick the knives and forks in there to add an interesting talking point at the start of the meal as everyone yelps and whines and writhes around in delicious agony. LIBRA Your friends and family gather around the TV to watch your appearance on this week’s Embarrassing Bodies: “Why do maggots drop out of my pants everytime I take my cock out?” SCORPIO This month you try to put in more hours at work so you can spend less time with your family. SAGITTARIUS It’s really amazing to think that someone somewhere right this minute is having their head crushed in a vice. CAPRICORN Life is like the quote ‘life is like a box of chocolates.’ It’s short, trite, and meaningless. AQUARIUS This month you miss your train, and your boat, and your plane. You miss all of the expensive vehicles Daddy bought for you before his Ponzi scheme went bust and he fled abroad with his tiny new wife.

LEO This month biologists discover that all animals are made out of one of the three basic types of meat. Dogs for instance PISCES are made out of beef, cats out of Paleontologist is just a fancy word for a chicken, and of course snakes are made monster scientist. of pork. God makes those just like sausages, filling up a new snake skin with twitter.com/themysticmark freshly churned pork meat before tying a facebook.com/themysticmark knot in the end, gluing on a pair of eyes and letting it wriggle off into reality.

George Morton is a freelance illustrator based in London specialising in portraiture, fashion and editorial. He was shortlisted for the People of Print Directors Picks following his graduation from Cardiff School of Art & Design in 2013.

Spot the Difference A Pair of Puffins On the bill this month we’ve got two almost identical specimens with a beak full of treats. Have good hard look for any notable differences – you could end up winning a copy of Spark’s Europe by Muriel Spark.

By Jock Mooney 8

Chat

It’s a toughie, but even if you're left huffin’ and puffin, we'd encourage you to simply wing it – we’re preying for you. Take the bait ASAP, because your chance to land a tasty new read will disappear in a puff(in) of smoke.

Competition closes at midnight on Sun 2 Oct. 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

Remembering The Lapelles’ Gary Watson The Skinny pays respects to Gary Watson, late frontman of The Lapelles, after the 22-year-old tragically passed away last month. Words: Chris McCall

ary Watson, frontman of East Kilbride band The Lapelles, was a talented songwriter, a champion of new music from Scotland and beyond, and an enthusiastic promoter of his home town. His untimely death, aged just 22, is a devastating blow to the hundreds of musicians, promoters and fans who had the privilege of working with him or watching his band perform live. The five piece indiepop group were the cover stars of the July issue of The Skinny’s Scotland edition, in recognition of their rapid rise to prominence in the first half of this year. The band had enjoyed a series of high profile support slots; they toured with The Last Shadow Puppets, The View and The Kooks and were due to open for The Jesus and Mary Chain in Glasgow at the end of August. Gary was a huge fan of the Mary Chain in particular. Like him, the Reid brothers hailed from East Kilbride and enjoyed the limitless potential of three or four chord melodies. I met Gary and Lapelles keyboard player Chris Ballantyne in June to chat about the band and its future. Interviewing some musicians can

be like wading through treacle, but spending an hour in their company was a joy. They were both warm, witty and hugely enthusiastic about music in general. The band had just released their second single, Grab Life By, and were delighted with the reaction from their growing fan base and the wider music industry. They had not long signed a heavyweight management deal with the same London agency that looks after the Arctic Monkeys. Such endorsements could easily go to heads of other bands, but Gary remained grounded. He spoke about improving their live performances and honing his songwriting. He was keen to point out that The Lapelles were just one of several bands from East Kilbride who were worthy of attention. He was looking forward to writing the next chapter of the group’s story. “We’ve never imagined doing anything else other than making music,” he told me. “We have that shared mindset, all working together. All we’ve done for the past month is play gigs. It’s been great to step out of our comfort zone.”

Gary had been performing in public since the age of 16 when he used to busk at an East Kilbride shopping centre, performing covers of bands he would go on to share a stage with. The Lapelles only got together in 2012 but were already well on the road to success; this was a band he had

worked hard to build from the bottom up. The loss of someone so young and so talented is heartbreaking. Our thoughts and deepest sympathies go to Gary’s family, friends and bandmates. theskinny.co.uk/music

Shot Of The Month

Photo: Beth Chalmers

Willis Earl Beal at Summerhall, Edinburgh, 11 Aug, by Claire Maxwell

Online Only We head to the Isle of Eigg to catch up with Lost Map head honcho Johnny Lynch, aka The Pictish Trail, as he returns with new album Future Echoes. We also talk to Super Furry Animals ahead of their headline slot at Liverpool Psych Fest, and look at Liverpool’s role in the history of psychedelic music. As you’ll see, we’ve rejigged the albums pages a bit, but you can find even more reviews at theskinny.co.uk/music. Head on over for our verdicts on new LPs from Danny Brown, NAKED, Frank Ocean, Deap Vally and more. theskinny.co.uk/music

We look at the growing diversity in the Glasgow art scene, with a trawl of the north, south, east and west of the city, from studios and gallery spaces to the best place to throw an arty party. theskinny.co.uk/art

Check out our regular New in Food round-ups for a guide to what’s new in the Edinburgh and Glasgow food scenes. theskinny.co.uk/food

September 2016

Opinion

Heads Up Compiled by: Kate Pasola Wahey – The Fringe is over and Scotland's back to normal! Time to enjoy participating in your local cultural scenes without falling off the pavement due to temporary overpopulation. Enjoy this – you've earned it.

Thu 1 Sep

Fri 2 Sep

Today’s one of your last chances to see Making the Bed, Laying the Table, Katie Schwab’s solo exhibition in which she uses sculpture to explore how one's voice might be expressed through furnishing and upkeep of rooms, especially within communal spaces. There’s probably something to be taken from her work whether you’re a fresher in halls or a married couple in feng shui bliss. Glasgow Sculpture Studios, until 3 Sep, 11am-5pm, free

You've still not seen it?!? Right then, here’s another chance to catch Star Wars: The Force Awakens, this time from the lush surrounds of Edinburgh’s Botanic Gardens at The Luna Open Air Cinema. And if all that lightsaber chat isn’t really your bag, they’re also screening Romeo and Juliet on 3 Sep and Jurassic Park (4 Sep). Royal Botanic Garden, Edinburgh, 6.45pm, £9-13.50

Katie Schwab, Making the Bed, Laying the Table, 2016

Star Wars: The Force Awakens

Wed 7 Sep

Thu 8 Sep

Animal Collective, the playful so-and-sos behind that Floridada song which earwormed you to fuck back in January, are taking a massive tour of basically the entire world in support of their latest release, Painting With. They're heading off to the the US of A in October, so catch'em in Glasgow (if you can bear having their Supermarioesque sound stuck in your head for the next fortnight). O2 ABC, Glasgow, 7pm, £15

Only one thing better than a new comedy night and that's a new comedy night in a brewery. Luckily for us, Drygate have launched exactly that in the form of The Cat's Pyjamas, a monthly open mic hosted by Hannibal's Pantry and Loddzilla. There's twofor-one pizza deals, student discounts and lashings of craft beer – and they give prizes to their performers too, which is nice. Beer Hall Bar & Kitchen, Drygate, Glasgow, 8pm, free

Carla Easton's on a bit of a roll at the minute. After releasing solo album Homemade Lemonade in July, she's back with the TeenCanteen crew for the release of Say It All With A Kiss. To celebrate the launch of the show, they're staging some sparkle-studded gigs in both Edinburgh and Glasgow, and you should ruddy well get yourself along. Mono, Glasgow (8 Sep) & Sneaky Pete's, Edinburgh (30 Sep), 7.30pm, £7

Animal Collective

Illustration: Louise Lockhart

Tue 6 Sep

TeenCanteen

Mon 12 Sep

Tue 13 Sep

Thu 15 Sep

Today, go and check out Beyond the Selfie, a series of self portraits created by young Scottish women who, inspired by Jo Spence's exhibition at Stills, Edinburgh (until 16 Oct), created characters to tell their own stories, drawing from personal experience, role models and fictional personalities. The exhibition was created as part of a five-week project with Glasgow Women's Library. GWL, Glasgow, 7-15 Sep, times vary, free

Life drawing doesn't have to be terrifying, promise. Especially when you get involved through All The Young Nudes, a weekly drawing club which fuses music, models (and the odd spangly hotpant) to make for a super-caszh, unintimidating atmosphere. Get involved for just a fiver whether you're in Edinburgh (CabVol, 7pm), Glasgow (The Rum Shack, 8pm) or Dundee (Redd Suite, 7.45pm). Tickets via Eventbrite.

Tramway's Unlimited Festival, an international programme of performance and visual art by disabled artists kicks off today. We're intrigued by Pioneer[03], Maki Yamazaki's interactive video game (based on Japanese folktale, Taketori Monogatari) in which users are invited to play the role of a non-white, disabled protagonist within a cast of LGBTQIA+ characters. Tramway, Glasgow, 15-25 Sep, times vary, free

Beyond the Selfie

Tomorrow

Wed 14 Sep This is your first chance to catch some cinematic world-curing courtesy of ultimate positive-changers Take One Action, a film festival dedicated to bringing films about changing the world to wider audiences. They're stopping by in Edinburgh and Glasgow until 25 Sep before moving on to Aberdeen (11-13 Nov) and Inverness (18-20 Nov) – check out takeoneaction.org.uk for programme details. Various venues in Edinburgh and Glasgow, times dates and prices vary

All The Young Nudes

Mon 19 Sep

Tue 20 Sep

Wed 21 Sep

Calling all aspiring bakers: multicultural, not-for-profit food collective Soul Food Sisters head to bakery47 today with Arabic High Tea, a tutorial in the creation of glorious, syrupy treats. The event is free but ticketed (and likely to go down a storm in the foodie communities of Glasgow), so book ahead via Eventbrite. The world will be begging for your nutty baklava in no time. bakery47, Glasgow, 6pm, free

This month DCA holds a memorial exhibition of drawings, collages, paintings, prints and animations by Katy Dove, a much-loved artist who created meditative spaces by combining sound and image, and contemplative responses to colour and rhythm. Dove was a student of DJCAD in the 90s and a former employee of DCA. She passed away in 2015. DCA, Dundee, 17 Sep-20 Nov, 11am-6pm, free

Indie punk trio Doe have just released a gorgeous debut full-length album called Some Things Last Longer Than You and are taking to the road for the month of September with Charla Fantasma to perform it. You should go. If you need convincing (you shouldn't, they're frickin' awesome), heed the words of our North Music Editor: "DOE ARE THE BEST BAND IN THE UK." Deal? Deal. Banshee Labyrinth, 7pm, £5.50-7

Arabic High Tea

Katy Dove, untitled, watercolour

Doe

Mon 26 Sep

Tue 27 Sep

Wed 28 Sep

...And if you're on the west side of the central belt and are feeling the FOMO after missing yesterday's fashion-based fun at Paradise Palms, not to worry. You can top up your wardrobe with some vintage threads courtesy of QMU's vintage sale with the purveyors of preloved stuff Headlock Vintage. Just watch out for Freshers, you'll be swimming in them at this time of year. QMU, Glasgow, 10am-5pm, free

In a seriously wide move from GSA grad Pio Abad, this autumn reproductions of Thatcher's Asprey handbag will be on sale online for £25,000 as part of Notes on Decomposition at CCA. The exhibition, which will also feature large scale drawings of significant objects sold in global auctions, is intended to map moments of political and economic decay through cultural artefacts. One for magpies and the disenfranchised alike. CCA, Glasgow, 16 Sep-30 Oct, times vary, free

Award-winning sketch comedian duo Pajama Men (AKA Shenoah Allen and Mark Chavez) treat Glasgow to a dash of ridiculousness this week with their much acclaimed 'comic existential meltdown', 2 Man 3 Musketeers. They're in town for two nights, meaning you've got absolutely no excuse for missing out on this chance to laugh your ribs off. Tron, Glasgow, 28 & 29 Sep, 7.45pm, £10-14

Chat

Maki Yamazaki

Pajama Men

THE SKINNY

Sat 3 Sep

Sun 4 Sep

Mon 5 Sep

Foodie collective Real Food Real Folk reprise their hugely successful ‘food festival with a social heart’ Let’s Eat Glasgow today and tomorrow at SWG3. Our usually deadpan Food & Drink editor is almost deliriously excited about it; evidence enough you should get involved. But if you’re still not swayed, p’raps take note of the fact it’s completely free of charge? More info on page 68. SWG3, 3 & 4 Aug, 11am, free

Here's two things that aren't combined often enough: art and the seaside. Last year, Art Walk Porty changed all that with their inaugural programme of 40 artists exhibiting work in 33 venues across Portobello. They're back this year between 2-4 Sep, throwing open the doors of studios, curating site-specific artworks and hosting makers' markets and pop-ups. Various venues across Portobello, Edinburgh, 2-4 Sep, 11am-4pm daily, free

Next up: Radiophrenia, an art radio project which will broadcast newly commissioned radio works, live shows, pre-recorded features and 'Live-to-Air' performances across Glasgow all day, every day from 29 Aug-11 Sep on 87.9fm. Today's live performance features The Resonance Radio Orchestra, novelist Zoë Strachan, freelance composer and sound artist Nichola Scrutton and Letitia Beatriz (AKA care&rage). CCA, Glasgow, 7pm, free

Let's Eat Glasgow

Radiophrenia

Fri 9 Sep

Sat 10 Sep

Sun 11 Sep

Bursting with brill lyrics and riffs but unsure where to start in the craft of songwriting? Fret not. Glasgow's first Songwriting Festival comes to town today, bringing with it three days of songwriting lessons and jams. Tickets are kinda pricey (£150), so if you're low on dollar, get some inspo at the launch gig ft. tutors Louis Abbott (Admiral Fallow), Donna Maciocia, Findlay Napier and Solareye (Stanley Odd). Glad Cafe, Glasgow, 7pm, £9

Another Saturday, another wicked event at SWG3. This week you've got the debut Glasgow Juniper Festival after several successful runnings at Summerhall in Edinburgh, bringing together oodles of gins from across Scotland and beyond under one (warehouse) roof. Head along, try loads of different gins, head home with several bottles, and convince yourself that you could start your own gin festival. SWG3, Glasgow, 12-4.30pm and 5.30-10pm, £16.50

Animators and film freaks, this one's for you: a screening of the oldest surviving animated feature film, Lotte Reiniger's The Adventures of Prince Achmed. Based on a fairytale and realised through silhouette animation, it's a papery, shadowy spectacle. And, as if that wasn't enough, the event will feature a specially commissioned live underscore performed by experimental acoustic trio S!nk. See Filmhouse website for Scottish tour dates. Filmhouse, Edinburgh, 4pm, £4.50-10

Louis Abbott of Admiral Fallow

Fri 16 Sep

Sun 18 Sep

It's always great when Fuzzkill throws all-dayers – it's even better when they team up with the likes of El Rancho and Eyes Wide Open to throw whole festivals. Enter Freakender (16-18 Sep), ft. Wedding, Virgin Kids, Home $lice, Fruit Tones and Sweaty Palms. It's so brilliantly programmed there's even a properly thought-out Comedown Aftermath Party on 18 Sep featuring Mordwaffe, Beach Skulls and Lush Purr. The Old Hairdressers, Glasgow, weekend tickets £15, day prices vary

If you fancied seeing Paul Currie's show this Fringe (we gave it five stars – why wouldn't ya?) but couldn't stomach the stampede of like-minded punters drop-kicking one another out of the queue for free tickets on Niddry Street, here's your solution. Cough up a tenner and get a nice civilised seat at The Stand instead. Also at Glasgow Stand on 19 Sep. 8.30pm both nights, £10

Summerhall

Sat 17 Sep Photo: Ryan Johnston

Sweaty Palms

The Adventures of Prince Achmed

Glasgow Juniper Festival

Want to be the sort of person with razor-sharp intuitions and helpful hunches but usually stuck with something closer to a Gellar-esque 'unagi'? Worry not, pal. Summerhall will have you sorted in no time, by the sounds of it, with their Intuition Workshop, a session comprising almost three hours of tutoring in figuring out when to trust your gut. Feeling sceptical? Only one way to find out... Summerhall Yoga, Edinburgh, 2pm, £20

Paul Currie

Thu 22 Sep

Fri 23 Sep

Sat 24 Sep

Sun 25 Sep

Everyone who gives a shit about Scotland should see The Cheviot, The Stag and the Black, Black Oil; and right now's your prime opportunity as Dundee Rep take their critically acclaimed realisation of the piece on a tour of Scotland. The tour kicks off at Dundee Rep (31 Aug -10 Sep), before heading to Edinburgh's Lyceum (14-24 Sep), and then onto Aberdeen, Inverness and Glasgow in October. Times, dates and prices vary

The poetic prophets at Neu! Reekie! return this month after a particularly busy Fringe, responding to the National Museum of Scotland's Celts exhibition with what they refer to as a 'Celtic-influenced orgy of music, poetry, film, animation, drama and dance' featuring Charlotte Church with her tenpiece band The Late Night Pop Dungeon, former Makar Liz Lochhead and Ette (AKA Carla Easton). National Museum of Scotland, Edinburgh, 7.30pm, £14-16

Even during the height of summer, it's brave to throw an al fresco festival, so you've really got to admire the meteorological optimism of the FLY guys who're throwing an Open Air Festival today. However, with a line-up featuring Booka Shade, Detroit Swindle, Mr G, Motor City Drum Ensemble and the FLY and Subbie residents, the topic of the weather suddenly becomes pretty irrelevant... Ross Band Stand, Princes St Gardens, Edinburgh, 12-10pm, £24.50-35

Customising your clothes is having a bit of a moment, and although it seems like all that's involved is having a haberdashery sneeze on your jeans, there's more to it than that. Enter Embelleshit, a tutorial in all things decorative, including painting, stamping, embroidery, beading, sequinning and applique with Cleo, costume maker for the Lyceum and wardrobe at the Trav. Customising materials provided – plus a free cocktail! Paradise Palms, Edinburgh, 2-5pm, £15

The Cheviot, The Stag and the Black, Black Oil;

Neu! Reekie!

Motion City Drum Ensemble

Fri 30 Sep

Sat 1 Oct

The almighty SQIFF (Scottish Queer International Film Festival) makes a very welcome return to Scotland's cinema scene in late September following their inaugural 2015 efforts. This year's programme casts an eye over queerness in horror in a special retrospective, along with the usual shorts, workshops and talks. 29 Sep-1 Oct, Various venues across Glasgow (festival hub at CCA), times, dates and prices vary

Guess who's back? Back again? No, not Shady. Nightvision. Series 5. Xplicit and Musika bring their collaborative clubcurating to Edinburgh's venues this month with not one but TWO launch nights. Part 1's at Liquid Rooms on 17 Sep and features a DJ set from Groove Armada, while La Belle Angele's Part 2 show will boast a technicolor DJ set from soul collective Jungle. LBA, Edinburgh, 10pm, £12.50-15

Scottish Ballet's fucking cool at the minute. Pirouetting in the face of connotations of stuffiness to which ballet is often tethered, they've been exploring all kinds of contemporary departures of late. Along with a work by new choreographing talent Sophie Laplane, the double-bill show also features Crystal Pite's Emergence, an investigation into the behaviour of swarms. Theatre Royal, Glasgow, 29 Sep1 Oct, 7.30pm, prices vary (further dates in Inverness & Aberdeen)

September 2016

Otto; or Up with Dead People

Jungle

Photo: Sam Huddleston

Thu 29 Sep

Paradise Palms

Emergence

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“ Now I don’t give a rat’s arse!” Hollie McNish meeting Charlotte Church is quite frankly something that needed to happen for the good of the world. As Neu! Reekie! prepare to bring Church’s Pop Dungeon to the Edinburgh stage for just its fourth outing, they sent poet and voice of her generation Hollie to interview the multi-talented performer-slash-activist Interview: Hollie McNish Illustration: George Morton

’m not sure why, but I was petrified to meet Charlotte Church. Perhaps it was because being a similar age to me with similar age kids, a similarish career and a pretty parallel political passion, I quite wanted to get on with her. Or, erm, for her to like me a bit. Perhaps it was because I’ve been interviewed a lot, but never been on the other side of the mouthpiece, the side where you have to actually know more than your own opinion and life. Perhaps it was because I had recently read about her frustration with other performers who wouldn’t take a stance politically and in the two previous weeks I’d turned down three political panel discussions and two gigs at political rallies for fear of not knowing enough and sounding stupid. I’m going to sort that out now though. Whatever the reason, I was shitting myself and so fairly content that we finally managed to meet in an Edinburgh bar and – more importantly for the nerves – gin distillery. Within five minutes she asked me what my next poetry collection was about. I of course elegantly replied, “Well, it seems to be quite a lot about fingering.” For the next hour or so, that’s really where the conversation went; on that well-loved and often underrated (when tackled well) form of human contact. We had more in common than I’d known. Perfect.

A follow-up Skype was arranged to cover some other topics. HM: I’ve just got a few things to ask since I got too drunk last time and started talking about fingering. So… How old are you? CC: I’m 30 this year. HM: 30 this year! That’s a good age, I think. CC: Yeah man, I’m enjoying it. I’m having a ball.

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HM: I bet you are! When I turned 30 I made this long list of things I wouldn’t do anymore. I wouldn’t take the sort of shit I felt like I had taken in my 20s: all sorts of things, from asking someone to move on a train if they were sat down and their bag was on the other chair – which I used to be too scared to do – to just saying no if I didn’t want to do a gig or if my manager wanted me to wear a certain outfit that I didn’t want to wear... Sorry my daughter’s in the background, she wanted to listen. Oh wait... she’s going to the toilet! CC: Yeah I’ve got my little ones too. Are you watching that Ariana Grande stuff? My two are watching... What are they called? HM: I don’t know, as in on the telly? CC: Yeah, god! She’s got the most annoying speaking voice! Lovely singing voice but most annoying speaking voice! But no, carry on! On saying yes and not giving a rat’s arse HM: You’ve started doing stuff very independently and making all this really interesting music. Not that I didn’t think your stuff was interesting before, but you seem to be a bit freer. Is that to do with age? When did that start? CC: Yeah, that’s been going on for a while. It’s been a general gradual move over, because I did the whole record label thing and left them when I was about, I don’t know, 22, or something like that. And then I went off to make a record in Nashville – but that wasn’t quite what I wanted to do. Then I met Johnny [Powell, her partner and collaborator] and started making music much more independently. So I suppose, for me, I’ve gone a little bit the other way in that I used to say ‘No’ a lot. And actually, in recent times, I’ve just started saying ‘Yes’ a bit more. Just going ‘Yeah!

Yeah I’ll give that a go!’ HM: Why do you think you were saying ‘No’ before? Just being scared it was a bit different, or that you wouldn’t be good at it? Or just didn’t want to? CC: A lot of it was fear-based, I think. Even though your fear increases as you get older in certain ways, in other ways I feel like I’m letting go of it as well.

“ D’you know what? I feel sorry for those guys at their keyboards. I feel sorry for their lives and what it must have come to” Charlotte Church

I wasn’t really desperately trying to please but I definitely was aware of what popular culture thought I should be and I definitely did take some notice of that. Whereas now I don’t give a rat’s arse! HM: What’s been the thing you’ve been most pleased you said ‘Yes’ to, that you might not have however many years ago? CC: D’you know what? Pretty much everything! Because everything is completely connected, so one thing I said yes to would then lead to

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another thing, which would lead to another thing. So I think it’s just a general change rather than a specific thing. I did a little bit of acting when I was younger. I did one film when I was 16 and it was dreadful and I was like, ‘I’m never doing that again. I’m the worst actress ever!’ And then I did Under Milk Wood [the 2015 film] and I had a ball! I met some amazing people and it was really scary and I had to do it in Welsh and in English (and I’m not a Welsh speaker). Now I just feel like if the right opportunity comes along I can take it. I am in that fortunate position where I don’t necessarily have to do things. You know there’re a lot of people in my life who’ll be, like, ‘You could make so much more money…’ HM: Yeah, I get the same as well! I get told off for every time I turn down an advert, basically. Charlotte Church’s Late Night Pop Dungeon CC: We’ve had a couple of offers off people who are like ‘Oh my god. You should tour this’ and, you know, ‘We’ll represent you and we’ll be your booking agents,’ but I’m a bit like, ‘Nah!' I’ll only book gigs that are really special. But if we have more funds then I’ll definitely grow it. Bouncers and all sorts! HM: So who’s in it? Who did you set it up with? CC: It’s me and Johnny who’s my partner and guitarist. The bassist is our friend Gav who we’ve known for years and he’s a proper psych master! He’s in a great psych band called Asteroids of Luck. And then we’ve our drummer Dave who’s been with me pretty much since the start of the EPs so that’s been about six or seven years now. Robbie who’s our keys player, he’s a jazzer who studied at Birming-

THE SKINNY

ham Conservatoire, and he’s awesome as well. And the singers change depending on who’s available but mostly it’s just people from in and around Cardiff. A couple of singers who I did a project called The Last Mermaid with. HM: Did you choose the songs yourself? Or did everyone chip in? CC: Everyone has their say and everyone can put songs into the mix and see what we’re going to rehearse but mainly it’s me and Johnny. Basically we sit in the kitchen, drink copious amounts of wine and go through all of our favourite songs. And then decide which ones we think will work as a band and which ones not. We run it like a DJ set. So for example we’ve got a bit of our En Vogue cover Don’t Let Go and we’ve got a bit of King Crimson 21st Century Schizoid Man and then when we do Overload by the Sugababes we go into a little bit of White Rabbit by Jefferson Airplane so it’s sort of like we mix and match and we do little skits in between. We just try and keep it so it’s constantly rolling along and people are constantly surprised and, hopefully, enthralled by the choices. Trolling and having an opinion HM: People must say it a lot, but you seem pretty brave. Before I met you I was a bit worried if I’m honest! That week I think I’d turned down three panel shows to do with politics and things, and also gigs where I was asked to do stuff with a band, which is bit out of my comfort zone. I turned them down because, basically, I’m worried about sounding stupid on the radio and then I was reading about you, like a lot of us were, crying when the Tories got in and finding it hard to get other people to stand up in terms of politics. And then I was like, ‘Aw that’s me. That is me.’ I mean I do it a little bit. But it’s really frightening. I get frightened because of stupid stuff, because of getting hate mail and trolling. I get worried that if I say something else then can I deal with that backlash? And then I do it and it’s fine because people do just sit at their computer and write nasty stuff. CC: Yeah, and also it’s just like, d’you know what, I feel sorry for those guys at their keyboards. I feel sorry for their lives and what it must have come to. But it’s not always bad, it’s sometimes just people who aren’t necessarily trolls or nasty or mean – they just really really disagree with you. You know, we all get to say what we think. I used to be exactly the same. I’ve done Question Time twice, and I used to be like ‘Oh my god! I’m going to say something stupid or it’s all going to go horribly wrong.’ And then I did say something where everybody said that I was stupid which was about the Syrian civil war and how the drought that was attributed to climate change possibly contributed to the unrest in Syria and hence the rise of terrorism. I said that on Question Time and there were lots of column inches and internet people who dedicated the next couple of days to how stupid I was. Then NASA came out with a study about it, as did various other people, all saying the same thing.

September 2016

So sometimes, even though you’re made to feel stupid about the stuff that you say, you’ve just got to say it anyway. Sometimes it’s just important to say, no matter how it comes out of your mouth. I’m not the most eloquent person, I mean the majority of the time I don’t even finish my sentences, my thought train runs off! But it’s still worth saying and I feel just like you. I get really scared and I try to do as much research as I can so I’m as prepared as I possibly can be. It’s important. HM: It is, isn’t it. I don’t mind at all the people that strongly disagree. On some of the videos I’ve put up that have had lots of hits, people are shouting or saying whatever, I ignore the bitchy ones and then read a lot of the ones that are disagreeing or look at the links they’ve sent because it’s quite a good way to learn as well I think. I find it funny how people don’t expect you to be human! I’ve put up a few posts on Facebook (I’m a bit more wary about it now as it’s 30,000 people that are going to get it in their inbox or wherever it is it goes to) and then someone’s been like ‘Hollie, that was last year’ or I’ve put something about the government and I’ve got the voting date wrong or whatever. But, after a few of them, I feel a bit less stupid and a bit more like ‘Everyone makes mistakes’ and that actually, it’s alright to say ‘Alright I didn’t know that. Thanks!’ CC: Absolutely! It’s good to learn. ‘Thanks for letting me know.’ And, do you know what, it’s my time on the earth and I’m going to learn all I possibly can. But if I am wrong, absolutely pull me up. Thanks for letting me know! HM: Yeah. And there’s nothing else you can do, is there? I feel like that. That’s sort of the point isn’t it. The point is to learn as much and do something helpful, if possible, I think. While looking after your kids! CC: Absolutely! The Last Mermaid Charlotte Church’s musical reinterpretation of The Little Mermaid was staged in Cardiff ’s Festival of Voice earlier in the year. HM: Alright, I’ve just got a couple more things and then I’ll let you get back to life. The Last Mermaid looked brilliant; I think I remember you saying that your kids had an input, that you used them as a test to see if they liked certain bits?

CC: Yeah, some of the bits, like for instance in the first scene we see this beautiful, utopic, shimmery glittery Mer Kingdom, and in the second scene there’s a poison into the sea. Take that as whatever you want it to be, whether it’s an oil spill or whatever, and the whole of the Mer Kingdom dies, all life in the ocean is wiped out. I did the music with a guy called Sean Trevor, and the music that we had at that juncture was pretty horrendous, really atonal, high strings and horns and it had this like low pulsing alarm-ish sort of bass – it was pretty terrifying [laughs]. HM: It sounds it! CC: So I played it to my kids like ‘How does this make you feel?’ and Dexter was like ‘I hate it! I hate it! It’s horrible!’ So I thought, coupled with the visuals, it might be a bit much. We might just have traumatised kids running screaming! So we toned it down a little bit. So, yeah, I tested it on my children! But they were fine because at least they didn’t have the visuals at that time. HM: I sort of use my daughter to test my work, but I’ve found that she only likes my poems with swearing in so it doesn’t work as well. Kids and creativity CC: [The kids] are a constant source of inspiration. Ruby is always walking round the place, singing her own songs. About the moon or about whatever’s going on, or friendship. She’s got a beautiful little voice. I’m constantly trying to stop myself from nabbing her songs! HM: Little ones are pretty genius aren’t they? CC: Yeah. There’s a really interesting talk by a guy called Sir Ken Robinson, Changing Paradigms in Education. He talks about this study that was done into divergent thinking; basically about the ability to have original thoughts and to have creativity. When they did a longitudinal test on kids, they tested kids who were kindergarten age and 98% scored at genius level. And then as they got older (they were tested up to about 16) that only decreased and he was saying that could be for a number of reasons – what’s going on at home, the individual or one of the most important things that had happened to them since that time was they had become educated. I think it definitely shows that we’ve all got this immense creative power. There’s a beautiful Kurt Vonnegut quote which goes around Facebook and the like which is just like, just create! It doesn’t matter how good or not good it is, just write a poem or draw a picture, sing a song, strum some stuff on the guitar; it’s just important to do it because you will have created something and that gives you such an immense satisfaction. That’s not the exact Kurt Vonnegut quote! It’s much more erudite! [Laughs] HM: You’re right! Kids’ creativity is so lovely and it’s also kind of scary. I keep thinking that my

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daughter’s so open minded and so fascinated by things and so comfortable with stuff and with herself and her body and making things and then slowly [that’s eroded] from going to school. ‘Oh this isn’t good’ or ‘This one isn’t good’ or ‘I’m not going to do this because I’m not good at it.’ CC: It’s a human thing as well though. Obviously the modern world doesn’t help with consumerism and capitalism and the way that it pays to make people feel bad about themselves, as that’s sort of what makes the economy go round. But, in a certain way, even if we were all cavemen, when we go through puberty and everything changes, it was always meant to be a bit shitty! So I think it’s about us trying to help them through it and manage it rather than being so dictatorial about it. I saw another interesting study the other day saying that stricter parents make their kids better liars. HM: I will look that up. Because everything’s helpful – I’ve never done this before! CC: Absolutely! It’s all a stab in the dark, isn’t it, really? HM: Yeah, everything is really; everything you do! And as you say, just give everything a shot and it might be terrible and you might not be good at it, but if you don’t try and you don’t do it then there’s no point really, is there? Neu! Reekie! Celts featuring Charlotte Church’s Late Night Pop Dungeon, Liz Lochhead, Ette, Loki & Becci Wallace, Lyre, Lomond Campbell and Bark Collective. Fri 23 Sep, National Museum of Scotland, 7.30pm, tickets from £14

Hollie’s top 5 Charlotte facts 1. She deals extremely politely with sleazy

men who very often stand and stare at her tits and talk about their equity or estate management, seemingly forgetting that she is an independent, self-managed businesswoman and mother who needs neither house nor drink bought for her by overpaid chimps in labelled tweed.

2. Everyone who realises who she is wants a hug – and she gives them all a hug.

3. She has, in my opinion, one of the most

perfect personal ideas of balancing fervour and fun: the desire to stand up for what you passionately and politically believe in – for her an anti-austerity, leftist, pro-Corbyn arena of play – with the need to address how tiring and draining this can be; hence the formation of her Pop Dungeon; a six- (then eight-, now ten-) piece band dedicating itself to everyone’s need to ‘fucking dance’; glittered leotards, backing singers, Bowie to Beyoncé to Super Furry dedicated cherry-picked covers. Read about it. Go to the gigs.

4. She is extremely passionate about all of her family.

5. She has very very soft skin and likes white wine more than gin.

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Gary does Glasgow As Gary Tank Commander powers into the SSE Hydro, we speak to his creator Greg McHugh

thunderstorm of biblical proportions has struck the south coast of England, forcing Greg McHugh from the streets of Brighton – the city he now calls home – into the shelter of the nearest pub. The phone line seems to crackle with menace, forcing us to yell across each other. “We’re taking a battering!” he says. This would be quite a bad time for the apocalypse to strike. The next few months will be some of the most exciting of McHugh’s career, as he takes his Gary: Tank Commander – Mission Quite Possible to Glasgow’s SSE Hydro in October. And he’s had enough setbacks recently. “I slipped down some stairs earlier this year, over my ankle, and snapped it,” he says. “I had an operation – there’s a screw and plates – it was a long recovery, but I’m fighting fit now.” The rise of McHugh – and in particular a character that’s become as inseparable from the man as, for example, Alan Partridge is from Steve Coogan – was no overnight success. The upcoming shows are an indication of just how much of a comedy institution Tank Commander Gary McLintock has become in Scotland, but it’s a show that grew from humble beginnings, with McHugh introducing his Corporal briefly at the Edinburgh Fringe in 2006, before returning the following year for “a longer show, playing to 50 people a night.” A one-off Channel 4 pilot episode, Gary’s War, followed in 2008 taking a fly-on-the-wall look at troops returning from Iraq. In particular, a clip of the soldier complaining about the dearth of Kraft Cheesy Pasta in Midlothian’s supermarkets was, in no time at all, shared online. The character had unquestionably struck a chord with public consciousness.

Interview: Craig Angus

thing about the Iraq War, or Afghanistan. I thought about having a voice of an unlikely hero, a camp guy talking about why he felt being a soldier was important – having a tan, dicking about – obviously in the face of horrible things happening. I set out trying to contrast the brutality of it all with this guy who’s happy go lucky – and you draw your own conclusions as to where the gaps lie.” He points out too that Gary offered an alternative voice within the world of Scotland, and Scottish comedy, itself. In the world of television, Caledonian comedy successes, for the most part, have focussed on Greater Glasgow. McHugh offers that Gary was a rare example of a “Scottish east coast character getting a voice on TV.” He continues: “The west coast has dominated for some very bizarre reason, we always concentrated on that vernacular and I think people wanted something different. Luckily we were given a chance to do it.” McHugh’s Mission Quite Possible comes fresh off the back of another challenge that looked like it might fall short due to logistical issues – graduation. University sitcom Fresh Meat came

to a close, with the final season airing at the start of 2016. (I spoke to McHugh briefly just after the third season aired, when he wasn’t sure if there would be another series – with the cast ageing beyond credible university years and the actors involved, including Jack Whitehall and Call The Midwife’s Charlotte Ritchie, dealing with increasingly busy schedules. Thankfully, McHugh was able to join the team and reprise the role of geology student Howard McGregor one last time.) Part of what made the show so enjoyable was one of the most believable on-screen group dynamics of recent times. That bond seen within the performance extended to the making of the show: “I’m seeing the guys in a couple of weeks to catch up,” he says. “We became pals doing that show. From the read through on day one we just started to get on really well, there was a bizarre click. We’re six really different people, but we filmed all day together, and went out in the evening together. It helped we were working in Manchester and none of us were from Manchester, if you film somewhere where people are going home every night it doesn’t happen so

much. But all of the elements came together!” He says filming the final episode of the show was an emotional experience, citing the last scene at 28 Hartnell Avenue, and another overlooking the city the cast had come to call a second home. “There’s something brilliant about the industrial, bleak location they chose for that. In that scene we got a real sense of ‘oh, we’ve spent a lot of time here’." All in all McHugh emanates a feeling of pride and fulfilment talking about Fresh Meat, with nothing but praise for all involved, rattling off memories of filming scenes from across the show and laughing heartily throughout. “The quality of writing made the show, it was another level. I’m just really proud to have been a part of it.” His attention turns now to Gary McLintock and his biggest performances to date. “It’s such a massive undertaking that I’ve not taken anything else on to be honest. I’m just the guy turning up on the day – it’s my baby, my camp soldier baby. Our challenge is to make it feel intimate and connect with the audience. Hopefully we’ll manage that.” Gary Tank Commander: Mission Quite Possible, SSE Hydro, Glasgow, 20-22 Oct, 8pm, £30-45

“ It’s been a long ten years from playing to 50 people at the Edinburgh Fringe” Greg McHugh

“The BBC had said, ‘If you ever wanted to make a sitcom from this then we’d love to hear from you,’ and eight months later we were filming it,” he says. “Soon we’d done three series of it, and to be honest I thought we wouldn’t do any more, but a couple of years after that we’re doing a show in front of 10,000 people a night.” He pauses for breath, as if to take in the sheer size of that number. “It’s been a long ten years from playing to 50 people at the Edinburgh Fringe.” Did McHugh have any idea how popular Gary McLintock would be? He laughs: “No! Of course not, I did something I thought was different and fun and I hadn’t seen a character like it… but i had no idea I’d get to play a venue the size of the Hydro – you wouldn’t imagine that. When I go back to Scotland and people scream ‘Gary’ or ‘Cheesy Pasta’ in my face it’s a nice reminder that character has sustained.” His creator has a couple of theories as to why: “When it was first conceived no one was doing any-

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COMEDY

THE SKINNY

September 2016

Universal Joys Greta Kline tells it like it is: the native New Yorker behind Frankie Cosmos conjures universal truths from minute details of daily life Interview: Graeme Campbell

t’s just gone 9.30am and Greta Kline has not long woken up in her home of New York City. From outside, the frequencies of NYPD sirens punctuate our Skype connection, and also audible is the whirr and clank of everyday street life. For some, such an environment would hardly be conducive to quality downtime but, after a mammoth spring tour and run of early summer shows, Kline is thankful to be home – even if it might seem different to how she left it. “I think home starts to feel weirder because you’re less rooted every time you come back, and have less connection to being there. Also it feels like vacation… but not really,” she posits, before reasserting: “We’re still practising two times a week, working on new music and all that kind of stuff. It feels more like vacation because we’re finally staying still for a couple of weeks.” That Kline and her Frankie Cosmos project are so in demand will come as no surprise to anyone who’s been paying attention to indie rock wires over the past two years. In a similar vein to the likes of Car Seat Headrest and Alex G, the story began on the Bandcamp platform. Initially operating under the moniker of Ingrid Superstar, Kline uploaded over 40 home recorded albums and EPs from 2009 through 2014. During this period she met her boyfriend Aaron Maine, and toured for the first time playing bass for his synthpop band Porches; a favour he’d repay by helping out on drums and backing vocals in Frankie Cosmos. Kline’s first studio album Zentropy arrived to critical acclaim in 2014, via her local Brooklyn label Double Double Whammy. She went on to sign with Beach Fossils’ Bayonet Records before repeating the trick with Next Thing: a record whose status as a fixture on Class of 2016 lists is all but guaranteed. Two weeks before our interview, the band

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experienced a watershed moment in headlining New York’s 575-capacity Bowery Ballroom. For Kline, whose hands on approach incorporates everything from managing the band to writing the songs and running the merch stall, the jump in venue size was marked: “[Selling merch is] getting kind of exhausting for me. In some places I can do it fine because nobody knows what I look like, but at the Bowery show every person who came in was trying to talk and it was intense. So it’s getting where maybe me doing merch becomes unhelpful.”

“ I’m writing about being in my body and how it’s so constantly changing and weird” Given her universality and ability to connect with fans, such a situation could be read as representative of the issues Frankie Cosmos faces going forward. As the shows grow in size, so too does the pressure of fame and expectation: an expectation that – on paper at least – would appear to run incongruous to the bedroom artist, DIY ideals that inspired her in the first place. “I can’t imagine being so big that I can’t be out in the crowd watching a show and talking to people,” Kline assures The Skinny. “I don’t think I’ll ever get to a point where I’m not out there at all. Maybe if the show is huge, and it’s in a stadium or something? That’s the only time I could picture doing that. Some bands start out liking to be in the green room, but I feel it makes me purposeless when I’m not doing anything.” Next Thing is an album that makes mammoth declarations from minute details, with tracks written in Kline’s teenage years but rebooted in the studio. Themes of existentialism are undercut by tongue-in-cheek references to the eclectic composer and fellow New Yorker Arthur Russell and celebrity magician David Blaine, while any charges of navel gazing are kicked into touch by songs like I’m 20, which paints Kline as the dumb, self-effacing kid in the story of her own midlife crisis: ‘I’m 20, washed up already’. As Kline gets older and the band’s circumstances change beyond recognition, the desire to be relatable remains undimmed in her writing.

“With the new stuff, the theme isn’t necessarily about being on tour. I think that’s such a stupid thing,” Kline explains. “It’s more like the actual feeling of not being home, or not feeling rooted and being in all these different places. That’s more universal. I can feel it when I’m in New York and I can feel it when I’m on tour, and that theme is now showing up in my new stuff. It’s not necessarily about the actual location – I’m not writing a song about being in California or being in the UK, I’m writing about being in my body and how it’s so constantly changing and weird.” Kline admits that any new material is still a long way off, but some of her more vigilant fans have been carrying out their own detective work: earlier in the summer, they discovered an Instagram photo of Kline in the studio with Maine

and slacker-rock champion Mac DeMarco. “He was producing some songs for our friend Yuki [who’s] from Tokyo. but was living in New York for the summer. Mac produced some songs of his. Me and Aaron sing on one of them, so it will probably come out soon actually,” says Kline, before tempering: “But yeah, it’s nothing huge, we’re not doing a record or anything, although that would be amazing! It was so mind blowing for me to watch him work in the studio because he’s so… brilliant.” At the beginning of September, Frankie Cosmos will fly the nest for yet another tour – this time in Europe. New York will always be New York, but if Greta Kline’s band remains on their current trajectory, returning home will feel more and more like vacation. ingridsuperstar.bandcamp.com

Frankie Cosmos’ BandCamp treasure chest

ver 51 digital releases Greta Kline documents her world with microscopic detail. Enjoy weird, poetic snippets that last less than a minute, exemplary Microsoft Paint-style illutration skills and the opportunity to trace Frankie Cosmos growing in ambition. Sketchy bedroom demos from 2011 become full- band recordings in 2016 – and even now that the world’s reading her diary, Kline hasn’t lost a single ounce of intimacy. Try five of our favourite songs: cryb aby (much ado about fucking, 2012) Through the lowest of lo-fi recordings, a guitar strums 49 seconds of the most concise teenage doubt you’ll ever hear: ‘I hate my body, I hate myself / Cry baby, can’t some-

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one help?’ ronnie ronaldo! (im sorry im hi lets go, 2013)

her mouth.’ embody (affirms glinting, 2014)

‘If your butt touched my butt [...] would you think it was cool?’ sings Kline, over sorrowful, elegiac keys. In 12 words she captures that exact moment when your stomach drops and you realise you’ve fallen way, way too hard for someone.

Embody gets the full studio treatment on 2016’s Next Thing, but here it exists in wobbly, brittle, joyful form. Kline describes a single perfect moment: ‘It’s Sunday night, and my friends are friends with my friends.’

pov of toothbrush (quick songs, 2014)

Dancing In The Public Eye (Zentropy, 2014)

This album’s described simply: “some friends and I decided to make a song every day for a week.” One such result is this weirdly heartbreaking bathroom ballad from the perspective of a lovelorn toothbrush: ‘I only see you twice a day now / And then I go straight into

The introduction of capital letters celebrate the release of Frankie Cosmos’ official debut. ‘My ass is made of velvet and my hips are made of stone’ should be everyone’s pre-night-out mirror mantra.

THE SKINNY

Gold Dust Woman

After discovering My Woman on the road, Angel Olsen found the balance to confound her critics for a fourth time

“I

’m sorry if I’m waterfall-talking right now, but a lot of times journalists don’t even fucking ask me about the music. They’re just like, 'So, the wig? What’s going on with that?'” Angel Olsen’s relationship with the press has been a bit of an arm’s-length affair in the past. Part of that had to do with the enigmatic manner in which she presented herself and her music, and the media’s unwillingness to try to dig beyond it; the scratchy, lo-fi videos and hand-drawn artwork that accompanied her 2014 breakthrough, Burn Your Fire for No Witness, were enough to see her pigeonholed as a tortured singer-songwriter. During one excruciating radio interview in Chicago, the American musician was asked to expand upon why she sounded like “a girl at the bottom of a dark well.” Reviews of the record were unanimous in their positivity but – whether through laziness or false preconceptions – many seemed to fundamentally misunderstand Olsen. Either way, My Woman, her fourth LP, is going to confound expectations. Stylistically it runs the gamut from synthpop (Intern) to smoky piano balladry (Pops) to out-and-out sixties girl-group fare (Never Be Mine). She swings from a runaway favourite for the year’s most infectious pop song, Shut Up Kiss Me, to the murky atmospherics of slow burners Sister and Woman, both of which push close to eight minutes in length. The scope of her musical ambition on My Woman is thrillingly broad, and whatever happens, nobody is going to be able to compartmentalise Olsen after this.

After the album came together in the most unexpected of places, Olsen and her band decamped from Asheville to Los Angeles to record at Vox Studios – where the majority of My Woman was cut straight to tape. “My friend Justin Raisen co-produced the record with me,” she explains, “and he was the last person I thought I’d work with. He knows that, too. He’s this very LA guy, with crazy blonde hair, Adidas tracksuits and chains, and he’s sort of best known for writing songs with people like Charli XCX and Sky Ferreira. We’d emailed a lot before we met up, and I was a little worried: is this guy going to be on my level? But he has this hyperactive sense of excitement about him that was really, really refreshing. It’s so easy to become jaded about the music industry, and here’s this guy who’s worked with these huge artists and yet still loves making weird demos that might never see the light of day.” Raisen’s relentless enthusiasm balanced out the natural approach of Olsen’s band, previously her only sounding board for demos and ideas. “I remember being nervous introducing the guys in my crew to Justin, because they’re all critics; they’re the sort of people who can sit around for hours on end arguing about Drake versus Kanye like it’s a philosophical debate,” she laughs. “And Justin’s a guy who was taking my demos home and dancing

with his wife to them, a guy who’d sit in the listening room and shout things like, ‘Scorsese’s going to put your songs in his next movie, and you’ll be all, “show me the money, Scorsese!”’ But I needed that. I didn’t want a producer who was going to pick apart the songs and look for the negatives.” Olsen’s lyrical rebirth As well as documenting an unorthodox recording process, My Woman is a rebirth for Olsen in terms of lyrical thematics, too. She’s tied up the album with a title that suggests a new straightforwardness, and it has already been widely interpreted as a feminist statement. There are points on the record in which she delves into direct questions of gender; 'I dare you to understand what makes me a woman,' she croons with operatic intensity on Woman, while Heart Shaped Face explores emotional manipulation of women by men. The album’s threads, though, are ultimately much more diffuse. “I didn’t think woman should have to be a dirty word,” Olsen explains, “but the title was just something that made me laugh. I was thinking about it in terms of being in a relationship with a guy, and him joking around and calling me ‘[his] woman.’ It’s kind of degrading, but also flirtatious. I didn’t hate it, and it made me sort of embrace that I like having traditional gender roles, even if I

Interview: Joe Goggins don’t always want to be stuck in them. I don’t object to the idea of being a mother, or somebody’s wife, but I also don’t want to make that point with the record, necessarily. The title’s just an access point. If people want to see it as me reclaiming that phrase, that’s fine. It was just supposed to be a conversation piece.” It is abundantly clear that Angel Olsen is at peace, now, with the possibilites of people interpreting her music whichever way they hear it. “I sent the record to a friend of mine, but without the lyric sheet, and they wrote me back saying, ‘Oh, I really loved this line.’ And they had the line wrong; they got a couple of words wrong that totally changed the context of it. I couldn’t bring myself to correct them, because I wanted them to be able to manipulate it. I guess it’s part of the beartrap I created for myself being an emotional, serious artist, but now I can’t even joke around with people! Whenever I do, they’re like, ‘Yeah, but what does that mean?’ Like everything I say has to have some deep subtext. So, you know, if you want to take My Woman as being overtly feminist, that’s fine. I just thought it sounded badass.” My Woman is available 2 Sep via Jagjaguwar. Angel Olsen plays Manchester’s Club Academy on 14 Oct and Glasgow’s SWG3 on 15 Oct angelolsen.com

The origins of My Woman We’ve spoken previously, shortly before Burn Your Fire was released. Then, she had her guard up; long, reticent pauses between answers punctuated the conversation, with her reluctance to give too much away obvious. This time around, it’s difficult to get a word in edgeways; Olsen routinely gets carried away with her own excitement about this set of songs. After never considering writing on the road, she explains that much of My Woman came together during a pair of tours that served as a holiday as much as anything else.

“ I didn’t think woman should have to be a dirty word” Angel Olsen

“Last summer, we went to Europe for a tour that I planned for no other reason than just to get away and hang out with my band,” she says. “It was really laid back; we’d spend three days in Spain, but just play one show in San Sebastian, and spend the rest of the time chilling out. Then we’d drive to Porto, have dinner, and then carry on to Lisbon to play a show together.” The band’s unhurried, refreshing schedule captured Olsen’s imagination, resulting in a spontaneous record that still sounds meticulously constructed. “It was a really romantic way to tour,” she enthuses. “Going to Istanbul and checking out places like the Grand Bazaar, then taking a ferry to Athens where we could spend all day swimming in the ocean and play that night at a venue that was like a cross between an aquarium and an 80s punk rock club. I had so much energy when I got home that I wrote six of the songs really quickly, and I already had a couple down from when we were in Australia earlier in the year, just things I’d come up with sitting by the pool in Byron Bay.”

September 2016

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Photo: Ben Tricklebank

Take Care T

om Krell is doing super good. That’s what he tells The Skinny, right after our phone interview interrupts a rare, lazy morning. “I’m literally just waking up and having coffee right now. I slept in today.” It’s reassuring to hear because, as How To Dress Well, Krell has traditionally hit pretty hard on the emotions. His bedroom-recorded debut Love Remains (2010) was an introspective heart breaker, combining shy R’n’B balladry with icy shards of synth. In 2012, he dropped Total Loss – a record as quietly devastating as its title suggests. 2014’s What Is This Heart? turned up the drama; epic, experimental pop saw his sometimes brutal self-analysis take an outward turn, with high-stakes choruses borrowed from Celine or Mariah’s songbooks. Breaching the divide between intellectualised electronica and mainstream popular music, the Chicago-born musician has always been an oddity. His research into nihilism and German philosophy earned him a PhD from DePaul University and it makes sense, just about, that after spending so much time in library archives of human hopes and dreams, Krell should make music which seeks out the life-affirming value of creativity. Krell name-checks David Bowie as readily as New Found Glory, and his songwriting reflects his openly, unabashedly diverse listening habits. His Soundcloud mixes featured Justin Bieber long before the pop star’s strangely credible turn, and span FKA Twigs, Rich Homie Quan and Everything But The Girl. Leave your cynicism at the door. How To Dress Well’s music emphasises the importance of valuing what it is that you get from a song: if a classic pop-punk chorus takes you down a fuzzy warm nostalgia trip; ride that trip. And if it makes you want to write a song after? Even better. “Creatively, I’m pretty free,” he laughs. “I’ve never had an impulse where I start on a song and I like it, but I don’t know if it ‘fits’? Like, I don’t know if it’s a How To Dress Well song? I’m just like, this is sick. It makes me feel good. This is what I want to do, and I don’t care.”

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Tom Krell dives in to the weird dreams and holistic intentions behind Care, How To Dress Well’s fourth – and bravest – album How To Dress Well’s fourth full album Care – to be released on 23 September – takes bolder, braver detours than any of his previous records. After writing the album, Krell collaborated with Dre Skull, Jack Antonoff, CFCF and Kara-Lis Coverdale for the production process, and each of the eleven tracks is an outrageous pop hybrid. Balearic beats clash with classical piano, crashing synth, bouncy indie guitar lines, theatrical vocals and those huge, trademark choruses that make you want to punch the air, Breakfast Club style. Cathartic and clever, Care is Krell’s most accessible, most adventurous record to date.

“ I think people could push harder, in terms of the experimentation they’re willing to take. People want to hear it, too” Tom Krell

“People want to pat each other on the back, like pop has reached this new level of artistry: check out the new Beyoncé, check out the new Kanye. But, I mean, my record is still 10-15 strides ahead on the weirdness scale,” Krell says, thoughtfully. He’s not wrong. “My writing is always a dialectic with what I’m listening to, and over time I’ve developed a tool box of so many different things – sounds from a rap template, sounds from an ambient or noise template, sounds from a Kiss FM template; pushing that hybridisation further,” he continues. “Music

is one phenomenon – so I think people could push harder, in terms of the experimentation they’re willing to take. People want to hear it, too. I genuinely believe that. I love this video that Team USA posted on their Instagram, the Olympic basketball team? They’re all on this private jet, singing Vanessa Carlton. It’s so sick. All these powerful young black guys – all of their advertisements are scored with rap music – and they’re all singing like cute boys to Vanessa Carlton. Because that’s how people live.” On Care, this complete disregard for “false” genre boundaries translates into songs like The Ruins. A cutesy, Ed Sheeran-esque melody opens the track (Krell a-okayed this comparison: “I’m down. Ed Sheeran is sick.”), before the song takes an unexpected nose dive toward the totally apocalyptic. “That’s cool to hear,” Krell enthuses. “The Ruins is an odd duck. It was initially a song I recorded over an acoustic guitar, and then I started piling in more and more layers... I thought a lot about writing music that makes changes. When you’re like: ‘Oh what? I never could have seen this coming. Oh man, what a treat.’ “I think surprising music is so important for pleasure,” he explains. “People are making a mistake in art – we live in extremely fucking dire and serious times and for some people, art must be dire and serious. I think often times people mistake art for politics. We need help soothing ourselves – but not pacifying ourselves. You need to give people something, not just corroborate the fucking news cycle. So, it’s important to take pleasure, but it can’t be cheap pleasure. Side by side with stories about police brutality it’s like, 'Oh, here’s a slide show of Kylie Jenner’s butt.' Oh, hell yeah, now I’m really satisified. This is supposed to be the balance?” In personal – not political – response, Care is a statement of method. For the first time in his life Krell suffered writer’s block, questioning: “Do I do this out of pathology? If I were ‘fixed’ would I make music?” After working through his own attempts to find comfort, these longer, more elaborate songs are an exercise in concentration and imagination. Salt Song sees Krell break free from his

Music

Interview: Katie Hawthorne moniker to address himself by name: it feels strangely, quietly radical, and it came to him in a dream. No, really. Twenty minutes in to our conversation, Krell is describing with relish how he, suddenly elderly, met a four-year-old version of himself in a huge, empty house. It’s the kind of dream that a cynic (or psychoanalyst) could have a field day with, but Krell rides it out. Toddler Tom “says super sagely shit” to him, like “all that matters is you feel good – and not good like when you have candy, but good like when you hug your mum.” He cackles, “I was like, 'Uhhh this child is going to make me cry.' And I woke up and felt my face, because I thought I’d been crying in my sleep. It was fucking amazing. It stuck with me for weeks.” How To Dress Well’s live shows have always been electrifying – marked by Krell’s earnest, holistic intentions to give everything he has, out of openness rather than vulnerability. Typically, though, he’s determined to push that feeling further still. “Directness is a concept I keep coming back to,” he says, suddenly serious. “Towards the end of the last tour, we did a show with all the lights up in the entire space; lights on the crowd, lights on the stage, everything. It was so fucking thrilling. Holy shit. It felt like the first time I was presenting music to people, this real exchange of trust and grace and creativity. It was also really terrifying. It’s like...” He pauses, and bursts out laughing. “It’s like when you’re having sex, and the person suddenly says, ‘Look at me.’ Fuck. I mean, it can be amazing, obviously.” “This next tour, we’ll still do some cool lights and stuff but I just wanna be like, ‘Hey, I’m here. Singing my songs for you.’ And the way that I sing – I’ve never been into easy shit. Like, what if I go two octaves up from here? It really demands a full focus, physically.” Krell takes a breath. “I just want to do a fucking great job, always.” Care is released on 23 Sep via Weird World / Domino How to Dress Well plays Stereo, Glasgow, 23 Nov, and Band on the Wall, Manchester, 24 Nov

THE SKINNY

September/October 2016

In praise of Pedro Almodóvar’s early, funny ones Pedro Almodóvar has another arthouse hit on his hands in the form of sincere drama Julieta, but we wonder if his best work was back in his puckish youth Words: Jamie Dunn

arlier this year, New Yorker critic Richard Brody sent out a typically didactic tweet: “If you think that someone’s first or second film in a long career is their best, you don’t really like their work. Artists grow.” Twitter took the bait, with people lining up to disagree with Brody. On the whole, however, I tend to go along with his thesis. As Brody notes in a followup post on his Front Row blog, in later years “artists tend to be freer... to affirm their ideas and their passions with less inhibition.” While watching Julieta, the 19th film from Pedro Almodóvar, I realised I’d found an exception to Brody’s rule. Emerging in the 80s in a nation recently freed of Franco, the Spaniard was once the most mischievous figure in world cinema. Those early films were wild and subversive. His characters, whom he clearly adored, were, like him, misfits. He told stories about drag queens, nymphomaniacs and junkies; he provocatively set his third film (Dark Habits) in a convent with LSD-taking, porn loving nuns. Flaunting the post-Franco freedom in Spain, they’re filled with heat and passion. I felt little of this vitality watching his latest film. Based on a trio of short stories by Alice Munro, Julieta spans three decades of the title character’s life, looking back at moments of love, loss and guilt. Like many of Almodóvar’s later films, the story is densely plotted, told in flashbacks and peppered with subtle twists and ironies. And it’s gorgeous: the images are crisp, with costumes to die for. It’s also cosily middlebrow. Brody’s notion that artists are “freer” as they become more established doesn’t seem to fly with Almodóvar. Now he’s an arthouse darling, he seems more interested in creating tasteful films rather than delirious ones. There’s nothing especially terrible about this impulse. Subtle often trumps hyperbolic, but in Almodóvar’s hands it’s an uneasy fit. Rewatching some of Almodóvar’s early films, I realised how much I miss his freewheeling style; it suits his love of melodrama. How are we meant to get worked up about Julieta’s opaque feelings

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of guilt and abandonment if we compare it to the family life of What Have I Done to Deserve This?’s Gloria (played by Carmen Maura, Almodóvar’s favourite muse in his early years)? As well as her multiple cleaning jobs, she’s putting up with her skinflint husband; her life-sucking mother-in-law with a lizard obsession; and her youngest son, who’s renting out his body to old men. It’s no wonder she’s popping pills to keep on top of it all. She’d love, like Julieta, to have a night to herself to wistfully reminisce about her past. OK, not all of the ad hoc plotting makes sense, but who cares when it’s this alive? Even in the earlier films in a darker register, such as gay stalker melodrama Law of Desire, Almodóvar would throw in a joke to punctuate the brooding. The best gag in that film is in the eccentric casting: cis actress Maura plays Tina, the trans sister of a porn director in the middle of a deadly love triangle; Tina’s lesbian ex-lover, and the biological mother of Ada, the adolescent girl whom Tina cares for, meanwhile, is played by famous trans actress and singer Bibi Andersen. It’s typical of Almodóvar’s fluid attitude to gender and sexuality. Brilliantly, the casting also accentuates another great joke later in the film when young Ada looks up at Tina’s ample chest and asks, “Will my boobs ever be as big as yours?” “Oh yes,” says Tina, knowingly. “When I was your age, I was flat as a board.” The peak of Almodóvar’s early period is Women on the Verge of a Nervous Breakdown, a breakneck farce that brought the director his first taste of international acclaim. Almodóvar’s fondness for rollercoaster plots, retina-searing design and expressive mise en scène hit its apex here. With each subsequent film he’s dampened the hysteria and stripped out the kitsch. More awards and film festival treasure would follow, but it was only the surface of the subsequent films that were more sophisticated. The emotions bubbling under can’t touch these early treasures. Restored versions of Dark Habits, What Have I Done to Deserve This?, Law of Desire, Women on the Verge of a Nervous Breakdown, Kika and Flower of my Secret are released on 19 Sep by StudioCanal as The Almodóvar Collection

THE SKINNY

Made in Manhattan From a Sundance indie to the Spider-Man reboot, it’s been an eventful six months for emerging actor Michael Barbieri. We speak to the 14-year-old about keeping it real in tender New York drama Little Men

“I

never had any friends later on like the ones I had when I was 12. Jesus, does anyone?” This corny line from Stand by Me chokes on nostalgia, but that doesn’t mean it rings any less true. The notion gets a contemporary, urban twist with a pair of chalk-and-cheese adolescent New Yorkers in Little Men, the new film from Ira Sachs. The boys of the title are shy Manhattanite Jake (Theo Taplitz) and exuberant Brooklynite Tony (Michael Barbieri). Jake finds himself across the East River when his estranged grandfather dies, leaving his struggling actor dad Brian (Greg Kinnear) a brownstone apartment and the ground floor boutique that Tony’s mother Leonor (Paulina García) runs. “You’re going to like the neighbourhood,” Tony says to Jake when they first meet. “It’s becoming a very bohemian area.” Both are aspiring artists: Jake paints, Tony acts. But they’re also into kids’ stuff. They love video games, and exploring the city’s sunlit streets at speed on their preferred modes of transport – Jake on rollerblades, Tony on his scooter. Like 13-yearolds can do, they become best friends immediately. Their parents? That’s a different story. When Brian, broke after years on the off-Broadway circuit, realises his father was letting Leonor’s boutique out for a song, he proposes bringing the lease terms in line with Brooklyn’s current postgentrification prices. The fiery Chilean seamstress refuses the rent hike and a battle of wills ensues, with the boys caught in the middle. The young actors are terrific. Taplitz, who lives in LA, plays Jake as introspective, thoughtful and delicate, which makes his outburst of emotion towards the end of the film all the more powerful. Barbieri’s Tony, meanwhile, is Jake’s polar opposite: swaggering, charismatic and a little cocky, he’s charm personified. The differing on-screen energies – one precocious, the other gregarious – work wonderfully together. “I knew I had to cast kids that would be memorable, that would stick with you,” Sachs told Vulture. “And I found that with Michael and Theo, and cast them oppositional. I thought of Theo as being out of a Robert Bresson movie, and Michael out of a Scorsese movie, and worked with them as such.” We mention this to Barbieri when he speaks to us down the phone from his parents’ Battery Park apartment, and it’s music to his ears. “Martin Scorsese is by far my favourite director,” he says, speaking with the kind of ‘fugeddaboutit’ accent that only a true New Yorker, or maybe Daniel Day Lewis in Scorsese’s Gangs of New York, can get away with. “I love his work. My favourite film of all time is definitely Goodfellas.” At only 14 years old, Barbieri probably shouldn’t be all that au fait with the director’s work, but it clearly hasn’t done him any harm. Barbieri’s acting heroes are from a similar movie milieu. “If I’d to pick two people that I’ve looked up to over the years, it would be Al Pacino and Robert De Niro,” he says. “My favourite De Niro performance is Raging Bull and my favourite Pacino film is tied between Scarface and The Godfather.” He pauses for breath… “If I could be in a Martin Scorsese film opposite De Niro and Pacino, that would be my dream come true.” His dream has surely already come true, we think. The young New Yorker’s vivid turn in Little Men has caught the eye of Hollywood. Since its premiere at Sundance in January, Barbieri has landed himself a role in The Dark Tower, a horror-western based on the Stephen King novel of the same name, opposite Idris Elba and Matthew McConaughey. “It was my first time out of the country,” he says enthusiastically. “I was out in South Africa for a couple of weeks, which was amazing. The whole set was crazy.”

September 2016

Bigger news was to come when he was cast in Spider-Man: Homecoming. “When I told my friends, they were so excited for me,” he says. “They were jumping up and down. Me and the kids I grew up with, we used to love Spider-Man. We watched the Spider-Man movies, we had the Spider-Man action figures. He’s my favourite superhero.”

“If I could be in a Martin Scorsese film opposite De Niro and Pacino, that would be my dream come true” Michael Barbieri

What can he tell us about his role? “Sadly, I can’t tell you anything about my character,” he says. “I’m sworn to secrecy.” Come on, you can tell us something, we insist. Does your character have any super powers? “All I can say,” he says, “is that I play one of Spider-Man’s good friends.” We’re impressed. He’s barely been a film star for six months and he’s already deflecting journalists’ questions like a pro. Back, then, to the performance that launched all these opportunities. While the war that brews between the parents in Little Men brings up many questions regarding the economic and gentrification concerns of mo-

dern day New York, Sachs is clearly more interested in his young characters. When we ask Barbieri how he achieved such a naturalistic performance as Tony, his answer is pleasingly straightforward. “The character was me,” he says. “He’s Italian and, like me, he’s really into acting.” On set, Barbieri was in his element. “Everywhere [we shot] was close to my house or the neighbourhoods of my family and friends, so I know those streets pretty well. It’s a real New York movie and shot on New York sets, so that was pretty cool.” Barbieri also contributes the film’s showstopping moment in a scene set within the Lee Strasberg acting school, where he’s been training since he was nine. “That’s my favourite scene,” he says. For people who’ve seen the movie, it tends to be theirs too. “I’ve watched it with an audience many times – at Sundance, at MoMA, at BAM – and every time that scene comes on people just clap and cheer at the end of it. It’s crazy!” Who wouldn’t cheer? We watch Tony in acting class as he begins an improvisatory repetition exercise opposite his flamboyant teacher. The idea is to repeat your partner’s dialogue, but with attitude, reflecting their emotional register back at them. Little Men, like all of Sachs’s movies, has been quiet up to this point, but this scene is a shot of adrenalin; it’s a dazzling explosion, and the freewheeling Barbieri is the fuse. “That is my actual acting teacher Mauricio [Bustamante],” Barbieri reveals about the actor he shares the scene with. “Ira said, ‘Listen, we’re going to get your actual acting teacher for this scene,’ and I remember waking up in the morning ready to shoot the scene and being nervous because there was no script. But then I relaxed when I was like, OK, because that scene is all improvised, I wasn’t even sure they were going to

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Interview: Jamie Dunn

use it. It’s crazy how my favourite scene in the movie was not meant to be in it.” This seems to be Sachs’s technique for keeping the actors fresh. “Ira does not believe in rehearsal,” says Barbieri. “He believes that if you don’t rehearse, it’s more realistic. Every scene you shoot, the rehearsal is the first take.” Sachs also likes to send his actors on ‘dates’ before the shoot. He wanted Barbieri and Taplitz to be good friends off screen before they even thought about trying it in front of the camera. “When we first met it was through Skype, because Theo is based in LA,” he recalls. “Then Ira had us meet up with each other a couple of weeks before we shot. We just skated round the park, we would talk, we hung out, watched a movie. I think I felt that our bond in the film was so realistic because we became really good friends in real life.” There is a point where Barbieri’s life diverges from that of his character. In the film, Tony dreams of one day going to LaGuardia, New York’s premier high-school of music, art and performing arts, but it’s Jake who makes the grade. For once, real life provides a happier ending than the movies. “I’ll be starting at LaGuardia for the freshman year of high school in September,” says Barbieri, “so I’m very excited to start a new school that really has a passion for what I do.” We ask what he thinks is the most important thing he’ll take away from his first feature. “There’s a code I live by now: know your lines, do your best and be respectful. If you do that, you can’t really go wrong.” Before the phone call ends, he remembers something else. “Oh, and also: be confident. I learned that from Ira Sachs.” Confidence? This young man has it in spades. He’s sure to go far. Little Men is released 23 Sep by Altitude

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Illustration: Rachel Davey

THE SKINNY

Tall Tales

Before the major touring group show Tall Tales comes to Glasgow Women’s Library in October, Sarah Forrest describes learning the drums and the exhibition run so far

Interview: Adam Benmakhlouf

“I

started off trying to learn the drum solo for Led Zeppelin’s Moby Dick, the Albert Hall version,” – Glasgow-based artist Sarah Forrest describes beginning the process of making her piece for UK touring exhibition Tall Tales. The 17 artists who are taking part have been broadly organised as women that playfully use storytelling in their artworks. “Working with that theme... for me that was a great opportunity to make a new work.” And after receiving funding to develop Recital, the process of learning the drums and writing began. “I watch a lot of drum solos online, and there’s this moment of emotional release. You’re there with someone.” This kind of experience spoke more broadly to interests Forrest has been following across past works. “Within my own practice, I’ve been thinking a lot about feeling and knowing and if you can know what you feel, and can you feel what you know. And how one is held as more reliable than the other.” As much as Forrest took the task “deadly seriously,” she knew the goal wasn’t to become the next John Bonham – see the 15 minute video of him playing the solo with Led Zeppelin on YouTube. “The idea was I’d write about the edges of that, and see how I could think through these ideas by performing these actions with my body.” Learning a drum solo turned out to be as complicated – maybe more so – as the Glasgow-based artist expected. “I went to Calton rehearsal studios and I thought I’d be able to break down this improvised moment beat by beat, then learn it. But it turns out you can’t do that.” “To learn it, I’d go through this process with my body, and it doesn’t answer to critical thought or reasoning, in any way whatsoever. You’re just lost in that moment, you just have to learn it. You have to force your body through repetition.” After learning the solo, and holding a performance in her studio for the work that will feature in Glasgow, the drumming will only be present very subtly. “The rhythm I edited with was taken from playing the drums, different from how I normally cut. And it’s a split screen, working with the left and right side of the body. Learning the drums, you had to separate yourself in that way.” Thinking Around Drumming Not an account of learning a solo, but instead Forrest orders the footage she made around what was most pressing for her. That’s to say, “how do you talk about things when you’re too close? Do you need to have critical distance?” Forrest combined night rehearsals in the Glasgow Project Rooms in Trongate (so as not to disturb the other residents during daytime) with attempts to write about the experience. The idea of improvisation started to combine with what it takes to write fiction, “veer away from facts” and also a sense of what it feels like to go through a certain kind of emotional loss of control, for example through anger when “it’s a completely ad hoc, non-cognitive thing.” Everyday Storytelling Thinking about making narratives, Forrest describes the “everydayness” of her work. Though working experimentally in important ways, it’s still necessary that Recital has a sense of being relatable. So Forrest in the video includes text about a woman waking up, trying to make toast, but everything’s too close, then she calls the optician. Not writing in a straightforward way about the feeling of learning the drums, what was more relevant for Forrest was the kind of negative space left by the time dedicated to practising. Every day, certain routines were observed during

September 2016

the time Forrest had free before practising at night. “I’d eat a grapefruit every day at a certain time, or drink an entire bottle of fizzy water a day.” There were basic actions she was repeating: eat a grapefruit, drink a bottle of fizzy water. As well as filming her rehearsals, she began to document these everyday routines.

“I’m learning a lot about when you should compromise and when you definitely shouldn’t” Sarah Forrest

Adding to this sense of time, Forrest had already brought a metronome into the space as part of her rehearsals, and a clock. At some point they transformed from practical and necessary to become the content of Recital. Joining the tick, tock and metronome click, there are images of flowers blooming then wilting. Acknowledging that these might be “clichés” in some ways, Forrest also think about the importance of “moments of familiarity in other people’s writing” and that she “love[s] when you read [something] and you know it, you recognise something in it. The truth for me [in Recital] was feel-

ing quite lost in this, so I have to write about being lost. If I don’t, I’m shaping this into something else.” Exhibiting Together Broadly speaking, a touring contemporary art show with 17 artists doesn’t happen very often. Forrest speaks about it appreciatively as an important experience. “I’m learning a lot about when you should compromise and when you definitely shouldn’t.” In Glasgow, Forrest’s work will be presented differently than it was in Rochdale, the previous stop. The work will be shown over two monitors and “it’s cut across two screens simultaneously. The camera focuses and defocuses making a [whirring] sound. Every time a word comes in there’s a click, but it doesn’t play on every word. That feeling of having a bit of distance, but also feeling a bit disorientated is important.” Thinking of the other legs of the tour, Forrest remembers fondly the Freud museum and in particular Ruth Barker’s performance, who worked in Anna Freud’s room. Barker made a feature of the loom that was removed and returned to the space, after being thought of as potentially distracting from Freud’s work as a psychoanalyst. “Ruth had some of Freud’s jewellery, a necklace with nine pearls or stones on it. She was pregnant at the time and linking them with the nine months. She had this big dress on, and it joined onto the fabric on the table. She came in and we were really unsure where the performance began and ended, as she welcomed everyone in, then read [what she’d written] about the nine months and the pearls.” Significant Storytelling An important part of the exhibitions so far have

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been the panel discussions. One in particular invited speaker Dr Cleo Van Velsen (whom Forrest hopes will join her in the Glasgow panel), who spoke about her experience as clinician in the Personality Disorder Medium Secure Unit in East London. While the emphasis is on playfulness and tale-telling, there’s an undeniable significance that comes across as Forrest remembers Velsen’s contribution. “She was so fascinating, she was talking about her work with prisoners and beginning by finding out the facts.” While the emphasis might be on playfulness here, Velsen made clear the undeniable importance of narrative building. In short, storytelling “completely alters how you live.” Tall Tales Comes To Glasgow For the Glasgow launch, there will be performances on the Friday 21 October during the preview from 5-8pm. Tickets can be booked from the Glasgow Women’s Library website (womenslibrary.org.uk) or by telephone (0141 550 2267). The next day, there will be an open day with tours, discussion, screenings, celebration, nibbles and refreshments. In advance of the opening there will a series of workshops to make a collaborative artwork for display in Tall Tales, through sharing stories and skills from week to week – as part of the artist Lauren Sager’s work Call for Cloth. They run on the 14 and 22 September, then the 6 October – all from 2.30-4.30pm. The Chandelier of Lost Earrings will be showcasing from 17 Sep-21 Dec Tall Tales, Glasgow Women’s Library, 22 Oct-21 Dec

Back to the Black Stuff Ahead of a new touring production of John McGrath’s revered play, The Cheviot, the Stag and the Black, Black Oil, The Skinny talks to its director, Joe Douglas, about the play, the current political climate and the future of culture in Scotland Interview: Amy Taylor

“Y

eah, I am apprehensive,” begins Joe Douglas, when I ask him if, maybe, the seemingly impossible task of reviving and touring one of the most important Scottish plays of the 20th century, The Cheviot, the Stag and the Black, Black Oil, has maybe, perhaps, made him a little bit nervous? “People put so much on the play, so much thought on the production, it belongs to the country, it belongs to Scotland, it belongs to the people of Scotland and for anyone to approach it, you’re setting yourself up for a bit of a kicking from people.” He continues, “Some people think it’s passé. I was chatting to a guy in the pub actually, who went, 'Oh you’re up at the Rep are you? Oh, that’s great, oh yeah, they did this shite thing about crofters…' It’s never going to be everyone’s cup of tea, you’ve just got to accept that, but there is that extra bit of pressure with The Cheviot; it is owned by so many people.”

The History of The Cheviot, the Stag and the Black, Black Oil It’s mid-July and when we speak, Douglas, who is the Associate Artistic Director of The Dundee Repertory Theatre is knee deep in rehearsals, not just for his revival of The Cheviot, the Stag and the Black, Black Oil, John McGrath’s 1973 musical drama, but also Mark Thomas’s The Red Shed, which would later go on to win a Fringe First. The director was first introduced to the play, which speaks of the history and tragedy of the Highland Clearances of the 18th century, by one of his lecturers at drama school. Performed as a traditional ceilidh, with quick jumps between scenes that take the audience through several centuries’ worth of Scotland’s history, the play looks back at the economic challenges that the country has faced, from the Highland Clearances, to the stag hunts of the 19th century, and also the more recent exploitation of the land during the North Sea Oil Boom in the late 20th century. Originally performed around Scotland by 7:84 theatre company – the creation of John McGrath and Elizabeth MacLennan, named after the statistic that 7% of the world’s population owned 84% of the wealth in 1973, the play was not toured professionally for over 20 years. The lack of a professional production meant that amateur productions of the play surfaced from time to time, but the original was still far from those that it meant to reach; the people. A film of a 1974 performance of the play, which featured shots of the cast on stage in the contemporary ceilidh setting, but also on location in period dress, eventually appeared on BBC Alba and later,YouTube. In later years and noticable by its absence from the stage, The Cheviot had gone from McGrath’s original vision of ‘a good night out’ to something of a theatrical legend, where even the mere mention of the name of the play astounded, and continues to impress Douglas. “It’s such a brilliant title, it’s like, plays aren’t called that. You don’t call a play The Cheviot, The Stag and The Black, Black Oil! You don’t call anything that! It’s so bold! It says everything, because that’s what it is; it’s the Cheviot, the stag and the black, black oil. It’s so evocative, and it’s dangerous and it sounds really, really exciting. “And there's power in it. It speaks really directly, and really loudly, and really clearly about injustice," he continues. “It speaks to the many different experiences of what it is to be Scottish, and the injustice of, parti-

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cularly the rural communities, and the rural communities, they’ve all fed the industrial centres of Scotland, that’s the thing, it’s Scotland’s story.” The power of the play meant that its initial run at the Dundee Rep last year was a complete success; shows sold out, tickets were hard to come by, the critics dished out 5-star reviews, and long after it finished there were calls for the play to tour around Scotland, as the original had done so many years before. But why had it taken so long to revive a play that is clearly still held in such high esteem in Scotland? “I think there’s something, there’s that feeling of revisiting it or tampering with it in any way has been something... I think partly people are scared of it and I think partly they go, ‘It’s been done.’

“ The real strength of the play is it tells all these stories and it shows all these examples of selfdefiance; these acts where people have come together and resisted when something has been unjust in their lives” Joe Douglas

“The Cheviot is a story that makes Scotland and Scottish theatre, I think when something kind of holds that, and when it has memories... when you dust it off and give it a little shine and realise in 2015 there’s still truth to it, that’s really exciting. “I think the real strength of the play,” muses Douglas, “is it tells all these stories and it shows all these examples of self-defiance; these acts where people have come together and resisted when something has been unjust in their lives.” The Future of Culture in Scotland Forty years since the premiere of The Cheviot, the play seems more relevant than ever, with the UK still reeling from Brexit, slashed budgets and the ongoing changes at the heart of the UK government, something, it seems, which is never far from Douglas’ thoughts. “I’m incredibly worried about cuts to budgets and buildings not taking risks, theatre buildings and gallery spaces and local cinemas, and culture becoming homogenised,” agrees Douglas. “I think, obviously, we need diversity and we need the plurality of voices, we’re a really diverse country, and we’re a really diverse state, as well. “I think we need stories, I think there’s so much fear, and the politics has become a bit of a soap opera at the moment… We have to be really bold with stories that we tell, because reality is

fucking mental, you know? Who would’ve thought a month ago, that we’d be in the situation that we find ourselves in?” With the play opening at the Lyceum in September – where it was programmed by Clive Perry and Richard Eyre in 1973 – before going on a tour of various venues across Scotland, it seems likely that its themes will only get more timely with each passing day, in our current post-Indyref, post-Brexit society, and hopefully, find a new, contemporary audience that, due to our current political climate, will be able to relate to its message and take home a message of hope.

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“I think the real strength of the play is it tells all these stories and it shows all these examples of self-defiance; these acts where people have come together and resisted when something has been unjust in their lives and I think there’s... it’s that thing of saying, 'if you pull together you can change things' – why do we have to accept the status quo everyday? We are an evolving species, it’s part of evolution... it’s a very similar point, it’s a very similar message; work collectively for change.” The Cheviot, the Stag and the Black, Black Oil opens at The Dundee Rep on 31 Aug, then tours to The Royal Lyceum Theatre in Edinburgh 14 Sep

THE SKINNY

September/October 2016

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THE SKINNY

“ In America we’re in such a dark place” With his outstanding new work Above the Waterfall, the highly acclaimed US author Ron Rash tries to draw the ‘wonder’ from a snarling modern America. He talks about the novel here, and why while he's a proud Southern writer, don’t precede that with ‘just a’

Credit: Clemson World magazine, Ashley Jones

Interview: Ross McIndoe

t feels somehow relevant to reference our current year to a boxing match from back in 1973. With about half of it now gone, being alive in 2016 so far feels a lot like being Joe Frazier in the ring with George Foreman: we came into this thing all pumped up and feeling good but the bell had barely rung before we were getting pummelled from all angles, on our ass before we even knew what hit us and barely back up before we got pounded down again. Death has been stealing our cultural icons while atrocities have been exploding across the world. Doubling down on the terrible, the political response across the globe seems more and more inclined to fear as masses of people swing to the right and swarm to support leaders who dress ignorance up like strength. Right now it’s a hard world to write from optimistically, while remaining grounded in reality. As a writer known for the violence and darkness of his work, Appalachian author Ron Rash probably wouldn’t have been the most obvious candidate for the task. His latest novel, Above the Waterfall, doesn’t skimp on the violence or try to skim over the horror of the modern world. Instead it looks it dead on and sees the beauty too, and the reasons to be hopeful, and lays them all down in simple spoken prose. Split between two narrators, Above the Waterfall takes place in a small mountain town, awash with natural beauty but plagued by economic depression and drug problems. A retiring sheriff and a traumatised park rangercum-poet, the two heroes’ dual angles on the world offer a view both darkly pragmatic and lyrically hopeful. Each time a previous interview turned to his work in progress, Rash would always describe his latest novel as an attempt “to look at the world more hopefully.” Now that it’s complete, his description remains the same, coming back continually to the word “wonder” time and again as the element of life he most hoped to capture. “I’ve noticed now that people don’t tend to use the word as a noun very often,” Rash claims, “but when I’m out in the woods I do feel wonder.” Such an earnest appreciation of the world might seem odd coming

September 2016

from an author whose novels are littered with death, destruction and drug abuse, but as he goes on to explain, these two seemingly discordant tones are harmonised in the overarching aim of his writing: “I’m trying to be true to the world. Much of my work deals with the darker aspects of it but I’m not gonna be true to the total experience of what it means to be alive in the world if I don’t acknowledge wonder. And beauty.” The darkness of contemporary America The world his writing inhabits, and the America in particular, is a very difficult one to write from hopefully. Rash makes no attempt to shy away from this fact, suggesting that “In America right now we’re in such a dark place, such a troubled place.” Gun violence and racial conflict have been the dominant narrative in the US this year, all underpinned by a deeply unsettling surge of support for a man even Bill O’Reilly thinks is a bigoted loudmouth. Rather than being backed down by the darkening times though, Rash believes they only make it “even more important to write about wonder,” bursting into an exasperated chuckle as he attests that “You don’t ignore that but…you can’t give up!”

“ I’m trying to be true to the world. Much of my work deals with the darker aspects of it...” Ron Rash

That mixture of poetry and pain is typical of Southern writing, often taken as an extension of the landscape itself and the result of a life lived in close contact with the sublimity and savagery of nature. There’s an ancient, immovable quality

to the mountains too that Rash sees as speaking to writers like himself and forefather of the Southern tradition William Faulkner, distinguishing them from other American writers: “When you read Faulkner, you get a sense of generations of people. When you read Hemingway, you don’t get that.” This sense of being grounded in history, of the past being still fiercely present, is imbued in Rash’s writing. With its slow-moving, soft-spoken style it feels like it understands the big picture, the smallness of any one moment however incredible or horrifying in the true scope of our collective history. Though he can be proudly placed into its literary heritage, Rash remains sceptical of attempts to label him as a “Southern writer”, grinning as he admits that he’s always afraid of it being preceded by a “just a.” Though his mountain home is deeply embedded in his prose, this sense of connection to the land is far more important to him than the specific land itself. When asked to name his literary idols, he rolls off the names of Americans, Russians, Frenchmen and even the odd Scottish poet: writers from across the globe with a shared ability to draw on the land and channel it into their prose. It’s possible that when you’re able to step back and see the full story unfolded, appreciate the human drama around you as just a fleeting moment in a much older, vaster world, that things don’t appear quite so doomed. Pantomime villains like Trump don’t loom nearly so large when reduced to their true perspective. Writing for the screen While the style and philosophy of his writing can be traced back through history, the desire to make things new is a constant motivator for a man who chose the term ‘driven’ when asked to describe himself in a single word. “I don’t want anyone to pick up one of my books and think ‘oh he’s just repeating himself,’” says Rash, “I think I did something new with this novel.” Taking this desire to keep changing into the future, the question of writing for the screen seemed potentially like a natural next step for a man

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whose works have been adapted into feature films twice in recent years, most prominantly in 2014, when Jennifer Lawrence and Bradley Cooper took lead roles in Serena. Rash remained intentionally hands-off with those works and he makes it clear that his opinion hasn’t changed, comparing the idea of writing for the screen to Hemingway’s The Old Man and the Sea: a tortuous, drawn out process where “people just keep chopping away” until your beautiful catch is reduced to a ragged skeleton, its original quality now only visible to the most discerning eye. So that’s a no. Having moved assuredly between novels, short stories and poetry already, the exact form he turns to next might not matter all that much. There’s always something hugely enjoyable when an author speaks like they’ve just walked out of one of their own stories, like you’re watching a part of the world they created slip off the page and into reality. When asked about his ambitions for the future, Rash replies in plainspoken Southern drawl: “I just want to write the best I can, as long as I can.” A poet by nature, Rash’s method is to begin with an image that resonates and build a narrative from there. In Above the Waterfall, there’s a recurring image that really echoes: a natural landscape alive with greenery and growth, littered with the detritus of drug abuse. The novel never asks you to look away from one or focus on the other. Both exist, exactly as present and important. Instead it demands that you hold these conflicting sides of the world in mind simultaneously and experience the yin-yang of the human life in its fullness. The political world and the media around them might be a-buzz with people determined to emphasise only the reasons to fear, but novels like Above the Waterfall are a reminder that this is only half a picture, that to be hopeful is not the same as to be naïve. In whatever medium he chooses, so long as Rash continues to write as well as he is, then the future holds at least one thing to look towards hopefully. Above the Waterfall is out now, published by Canongate, RRP £14.99

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Stirling’s Crime Stats Go Through the Roof In anticipation of Bloody Scotland in Stirling this September, Crime author Russel D McLean takes a look at The Murder at the Golden Lion: A Case for the Great Detective (apologies to Agatha Christie – and all Golden Age crime writers)

he suspects were gathered in the bar of the Golden Lion Hotel in Stirling. The Great Detective fiddled with his moustache as he examined them all; a motley bunch to be sure. Some were grizzled from years of writing about police officers, while others were haunted by the view from the other side of the law. But they were all suspects, and surely one of them had to be responsible for organising a weekend of criminally good entertainment at the Bloody Scotland Festival over the weekend of 9-11 September 2016? The Great Detective rounded on Fife-born Val McDermid. In his distinctly accented tones (was he from France or Belgium? Even he couldn’t be sure) the Detective said, “It’s interesting isn’t it, that you won’t only be talking about your new novel, the magnificent, Out of Bounds, at 3.45pm on 10 September...” McDermid’s face remained unreadable. The Detective, undeterred, continued. “But you are also determined to make attendees to the festival stretch their little grey cells, even after the festival has ended. After all, the Val McDermid Escape Room – a fiendishly challenging live escape game, will be running from the opening of the festival right up until 13 September.” Before McDermid could answer, the Detective spun away to face another of his unusually large number of assembled suspects. He smiled to himself. Not even Hercule Poirot had ever been faced with such a gathering. “But some people here are not what they claim to be.” He stared directly at a group of individuals who were trying not to meet his eye. G.J. Brown, Steve Cavanagh and Mason Cross hesitantly waved an American flag. “You all claim to be American, and yet despite writing books set in the USA, two of you hail from Scotland and the third is Irish!” But he didn’t have time to deal with them. After all, his colleague, Catriona McPherson would be sorting out their identities during the (Not) Born in the USA panel on 11 September at 1.30pm. No, there were other, more devious minds in the room. Even some – including Ian Rankin and Mark Billingham – who were claiming to be football players. Yes, the traditional Scotland Crime Writers vs England Crime Writers match was due to take place. But the players looked too exhausted to be involved in any devious activity. And that was before kick-off even took place on

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10 September at 2pm. The Great Detective, however, did note that the English team looked nervous. After all they had lost nearly every year so far, except for a 5-5 draw the year before. “Excuse me,” a voice said, “But having written about a French detective, I’m not really that convinced by your accent.” The Great Detective found himself face to face (face to chest, really, as the speaker was surprisingly tall) with 2016 Man Booker longlisted author of His Bloody Project, Graeme MacRae Burnet, who was standing alongside Craig Russell and Michael Ridpath. All three authors had written about European detectives and would be talking about Writing in Exile on 11 September at 1.30pm.

“ I am trying to show you my supreme skill and deductive technique!”

coming to Stirling on 10 September at 8.15pm. “Will you all listen to me!” The Detective shouted. “I am trying to show you my supreme skill and deductive technique!” Glasgow crime writer Craig Robertson laid a hand on the Great Detective’s shoulder. “I know you want to be heard,” he said, “So maybe you can come along to Crime at the Coo on 10 September at 8.30pm where we’ll be taking over the Curly Coo pub for a crime fiction cabaret. You might get a slot after the Slice Girls, although we’re very packed.” The Great Detective thought perhaps, instead, he could take a Spotlight Session between some of the main events, where upcoming writers would introduce their works to readers before the main panels. After all, wasn’t that one of the things that the Bloody Scotland Festival was good at? Giving a chance to new and unusual voices?

Illustration: Alessandra Genualdo

Certainly, Alex Gray seemed to be doing just that. As the chair of the New Crimes Panel on 10 September at 2pm it was her job to introduce new writers to the assembled fans of crime fiction who were hungry for new stories and new ideas. This year, The Great Detective noted, she had assembled a criminally good roster of emerging talent including Abir Mukherjee, whose debut novel, A Rising Man, had won the Telegraph’s new writing award, Brooke Magnanti, whose debut skewered post Independence Referendum politics (and who was also appearing on a Sex and the Internet panel with Helen Fitzgerald on 10 Sep at 3.45pm); Theresa Talbot, who showed a new side to her familiar BBC personality with her dark tale of the Magdalen Laundries, Penance, and Martin Cathcart Foden whose Dundee Prize winning novel Devil Take the Hindmost managed the seemingly impossible by mixing bike racing with noir. Maybe the Great Detective’s suspect was someone already known in some other area of the country, and not in Stirling? Looking over the Scotland the Grave panel that was due to start at 12.15pm on 10 September, the Great Detective considered one final group of suspects. There was Douglas Skelton, who claimed Glasgow as his home turf. Gillian Galbraith, who claimed that Edinburgh was the greatest of all Scottish locations for crime fiction. Catriona McPherson was making the case for Galloway being the beating criminal heart of Scotland, while Russel D McLean was claiming not to have switched allegiance for Glasgow despite it being the setting for his latest novel And When I Die, and was passionately explaining why Dundee was the finest location for criminal shenanigans. Deciding he needed to bring this to a close, The Great Detective closed his eyes, savouring the moment, “You’re all guilty!” he cried. “All of you are responsible for bringing criminally good entertainment to Stirling in September!” Bloody Scotland takes place across Stirling from 9-11 Sep Tickets are available from the website And When I Die, Russel D McLean’s new novel, is out now, published by Saraband, RRP £8.99 bloodyscotland.com

This was getting out of control. The Great Detective had planned a flourish to end his display of genius, but now people were interrupting him? Intolerable! He tugged at his moustache and considered how to regain control of the situation when, out of the corner of his eye, he saw two suspects who looked even more dangerous than the rest. US author Alexandra Sokoloff and journalist and film-maker Neil MacKay were drinking what the Great Detective could only hope was red wine. But he couldn’t be certain. After all, they would be talking about how their crime novels merged with the horror genre on 11 September at 3.15pm. The room was out of control, now. No one was listening to him. Over at the bar, Louise Welsh, Lesley Thompson and Liam Murray Bell were deciding how best to teach aspiring writers during their Masterclasses that would run from 9am to 5pm on 9 September, while Mark Billingham and country band My Darling Clementine were tuning up in preparation for their unusual and highly entertaining mix of crime and music that had gone down a storm with audiences across the country and was

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THE SKINNY

Kicking Back Against the Rise of the Radical Right With a wave of right-wing rhetoric bringing Donald Trump to within a hair’s breadth of the US presidency, we look at two films from this year’s Take One Action! Film Festival kicking back against America’s lurch to the right

Radical Grace

as there been an edition of Take One Action – Scotland’s film festival dedicated to the cinema of social action and change – that felt more essential? In the age of accelerated climate change, masses of people displaced by war, terrorism abroad, intolerance at home, with fear, paranoia and scaremongering in the air, we need a festival interested in exploring the most urgent issues of our time more than ever. Take One Action’s ethos has always been one of a world focus. You’ll find crucial, moving stories within its programme from all over the globe. Perhaps the most urgent films in this year’s line-up, however, come from the United States, a nation where the Right is most definitely on the rise. One of the clearest indicators of this rise to the Right is the US government’s scurrilous attitude to the surveillance of its citizens. Overzealous snooping is shown to be much worse than any of us could imagine, however, in A Good American, the most shocking film in the Take One Action programme. Austrian filmmaker Friedrich Moser’s cinematically masterful doc tells the story of NSA intelligence officer Bill Binney, a genius cryptanalysis-mathematician turned whistleblower. In the film, Binney explains how his program ThinThread, an encrypted intelligence collection system analysing metadata to predict terror attacks, was perverted into a Bond villain-like international mass technological surveillance system. In short, it was used to build a bulk collection of all our digital footprints, the practice of which was famously confirmed by Edward Snowden’s infamous classified documents leak. Among the film’s horrifying revelations is that America’s intelligence agencies ignored information that could have prevented the 9/11 attacks and the true extent of America’s mass surveillance of anyone on this planet with a communication device. Without Binney, there would be no Snowden. Moser initially had a different film in mind, but the project became bigger than he could have ever imagined when the Snowden scandal first rocked the international community in 2013: “I started to get interested in the digital realm right after WikiLeaks hacked Visa, Paypal and Mastercard,” Moser explains. “I was working on a story of a German hacker who was involved in keeping the internet running during the Arab Spring in early 2011, when their governments were shutting it down, so you could have a flow of information in and out of those countries. The hacker, by accident, discovered American surveillance running completely legally. It turned out that it was employed

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across all dictatorships, across most of the EU countries and then when we were about to get funding for the film, Snowden came out with all this leaked data. “The amount of surveillance was just magnitudes bigger than what we expected, mass surveillance on citizens. My academic background is not in filmmaking – I studied history, so I was also interested in the historical development of ‘How did we get here, from the Cold War, when these agencies were spying on our military enemies, into a situation where we, the citizens have become the enemy?’”

“ Even if I don’t agree with my government, even if Donald Trump were elected, it doesn’t mean I’m not American” Rebecca Parrish

It’s an urgent, intriguing question that A Good American answers not through ideological discourse but the historical events that unfolded, told by the people who were there working behind the scenes at the top echelons of America’s intelligence agencies. “I thought the best way to tell this was through the personal story of somebody who had worked in this surveillance realm for a long time,” he says, “from the Cold War to the digital age, and Bill Binney was at the top of my list. So I called him. I heard the story of ThinThread and I was completely blown away because it is the counter-narrative to anything the [American] government has been telling us. “These terrorist bogeymen that they are using to scare us into surveillance are an invention. It’s just wrong, they have the tools to find terrorists and they deliberately don’t use them. They knowingly sacrifice the lives of innocent people for the sake of making fucking money.” Another consequence of the rise of the American Right has been a tightening of conservative Christian groups’ grip on US political policy.

Interview: Rachel Bowles

Radical Grace

Rebecca Parrish’s Amazing Grace, sure to be an enrapturing highlight of Take One Action, follows a group of kickass nuns pushing back against conservative thinking. These politically active and outspoken nuns (the phrase ‘social justice warriors’ springs to mind) have ruffled a few feathers. In 2012, the Vatican, under the instruction of Pope Benedict XVI, served a censure on the group, citing suspicions of that most heinous crime: ‘feminist leanings.’ These charming ‘radical’ nuns were both alien and novel to Parrish when she started work on her film. “I’m very interested in how social justice work can be approached as a spiritual practice and I did not know anything about nuns in general or in the United States before this project,” she explains. “I only had stereotypes to go on. A friend of mine introduced me to a group of sisters that she worked with at a school for people who were formerly incarcerated. The nuns were her best buddies and I thought, ‘What?’” Despite not being religious, Parrish soon realised she had lots in common with these incredible women. They didn’t wear traditional habits and were far more concerned with issues of social justice than Catholic convention. She decided to follow not only the regular social outreach work the nuns do but also document their political work. Radical Grace was filmed from the very eye of the storm, as the nuns really come under attack when they campaigned against male American Catholic and Vatican leadership in favour of Obamacare, choosing to focus on life-saving medical care for the masses over theological issues of contraception and abortion.

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“We only ever hear about the conservative side of religious institutions,” notes Parrish. “To see people who are staying in an institution and struggling with that institution was powerful for me because before I started this project and met the sisters my assumption, or my question to them, would be the same as many people would ask: ‘Why don’t you just leave?’ What I learned in this project is it’s the same way I couldn’t leave America. Even if I don’t agree with my government, even if Donald Trump were elected, it doesn’t mean I’m not American. This country still has my roots, it’s where I’m from and it’s the same for the sisters. Their faith is not defined by who’s in charge at this particular moment in time... their faith is much deeper and concerned with the welfare of ordinary people.” An especially magical segment of Radical Grace follows the inauguration of the most liberal Pope in history. “It was so amazing,” she recalls. “We never could have guessed that the Pope [Benedict] was going to resign! Being there in St Peter’s square with Sister Kris was remarkable. I love that she’s kind of a sportscaster at that moment: ‘Oh, [Pope Francis]’s just got on a simple white dress.’ She’s reading all the symbols to try and figure out who he is and her analysis was totally accurate.” Take One Action! Film Festival, various venues in Edinburgh and Glasgow, 14-25 Sep. Aberdeen, 11-13 Nov. Inverness 18-20 Nov A Good American plus Director and Bill Binney Q&A, Filmhouse, Edinburgh, 15 Sep & 16 Sep. Also GFT, Glasgow, 16 Sep Radical Grace plus Grievance (short) and audience discussion with Justice and Peace Scotland, Filmhouse, Edinburgh, 17 Sep

A Good American

Total Work of Art The largest exhibition yet of Katy Dove’s work opens in Dundee Contemporary Arts this month. Curator Graham Domke gives an insight into Dove’s overlapping life and practice

he work of the much-missed Glasgow-based artist Katy Dove (1970-2015) joyously spanned different media and disciplines. From 17 September, Dundee Contemporary Arts will present their major new exhibition and ambitious attempt to represent Dove’s prolific and diverse interests and practice. As one important part of the exhibition, there will be examples of Dove’s animations, which she generated by scanning drawn and painted elements to be edited into moving image work. In these, Dove was able to incorporate musical elements, often entirely composed, performed and arranged by Dove herself – or made in collaboration with others. Interviewed in advance of the opening, DCA Exhibitions Curator Graham Domke speaks here about Katy Dove’s life and works. How do the physical artworks – the drawings, collages, prints, paintings – relate to the animations? “I love how Katy’s work could shift between drawing, painting, printmaking, animating, making music, working with fabric or jewellery and it all felt interrelated. Her animations could combine all of her ideas at once. To me the practice was a Gesamtkunstwerk [‘total work of art,’ uniting different media, disciplines, or also the life and work of an artist or designer] and it is such a privilege to have had access to it. The DCA show is the largest survey of her work to date with elements traveling to Inverness, Wick and Thurso (near to where she grew up) in early 2017.

“It is tempting to link the movement of her drawn elements in her animations to that of a choreographer and a dance troupe and she was definitely interested in the intersections of these disciplines. The exhibition will feature a performance by a choreographer and educator who worked with Katy on a number of projects and also a gig with improvising musicians that she was friends with.”

father and laid her own animations on top. I like a quote from [media theorist] Marshall McLuhan that ‘We are all robots when uncritically involved with our technologies’ – I loved how Katy used computer software but retained the hand-drawn feel. The best artists are often collaborating with their peers but also with their forebears, and trying to be relevant in their own time.”

In some animations she does all music and editing, then has different collaborators elsewhere. What kind of balance is there between collaboration and independence? “As a fascinated outsider it just seemed organic or maybe elastic how she collaborated and followed her own path. I like that some works have music by Dome, World Standard or Devotone and that others are composed by her. Katy was such a holistic person who balanced a pretty unique practice that also chimes with movements in art history. I can see the spirit of Hilma Af Klint [turn of the 20th century Swedish painter, often credited as one of the first abstract artists], Len Lye [20th century experimental animator and kinetic sculptor] and Harry Smith [Beat scene and esoterically spiritual pre-hippie filmmaker, artist and music collector] in her work. “In the animation work Melodia from 2002 she incorporated a watercolour by her grand-

When landscape comes through, how does this interact with the abstract elements? There’s an overlaying and transparency visually, is that a suggestion of an undefined boundary between these parts? “Nature was very important to her work and the animations that combine landscapes with her handpainted elements have such a nice sense of composition about them. One of these was a short she made for DCA in 2009 in a snowy landscape. I guess it stemmed from growing up on the Black Isle, and while living in Glasgow she would spend time in the Campsie hills north of the city. I love an early statement of practice by her – ‘I am interested in exploring the idea that nature can be seen as a state of mind or a form of culture.’ There is definitely a push-pull in the works that animation allowed her to explore multiple layers.” It’s often mentioned that Dove studied psych-

Interview: Adam Benmakhlouf

ology, and that she thought of it as an important basis for her practice. What kind of relevance does it have to the meditativeness, the subtle association, the ambiguity? “I think it was influential that she studied Psychology in Glasgow before she went to art school in Dundee. She wrote a fantastic dissertation on perception looking at James Turrell and Wassily Kandinsky and had an acute awareness of colour theory that definitely informed her own practice. Her work is that little richer for her being a few years more mature by the time of expressing herself as an artist.” Is it right to think of the animations as having a certain softness, thinking of their colour palette, often repetitive and ‘meandering’ soundtrack? “I appreciate there often is a softness in the palette but not always. The repetition, the rhythm and drone is about invoking trance states and a head space. I find them gently persuasive and hypnotic. “She was an improvisor and worked with producing automatic drawings and I have been going through hundreds of her works for the show. Katy’s work will turn the DCA Galleries into a meditative space and I hope it will be inspirational to newcomers to her work. ” Katy Dove at Dundee Contemporary Arts, 17 Sep- 20 Nov. See our weekly column nearer the time for details of the preview

“ I always thought of her as a rolemodel for how to live your life.” Graham Domke on Katy Dove

“Katy used to work at DCA when it first opened, she exhibited and performed here and also realised printed works in our studio so there is an added poignancy about it being here. I somehow think of her as being a Black Mountain [a highly experimental, hugely significant North American art school that ran for only 24 years (1933-1957). Attendees include Robert Rauschenberg, John Cage and Cy Twombly] or Bauhaus artist who actually studied here in Dundee. I always thought of her as a role model for how to live your life.” Katy Dove was well-known for her active place in art and music, and her collaborative projects. “Katy was a pivotal artist in the Scottish art scene for 20 years, from being involved in early artistrun initiatives in Dundee while being a student in the city to having major shows at venues like Talbot Rice and Tramway. In between, galleries such as the Changing Room, Transmission, the Project Room and Collective nurtured her early promise as an artist. Her Full-Eye and Muscles of Joy projects reflected her open-minded and fluid approach to art and to life and friendship.” Thinking of these different parts of Dove’s life and practice, what kind of influence did music and choreography have? In some works the speed and directions of movement feels as important as the different collaged visual elements themselves.

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Luna, Katy Dove, Video Animation still, 2004

ART

THE SKINNY

RECLAIM DEMOCRACY! Your spirit may be bruised from the various disastrous electoral results of 2016, but fear not! Voting is now open in The Skinny Food and Drink Survey 2017. Head to theskinny. co.uk/food to make your voice heard.

theskinny.co.uk @theskinnymag @theskinnymag /TheSkinnyMag

September 2016

Illustration: Mica Warren

THE SKINNY

Come Together With Mirror Breathing, Manchester-based duo Shield Patterns enrich their electro template with fuller arrangements and an intimate, affecting narrative. They talk us through the creative development behind their second album

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he approach was quite different this time. We moved house and we spent a long time doing it up, and Claire had these new songs – she was very clear that they were going to be the next record, but we didn’t really have anywhere to work. But we managed to build the studio and, as soon as that was done, we just got to work.” Richard Knox reflects on the genesis and realisation of the follow-up to Shield Patterns’ staggering 2014 debut Contour Lines with a wry smile. For an act whose entire being is grounded in the DIY ethos, it’s more than just rolled-up sleeves that propels their art. But with visual design, PR, tour management and release (Knox runs Gizeh Records, the label he founded in 2004) managed solely by him and partner Claire Brentnall, it’s a timely reminder that in the modern industry, logistics and commerce increasingly throttle the business of making music. That music begins with Brentnall, a classcally trained musician whose distinctive vocals and lyrical acuity defined much of their debut. This time around, with the template in place and ready to be explored, the Shield Patterns sound is fuller, expansive, fearlessly free. Acclaimed cellist Julia Kent plays on three tracks – “I just asked her,” says Knox, “we were thrilled when she said yes” – but her contribution aside, Mirror Breathing is a leap of some magnitude. A deftly sequenced work, its soundboard of keys, clarinet, deeply layered electronica and stark beats showcases the duo’s best songs to date.

Mirror Breathing: Connections and impermanence That title holds the key, though. Is there a double meaning in there? Fogged glass? Or, on reflection, a more fulfilling notion of co-existence and hearts beating as one? Brentnall nods: “That’s really nice that you’ve seen it that way because I love the duality of the words of that phrase: mirror breathing. It does conjure the picture of breathing on a mirror and I’m kind of obsessed with this idea of impermanence at the minute. But the primary function of it was connection, and so when you actually synchronise with someone, and when the breathing is matched, you achieve that kind of connection with other people: feeling part of something as well as recognising that you are this impermanent thing – this tiny thing in this universe.” After Contour Lines, Shield Patterns subsequently released the four-track Violet EP, a chill work that brutalised the elegant melodics of their debut. The rich and complex arrangements of Mirror Breathing blur the line between melody and beats. “I started writing almost immediately after the first album was finished,” says Brentnall. “Four of the songs worked quite well together and they formed the EP. They seemed like, as you say, this kind of dissonant thing compared to the album. The first album for me was about finding a way to communicate. I’ve always been very shy and making music was something that felt right, like a way to kind of express something I never found the right way to express. I’m not very good at speaking.” Is that true? “Well, okay, expressing how I feel... I think I’ve got better. I was always very shy and would struggle to actually say how I felt. The first album was kind of finding a way to communicate and now the second album is exploring that communication and those connections, and feeling part of the collective. That was, for me, the main

September 2016

Interview: Gary Kaill

impetus for this album: finding meaning in connection. It’s more about love and hope, I think, this album. “I find writing music and lyrics very cathartic,” she continues. “I wouldn’t say that we are a political band, it’s more of an emotional questioning, trying to figure out why we’re here. I do sometimes feel overwhelmed by stuff but at the same time I love feeling really small. I love feeling that we are so fleeting. It’s a musing of sorts. It’s about starting a conversation.” Mirror Breathing carries a deep emotional charge. Lyrically, its intimacies emerge as an often harrowing internal dialogue but for the listener, that sharing can provide a satisfying consolation. You hope the same applies for Brentnall. “Oh god, yeah. Making music is everything to me. lf I didn’t have that in my life... well at one point I didn’t, and I felt like there was something missing. If I’m not making music, I start to get anxious. The music helps, definitely.”

“ I felt like there was something missing. If I’m not making music, I start to get anxious” Claire Brentnall

We talk about the arithmomania that gives the band its name: a routine that has affected Brentnall since she was a child and that causes her to create mental patterns with numbers and words in a bid to stave off anxiety and concern for the people around her. “Well, I’ve come to realise that it was a symptom of having a set of base anxieties; it’s something I’ve worked on a lot,” she explains. “It’s about finding ways to work with it because it does calm me at times. Like, for example, doing an interview – what I’m saying is being recorded and that’s really important to me, but while I’m doing it, I’m making this kind of pattern with my hands. That’s where the name of the band came from. It’s something that I’ll probably always do my whole life. But now I’m starting to understand it better.” Knox picks up on the theme: “This is a tangent, perhaps, but do you remember when Cameron did his resignation speech and there was that whole furore about when he turned around and sang a little tune? What’s the big deal? The Prime Minister of the country has just given up his job and we jump on him for that? To me that just showed his human side. I mean, I dislike the guy intensely but it showed a human quality. Whatever insanity is going through his body when he turns and walks away for the last time, that’s the thing that comes out: him humming a little tune. We should try to understand rather than ridicule.” He laughs. “We’ve got plenty of other material to ridicule him with. “The name is really overlooked with this band,” he continues, “and I’ve been thinking about how we can make more of that.” It tells the story. “Yeah, it does. It’s a really good name but you can misunderstood it – it can come over as really shite!”

“Who else sounds like us?” Mirror Breathing is eminently accessible, and while the world overflows with boy-girl electro duos, Shield Patterns eschew the vogue modes – their complex aesthetic is a world from ersatz disco or monochrome industrial. They’re unique (Knox agrees: “Who else sounds like us?”). Where the album really succeeds is as an album: a longform piece; an out-and-back adventure. It’s not made for random play. It starts pensive, builds dread, finds comfort (or, at least, clarity) by the time closing track Glow shudders to a halt. “Well, it started out as a collection of songs,” explains Knox, “but then you have to figure out how they work together. We had a beginning and an end early on. We had five songs in the middle where we had a distinct flow. It was a challenge but one I think we met.” After the release of their debut, Knox was intrigued by a friend who’d said that Shield Patterns wasn’t what he (Knox) thought it was. Has that changed? “No. Not really,” he says. “I’m

Music

not sure what it is, really. It’s been a very different process making this album but, no, it’s still unclear in some ways.” Brentnall offers her take: “The first album began because of some songs I’d written solo, before I met Rich. Then for this one, I basically took six months off work and decided to put everything into making it, and we worked really intensely on it together. It’s been a really nice process but I don’t know – I kind of get the fear once an album is finished, so now I’m like, ‘Fuck! What comes now?’ I kind of like the fear and I’m also a little bit shy about it. But I feel so proud of this one and it really matters to me that it connects with someone else. Even if it’s just one person, than that’s brilliant.” She smiles and shrugs. “And if people don’t like it, then that’s fine as well.” Mirror Breathing is released via Gizeh on 2 Sep Shield Patterns play F use, Bradford, 7 Sep; Soup Kitchen, Manchester, 10 Sep; Assembly Roxy, Edinburgh, 16 Sep; and The Hug and Pint, Glasgow, 17 Sep

Indie Marvel From the set of Marvel’s latest movie, Taika Waititi takes a break from shooting Thor: Ragnarok to discuss his thrilling indie coming-of-age film Hunt for the Wilderpeople Interview: Michelle Devereaux

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here are so many movies these days where everyone’s separate and you don’t even really get to hang out,” Taika Waititi laments while speaking on the phone from Australia. He talks about a friend who, after twelve weeks working on a film, only met his co-star once. Waititi sounds a bit tired, but he’s still unfailingly affable and polite. The Kiwi filmmaker is currently directing inevitable blockbuster Thor: Ragnarok, his first major studio film. Ironically, the films from the Marvel “cinematic universe” that Thor inhabits, with their heavy emphasis on computer-driven effects, are some of the biggest offenders of this divide-to-conquer filmmaking mentality. Still, if anyone can build a sense of community within the confines of such a big-budget behemoth, it’s probably the 41-yearold Waititi, who excels in creating films about makeshift families of social misfits and oddballs. Waititi is probably best known in Britain for his brilliantly funny cult vampire mockumentary What We Do in the Shadows (2014), which he cowrote, co-directed and starred in (as lovelorn dandy Viago) with longtime collaborator Jemaine Clement (Flight of the Conchords). Since his 2007 feature debut, Eagle Vs. Shark, the filmmaker has specialised in creating off-kilter, visually inventive films that straddle the line between comedy and pathos, a tonal register sometimes derisively referred to as “quirky.” Despite his cult status over here, Waititi is something akin to filmmaking royalty in his native New Zealand. His latest, the utterly charming Hunt for the Wilderpeople, recently became the highestgrossing homegrown film in the country’s box office history, supplanting 2010’s Boy – also directed by Waititi. While Shadows, despite its singularly goofy premise, is targeted at a “mature” audience, Waititi seems to have a soft spot for telling stories about kids, especially ones who tend to fall through insti-

tutional cracks. Like Boy, Wilderpeople is about a young Māori, and it’s a tale told in a typically sympathetic yet unsentimental fashion. The film centres on 13-year-old Ricky Baker (newcomer Julian Dennison, possibly the best thing in a film full of great things), a chubby, troubled yet good-hearted foster kid from Wellington who thinks of himself as the consummate gangster living the “skux life.” Ricky is unceremoniously plunked down in the middle of the country to live with the enthusiastic Bella (Rima Te Wiata) and her husband, ornery and gruff bushman Hec (Sam Neill, clearly relishing one of his best roles in years).

“ Ultimately the movie is just about people looking for family” Taika Waititi

When Bella suddenly dies, Ricky flees for the bush in order to escape the authorities who want to re-institutionalise him (including psychotically intense social worker Paula, played with gleeful abandon by Rachel House). Hec chases after him, and soon the two are both on the run from the law, who assume Ricky has been kidnapped. Part comic pas de deux, part heartfelt adventure film, Wilderpeople is at turns hilariously deadpan and moving without being cloying, and it never stoops to mining archetypes or clichés. “What I was trying to avoid was saying this is what it’s like for all Māori,” Waititi says. “Every New Zealand film that involves Māori, they’re always the ones that are connected to the spirit world, or the wise old grandmother and all that, which I’m really sick of.” Waititi is Māori himself, and he refuses to romanticise Māori culture. “There are

Māori who are not connected to their family, to their culture. Ultimately the movie is just about people looking for family.” Wilderpeople also touches on what Waititi considers a national foster care system that “could probably do with some attention,” but never in a polemical way. In one scene, Ricky tells Hec his friend Amber died, but he doesn’t know the details behind her death. It’s actually an allusion to a real New Zealand foster kid who took her own life. “I’m not going to name names,” Waititi says. “I’m going to kind of hint at it, and anyone who knows about that may know, okay, this is the world [Ricky] is from. It’s all about him though. It’s gotta be focused on him.” Waititi’s use of hands-on, low-tech effects jibes with the humanistic sensibility of his narratives. Practical effects are “more French,” he deadpans, “more arrogant.” Wilderpeople in particular contains a complicated, bravura shot whose very attempt seems slightly mad: a 720-degree long take (the camera pans around the action twice) where characters pop in and out of frame on multiple occasions to suggest the passage of a much longer stretch of time. Actors hid behind bushes and hustled to make their new marks over and over in an intricately choreographed arrangement. “Those are the things that make me most satisfied with making films,” he says. “I still love in-

camera trickery, and I love animation, and I love things that are handmade… even if the audience doesn’t really know what they’re looking at.” True to form, Waititi wasn’t just interested in having everyone involved be there on the same day just to explore his technique. “It makes everyone feel part of the team,” he says. The film contains several unexpected cinematic allusions, from Robert Altman’s classic Western McCabe and Mrs Miller (that long take is set to Leonard Cohen’s The Partisan) to Apocalypse Now to Psycho, the latter two during a queasy scene involving Bella butchering a wild pig. This wasn’t so much an attempt to make his family-friendly film “edgier” as it was part of a desire to ground the story in the reality of its milieu. While Waititi says he hated the idea of depicting animal killing onscreen, considering his source material (Barry Crump’s 1986 novel Wild Pork and Watercress) is “all about hunting,” he didn’t have much of a choice. For the pig-killing scene, he took pains to exercise as much restraint as possible while still conveying gruesome reality. “Watching it back I feel like it’s actually super graphic, whereas all you really see is the knife go down and then there’s blood on the knife,” he says. “There’s only one shot with blood spraying, and it’s so kind of abstract.” The film’s tonal mix of affable goofiness and darker reality can be felt in Waititi’s eclectic music choices. “I think [songs] help me imagine the scene, visualise it – what’s going to happen and the tone,” he says. “So music’s super-important right from the very beginning.” In addition to the downbeat Leonard Cohen song, the film’s soundtrack features Nina Simone’s Sinnerman, cheesy calypso disco, operatic tribal-infused sounds, and retromodern synths. Wilderpeople is scored by New Zealand band Moniker, and Waititi has also worked with Wellington-based indie rockers The Phoenix Foundation. But currently he’s in the process of getting prolific composer Mark Mothersbaugh on board for Thor: Ragnarok. The Devo frontman is known for scoring quirkier films, which hints that Waititi might be able to preserve some of his idiosyncratic style regardless of his monster budget. He insists he wants to be surrounded by as many artists like Mothersbaugh as possible. “There will always be opinions from the business side of things,” he says. “As much as possible you need the people who balance it out.” If you’re worried Waititi won’t make another small film like Hunt for the Wilderpeople or Shadows, don’t – he still plans to direct a followup to the latter, shifting focus to the werewolves. Regardless, he seems intent on making films where people can still “hang out,” collaborate, and form a sense of community. He even actively pushed for a large percentage of Aboriginal crewmembers on Thor. Despite his ascendance to the major leagues, it seems he isn’t willing to forgo the concept of makeshift family, both on and off the set. Hunt for the Wilderpeople is released in 16 Sep by Vertigo

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FILM

THE SKINNY

Living in Mexico City Planning a bit of a life change post-Brexit? Our guides to living abroad in some of the world’s most vibrant places might help you out. First up: a city of tacos and two-hour lunch breaks – though there are some other things to consider... Words: Kate Morling Illustration: Eunjoo Lee

ver wondered what it would be like to run away and join the circus? Well, a move to La Ciudad de Mexico may be exactly what you’re looking for. Clowns and mariachi bands commandeering your 7am metro ride, streets lined with ‘corn on the cob’ venders, a government full of corrupt ring-leaders and taxi drivers who perform disappearing acts with your belongings; Mexico City is a maze of adventure and excitement. But like the rollercoaster, it certainly has its up and downs… Pro: Finding work as an English teacher is as easy as abracadabra Well-paid work as an English teacher abounds. Options include everything from teaching in preschools to teaching business English to CEOs and big-timers. Those with TEFL certification or a university degree will be in higher demand; however, these credentials aren’t obligatory. The widely admired British or Australian accents will take you places an American or Canadian accent can’t, though neither nationality will find themselves struggling to secure clients. Unless you speak a reasonable level of Spanish or have been transferred by an international company, finding work as virtually anything else is like trying to pull a rabbit out of a hat. Con: Big schools will rip you off Do your homework and make contacts. Many of the big schools pay as little as 80 pesos an hour (yes, that’s about $4 USD). The payoff is that often they will sponsor your working visa, provide a secure and steady flow of classes in one or two locations, and offer ready-made session plans. The best way to make money as an English teacher is to find smaller-run companies such as BE School or EFA who provide more personalised classes to individuals and groups. Be prepared to travel to homes, cafes and offices across the city but also expect to be paid three times more than that offered by the big schools. Pro: Time is relative Mexico City runs on Latino Time; la vida runs at a slower pace. Two-hour lunch breaks are not uncommon – however, expect to have a 9am-7pm (or even 9pm) work day. Unless you live the life of an English teacher, in which case you’ll be dusting the sleep from your eyes for your 7am class and downing coffee around 3pm in preparation for your afternoon classes. Many freelance teachers find their mornings and afternoons full, leaving plenty of time to gobble down tacos and work on your expanding waist line during the day, and still make a comfortable wage. Con: But… Time is relative… Don’t expect anything to happen on time, even if they say ‘a tiempo’. Showing up early is considered rude and if you ask someone the time they are likely to round it to the nearest half hour. There must be a black hole around here somewhere. Pro: Tacos ’Nuff said. Con: Transport to Tacos Much like the haunted house, transport in Mexico City will give you night terrors. With 22 million inhabitants in Mexico City and millions more commuting from the city’s outskirts, getting yourself from taco stand A to taco stand B can

September 2016

be problematic. But fear not, Mexico City offers a myriad of entertaining transportation options from practising your best sardine impression on the metro, to daredevil rides on the smoggy ‘kombi’ buses, which scoot citizens to every corner of the city. Make sure your health insurance is up to date. If public transport isn’t your thing and you find yourself more suited to the ‘fresa’ crowd (literal translation being ‘strawberry’ – street translation being ‘I’m far too cool and important to slum it with you plebs’), overcharging taxis are ample. Pro: Living ‘fresa’ in La Condesa As a foreigner in Mexico City, chances are, when searching for your new home, you’ll find yourself gravitating towards the upmarket avenues of Polanco or more hipster La Condesa and La Roma areas, where sausage dogs and vintage Converse All Stars rule. But you’d be selling La Ciudad short. Venture beyond these westernised pockets to where the real cultural experiences (and food) lie. Shop for delicacies like imported crocodile or artisan honey at San Juan Mercado in El Centro, or drink pulque (an oddly slimy alcoholic drink made from the sap of fermented agave) at one of the city’s many traditional pulquerias.

“ Quesadillas oozing with cheese and tinga de pollo will always taste better in a 4am tequila haze” Con: Cost of living in Condesa A room in a share house can range from 5000 pesos a month to selling your left lung. Your own hipster apartment could set you back somewhere between 13,000 pesos and selling both lungs. It all depends on how fresa you intend on being. A wage of around 20,000 pesos a month will see you living the fresa life comfortably and is easily achievable teaching English. Venture only slightly outside of the bubble and you’ll find yourself feeling like a millionaire. Pro: Weather Locals will whine about La Ciudad’s temperamental weather, but compared to the UK, Mexico City looks like the Caribbean. Sunny days occasionally wind down to late-afternoon thunderstorms and the variation between summer and winter is somewhat mild. That said, June through September brings rainy season with storms that may last an hour or two and flooding that may make your commute last much longer. Con: The sun’s disappearing act While the days are sunny, you may not actually see the sun. Mexico City’s pollution problem is undoubtedly its Achilles heel. The Air Quality Index frequently hits double the acceptable levels due to the 3.6 million automobiles that traverse its roads and highways, contributing to both poor air quality and traffic congestion. The problem is only exacerbated by the city’s

high elevation (at 2400m) and surrounding mountains, which act to contain the effluence produced. In a bid to control the problem, the government frequently implements a ‘no hoy circulation’ rule preventing a portion of its citizens from driving on certain days, greatly upsetting the fresa population. Pro: Did I mention tacos? We all love their Tex-Mex counterparts, but you haven’t truly appreciated a taco until you’ve sampled those found across La Ciudad de Mexico. From those hiding in baskets on street corners to gourmet fish tacos parading in Mexico’s finest restaurants, you’ll never be far from your next taco. But the fun doesn’t stop there. Away from the westernised interpretation (or defilement) of Mexican food lies the true jewel of Mexican culture: eating. Tortilla chips sautéed in red or green salsa, smothered in cream, cheese, refried beans and crowned with un huevo estrellado (runny fried egg) will cure any mescal hangover. Richly spiced tomato-based soups peppered with crispy tortilla pieces, avocado and pork crackling present themselves as main meals, but will undoubtedly be followed by an onslaught of main courses. And quesadillas oozing with cheese and tinga de pollo (shredded chicken cooked in a sauce of red and green tomatoes, chipotle chili and onion) will always taste better in a 4am tequila haze. Con: You WILL get fat Dieting is simply impossible in Mexico City when you are constantly stalked by stands selling tortas (huge buns filled to their extremities with

TRAVEL

assorted meats) and haunted by the smell of freshly grilled pastor. Don’t bother. Buy yourself a 15 peso freshly squeezed juice, tell yourself, ‘Well, that’s my vegetable intake for the day,’ and go and eat another taco. Pro: The element of surprise There is a fully grown pet pig named La Chata being exercised along the street, a man with a furnace attached to a trolley and an obnoxiously loud whistle selling roasted sweet potatoes and you’ve just learned the city’s water has been switched off for four days. Because Mexico… Con: You never know what’s around the corner It may just be a bus… This is not the country to be caught in without health insurance. Mexico’s public health care system is slow and underfunded, making private health care a must. If you, like many other immigrants to the country, are cheating the system and living off an easily obtainable tourist visa and simply skipping over the border every six months, travel insurance is your best and only option. Ready to join? Mexico City is a whirlwind that can only be tamed by embracing its extravagance. Searching for reality within the maze will only leave you lost and confused. Close your eyes and eat whatever they give you. Drink mescal until everything that felt weird feels normal. Take the metro and dance with the mariachis. And don’t be surprised if you find yourself never wanting to leave the circus. theskinny.co.uk/travel

Lifestyle

The Print Project S

ince 2010, The Print Project have been making stunning art and design using technology that’s more than 500 years old. Based in Shipley, designers Nick Loaring and Lucy Johnson use six letterpress machines and a vast collection of wood and metal type to hand craft high-quality, vibrant prints, including gig posters for local promoters Golden Cabinet. While working with vintage machines including a Heidelberg Platen and a Korrex Nürnberg, they also innovate and “challenge perceptions of what letterpress printing is or should be,” including laser-cutting their own type to use alongside original pieces. We asked Nick about their story and influences, and the joys and pains of working with analogue tech. You can read the full interview at

theskinny.co.uk/art The Skinny: Where did your passion for letterpress come from? Nick: Some time in 1996 I stumbled across a case of wood type in a bric-a-brac shop in Settle. It was covered in years of muck and dust and smelled funny. Needless to say I was smitten, so handed over £25 and walked out of the shop with no idea what I was going to do with it. Some ten years later a printing press was acquired for the price of a tank of diesel – it lived in a shed in bits for a further four years. I moved back to Bradford in 2010 and a friend told me about a printing press that had been donated to the 1 in 12 Club that I might be interested in. So my life as a graphic designer took a funny turn and six years later I’ve amassed somewhere in the region of 20 tonnes of equipment to ‘design with’. But the passion for putting ink on paper goes way back to when I was a teenager making ridiculous skate/punk fanzines – that stuff really opened my eyes to a world that was full of possibilities, and as soon as I’d scraped through my exams with enough passes to get into the local art college to study graphic design I was off like a shot.

We swear we have a physical reaction to your posters for Golden Cabinet. Do you choose the colours with a sensory response in mind? The only way I can explain how it happened is it’s like two worlds colliding that have had a major influence on me over the years – the mindblowing 60s/70s psychedelia of Barney Bubbles, Oz magazine, Monty Python and the films of Alejandro Jodorowsky smashing headfirst into the International Typographic Style and modernism of Emil Ruder, Max Huber, Max Bill and Josef MüllerBrockmann, etc. The sole intention was to produce a visually striking poster through the use of repeating patterns, overlays and over-the-top ink colours that jump off the paper they are printed on and poke you in the eyes. Once they are on a wall in a room they start playing tricks on you, and as long as they do that I feel like my work is done. The posters you can see here are from the 2015-2016 series that utilise the same colourways as the years before but are a lot freer and more relaxed than the earlier posters. Then you’ve got Pattern Man which was a collaborative piece of work with a poet, a book binder, two musicians and a printing co-operative to visualise Pattern Man in response to the written work of Leeds-based poet Rick Holland (who’s previously worked with Brian Eno and Jon Hopkins). Pattern Man is a wild and crazy ride that speaks volumes about who we are as people in 2016. Rick had seen some earlier work I did at [book shop and gallery] Colours May Vary and was crazy enough to want to get me involved in producing something for his third book that utilises an eye-melting moiré pattern in two colours.

What are you working on currently? Double Dagger – a 12-page broadside focusing on the role of letterpress in today’s digital age and printed entirely from hot-metal and wood type: doubledagger.co Letterpress workshops – our autumn/winter program of courses is now online and begins in September. If you’ve ever wanted to have a go at letterpress printing in a well-stocked workshop, now’s your chance! theprintproject.co.uk/ letterpress-workshops Tap Type – Tap room typography via Magic Rock Brewing, coming Autumn 2016. theprintproject.co.uk instagram.com/theeprintproject

SHOWCASE

THE SKINNY

September 2016

SHOWCASE

Top Row: Study in Green 1&2, mixed media Bottom row: Garden and Hermitage Screenprints

Kieran Milne K

ieran Milne graduated from Duncan of Jordanstone in 2016 having studied Fine Art. Now based in Glasgow, Milne holds a studio at the Crownpoint studios and has recently shown work at First Proof – New Printmakers 2016 at Dundee Print Festival and Best of Degree Show 2016 at Six Foot Gallery. Milne has also been selected for the RSA New Contemporaries in Edinburgh in 2017. “I have recently been producing a body of work exploring ideas of intimacy within public space with a particular focus on a shade of green that is commonly used on civic objects such as bins, gates, railings and benches. This colour functions as a platform within which to research the ideas surrounding these objects.

“My work utilises text in two significant ways; the first being a playful wordplay which makes repeated references to certain words which may not share etymological roots but are homonymic such as 'Avert/Overt/Au Vert.' These tenuous or tangential relationships can also be seen in the repetition of the green colour throughout the works. The second is by writing imagined conversations between people surrounding these public objects as a way to dissect and map their qualities as well as manifest them mentally within a fictional space. This process has helped me to unpick my own ideas and to understand my stance within this work.” kieranmilne.wordpress.com

Foreground: The last time I saw you we sat on a bench and talked about who would keep the dog, Oak, Bronze. Background: Avert/Overt/Au Vert, Mixed Media on

plastikzine.com

SHOWCASE

THE SKINNY

Kiss Me Forged Steel, Oak and Bronze

Offering Artifice Houseplants, Bronze, found objects

September 2016

SHOWCASE

ADVERTISING FEATURE

Cocktail Column

ow many is too many? That’s a question that often comes up when putting on a party or meeting folk for drinks. Complaining that you have too many people to talk to doesn’t feel like the humblest of humblebrags, but it is a curious problem to deal with – when you hit a bar or party, the last thing you want is to have to go around shaking hands all night like the bloody Queen. Still, if you think you have problems, spare a thought for the late great Dick Bradsell. The revolutionary London bartender, who passed away in February this year, was responsible for a host of modern cocktail classics from the Bramble and Treacle to the Espresso Martini. According to Difford’s Guide for Discerning Drinkers, Bradsell couldn’t stick his head in the door of a bar without having an Espresso Martini shoved in front of him, with each bartender keen to show their affinity for Bradsell’s creation. The Basement’s take on the modern classic adds a chilli kick to a coffee and rum base, with the spicy and sweet Brugal from the Dominican Republic doing much of the heavy lifting. Mix up one of these, and you’ll make light work of even the most hectic gathering. Just smile, nod, and sip.

Arriba Arriba! Andale Andale! INGREDIENTS: 25ml Brugal rum 12.5ml Chilli syrup 25ml Espresso 25ml Kahlua coffee liqueur METHOD: Pour ingredients into a cocktail shaker, and shake well. Strain into a martini glass, and garnish with coffee beans and chili flakes.

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

THE SKINNY

Vote in The Skinny Food and Drink Survey 2017 The voting opens in our 2017 Food and Drink Survey; our Food and Drink Editor entreats you to name your favourites, and to redeem the shattered concept of voting altogether Words: Peter Simpson Illustration: Mike Hughes

emocracy’s taken a kicking in the last twelve months, hasn’t it? Our American chums have narrowed down their Presidential election choices – that’s choices for President of the whole country of the United States of America, the one with all the guns – to a very rich woman who is possibly a massive crook, and a very rich man who is almost definitely a complete fucking headcase. We didn’t do much better, voting to leave a big successful cross-border group so we can stop French people from being doctors, chuck the environment in a big bin, and generally make our own stupid mistakes. Take that Strasbourg bureaucrats, wherever you are, we haven’t checked a map, haha, oh god what have we done. Even the flippant stuff made you lose faith in the power of the ballot box – the same public that voted to name Mrs Brown’s Boys the greatest sitcom of the century couldn’t even successfully name a boat. Boaty McBoatface is not funny, it just isn’t. What is it punning on exactly? “As you can see, it’s a boat, and... boats... faces... well, my mum thinks it’s funny.” Here are three funnier mock names for a boat: Ship Happens, Boat-al Recall and Epic Sail. Your move, Hypothetical Reader’s Mum. Still, there is one bastion of democracy that never fails to raise a smile. No, not Eurovision, but The Skinny Food and Drink Survey. In each of the past six years we’ve asked you to name your favourites across a host of food and drink categories, and you don’t let us down. Things are much the same as usual this year – we want to know your favourite pubs and your favourite local breweries (or equivalent, seeing as a hardcore of you keep mentioning cider at us and we’ve realised that tasty gins and rums also

exist). We’re also keen to know which are your favourite cafes and takeaway-type places, as well as your favourite food and drink shops – you know, posh delis, bottle shops with hundreds of different unpronounceable beers, that one place that sells the kind of flour you desperately need etc., etc. The last twelve months have been a bit of a whirlwind in the food world – more on that elsewhere on this page – so we want to know which is your favourite new place to open its doors in 2016, and we’ve melded a few categories into one to create the catch-all favourite restaurant category. Turns out that instead of using euphemisms like ‘world food’ and ‘date place’, we should just say what it is we really mean. We mean restaurants, so we’ll just say restaurants. Restaurants. The voting runs from September til November online at theskinny.co.uk/food – cast your votes there and look out for the hashtag #skinnyfoodsurvey if you’re on the Twitter. We assume you are, otherwise that whole Boatface thing from earlier will have made very little sense. We’ll tally up your votes in December – because nothing enlivens the festive season like a big ol’ spreadsheet – and get back to you with the results in our January Food and Drink Special. So there you are, a chance to restore the reputation of voters everywhere, and find out which is the best place for a pint and a slice of pizza while you’re at it. We trust you to treat this with the seriousness it deserves, and share your foodie favourites with us. And remember, even if you do all vote for Harambe the gorilla in every category, we’re still not putting it in... Cast your votes at theskinny.co.uk/food

2016 in Food and Drink: The Year So Far A lot can happen in nine months; we look back on the year so far, and highlight a few key trends to keep your eye on...

Street Food Gets Organised Here’s a slightly philosophical question: when does street food stop being street food? Is the definition down to place and continuity, or is it just a distinction that means ‘food you don’t need to sit down for’? ‘Food that’s probably in a box’? A string of locations in Edinburgh and Glasgow left us with cause to ponder in 2016, from The Pitt street food market in Edinburgh with its regular crop of traders to the Gordon Lane Laneways project in Glasgow with its semi-permanent spaces. Taste Buchanan’s takeover of the Buchanan Galleries food court pushes the phrase to near-breaking point – it isn’t even on a street – so it could be time for a new bit of terminology.

September 2016

Healthy Eating Takes The Cake The raw cake is here, everyone! At a host of vegan, gluten-free and generally super-healthy spots across Edinburgh and Glasgow, the mantle of cake fiend has been taken up by the healthconscious with some interesting results. In Glasgow you can find protein waffles at KCal Kitchen and cheeseless cheesecakes at Primal Roast, while Edinburgh has Raw Snickers and a whole host of other raw delights courtesy of Grams, as well as Pumpkin Brown’s ‘bliss balls’. Okay, some of the names need a bit of work, but we’re getting there. Pizzas Are The New Burgers For a while it didn’t look likely, but it seems the

red meat tide may be turning. A host of the archetypes of the gourmet burger trend have gone, leaving things on Scotland’s food scene looking slightly less chargrilled, and it seems that the next big trend on deck is the artisanal pizza. Wildmanwood in Edinburgh has followed the lead of Paesano through in Glasgow, with low-cost high-quality Neapolitan-style pizzas in strippedback, trendy environs, with a host of food vans and other outfits also getting in on the act. Pizza: it’s so hot right now. ‘Really cheap but still dead good’ pizza pioneers Franco Manca are reportedly on the way to both Glasgow and Edinburgh shortly, and more will doubtless follow, but the telltale signs of a

FOOD AND DRINK

Words: Peter Simpson

“ It seems the red meat tide may finally be turning” full-flight trend can be found in the new openings touting their ‘artisan pizza’ like they’ve just CTRL+F’d to the words ‘dirty burger’ and done a wee copy-and-paste. Expect to be chewing on £7 pizzas for the foreseeable; not a bad spot to find yourselves in, to be honest.

Lifestyle

Phagomania: The Lone Grazer Photographer Brian Finke reveals the overlooked life of the desktop diner Photos: Brian Finke Words: Lewis MacDonald

ffice workers are a strange breed, aren’t they? If they were allowed to become sentient they would soon realise how unnatural their daily existence really is, but as it is, their most likely chance to make a break for freedom presents itself once a day – lunch time. However, a 2015 study by the British Heart Foundation found that only one in two UK office workers take this opportunity, with 50% regularly eating their lunch at their desks. Until recently desk lunching was a secluded affair, but then along came a viral Facebook group by the name of Meal Deal Talk. The set-up was simple – anybody partaking in a well-established ‘meal deal’ offer presented their choice in photographic form in order to have their acumen castigated in a swarm of keyboard abuse and slander. It is an entirely and wonderfully British approach to lunching in the 21st century. A much more American approach to the office lunch is a zany celebration through the lens of photographer Brian Finke. A regular contributor to the New York Times Magazine, he recently undertook an unusual brief for an article: Failure To Lunch – Desktop Dining. Finke visited offices around the USA to guerrilla-snap workers as they chomped at their desks.

“I just roamed around the offices during the lunch time,” states Brian. “I had complete freedom to shoot whatever people were eating and wherever they were around the offices.” He divulges: “Everyone has an ego so they were either into it or not.” Describing his photography style as “stylised documentary”, Brian seemed the perfect candidate to capture and mirror back to us that all too familiar scenario. Awkward poses over keyboards, and haphazard arranging of items across the desk are reoccurring traits throughout the intriguingly spartan images, with a voyeuristic feeling of briefly peeping into each subject’s life. Or, as Brian puts it: “I wanted to make wonderful, interesting, awkward photos of office lunches.” While certainly relatable, whether they represent a degradation of the work/life balance or a witty celebration of the reality of the workforce is in the eye of the beholder. One thing is for certain though: combine these pseudo-candid shots with a venomous Facebook group critique and you’ll really have something to chew on during your lunchtime. brianfinke.com/blog/work/desktop-dining/

Food News Our foodie events round-up, featuring tea towels, transcontinental cake festivals, and not one but two gin festivals Words: Peter Simpson

et’s kick off September the right way – with gin, in a big warehouse. After a couple of highly successful runnings through in Edinburgh, Glasgow Juniper Festival makes its debut at SWG3 this month. You’ll find dozens of gins to try, a heartily-stocked bottleshop, craft stalls, and a host of gin masterclasses. Been making your G&Ts the wrong way round this whole time? Only one way to find out. 10 Sep, various times, 100 Eastvale Pl, £16.50, tickets via Eventbrite Following on from this year’s Cooking Pot events at CCA, Ricefield Arts present a Chinese Dessert Night at the Project Cafe. Marking the mid-autumn festival, the night will feature the chance to try out a host of traditional Chinese desserts including the highly festive and red bean-stuffed Moon Cake. 17 Sep, 7pm, 134 Renfrew St, £10, cca-glasgow.com Sticking with the food-and-learning theme, the Soul Food Sisters community food group returns this month with an Arabic High Tea at the Southside’s favourite cake merchants bakery47. Baklavas, babas, mint tea and a lovely friendly vibe await. 19 Sep, 6pm, 76 Victoria Rd, free, tickets via Eventbrite Now, if you’re anything like us, you’ll be prone to the occasional kitchen nightmare of the sort featured in that Gordon Ramsay programme – you know, Hell’s Kitchen. Anthropologie’s DIY Tea Towel Printing masterclass at their Edinburgh branch will see you end up with your very own hand-printed soaker-upper, meaning that while you may cause havoc in the kitchen,

Lifestyle

FOOD AND DRINK

you’ll at least be bang on-trend as you do so. 24 Sep, various times, 39 George St, £10, anthropologie.com Across town on the same day, it’s the return of the Great Grog Bottled Beer Fair, a neat twist on the standard beer festival. Instead of the usual ‘wander around, drink a load of beers, forget the names of the good ones and go on with your life’, the Grog’s is all about storing yourself a little treat for later. With nearly a hundred beers on offer, there’s bound to be something for everyone. Presumably. 24 Sep, 1-5pm, St Peter’s Church Hall, 14 Lutton Pl, £10, greatgrog.co.uk October begins with the triumphant return of the Edinburgh Coffee Festival. Heading to Summerhall for its second year, ECF features a host of the best independent coffee-slingers from across the city as well as some from a bit further afield. Expect demos, extensive coffeebased chats, and the whole place to have a delightful smell from start to finish. 1 Oct, 10am-6pm, £10 (£8.50), edinburghcoffeefestival. co.uk And we end as we began – with gin, in a big warehouse. This time it’s the Corn Exchange in Edinburgh, for the imaginatively-titled Gin Festival. More than 100 different gins on offer, live entertainment and plenty of #ginchat both professional and amateur – yep, that sure sounds like a gin festival. Solid name, good execution; gold stars all round. 7-9 Oct, various times, 10 New Market Rd, £8.50, ginfestival.com theskinny.co.uk/food

THE SKINNY

Carly Rae Jepsen and the Queerification of Pop Words: Hannah Williams Illustration: Jacky Sheridan

We’ve come a long, long way since Katy Perry’s accidental girl-kissing...

t’s 2008, and, writhing on a baby pink satin bedspread, a cat sitting on her lap – a cartoonish, heavy lidded wink to the audience – Katy Perry is introduced from the sole of her high heels, the camera panning up before settling on the gold ‘Katy’ pendant resting on her cleavage. The opening images of the video are typical late-noughties video fare; shots of legs in stockings, disembodied butts, all female, all white. The video wasn’t particularly notable even when it was released, yet nevertheless it drew in millions of views. The content of Perry’s lyrics is the crux upon which the visuals rest. “This was never the way I planned / Not my intention” is the opening line of I Kissed a Girl, and the precedent is set. Nobody plans to kiss girls, Perry implies. Perish the thought. The video and the song are a depressing masterclass in the heterosexual gaze, an outlook that dictates female sexuality should serve men’s sexual interests. The song even mentions a boyfriend, a quick aside hoping that he “don’t mind it”, as if it would be ridiculous if he did; as if kissing someone of the same sex could ever be a real threat. Rather than an account of female sexual exploration, or bisexuality, or queerness, the song focuses on how the act is shocking, deviant, but ultimately throwaway and without consequence. The song is the tenth best-selling single of the 21st century. Eight years later, and while the mainstream pop scene is still largely hetero- and gender-normative, filled with tired stereotypes and outdated depictions, in many ways the landscape is radically different. The rise of social media is

September 2016

obviously a huge factor in this, and it’s hard to imagine I Kissed a Girl provoking as little ire today as it did back then. The increasing popularity of Twitter and Tumblr enable them to function as outlets for complaints about representation, platforms upon which the powerful can be, even in some small way, held to account. As LGBTQIA people become more visible, wider culture begins to sit up and take notice of them. And they have.

“Jepsen’s vision of queerness is a glimpse of female relationships filtered through stretched out pink bubblegum” Gay people have always, of course, had a close and complex relationship with pop music, whether that’s demonstrated through fandoms and support, or the appropriation of gay subcultures (in particular, the subcultures belonging to gay PoC). But the sea change is evident in the way mainstream acts have moved

from being content only to court a queer audience, to openly representing them in their lyrics and videos. A discourse has been started, one where queer female fans feel able to recognise themselves in liner notes, to scrutinise videos for nods towards same sex relationships. Of all of today’s pop stars, it’s Carly Rae Jepsen who seems to elicit such excitement from queer fans. Around the release of Jepsen’s second album, E.MO.TION, Jia Tolentino wrote an article for Jezebel entitled Carly Rae Jepsen’s ‘Boy Problems’ Is a Beautiful Gay Song of Discovery. Read straight (pun intentional) the song is a lament to losing your best friend, but it’s the privileging of another women over a heterosexual relationship that enables queer listeners to identify, to analyse the song as a narrative of sexual discovery. It’s the repeated chorus – “I think I broke up with my boyfriend today / And I don’t really care” – that serves as a refusal to follow male-centred relationship narratives we constantly see espoused in popular media. This sense is only furthered by the accompanying video for the track, directed by Petra Collins, known for her pastel-hued, dreamy take on female adolescence, girl gangs, and queerness. It’s a clear sign; Jepsen’s target is a particular kind of teenage girl, one less concerned with seeing repeated motifs of heterosexuality, and more with depictions of female relationships. In a much gif-ed moment, Carly decides to stop moping over a boy in her room and go dancing with her friends, one of whom she locks eyes with and dances towards. It’s a small moment, but it’s an important one; intentional or not, this small

DEVIANCE

gesture seems imbued with sexual tension, an invitation to interpret this video as a queer story. Jepsen’s vision of queerness is simultaneously nostalgia-tinged and firmly situated in 2016, a glimpse of female relationships filtered through stretched out pink bubble gum, but isn’t the only version of queerness that present-day pop has to offer us. Beyoncé’s Formation, in addition to being a depiction of blackness rarely seen in mainstream pop culture, presents us with an altogether different form of queerness from the biggest pop star in the world. As Danielle Moodie-Mills details in her piece Bey’s ‘Lemonade’ Celebrates Unapologetic Black Queer Love, even the visual aesthetic of the Formation video is informed by black, queer traditions, from the young black boy vogueing in the mirror to the influence of New Orleans bounce culture. Indeed, by sampling gay and genderqueer artists such as the Queen of Bounce, Big Freedia, and using the repeated refrain of “I slay...” (a usage coined by LGBTQ PoC), Beyoncé intertwines the voices of queer women of colour into the song’s narrative and into the national consciousness. That Formation was performed at the Super Bowl Halftime Show demonstrates the interlinked nature of queer identities into mainstream pop culture. The rest of the short film for Lemonade also features a black lesbian couple, holding hands and softly twirling into each other; relaxed, smiling, intimate in that quiet way people in love have. The scene isn’t shown for a particularly long time, but it’s important. Not showy or sexualised, it’s just a sweet, honest depiction of a queer female couple. If both Jepsen and Beyoncé’s inclusion of queer identities are achieved in subtle ways – gently inferring, nudging open spaces for queer voices and interpretations – Shura’s vision is more forthright. The 25-year old has created one of 2016’s most critically acclaimed albums, signed to a major label, and been long-listed for the BBC Sound of 2015. She’s also openly gay, and her self-directed video for Touch features a variety of queer couples making out, slowly and tenderly and lovingly, to the strains of her minimalist synth-pop. It’s been viewed 26 million times. It’s a direct riposte to the heterosexual gaze; at the beginning Shura and a man briefly move towards each other, only for them to immediately pull apart, him then in an embrace with a man. There’s no othering, no centring on the straight experience; the song itself, she revealed in an interview with The Guardian, is about her feelings for an ex-girlfriend. There’s no queer subtext in Shura’s music; it’s the text. It’s not that the last eight years have suddenly made the mainstream pop landscape hospitable to queer people. Pop stars still sing using neutral or opposite-gendered pronouns, women kissing women is still used as shorthand for out-of-control sexuality, actual portrayals of queer women are still sorely lacking. But where lyrics and visuals once used female queerness as a tool to titillate straight men, we’re now slowly reclaiming our ground, being heard, being seen. We’re being represented, on our own terms.

Feature

THE SKINNY

Q&A B

uilt on bricks of sisterhood, sequins and sleek, shiny pop, TeenCanteen’s Say It With A Kiss is as warm and welcoming as a rare sunny day in a Scottish summer. After four years of songwriting and a storming crowd-funded campaign, the band will release their first album via Last Night From Glasgow, a brand new label created by one of their pledgers. As chief songwriter Carla J Easton explains, TeenCanteen have more in common with Teenage Fanclub than a title-based dedication to those awkward years of puberty. The Lanarkshire-born, Glasgow-based bands both conjure off-kilter pop melodies from Brian Wilson-indebted harmonies, and have shared projects in the past; The Skinny spotted Blake (and Duglas T. Stewart) in a TeenCanteen video from 2011, and last year Blake took to the stage with Easton’s gang for their girl-bandthemed fundraiser Girl Effect. On 9 September, both bands release records – one’s a debut, the other is far from that. We put Carla and Norman head to head. Carla asks Norman: Do you see patterns emerging between those making music in Glasgow that grew up in Lanarkshire? NB: Myself, Duglas Stewart and Sean Dickson are all from Bellshill – we wanted to get involved in music and went into Glasgow every Saturday. We used to busk and hang out, and through that you’d meet people going from record shop to record shop. You’d meet the Bobby Gillespies of this world. It’s amazing how much music comes out of Lanarkshire and the rest of Scotland in general. We do pretty well.

Endless Adolescence Norman Blake of Teenage Fanclub and Carla J Easton from TeenCanteen quiz each other on the power of Glaswegian harmonies

ew bands stick around long enough to release ten studio albums. Fewer manage to reach that milestone while remaining critically acclaimed and commercially successful. Teenage Fanclub have a knack for producing the right record at the right time; their breakthrough, 1991’s fuzzpop masterpiece Bandwagonesque, elevated them from cult Glasgow act to “the best band in the world,” in Kurt Cobain’s opinion. Four years later, when the UK was in thrall to Britpop, they released Grand Prix, an unrivalled collection of power-pop that cemented their reputation. Timing is everything. Yet Here, album number ten, arrives in September 2016 more because of circumstance than plan. “It’s been sitting ready to go for a while now,” reveals Norman Blake, guitar player and one of Fanclub’s three songwriters/lead vocalists, “but at last we’re here!” Blake, along with bassist Gerry Love and guitarist Raymond McGinley, hails from North Lanarkshire. The trio, who have been the core of the band since its inception, came together in Glasgow’s fertile independent music scene of the mid-to-late 80s. It was a time that also spawned BMX Bandits, The Pastels, The Vaselines and Primal Scream. They may have shared a love of The Byrds and Big Star, but it’s worth noting Teenage Fanclub started life as a far heavier and more chaotic band than the polished pop perfectionists we now know. It was while recording Bandwagonesque in the spring of 1991 that the famed Fanclub sound developed. “Don Fleming, our producer, heard some of our demos with us harmonising,” Blake says. “But before that it wasn’t really something we did. Our last record didn’t really have any harmonies at all. Don told us no one else really did harmonies, and we should really work on

September 2016

Interviews: Chris McCall/Katie Hawthorne

them as a way of helping us stand out – you have to remember this was the early 90s.” The result was tracks like The Concept – still a live favourite today – and its uplifting three-way harmony coda.

“ I don’t think we’ve ever presumed the band will always be around – we just take one record at a time” Norman Blake

From the first bars of I’m In Love, the opening track and lead single from Here, you know you’re listening to the band fondly known by fans as the Bellshill Beach Boys. It takes time to sing harmonies in such a seemingly effortless way, and Blake explains that the band always leave the vocals ’til last. “We tend to take away the tracks with fragments of ideas, to have a think about it and start to write lyrics. This time, we reconvened at Raymond’s house in Glasgow. Then, over a couple of months, we wrote the lyrics as we went along. A lot of the themes are similar, and that’s probably because we were listening to what the other two were doing and picking up ideas. I think it’s quite cohesive lyrically, which you wouldn’t expect from three different writers.”

While Love and McGinley remain in Scotland, Blake has been a resident of Kitchener, Ontario since 2010. His flit across the pond took place shortly after the band finished recording Shadows, their last album before Here. Despite the move, there was always an intention to reconvene. “I don’t think we’ve ever presumed the band will always be around – we just take one record at a time. There could be a day when two of us suggest getting together to make a record and one says: ‘I dunno if I want to do it anymore.’ And if that day comes, that’s fine, and we’ll move on.” Another key to Fanclub’s success is quality control. Blake insists the group would never sanction a release just to provide an excuse to tour. “After all these years, you’re never sure if it just won’t be there anymore. I think for us, if we made a record and got to the end and listened to the whole thing, and didn’t think it was worthy of putting out, we wouldn’t do it. That would cost us money – but we’re aware we have a good legacy in the way our records have been received. I would hate for the last thing we released to be a turkey. If we record again, and the material isn’t good enough, that would probably be it.” But fans need not worry. There’s every chance we’ll see an 11th Fanclub record. “I think if we’re all still alive, we’ll give it another go,” laughs Blake. “I think we’ll get to that point again. We enjoyed making this new record and we’re excited about touring again. Like most musicians, our hobbies are all music related. I like playing records and playing guitar. So going out on tour for me is great – I get to play music and visit record shops.” Here is released on 9 Sep via Merge records

Music

What are your three favourite records to come out of Glasgow? NB: One would be Blue Boy by Orange Juice. The Million Tears / Baby Honey record by the Pastels – I have good fond memories of that as I toured with the band as a bass player many years ago. The other would be Back in Black by AC/DC. Whenever someone asks who the biggest band from Scotland is, I always say AC/DC! Norman asks Carla: How successful was the TeenCanteen crowdfunder [for new album Say It With A Kiss]? Was it an easy process? CE: TeenCanteen’s become the most crowdfunded band on the planet! I was totally nervous about doing it. We launched it [with PledgeMusic] and thought maybe it’d take a month or two to raise the money, but we beat our target in three days. It gave us more freedom in the studio, and it wasn’t friends and family who were pledging – it was people we’d never met before! The positive thing for me is you actually get to know who’s buying your music and supporting you. In a way, it reaffirms your faith in the music business a wee bit. What are your three favourite Glaswegian records? CE: Since Yesterday, by Strawberry Switchblade – it’s just perfect pop, just phenomenal. I was a huge fan of a band called Secession; I really liked their song Touch. It’s incredible – it sounds almost like Depeche Mode. I totally grew up listening to the Vaselines’ record, too. Jesus Wants Me For A Sunbeam… the first time I heard that I was 13, and it blew my mind. Can you recommend some new bands? CE: I don’t know if you’ll like it, but my favourite band – massively – right now, is BooHooHoo. They’re just absolutely brilliant. I heard about them by accident, because Greg (who’s in BooHooHoo) was one of the engineers on the TeenCanteen album. I think they’re maybe the most exciting band in Scotland right now. TeenCanteen will throw launch parties in Glasgow (Mono, 8 Sep) and Edinburgh (Sneaky Pete’s, 30 Sep) Teenage Fanclub play Edinburgh’s Liquid Rooms on 6 Sep

S W IE V Ross Keppie started Fuzzkill Records while living in Shetland in 2013. Three years and a move to Glasgow later, it’s one of the hottest DIY labels in the country and co-running Freakender – a three-day festival of psych and garage rock Interview: Chris McCall

t might be one of the leading DIY labels in Glasgow, responsible for early releases by rising stars like Catholic Action and Spinning Coin, but Fuzzkill Records started life far from the bustling city in an archipelago not readily known for its music scene. Ross Keppie and Marshall Brill, old pals from Shetland, decided in 2013 they should start a label in order to release the final 7” single by Cleavers – a cult punk band from Elgin, known for deafening live shows. Its modest success persuaded Keppie the venture was worth pursuing. But long-term planning is, he admits, not his style. “I did two years at college studying music business on a whim,” he explains. “I think I had watched that Steve Coogan film, 24 Hour Party People, like a million times, and I wanted to start a label. I didn’t know what the fuck I was doing. I had never put on a gig in my life, I just liked bands, I guess. I got my college degree then moved backed to Shetland for a year to save money. My pal Marshall was putting on gigs and I started the label with him – but he’s a DJ and works offshore and just didn’t have time to keep it going." Fast forward a couple of years and Keppie is co-organising one of the most exciting music festivals of the autumn. Freakender, which takes place at the Old Hairdressers in Glasgow from 16-18 September, will bring together some of the best psych, pop and garage bands from across the UK and further afield. Among those making the trip will be Los Angeles-based Feels, playing their debut Scottish show, Manchester favourites Fruit Tones and Cowtown from Leeds. They’ll join familiar faces from Glasgow such as pysch heroes The Cosmic Dead, garage rock masters The Bellybuttons, freak-pop specialists Sweaty Palms and many more. Freakender is a joint venture between Fuzzkill and fellow musical promoters Ian Crawford, otherwise known as El Rancho, and

Do Not Miss

Trust Fund

Holly Calder of Eyes Wide Open. “We chose the best of the local bands we like,” says Keppie. “It made sense to do the whole thing at the Old Hairdressers. It’s the venue I’ve used the most. It feels like a DIY venue. You can move the room around for how you want it. Even if there’s not that many people there, it feels busy. But we’re expecting good crowds for this.” Fuzzkill has just put out two new albums – Cuckoo Waltz by Lush Purr, and Glimmer by Thee Mightees – but 2016 has seen a less hectic schedule for the label compared to the previous 12 months. “I did six releases in seven weeks, while moving flat at the same time,” Keppie recalls, wincing only slightly. “It was a good run, but a lot to do in such a short space of time.”

“I think I had watched that Steve Coogan film, 24 Hour Party People, like a million times, and I wanted to start a label” Two of those bands, Catholic Action and Spinning Coin, have since signed deals with much larger labels and are being touted as potential market breakers among London A&Rs. Keppie is naturally pleased to see any Fuzzkill act do well, but doesn’t see his role as making money. “I do make some money, but I don’t take out any for

Sweaty Palms

myself – it all goes back into the next release,” he says. “I like collaborating with people. If I like the band, I can put them out. I can’t offer them what a major label does, but I can still be a step-up for a band. I’d love to make the label massive, but it’s a hobby – so I don’t want to overcomplicate things, you know? “It’s just me running it. I pay people for artwork, and my girlfriend helps me with the gigs on

Animal Collective, ABC, 6 Sep

Newly signed to local powerhouse LuckyMe, NAKED stand out amongst the label’s typically hip-hop infused beats. The Edinburgh-based three-piece conjure cavernous, ice-cold pop dreams that sound born to ricochet through Berghain’s hallowed halls. Expect bruises.

Since 2009’s breakthrough record Merriweather Post Pavillion Animal Collective have continued to push – hard – at the boundaries of experimental pop. Warped harmonies, a psychedelic approach to electronic improvisation and a generous sprinkling of self-awareness keep Panda Bear & co’s live show one of the weirdest and most wonderful on the road. Pinegrove

Pinegrove, The Hug & Pint, 7 Sep

Back on home turf, The Spook School bring 2015’s buoyant, binary-burning Try To Be Hopeful to the Cowgate. They’re joined by Bristol scuzz-boppers Trust Fund who have a brand new, bittersweet record out, so expect plenty party vibes. Joyce Delaney and Earths play too, for a night of understated, all-inclusive good times.

The New Jersey band dropped their long-awaited debut album in June; to celebrate, they’re travelling transatlantic for their first ever UK tour. 90s emo threads through crunchy country roots, tied up in knots by well-worn indie rock embellishment – Pinegrove are one hundred brilliant things at once.

Preview

Freakender takes place at the Old Hairdressers, Glasgow, from 16-18 Sep fuzzkillrecords.bandcamp.com

NAKED, Sneaky Pete’s, 11 Sep

Trust Fund & The Spook School, Opium, 3 Sep

the night. But all the decisions are mine. I’ve not had any problems with any nights or releases. It’s been pretty plain sailing. It’s not trial and error, more like rinse and repeat. I feel lucky, I guess, to have worked with so many good bands.”

Animal Collective

MUSIC

NAKED

THE SKINNY

Photo: Ian Schofield

Fuzzkill Records on Freakender 2016

Guest Selector: Lou Barlow of Dinosaur Jr

We’re Breaking Up

Interview: Mischa Pearlman

ou Barlow is the bassist of the legendary Dinosaur Jr, which he founded with prodigious guitar wizard J Mascis after their previous band Deep Wound broke up. Also the brains behind Sebadoh, Barlow is one of the most influential musicians in the alt-rock scene. Still, he also has his own influences, and here he delves deep into his roots to guide The Skinny through his favourite songs from Massachussetts, the state where Dinosaur Jr. formed in 1984.

collection of bands from Boston; Gang Green are ridiculously fast with just full-on screaming. They were influenced by bands like Discharge, but took it a step further, making it into this screaming cacophonous burst of energy. It’s lyrically absurd but musically totally advanced. They still sound crazy to me! And they were wonderful live.” The Barbarians – Moulty [Laurie, 1966] "This was a bona fide hit in the 60s, they were on TV lip-syncing to it. The Barbarians also had a hit song called Are You A Boy Or Are You A Girl?, which was an amazing mid-60s song about changing hairstyle which was really catchy. But this song was sung by the drummer, who has one arm – he lost an arm in an auto accident or something [a pipe bomb-related explosion, actually – FactChecking Ed.]. If you watch the videos from the 60s he literally has a hook that he plays the snare with – the lyrics of this song are him explaining his story. The verses are literally just Moulty speaking: how he lost his arm, how he keeps going, how he’s got the spirit and how he’s looking for a woman to love him. It’s so touching, and he delivers it all in this heavy Boston accent, which makes it even more charming. It’s a really unique song.”

Neats – Now You Know [Ace of Hearts, 1983] “This is off their first LP. They’re from Boston and were contemporaries of R.E.M. – in the early 80s they played shows with them. I think they have kind of a similar sound in that it’s informed by 60s jangly stuff, but has a new-wave rhythm going on underneath and really incredibly soulful vocals. They were a really important band for me when I was in my final years of high school and transitioning out of listening to a lot of hardcore punk, and this is something that I think if more people heard, they’d really like it.” Mission Of Burma – Academy Fight Song [Ace of Hearts, 1980] “Mission Of Burma I actually found out about on my own, before I met J. I think I saw a television performance by them and I was just like, ‘What is this?!’ The name was so mysterious and the band looked so mysterious. They were very popular within the Boston area and when the single came out I found it in the local record store; it’s one of the first real underground records I bought. It’s a beautiful pop song and a really unique-sounding record, and one of my first real discoveries. It was a really big song for me!”

The Lemonheads – It’s A Shame About Ray [Atlantic, 1992] “This is one of my favourite songs. Evan [Dando] is Boston born and bred so to not include this song… like, I didn’t include The Cars or Aerosmith who have both written songs that are among my favourites, but this just occupies a really nice spot in my head. It’s like this soft-rock punk that just endures. I listen to it a couple of times a year and every time I hear it I’m just, ‘Oh god, what a nice song!’ It’s a beautiful and great.”

Gang Green – Rabies [Modern Method, 1982] “Gang Green are a hardcore band and I’d assume they’re exactly my age. There was an amazing compilation called This Is Boston, Not LA, before the hardcore sound became really defined and – the word that I’ve heard smarter people than me use – codified. It was this real ragtag

Read the full list of Lou Barlow’s favourite Massachussetts songs at theskinny.co.uk/music Dinosaur Jr play Leeds University Stylus, 26 Oct (as part of Beacons Metro); Arts Club, Liverpool, 27 Oct (as part of Liverpool Music Week); O2 ABC, Glasgow, 17 Nov, and Albert Hall, Manchester, 19 Nov

Baby Strange, Buskers, 16 Sep

Deap Vally

Photo: Ian Schofield

Deap Vally, Electric Circus, 19 Sep

September 2016

Words: Martyn Young

XTRMTR were having a jolly good country rock hoe-down on the excruciating Country Girl just 6 years later, but there you go. Let Bobby Gillespie and gang be a warning to you all.

n the middle of August’s festival cycle, The Maccabees said, “You know what? We’re done.” They’ve had a decent run, so why call it quits? The Skinny reckons the indie Londoners did something more bands should do; the honourable thing. The right thing. They recognised that they’ve given all that they’ve got, and now they’ve gone home. Here’s a list of bands we wish wouldn’t continue to over stay their welcome.

The Rolling Stones Formed: 120 AD Should have broken up in: No time in the last 41 years would have been too soon. This one’s a no-brainer. They’ll clearly never find that satisfaction that they so loudly crave, and we fear Keith will keep on rocking into eternity. C’mon, this has to end at some point... Doesn’t it? The Cure Formed: 1977 Should have broken up in: 2000 It’s a tragedy, but it’s true. Once creative cultural forces, all your long established heritage bands will – one day – become a museum piece, consistantly producing diminishing musical returns. The Cure are one of the greatest bands of all time – but now, nothing feels quite right. The songs are still there, the fans are still there, Robert Smith’s hair is still there, but the magic is long since gone. Primal Scream Formed: 1982 Should have broken up in: 2001 It’s painful to think that the same band who made the spleen venting, frenzied electro punk of

The Libertines Formed: 1997 Should have (stayed) broken up in: 2002 The good ship Albion is tattered and rusted, and the Libertines myth has evaporated into patchy solo careers, Pete Doherty’s inexplicable typewriter collection and a lukewarm reunion that gamely tried to recapture past glories. Instead, Pete, Carl, Gary and John look – and sound – like a band out of time. Camden’s not cool any more. Have you heard Gunga Din? The Strokes Formed: 2000 Should have broken up in: 2003 (2006 if we’re generous) Imagine how annoying it must be to have people CONSTANTLY. BANGING. ON. about Is This It. It’s a close-to-perfect debut album, sure, but The Strokes could remake a glorious interpretive mash up of Dark Side Of The Moon and Pet Sounds, and you’d still get whingers crying on. “When are you going to do another Last Nite?” Their hearts clearly aren’t in it anymore, and we can’t blame them. Bloc Party Formed: 2003 Should have broken up in: 2007 Forget Silent Alarm, it’s 2016 and Bloc Party bears almost no resemblance to the band that were once so invigorating. Since a multitude of breakups and misguided side projects, Bloc Party resemble a punctured balloon with the air slowly leaking from it. * See also: Kaiser Chiefs; Stone Roses; Catfish and the Bottlemen; Kings of Leon; Courtney Love; anything involving a Gallagher.

Natalie McCool, Electric Circus/ Hug & Pint, 21/22 Sep

Glasgow’s Baby Strange have had a massive year... In the build up to their debut LP Want It Need It (Sep 2), they’ve played to punters at Y Not, Tramlines, Electric Fields, and earned the top slot on Leeds Festival’s Jack Rocks stage. Find them in a town near you: they’ll play six Scottish dates on this headline tour.

Baby Strange

It’s not us, it’s them.

Bassist Lindsay Troy and drummer Julie Edwards bring their raucous LA heat to Edinburgh’s chillier streets. New album Femejism, led by noisy single Smile More, sees Deap Vally kick the patriarchy to the curb with typical relish.

Plaid, The Art School, 29 Sep

The Liverpudlian alt-pop singer-songwriter is touring ahead of her huge, chorusbacked, PledgeMusic funded new album The Great Unknown. How she'll translate those enormous sounds into the intimate confines of our local venues is anyone's guess – head down and find out for yourself.

MUSIC

Oscar & GIRLI, The Hug & Pint, 27 Sep

Appropriately, electronic duo Plaid bring a brand new audio-visual treat to The Art School at the end of the month. The prolific Warp Records stalwarts will play live alongside several very special guests, after a summer spent treating the crowds in Europe’s biggest clubs.

A low-key oddball icon, Oscar epitomises your uncle's greatest fears for the future of millenials. The Londoner crafts crackly, surprisingly soulful anthems from his woes, and is supported by GIRLI – the most marmitey of all September's support slots. Her tune Girls Get Angry Too is a blunt, electrified trip.

Plaid

Preview

Album of the Month Angel Olsen

My Woman [Jagjaguwar, 2 Sep]

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‘Is it me you’re thinking of, when you’re thinking of me?’ This time around, Angel Olsen asks the big questions and supplies punchlines to match: ‘Or is it your mother?’ Olsen’s unique vision sparked and connected on 2014 breakthrough Burn Your Fire For No Witness and here she applies minimal but pointed tweaks to her rich aesthetic. Musically, much is as before. Her band play with a ‘last take before dawn’ vitality and dare themselves to see where the songs might lead them: several of Woman’s high spots begin as a whisper before stretching into extended instrumental passages. There is nothing quite as rug-pulling on My Woman as lead track Intern, a hypnotic electro ballad, whose drifting synths frame the song’s draggy cadence. ‘Still gotta wake up and be someone,’ she sings – a neat trick to sound so disconnected so deeply within the song. No wonder the melody mirrors classic Orbison: going back is so often the only way forward. Intern is a stylistic diversion but it holds the clue to Olsen’s lyrical intent: a compelling dialogue that fuses unflinching candour with stripped back, spare language. Her gift for narrative manifests itself in simple truths. Shut Up Kiss Me (‘I could make it all disappear / You could feed me all of your fears’) is a breathless devotional so

intense, it shaves down to mere microns that ever-thin line between love and hate. My Woman’s thematic intent (it’s about “the complicated mess of being a woman”) informs its honesty and its hurt. Song titles only hint at the deeper meaning: Woman. Sister. Both hit the eight-minute mark as the band improvises and explores, and the latter, where Olsen howls, ‘I wanna live life, I wanna die right’ is shattering. The voice – that pure, craggy vibrato – is bold and beautiful, and on her fourth and (by some distance) best album, it finds the showcase it needs and deserves. ‘I dare you to understand what makes me a woman,’ she demands on the not-quite-title track; a not-quite-break-up song that wearily kicks around the rubble of a dying relationship. It’s a challenge that, for the unwary listener, might prove too much – but the rewards are great. In some ways, My Woman is the love song reimagined: a fearless and accomplished work whose deep-seated humanism is a stirring reminder that falling in love is for idiots, and that we should put our faith in any artist who might just convince us otherwise. [Gary Kaill] Angel Olsen

Listen to: Sister, Shut up Kiss Me

Shield Patterns

Mirror Breathing [Gizeh Records, 2 Sep]

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The Wedding Present Going, Going... [Scopitones, 2 Sep]

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Credit where it’s due to David Gedge and his various incarnations of The Wedding Present, but their latest something new is a little cack-handed. Going, Going... is split between unlistenable horribleness like Secretary (Gedge wails, ‘I only get through to your secretary’ over and over) and taut US hardcore-influenced indie rock like Fordland. The band sound hard – harder than they have for a while – which is good; Gedge’s voice appears to have lost its growl, but Rachel is lovely, sparse and plaintive, and Santa Monica is a ferocious album closer. One for the fans, in summary: what other kind of Wedding Present album is there? [Pete Wild]

Listen to: Rachel, Santa Monica

Review

Mammoth Weed Wizard Bastard

Y Proffwyd Dwyll [New Heavy Sounds, 30 Sep]

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Jenny Hval

Blood Bitch [Sacred Bones, 30 Sep]

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It’s a silly name, but it does the job. Mammoth Weed Wizard Bastard give exactly what you’d expect; beefy, lumbering riffs churned over to the point of hyponosis, drenched in bonerattling distortion and delivered with an occasional wink. The Welsh quartet have fun with the format, deploying endearingly kitsch electronics that have the tenor of a Dalek invasion upon their otherwise stony, Celtic graveyard aesthetic. Jessica Ball’s magnificently eerie vocals are still a revelation, bringing sensitivity and melodicism. She plays cello now, too, as if MWWB didn’t already sound creepy enough: the patient, menacing staccato twitches on Y Proffwyd Dwyll like a demon biding its time. [Andrew Gordon]

On Blood Bitch, Norwegian experimentalist Jenny Hval eschews the sonic grandness of career highlight Apocalypse, Girl to retreat into a battle with herself. This time out, Hval’s ambient experiments are influenced by industrial noise and her home country’s black metal, while synth-led songs like the urgently racing Female Vampire and the gorgeously pillowy Conceptual Romance contain the closest to a pure pop chorus the musician’s ever written. Underneath the album’s horror tropes, Hval’s voice and reflections are powerful as ever; Blood Bitch is a curious study of a restless musician fighting to keep her insecurities at bay. An understated but intriguing album by a perpetually fascinating artist. [Chris Ogden]

Listen to: Y Proffwyd Dwyll, Cithuula

Listen to: Female Vampire, Conceptual Romance

‘Touch me lightly, share / How you hate me and all the ways you care,’ sings Claire Brentnall on Dusk, the opening track on the follow-up to Shield Patterns’ 2014 debut Contour Lines. Rest assured, this one’s from the heart. The twitch and burr of Richard Knox’s beats and the elegant shadowplay of Brentnall’s melodies find connection and harmony on this wide-reaching and accomplished work. Recorded at their home

How To Dress Well Care [Weird World/ Domino, 23 Sep]

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Tom Krell has long been preoccupied with matters of the heart. As How To Dress Well, his first three albums traversed seriously rocky emotional terrain; from the lo-fi R’n’B melancholia of his debut to the maximalist pop theatrics of 2014’s What Is This Heart?, Krell’s soul-searching is not for the faint-hearted. Combine his fearlessness in the face of feelings with a die-hard, academic belief in the cathartic power of music, and you have Care.

RECORDS

studio, Mirror Breathing’s DIY ethos belies its scale and ambition. Complex orchestrations (enhanced on three tracks by cellist Julia Kent) serve a rich and developing songcraft. The pair switch effortlessly from lyrical, tender rhapsodies (Cerulean, Sleepdrunk) to an implacable brutalism (the bruising Balance and Scatter). A life-affirming and mind-altering journey, these songs burrow under the skin. Contour Lines was a dark wonder; Mirror Breathing is its equal and then some. A stirring confessional, a thrilling musical evolution, and an inch away from perfect. If that. [Gary Kaill] Listen to: Cerulean, This Temporary Place

In defense of all the genres, Krell picks through tropes, traditions and nostalgia trips with the rigour of an Antiques Roadshow host – but he dusts off his findings to reveal something totally contemporary (and usually NSFW). The album freewheels through soundscapes borrowed from pop, trap, balearic house and old-fashioned balladry with irrepressible joy; I Was Terrible mixes classical piano with the bounce of poppunk, and – don’t lie – you’ll definitely enjoy it. Krell told The Skinny that Care is intended to soothe – a balm for anxiety, a salve for our worries. It’s also his most personal record to date; in the face of a song like The Ruins, it’s impossible not to return the favour. [Katie Hawthorne] Listen to: Salt Song, The Ruins

THE SKINNY

Warpaint

Heads Up [Rough Trade, 23 Sep]

Warpaint’s third LP Heads Up is too easily evaluated in terms of trade-offs. The band expand their sonic palette, exploring a more ‘mature’ Warpaint sound, but the record offers only a shadow of that transportative, supernatural sound still found in its purest form on 2014’s self-titled LP. The band’s growth is most evident in the vocals, which are richer, occupying a lower register, and there’s a more lushly harmonized here. Gone, though, is the siren sound of former albums; high and uncannily keening, full of quiet violence. Tracks like New Song, The Stall, and So Good are accessible, but the album lacks the lyrical complexity and aching ambiguity that they’d made their own. Their decision to record alone or in pairs allowed them to draw on a wide range of synths, polyrhythmic digital percussion, and beautiful vocal layering, but (excepting the closer Today Dear, a spare and beautiful number) the album suffers without the rough, untrained and honest immediacy of their earlier efforts. [Aidan Ryan] Warpaint

Listen to: Today Dear, The Stal Given the circumstances surrounding its inception, it’s no wonder that Preoccupations seems so humourless at times. When Viet Cong succumbed to a seemingly unending backlash and settled to change their name, you would think that alone would be enough to put a damper on recording the follow-up. Instead, the darkness that seeps through Preoccupations’ self-titled offering comes from a more personal place. Written amidst breakups and instability, the album is more introspective than its predecessor – and a hell of a lot more visceral. Suffocating opener Anxiety finds the Canadian four-piece wading through this uncertainty,

Preoccupations

Preoccupations [Jagjaguwar, 16 Sep] Preoccupations

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Flock of Dimes

Teenage Fanclub

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If You See Me, Say Yes [Partisan Records, 23 Sep]

If You See Me, Say Yes is the out-and-out debut for Jenn Wasner’s side project pseudonym, and it plays like a grab-bag of her myriad off-kilter pop influences. Birthplace is the sort of sunny throwback that could have made it onto the latest Blood Orange album; You, The Vatican is all languid groove; and Flight channels Bat for Lashes, with floaty vocals over a bed of undulating synth. Wasner spoke frequently, around the release of Wye Oak’s Shriek, about the extent to which exhaustive touring had effectively rendered her unable to write on the guitar any more, but as on Tween, there’s evidence of it beginning to seep back in: the brooding Apparition has some lovely acoustic work. For the most part, though, Wasner is working with an electronic palette and it suits her down the ground; the clattering beat makes Everything is Happening Today, for instance. Wasner’s ability to wrap her vocal melodies around her instrumentals allows her the sort of flexibility you need to be able to pull off this kind of experimental pop record, and the vision, too – by the time you reach closer ...To Have No Answer, with flashes of brass circling its swirling crescendo, you realise this is an album that’s been made with care and intelligence. The results are compelling. [Joe Goggins] Listen to: Apparition, Birthplace

Listen to: Anxiety, Stimulation

Here [Merge, 9 Sep]

Here is an unexpected treat, and a surprisingly timely one too. As usual Norman Blake, Gerard Love and Raymond McGinley share songwriting duties, but the latter exhibits the biggest about-turn. Faced with a modern life that ‘corrodes us all’, McGinley – who previously advocated seeking refuge in days gone by – now sounds quite wisely committed to the present. ‘Past lives, they’ve got to go,’ he vows on the meditative Steady State. Love puts in an exemplary turn, channeling airy, pastoral psychedelia and offering up the album’s standout track in I Have Nothing More to Say. Shimmering vocal harmonies and hazy, flanged guitars flutter along like a long sigh, making short work of the doubts and heartache alluded to within. Lead single I’m in Love comes courtesy of Blake. Lyrically it’s a straightforward ode to lifelong companionship, but it’s a peppy, entertaining number that finds the sweet spot between his early barnstormers and more contemplative recent material. With chord voicings like honey and a Neil Young-meets-Thin Lizzy guitar solo, it sounds both boisterously raw and masterfully sculpted. Connected to Life makes an oddly sombre closer for what’s otherwise such an optimistic record, but Here is another good record in an outstanding discography; hard proof that a goodbye from Teenage Fanclub would be woefully premature. [Andrew Gordon] Listen to: I’m in Love, I Have Nothing More to Say

September 2016

into the unknown. Frontman Matt Flegel describes the song as indicative of Preoccupations “changing as a band”, and he’s not wrong. Where Flegel’s vocals on much of their last record were buried beneath layers of jangly guitar lines and drum patterns, he’s front-and-centre here, evoking dread and angst as he growls about nightmares and empty vacuums over a raspy drone. And that’s where the album’s greatest strength lies. It doesn’t present cookie-cutter visions of fear and insecurity to observe from afar; it crawls under your skin and drags them out to you – whether you want it to or not. [Alex Smail]

Pixies

Mykki Blanco

TeenCanteen

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Head Carrier [Pixies Music, 30 Sep] Up until now, the reunited Pixies have been pretty cautious with their new material. On Cindy it felt as if they were painting by numbers; Head Carrier feels like a much bolder statement. The off-kilter feel of the title track here, as well as the furious Baal’s Back, provide compelling evidence that Black Francis is still capable of sounding arresting when he cares to. Tenement Song feels a throwback to the band’s early 90s heyday, and Um Chagga Lagga proves a satisfying foray into rockabilly-flecked punk. In fact, that’s probably where Head Carrier falls short; there’s not enough adventure to make this truly feel like Pixies; it lacks the sense that the wheels might come off any minute. [Joe Goggins] Listen to: Baal’s Back, Um Chagga Lagga

RECORDS

Mykki [Dogfood Music Group / !K7, 16 Sep] Unlike her experimental mixtapes, Mykki Blanco’s first fulllength solo release doesn’t leave much to hold on to. The New York performance artist and musical chameleon showcases a unique brand of warped, darkwave noise-rap on their debut album – but ultimately plays it safe. Loner and Hideaway show the rapper in full flow, and the production is largely trap-influenced, with industrial, minimal 808s and distorted synths throwing back to earlier work with the likes of Kingpinning and Haze. Boogie.Life. However Blanco has always fallen slightly short in lyrical content and, although there are hints of depth and melancholy, on tracks like High School Never Ends and You Don’t Know Me, Mykki never quite goes deep enough. [Nadia Younes] Listen to: Fendi Band, Loner

Say It All With A Kiss [Last Night From Glasgow, 9 Sep] TeenCanteen’s debut album Say It All with a Kiss is full of infectious, sing-into-your-hairbrush, indie pop anthems that’ll make you feel 14 again. The Glasgow girl band’s playful titles (Kung Fu Heartbeats, Candyfloss) nod to childhood nostalgia, and the group bring their best cheerleader impressions as they belt out ‘It’s A-L-W-A-Y-S / It’s always for you’ on Roses (My Love). Frontwoman Carla J. Easton combines sugary sweet lyrics with hammering melodies on How We Met (Cherry Pie), singing, ‘Like sugar in my cup of coffee / Apples dipped in toffee / This is how we met.’ Undeniably the best kind of bubblegum pop. [Nadia Younes] Listen to: Dancing (Hey You), How We Met (Cherry Pie)

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Photo: Daniel Harris

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ANOHNI

The Playhouse, 17 Aug

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There’s a deep rumbling shaking the Playhouse’s listed foundations. The house lights fade, and a forest of dry ice clears to reveal a cinema-sized screen dominating the stage. The rumbling drones louder still, and the screen flickers – Naomi Campbell, stood in some sort of concrete bunker and minimally, militarily dressed, is dancing. She shimmys towards a zooming camera lens, and never once breaks eye contact. She dances for a further fifteen minutes, soundtracked only by gravelled, droning, rhythmless synth. Visually stunning, but far from the most user-friendly of beginnings. The International Festival audience fidgets. A man checks his watch, gets up and leaves. Two torch beams break the darkness as Hudson Mohawke and Oneohtrix Point Never are guided to their stations, flanking the enormous set-up. It’s strange to see both heavyweight

producers relegated to the background, and as they launch into the beats behind ANOHNI’s title track the vocalist is still nowhere to be seen. Naomi fades out and a new female face fills the screen, bare-shouldered and confrontational, lip-synching to the song’s story of greed and waste. ANOHNI’s unmistakable voice floats out disembodied from somewhere deep within the theatre’s mechanics. As the track dies, the former ringleader of Antony & The Johnsons finally emerges to warm, welcoming whoops, and she delivers single Four Degrees with bone-shaking gravitas. The set journeys through her album Hopelessness in full, each song accompanied by a new, female cameo on the screen. The record’s uncompromising account of self-inflicted human violence and the wanton destruction of our planet is a difficult listen, but stands tall as pure, powerful, important songwriting. It’s rare to see three performers – each reknowned as innovators of their respective genres

– come together for such a singular project. And although staggering in delivery, the repetitive, static staging makes it slightly easy for the brain to wander; when ANOHNI does begin to engage with the audience, whipping up a response with violent arm movements, the show feels less like a lecture and more like an act of protest. Violent Men and Why Did You Separate Me From The Earth elict full-body shivers, and after the show closes on a gut-punching Drone Bomb Me backed up by a heartbreaking monologue from an elderly Aborignal woman, the audience stands united in roof-raising applause. Still, post-show rumours fly that the concert was ‘too’ technically perfect, that it was simply a playback of the record. We’ll never know... but casting such aspersions feels like sacrilege after an hour of uncompromised, fearless conversation. [Katie Hawthorne]

trio erupt into the song’s explosive chorus. As ever with this band, where there’s smoke there’s fire. Hastings pauses to bring political bite to the fore: “We are all migrants,” he barks with stentorian authority. “I’m a migrant, you’re a migrant, you’re a human being – we are all in

this together.” After a resounding cheer, he adds, “And if you don’t believe that, you can go fuck yourselves!”. They leap into audience favourite Shame, and it’s clear that more than any other group of the hour, Young Fathers can be counted on for telling it true. [Claire Francis]

Following such a crowd-pleasing act would intimidate lesser artists, but C Duncan cheerfully takes it in his stride. The classically trained songwriter has built a strong following since his debut album, Architect, was nominated for the 2015 Mercury prize, and today he’s joined by a water-tight backing band who add some incredible vocal harmonies to tracks like Novices. Duncan’s dreamy pop music is perfect for enjoying in the afternoon sun. “It’s roasting up here,” he notes. “I don’t know how Colonel Mustard can move around so much.” The heat doesn’t faze the effortlessly cool Honeyblood. Stina Tweeddale and Cat Myers only have each other to rely on when playing, but they create an irresistible alt-rock force. The duo’s signature song, Super Rat, still sounds

achingly bittersweet, while new tracks like Love Is A Disease show they’ve lost none of their energy. With new album Babes Never Die slated for release in November, Honeyblood look and sound a band at the top of their game. Fat White Family gigs can be raucous affairs on an average day and feel like outright war on others. It seems fitting, then, that the South London group have chosen the Terminator 2 theme tune as their intro music. Frontman Lias Saoudi menacingly swigs from a bottle of Cava before rattling through crowd favourite Is It Raining In Your Mouth?, a dubious tribute to oral sex that would appall your parents. [Chris McCall]

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Young Fathers The Hub, 14 Aug

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Call it nepotism, call it bias, call it a home-town advantage... call it what you will, but let’s be honest. For the 400-strong, sold-out crowd packed into The Hub for the first of Young Fathers’ two Edinburgh International Festival shows, there was never any doubt that the local trio would deliver a performance anything short of seismic. Massaquoi, Bankole, and Hastings never waver, and their set is a thunderous whirl of The Garden rapid-fire vocal interplay and booming drum Electric Circus, 24 Aug beats (courtesy of touring percussionist Steven Morrison, who fairly hurls himself at his kit), rrrrr showing off the bulk of 2014’s DEAD and last Somewhere beneath the paper-white face paint, year’s celebrated White Men Are Black Men Too. red lipstick and dress shirts are Californian twins It’s testament to Young Fathers’ prodigious talWyatt and Fletcher Shears. The Garden remain ent that they play like a group with nothing to prove. mysterious, but the punk jesters they portray on Countless industry awards, along with a passingstage are a force to be reckoned with. of-the-torch alliance with iconic trip-hoppers The Orange County duo aggressively resist Massive Attack (whom they supported earlier this genre boundaries and this defiance is palpable; year), have underscored Young Fathers’ enormous blurring the line between music and performance relevance. We’re treated to a new one – a frenetic, art, their set is intense, creative, and shamelessly upbeat number – and by the time we reach Low the unrestrained. Though firmly rooted in punk rock, group is in perfect unity. Smooth opening lines The Garden traverse electronica and 90s flaprompt a spontaneous sing-along before the voured hip-hop seemingly effortlessly. Opening with propulsive cut Crystal Clear from their 2015 album Haha, the duo command attention from the first drum stroke. Bass in hand, Wyatt explores every inch of Electric Circus’ humble stage, pausing only to partake in a loose definition of interpretive dance. He struts across the stage holding a water bottle between his teeth, brandishing his empty hands as though to ensure the audience is suitably impressed. Fletcher soon joins him, jumping over his kit and somersaulting across the floor. The brothers have a magnetic presence, but it’s their raw talent that carries the evening. Beneath the charisma and theatrics, Wyatt is a quietly gifted vocalist – articulate, yet forceful – and aware of when to pull back and let his brother take the lead. Good thing he does, because Fletcher’s masterful drum work is the Electric Fields 2016 backbone of the set. Juggling his drumsticks Sat 27 Aug between strokes, he is every bit as entertaining rrrrr as his twin, imbuing each song of the night with a rugged pulse. You can spot Colonel Mustard and the Dijon 5 The modest stage and a semi-anaesthetised long before you hear them; their canary yellow crowd feel almost undeserving of The Garden’s suits could cause unprotected eyeballs to melt undeniable pull, the duo remaining strangely per- and drip into your pint. They arrive on the main sonable in their aggression. Shaking hands with stage to greet a sizable early afternoon crowd, half the audience as the night winds down, before half of whom are wearing the band’s condimentbeing greeted on stage by the most diehard of inspired logo. Hailing from Glasgow, the eponyfans, a deadpan Wyatt turns to the crowd. “At mous Colonel Mustard and his gang have become this point,” he affirms, “we are reaching the light local live favourites in the past 18 months. at the end of the tunnel.” The Garden embrace Relentlessly upbeat, they sound like a cross the darkness, but there’s nothing sombre about between Electric Six and the Singing Kettle, but their set. [Alex Smail] even the most hardened cynic could not fail to smile at a song like International Sex Hero. theskinny.co.uk/music

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Read the full review of Friday & Saturday at Electric Fields at theskinny.co.uk/music

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september 2016

September 2016

Bovine Intervention One of the many jewels of Leeds’ diverse DIY scene, post-punk idiosyncrats Cowtown return with new album Paranormal Romance. Here they share their thoughts on lazy journalism and the harsh lessons of touring

Interview: Hayley Scott

any people familiar with Leeds’ DIY music scene will struggle to remember life before Cowtown. Not because they've been around forever (although 12 years is pretty good going), but because the city's musical landscape wouldn't quite be the same without them. Their songs are weird but high-energy and erratic; everything that's good about guitar-centric party music. Fun is their main objective, but it's clear that a lot of hard work has gone into it. The band formed in circumstances typical of Leeds’ tight-knit musical community: “I met Shieldsy [aka drummer David Shields] in Wakefield in about 2000, where I moved to go to art school,” explains synth player/singer Hilary Knott. “My course moved to Leeds in the last year so I just kind of took him with me, and I met Nash [singer/guitarist] at a gig in a squat. Cowtown started practising in our cellar and just never stopped. I don't think any of us ever imagined it would become such a big part of our lives at the time. I'm happy about it because I really had no idea what I was doing with myself.” With persistence come inevitable setbacks. Their recently released fourth album Paranormal Romance was recorded amidst the floods that damaged producer and Hookworms frontman Matt Johnson's Suburban Home studio in the winter of last year. Knott recalls how stressful it was for all involved: “The night of the floods I remember just being totally blown away by how different everything was. There was a river running past the Asda at the bottom of my street that isn't normally there. “It was kind of beautiful in a way, but then I saw Nash in a total panic – he said that Suburban Home was totally flooded and the reality of it sunk in. Lots of people lost their homes and businesses for a long time and it was pretty brutal, but in typical Leeds fashion the whole community pulled together and helped each other get back on their feet. There were a fair amount of fundraisers for a while after that. Just witnessing the generosity of people who don't have that much to begin with made me feel really proud.” Jonathan Nash is similarly enthused by his hometown: “It's just a great place to be creative and learn things and find other people to do that with. It's good for people who want to do things but don't have much money. It's taught me everything I know about DIY and what music's about. “The DIY scene has a very collaborative, non-competitive vibe and I think that's why the music is of such a high standard,” he explains. “This all happens in other cities too but maybe the geography of Leeds makes it easier, and the affordability of things like living and practising maybe gives us an advantage. Saying that, places like The Audacious Art Experiment in Sheffield and, more recently, places like DIY Space for London prove that a scene can flourish anywhere there are people willing to do the graft.” While Cowtown are largely celebrated locally, their appeal reaches far and wide. When asked how they're received outside of Leeds, Knott says: “The DIY music scene is everywhere! Having said that, we mostly play in the UK, and despite how long we've been at it, we often find ourselves playing to new audiences. We've worked really hard to craft songs and sets that will be exciting and interesting to people like us, who like weirdo party music. People who are that way inclined seem to appreciate it.” On the subject of favourite Leeds bands, she's quick with a list of responses: “Crumbs, Game_ Program, Mia La Metta, Beards, Guttersnipe, Commiserations, Xam, Bilge Pump, Milk Crimes, City

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Photo: Carolina Faruolo

Yelps... there's so many. All the hard-working weirdo spuds who do their own thing; that's what I like.” Although Cowtown have cemented their place in the list of great bands Leeds has spawned over the years, they still remain relatively unknown outside of DIY music scenes. When asked about the Guardian recently referring to them as ‘newbies’, Knott seems surprisingly unfazed: “Journos mostly have to write about things that get sent to them, 'cause that's their job. They need sandwiches like everyone else.”

“ I like the idea of making art as a form of resistance” Hilary Knott

Being ignored or misunderstood by the press is a recurring theme, she explains, especially within DIY music: “Anytime there's any kind of documentary about the Leeds music scene, it feels like it's about ten years late to the party and totally missing the point. The world of DIY music is largely undocumented because chasing after press is super-time-consuming, boring and expensive. There's lots of debate about what DIY means, but I like the idea of making art as a form of resistance. From a capitalist perspective it makes no sense as a thing to do with your life. In every other way it makes complete sense.” Indeed, Paranormal Romance encapsulates everything Cowtown are about, in particular their self-sufficiency and tendency to get friends involved. The artwork was done by Jonathan

Wilkinson, aka Idiots Pasture and also of Hookworms. Do these links make DIY easier, we ask? “There's definitely a symbiosis that happens as a result of being part of such a non-competitive, supportive creative community,” says Knott. “I love JW's work because it's funny and unpretentious and colourful. That's what we're going for as a band so it works well together.” Perhaps best thought of as Leeds’ version of Ohio misfits Devo, the band render us curious about their songwriting – particularly album highlight and live favourite Castle Greyscale: “It's about a building out in Holbeck I used to work in,” says Nash. “It's a particularly bleak example of brutalist architecture and being there every day was having a detrimental effect on my personality. So it's about environment affecting a person's emotional state. I was really down on brutalism for a while as a result but I'm back on board now. Brutalism rules when it doesn't suck.” Talk turns to the troubling way in which a lot of men – and some women – write about women in bands, for example using words like ‘sassy’ and ‘feisty’ to denote a particular kind of strong and positive attitude, presumably because they see women playing instruments as a novelty. We ask Knott if she's ever experienced it herself: “I've noticed it for sure, it's super-lazy. I don't feel like I've especially been a victim of it, though. In the early days people used to say that I looked angry or intimidating but as it turns out that's just what my face does when I'm concentrating really hard. “I do find that kind of music journalism annoying though – if I'm reading a review it's because I want to know what the band was like so I can decide if I want to listen or not, I don't really care if the singer is ‘elfen’ or ‘exotic’. It just makes me think that person should write fan fiction about girls in bands

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instead of music journalism.” This far into their career, and with Paranormal Romance co-released by Athens, Georgia indie label Happy Happy Birthday To Me, you'd imagine Cowtown would be no strangers to the US. Following recent trouble with the visa process, Knott explains that touring over there is not as easy as it seems, and they still seem understandably dejected by the whole situation: “Basically there's a good reason lots of bands tour on the downsies on tourist visas. The application process is like throwing money into a big hole, while a lawyer dressed like a clown laughs and throws knives at you.” It's not all bad news, though. Long-term fans of San Francisco noisepoppers Deerhoof, Cowtown have since become their regular tourmates, and it's taught them to take things a little more seriously: “The first time we toured with them Nash nearly had a meltdown,” says Knott. “Basically we got our asses handed to us every night. On the other hand it taught us a lot about how we approach everything as a band and made us try to step up our game. They're the sweetest people and really supportive; watching them play every night is like a dream. I'm a little bit in love with all of them.” As the interview comes to an end, we're reminded of why every city needs a band like Cowtown. They're the glue to Leeds’ DIY infrastructure – it wouldn't collapse without them, but it'd have a large, gaping hole in its backstory. Paranormal Romance is out now on Audacious Art Experiment. Cowtown play Stay Fresh Fest at The Deaf Institute, Manchester, 24 Sep and A Carefully Planned Festival, Manchester, 15 Oct

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Guest Selector: Theo Kottis Edinburgh’s emerging talent shares the records that have shaped his taste in music, ahead of his appearance at a special FLY CLUB Open Air Festival in the capital Interview: Claire Francis

heo Kottis is certainly a local talent on the rise – since the release of his debut EP Waiting Game on the Moda Black label in late 2014, he’s already gone on to play alongside the likes of Jamie Jones, Tale Of Us, Seth Troxler and Nicolas Jaar. As part of FLY CLUB’s upcoming Open Air Festival, Kottis joins a top line-up of Booka Shade, Mr G, Motor City Drum Ensemble, Detroit Swindle and more, for Edinburgh’s first inner-city, open air festival at the foot of the iconic Edinburgh Castle. Ahead of the show, he shares with us the records that have inspired his burgeoning career. “The music I’ve chosen to share comes from all stages of my life,” Kottis explains. “Some have stayed with me as favourites but others have formed great memories I often go back to when producing. I’ve kept my list original and raw; my shortlist included some obvious classics, but I delved deeper. I won’t lie that I could have been tempted to opt for ten songs that show my ‘matured tastes’ to impress the chin strokers – but these are the tracks that mean the most to me, and have influenced and inspired me.”

Pink Floyd - Wish You Were Here [1975] A timeless album ahead of its time. It’s a tribute to former band member Syd Barrett, who suffered from a mental breakdown. When Pink Floyd were recording the album, Syd appeared at the studio, quietly watching at the back. He was un-recognisable as he had completely shaved his head and eyebrows. Eventually the band realised it was him and were reduced to tears. I recently watched a documentary about their story and found it fascinating – I got into it and have scoped more and more documentaries since. I love seeing music being celebrated and explored in such a profound way. The guitar, synth and saxophone sounds throughout the album are beautiful; listening to this when I was younger motivated me to learn to play the guitar. Please listen to this album in its entirety, it is perfection. Tame Impala - Lonerism [2012] Tame Impala often get compared to albums from the late 60s and early 70s and I love that. Kevin Parker, the lead singer, also writes and produces all of the tracks; he is a real idol of mine. He uses a lot of synths and new technology that I can relate to and experiments to recreate sounds of psychedelic rock. I think he is very similar to electronic producers as he doesn’t write a typical verse and chorus, he plays around with the arrangement of tracks.

September 2016

Brian Eno - Music for Airports [1978] Brian Eno… what a legend! I love his experimental and minimalistic approach to music. I always listen to this album when I can’t sleep, it helps clear my head. The album was designed to ‘defuse the tense, anxious atmosphere of an airport terminal.’ Sometimes when I am travelling to my gigs I’ll get this on and fall asleep on the plane so easily! Steve Reich - Music for 18 Musicians [1992] Once I heard this album I couldn’t stop listening to it all the way through, it really grabbed my attention. It’s one of those I can put on in the background when I start working, only to realise by the end I’ve been blissfully unaware of the task at hand. Soul Capsule - Lady Science (NYC Sunrise) [1999] The greatest house record written in my opinion – pure beauty. I listen to this and float away, it’s a classic. I closed my set with this at a sold-out O2 Academy Brixton when I supported Paul Kalkbrenner, and I received the biggest applause. Goosebumps!

Edinburgh. Kerri Chandler was also on the bill, so I had to pull out all the stops. When he heard me play this, he ran up on the stage and started playing the keys live alongside me. The energy in the club was electric. I’ll never forget this moment, there was a bond formed and we have stayed in touch since. Massive Attack Unfinished Sympathy [1991] I really love string orchestras and they sound perfect on this record. The strings were originally recorded on synths, a technique I use, but they eventually recorded a real orchestra at Abbey Road Studio to emphasise and enhance the sound. I wish I could do that! It was released the year I was born and I love playing an edit that fits in my sets perfectly. DJ Shadow Private Press [2002] Tough choice between this album and his Endtroducing... album. Vivid memories of listening to this when I was younger before I really knew what sampling & being a DJ were. I guess my subconscious knew I was going to end up working in this industry!

St Germain Rose Rouge [2000] An edit of this has been a regular in most of my sets for the last year. I played this on NYE 2015 in

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Tiesto - In Search of Sunrise 6: Ibiza [2007] Maybe this isn’t something I should be admitting to, but aged 15 I was a huge trance fan. None of my friends were interested, but I

remember constantly trying to introduce them to this album. I was so into it. I remember when Tiesto played in Edinburgh in 2007, I was 16 and absolutely gutted as I was too young to go to the gig. Even my mum told me to get a fake ID as she knew how much I loved this album. Funnily enough, the likes of Matthew Dekay were releasing music on this series and his label, ‘All Day I Dream’ with Lee Burridge, has become one of my current favourites.

“ Even my mum told me to get a fake ID as she knew how much I loved this album” Theo Kottis

Moby - Play [1999] Shout out to my aunt for this one. I always used to visit her in Scotland when I visited on summer holidays from Greece. She always had new CDs she would let me borrow. I was 8 years old and I remember trying to breakdance to this. Moby made history with this album as it was the first of a kind to license out every single track to an ad, film or TV show. Marketing genius! FLY CLUB Open Air Festival, Ross Bandstand, Edinburgh, 24 Sep, 12-10pm, £24.50-35

Review

Clubbing Highlights No rest for the wicked, troops – summer is officially over, but the good times keep on rolling with disco, techno, house, experimental electronica and everything in between on the clubbing cards this month Words: Claire Francis Illustration: Louise French

GLASGOW

It’s all systems go on the West Coast this September, with three big names kicking off the first three days of the month. Blending Chicago and Detroit influences with new wave synth and video game nostalgia, Marc Houle’s productions boast a sound like no other, and he brings his renowned live show to Sub Club for a Thursday night date. Houle’s work helped define the minimal sound of the mid-00s, and a decade-long career of genre-expanding records on Richie Hawtin’s Minus label has cemented the Canadian as a key figure in techno. Support comes from residents RJay Murphy and McEwan & Torrance (1 Sep, £3-8). The next night, Numbers bring Levon Vincent back to Sub Club for another dose of the New York City native’s slick arrangement skills and unique sound palette. A revered figure in house and techno, Vincent’s self-titled debut LP won admiring reviews last year – he’ll be flexing his clubbing muscle with support from Martin Rubadub and Natalie (2 Sep, £12). Then on Saturday, Beta & Kappa warm up the decks at The Berkeley Suite before handing over to one of Detroit’s finest, Mr Marcellus Pittman – after coming to prominence with a number of Theo Parrish co-productions, he’s gone on to collaborate with virtually everyone who’s anyone in the contemporary Detroit scene (3 Sep, £8-10). Your monthly dose of disco comes supersized this month, when the Supermax 9th Birthday Party celebrations hit The Berkeley Suite. Glasgow’s King of Disco, DJ Billy Woods, presides as usual, offering up lashings of top shelf disco tunes, rarities, and house grooves. As the team themselves warn: the club fills up quick, so get down early to ensure DISCO (10 Sep, £8). On the same night, the last ever Wrong Island sings a swansong at Nice N Sleazy, marking the end of nine years of sweaty, silly, basement antics. No guests, just residents Dirty Larry and Teamy to provide a send-off with style (and it’s free entry for students, too – £3 otherwise). On Thursday 15 September, Hide presents Guy Gerber at Sub Club, with support from Glasgow-based Junior G. The Israeli-born Geber is rated as one of the best touring acts in dance music (he’s appeared in the top ten of Resident Advisor’s annual poll three years in a row), and after an excellent T in The Park set back in July, expect another high-energy tech-hybrid workout from the talented performer (£10). The following evening sees us heading to La Cheetah to celebrate 10 Years of Hypercolour with a club favourite, and semi-regular, Matthew Herbert (16 Sep, £10-12), before we dust ourselves down for another round on Saturday 17 September, when CODE bring Argentinian DJ and producer Juan Pablo Pfirter back to the same venue for another one of his trademark DJ sets (£6-10). All U Need x Miami Vice offer up something a little different at the Buff Club on Sunday 18 September, with an experience designed to transport you to Miami circa 1984. Detectives – sorry, DJs – Ricky Diaz, Alejandro Rodriguez, Buck Finn, Samuel Lopez and Sonny Forelli will be taking you through music inspired by the era, and live band

Preview

Angel Eyes will be playing a mix of experimental 80s new wave art rock as well as covering some 80s classics downstairs . It’s sold out online, but you could try your hand at tickets on the door for Fatima Yahama’s Sub Club gig on Wednesday 21 September (£8-12). It’s the first show of the Netherlands-native’s Imaginary Lines tour – you’ll know him from that track, What’s A Girl To Do, the Lost In Translationsampling, melancholy 2004 hit reissued on Dekmantel last year to further acclaim. And Aussie disco king (and former techno spinner under the alias DJ HMC) Late Nite Tuff Guy is back in Glasgow after last month’s Riverside Boat party, this time for Vicious Creatures’ 3rd Birthday at Sub Club (Thurs 29 Sep, £8). Finally, don’t forget Sub Club’s In Residence series, which will open with a headline slot by dance music legend Sasha on 18 September (£1015), with the likes of Barnt, Virginia, Audion and Selvagem performing across the following three dates (23, 24, 30 Sep). Club staples Junior & Barry Price, Harri & Domenic and Optimo will also spin at various points throughout the month (all £12-15).

EDINBURGH Newcastle’s rising star Patrick Topping makes a trip across the border for the first of our Edinburgh picks, with a show at Cabaret Voltaire on Thursday 8 September. Topping’s big breakthrough came last year in the form of two megahits; his remix of Coyu & Edu Imbernon’s El Baile Alemán, and a number one ranking collab with Green Velvet, When Is Now. Topping will be flanked by Edinburgh-based DJ Khalid Hussain, and Nick Price (£10). There’s a big night in store when Pulse presents Marcel Dettmann & Function at The Liquid Room on Friday 16 September. German DJ and producer Dettmann is one of the most influential proponents of contemporary techno and is associated with iconic institutions Berghain and Hard Wax. He’s supported by locals Darrell Harding and Sean Laird (£17.50). Also on the Friday, Marcus Worgull– a DJ known for his uncanny ability to pick the right record at exactly the right time – heads up Sneaky Pete’s as they thrill to the sounds of legendary Berlin label Innervisions (£7). The next day, Gasoline Dance Machine presents Berlin via Tel Aviv innovator Moscoman, whose much-anticipated full-length debut record will no doubt receive an airing on the night (Cabaret Voltaire, 17 Sep, £5-7) and over at The Liquid Room, the Series 5 Launch Party will be headed up by the legendary Groove Armada, who return to the capital for the first club show in almost eight years. Joining them will be one of the UK’s finest house music talents, Darius Syrossian, as well as Kim Ann Foxman (of Hercules & Love Affair fame) and rising Greek star, Hot Creations’s Detlef (17 Sep, £20). Elsewhere, key figure of the 90s house music scene and all-round superstar Derrick Carter

makes an appearance at La Belle Angele on Saturday 24 September (with more guests to be announced; £14); UK house chameleon Midland – aka Harry Agius – spins up an eclectic storm at Sneaky Pete’s on 29 September (£8); and finally, Hessle Audio co-founder Ben UFO – lauded as one of the greatest DJs of our time – kicks off the The Bongo Club’s monthlong 20th birthday celebrations on Friday 30 September (£10-15).

DUNDEE AND ELSEWHERE The Reading Rooms again put dance fever into Dundee, this time with the Italian native but Berlin-based duo Alessandro Fognini and Federico Fognini, otherwise known as Mind Against. Voted 18th in the Resident Advisor Top 100 DJ Poll 2015, they’ve accelerated right to the frontline of the house/techno conversation, and will be ably supported on the night by Andy Barton, Graeme Binnie and Neil Clark (9 Sep, £8-14)). Meanwhile, The Club Paisley hosts the enigmatic, Berlin-based Marquis Hawkes on Friday 23 September; his DJ sets have won over fans far

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and wide with their all-encompassing yet coherent nature, blowing away crowds at Sub Club (where he premiered his recently released debut Social Housing), Panorama Bar and Fabric (£8-12).

Do Not Miss FLY Open Air Festival

Ross Band Stand, Princes Street Gardens, 24 September

It’s finally here! Presenting Edinburgh’s first inner city, open air, one-day festival, at the foot of the iconic Edinburgh Castle, FLY CLUB have put together a huge bill of international and local talent. Berlin-based duo Booka Shade and the fabulous Mr G head up the party, along with super talents Motor City Drum Ensemble, Detroit Swindle, Edinburgh’s own Theo Kottis, and more, in what will certainly be an outdoor party to remember (£32.50-39.50).

THE SKINNY

Thatcher’s 100 Handbags

Install View, Talbot Rice Gallery

Alice Neel

Talbot Rice Gallery

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The Subject and Me aims to narrate Alice Neel’s (1900-1984) turbulent life through her later paintings and drawings. Neel is showcased as a subject and maker presenting her personal life alongside her oeuvre. However, the sizeable display dismays an intended cohesive narrative that is not immediately evident, and her works incite individual contemplation. With grandson Andrew Neel’s film Alice Neel (2007) and Robert Mapplethorpe’s harrowing portrait of the artist (1984) also on display, there is a strong attempt to present Neel beside her work. As one of the most significant portrait painters of the twentieth century she is a subject of interest to visitors, but also a subject for family and friends some of whom appear on display rendered by the artist. Neel’s works are obviously of others, but they are difficult to sever from the artist herself.

Photo: Chris Park

Edinburgh Art Festival may be gone, but there’s more than enough going on throughout September. Good Press showcase the work of an eccentric Austrian artist, Modern Institute has two painting shows, and CCA will house 100 replicas of Thatcher’s handbag

City Hospital (1954) shows Neel’s ill mother in a distressing scene. Her depiction of a loved one in despair recalls the detailed timeline upstairs of her own life marked by romantic, familial, and health-related hardships Neel’s portraits of close acquaintances are also depictions of the artist’s life – her sitters are her entourage not unlike David Hockney’s giant feat 82 Portraits and 1 Still-life. Neel’s portraits are raw in her approach and depiction; parts are left 'unfinished', she leaves outlines for shoes empty and covers unwanted marks hastily before altering, and her sitters’ expressions are neither embellished nor retouched. There is a sense of immediacy that translates to her pictures. The label for her portrait of friend Mary Garrard (1977) ends with an anecdote: Neel exclaimed “Stop, I want to paint you just like that,” before Garrard could take off her coat on a visit to Neel’s studio. Seemingly, Neel sets out with an agenda, to capture her sitter’s essence, and delivers no less, no more. [Holly Gavin] Alice Neel, The Subject and Me, at Talbot Rice Gallery until 8 Oct

Eddo Stern, Vietnam Romance

Theresa Duncan and Eddo Stern DCA

rrrrr Though billed together, CD-ROMS and Small Wars are starkly different affairs. The former, a retrospective of American artist Theresa Duncan, is light-hearted, modestly displayed and features work intended for children. The latter, by Israelborn and California-based Eddo Stern, is bombastic, cynical and includes a content warning. What unites them is their mode of expression; these are exhibitions either of, or presented via videogames. And while they set an exciting precedent for exhibiting videogames as contemporary art, both suffer teething problems. Duncan’s CD-ROMS fares better. A sparse, bright room houses her games Chop Suey, Smarty and Zero Zero, along with some stills and accompanying packaging. Duncan’s colourful storybook worlds exude charm and imagination, imbuing the mundane with a winning playfulness: socks spill ooze-like out of drawers; flowers spring to life and take flight. The mere glance of her works offered here however (assuming you aren’t pre-

September 2016

pared to hog the games for hours on end) accentuates its less flattering qualities, like its scrappy presentation and dated instances of cultural appropriation, which we suspect grate less when experienced as a whole. Though astounding in scale, Stern’s Small Wars proves similarly difficult to digest. Its centrepiece, Vietnam Romance, spreads across two screens, one wall-sized and the other mounted inside a giant plywood monitor. An alluring pastiche of war films, Romance’s hand-drawn, watercolour style seems fitting for what’s ostensibly a satire of ’Nam’s cartoonish portrayal in popular culture. But after multiple visits, we couldn’t say for sure. Its presentation is undoubtedly unique – like a live Let’s Play – but doesn’t lend itself to deep engagement, especially when you’re watching the bizarrely complicated tutorial being played for the sixth time. Perhaps that’s Stern’s point; that the historical substance of the Vietnam war gets lost in the formulaic trappings of entertainment media. We’d be guessing though. [Andrew Gordon] Run ended

Words: Adam Benmakhlouf

Pedro Wirz, Vigília (de Janeiro a Dezembro e Lua cheia) 2016 cast silicone, mixed media

rom the very start of the month, there are brand new exhibitions in Glasgow. The Glasgow School of Art Masters students are on display throughout the GSA campus across the city as part of the Graduate Degree Show during the 3-8 September. Also starting on the first weekend of the month and continuing until 8 October, there’s a new show from David Dale. Titled Irmão Dos Homens Todos, it features Pedro Wirz’s earthy nature-based sculptures and installations alongside Mauro Cerqueira’s assemblages of consumables, found objects and readymades. Another exhibition on from the beginning of September is in Good Press, titled Marbles in my Mouth. Writer, musician and artist Fritz Welch presents a book about Viktor Rogy (1924204). The Austrian artist Rogy “did performances reciting poetry with marbles in his mouth and had a cafe called OM where he put photos of right wing politicians with Hitler mustaches scribbled on their faces in the front window. He pissed off loads of people!” Good Press with Welch make a special presentation of the book, which contains most of Rogy’s life’s work. It’ll be there until 28 October.

“ In CCA, Pio Abad presents drawings of objects bought and sold since 1991, making for a kind of “inventory of a neoliberal fantasy”” Previewing on Thursday 8 September from 4.30-7.30pm in Dundee’s Cooper Gallery, they present the work of Banner Repeater. Based in London, it’s an experimental project space located on a railway platform. With many of their events and interests rooted decidedly in their idiosyncratic site, they attempt to make what

ART

they do relevant to their 4,000 passengers a day footfall. So they look specifically to pertinent themes like social media, accelerating tech advancement and specifically the role of publishing as providing a means of criticality within present circumstances. On Friday 9 Sep, CCA preview the first of two new exhibitions in September. This time it’s Glasgow-based artists Sukaina Kubba & Natalie McGowan, who will put together a collaborative project titled Double-Blind. As an ‘exposé /display,’ it includes ‘fragments of sets, objects and moving image’ to make a ‘fictional setting.’ Also previewing the same Friday (details tbc, see our weekly column nearer the time), there’s Nicolas Party in The Modern Institute Aird’s Lane. His figurative paintings and print work reduce his subjects to rounded forms, as faces become caricatured and landscapes looking fictionalised and fantastical. This exhibition of new work continues 10 September-29 October. The next week sees exhibitions from one of the featured artists in this month’s issue. In Dundee, the largest exhibition yet of the muchmissed artist Katy Dove (1970-2015) opens on the night of Friday 16th from 7-9pm. There’s rumour of a Glasgow-Dundee bus running from outside the CCA … Keep an eye on our weekly column for the details if/as they come. From 6-9pm in Mary Mary, there’s the preview of the exquisite drawings of Milano Chow. Still in Glasgow on the same Friday, CCA unveils Notes on Decomposition. Pio Abad presents drawings of objects bought and sold since 1991, making for a kind of ‘inventory of a neoliberal fantasy,’ there will be 100 newly produced bespoke handbags. They’re based on one of Margaret Thatcher’s, auctioned in 2011 for £25,000. And you can buy one of the knockoffs for the same amount online for the duration of the show. Rounding off the month’s openings, there’s the Modern Institute’s presentation of Matt Connors’ work, titled The Flat Voice. Squarely located in the traditions and histories of abstract painting, Connors’ work approaches painting with a straight face, and explores colour, painted space and composition across large scale acrylic works on canvas. Finally, a special mention to continuing EAF show Alice Neel The Subject and Me until 8 October, having received a healthy 4 star review to the left.

Review

In Cinemas Little Men

Director: Ira Sachs Starring: Michael Barbieri, Theo Taplitz, Greg Kinnear, Paulina Garcia, Jennifer Ehle, Alfred Molina Released: 23 Sep

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“You’re going to like the neighbourhood,” Tony (Barbieri) says to Jake (Taplitz), the new kid moving into the Brooklyn apartment above his mother’s small dress shop. “It’s becoming a very bohemian area.” The shy, graceful Jake and cocky, boisterous Tony wouldn’t likely be friends if they met in high school, so rigid is that institution’s social hierarchy. On the neutral playing field of a New York sidewalk, however, they recognise kindred spirits. Like 13-year-old boys can do, they become sympatico almost instantly. The relationship between their parents is more prickly. Manhattanite Jake finds himself across the East River when his estranged grandfather dies, leaving his struggling actor dad Brian (Kinnear) a brownstone apartment and the ground floor boutique Tony’s mother, Leonor (Garcia), runs. As Tony says, this area of Brooklyn is becoming very bohemian, and Brian quickly realises his father was letting out the shop for a song. Leonor, equally dignified and pugnacious, refuses the rent hike. The dispute soon turns nasty, and the boys are stuck in the middle. Writer-director Ira Sachs specialises in lowkey melodrama, creating moments of joy and sadness so casually that they take you by surprise. The film’s core is quietly melancholic, with the open-hearted naïvety of youth juxtaposed with the bitterness of adulthood. A lesser filmmaker might have painted the gentrifiers as the bad-guy capitalists, but Sachs’ default compassion means that he never takes sides; both families have their struggles. You might be tempted to cheer Leonor’s withering putdowns of Brian’s acting career (“Oh, that must be very popular,” she says sarcastically when he mentions his off-Broadway turn in The Seagull) if Kinnear hadn’t already played him as a man beaten down by life. The heart of the film, though, is Jake and Tony’s friendship. Their casual interplay together, free of the classguilt and passive aggressiveness of their parents’ interactions, lingers. What makes these scenes ache is that we know these boys will never feel friendship like this again. [Jamie Dunn] Released by Altitude

Hunt for the Wilderpeople

Director: Taika Waititi Starring: Sam Neill, Julian Dennison, Rima Te Wiata, Rachel House Released: 16 Sep

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After the cult success of vampire mockumentary What We Do in the Shadows, New Zealand filmmaker Taika Waititi returns with a decidedly more mainstream coming-of-age comedy that’s nonetheless every bit as charming, deftly told and sweet-natured as its predecessor. Adapting his screenplay from a book by the late Kiwi author Barry Crump, Waititi mines a well-worn return-to-the-wild narrative, but it never feels warmed over thanks to its many clever but not cloying quirks of style and character. The film’s biggest strength is its two leads, Sam Neill, as the gruff and grumpy ex-con ‘Uncle’ Hec, and (especially) newcomer Julian Dennison as his wannabe gangster, haiku-spouting foster child, Ricky. Rotund 13-year-old Ricky fancies he lives the ‘skux life’ on the mean streets of Wellington. When he’s taken to a bucolic farm to live with his new ‘Auntie’ Bella (who’s fond of fuzzy cat jumpers and slaughtering wild pigs), he balks, but eventually is seduced by the unlimited pancakes, new dog (whom Ricky names Tupac, natch) and Bella’s unmitigated love. Her ornery husband Hec, however, just wants Ricky to leave

Hunt for the Wilderpeople

him alone. When Bella dies suddenly, Ricky flees for the farthest reaches of the Bush, with Hec chasing close behind. Once the police decide that Hec has kidnapped Ricky, the two go on the lam, desperately evading a crazed social worker (the wild-eyed and hilarious Rachel House) while surviving in the mountains by their wits. Quirky outsider comedy is clearly Waititi’s forte, and here it’s polished to an effortlessly funny, confident and crowd-pleasing shine. Aside from Rhys Darby’s disappointing appearance as a boilerplate conspiracy theorist, Waititi manages

Captain Fantastic

The Clan

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Director: Matt Ross Starring: Viggo Mortensen, Frank Langella, George MacKay Released: 9 Sep

Review

Director: Pablo Trapero Starring: Guillermo Francella, Peter Lanzani, Lili Popovich Released: 16 Sep Based on an astonishing true story, Pablo Trapero’s taut crime thriller follows Arquimedes Puccio – an avuncular remnant of Argentina’s military junta – as he kidnaps wealthy men and women in the early 80s with the support of his family. His kidnappings were once political in nature, but as the government makes the transition into a democracy, Puccio sees an opportunity to make money from ransoms with the tacit support of old allies and police. Shot with a muscular swagger reminiscent of Scorsese and featuring a mesmerising central performance from Guillermo Francella as the sinister patriarch, Trapero’s film draws uneasy parallels between the corrupt heart of this small clan and the country at large. With a classic rock soundtrack and vivid cinematography to match the performances, The Clan is at once a thrilling crime saga and haunting reminder of Argentina’s history. [Michael Jaconelli]

Released by Entertainment One

Released by Curzon

Hell or High Water

Swiss Army Man

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Released by Vertigo

In The Mosquito Coast, Allie Fox (Harrison Ford) sold his home and moved his family to Central America, where he aimed to build a utopia. Hubris and mania kept the utopia from his grasp. In Matt Ross’s Captain Fantastic, we see what might have been if Allie had been less fanatical and more Zen. Ben (Mortensen) raises his six kids in the woods of Washington State. Despite an unorthodox approach to parenting, his children have soaked up everything he’s taught them. When a tragedy intrudes on their idyllic lives, they’re forced to leave their home and travel across the country to fulfil a family duty, and are faced with a world that doesn’t know what to make of them. Ross’s sophomore effort is helped no end by Stéphane Fontaine’s cinematography and Alex Somers’ score – but it’s the performances that linger longest. Mortensen is excellent, and George MacKay’s turn as Bo, Ben’s intensely smart, capable, and yet completely un-worldly eldest child, will have you wishing that this road trip lasted a little longer. [Tom Charles]

Director: David Mackenzie Starring: Jeff Bridges, Chris Pine, Ben Foster, Gil Birmingham, Marin Ireland Released: 9 Sep Certificate: 15

Little Men

to colour even the goofiest characters with livedin nuance. He’s also a technically assured and visually inventive filmmaker. Wilderpeople is full of New Hollywood homages, including an Apocalypse Now–style flash of red during a particularly violent yet comic scene and an ingenious snowy montage (that appears as one continuous long take) set to the melancholy lament of Leonard Cohen’s The Partisan – a family-friendly shout-out to McCabe & Mrs Miller. [Michelle Devereaux]

Director: Dan Kwan, Daniel Scheinert Starring: Paul Dano, Daniel Radcliffe, Mary Elizabeth Winstead Released: 30 Sep Certificate: 15

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After a career high with prison drama Starred Up, Hell or High Water sees British director David Mackenzie venture away from incarcerated criminals in the UK to bank robbers on the run in West Texas. But while the usual cops and at least one convict are in play for a seemingly simple genre exercise, the colourful, humorous screenplay from Sicario scribe Taylor Sheridan has other things in mind, gradually sharpening its broad strokes and stereotypes for a sharp prod at the systemic forces driving the bad actions. Its closest comparison might be Andrew Dominik’s Killing Them Softly, which shares an anti-banks theme that’s by no means subtext in either. While Dominik’s film goes for righteous, blunt force fury, Mackenzie’s is wrapped up in more wistful explorations of how the system’s cruelty spreads through generations. Add to that some palpable evocation of the landscapes and desolate towns of Texas, a low-key, career best performance from Chris Pine, and exciting, precise action sequences, and you have one of the finest American crime films in quite some time. [Josh Slater-Williams]

From the directing duo behind the unforgettable music video for Turn Down for What comes Swiss Army Man, the most philosophically profound movie featuring a flatulent corpse yet made. Daniel Radcliffe plays the eponymous, multi-purpose individual, a dead body that essentially pushes another man back to life when it washes up on a deserted island where the hopeless Hank (Paul Dano) is about to hang himself. Hank’s new castaway companion seems to be deceased, but the body’s various magical powers – a projectile-firing mouth, a compass erection and propellant farts – offer potential salvation. Yes, really. Christened Manny by Hank, the corpse, whose skill set is as elastic as the film’s tone, soon begins to speak (yes, really), and his naiveté about the human condition becomes the therapeutic means by which Hank starts to probe the insecurities and superficialities of interpersonal relationships. It’s with these stabs at earnest, anguished sentiment, rather than the fairly flat body comedy, that this macabre, demented curiosity hits its better notes – though a case of too many endings somewhat spoils the attempted emotional catharsis. [Josh Slater-Williams]

Released by StudioCanal

Released by Picturehouse Entertainment

FILM

THE SKINNY

Bard is a Four-Letter Word

Our poetry columnist looks back on her favourite events during Edinburgh’s Festival month, being inspired particularly by the merging of forms, crossing cultural borders and breaking down barriers

his year at The Edinburgh International Book Festival and beyond, I was thrilled to see that the fields of music and poetry are drawing ever closer together, with many artists choosing to showcase their work alongside musical performance slots, or with an underbelly of instrumental accompaniment either during or between poems. First on my menu was an Unbound night with Liz Lochhead and the Hazey Janes, whose album launch was every bit as well-received as I predicted. Steve Kettley rocked the sax to bursting point, and it was lovely to see the very physical connection Lochhead had with the music, swaying and head bobbing in between lines, and clearly anticipating every phrase with glee. For someone who jokes about being told not to sing at school, she is far from unmusical. Next was the fantastic joint event shared by Poet Laureate Carol Ann Duffy (who also appeared on the 17th with our Makar, Jackie Kay) and Gillian Clarke, National Poets, Personal Poetry, which ranged in content from stories that stayed with them to poignant love and remembrance poems reflecting their own experiences. Musical accompaniment was provided on coronation trumpet and recorder (sometimes two recorders at once!) by John A. Sampson, who collaborates with Duffy on regular occasions. The difference between their deliveries added extra interest; Duffy crackles with sharp, wry humour, using pau-

ses like a raised eyebrow, which only serves to highlight the quieter, more poignant moments in her pieces. Clarke has a far smoother tone, reminiscent of the fireside storyteller, but still leaves a lovely, firm echo when it comes to ‘tying up’ the denouement of a poem.

“ Duffy crackles with sharp, wry humour, using pauses like a raised eyebrow” Many firsts for me over the week also involved music and performance, starting with The Bookshop Band – another great Unbound event which I dropped into almost by accident, and which did exactly what it says on the tin. The band consists of only two musicians, Beth Porter and Ben Please, who write songs inspired by books and play them in bookshops. Over the course of the evening we were treated to a series of gorgeous numbers based on works like Alice in Wonderland and Life of Pi, including a few new num-

bers triggered by Han Kang’s Man Booker International Prize-winning novel The Vegetarian, which the author herself preluded with a live reading. Their music has an ethereal quality which perfectly suits the imaginary planes they work with, created by a variety of instruments and electronic effects – PJ Harvey and Fleet Foxes came to mind more than once. Third on the Unbound cycle, an evening myself and many others were greatly touched by, was the multinational, multilingual Poetry as Refuge, responding to the current crisis in Europe and the subsequent panic. Organised by Bidisha, it showcased eight writers, many of whom were refugees and had experienced prejudice, or worse. Harrowing words of fear and frustration joined together with words of hope, and the readings were rounded off by a wonderful, uplifting performance from Scotland’s first African ensemble, the Ha Orchestra. Ryan Van Winkle’s intimate, one-on-one performance – Red Like Our Room Used to Feel – was another first. Part installation, part audio trip, it was set in a tiny box of a room at Forest Fringe in Leith; you walk in, are greeted by a glass of port and snacks (or cup of tea if you prefer) and directed to make yourself comfortable in any way you fancy on the single bed. Once settled, you choose from three envelopes of Ryan’s poems, and he sits by the bed, puts on music and

Words: Clare Mulley

simply begins to read. The show lasts 15 minutes, and, like any luxurious or therapeutic activity, you find yourself swimming in the pleasure of being focused on completely and cossetted just for that short space. Ryan has a beautiful voice as it is, and the poignant themes evoke your own memories, sadnesses and joys in one cathartic wave. Add music to that, and it’s no wonder the show has already received so many rave reviews. One of the biggest highlights, however, involved no music other than the voice au naturel – Alice Oswald’s event, Pulse-Quickening Poetry. After a highly interesting conversation chaired by James Runcie, we were treated to readings from her latest collection, Falling Awake, all about the natural world and its connections to our own, fragile existence. I’d never heard Oswald read her work aloud before, and by God she‘s astounding. That deep, measured, ringing voice, with its mastery of short and long pauses, betrays the poet’s classical background and is reminiscent of the epic poems she has drawn on for so long as inspiration. Hearing the poems she’d discussed previously was a nice touch, as you were able to vaguely picture how she might have arrived at the final drafts. The above events were at Edinburgh International Book Festival and Unbound Ryan Van Winkle’s 1-2-1 personal poetry performance was at The Forest Fringe

The Fat Artist and Other Stories

Eve Out of Her Ruins By Ananda Devi

The Glue Ponys: Short Stories

Dear Mr M

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Building on the success from his award winning first novel, The Evolution of Bruno Littlemore, Benjamin Hale brings something delightful and disturbing to the table with his collection The Fat Artist and Other Stories. Bulging with humour and swollen with poignant comments on life and death, this new book looks set to be another – in hopefully a long line of – successful publications for the young writer. Hale captures something dark, wicked, and quite frankly human in the seven tales that make up this collection, one that brings a feeling of violence and menace to the surface without ever losing the delicate quality of its characters and themes. Seamlessly funny and harrowing, it is full of understated beauty and intergrity and its subtly reflective outlook allows this modern collection to echo a dreamlike ancient quality. In that respect not too unlike the late great Gabriel Garcia Marquez, but with a modern dystopian quality that will appeal to the contemporary generation of Pokémon Go and Theresa May. Although reeking of the kind of creative mastery that comes through literary and academic learning, Hale’s collection of short stories is fresh and blunt in its depictions of the human being, in a way that may be all too familar for some readers. A must-read. [Rosie Barron]

This slim volume is such a harrowing experience, some may balk at continuing once the fate of the titular Eve becomes clear. Translated from Mauritian writer Devi’s original French, Jeffrey Zuckerman’s essential introduction explains how he combined the author’s preferred written language with trace elements of Mauritian Creole in this new English version of her 2006 novella. If one of his key objectives was to retain the spare poetry of her native prose, he has triumphed. For while the events that take place against a stark backdrop of political instability and social injustice are difficult to acknowledge, the language of Eve Out of Her Ruins is irresistable. Narrated in turn by four characters, each memorably drawn, the book charts the life of teenager Eve, on whom unspeakable cruelties are visited by the men of the island capital Port Louis. Her friend, Savita; the troubled dreamer, Saadiq; the wolfish and ultimately cowardly gang member, Clélio: all three ‘support’ characters are unique and identifiable. But it is Eve whose voice lingers. Devi gives her a clear-sighted and expressive worldview, one that brings a flinty beauty to the uglinness that surrounds her – 'This troubled water, this murky world, this faraway smile like a moonlit night, when the wind comes to whisper things that make us pensive and sad' – while her strength and resolve slowly levers a way out of an impossible hell. [Gary Kaill]

Of all the elements of a book which might kindle our interest, the positioning of an author’s biography rarely so much as prompts a raised eyebrow. But in the case of Chris Wilson’s short story collection The Glue Ponys, it is telling that Wilson’s biog sits on the back cover, neatly following on from the blurb. The implication is that we should somehow value Wilson’s short stories about ‘the lost and wandering of America’ the more for knowing that the author himself spent years ‘living in the streets and prisons of the USA.’ The Glue Ponys is populated by misfits, hustlers and heroin addicts. Wilson is no romantic, and their tales are rarely pleasant, rarely pretty: this is no feel good read. While short stories frequently revolve around a moment of revelation or redemption, here, life is cyclical and the only redemption sought is the clarity of a clean hit. Other features of the genre, though, are skilfully brought into play to depict life on the margins of society: Wilson is a master of the unspoken and the fragmentary, and his characters often remain unnamed, unsure of where they are going or how they will get there. The best of Wilson’s short stories are reminiscent of Lou Reed’s Walk on the Wild Side. The worst feel repetitive and relentless, their depiction of prostitution and abuse veering dangerously close to titillation. [Annie Rutherford]

Mr M is a writer, and he’s being stalked by his neighbour. The stalker, our narrator, really doesn’t like Mr M. He watches the writer with contempt as he slouches through the day. There’s a backstory and a reason for this intense dislike: Mr M’s most successful novel was based on a story he took from our narrator. It’s a story of adolescent sexual power as a girl and a boy, on the cusp of adulthood, kill their history teacher at a cabin in the snow one winter. There are layers of stories in here. It’s an examination of the narratives we construct around ourselves, and of the dirty work of the writer who makes money and success out of them. The book is at its best when we leave behind the selfawareness of a writer writing about being a writer (which is rather dull for the reader), and instead get into the well handled power-shift, the menace of events clicking slowly into place. At its heart, this is about how writers live off people’s lives. It’s an interesting subject, but the self-reflexivity feels clunky, laboured, and self-important. The plot is too slow; the prose lacks energy. And it’s a struggle to maintain interest in a group of characters that are essentially unlikeable. But maybe that’s entirely Koch’s point. Do all writers, he seems to ask, have to be arseholes? [Galen O’Hanlon]

Out now, published by Les Fugitives, £10 lesfugitives.com

Out now, published by Tangerine Press, RRP £9

Out now, published by Picador, RRP £14.99

By Benjamin Hale

By Chris Wilson

By Herman Koch

Out 8 Sep, published by Picador, RRP £12.99

September 2016

BOOKS

Review

Sibilo

The Skinny catches up with rising star of Scottish Ballet, the talented choreographer Sophie Laplane as she prepares to premiere her specially commissioned original piece Sibilo Interview: Rachel Bowles eralded as major talent in the making, French dancer-turned-choreographer Sophie Laplane has continually broken new ground in the Scottish dance world, particularly with her innovative and intelligent piece Maze last autumn. Sibilo looks set to exhibit more of her unique geometric, angular yet emotional style and precise yet swift pacing with Laplane expanding and testing her dance vocabulary, though she remains intriguingly tight-lipped about what else we can look forward to. In the run-up to Sibilo’s premiere, the intensity of Laplane’s schedule is palpable: “We’re in rehearsals all day! It’s good, it’s different because I am used to being on the other side. I am a dancer, so for me to be at the front of the studio and having lots of pairs of eyes expectantly looking at me – It’s certainly different but I am enjoying it. I’m hoping it will continue!” she laughs.

“It’s really about how society dictates our behaviour and the fact that we lose our spontaneity” Sophie Laplane

Laplane is coy about Sibilo but reveals its central thematic thread, “Sibilo means whistling in Latin, bon? So, I guess it’s a bit of a giveaway in the sense that there will be a lot of whistling. I’ve picked a lot of different styles of music, it ranges from classical to street. The piece is going to be 30 minutes and it’s the first time I’ve been commissioned to do that length. It’s a big step forward for me. It’s just such an amazing opportunity.

“It starts with a group of dancers, all looking the same with mechanical-like movements. It’s really about how society dictates our behaviour and the fact that we lose our spontaneity. I’m quite lucky that I know the dancers well, they’re my colleagues, my friends. Crafting the piece, I knew their personalities so I work with that. I really wanted to show how society can perceive somebody – you’ve got your routine, it’s quite functional, automatic, but what is really inside of you? What is inside of a person? How are they feeling? What is their real personality? So, it’s mostly about showing your true self.” Laplane is still cautious and humble in her talent but growing in confidence in her creativity. Her creative process starts with introspection and reflection as a lover of dance, “When I got this piece commissioned, I thought, ‘OK, wow! What about?’ I had a blank page basically so I just asked myself, ‘What I do like when I go to see a show?’ I like to be inspired, I like to be moved, I like to have fun watching a new piece and I like to be surprised. That really triggered the fact that I wanted all those elements to be in the piece. So Sibilo has a lot of different moods, some surprises, things you don’t expect to happen. And of course, the dancers inspired me. I enjoy the fact that as I know the dancers so well, they are not scared, they’re not shy of trying new things or being stupid. It’s a kind of working relationship that’s really amazing and I wanted to take advantage of that.” Laplane also feels very lucky to work with her composer Alex Smoke, “He is a very open minded, very creative, very easy to speak to. We had a lot of meetings to really find out what we wanted to show, to hear, so we spoke about ideas and how to make it work and which sounds are good, which sounds work and make an impact. He has been very patient with me, sometimes my music vocabulary isn’t great. There was a lot of ‘Please, can you play those bubble sounds again?’”

Feature

Where Are the Diverse Actors? Illustration: Fran Caballero Hi there, A loaded one, but relevant. Why is there not enough diversity in British Theatre in the casting process? (Would love to hear your thoughts) Best, Ikram Gilani

Sibilo with Emergence, Theatre Royal, Glasgow, Festival Theatre, Edinburgh, Eden Court, Inverness, His Majesty’s Theatre, Aberdeen, various dates until 26 Jan, various times, various prices

Claire Souet and Constance Devernay rehearsing Scottish Ballet's Sibilo

Ask Auntie Trash:

Photo: Andy Ross

ello Ikram, Sure it’s a loaded question, but I’ll take it, because it’s a really fucking important question. And a lot of what I’m going to say is probably not going to come as news to you, but it needs to be said. British theatre, is, as a whole, very white, very middle class and very inaccessible for people who don’t fit into the above. I know great strides are being made in the right direction, but when people are getting all butthurt (but mostly acting like the massive racists that they are) because Noma Dumezweni got cast as Hermione in Harry Potter and the Cursed Child, then we still have a long way to go. Of course, the lack of diversity doesn’t just affect the casting process; it affects every single tier of theatre. We don’t have enough people of colour, we don’t have enough women, we don’t have enough people from poorer backgrounds making theatre. That doesn’t mean it’s not happening, because it is, and there are lots of amazing theatre companies out there, but we aren’t commissioning as much diverse work as we could. And herein lies the problem; we live in a wonderfully richly diverse and eclectic society, and the ones that are most often represented are, you’ve guessed it, the white people, specifically, the white men. Women, ethnic minorities, the disabled and many more often get ignored or typecast. These are problems that will only get worse with funding cuts, which can force theatres to make so-called ‘safe choices’ to get people in the door and bums on seats. Why take a chance on a new writer, or a new actor when you can

THEATRE

stick to what you know, eh? But you know this, so, what’s my point? My point is this: the white male gaze permeates everything in British theatre, and because of this it’s what we expect. Sure, we can look back and cringe at blacked up white actors playing people of colour, like Laurence Olivier in Othello; painted himself black, and everyone went “OMG LARRY, THERE IS LITERALLY NO WAY A REAL BLACK MAN COULD HAVE DONE THIS BETTER,” while Stanislavski was so moved by his own attempts to capture the essence of Shakespeare’s tragic Moorish general that he literally smothered his face in chocolate cake and then wrote about how it made him a better actor. He did, you can read it in a book that is still published today. But again, you know this, I am literally preaching to the choir. We can look back at these stories and simultaneously cringe, or wonder at what is, perhaps the world’s first recorded description of edible blackface, but they prove that western theatre has not always been the most diverse or progressive. In fact, only two years ago, Dame Janet Suzman decided that it was a really good idea to announce that, “...theatre is a totally European invention” as if that could ever be an acceptable truth, ever. What I’m trying to say is, British theatre is not diverse enough. Yes, undoubtedly progress has been made and we’re moving in the right direction, but for theatre to truly evolve and thrive it needs to listen to and promote different voices, which will then speak to new audiences, younger people, those who felt theatre truly wasn’t for them and in doing so, become so much more and inclusive and just fucking better, really. Best, Trash x Auntie Trash is always looking for anonymous questions for her advice column. You can apply/pour out your heart here: trash@theskinny.co.uk

THE SKINNY

Hector vs The Future: Comedy Spotlight Hector vs the Future is a new darkly surreal podcast from James Hamilton about the tale of Hector, the curmudgeonly proprietor of the Obsoleteum – a museum of the obsolete, the forgotten, the useless – and his battle to keep it afloat Words: Jenni Ajderian

he last few months’ news have been an absolute shit-show. When the apocalypse finally arrives, what could we grab from Hector’s Obsoleteum to try to save the day? Being stuffed with old-fashioned, pre-internet technology, the Obsoleteum would probably be a pretty handy place to spend your apocalypse. You could live off the carrier pigeons by day and drink the medical whisky by night. Plus there’d be loads of books you can read without having to charge them up first. Actually, thinking about it: the Obsoleteum would probably be the first port of call for all those vile, better-in-the-olden-days bastards who caused the apocalypse in the first place. Maybe it’s best to steer clear. As well as Hector, we meet the curator of the Uptodateum, Biz, and her plucky robot sidekick, Phil. If you had a sidekick, familiar or daemon, what form would it take? Bridget Christie. One of the characters you play in the series is the keeper of the map room in the Obsoleteum, locked in a cupboard with only some scrolls and a piano for company. If you were locked away, how would you spend your time other than plotting an elaborate revenge on whoever put you in there? I’d learn to play the piano, just like Percy in the map room can. I can’t actually play any musical instruments in real life, so it’d be a great opportunity to learn a new skill to expert level. Also: I’d record the entire experience – because my eventual elaborate revenge would be forcing my captor to listen to the whole thing in real time. Combining my revenge plot with learning a new skill to a world class standard (10,000 hours, right?) would actually be a very efficient use of my time in captivity. I suspect the irony would be lost on my captor.

All our heroes find themselves up against some powerful foes: a tech manufacturing giant, the local mayor and a masterful inventor to name but three. It seems like no matter what else changes, powerful bastards will always try to keep down powerless bastards. What else is going to last forever?

Stupid, stubborn old white men who relentlessly cling to their outdated, problematic principles of legacy and tradition and refuse to budge in the name of progress. I’m not really as on the side of my lead character as I should be, am I?

“ I’m not really as on the side of my lead character as I should be, am I?” James Hamilton

Enough of the past: what should we look forward to seeing in our local Uptodateum? Have they figured out invisibility cloaks yet? Sadly not. But they have invented a new strain of trees that grow bacon instead of fruit! The vegetarians are really conflicted. Contrary to popular belief, video did not quite kill the radio star; will podcasts reverse over its twitching body and finally finish it off? Ugh – no! Podcasts are so old hat nowadays. We just didn’t have the foresight to see they’d be completely out of date by the time we’d finished working on the series. More fool us. Hector Vs The Future series 2 is being released exclusively on Snapchat. I’m pret-ty confident Snapchat’s never gonna go out of style. hectorvsthefuture.tumblr.com

September 2016

COMEDY

Feature

Win a pair of Dr. Martens’ new DM’s Lite! famous for, but on a new ultra-lightweight Phylon midsole, to offer styles that transcend from workwear to fashion and take classic shoe-making skills into street lifestyle products. This unisex collection includes three key styles: the Newton Boot, Cavendish Shoe and Edison Tassel Loafer, resulting in contemporary designs that combine original DM’s silhouettes. Each comes with a SoftWair memory foam insole, with moisture wicking technology. The lightweight but tough and flexible rubber outsole maximises durability and comfort for the wearer. The famous yellow stitching and grooved sidewall on the sole are familiar brand markers. All styles are available in Black or Cherry Red Temperley leather in Dr. Martens UK stores. We’ve teamed up with Dr. Martens to give away three pairs of DM’s Lite footwear. To be in with a chance of winning one, simply head to theskinny.co.uk/competitions and correctly answer this question: What is the name of Dr. Martens’ brand new AW16 collection?

he AW16 season sees Dr. Martens introduce its most evolutionary concept since the 1960s, when the original ‘AirWair with Bouncing Soles’ technology was engineered as a performance shoe for the working man: DM’s Lite. DM’s Lite takes all of the iconic DNA, associated comfort and durability that the brand is

a) DM’s Bounce b) DM’s Flex c) DM’s Lite Competition closes midnight Sun 2 Oct. Entrants must be 18 or over. Winners will be notified via email within two working days of closing and will be required to respond within 24 hours or the prize will be offered to another entrant. Find full Ts&Cs on the entry page. The Skinny’s Ts&Cs can be found at theskinny.co.uk/about/terms

Win a Tuk Tuk Gift Voucher!

uk Tuk is one of Auld Reekie's best-kept secrets. They recreate the traditions of original Indian street food culture, offering a mixture of tasty delights that bring to mind their rustic, roadside and railway station inspirations. "We pride ourselves as the pioneers of Indian street food," they say, basing their fine fare on the millions of street food vendors who nourish the appetites of India's busy office workers, sweaty rickshaw-wallahs and hungry school children throughout the day. In their own words, "Tuk Tuk is the perfect place for sharing good food." We've teamed up with the good folks at the Edinburgh eatery to give you the chance to win a lunch gift voucher for up to £30! To be in with a shout of winning the prize, all you have to do

is fill in the form below, answering the following question: What mode of transport is often associated with India? a) Rickshaw b) Rickroller c) Rickmoranis Competition closes at midnight on Sun 2 Oct. No cash refund. Not redeemable for cash. Only valid between 12pm to 5pm, Sunday to Thursday. Prize to be collected from the restaurant. Winners will be placed on the guestlist. 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

COMPETITIONS

THE SKINNY

Glasgow Music Tue 06 Sep PUP

KING TUT’S, FROM 20:30, £9

Word has it, this Toronto-born punk rock band takes its name from an acronym meaning Pathetic Use of Potential. We hope that’s not true. FIGHTING CARAVANS (ROCKET REDUCER)

BLOC+, FROM 21:00, FREE

Leeds five-piece perform political and spiritual disdain with Americana/blues overtones. ADAM ROSS GREENE

THE HUG AND PINT, FROM 19:30, £5

Following the springtime release of Crazy EP, 20 year-old singersongwriter Adam Ross Greene brings his acoustic-driven pop melodies to The Hug and Pint. ANIMAL COLLECTIVE

O2 ABC, FROM 19:00, £15

More cerebral electronic pop par excellence, as the Baltimore experimentalists bring their latest album, Painting With, to a live setting. THE TIDE

ORAN MOR, FROM 19:00, £10

Four-piece pop boyband who croon 1D-esque tunes about puppy love.. Frothy to tsunami proportions.

Wed 07 Sep

JAMIE MARTIN (THE EMERALD ARMADA)

NICE ‘N’ SLEAZY, FROM 19:30, £6

Rousing anthemic folk for fans of Ben Howard and Mumford and Sons. BOMBSKARE (HELLO CREEPY SPIDER)

BLOC+, FROM 21:00, FREE

Scotland’s best part-time band bring a ska cavalcade to Bloc’s humble stage.

JIM GHEDI + DOUGLAS MACGREGOR

THE GLAD CAFE, FROM 19:30, £5 - £7

Two outstanding acoustic guitarists strum up some joy at the Glad.

PINEGROVE (THE GREAT ALBATROSS + TWEAKING) THE HUG AND PINT, FROM 19:30, £8.50

American indie group from New Jersey, whose debut LP, Cardinal, was released earlier this year.

SUNFLOWER BEAN (COMMUNIONS)

BROADCAST, FROM 19:00, £10

The low-slung psyche punk band that had Brooklyn in a spin in 2015 head on over to UK shores.

Thu 08 Sep

THE OTHER HALF (MARK BILLINGHAM + MY DARLING CLEMENTINE)

CCA: CENTRE FOR CONTEMPORARY ART, FROM 19:30, £15

A unique collaboration between the leading lights of crime fiction and country music, an original story by crime writer Mark Billingham is sound-tracked by the poignant songs of internationally acclaimed Americana duo My Darling Clementine. EYRE LLEW

BLOC+, FROM 21:00, FREE

Nottingham trio who produce a left-field ambient extravaganza of the highest quality. ALI ROBERTSON

THE HUG AND PINT, FROM 19:30, £4

Influenced by Alt-J, Jack Garratt and Dan Croll, this singer-sonwriter specialises in disco-tinged electro pop. CROW’S FEET (OUR SMALLEST ADVENTURES)

KING TUT’S, FROM 20:30, £7

Cloud-like ambient pop peppered with a bit of weirdness. DANNY & THE CHAMPIONS OF THE WORLD (DEAN OWENS)

STEREO, FROM 19:30, £13

Genuinely affecting country-folk from the Australian-born, south London living, Danny George Wilson and his merry band. Roald Dahl similarities left at the title. TEEN CANTEEN

MONO, FROM 19:30, £7

The Carla Easton-fronted pop purveyors launch new album Say It All With A Kiss.

Fri 09 Sep MICK HARGAN

KING TUT’S, FROM 20:00, £8

Glasgow singer-songwriter for whom no two shows are ever the same, depending on whether he plays a solo show with his loop pedal, a full band, or even as a string quartet. THE TRONGATE RUM RIOTS (THE AMPHETAMEANIES)

ADAM FRENCH

KING TUT’S, FROM 20:00, £7

Bowie-influenced singer songwriter born and raised in Congleton. L7

O2 ABC, FROM 19:00, £18.50

The classic grunge group are back on the road, after re-grouping back in 2014.

NICE ‘N’ SLEAZY, FROM 19:30, £6

WHERE FIRES ARE ( NEW YORK TOURISTS + TALK)

GLASGOW SONGWRITING FESTIVAL (FINDLAY NAPIER + DONNA MACIOCIA + LOUIS ABBOTT + DAVE HOOK)

Adrenaline-fuelled, emotionally charged alternative rock.

Self-professed purveyors of speed folk and glam shanty.

THE GLAD CAFE, FROM 19:30, £7.50 - £9

Cure your writer’s block and get some lyrical inspo from Glasgow Songwriting Festival’s tutors in an opening gig at the Glad. GRAEME QUINN & THE GRAEME QUINTET (JOOK RESONATOR + CALUM FRAME, QUICK)

NICE ‘N’ SLEAZY, FROM 19:30, £4

JOSEPHINE SILLARS (JAMES MACKENZIE + LAURENCE MADE ME CRY + GORMAN)

THE HUG AND PINT, FROM 19:30, £7

A glimmering eve of anti-folk and theatre-pop(!) that takes influence from – you guessed it – Regina Spektor. RODDY WOOMBLE

ORAN MOR, FROM 19:00, £15.50

Talented Southside songwriter Graeme Quinn plays a gig at Buff Club with the Graeme Quintet (A* punning there, Graeme.).

The Idlewild frontman celebrates the 10 year anniversary of debut solo album, My Secret is My Silence, with a special UK tour and song book.

THE HUG AND PINT, FROM 19:30, £6.50

Mon 12 Sep

BUFF CLUB, FROM 19:00, £5

NAKED

Naked are a macabre take on pop with contemporary sounds and visuals.

BEN MONTEITH (WONDERING SONS + DELPHI + MATT SPICER) STEREO, FROM 19:00, £8

Sounds like the result of putting Newton Faulkner, José‚ González and OneRepublic in a blender. Make of that what you will. SOMETHING WICKED (BEATWIFE + UPSTANDING MONK)

THE ART SCHOOL, 19:00–23:00, £22.50

Hardware hero and acid pioneer Ceephax Acid Crew graces the Vic Bar with a full live show, supported by the acid stylings of Beatwife and Upstanding Monk. Live visuals by Sharon Graham. THE LUCID DREAM

BROADCAST, FROM 19:00, £8

Fusing layered, heavily effected guitar sounds with the futuristic punk awareness of Vanishing Point and general nonchalance of seventies art rockers Suicide, TLD have an incendiary and occasionally visceral take on psychedelia. RODDY WOOMBLE

ORAN MOR, FROM 19:00, £15.50

The Idlewild frontman celebrates the 10 year anniversary of debut solo album, My Secret is My Silence, with a special UK tour and song book.

Sat 10 Sep

25 YEARS OF SLEAZE: BIS NICE ‘N’ SLEAZY, FROM 19:30, £8

The first of an ongoing series of events celebrating a quartercentury of the sensational Sleazy’s. First up: Infrequent but welcome visitors on the live circuit Bis. EYRE LLEW (STILLVOID + GET OUT STRONG + THOUSAND SOUNDS + ADULT FUN)

BUFF CLUB, FROM 19:00, £6 - £7

Nottingham trio who produce a left-field ambient extravaganza of the highest quality. LIONLIMB (THE CROSSMAKERS + SPINELLI)

THE HUG AND PINT, FROM 19:30, £7

Dreamy psych-pop project by songwriter Stewart Bronaugh and drummer Joshua Jaeger. THE RANZAS

KING TUT’S, FROM 20:30, £7

This one’s for you if you’re out for modern rock’n’roll laced with indie rock, wrapped up in the catchiest of lyrics. SOUNDS OF GLASGOW

MONO, 14:00–18:00, FREE

A local labels record fair at Mono. THE WEDDING PRESENT

THE ART SCHOOL, 19:00–23:00, £22.50

In their Going, Going... Audio-Visual Tour 2016, The Wedding Present play their forthcoming album in its entirety in front of film projections. BANSHEE (100 FABLES + PAINTING ROCKETS)

AUDIO, FROM 20:00, £7

Female-fronted alt-rock / pop.

September 2016

Sun 11 Sep

MICHELE STODART (RAEVENNAN HUSBANDES + ALAN TENNIE)

THE HUG AND PINT, FROM 19:30, £10

Michele Stodart is a solo artist as well as bassist, vocalist and cosongwriter with the much-loved, Mercury Prize-nominated and double platinum sellers The Magic Numbers. JOSH KELLY

ORAN MOR, FROM 19:00, £16

Kelly brings his trademark pop sounds to Glasgow following the release of New Lane Road, his first album in five years. FIONA SOE PAING

STEREO, FROM 19:00, FREE

Over the past ten years ScotsBurmese producer and vocalist Fiona Soe Paing and animation artist Zennor Alexander, have been evolving their electronic music/ vocals/animation project Alien Lullabies. See the album in full tonight.

Tue 13 Sep JULY TALK

KING TUT’S, FROM 20:30, £10

Canadian indie-rock ensemble led by the twin singing talents of Peter Dreimanis and Leah Fay. MATIAS AGUAYO & THE DESDEMONAS (MACHINES IN HEAVEN)

NICE ‘N’ SLEAZY, FROM 20:00, £8.50

The Kompakt stalwart and Cómeme label founder takes to the stage with a full band. PALE KIDS (JUST BLANKETS)

BLOC+, FROM 23:00, FREE

Another evening of diverse, noisy punk pop. FOLKLUB (ROSS AINSLIE + ALI HUTTON)

THE HUG AND PINT, FROM 19:30, £10

The Shee celebrate a decade in the biz of making cutting-edge folk with a new live show commissioned from the likes of Kathryn Tickell, Karine Polwart, Andy Cutting, Brian Finnegan and Martin Simpson.

Wed 14 Sep

WENDELL BORTON + GUESTS

BLOC+, FROM 21:00, FREE

Shouty, charismatic, addictive and wholly endearing stuff from Wendell Borton. JOEL SARAKULA

THE HUG AND PINT, FROM 19:30, £6

A man who claims to be made up of “misspelt lyrics, milky tea and Etta James records playing on a vintage wooden steepletone”, bringing his spellbinding, soulful songs to Glasgow. JEZ DIOR

O2 ABC, FROM 19:00, £10

LA-based hip-hop artist whose forthcoming mixtape marks his first ever solo release. AYAKARA

Thu 15 Sep HALEY REINHART

ORAN MOR, FROM 19:00, £15

The singer-songwriter takes to the stage following the release of Better, earlier this year. Fun fact: her single Can’t Help Falling in Love With You was featured in an Extra chewing gum advert. Ring a bell? PORTS OF ESSEN (AKROBAT + JORDAN RAWSON)

NICE ‘N’ SLEAZY, FROM 19:30, £5

A debut gig from Glaswegian rock’n’rollers Ports of Essen. JORDAN MACKAMPA

THE HUG AND PINT, FROM 19:30, £5

Coventry singer-songwriter hailing from the Democratic Republic of the Congo, who hits the road in support of his soulful, sundrenched debut EP, Physics. PETER HOOK & THE LIGHT

BARROWLANDS, 19:00–23:00, £22.50

Former New Order and Joy Division bloke reliving his glory years in the Barras.

Fri 16 Sep MCFLY

O2 ACADEMY GLASGOW, FROM 19:00, £32.50

What are you waiting for? Tickets are selling out as we speak. Nobody’s too cool for McFly. Not even you. DAN + SHAY

O2 ABC, FROM 19:00, £10

Ever-so-wholesome country music from a thick-knit clad duo Dan + Shay. RACHAEL DADD

THE GLAD CAFE, FROM 19:30, £7

SHIELD PATTERNS THE HUG AND PINT, FROM 19:30, £5

Duo comrising Manchesterbased artist Claire Brentnall and Glissando’s Richard Knox, whose songs are born in cathartic bursts, with subtle poetry intertwined with piano phrases, strings and hypnotic synth patterns. An album launch night. RONAN KEATING

SECC, FROM 18:30, £39.75

Life is a rollercoaster. Y’just gotta ride it. BAD AURA (FVNERALS + FIRST TEMPLE OF THE ATOM)

STEREO, FROM 19:00, £4

Fledgling project featuring members of Nackt Insecten, Vom and Confidential Waist. SECTION 25

BROADCAST, FROM 19:00, £12

The Factory Records post-punkers back with the first in a string of live shows.

FREAKENDER (FEELS + THE COSMIC DEAD + VIRGIN KIDS + THEE MVPS + FRUIT TONES + VELVET MORNING + THE BELLYBUTTONS + SWEATY PALMS + LYLO + BREAKFAST MUFF + TIME TEAM + ELECTRIC GARDENS + DOMICILES) THE OLD HAIRDRESSERS , FROM 14:00, £12 - £15

Get freaky with Fuzzkill, El Rancho and Eyes Wide Open as they team up to throw a garage / psych / pop festival.

Sun 18 Sep RONAN KEATING

CLYDE AUDITORIUM, FROM 18:30, £35

Experimental folk multiinstrumentalist Rachael Dadd has just released her impacting body of work into the public sphere. Rachael is also an, exhibiting artist and will be collaborating with RCA graduate animator and sister Betsy Dadd.

Life is a rollercoaster. Y’just gotta ride it.

THE HUG AND PINT, FROM 19:30, £6

THE GARAGE GLASGOW, FROM 19:00, £16.50

NEON SUICIDE

MCFLY

O2 ACADEMY GLASGOW, FROM 19:00, £32.50

What are you waiting for? Tickets are selling out as we speak. Nobody’s too cool for McFly. Not even you. FLATBUSH ZOMBIES

Pretty new on the scene but ready to make a bit of noise, this band’s a duo who aim to make an alt-rock ruckus equivalent to that of an full band. FFO Arctic Monkeys.

American hip-hop group named after the area of Brooklyn from which they collectively hail – Flatbush.

KING TUT’S, FROM 20:30, £8

NICE ‘N’ SLEAZY, FROM 19:30, £5

SCHNARFF SCHNARFF + FOREIGNFOX (THE BELAFONTE)

The Inverness chappies do their inimitable line in staccatto grunge pop alongside Foreignfox, with support from The Belafonte. NITE JEWEL (CLIP ART + KATIE SHAMBLES (DJ SET))

STEREO, FROM 19:00, £6

25 YEARS OF SLEAZE: ACTIVE MINDS (THISCLOSE + BRATAKUS + SICK OF TALK + BRIAN CURRAN)

Sleaze continues its 25th birthday jubilations with a show from animal rights / environmental welfare campaigners and DIY punk legends Active Minds. HOWIE PAYNE

THE HUG AND PINT, FROM 19:30, £9

L.A. musician and multimedia artist who specialises in oscillating synth, shoegaze and R’n’B. Playing Stereo following the release of moody, dreamy record Liquid Cool in June.

Singer-songwriter formerly of The Stands, who’s previously worked with the likes of Paul Weller, Noel Gallagher and Bill Ryder-Jones.

BARROWLANDS, FROM 19:00, £17.50

Carlisle six-piece fronted by Jonny Foster who’ve been performing in pubs since they were knee-high to a guitar stand. Powerful R’n’B and wicked presence.

THE VIEW

The Dundee indie-pop scamps do their thing.

FREAKENDER (WEDDING + SPINNING COIN + THE POOCHES + HOME$LICE)

THE OLD HAIRDRESSERS , FROM 19:30, £7 - £15

Get freaky with Fuzzkill, El Rancho and Eyes Wide Open as they team up to throw a garage / psych / pop festival.

Sat 17 Sep THE SHERLOCKS

O2 ABC, FROM 19:00, £9

Sheffield indie-rock unit made up of two sets of brothers. FANTASTIC NEGRITO

KING TUT’S, FROM 20:30, £12.50

Gravelly vocals, addictive rhythms and soulful rock sounds. This’ll be a good’un. CAHALEN MORRISON + ELI WEST

CCA: CENTRE FOR CONTEMPORARY ART, FROM 20:00, £13

Cahalen Morrison and Eli West are firmly established as one of the most important roots music duos to have emerged on the Americana circuit in recent years. They’re back from Seattle with a selection of better-known material as well as new songs. LIGHTS OUT BY NINE

THE GLAD CAFE, FROM 20:00, £10

Lights Out By Nine play powerhouse rhythm and blues, and have developed a collection of their own original songs, commanding a growing amount of media attention.

BROADCAST, FROM 19:00, £2.50 - £5

Ayakara take to the road to launch their latest release Bitter Kiss/ Lips.

Find full listings at theskinny.co.uk/whats-on

HARDWICKE CIRCUS

KING TUT’S, FROM 20:30, £7

JÚNIÚS MEYVANT

BROADCAST, FROM 19:00, £10

The folk-pop alterego of Iceland’s Unnar Gisli Sigurmundsson. FREAKENDER (BEACH SKULLS + LUSH PURR + MORDWAFFE)

FREAKOUT HONEY (FAIIDES + MARBLE GODS) NICE ‘N’ SLEAZY, FROM 19:30, £4 - £6

New psych types on the scene, Freakout Honey take the stage at Sleazy’s. THE NEW TUSK (PET GRIEF + FLAKES)

BLOC+, FROM 23:00, FREE

Lo-fidelity, short attention span punk. GARY NUMAN

O2 ABC, FROM 19:00, £29.50

The electro-pop pioneer presents a selection of tracks new and old.

Wed 21 Sep

BEEHOOVER (BACCHUS BARACUS + BURIED SLEEPER + EBETHRON)

NICE ‘N’ SLEAZY, FROM 19:30, £6

A night of killer riffs and metal not to be messed with. HEIMWAY (ANOMALIES)

BLOC+, FROM 21:00, FREE

Brighton alt-rock geek quartet stamping on pedals and making loud noises for their own amusement.

LAWRENCE ARABIA (DAVE FRAZER + HEIR OF THE CURSED)

THE HUG AND PINT, FROM 19:30, £6.50

The musical moniker taken by James Milne. Indie pop with more than its fair share of oohs and shoobie-doo-wops. LOWKEY

O2 ABC, FROM 19:00, £15

After a long hiatus, Lowkey returns. Known for his controversial lyricism, Lowkey is an English rapper and political activist of Iraqi descent who first became known through a series of mixtapes released when he was just a teenager. GUADALUPE PLATA (THE BONNEVILLES)

BROADCAST, FROM 19:00, £6

Hardcore Andalucian delta blues outfit, who released their third album earlier this year.

NICE ‘N’ SLEAZY, FROM 19:30, £6.50 - £7

Uxbridge DIY group The Tuts bring their raucous pop-punk rock up North in support of their debut album, Update Your Brain. RADIO 3 NEW MUSIC WITH VERITY SHARP

THE GLAD CAFE, FROM 19:30, FREE

Verity Sharp hosts a gig showcasing local new music, with performances from Nichola Scrutton, Mark Vernon and Daniel Padden with his ensemble. 25 YEARS OF NIRVANA (PINACT + AMERICAN CLAY + CODIST) KING TUT’S, FROM 20:30, £7

A fundraiser for the Scottish Association for Mental Heath featuring a bunch of wicked acts, all doing their bit to help celebrate a quarter-century of Nirvana’s seminal album Nevermind. THE LOTTERY WINNERS

AGAINST THE CURRENT

BERNIE MARSDEN

ORAN MOR, FROM 19:00, £19.50

Blues guitarist active in the music world for over 30 years, playing a set at Oran Mor.

Sat 24 Sep THE RIVERS

THE HUG AND PINT, FROM 19:30, £5

Boomerang Parlour combine acid techno, jazz and hip-hop to create a sound that’s all their own. NATALIE MCCOOL (AMY SHIELDS + GEORGIA GORDON)

THE HUG AND PINT, FROM 19:30, £6.50

Songwriter with a unique turn of phrase and melody and razor-sharp alt-pop production. C.MACLEOD (MCKELLAR + JAMIE ROBERT ROSS)

KING TUT’S, FROM 20:30, £7.50

Get freaky with Fuzzkill, El Rancho and Eyes Wide Open as they team up to throw a garage / psych / pop festival.

Mon 19 Sep

O2 ABC, FROM 19:00, £15

HENRIK FREISCHLADER TRIO

PERFECT

O2 ABC, FROM 19:00, £32

CATS IN SPACE & SPACE ELEVATOR

THE GARAGE GLASGOW, FROM 18:00, £12

CHARLI AND THE BHOYS

BARROWLANDS, FROM 19:00, £20

GLASGOW ROLLER DERBY FUNDRAISER (ESPERANZA + THE SUPERLATIVES+ THE RAMOANERS )

AUDIO, FROM 19:00, £5 - £7

Roller Derbies don’t grow on trees. Get involved in a fundraiser at Audio featuring ska / reggae band Esperanza.

Sun 25 Sep CATHOLIC ACTION

KING TUT’S, FROM 20:30, £8

STEREO, FROM 19:00, £9

TRON THEATRE, FROM 14:00, £9.50

EARTH, WIND AND FRESHERS

Stereo does its best to initiate the city’s fresh academic meat into the local music scene with a roster of bands and, apparently, a shitload of glitter.

O2 ABC, FROM 19:00, £13

TRANSMISSION GALLERY, FROM 19:00, TBC

RAT BOY

DOE

Parlophone Records mischief maker Rat Boy (AKA Jordan Cardy) brings his Jamie T vibes to the stage.

Badass London three-piece bringing ragey pop tracks to a live setting in support of their new LP Some Things Last Longer Than You.

Tue 20 Sep

Fri 23 Sep

O2 ACADEMY GLASGOW, FROM 19:00, £27.50

TRON THEATRE, FROM 20:30, £7.50

GUTTERDAEMMERUNG

A live rock’n’roll movie experience from the mind of Belgian-Swedish visual artist Bjorn Tagemose.

STEVE GROZIER

Americana, country and folk music from a Glasgow-based singersongwriter launching his new EP, Take My Leave.

The ex-InMe rock frontman takes to the road solo. BLOC+, FROM 21:00, FREE

OSCAR

THE HUG AND PINT, FROM 19:30, £7

Off-kilter pop musings disappointingly not from the Chelsea footballer of the same name. WATSKY

KING TUT’S, FROM 20:30, £13.50

The San Franciscoan hip-hop chap does his slam poetry thing. UNION J

O2 ABC, FROM 19:30, £20 - £50

The X-Factor boy band grace Scotland with their presence.

COLLEEN GREEN (CASSIE RAMONE)

BROADCAST, FROM 19:00, £7

Wed 28 Sep

THE HUG AND PINT, FROM 19:30, £9.50

SARAH CALTIERI

DAVE MCPHERSON (MARK HALLS)

NICE ‘N’ SLEAZY, FROM 20:00, £8 - £10

KELVINGROVE BANDSTAND, 12:00–22:00, FREE

A free two-day multi-arts festival which aims to connect with audiences across generations and address barriers to inclusion. It is a multigenerational event, staged over the September holiday weekend at Kelvingrove Bandstand and Amphitheatre.

Fledgling Welsh rock foursome formed in 2014. Multiple award-winning singer, songwriter and campaigner who’s just co-produced a solo album with Teenage Fan Club’s Duncan Cameron.

Tue 27 Sep

More stoner pop sounds from the west LA-hailing lo-fi artist as she’s joined by Cassie Ramone.

A return to Scotland (and, indeed to UK) for multi-instrumentalist blues musician Henrik Freischlader and his pals.

PRETTY VICIOUS

Fat White Family frontman Lias Saoudi takes on his alter-ego, Johnny Rocket with psych pop supergroup The Moonlandingz.

FOX STAR MUSIC & ARTS FESTIVAL 2016

After Sauntering round the UK’s festivals, Catholic Action swing by Scotland for a performance of their new material, released on Luv Luv Luv records.

KING TUT’S, FROM 20:00, £8

MOONLANDINGZ

BROADCAST, FROM 19:00, £10

KING TUT’S, FROM 20:30, £7.50

NICE ‘N’ SLEAZY, FROM 19:30, £10 - £13

BOOMERANG PARLOUR (PLUME)

HONEYBLOOD (EAT FAST )

THE HUG AND PINT, FROM 19:30, £10

Rapid melodic skate punk rock all the way from Slovakia.

LOVE ZOMBIES & THE AMORETTES (SAINTS)

A rollicking night of celtic revelry at Barrowlands.

BLOC+, FROM 21:00, FREE

JODIE ABACUS

KING TUT’S, FROM 20:30, £8.50

START AT ZERO (LAY IT ON THE LINE + FALSE HOPES)

Co-headline tour packed with power pop-rock.

A night at Bannermans with Cali singer-songwriter Charles Henry “Chuck” Mosley III.

Mon 26 Sep

Good ol’ garage from a band whose passion lies in playing live.

Pop rock trio from Poughkeepsie, NY, hitting Garage after the release of their debut LP, In Our Bones. CHUCK MOSLEY (GIROBABIES + FUDGIE)

KELVINGROVE BANDSTAND, 12:00–22:00, FREE

DARYL SPERRY

CLASSIC GRAND, FROM 19:00, £8

Ambitious young singer-songwriter launching EP I Don’t Want To Be Everybody at Classic Grand.

Thu 22 Sep THE GARAGE GLASGOW, FROM 19:00, £14

FOX STAR MUSIC & ARTS FESTIVAL 2016

The Scottish garage rock duo do their thing.

One of Poland’s all-time favourite rock bands come to the UK, nearly 40 years since their formation.

Contemporary country and storytelling songs from Grammy Award nominee Brandy Clark.

BROADCAST, FROM 15:00, £12

An all-dayer doing exactly what it says on the tin. Along with its headliners, the line-up features Methyl Ethel, Lorelle meets The Obsolete, Gnoomes, La Hell Gang and New Candys.

Lewisham’s Jodie Abacus embarks on a headline UK tour, trailing his promisingly positive-minded brand of future funk.

ORAN MOR, FROM 19:00, £18.50

BRANDY CLARK

PSYCH SUNDAY II (CAVERN OF ANTI-MATTER)

STEREO, FROM 19:00, £6

The Lottery Winners are an indie-pop four-piece from an exact point equidistant between the musical meccas of Manchester and Liverpool.

LA punk rock group Love Zombies are joined by Scottish rock’n’rollers The Amorettes.

C.Macleod brings his atmospheric, acoustic-led music to King Tut’s in the form of a brand new album recorded with renowned producer Ethan Johns (Paul Mccartney, Ryan Adam, Kings of Leon).

THE OLD HAIRDRESSERS , FROM 15:00, £3

THE TUTS (CRYWANK + JOYCE DELANEY)

ROSE ROOM

Get a dose of chamber jazz from award-winning pianist and composer Euan Stevenson. PAUL CARELLA

THE HUG AND PINT, FROM 19:30, £8

Self-taught singer-songwriter who rose to acclaim and awards after a childhood spent jamming to Elvis, Bob Dylan, Johnny Cash and Bruce Springsteen. THE MAGIC GANG

STEREO, FROM 19:00, £8

Energetic Brighton-based indie-pop.

MILBURN

ORAN MOR, FROM 19:00, £15

Sheffield’s indie rockers mark ten years of debut album, Well Well Well. BRONSTON (DONNIE WILLOW + LEO BARGERY)

NICE ‘N’ SLEAZY, FROM 20:00, £5 - £7

Bronston, a groovy new four-piece hailing from Edinburghian turf bring alt rock tracks to Sneaky’s ahead of their official launch, with support from Keith Stockless. BETUNIZER + THE CROSSMAKERS

BLOC+, FROM 21:00, FREE

Spanish post-hardcore with dissonant riffs, addictive basslines and textured brilliance.

JOHN HASSALL & THE APRIL RAINERS (THE BANTER THIEVES) KING TUT’S, FROM 20:30, £10

John Hassall swings by King Tut’s with his band of merry psychedelia and rock players The April Rainers. FEEDER

O2 ABC, FROM 19:00, £22

The Newport pop-rock ensemble return with more catchy guitar-fuelled choruses. HAYDEN CALNIN

STEREO, FROM 19:00, £7

Often compared to the likes of Bon Iver and M83, Hayden Calnin has become known for his electro-folk soundscapes, soaring vocals and emotive lyrics. EMAROSA

THE GARAGE GLASGOW, FROM 18:30, £12

Hopeless Records-signed hardcore band from Lexington, Kentucky. Soaring, trembling vocals and rousing guitars.

Thu 29 Sep LOYLE CARNER

KING TUT’S, FROM 20:30, £12

The MC from South London stops off as part of his autumn tour.

Listings

STRETCHED BLOC+, FROM 21:00, FREE

The secret meeting place of contemporary jazz-enthused savants. OKKYUNG LEE + BILL ORCUTT

THE GLAD CAFE, FROM 19:30, TBC

Born in Miami in the year of Cuban missile crisis and educated in Florida’s finest institutions, Bill Orcutt is usually recognized as the co-founder of the band Harry Pussy. He’s joined by Korean contemporary cellist, composer and improviser Okkyung Lee. FOLKLUB (THE SHEE + CHARLIE GREY + JOSEPH PEACH)

THE HUG AND PINT, FROM 19:30, £10

O2 ABC, FROM 19:00, £12

Sunny LA-residing rockers formed back in 1998 by guitarist/singer Bobby Hecksher, moving between the psychedelic and drone soundscapes of the genre. PLAID (KONX-OM-PAX + SOFAY + BIOTRON )

THE ART SCHOOL, 23:00–03:00, £5 - £10

British electonic duo, aka Andy Turner and Ed Handley - back with a new album, The Digging Remedy, on Warp Records.

Fri 30 Sep THE INVISIBLE

KING TUT’S, FROM 20:30, £10

The Dave Okumo-fronted, Mercury Prize-nominated London trio play tracks from their new album, Patience. CHANTEL MCGREGOR

NICE ‘N’ SLEAZY, FROM 19:30, FREE

Yorkshire singer/songwriter working her virtuoso guitar magic on the blues genre.

KID CANAVERAL (MARTIN JOHN HENRY) THE GLAD CAFE, FROM 19:30, £10

Following their SAY Award-nominated Now That You Are a Dancer and July release Faulty Inner Dialogue, Kid Canaveral take to the road for a bunch of live gigs. RABBIT PUNCH

BUFF CLUB, FROM 19:00, £5

Rabbit Punch lead a bill at Buff Club ft. Twisted Planet, Painted Waves and Jack Rabbit Slams. PETE MACLEOD

THE HUG AND PINT, FROM 19:30, £10

The rock’n’roll Glasgow singersongwriter does his thing. THE KILLS

O2 ABC, FROM 19:00, £20

After 2011’s lauded album Blood Pressures, The Kills have FINALLY brought out another album, entitled Ash & Ice. Catch them live this September. JAKE QUICKENDEN

O2 ABC, FROM 19:00, £15 - £30

English singer and multi-time contestant on The X Factor. Joys. THE GOON SAX (BOYS FOREVER + SPINNING COIN + PASTELS DJS)

MONO, FROM 19:30, £7

Brisbane teen three-piece whose debut album was released earlier this year to critical acclaim. MICHEAL ROTHER

THE ART SCHOOL, 19:00–23:00, FREE

Michael Rother is one of the most seminal and important figure of the European underground music scene. Tonight he plays NEU! Harmonia and solo works with a line-up that includes Hans Lampe on drums and Franz Bargmann on guitar. BENJAMIN FRANCIS LEFTWICH

ORAN MOR, FROM 19:00, £12.50

Citing Arcade Fire, Ryan Adams, and Bruce Springsteen as his inspirations, BFL’s known for his hearty, wistful acoustics and rounded melancholy.

Sat 01 Oct UGLY KID JOE

THE GARAGE GLASGOW, FROM 19:00, £17.50

80s-formed Californian rock troupe whose name is a riff on Pretty Boy Floyd.

Sun 02 Oct THE HUNNA

THE GARAGE GLASGOW, FROM 19:00, £11

The Hertfordshire indie rock quartet return to stages. BANCO DE GAIA

KING TUT’S, FROM 20:30, £15

Toby Marks comes to BOTW, pedalling his at-the-time groundbreaking world music-infused dance and ambience, in line with peers such as the KLF and The Orb.

Edinburgh Music Tue 06 Sep TEENAGE FANCLUB

THE LIQUID ROOM, FROM 19:00, £20

Cherished and celebrated alt-rock band who formed in Bellshill in 1989. JAMIE MARTIN (THE EMERALD ARMADA)

SNEAKY PETE’S, 19:00–22:00, £7

Rousing anthemic folk for fans of Ben Howard and Mumford and Sons. WE WERE PROMISED JETPACKS

LA BELLE ANGELE, 19:00–22:00, £12.50 - £15

A return to the capital for cult heroes WWPJ.

Wed 07 Sep

EDINBURGH FOLK CLUB (ARTHUR JOHNSTONE & THE STARS BAND)

SUMMERHALL, FROM 19:30, £7 - £10

THE VOODOO ROOMS, 19:30–23:00, 13

Nashville songwriter Andrew Combs returns to the UK for an intimate acoustic tour after appearing with his band at The O2 Arena in London earlier this year as part of Country To Country Festival. LORD BISHOP ROCKS

BANNERMANS, FROM 20:00, £6 - £8

A night of alt-rock and pop punk as Painting Rockets launch their EP From the Debris.

Fri 09 Sep RORY BUTLER

SNEAKY PETE’S, FROM 19:00, £5

Scottish singer-songwriter channelling a modern-day Woody Guthrie through politicallyminded, protest lyrics. SILVERBYSKYLINE (EXIT THE THEATRE + SLEEPLESS GIANTS )

ELECTRIC CIRCUS, 19:00–22:00, £6 - £8

A five-piece rock outfit from Aberdeen, influenced by the likes of Young Guns, Bring Me The Horizon and Blink 182.

GRUDGE (BOAK + DANIEL WAX-OFF + KITUA) HENRY’S CELLAR BAR, 19:00–22:00, £5

Crust and punk, with support from Aberdonian unit Boak, thrashers Daniel Wax-Off and punk band Kitua. LOWKEY

LA BELLE ANGELE, 19:00–22:00, £15 - £18

DEAD LABEL (CATASTROPHE + EXCELLENT CADAVER + DISPOSABLE)

Thu 08 Sep

A night of full-on thrash attack at Bannermans.

BANNERMANS, FROM 20:00, £6

After a blinder of a set earlier this year, indie rock outfit BDM return to Bannermans.

Listings

STRAMASH, FROM 19:30, £4

Its been a while, but The Bishop of raawwkkk makes a triumphant return to Bannermans. BLACK DELTA MOVEMENT (ANDY & THE NEEBOURS)

PAINTING ROCKETS (NEW HORIZONS + BENNY MONTEAUX AND THE BONES BRIGADE )

BANNERMANS, FROM 20:00, £6

DELAMERE (VISTAS + LILY KEARNS) THE MASH HOUSE, FROM 19:00, TBC

Stoke four-man who’ve supported the likes of Palma Violets and Peace, now out headlining their own shows with their recent singes Bright Young Things and Heart in tow.

Sat 10 Sep

BLACK PEAKS & HECK (BLACK PEAKS, HECK, BAD SIGN)

ELECTRIC CIRCUS, 19:00–22:00, £10 - £12

A Nottingham rock band who re-defining the limits of a stage to bring anarchy to the masses. A Heck show is a truly immersive sensory 360° experience; whether they’re hanging from lighting rigs or serving themselves shots at the bar, it’ll be mad. LOINSTORM (SANCTION THIS + BRATAKUS + BRIAN CURRAN)

HENRY’S CELLAR BAR, 19:00–22:00, £5

An eve of alternative rock and punk at Henry’s.

LYNDSEY CRAIG (SMALL FEET LITTLE TOES + JOSH FUCHS + CHRIS GREIG)

CABARET VOLTAIRE, 19:00–22:00, £5

The local songstress gives us some live stuff at CabVol in anticipation of her second EP, due out later this year. THE VAN T’S

TEVIOT UNDERGROUND, 21:00–01:00, FREE

Surf pop twin duo balancing rock swagger with sugary pop melodies.

Sun 11 Sep

EYRE LLEW (SUPER INUIT)

ELECTRIC CIRCUS, 19:00–22:00, £5 - £7

Nottingham trio who produce a left-field ambient extravaganza of the highest quality. NAKED

SNEAKY PETE’S, 19:00–22:00, £7

Naked are a macabre take on pop with contemporary sounds and visuals.

CARLA BOZULICH’S BLOODY CLAWS HENRY’S CELLAR BAR, 19:30–23:00, TBC

Carla Bozulich is an art-punk provocateur: a writer, producer, curator, interdisciplinary artist and prolific musician with a truly unique voice. Her work is brutally raw and weirdly visionary.

Mon 12 Sep

SOUNDHOUSE AT THE TRAVERSE: CAHALEN MORRISON AND ELI WEST

TRAVERSE THEATRE, FROM 20:00, £11

Continuing its weekly gig residency at Trav, Soundhouse welcomes Cahalen Morrison and Eli West.

Tue 13 Sep

CHEYNE HALLIDAY (AARON WRIGHT + BRADLEY MITCHELL + LEWIS RUMNEY) ELECTRIC CIRCUS, 19:00–22:00, £5 - £7

An acoustic loop artist with a lyrical and upbeat style. With powerful lyrics and an energetic stage presence, Cheyne has the ability to transport people with his music. MICHELE STODART

SNEAKY PETE’S, 19:00–22:00, £8.50

Michele Stodart is a solo artist as well as bassist, vocalist and cosongwriter with the much-loved, Mercury Prize-nominated and double platinum sellers The Magic Numbers.

Wed 14 Sep

EDINBURGH FOLK CLUB (JEZ LOWE)

SUMMERHALL, FROM 19:30, £7 - £10

Edinburgh Folk Club is an organisation which exists to foster an interest in the wide international world of folk and related musics. Membership isn’t compulsory; just turn up and pay the admission charge at the door. MATIAS AGUAYO & THE DESDEMONAS (EYES OF OTHERS)

SNEAKY PETE’S, 19:00–22:00, £10

The Kompakt stalwart and Cómeme label founder takes to the stage with a full band.

(MODEL AEROPLANES) LA BELLE ANGELE, 19:00–22:00, £10 - £12

The up-and-coming Dundonian indie lads make their La Belle debut for freshers’ 2016 after a sold out show at The Caves earlier in the year. MITCH MALLOY (KAATO + CONCRETE KINGDOMS)

BANNERMANS, FROM 19:30, £11 - £14

A night of noise courtesy of American singer-songwriter Mitch Malloy.

ROYAL MARINES BAND IN CONCERT (THE GILBERT AND SULLIVAN SOCIETY) USHER HALL, FROM 19:30, £15 - £18

Indulge in a display of military prowess with the Royal Marines band in concert, if that’s your thing.

Fri 16 Sep

THOUSANDSOUNDS (LET LOVE RULE + OUR SMALLEST ADVENTURES) ELECTRIC CIRCUS, 19:00–22:00, £5 - £7

Glasgow-based band creating a vast merge of psychedelic rock music. THE LUCID DREAM

SNEAKY PETE’S, 19:00–22:00, £8

Fusing layered, heavily effected guitar sounds with the futuristic punk awareness of Vanishing Point and general nonchalance of Seventies art rockers Suicide, TLD have an incendiary and occasionally visceral take on psychedelia. PULSE (MARCEL DETTMANN)

THE LIQUID ROOM, 22:00-03:00, £15 - £17.50

Pulse’s biggest party to date welcoming legend Marcel Dettmann THUNDERFUCK & THE DEADLY ROMANTICS (YOUNG LUST)

BANNERMANS, FROM 20:00, £5

The last planned UK show by the controversial rock outfit.

THE BLET PROJECT (ERRANT BOY + LUNA DELIRIOUS + SUPER INUIT)

CABARET VOLTAIRE, 19:00–22:00, £5

The Blet Project was formed in Spring 2015 by Stephen Dennis to create through-composed, three-minute pop songs with socially conscious lyrics. See their new single and older material live at CabVol this September.

THE SKINNY

JANE SIBERRY AND CAROL LAULA THE QUEEN’S HALL, FROM 19:30, £17.50

Contemporary musician Jane Siberry is known to many as one of the industry’s most creative artists, with her own record label and lashings of acclaim. See her live at the Queen’s Hall this month. SHIELD PATTERNS

ASSEMBLY ROXY, FROM 19:30, £6

Sat 17 Sep

SUSPIRE (100 FABLES + THE VIOLET KIND)

ELECTRIC CIRCUS, 19:00–22:00, £5 - £7

Known in their hometown of Glasgow for their hands on, DIY approach rock band Suspire have independently released records on their own label and received radio airplay across the world. GLUTEN FREAKS

HENRY’S CELLAR BAR, 23:00–03:00, £5

Wed 21 Sep

EDINBURGH FOLK CLUB (DAVID FRANCEY)

SUMMERHALL, FROM 19:30, £7 - £10

Songwriter with a unique turn of phrase and melody and razor-sharp alt-pop production. EDINBURGH BLUES CLUB (STEVIE NIMMO TRIO + GT’S BOOS BAND)

THE VOODOO ROOMS, 19:30–23:00, 13

Regular blues club taking in touring blues acts from the UK and beyond. RED SKY JULY

THE CAVES, 19:00–22:00, £16.75

Vintage-styled country rock from husband and wife duo Ally McErlaine and Shelly Poole, respectively from bands Texas and Alisha’s Attic.

Ska, punk and gypsy grooves from the wittily named Gluten Freaks at Henry’s.

DOE (THE KIMBERLY STEAKS + CHARLA FANTASMA + FUCK! IT’S PRONOUNCED SHIT! + BIG IN THE 90S)

BANNERMANS, FROM 20:00, £6

THE BANSHEE LABYRINTH, 19:00–23:00, £5.50 - £7

HELL’S GAZELLES

Oxford Hard Rockers that pack a hard musical punch. E M I L I E (DAVID JAMES RITCHIE)

THE MASH HOUSE, 19:00–22:00, £6

The solo project of Edinburghbased Emily Atkinson, presented as a two-piece with electronic sounds, ethereal melodies and glitchy vocals.

Sun 18 Sep

BABY STRANGE (BABY STRANGE + THE CUT + BLUEBIRDS)

ELECTRIC CIRCUS, 19:00–22:00, £7 - £9

Glaswegian three-piece punk band (with a dash of grunge) veering between drones and dirges, wearing their art and world views on their sleeve.

Mon 19 Sep

DEAP VALLY (DEAP VALLY)

ELECTRIC CIRCUS, 19:00–22:00, £12 - £14

Primal, bluesy, LA rock’n’roll duo consisting of crochet pals Lindsey Troy and Julie Edwards. STEAL THE SUN (MOTO SONO + COLOUR CARNIVAL + BURNING BRIDGES)

SNEAKY PETE’S, 19:00–22:00, £5

A variety of live music, from country, to alternative rock, jazz to funk. ONLY SHADOWS

SNEAKY PETE’S, 19:00–22:00, £5

Arcade Fire, the band have received fantastic backing from BBC Introducing (named BBC Introducing Band of the Month May 2016), and have gathered a staunch fan base across the UK.

BEEHOOVER (BACCHUS BARACUS + LORDS OF BASTARD + BURIED SLEEPER + ( WALL )) BANNERMANS, FROM 20:00, £6

A night of killer riffs and metal not to be messed with. GET ORGANISED

USHER HALL, FROM 13:10, £4

100 points to organist John Kitchen for top notch punning, and 100 more for bringing the art of organ playing to lunchtimes of Edinburghian citizens. GRANNY GREEN

USHER HALL, FROM 11:00, £3

Lucky enough to have Monday morning off? Get yourself along to Usher Hall’s Emerging Artists series and see in-demand eclectic trio of trumpet, tuba and accordion, Granny Green.

Tue 20 Sep

SERENDIPITY (CALUM INGRAM + VAN TASTIK)

LA BELLE ANGELE, 19:00–22:00, £5

Blues, folk and a hint of rock is this month’s theme in a series which aims to bring art exhibition into a live music situation.

September 2016

Badass London three-piece bringing ragey pop tracks to a live setting in support of their new LP Some Things Last Longer Than You. MAGMA

ASSEMBLY HALL, FROM 18:30, £30

French band Magma visit Scotland for the first time in 40 years, led by drummer extraordinaire Christian Vander.

NEU! REEKIE! CELTS (CHARLOTTE CHURCH & THE LATE NIGHT POP DUNGEON + LIZ LOCHHEAD + ETTE) NATIONAL MUSEUM OF SCOTLAND, 19:30–22:30, £14 - £16

Oh, only Charlotte bloody Church and her brand new ten-piece band joining the N!R! clan to help ‘em celebrate the National Museum of Scotland’s acclaimed Celts exhibition. AYAKARA

THE MASH HOUSE, FROM 19:00, £6 - £7

Ayakara take to the road to launch their latest release Bitter Kiss/ Lips.

Sat 24 Sep

IDLE FRETS (THE SPIDER FERNS + PARALLEL LIGHTS)

ELECTRIC CIRCUS, 19:00–22:00, £5 - £7

Protégés of Sir Paul McCartney’s illustrious Liverpool Institute of Performing Arts, this quartet is well on its way to becoming the latest in a long line of success stories from the city. THE LOTTERY WINNERS

THE VOODOO ROOMS, 19:00–23:00, 6

The Lottery Winners are an indie-pop four-piece from an exact point equidistant between the musical meccas of Manchester and Liverpool. SYTERIA

BANNERMANS, FROM 20:00, £8 - £10

A killer rock outfit make their Edinburgh debut.

MAD TANGO (THE DAN COLLINS BAND + DAVID BROWNE MURRAY)

CABARET VOLTAIRE, 19:00–22:00, £5

A melange of punk, rock and folk from headliners Mad Tango, along with support from a line-up of guests. THE SHEE (SARAH HAYES)

THE QUEEN’S HALL, FROM 19:30, £8 - £18

Solo show from the Lotus Crush vocalist and runner up of The Voice USA.

THE QUEEN’S HALL, FROM 19:00, £20

USHER HALL, FROM 20:00, £19 - £24.50

Thu 22 Sep TERRY MCDERMOT

BANNERMANS, FROM 20:00, TBC

RICHARD HAWLEY

In an acoustic set the Sheffield crooner melts some hearts with trademark luscious odes from his eighth album. THE TUTS (CRYWANK + JOYCE DELANEY)

OPIUM, FROM 19:30, £5.50

Uxbridge DIY group The Tuts bring their raucous pop-punk rock up North in support of their debut album, Update Your Brain.

THE GLOAMING

Connecting the Irish folk tradition with New York’s contemporary music scene.

Sun 25 Sep

THE AMORETTES (LOVE ZOMBIES + TONGUE TRAP)

ELECTRIC CIRCUS, 19:00–22:00, £7.50 - £9.50

Fri 23 Sep

All-girl, all-rockin’ Scottish trio who’ve spent a chunk of time solidly gigging both at home and abroad.

THE LIQUID ROOM, FROM 19:00, £10

THE QUEEN’S HALL, FROM 19:00, £32

SUNDARA KARMA

Sundara means ‘beautiful’ in Sanskrit, and this quartet live up to their blissful name with some epic and anthemic indie rock, gaining comparisons from Arcade Fire to Bruce Springsteen. SUPA & DA KRYPTONITES (NO QUARTER + MONOSAPIENS)

ELECTRIC CIRCUS, 19:00–22:00, £7 - £9

An eight-piece funk, ska, reggae, soul, hip-hop, swing and grime band with three-piece horn section, soulful female vocals and a emcee demanding a right ol’ knees up. VINNY PECULIAR

THE VOODOO ROOMS, 19:30–23:00, 6

UK musician and poet Vinny Peculiar (AKA Alan Wilkes) treats the Voodoo Rooms crowd to something special. REBEL WESTERNS

LA BELLE ANGELE, 19:00–22:00, FREE

The alt pop Edinburgian quartet headline a special free show at LBA. CHUCK MOSLEY (PAPER BEATS ROCK)

BANNERMANS, FROM 19:30, £12.50 - £15

A night at Bannermans with Cali singer-songwriter Charles Henry “Chuck” Mosley III. SNJO: THE JAZZ LEGACY OF CHARLES MINGUS

THE QUEEN’S HALL, FROM 19:30, £0 £22.50

Norwegian master bassist Arild Andersen joins the Scottish National Jazz Orchestra in a concert celebrating visionary bass player, composer and bandleader Charles Mingus.

PERFECT

One of Poland’s all-time favourite rock bands come to the UK, nearly 40 years since their formation.

BBC SCOTTISH SYMPHONY ORCHESTRA: BRUCKNER SYMPHONY NO.9

USHER HALL, FROM 15:00, £13 - £29

A moving completion of Anton Bruckner’s unfinished Ninth Symphony by Chief Conductor Thomas Dausgaard, performed by the BBC Scottish Symphony Orchestra.

Mon 26 Sep UNION J

LA BELLE ANGELE, 19:00–22:00, £20 - £25

The X-Factor boy band grace Scotland with their presence. EX

BANNERMANS, FROM 20:00, £5

This rock outfit make their Bannermans debut all the way from Verona. AN AUDIENCE WITH BERNIE MARSDEN

THE CAVES, 19:00–22:00, £19.50

Blues guitarist active in the music world for over 30 years. GET ORGANISED

USHER HALL, FROM 13:10, £4

100 points to organist John Kitchen for top notch punning, and 100 more for bringing the art of organ playing to lunchtimes of Edinburghian citizens.

Tue 27 Sep HAYDEN CALNIN

ELECTRIC CIRCUS, 19:00–22:00, £7 - £9

Often compared to the likes of Bon Iver and M83, Hayden Calnin has become known for his electro-folk soundscapes, soaring vocals and emotive lyrics.

Wed 28 Sep

EDINBURGH FOLK CLUB (PHIL HARE)

SUMMERHALL, FROM 19:30, £7 - £10

Sat 01 Oct

CATHOLIC ACTION (LOST IN VANCOUVER + STAR ROVER)

THE MASH HOUSE, FROM 19:00, £6

After Sauntering round the UK’s festivals, Catholic Action swing by Scotland for a performance of their new material, released on Luv Luv Luv records.

Sun 02 Oct

HYPNOTIC BRASS ENSEMBLE

THE VOODOO ROOMS, 19:30–23:00, 22.5

HBE are seven brothers from the south side of Chicago who come from an extraordinarily musical family. They’ve performed Coachella, WOMAD AU, Jazz at Lincoln Center, The Sydney Opera House and Carnegie Hall.

BANNERMANS, FROM 19:30, £15 - £18

The legendary W.A.S.P. Guitar player joins us with his new band for a selection of solo and W.A.S.P. tracks

CATHOLIC ACTION

BATTLE OF THE BANDS

HENRY’S CELLAR BAR, 19:00–22:00, £4 - £6

A monthly night of live music and experimental performing arts. Funky and idiosyncratic – think Zorn and Ornette meet Beefheart, James Brown and Philip Glass in a basement bar. CHANTEL MCGREGOR

THE CAVES, 19:00–22:00, £14

Yorkshire singer/songwriter working her virtuoso guitar magic on the blues genre. TINA MAY + ENRICO PIERANUNZI

THE QUEEN’S HALL, FROM 20:00, £16

Jazz singer Tina May joins acclaimed pianist Enrico Pieranunzi for a performance of their 2015 album Home is Where the Heart Is.

Fri 30 Sep THE WONDER STUFF

THE LIQUID ROOM, 19:00–22:00, £20

30 years since the The Wonder Stuff’s first rehearsal in the The Black Country, the group returned to their roots to record their latest album in Stourbridge and are now back on tour with a new arsenal of material. TINNITUS TRANSFER

HENRY’S CELLAR BAR, 19:00–22:00, £5

The local rock outfit make a rare outing in Edinburgh. I.D.O.L (THE NORTHERN + WONDERBOY + FUZZYSTAR)

CABARET VOLTAIRE, 19:00–22:00, £5 - £7

A night of live tunes, featuring homegrown pop from I.D.O.L, rock from Glasgow band The Northern, alty pop-rock from Wonderboy and lo-fi indie from the strictly lowercase fuzzystar. HEIDI TALBOT

THE QUEEN’S HALL, FROM 19:30, £10 - £17

One week after the release of her new album Here We Go, 1, 2, 3, Co Kildare singer-songwriter Heidi Talbot takes to the Queen’s Hall stage for live performance. TEENCANTEEN (BOOHOOHOO + AGONY AUNT)

SNEAKY PETE’S, FROM 19:30, £7

E’er sparkly power poppers TeenCanteen celebrate the release of new album Say It All With a Kiss.

SVETLINA STOYANOVA + KRISTINA YORGOVA

USHER HALL, FROM 11:00, £3

Lucky enough to have Monday morning off? Get yourself along to Usher Hall’s Emerging Artists series and catch award winning Bulgarian duo of RCS students Svetlina Stoyanova and Kristina Yorgova.

Find full listings at theskinny.co.uk/whats-on

Sun 25 Sep

BUSKERS, FROM 20:00, £6

THE LIQUID ROOM, 19:00–22:00, £5

CLICK CLACK (DEAD WHITE MALES)

BEAT GENERATOR LIVE!, FROM 20:00, £8

Following their SAY Award-nominated Now That You Are a Dancer and July release Faulty Inner Dialogue, Kid Canaveral take to the road for a bunch of live gigs.

Thu 29 Sep

THE VOODOO ROOMS, 19:30–23:00, 0

KID CANAVERAL

The glamorous American trio of crooners known for tunes like When Will I See You Again and Take Good Care of Yourself perform a show in Dundee.

CHRIS HOLMES (TOMBSTONE CROW + NEST OF VIPERS)

Get some of Marilyn Carino’s torchy, existential electro-soul and otherworldly vocals at Voodoo Rooms this autumn.

BUSKERS, FROM 11:00, £15

Philanthropic lad that he is, Oasis-discoverer Alan McGhee has launched a charity to combat homelessness through a series of UK gigs. Expect eight or nine bands, all curated by Buskers themselves.

THE THREE DEGREES

Regular blues club taking in touring blues acts from the UK and beyond.

MARILYN CARINO

MUSICIANS AGAINST HOMELESSNESS GIG (HURRICANE #1 + THE MIRROR TRAP + THE PHANTOMS)

THE GARDYNE THEATRE, FROM 19:30, £27.50

THE VOODOO ROOMS, 19:00–23:00, £15

Edinburgh’s best come together for a classic battle of the bands.

Sat 24 Sep

Dundee Music Wed 07 Sep AMERICAN LIFE

CAIRD HALL, FROM 19:30, £5 - £12

A sonic saunter through a North American Landscape in a night of rich music with the Scottish Ensemble.

Thu 08 Sep DELAMERE

BUSKERS, FROM 20:00, £5

Stoke four-man who’ve supported the likes of Palma Violets and Peace, now out headlining their own shows with their recent singes Bright Young Things and Heart in tow.

Fri 09 Sep NORTH ATLAS

After Sauntering round the UK’s festivals, Catholic Action swing by Scotland for a performance of their new material, released on Luv Luv Luv records. LULO REINHARDT WITH ANDRÉ KRENGEL

THE GARDYNE THEATRE, FROM 19:30, £14 - £15

A night of dynamic, versatile guitar playing and unique technique from two acclaimed virtuosos.

Fri 30 Sep THE SHEE

CAIRD HALL, FROM 19:30, £10 - £12

Glasgow Clubs

BUSKERS, FROM 19:30, £5

If you’re into your Clyro and Nine Inch Nails, get yourself to Stereo for a slammer of a show from North Atlas that’ll leave your ears ringing with joy.

Wed 14 Sep

VERA GRACE (REVELATION)

BUSKERS, 19:00–23:00, £5

Oxfordshire five-man who deal in atmospheric, heavier stuff.

Fri 16 Sep

BABY STRANGE (SAHARA + THE UN-ROMANTICS)

BUSKERS, FROM 20:00, £7

Glaswegian three-piece punk band (with a dash of grunge) veering between drones and dirges, wearing their art and world views on their sleeve.

Sun 18 Sep SAINT PHNX

BUSKERS, FROM 19:00, £7.50

SHOW (MK)

CATHOUSE SATURDAYS

SUB CLUB, 22:00–03:00, £15

CATHOUSE, 22:30–03:00, £5 - £6

Dance icon Marc Kinchen brings good vibes, eclectic samples and infectious beats to Edinburgh, with lights by KC.

Fri 09 Sep 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, £5

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like. CATHOUSE FRIDAYS

CATHOUSE, 22:30–03:00, £5 - £6

Screamy, shouty, post-hardcore madness to help you shake off the week’s stressors in true punk style. DEATHKILL4000

BLOC+, FROM 23:00, FREE

Cutting edge dark electro, hip-hop and post punk.

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’.

I AM (ILLYUS & BARRIENTOS + BETA & KAPPA) SUB CLUB, 23:00–03:00, £4 - £5

Kicking off their September proceedings are Subbie’s long-time friends and local up and comers, Illyus & Barrientos – no strangers to the Subbie temple. #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.

THE ART SCHOOL, 23:00–03:00, £4

Night of the Jaguar return for the next instalment of their series of monthly parties in the Vic with party punk supergroup Rapid Tan. LANCE VANCE DANCE

NICE ‘N’ SLEAZY, 23:30–03:00, £3

An adventure travelling through 70s funk, motown and 80s R’n’B, highlighted with glorious rays of disco sunshine. Or summat. WTF FRIDAYS (GARY SPENCE)

SHED, FROM 22:30, £4 - £6

Student-friendly Friday night party, playing (as one might expect) cheesy classics of every hue. KUNST X OFFBEAT

LA CHEETAH CLUB, 23:00–03:00, £5

Offbeat and Kunst residents play La Cheetah all night long. 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. HULLABBALOO GOLD

The Stereo basement is transformed into a flarey, platformed paradise for a funk and disco Abba night ft. Dom and Butsay on the ones and twos for the entire night.

Sat 10 Sep THE ROCK SHOP

MAGGIE MAY’S, FROM 22:00, £3 - £5

Rock, indie and golden indie classics with resident DJ Heather McCartney. LOVE MUSIC

O2 ABC, 23:00–03:00, £5

Saturday night disco manned by your man Gerry Lyons and guests.

WE SHOULD HANG OUT MORE (GRAND UNIFY GROOVES)

BEEHOVER (BURIED SLEEPER + DREICH)

BEAT GENERATOR LIVE!, FROM 19:30, £5

German rock duo on bass, drums and vocals – served up organic and straight from the guts.

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. BASSMENT (BOOM MERCHANT)

LA CHEETAH CLUB, 23:00–03:00, £3 - £5

Bassment welcome Boom Merchant to for the very first time. UNHOLY

CATHOUSE, 23:00–03:00, £2 - £4

Cathouse’s Thursday night rock, metal and punk mash-up. INVISIBLE CITY (DAVID BARBAROSSA)

NICE ‘N’ SLEAZY, 23:30–03:00, £3 - £5

H&P bring David Barbarossa to Sleazy’s for a ma-hoo-sive night.

BARE MONDAYS

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

BURN MONDAYS

Long-running trade night with Normski and Mash spinning the disco beats. F*CK ME I’TS FRESHERS

SWG3 GLASGOW, 22:00–03:00, £8 - £12

F*CK ME aims to bring a freshers’ experience of epic proportions at Glasgow’s SWG3.

Tue 13 Sep 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.

CORNUCOPIA (KATRINA COBAIN + BART WALTZ + JENS HENRIK THIS COULD BE US BUT YOU PLAYING + ECHO PARTY + SOFAY + SGAIRE + LEWIS) THE ART SCHOOL, 23:00–03:00, FREE

An admission-free night of performance, spoken word and live music at The Art School.

Wed 14 Sep

WOMAN 4 WOMAN (KYLE WEC + THE BURRELL CONNECTION)

NICE ‘N’ SLEAZY, 23:30–03:00, TBC

A night with head of West End Communications Kyle WEC, rising talent The Burrell Connection and Loose Joints co-founder / resident Chester in aid of the Genesis Research Trust. BEAST WEDNESDAYS

CATHOUSE, 23:00–03:00, £4

Pop punk, metalcore, house and EDM. Oh, and beer pong too.

MONSTER HOSPITAL

Euan Neilson plays the best in classic R’n’B and hip-hop.

BLOC+, FROM 23:00, FREE

Tue 20 Sep

Thu 08 Sep

Mon 12 Sep

Thu 15 Sep

THE GARAGE GLASGOW, FROM 23:00, £5 - £7

BUSKERS, FROM 19:00, £5 - £6

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.

LA CHEETAH CLUB, 23:00–03:00, £5

Subcity’s disco dons join Peter Panther and Shahaa Tops for a night of merriment and funk.

CATHOUSE, 23:00–03:00, £4

A carousel through genres at Buskers: Brighton-based emo pop from Moonoversun, dream pop from MØSS, folk electronica from Esperi and post-rock from Fifers Our Smallest Adventures.

SUNDAY SCIENCE

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

BUFF CLUB, 23:00–03:00, £3 - £5

Wed 07 Sep Pop punk, metalcore, house and EDM. Oh, and beer pong too.

Nick Peacock spins a Saturdayready selection of vintage disco, soul and funk.

NIGHT OF THE JAGUAR (RAPID TAN)

Indie rock’n’roll from the 60s to the 00s with resident tune-picker DJ Jopez.

Two ‘wegie bros playing their upbeat rock sounds at Buskers. MOONOVERSUN (MØSS + ESPIRI + OUR SMALLEST ADVENTURES)

NU SKOOL

BUFF CLUB, 23:00–03:00, £6 - £7

Lasers, bouncy castles and DJ Gav Somerville spinning out teasers and pleasers. Nice way to kick off the week, no?

JAMMING FRIDAYS

Botch meets Beyoncé DJ smash – a club night like no other.

BEAST WEDNESDAYS

Sun 11 Sep

MAGGIE MAY’S, FROM 22:00, £3 - £5

STEREO, FROM 23:00, TBC

Tue 06 Sep

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.

I LOVE GARAGE

HIP HOP THURSDAYS

BUFF CLUB, 23:00–03:00, £3 - £5

JELLY BABY

O2 ABC, 23:00–03:00, £6

Thursday nighter of chart, disco and party tunes. Can’t say fairer. STEREOTONE (CHESTER B2B WHEELMAN + BEAT BENEATH)

Garage by name, but not by musical nature. DJ Darren Donnelly carousels through chart, dance and classics, the Desperados bar is filled with funk, G2 keeps things urban and the Attic gets all indie on you.

Beat Beneath is a fantastic selector who runs a consistently brilliant show on Subcity. He joins Chester at Stereotone this September.

NICE ‘N’ SLEAZY, 23:30–03:00, £3

Cathouse’s Thursday night rock, metal and punk mash-up.

LUIGI MADONNA + ROBERTO CAPUANO

SWG3 GLASGOW, 22:00–02:00, £17.70

WRONG ISLAND: FUCKITY BYE

The very last Wrong Island. SWG3 GLASGOW, 21:00–02:00, £12.50 - £15

Incept brings in Luigi Madonna and Roberto Capuano to disseminate some massive Neapolitan techno at SWG3.

SUPERMAX 9TH BIRTHDAY PARTY (DJ BILLY WOODS)

LA CHEETAH CLUB, 23:00–03:00, £3 - £5

UNHOLY

CATHOUSE, 23:00–03:00, £2 - £4

MOS SOCIETY PAINT PARTY

A spectacle combining music, laster lights, UV cannons and hundreds of gallons of neon glow paint and pumping dance floors. Likely to leave a lasting impression on all those who are lucky enough to get tickets.

THE BERKELEY SUITE, 23:00–03:00, £8

Glasgow’s King of Disco, DJ Billy Woods, presides as usual, offering up lashings of top shelf disco tunes, rarities, and house grooves.

Listings

Glasgow Clubs PVC X HAWKCHILD DIY (MSSINGNO + CAKES DA KILLA + KAMIXLO + ULI K + MANARA) THE ART SCHOOL, 23:00–03:00, £5 - £7

Hawkchild DIY and PVC combine efforts to bring a wicked line-up to The Art School for a back-toschool bash. HIDE (GUY GERBER + JUNIOR G)

SUB CLUB, 23:00–03:00, £12

Israeli DJ who specialises in bittersweet beats and hip-hop euphoria playing a set with Hide at Subbie.

Fri 16 Sep 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, £5

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like.

TRIBAL PULSE (POLE FOLDER) STEREO, FROM 23:00, TBC

With releases on a handful of prestigious labels, including Bedrock, Global Underground, Renaissance and Sudbeat, electronic producer and DJ Pole Folder’s an ideal talent to lead this month’s Tribal Pulse and Stereo. CODE (PFIRTER & NICK MORROW)

LA CHEETAH CLUB, 23:00–03:00, £6 - £10

CODE bring Argentinian DJ and producer Pfiter back to La Cheetah for another of his trademark DJ sets. I LOVE GARAGE

THE GARAGE GLASGOW, FROM 23:00, £5 - £7

CATHOUSE, 22:30–03:00, £5 - £6

COOLY G (CRAZY COUSINZ FALLOW + LETITIA PLEIADES + HOTBOYZ + DVSTY B2B HAREEM)

JAMMING FRIDAYS

Nothing but UK funk, garage, bassline, niche, 4x4 and speed garage, all night long at The Art School.

CATHOUSE FRIDAYS

Screamy, shouty, post-hardcore madness to help you shake off the week’s stressors in true punk style. MAGGIE MAY’S, FROM 22:00, £3 - £5

Indie rock’n’roll from the 60s to the 00s with resident tune-picker DJ Jopez. ENJOYABLE MOMENT

BLOC+, FROM 21:00, FREE

Cosmic Dead-curated avanteelectro psyche-out DJs in a hyphentastic night from Bloc. WTF FRIDAYS (GARY SPENCE)

SHED, FROM 22:30, £4 - £6

Student-friendly Friday night party, playing (as one might expect) cheesy classics of every hue. 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. 12TH ISLE

NICE ‘N’ SLEAZY, 23:30–03:00, £3

Outsider heavy beats, fully facilitating a fresh night out. 10 YEARS OF HYPERCOLOUR (MATTHEW HERBERT + CEDRIC MAISON + WARDY + DOM D’SYLVA)

LA CHEETAH CLUB, 23:00–04:00, £10 - £12

To celebrate 10 years of the Hypercolour imprint, the label teams up with La Cheetah to bring back the fantastic Matthew Herbert. HIGH RISE 010 (JUNE)

STEREO, FROM 23:00, £5 - £7

Summer’s out, school’s in, and High Rise return with Berlin-based labelhead June (of June Records) in tow, making a Scottish debut for the Stereo crowd. HANDPICKED X FROGBEATS: ART SCHOOL TAKEOVER

THE ART SCHOOL, 23:00–03:00, TBC

Hip-hop and jungle takeover by the Frogbeats and Handpicked crews with guests DJ Vadim and Suff Daddy. CONCRETE: 5TH ANNIVERSARY TOUR (FRANCOIS X + ANTIGONE)

SUB CLUB, 23:00–03:00, £8 - £12

Celebrating half a decade of French techno hotbed Concrete with Francois X and Antigone for a debut show in Scotland.

Sat 17 Sep THE ROCK SHOP

MAGGIE MAY’S, FROM 22:00, £3 - £5

Rock, indie and golden indie classics with resident DJ Heather McCartney. LOVE MUSIC

O2 ABC, 23:00–03:00, £5

Saturday night disco manned by your man Gerry Lyons and guests. SINGLES NIGHT

NICE ‘N’ SLEAZY, 23:30–03:00, £3

Pop, disco and rock action at Sleazy’s Singles Night. FANTASTIC MAN

BLOC+, FROM 21:00, FREE

Incoherent madness for those with a deathwish; the worst clubnight in the world.

Listings

THE ART SCHOOL, 23:00–03:00, £5 - £7

CATHOUSE SATURDAYS

CATHOUSE, 22:30–03:00, £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.

Wed 21 Sep NOT MOVING

NICE ‘N’ SLEAZY, 23:30–03:00, FREE

Golden Teacher and Dick 50 DJs spinning outer-national sounds. BEAST WEDNESDAYS

CATHOUSE, 23:00–03:00, £4

Pop punk, metalcore, house and EDM. Oh, and beer pong too. FATIMA YAMAHA

SUB CLUB, 23:00–03:00, £8 - £12

The Dutch electronic producer, whose real name is Bas Bron, launches his Imaginary Lines tour at Subbie.

Thu 22 Sep 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. HAVEN (FORBES, PLATTS & RESIDENTS)

LA CHEETAH CLUB, 23:00–03:00, £0 - £3

Forbes and Platts play again for HAVEN before the residents take over for an anything goes affair. UNHOLY

CATHOUSE, 23:00–03:00, £2 - £4

Cathouse’s Thursday night rock, metal and punk mash-up. HOT HOUSE

NICE ‘N’ SLEAZY, 23:30–03:00, FREE

Cat Reilly spins the best in joyous party magic.

Sun 18 Sep

LEISURE SYSTEM (JIMMY EDGAR) (HUBIE DAVISON + N>E>D)

BUFF CLUB, 23:00–03:00, £6 - £7

Berlin-based Detroiter Jimmy Edgar heads up a night at Sub Club with Irish talent Hubie Davison and DJ N>E>D

NU SKOOL

Nick Peacock spins a Saturdayready selection of vintage disco, soul and funk. SUNDAY SCIENCE

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

SUB CLUB, 23:00–03:00, £10 - £15

RA In Residence shines a limelight on the world’s top clubbing venues ? and of course good ol’ Sub Club made the hit-list. This is the first in a series of specially curated nights this month at the venue. ALL U NEED X MIAMI VICE

BUFF CLUB, 23:00–03:00, TBC

An experience designed to transport you to Miami circa 1984 ft. Ricky Diaz, Alejandro Rodriguez, Buck Finn, Samuel Lopez and Sonny Forelli and live band Angel Eyes.

Mon 19 Sep BARE MONDAYS

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

Lasers, bouncy castles and DJ Gav Somerville spinning out teasers and pleasers. Nice way to kick off the week, no? BURN MONDAYS

BUFF CLUB, 23:00–03:00, £3 - £5

Long-running trade night with Normski and Mash spinning the disco beats.

Tue 20 Sep 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

SUB CLUB, 23:00–03:00, £8

Fri 23 Sep 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 (TWIN ATLANTIC (DJ SET)) O2 ABC, 23:00–03:00, £5

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like. CATHOUSE FRIDAYS

CATHOUSE, 22:30–03:00, £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, FROM 22:00, £3 - £5

Indie rock’n’roll from the 60s to the 00s with resident tune-picker DJ Jopez. SUGO

BLOC+, FROM 23:00, FREE

Shake what you got to the sound of the best of the worst Italo/Euro trash from the last four decades. WTF FRIDAYS (GARY SPENCE)

SHED, FROM 22:30, £4 - £6

Student-friendly Friday night party, playing (as one might expect) cheesy classics of every hue. 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. DONUTS

NICE ‘N’ SLEAZY, 23:30–03:00, £3

Incredible bangers that’ll ‘drip off every face delightfully’, apparently.

LA CHEETAH CLUB X PARTIAL (MORITZ VON OSWALD + EWAN + ADLER + WARDY) LA CHEETAH CLUB, 23:00–04:00, £8 - £10

Indoor hot tubs, inflatables as far as the eye can see and a Twitter feed dedicated to validating your drunk-eyed existence.

Partial team up with La Cheetah Club to celebrate their second birthday. They’ve invited Dub Techno pioneer Moritz Von Oswald, so shit’s likely to get mad.

SUB CLUB, 23:00–03:00, £0 - £5

SWG3 GLASGOW, 21:00–02:00, £16

I AM: 6TH BIRTHDAY BASH (BETA & KAPPA)

How the years have flown by. i Am celebrates its status a Glasgow clubbing scene staple with a massive night, offering free entry before 11.30pm.

UMMET OZCAN

Turkish Dutch DJ and in-demand talent Ummet Ozcan adds SWG3 to his lost of international live show dates.

RA IN RESIDENCE (AUDION + JUNIOR + BARRY PRICE) SUB CLUB, 23:00–03:00, £10 - £15

RA In Residence shines a limelight on the world’s top clubbing venues – and of course good ol’ Sub Club made the hit-list. This is the second in a series of specially curated nights this month at the venue.

Sat 24 Sep THE ROCK SHOP

MAGGIE MAY’S, FROM 22:00, £3 - £5

Rock, indie and golden indie classics with resident DJ Heather McCartney. LOVE MUSIC

O2 ABC, 23:00–03:00, £5

Saturday night disco manned by your man Gerry Lyons and guests. NOTSOSILENT (GERD)

LA CHEETAH CLUB, 23:00–03:00, £8 - £10

notsosilent returns after a short hiatus to celebrate four years. They invite Clone records affiliate Gerd to help blow out the candles.

4THIRTYTWO (RICHY AHMED) SUB CLUB, 23:00–03:00, £12

Party ‘til the crack of dawn at Subbie with British house renaissancedriver Richy Ahmed.

Mon 26 Sep BARE MONDAYS

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

Lasers, bouncy castles and DJ Gav Somerville spinning out teasers and pleasers. Nice way to kick off the week, no? BURN MONDAYS

BUFF CLUB, 23:00–03:00, £3 - £5

Long-running trade night with Normski and Mash spinning the disco beats.

Tue 27 Sep KILLER KITSCH

BUFF CLUB, 23:00–03:00, £3 - £5

BLOC+, FROM 23:00, FREE

Eclectic midweeker playing the best in house, techno and electronic – or, in their words ‘casually ignoring shite requests since 2005’.

SHAKA LOVES YOU

THE GARAGE GLASGOW, FROM 23:00, £0 - £4

MONSTER HOSPITAL

Botch meets Beyoncé DJ smash – a club night like no other. NICE ‘N’ SLEAZY, 23:30–03:00, £3

Hip-hop and live percussion flanked by wicked visuals. I LOVE GARAGE

THE GARAGE GLASGOW, FROM 23:00, £5 - £7

O2 ACADEMY GLASGOW, 20:00–03:00, £24.50

A full laser and light show with a line-up featuing the above and more. It also coincides with your bank holiday, handily. BASS TONIK (PJ COYLE + BURDY B2B)

STEREO, FROM 23:00, £3 - £5

#TAG TUESDAYS

Indoor hot tubs, inflatables as far as the eye can see and a Twitter feed dedicated to validating your drunk-eyed existence. I AM: 90S RAVE! (BETA & KAPPA)

SUB CLUB, 23:00–03:00, £4 - £5

Back by popular demand following two sold out nights in Sub Club and a barrage of requests for more of the same. Ask and you shall receive, it seems.

Wed 28 Sep DRUG STORE GLAMOUR

NICE ‘N’ SLEAZY, 23:30–03:00, FREE

Trashy, tacky, glamorous and ridiculous. Oh, and fun, too. Very fun. BEAST WEDNESDAYS

CATHOUSE, 23:00–03:00, £4

Pop punk, metalcore, house and EDM. Plus beer pong!

Thu 29 Sep HIP HOP THURSDAYS

MUNGO'S HI FI SOUNDSYSTEM

RA IN RESIDENCE (BARNT + VIRGINIA + HARRI & DOMENIC)

SUB CLUB, 23:00–03:00, £10 - £15

RA In Residence shines a limelight on the world’s top clubbing venues – and of course good ol’ Sub Club made the hit-list. This is the third in a series of specially curated nights this month at the venue. CATHOUSE SATURDAYS

CATHOUSE, 22:30–03:00, £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.

Sun 25 Sep NU SKOOL

BUFF CLUB, 23:00–03:00, £6 - £7

Nick Peacock spins a Saturdayready selection of vintage disco, soul and funk. SUNDAY SCIENCE

THE GARAGE GLASGOW, FROM 23:00, £3 - £4

SWG3 GLASGOW, 22:00–03:00, £15 £16.50

Berlin based duo Booka Shade have carved out a reputation as one of the most celebrated electronic acts to come out of Europe over the past two decades. Catch ‘em in Glasgow this Autumn.

Gone are the days of So Weit So Gut. Witness the birth of something new. 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. EZUP: GRIME TAKEOVER (MFTM)

LA CHEETAH CLUB, 23:00–03:00, £8

Ezup are joined by Scottish grime collective MFTM as well as some local spinners.

SQIFF! BAR WOTEVER PARTY (INGO CANDO + ADAM ALL + LAURIE BROWN + SG…IRE WOOD + DJ JUNGLE HUSSY)

THE ART SCHOOL, 23:00–03:00, £6

Purveyors of all things queer in Londontown, Bar Wotever hits Glasgow for a special collaboration with SQIFF. RA IN RESIDENCE (OPTIMO + SELVAGEM)

SUB CLUB, 23:00–03:00, £10 - £15

RA In Residence shines a limelight on the world’s top clubbing venues – and of course good ol’ Sub Club made the hit-list. This is the fourth in a series of specially curated nights this month at the venue.

Sat 01 Oct

DANCEHALL CARNIVAL

THE ART SCHOOL, 23:00–03:00, £6 - £10

Fend of the October chills with a sweatfest ft. Heatwave playing dancehall, reggaeton, soca and bashment.

PROPAGANDA

THE LIQUID ROOM, 22:30–03:00, £4 - £5

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like. POP TARTS

ELECTRIC CIRCUS, 22:30–03:00, £0 - £3

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.) XY (BENTON + BLEAKER)

LA BELLE ANGELE, 23:00–03:00, TBC

XY present the first event in their Semester 1 series, featuring Benton (Swamp81) and Bleaker (Uttu). ELECTRIKAL

THE BONGO CLUB, FROM 23:00, £4 - £6

Soundsystem party-starters, part of a music and art collective specialising in all things bass. FLIP

THE HIVE, 22:00–03:00, £0 - £3

Yer all-new Friday at Hive. Cheap entry, inevitably danceable, and novelty-stuffed. Perrrfect. DISORDER (JACKHAMMER)

THE MASH HOUSE, 23:00–03:00, £5

Disorder hosts a Jackhammer showcase, with Keyte and Wolfjazz b2b in the main room.

Sat 10 Sep TEASE AGE

CITRUS CLUB, 22:30–03:00, £0 - £5

Long-running indie, rock and soul night, traversing the spectrum of classic and modern. MUMBO JUMBO

THE BONGO CLUB, FROM 23:00, £3 - £7

Funk, soul, beats and mash-ups from the Mumbo Jumbo regulars and pals. BUBBLEGUM

THE HIVE, 21:00–03:00, £0 - £4

Saturday mix of chart and dance, with retro 80s classics thrown in for good measure.

O2 ABC, 23:00–03:00, £5

Edinburgh Clubs

UNHOLY

CATHOUSE, 23:00–03:00, £2 - £4

Cathouse’s Thursday night rock, metal and punk mash-up.

Tue 06 Sep

LA CHEETAH CLUB, 23:00–03:00, £6 - £8

Alternative Tuesday anthems cherrypicked from genres of rock, indie, punk, retro and more.

ELECTRIC SALSA (HAPPA)

Leeds based techno producer who is not yet two decades old, yet already has gigs at Berghain, Awakenings and Warehouse Project under his belt. BREAKFAST CLUB

NICE ‘N’ SLEAZY, 23:30–03:00, FREE

Gerry Lyons delivers 80s and 90s pop and rock hits.

VICIOUS CREATURES: 3RD BIRTHDAY (LATE NITE TUFF GUY) SUB CLUB, 23:00–03:00, £8

Vicious Creatures celebrate their birthday with nothing but acid soaked cosmic disco courtesy of renowned producer Late Nite Tuff Guy.

Fri 30 Sep 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, £5

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like. CATHOUSE FRIDAYS

CATHOUSE, 22:30–03:00, £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, FROM 22:00, £3 - £5

Indie rock’n’roll from the 60s to the 00s with resident tune-picker DJ Jopez. SHAKE APPEAL

BLOC+, FROM 21:00, FREE

Six decades of rock’n’roll on under one roof. Hosted by DJ trivium.

TRASH

THE HIVE, 22:00–03:00, FREE

NOTION

THE BONGO CLUB, FROM 23:00, £3

I Love Hip Hop is dead. This is Bongo’s brand spangling new Tuesday night house and techno party featuring TLFT boss, DJ and producer Telfort, Greenman and H&P faves Hi & Saberhägen.

ELECTRIC CIRCUS, 22:30–03:00, £5 - £6

Expect only the best pop tunes from the 50s, 60s and 70s at this retro pop club night. TEESH (RÜF DUG + DJ CHEERS)

SNEAKY PETE’S, 23:00–03:00, £7

A debut appearance at Sneaky Pete’s, and first Edinburgh show from RüF Dug, boss of Manchbased imprint RüF KuTZ. ALEX MINE

LA BELLE ANGELE, 23:00–03:00, TBC

Phonik bring rising star of Dunfire’s SCI+TEC label Alex Milne to LBA. TWEAK_ (SIMON BAYS)

CABARET VOLTAIRE, 23:00–03:00, £6

Sun 11 Sep

WITNESS (ROSS BLACKWAX + FAULT LINES + SKILLIS + SQUELCHY)

Weekly bass institution hosted by DJ Believe and friends.

SNEAKY PETE’S, 23:00–03:00, £2

COALITION

SNEAKY PETE’S, FROM 23:00, FREE

THE CLUB

THE HIVE, 22:00–03:00, FREE

Thu 08 Sep

Two rooms of all the chart, cheese and indie-pop you can think of/ handle on a Sunday.

SNEAKY PETE’S, 23:00–03:00, £0 - £2

Mon 12 Sep

JUICE (KA MI + DAN JUICE + DECLAN)

Dan, Declan and Kami make weird waves through house and techno. HULLABALOO

THE BONGO CLUB, FROM 23:00, £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.

ODYSSEY. 001 (PATRICK TOPPING) (KHALID HUSSAIN + NICK PRICE) CABARET VOLTAIRE, 23:00–03:00, £10

Fast rising Hot Creations star Patrick Topping returns to the city at which he studied his degree for a knees-up with Oddyssey.

SHAPEWORK 003 (BATU)

THE MASH HOUSE, 23:00–03:00, £4 - £7

Bristolian bassweight champ Batu takes the decks at Shapework’s third party.

Wed 14 Sep 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, FROM 23:00, £7

Hella fun midweek throwdown playing soul, funk, jazz, ska, disco and more. OVERGROUND: ASQITH (WRISK)

THE MASH HOUSE, 23:00–03:00, £5.50 - £8

Lo-fi lords Lobster Theremin bring their wares to The Mash House in the form of Asquith; expect house, techno, electro and more.

Thu 15 Sep

JUICE (KA MI + DAN JUICE + DECLAN)

SNEAKY PETE’S, 23:00–03:00, £0 - £2

Dan, Declan and Kami make weird waves through house and techno. HULLABALOO

THE BONGO CLUB, FROM 23:00, £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

LA BELLE ANGELE, 23:00–03:00, FREE

THE HIVE, 22:00–03:00, FREE

House, garage and bass adventures with Blackwax and Faultlines.

NOTION

THE BONGO CLUB, FROM 23:00, £3

I Love Hip Hop is dead. This is Bongo’s brand spangling new Tuesday night house and techno party featuring TLFT boss, DJ and producer Telfort, Greenman and H&P faves Hi & Saberhägen.

BEEP BEEP, YEAH! (BEBOP-ATALLAH + AT THE HOP DJS)

Wed 07 Sep Resident midweek student rammy of chart, club and electro hits.

An eclectic mix of quality underground house techno and breaks for your dancing pleasure, featuring David Magowan, Flouche Records Nottingham and guests.

HENRY’S CELLAR BAR, 23:00–03:00, £4 - £6

Tweak_ co-founder Simon Bays chucks out some minimal grooves in the CabVol main room.

TELEVISION LA BELLE ANGELE, 23:00–03:00, FREE

Early weekend-welcoming (y’know, for students) chart anthems, bolstered by hip-hop, R’n’B and urban in the back room.

JELLY BABY

Thursday nighter of chart, disco and party tunes. Can’t say fairer.

THE ART SCHOOL, 23:00–03:00, £5 - £15

DOMESTIC EXILE

NICE ‘N’ SLEAZY, 23:30–03:00, £3

CITRUS CLUB, 23:30–03:00, £5

Distinctly retro selections from 1960 to 1999, moving from Abba to ZZ Top.

DR NO’S

CLASSIC GRAND, 18:00–03:00, £5 - £8

More heavyweight selections from Mungo’s Soundsystem, playing a full soundsystem set for your Saturday night pleasure.

WTF FRIDAYS (GARY SPENCE)

SHED, FROM 22:30, £4 - £6

Student-friendly Friday night party, playing (as one might expect) cheesy classics of every hue.

PLANET EARTH

Ska, rocksteady and boss reggae at Dr No’s.

Euan Neilson plays the best in classic R’n’B and hip-hop.

Cos-Con throw an unofficial Comic Con afterparty, welcoming the party animals of the cosplay crowd for a night of geeky bevving and top tunes. There’s also word of a lip sync battle.

THE ART SCHOOL, 23:00–03:00, £4 - £5

SYS continue their regular-irregular-semi-regular-oh-whatever slot at the Art School.

Fri 09 Sep

BUFF CLUB, 23:00–03:00, £3 - £5

A night of drum and bass and jungle from three local DJs surfing the waves of this summer’s festival season. COS-CON AFTERPARTY

SHOOT YOUR SHOT (HUSH + SYCOPHANTASY)

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.

MINDSET (GARETH SOMERVILLE AND SIMON BAYS)

SNEAKY PETE’S, 23:00–03:00, £5

Strictly House Grooves with Gareth Sommerville (Ultragroove) and Simon Bays (Tweak_). EAST COAST ENDS: FRESHERS SPECIAL

THE CAVES, 23:00–03:00, £5

UK funk, garage and grime laid out especially for the fresher community.

Tue 13 Sep TRASH

THE HIVE, 22:00–03:00, FREE

Alternative Tuesday anthems cherrypicked from genres of rock, indie, punk, retro and more.

CIRQUE

A house and techno night serving up a generous dose of up-andcoming local talent. SKIN DEEP: 90S RAVE

CABARET VOLTAIRE, 23:00–03:00, £3 - £6

Part two of Skin Deep’s throwback rave, with a soundtrack ringing of acid, house, techno and massive nostalgic anthems.

CHURCH 1.1: SKEPSIS (DIEGO & TEMI + BEN ASHMORE + TOM GRAHAM B2B ALEX DAVIDSON) THE MASH HOUSE, 23:00–03:00, £4 - £5

New Cowgate party-chuckers Church Edinburgh get set to impress at The Mash House with a two-hour set from UK bass talent talent Skepsis.

GAME OF THRONES RAVE (KRISTIAN NAIRN)

POTTERROW, 21:00–03:00, £10

An utterly ridiculous yet somewhat attractive concept; a rave with GoT’s very own Hodor.

Fri 16 Sep FOUR CORNERS

THE BONGO CLUB, FROM 23:00, £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, 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, £4 - £5

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like. POP TARTS

ELECTRIC CIRCUS, 22:30–03:00, £0 - £3

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.) MISSING PERSONS CLUB

THE MASH HOUSE, 23:00–03:00, £0 - £5

MPC bring the party from Glasgow’s La Cheets all the way across the central belt to Edinburgh’s Mash House. Free before 12pm – act fast.

THE SKINNY

Edinburgh Clubs

Wed 28 Sep

FLIP

TELEVISION

BUBBLEGUM

THE HIVE, 22:00–03:00, £0 - £3

LA BELLE ANGELE, 23:00–03:00, FREE

THE HIVE, 21:00–03:00, £0 - £4

WITNESS (ROSS BLACKWAX + FAULT LINES + SKILLIS + SQUELCHY)

Yer all-new Friday at Hive. Cheap entry, inevitably danceable, and novelty-stuffed. Perrrfect. L’ANATOMIE (MARCUS WORGULL)

SNEAKY PETE’S, 23:00–03:00, £5 - £7

L’anatomie’s first party presents the sounds of legendary Berlin label Innervisions, through Marcus Worgull, a man who has been an intrinsic part of its rise to prominence over the last decade. FLY: DENIS SULTA’S SULTA SHAKEDOWN

CABARET VOLTAIRE, 23:00–03:00, £10

Edinburgh and Glasgow-straddling night, with a powerhouse of local residents joined by a selection of guest talent.

Sat 17 Sep TEASE AGE

CITRUS CLUB, 22:30–03:00, £0 - £5

An eclectic mix of quality underground house techno and breaks for your dancing pleasure, featuring David Magowan, Flouche Records Nottingham and guests. NOTION

THE BONGO CLUB, FROM 23:00, £3

I Love Hip Hop is dead. This is Bongo’s brand spangling new Tuesday night house and techno party featuring TLFT boss, DJ and producer Telfort, Greenman and H&P faves Hi & Saberhägen.

Wed 21 Sep

SNEAKY PETE’S, 23:00–03:00, £0 - £2

LOCO KAMANCHI

THE BONGO CLUB, FROM 23:00, £4 - £5

Thu 22 Sep

JUICE (KA MI + DAN JUICE + DECLAN)

SNEAKY PETE’S, 23:00–03:00, £0 - £2

Saturday mix of chart and dance, with retro 80s classics thrown in for good measure.

Dan, Declan and Kami make weird waves through house and techno.

THE BONGO CLUB, FROM 23:00, £4 - £6

Mash-up of beats, breaks and hip-hop from Trendy Wendy and Steve Austin.

BIG ‘N’ BASHY

Mighty mix of reggae, grime, dubstep and jungle played by inimitable residents Brother Most Righteous, Skillis, Era and Deburgh. POP ROCKS

ELECTRIC CIRCUS, 22:30–03:00, £5 - £6

Pop and rock gems, taking in motown, 80s classics and plenty danceable fare (well, the Beep Beep, Yeah! crew are on decks after all). WASABI DISCO (KRIS WASABI)

SNEAKY PETE’S, 23:00–03:00, £5

Kris Wasabi’s notorious sleazy disco, house and techno night.

NIGHTVISION (GROOVE ARMADA + DARRIUS SYROSSIAN)

THE LIQUID ROOM, 19:00–22:00, £20

Jungle play a DJ set inevitably packed with tropical percussion, wildlife noises, falsetto yelps, psychedelic washes and badoinking bass as part of Nightvision’s series launch.

UNITY (BENNY PAGE + JINX IN DUB + PARLY B) LA BELLE ANGELE, 22:30–03:00, £8 - £12

HULLABALOO

THE BONGO CLUB, FROM 23:00, £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. CIRQUE

LA BELLE ANGELE, 23:00–03:00, FREE

A house and techno night serving up a generous dose of up-andcoming local talent.

Fri 23 Sep 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, £4 - £5

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like. POP TARTS

ELECTRIC CIRCUS, 22:30–03:00, £0 - £3

A solid night of drum & bass, reggae and hip-hop with a stellar line up featuring headliner Benny Page.

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.)

CABARET VOLTAIRE, 23:00–03:00, £5 - £7

SNEAKY PETE’S, 23:00–03:00, £0 - £5

GASOLINE DANCE MACHINE (MOSCOMAN + CHEAP PICASSO)

Straight-up boogie and Easternpeppered house and techno from Moscoman and the GDM crew.

Sun 18 Sep

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.

Mon 19 Sep 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.

MINDSET (GARETH SOMERVILLE AND SIMON BAYS)

SNEAKY PETE’S, 23:00–03:00, £5

Strictly House Grooves with Gareth Sommerville (Ultragroove) and Simon Bays (Tweak_).

Tue 20 Sep TRASH

THE HIVE, 22:00–03:00, FREE

Alternative Tuesday anthems cherrypicked from genres of rock, indie, punk, retro and more.

SOULSVILLE

MINIVAL (DEATH ON THE BALCONY)

Eclectically deft producers Death On The Balcony fuse disco, house and deep techno. Years of dedicated musical passion and an appreciation of numerous genres have lead to their sound receiving popularity across the board. HEADSET

THE BONGO CLUB, FROM 23:00, £5

Fledgling night mixed up by a selection of Edinburgh DJs, including the chaps behind the Witness, Coalition and Big ‘n’ Bashy nights. FLIP

THE HIVE, 22:00–03:00, £0 - £3

Yer all-new Friday at Hive. Cheap entry, inevitably danceable, and novelty-stuffed. Perrrfect. SUSPENSION GLOBAL: OPENING PARTY (FJR + J.MASAKI)

LA BELLE ANGELE, 23:00–03:00, £10 - £20

Introducing: Suspension – a festival-inspired event from Horizon following the success of their annual Back To School welcome event. NSA (OPTIMO)

THE MASH HOUSE, 23:00–03:00, £13

THE HIVE, 22:00–03:00, FREE

Resident midweek student rammy of chart, club and electro hits.

Chicago house legend Derrick Carter visits Edinburgh in an event which will double up as an after party for Fly Open Air Festival at Princes St. Gardens. TWEAK_ (HARRI & DOMENIC)

CABARET VOLTAIRE, 23:00–03:00, £6

Harri & Domenic leave behind the Subbie booth for a night as they get involved in the Tweaky action at CabVol. FLY OPEN AIR PARTY

PRINCES STREET GARDENS, 12:00–22:00, £32.50 - £39.50

Brave to throw an outdoor fest in September, but with a line-up ft. Booka Shade, Detriot Swindle, Mr G and Motor City Drum Ensemble, the weather suddenly becomes pretty irrelevant...

Sun 25 Sep

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 (GROUNDSKEEPER FANNY & FRIENDS)

ELECTRIC CIRCUS, 22:30–03:00, FREE

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.

Mon 26 Sep 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.

MINDSET (GARETH SOMERVILLE AND SIMON BAYS)

THE BONGO CLUB, FROM 23:00, £4 - £5

Hella fun midweek throwdown playing soul, funk, jazz, ska, disco and more. HULLABALOO

Mash-up of beats, breaks and hip-hop from Trendy Wendy and Steve Austin. HI-SOCIETY

TELEVISION

LA BELLE ANGELE, 23:00–03:00, FREE

An eclectic mix of quality underground house techno and breaks for your dancing pleasure, featuring David Magowan, Flouche Records Nottingham and guests. NOTION

THE BONGO CLUB, FROM 23:00, £3

I Love Hip Hop is dead. This is Bongo’s brand spangling new Tuesday night house and techno party featuring TLFT boss, DJ and producer Telfort, Greenman and H&P faves Hi & Saberhägen.

Sat 10 Sep

SNEAKY PETE’S, 23:00–03:00, £0 - £5

BUSKERS, 22:00–02:00, £10

LOCARNO

Midland (AKA Harry Agius) gets involved at Juice, bringing his knack for mixing techno and disco to the Sneaky’s fray.

A night dedicated to the 50s and 60s that’s been running for over half a decade.

LA BELLE ANGELE, 23:00–03:00, FREE

Thu 15 Sep

CIRQUE

A house and techno night serving up a generous dose of up-andcoming local talent.

Fri 30 Sep 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, £4 - £5

Clubber’s favourite of indie classics and baggy greats, from Primal Scream and the like. MJÖLK

WEE RED BAR, 22:30–03:00, £4 - £5

Swedish indie pop club at the Wee Red. SURE SHOT

ELECTRIC CIRCUS, 22:30–03:00, £2 - £4

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. NIGHTVISION (JUNGLE (DJ SET))

LA BELLE ANGELE, 22:00–03:00, £12.50 - £15

Jungle play a DJ set inevitably packed with tropical percussion, wildlife noises, falsetto yelps, psychedelic washes and badoinking bass as part of Nightvision’s series launch. SUBSTANCE (BEN UFO + GAVIN RICHARDSON + VELOCITY FUNK)

THE BONGO CLUB, FROM 23:00, £15

FLIP

THE HIVE, 22:00–03:00, £0 - £3

ROUGH CUT

HENRY’S CELLAR BAR, 23:00–03:00, £5

Live cuts from the flipside of electronics. An alternative electronic music night showcasing live electronic acts and top upand-coming DJs. NOTSOSILENT: 4TH BIRTHDAY

SNEAKY PETE’S, 23:00–03:00, £8

The notsosilent crew mark four years of parties with a very special guest.

Sat 01 Oct

MESSENGER SOUND SYSTEM

THE BONGO CLUB, FROM 23:00, £6 - £7

Conscious roots and dub reggae rockin’ from the usual beefy Messenger soundsystem.

Big dog duo Optimo get involved at NSA in The Mash House, with No Strings Attached and Hectors House on the warm-ups.

Sat 24 Sep TEASE AGE

CITRUS CLUB, 22:30–03:00, £0 - £5

Long-running indie, rock and soul night, traversing the spectrum of classic and modern.

September 2016

Headway usher in the autumn with a party featuring Alessandro and Federico Fognini’s joint IDM, house and techno project, Mind Against.

MIDLAND AT JUICE (MIDLAND + KAMI + DAN + DCLN)

Tue 27 Sep Alternative Tuesday anthems cherrypicked from genres of rock, indie, punk, retro and more.

HEADWAY: MIND AGAINST

READING ROOMS, 22:30–03:00, £14

Dundee welcomes like-minded freshers into the cult cloob-scene in style with metalcore titans While She Sleeps. Plus beer pong, obvs.

Early weekend-welcoming (y’know, for students) chart anthems, bolstered by hip-hop, R’n’B and urban in the back room.

Yer all-new Friday at Hive. Cheap entry, inevitably danceable, and novelty-stuffed. Perrrfect.

TRASH

Fri 09 Sep

THE HIVE, 22:00–03:00, FREE

SNEAKY PETE’S, 23:00–03:00, £5

THE HIVE, 22:00–03:00, FREE

READING ROOMS, 22:30–03:00, £0 - £5

ANTHEM (WHILE SHE SLEEPS) (BURY TOMORROW)

An Edinburghian outpost of bass, house and techno based in beautiful Bongo.

Strictly House Grooves with Gareth Sommerville (Ultragroove) and Simon Bays (Tweak_).

Glasgow Theatre

Reading Rooms gathers in the freshers with a vinyl night from Max Galloway.

THE POP BINGO DISCO (THE MASSIVE HEID + ANDI JUMANJI)

KARNIVAL (DERRICK CARTER)

Thu 08 Sep

LOCO KAMANCHI (PVC + MURKY RECORDS)

THE BONGO CLUB, FROM 23:00, £2 - £3

ELECTRIC CIRCUS, 22:30–03:00, £7 - £8

Theatre

FORTRODONA (MAX GALLOWAY + JCJ)

Thu 29 Sep

Raw, high energy R’n’B from DJs Francis Dosoo and Cameron Mason.

Dundee Clubs

SNEAKY PETE’S, 23:00–03:00, £0 - £2

House, garage and bass adventures with Blackwax and Faultlines.

THE BONGO CLUB, FROM 23:00, £5

LA BELLE ANGELE, 22:30–03:00, £12.50 - £14

Hella fun midweek throwdown playing soul, funk, jazz, ska, disco and more.

BUBBLEGUM

Hip-hop and R’n’B jams all night long.

WITNESS (ROSS BLACKWAX + FAULT LINES + SKILLIS + SQUELCHY)

Resident midweek student rammy of chart, club and electro hits.

WEE RED BAR, 23:00–03:00, £3 - £5

THE HIVE, 21:00–03:00, £0 - £4

SNEAKY PETE’S, 23:00–03:00, £0 - £5

Clubbing-meets-bingo (finally, right?), with danceable beats and live bingo.

House, garage and bass adventures with Blackwax and Faultlines.

A salad of genres: sixties garage and soul plus 70s punk and new wave, peppered with psych and indie for good measure.

RIDE (LAUREN RALPH + FRANCESCA BIEL)

THE HIVE, 22:00–03:00, FREE

Long-running indie, rock and soul night, traversing the spectrum of classic and modern. THE EGG

Saturday mix of chart and dance, with retro 80s classics thrown in for good measure.

Find full listings at theskinny.co.uk/whats-on

READING ROOMS, FROM 23:00, £5 - £7

RECKLESS KETTLE

READING ROOMS, 22:30–02:30, £3.50 - £5

Party-throwers Reckless Kettle follow up their African Dance Party with their debut club at Reading Rooms. There’ll be visual art sourced locally and free zines from Rise&Grind.

Fri 16 Sep

MUNGO’S HI FI SOUND SYSTEM (JUNIOR DREAD + STALAWA + MISS DLOVE) READING ROOMS, 22:30–03:00, £6

More heavyweight selections from Mungo’s Soundsystem, playing a full soundsystem set for your clubbing pleasure.

Sat 17 Sep

PHAZED: SULTA SELECTS

READING ROOMS, 22:00–03:00, £10

Denis takes a break from his Shakedown to specially select the tunes at Reading Rooms along with Phazed residents Teddy Hannan and Correlate.

Fri 23 Sep HARRI & DOMENIC

READING ROOMS, 22:00–03:00, £8

Sub Club’s homebois take their talents up north to play a special set at the Reading Rooms.

Sat 24 Sep

BOOK CLUB’S 6TH BIRTHDAY (PEGGY GOU)

READING ROOMS, 22:00–03:00, £8 - £12

Book Club chuck a shindig in celebration of their sixth birthday, drafting in Berlin-based Korean artist Peggy Gou for a night of pulsating, dark techno and broken beats.

Sun 25 Sep

ALL GOOD ALL DAY (JACKMASTER) (IS_KILL + CALLUM & ADDY + FORBES + JAMIE DAW + VAN D) READING ROOMS, 17:00–03:00, £12

Glasgow party titan and Numbers co-founder Jackmaster takes the reins at All Good’s debut all-dayer.

Fri 30 Sep

ALEXANDER NUT (MISS DLOVE )

READING ROOMS, 22:30–03:00, £6

NTS Radio host and Eglo Records boss Alexander Nut hits Dundee with Miss Dlove.

CCA: Centre for Contemporary Art BUZZCUT: DOUBLE THRILLS

14 SEP, 7:00PM, £6 - £8

Buzzcut bring Louise Orwin back to Glasgow with the finished version of A Girl and a Gun. STAGE TO PAGE

26 SEP, 7:00PM, £3

A voluntary collective of writers, directors and actors who meet monthly to conduct short public workshops of scenes from new plays.

Citizens Theatre TRAINSPOTTING

14 SEP-8 OCT, 7:30PM, £12.50 - £22.50

Irvine Welsh’s coarse story of Renton, Sick Boy, Begbie and Spud stuck in Thatcher-era Leith returns to the Citz. Matinees available. RAON PHÌOBAIREACHD: PIBROCH FIELD

23-24 SEP, 7:30PM, £7.50

A work-in-progress piece of movement theatre based on classical highland bagpipe music.

Platform

A BENCH ON THE ROAD

29 SEP-8 OCT, TIMES VARY, PRICES VARY

The female experience of migration examined through musical and visual storytelling.

SUMMER HEART 8-9 SEP, 7:45PM, £10 - £14

Maraike Bruening’s solo performance documenting the life and music of pianist Alice Herz-Sommer. A STEADY RAIN

17-24 SEP, 7:45PM, £10 - £12

Theatre Jezebel’s story of a touching friendship between two Chicago cops, Joey and Denny. A Scottish Premier. CLOWN CABARET SCRATCH NIGHT

29 SEP-1 OCT, 8:00PM, £5

Plutôt La Vie Theatre Company and CloWnStePPinG bring their collaborative Clown Cabaret Scratch Night to Tron Theatre.

Tramway

TRAMWAY’S UNLIMITED FESTIVAL

15-25 SEP, TIMES AND PRICES VARY (DAY TICKETS AVAILABLE)

A showcase of exceptional new work in theatre, dance, visual arts, multi-media, talks and events from internationally acclaimed and emerging disabled artists. See tramway.org for full festival programme. COAL

Traverse Theatre F-CKED.COM: A TALE OF BUBBLES AND CRASHES

22-24 SEP, 8:00PM, £8.50-16.50

A world premier of David Crook's play telling the tale of a charity worker who rises in the ranks of the hedge fund industry and sees his character transform. Uniquely this play is written by an industry professional – a successful hedge fund manager. CAN I START AGAIN PLEASE

29 SEP-1 OCT, 8:00PM, £8.50-16.50

A powerful piece of theatre examining how humans' cognitive ability to process trauma and our linguistic ability to represent it. Features parallel stories both spoken and signed in BSL.

Kings Theatre DEMOCRACY

29 SEP-1 OCT, 7:30PM, £17.50-30.50

Rapture Theatre brings Michael Frayn's play about political tension, undercutting, espionage and betrayal to Glasgow. Matinees available.

Dundee Theatre

30 SEP-1 OCT, 7:30PM. £8-12

A high energy dance theatre show by Gary Clarke Company telling the stories of communities affected by the miners’ strike of the 1980s. GATHERED TOGETHER 2016

7-10 SEP, 7:30PM, £9-7

Indepen-dance artists and leaders in the field of inclusive dance take part in this major international festival.

Caird Hall

DANCING ON THE DARK SIDE

9-10 SEP, 7:00PM, £10

A showcase of dancing talent from amateur performers ages four and upwards.

Dundee Rep

THE CHEVIOT, THE STAG AND THE BLACK, BLACK OIL

1-10 SEP, 7:30PM, PRICES VARY

The Glad Cafe

The Dundee Rep stage John McGrath’s story of the history and the tragedy of Scotland.

27-28 SEP, 7:30PM, £5

14 SEP-29 OCT, TIMES VARY, PRICES VARY

ALWAYS LOOK ON THE DARK SIDE OF LIFE

THE TWO GENTLEMEN OF VERONA

A comedy double-bill from Alex Cox and Graham de Banzie that’ll take you over to the dark side. Starring Angie Cassidy, Ali McFarlane and John Love.

Edinburgh Theatre

The King’s Theatre

Festival Theatre

CHICAGO

12-24 SEP, 7:30PM, PRICES VARY

Broadway and West End musical set in the 20s, featuring cell blocks, smokin’ guns, pinstripe trousers and and all that jazz, we’re told. PRISCILLA QUEEN OF THE DESERT

27 SEP-1 OCT, 7:30PM, PRICES VARY

A thoroughly O.T.T. musical adventure in which two drag queens and a trans person get a cabaret gig in the middle of the desert. Matinees available. CATS

13-17 SEP, 7:30PM, PRICES VARY

One of many musical sensations from Andrew Lloyd-Webber comes to the King’s. Matinees available. GANGSTA GRANNY

7-11 SEP, 7:00PM, £17.50 - £38.40

David Walliams’ theatrical adaptation of his 2011 children’s book Gangsta Granny. Matinees available.

Theatre Royal THE MOUSETRAP

12 SEP-27 JUN 17, TIMES VARY, PRICES VARY

Agatha Christie murder mystery, famous for being the longestrunning show of any kind in the history of British theatre. Matinee performances also available.

SCOTTISH BALLET: AUTUMN SEASON

29 SEP-1 OCT, 7:30PM, £11 - £24

Scottish Ballet’s double-bill, featuring Emergence (choreographed by Crystal Pite) and Sibilo, by emerging talent Sophie Laplane.

Tron Theatre

A GAMBLER’S GUIDE TO DYING

14-17 SEP, 8:00PM, £7.50 - £10

The story of one boy’s granddad winning a fortune betting on the ‘66 World Cup, before being diagnosed with cancer and gambling it all on living to see the year 2000. Heading our way after a total sellout at last year’s Edinburgh Fringe.

RICHARD ALSTON DANCE COMPANY

23 SEP, 7:30PM, PRICES VARY

A double-bill featuring an Edinburgh-exclusive premier of Martin Lawrence’s Tangent followed by Stronghold.

Royal Lyceum Theatre

THE CHEVIOT, THE STAG AND THE BLACK BLACK OIL

14-24 SEP, 7:30PM, £10 - £30.50

Everyone who gives a shit about Scotland should see The Cheviot, The Stag and the Black, Black Oil; and right now’s your prime opportunity as Dundee Rep take their critically acclaimed realisation of the piece on a tour of Scotland. Matinees available.

Summerhall

ANATOMY #13 VISIONS OF LIFE IN THE INFINITE MAZE

23 SEP, 8:00PM – 10:30PM, £7

Quarterly live art cabaret based in Edinburgh’s Summerhall.

The Edinburgh Playhouse THE CARPENTERS STORY

1 SEP-8 OCT, 7:30PM, PRICES VARY

A musical dedication to the life and times of The Carpenters.

A new production led by an ensemble of players, who’ll hurl Shakespeare’s anarchic comedy straight into the 21st Century. Matinees available.

SCOTTISH DANCE THEATRE: GREAT BIG BIRTHDAY SHOW

28 SEP, 5:30PM, £5 - £10

As part of their 30th birthday events, Scottish Dance Theatre present an evening of entertainment, including the premiere of This is Me, the Youth Dance company in The Gathering and a finale from their professional dancers.

The Gardyne Theatre GIRLS NIGHT OOT

9 SEP, 7:30PM, £15

Sequel to feel-good production I Will Survive, featuring songs from the 60s right through to modern hits. Frothy as it comes.

Whitehall Theatre ANNIE

28 SEP-1 OCT, 7:30PM, £12 - £14

A musical set in 1930s New York, Annie tells the story of a flamehaired orphan in pursuit of her real parents, and whose fate takes a U-turn when she’s chosen to spend Christmas with a billionaire. Matinees available. ULTRA DANCE DUNDEE: TAKE 5

9-10 SEP, 7:30PM, £6

Dancers aged 2-18 years perform a dancing revue of tunes from the movies, musicals and TV shows.

THE SIMON AND GARFUNKEL STORY

6 SEP-2 OCT, TIMES VARY, PRICES VARY

Musical retelling of the songwriting partnership’s stellar career, told using both original photos and film footage. SUNNY AFTERNOON

13-17 SEP, 7:30PM, PRICES VARY

The 2015 Olivier Award winner makes its way to Edinburgh Playhouse to share the tale of The Kinks’ rise to stardom. Matinees available. BILLY ELLIOT

20 SEP-22 OCT, 7:30PM, PRICES VARY

The story of that Geordie lad who just wants to dance, dad. Matinees available.

Listings

Comedy Glasgow Comedy Tue 06 Sep RED RAW

THE STAND GLASGOW, 20:30–23:00, £3

Open mic-style beginners showcase, plus some old hands dropping by to road test new material.

Wed 07 Sep COMEDIAN RAP BATTLES

THE STAND GLASGOW, 20:30–22:00, £4 - £6

Ro Cambell and The Wee Man’s comedian rap battle-off, where a select batch of comics compete to see who’s got the most swagger when it comes to hippity-hop wit.

Thu 08 Sep THE THURSDAY SHOW

THE STAND GLASGOW, 20:30–22:30, £7 - £10

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase. YESBAR VIRGINS

YESBAR, FROM 20:00, £3

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland.

Fri 09 Sep THE FRIDAY SHOW

THE STAND GLASGOW, 20:30–22:30, £10 - £12

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts. LAUGHTER EIGHT

YESBAR, FROM 20:00, £10

Regular comedy slot kicking off at, aye, 8pm? Manned by a selection of hot talent from the local circuit.

Sat 10 Sep THE SATURDAY SHOW

THE STAND GLASGOW, 21:00–23:00, £17.50

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

Sun 11 Sep

MICHAEL REDMOND’S SUNDAY SERVICE

THE STAND GLASGOW, 20:30–22:00, £5 - £6

Chilled Sunday comedy showcase manned by resident Irish funnyman Michael Redmond and his handpicked guests.

YESBAR VIRGINS: COMEDY SUNDAY SCHOOL

YESBAR, FROM 20:00, £3

A selection of five fledgling comedians do their best to win over the audience and graduate Yesbar’s ‘Comedy Sunday School’.

Mon 12 Sep

BENEFIT IN AID OF SUPPORT IN MIND

THE STAND GLASGOW, 20:30–23:00, £5

A comedy charity benefit raising funds for Support In Mind.

Tue 13 Sep RED RAW

THE STAND GLASGOW, 20:30–23:00, £3

Open mic-style beginners showcase, plus some old hands dropping by to road test new material.

Wed 14 Sep BBC COMEDY PRESENTS

THE STAND GLASGOW, 20:30–22:00, £4

New comedy from The Stand and the BBC.

Thu 15 Sep THE THURSDAY SHOW

THE STAND GLASGOW, 20:30–22:30, £7 - £10

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase. YESBAR VIRGINS

YESBAR, FROM 20:00, £3

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland.

Fri 16 Sep THE FRIDAY SHOW

THE STAND GLASGOW, 20:30–22:30, £10 - £12

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts. LAUGHTER EIGHT

YESBAR, FROM 20:00, £10

Regular comedy slot kicking off at, aye, 8pm? Manned by a selection of hot talent from the local circuit.

Sat 17 Sep

THE SATURDAY SHOW

THE STAND GLASGOW, 21:00–23:00, £17.50

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

Sun 18 Sep

MICHAEL REDMOND’S SUNDAY SERVICE

THE STAND GLASGOW, 20:30–22:00, £5 - £6

Chilled Sunday comedy showcase manned by resident Irish funnyman Michael Redmond and his handpicked guests.

YESBAR VIRGINS: COMEDY SUNDAY SCHOOL

YESBAR, FROM 20:00, £3

A selection of five fledgling comedians do their best to win over the audience and graduate Yesbar’s ‘Comedy Sunday School’.

Listings

RED RAW

THE STAND GLASGOW, 20:30–23:00, £3

Open mic-style beginners showcase, plus some old hands dropping by to road test new material.

WRITE IT: NEWS REVIEW

THE GLAD CAFE, FROM 19:30, £5

Political satire sketches from the Write It team.

Wed 28 Sep SCRAM!

GILDED BALLOON COMEDY NIGHTS FESTIVAL THEATRE, FROM 20:00, £11.50 - £13.50

A hoot-worthy eve with Gilded Balloon featuring Scott Gibson and David Morgan. MONKEY BARREL COMEDY’S BIG SATURDAY SHOW

MONKEY BARREL COMEDY CLUB, 20:30–22:45, £10

Laugh yourself into Saturday night stitches with Monkey Barrel’s multi-bill weekend show, featuring resident lol-stirrer Rick Molland.

Tue 20 Sep

STEFFEN PEDDIE: 99 PROBLEMS AND THE CHIPS STILL AIN’T ONE (STEFFEN PEDDIE)

Fri 30 Sep

THE STAND COMEDY CLUB, 20:30–22:00, £5 - £7

THE STAND COMEDY CLUB, 21:00–23:00, £10 - £12

TOPICAL STORM

Sun 11 Sep

THE GLAD CAFE, FROM 19:30, £5

THE STAND COMEDY CLUB, 13:30–15:00, FREE

Fri 23 Sep

WRITE IT: NEWS REVIEW

Political satire sketches from the Write It team.

Thu 29 Sep THE THURSDAY SHOW

THE STAND GLASGOW, 20:30–22:30, £7 - £10

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase. YESBAR VIRGINS

YESBAR, FROM 20:00, £3

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland.

Fri 30 Sep THE FRIDAY SHOW

THE STAND GLASGOW, 20:30–22:30, £10 - £12

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts.

Long-running improvised comedy show with resident duo Stu & Garry weaving comedy magic from offthe-cuff audience suggestions. THE SUNDAY NIGHT LAUGH IN

THE STAND COMEDY CLUB, 20:30–22:00, £5 - £6

Chilled comedy showcase to cure your Sunday evening back-towork blues.

Mon 12 Sep RED RAW

THE STAND COMEDY CLUB, 20:30–23:00, £3

Open mic-style beginners showcase, plus some old hands dropping by to road test new material.

Tue 13 Sep

STAND UP FOR NEPAL: THE BIG UMBRELLA BENEFIT

THE STAND COMEDY CLUB, 20:30–22:00, £4 - £5

A comedy charity benefit in aid of Stand Up For Nepal.

THE FRIDAY SHOW

THE STAND COMEDY CLUB, 21:00–23:00, £10 - £12

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts. JERRY SADOWITZ: COMEDIAN, MAGICIAN, PSYCHOPATH!

KING’S THEATRE EDINBURGH, FROM 19:30, £25 - £25.15

The ‘monster without a loch’ (aw) returns to King’s with his go-to combo of quick with and slight of hand.

No longer is Monkey Barrel sheltered beneath The Beehive – they’ve now gor their very own Blair St. digs! Catch some Friday night stand-up with resident Rick Molland.

THE STAND GLASGOW, 20:30–23:00, £3

THE STAND COMEDY CLUB, 20:30–22:00, £10

THE STAND COMEDY CLUB, 21:00–23:00, £17.50

Open mic-style beginners showcase, plus some old hands dropping by to road test new material.

A solo show at The Stand from stand-up comedian and established comedy writer Ahir Shah.

Wed 21 Sep

Thu 15 Sep

STEFFEN PEDDIE: 99 PROBLEMS AND THE CHIPS STILL AIN’T ONE

THE THURSDAY SHOW

THE STAND GLASGOW, 20:30–22:00, £8

THE STAND COMEDY CLUB, 21:00–23:00, £7 - £10

The star of star of BBC2’s Hebburn brings his improv show to The Stand.

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

Thu 22 Sep THE THURSDAY SHOW

THE STAND GLASGOW, 20:30–22:30, £7 - £10

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase. YESBAR VIRGINS

YESBAR, FROM 20:00, £3

Graham Barrie introduces a selection of fledgling comedy talent handpicked fae Scotland.

Fri 23 Sep THE FRIDAY SHOW

THE STAND GLASGOW, 20:30–22:30, £10 - £12

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts. LAUGHTER EIGHT

YESBAR, FROM 20:00, £10

Regular comedy slot kicking off at, aye, 8pm? Manned by a selection of hot talent from the local circuit.

Sat 24 Sep THE SATURDAY SHOW

THE STAND GLASGOW, 21:00–23:00, £17.50

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

Sun 25 Sep

MICHAEL REDMOND’S SUNDAY SERVICE

THE STAND GLASGOW, 20:30–22:00, £5 - £6

Chilled Sunday comedy showcase manned by resident Irish funnyman Michael Redmond and his handpicked guests.

YESBAR VIRGINS: COMEDY SUNDAY SCHOOL

YESBAR, FROM 20:00, £3

A selection of five fledgling comedians do their best to win over the audience and graduate Yesbar’s ‘Comedy Sunday School’.

Edinburgh Comedy Tue 06 Sep

GEORGIE CITY FARM BENEFIT

THE STAND COMEDY CLUB, 20:30–22:00, £5

A comedy charity benefit raising funds for Georgie City Farm Benefit.

Wed 07 Sep VIVA LA SHAMBLES

THE STAND COMEDY CLUB, 20:30–22:00, £4 - £5

The Stand hosts a monthly evening of total joke-pandemonium as Edinburgh’s top comics join forces.

Thu 08 Sep THE THURSDAY SHOW

THE STAND COMEDY CLUB, 21:00–23:00, £7 - £10

Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

Fri 09 Sep THE FRIDAY SHOW

THE STAND COMEDY CLUB, 21:00–23:00, £10 - £12

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts. MONKEY BARREL COMEDY’S BIG FRIDAY SHOW

MONKEY BARREL COMEDY CLUB, 20:30–22:45, £10

No longer is Monkey Barrel sheltered beneath The Beehive – they’ve now got their very own Blair St. digs! Catch some Friday night stand-up with resident Rick Molland.

Mon 26 Sep

Sat 10 Sep

THE STAND GLASGOW, 20:30–22:00, £5 - £7

THE STAND COMEDY CLUB, 21:00–23:00, £17.50

TOPICAL STORM

THE SATURDAY SHOW

Fri 16 Sep THE FRIDAY SHOW

THE STAND COMEDY CLUB, 21:00–23:00, £10 - £12

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts. MONKEY BARREL COMEDY’S BIG FRIDAY SHOW

MONKEY BARREL COMEDY CLUB, 20:30–22:45, £10

No longer is Monkey Barrel sheltered beneath The Beehive – they’ve now gor their very own Blair St. digs! Catch some Friday night stand-up with resident Rick Molland.

Sat 17 Sep

THE SATURDAY SHOW

THE STAND COMEDY CLUB, 21:00–23:00, £17.50

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend. MONKEY BARREL COMEDY’S BIG SATURDAY SHOW

MONKEY BARREL COMEDY CLUB, 20:30–22:45, £10

Laugh yourself into Saturday night stitches with Monkey Barrel’s multi-bill weekend show, featuring resident lol-stirrer Rick Molland.

Sun 18 Sep

STU & GARRY’S FREE IMPROV SHOW

THE STAND COMEDY CLUB, 13:30–15:00, FREE

Long-running improvised comedy show with resident duo Stu & Garry weaving comedy magic from offthe-cuff audience suggestions.

THE SATURDAY SHOW

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend. JOAN COLLINS UNSCRIPTED

FESTIVAL THEATRE, FROM 19:30, £19.50 - £57.50

A one-woman show in the company of actor, philanthropist and author, Dame Joan Collins. MONKEY BARREL COMEDY’S BIG SATURDAY SHOW

MONKEY BARREL COMEDY CLUB, 20:30–22:45, £10

Laugh yourself into Saturday night stitches with Monkey Barrel’s multi-bill weekend show, featuring resident lol-stirrer Rick Molland.

Sun 25 Sep

STU & GARRY’S FREE IMPROV SHOW

THE STAND COMEDY CLUB, 13:30–15:00, FREE

Long-running improvised comedy show with resident duo Stu & Garry weaving comedy magic from offthe-cuff audience suggestions. THE SUNDAY NIGHT LAUGH IN

THE STAND COMEDY CLUB, 20:30–22:00, £5 - £6

Chilled comedy showcase to cure your Sunday evening back-towork blues.

Mon 26 Sep RED RAW

THE STAND COMEDY CLUB, 20:30–23:00, £3

Open mic-style beginners showcase, plus some old hands dropping by to road test new material.

Tue 27 Sep BONA FIDE

THE STAND COMEDY CLUB, 20:30–22:00, £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. ROMESH RANGANATHAN: IRRATIONAL

FESTIVAL THEATRE, FROM 20:00, £21

Romesh Ranganathan follows up his acclaimed shows Rom Wasn’t Built In A Day and Rom Com with a brand new show exploring the rationality of his worldview.

PAUL CURRIE: FFFFFFFMILK! (PAUL CURRIE)

Wed 28 Sep

THE STAND COMEDY CLUB, 20:30–22:00, £10

THE STAND COMEDY CLUB, 20:30–22:00, £5

Paul Currie brings his critically acclaimed new show to The Stand following a ridiculously successful run at the Free Fringe.

Prime stand-up from the Scottish and international circuit, hosted by a rotating selection of Stand stalwarts. ROSS NOBLE: BRAIN DUMP

FESTIVAL THEATRE, FROM 20:00, £27.50

The freewheeling Geordie comic takes to the live stage MONKEY BARREL COMEDY’S BIG FRIDAY SHOW

MONKEY BARREL COMEDY CLUB, 20:30–22:45, £10

No longer is Monkey Barrel sheltered beneath The Beehive – they’ve now got their very own Blair St. digs! Catch some Friday night stand-up with resident Rick Molland.

MONKEY BARREL COMEDY CLUB, 20:30–22:45, £10

Sat 24 Sep

AHIR SHAH: MACHINES (AHIR SHAH)

THE FRIDAY SHOW

MONKEY BARREL COMEDY’S BIG FRIDAY SHOW

Wed 14 Sep

RED RAW

THE STAND COMEDY CLUB, 21:00–23:00, £7 - £10

Wed 21 Sep Radical satire from Keir McAllister, Vladimir McTavish, Stu Murphy and Mark Nelson.

STU & GARRY’S FREE IMPROV SHOW

THE THURSDAY SHOW

The star of star of BBC2’s Hebburn brings his improv show to The Stand.

Sketch, stand-up and improv from new Scottish comics.

THE STAND GLASGOW, 20:30–22:30, £2 - £3

Thu 29 Sep Weekend-welcoming selection of handpicked headline acts and newcomers over a two-hour showcase.

THE STAND COMEDY CLUB, 20:30–22:00, £8

Tue 20 Sep

Radical satire from Keir McAllister, Vladimir McTavish, Stu Murphy and Mark Nelson.

Tue 27 Sep

STAND SPOTLIGHT: TAKING RISKS

A charity comedy night from a line-up of new Scottish comedians.

Dundee Comedy Sun 11 Sep

CHRISTINA BIANCO: ME, MYSELF & EVERYONE ELSE

THE GARDYNE THEATRE, FROM 19:30, £20 - £37

Join Christina Bianco as she presents her greatest hits, celebrating the music of the world’s iconic divas with an eclectic selection of pop, Broadway tunes and more.

Fri 30 Sep DANIEL SLOSS: SO?

THE GARDYNE THEATRE, FROM 19:30, £11.75 - £13.50

The award-winning comedian and internationally acclaimed halfman-half-Xbox brings the laughs once more with new show, So?

Sat 01 Oct

JERRY SADOWITZ: COMEDIAN, MAGICIAN, PSYCHOPATH!

THE GARDYNE THEATRE, FROM 19:30, £22.50

The ‘monster without a loch’ (aw) returns to King’s with his go-to combo of quick with and slight of hand.

Art Glasgow Art CCA: Centre for Contemporary Art VOICING THE ARCHIVE

1 SEP-30 NOV, TIMES VARY, FREE

MAP presents a series of audio recordings of past MAP contributions, voiced by their authors and installed at a listening station in the CCA foyer and Edinburgh Sculpture Workshop. PIO ABAD: NOTES ON DECOMPOSITION

17 SEP-30 OCT, TIMES VARY, FREE

Pio Abad returns to Glasgow with new body of work for CCA’s gallery, exploring ideas surrounding value, cultural artefacts and political histories of the UK and the Philippines. The exhibition maps our current state of cultural disenchantment through a collection of objects bought, sold and sequestered from 1991 to the present. SUKAINA KUBBA + NATALIE MCGOWAN: DOUBLE-BLIND

9 SEP-1 OCT, TIMES VARY, FREE

A collaborative project by Sukaina Kubba and Natalie McGowan that takes the form of an exposé / display where fragments of sets, objects and moving image are lifted and scrutinised to create a fictional setting.

Cyril Gerber Fine Art

MARGOT SANDEMAN: A WORLD OF VISUAL POETRY

8-28 SEP, TIMES VARY, FREE

An extensive exhibition of paintings and drawings, including early works from the 1940’s. This exhibition shows the full breadth of her subject matter, including her collaborations with Ian Hamilton Finlay. Most works for sale.

David Dale Gallery and Studios

IRMÃO DOS HOMENS TODOS

3 SEP-8 OCT, 12:00PM – 5:00PM, FREE

Pedro Wirz’s earthy nature-based sculptures and installations alongside Mauro Cerqueira’s assemblages of consumables, found objects and readymades.

Glasgow Print Studio JOHN TAYLOR: GLASGOW & SOMETIMES FURTHER AFIELD

1-18 SEP, TIMES VARY, FREE

John Taylor exhibits a selection of paintings of Glasgow which, due to the fact they were each painted over the course of the last decade, document the altering skylines of the city. TRIGGER WORDS

24 SEP-13 NOV, TIMES VARY, FREE

In an an exhibition reflecting upon the Glasgow Print Studio Press, GPS exhibits ten artists’ works that were been inspired by or somehow relate to a piece of Scottish literature.

Glasgow School of Art THE GLASGOW SCHOOL OF ART GRADUATE DEGREE SHOW 2015

3-8 SEP, TIMES VARY, FREE

A public showcase of the entire range of graduate work completed at GSA across architecture, design, fine art and digital art. DISAPPEARING GLASGOW

17 SEP-2 OCT, 10:00AM – 5:00PM, FREE

Photographer, filmmaker and consistent chronicler of Glasgow’s history Chris Leslie presents an exhibition and accompanying book which poses the question: are we approaching an architectural renaissance in the Glasgow?

Glasgow Sculpture Studios

ZOFIA KULIK: INSTEAD OF SCULPTURE

1 OCT-3 DEC, 11:00AM – 5:00PM, FREE

A debut UK exhibition from Polish artist Zofia Kulik, in which she investigate the reinvention of sculpture as a medium via serialised photographic works that are grouped as narrative tableaux.

GoMA

DEEP IN THE HEART OF YOUR BRAIN

1 SEP-13 NOV, TIMES VARY, FREE

A major solo show from Jacqueline Donachie, a Glasgow-based artist whose ambitious new work explores disability, care and loss following over a decade of research and collaboration with scientific and medical professionals. PLEASE TURN US ON

1 SEP-22 JAN 17, TIMES VARY, FREE

A group exhibition placing Glasgow at the core of a dialogue between early video art and international counterculture. Features What’s It To You?, a seminal work from Elsa Stansfield and Madelon Hooykaas, among other videographic works.

Hunterian Art Gallery

WILLIAM HUNTER TO DAMIEN HIRST: THE DEAD TEACH THE LIVING

1 SEP-5 MAR 17, TIMES VARY, PRICES VARY

An exhibition curated by students on GSA / University of Glasgow’s students of Curatorial Practice, featuring objects and art which explore moments of synergy between the fields of art and science.

RENAISSANCE PRINTS: MANTEGNA, MARCANTONIO AND PARMIGIANINO

1 SEP-22 JAN 17, TIMES VARY, FREE

A collection of prints by three major figures in Italian Renaissance art: Andrea Mantegna, Marcantonio Raimondi and Parmigianino.

Mary Mary

MILANO CHOW: EGG AND TONGUE

17 SEP-29 OCT, 12:00PM – 6:00PM, FREE

Milano Chow brings a solo exhibition – her first UK show – to Mary Mary. The show comprises a group of new works on paper installed around a custom-designed wallpaper.

McLellan Galleries PROMENADE

15 SEP, 6:30PM, £6 - £10

A showcase of the wares and wears created by GSA’s Fashion and Textiles Masters grads.

SWG3 Glasgow ASHES57

24 SEP, 7:00PM, £0 - £5

For one night only, illustrator, painter and photographer Ashes57 exhibits part of her prolific output, including the documenting of events within the underground bass music scene and flyer / poster design. Afterparty at the Poetry Club!

Street Level Photoworks SIBYLLE BERGEMANN: FOTOGRAPHIEN

1-25 SEP, TIMES VARY, FREE

An exhibition of the works of the late Sibylle Bergemann, an eclectic photographer whose work was intended as a critical analysis of reality and covered many subjects. A film profile of Berhemann’s life will also be screened.

The Lighthouse ONE.

1-11 SEP, TIMES VARY, FREE

One. is a debut exhibition from The Garnet Collective, and will showcase the work of four Scottish jewellers and designers; Nicholas Faill, Adam Henderson, Jennifer MacKinlay and Hannah Grace Ryan.

Packed Saturday evening bill of stand-up headliners and resident comperes to jolly along your weekend.

THE SKINNY

ADVENTURES IN SPACE 1 SEP-2 OCT, TIMES VARY, FREE

An exhibition offering insights into the architecture of science fiction, Adventures in Space will compare the ideas of architectural visionaries with startling representations of buildings and cities from the birth of cinema to the present day. Curated by Berlin-based Scots designer Jon Jardine and The Royal Incorporation of Architects in Scotland. KITCHENISM

12 SEP-20 NOV, TIMES VARY, FREE

The Lighthouse showcases furniture prototypes designed and made in Edinburgh, with the centrepiece of a new kitchen table for the Maggie’s Centre in Edinburgh, made from storm-fallen hardwoods donated by the Royal Botanic Garden Edinburgh.

The Modern Institute @ Osbourne Street

Edinburgh Sculpture Workshop

24 SEP-29 OCT, TIMES VARY, FREE

1 SEP-1 OCT, 11:00AM – 5:00PM, FREE

THE FLAT VOICE

Painter Matt Connors brings his interest in technique and colour to The Modern institute with new exhibition of acrylic works entitled The Flat Voice. ADAM MCEWAN: TINNITUS

1-10 SEP, TIMES VARY, FREE

Tinnitus aims to ‘reveal a disquieting resistance within the very familiar’. It comprises a steel banding sculpture, several large-scale photographic images printed on sponge and punctuated by rough iron piping and a car airbag cast in iron.

Tramway

JENNIFER WEST: FLASHLIGHT FILMSTRIP PROJECTIONS

2 SEP-30 OCT, TIMES VARY, FREE

Flashlight Filmstrip Projections comprises a screenless communal viewing space in which audiences activate film strips using handheld torches. Live performances will also take place on the opening night and intermittently during the exhibition’s run. MAKI YAMAZAKI: PIONEER[03]

15-25 SEP, TIMES VARY, FREE

A science-fiction retelling of Japanese folktale, Taketori Monogatari, which combines original visual art, writing, music and computer programming and invites audiences to shape the identity and narrative of the central protagonist. NAMA ATO: JAPANESE OUTSIDER ART

15-25 SEP, TIMES VARY, FREE

A touring exhibition of three Japanese visual artists; Koji Nishioka, Makoto Okawa and Yasuyuki Ueno. All of the artists have learning disabilities, and are supported by Atelier Corners in Osaka, Japan. PROJECT ABILITY / CAMERON MORGAN: PUT YOUR SWEET LIPS CLOSER TO THE PHONE

15-25 SEP, TIMES VARY, FREE

Cameron Morgan follows on from the success of his Project Ability Food To Go work and an exhibition at Glasgow International with a series of slipcase ceramic phones which highlight the rapid evolution of the telephone. BEKKI PERRIMAN: THE DOORWAYS PROJECT

15-25 SEP, TIMES VARY, FREE

A site-responsive sound installation exploring homeless culture through the stories of the silenced. Taking place in various venues across Glasgow - see tramway.org for further details.

Tron Theatre ARTCHITECTURE

12-26 SEP, 7:30PM – 10:00PM, FREE

An exhibition of collages by Marion Gardyne that celebrates Glasgow’s building heritage and merges elements of art with architecture.

Edinburgh Art Arusha Gallery

SOPHIE MILNER: SLEEPWALKERS

2-27 SEP, TIMES VARY, FREE

A debut Scottish show from Sophie Milner featuring a series of paintings which explore our relationship to the self, and the parallels between lucid dreaming and painting pictures.

City Art Centre PAPER TRAIL: DRAWINGS, WATERCOLOURS, PRINTS

1 SEP-21 MAY 17, TIMES VARY, FREE

An exhibition exploring some of the many ways artists create works from the starting point of a fresh sheet of paper, including work by celebrated figures like Anne Redpath, Joan Eardley, Eduardo Paolozzi and Paul Sandby. WILLIAM GILLIES & JOHN MAXWELL

1 SEP-23 OCT, TIMES VARY, FREE

An exhibition tracing the careers of William Gillies and John Maxwell, two Scottish artists of the 20th century with differing approaches and contrasting personalities but who exhibited, travelled and socialised together and remained friends for life.

Collective EXCAVATION

17SEP-20 NOV, TIMES VARY, FREE

Hamish Young's new exhibition, comprising carved marble sculptures and a series of screen prints made with the residual marble dust.

Dovecot Studios NORTH LANDS CREATIVE GLASS: A PORTRAIT AT 20

16 SEP-29 OCT, 10:30AM – 5:30PM, FREE

An exhibition curated by Amanda Game which builds a portrait of North Lands Creative Glass, a glass studio based in Caithness on the North East Coast of Scotland.

iota @ Unlimited Edinburgh Studios College of Art CONFESSION.

1-10 SEP, TIMES VARY, FREE

An interactive installation; word, image and installation combine to present international cultural icons. For performance times please see www.iotaarts.space

Good Press MARBLES IN MY MOUTH

3 SEP-28 OCT, TIMES VARY, FREE

Writer, musician and artist Fritz Welch presents a book about Austrian artist Viktor Rogy (1924204), who performed poetry recitals with marbles in his mouth and own a cafe called OM where he displayed defaced photos of right wing politicians.

The Modern Institute @ Airds Lane

TRANSITION

16-30 SEP, TIMES VARY, FREE

ECA exhibits the work of its Glass graduates as part of a retrospective showcase which will also include artefacts and documents from the ECA Glass archive.

Edinburgh Printmakers HISTORY MACHINES

1 SEP-22 OCT, 10:00AM – 6:00PM, FREE

A UK premiere exhibition of new commissions and existing artwork by Toronto artists Matt Donovan and Hallie Siegel which explores the enduring legacy of print that continues to shape how we communicate – even as we launch ourselves into a digital future. CALUM MACLURE

2 SEP-1 OCT, 10:00AM – 6:00PM, FREE

REPRODUCTIVE

An exhibition of new work from Scottish Sculptor Kenny Hunter that tests the potential of digital technologies and their relationship to existing processes of production.

Gayfield Creative Spaces THE MIGRATION OF DISTRUST

23-27 SEP, 10:00AM – 5:00PM, FREE

A series of drawings by Christopher Gillespie. The images investigate the lingering effects of migrating from a place of conflict to one of peace: Exploring how seemingly mundane environments become infused with unease, fear and loss.

Ingleby Gallery JONATHAN OWEN

1-24 SEP, 10:00AM – 5:00PM, FREE

Jonathan Owen transforms artefacts; re-carving busts, editing pre-existing images to invigorate the pre-existing forms beneath. This exhibition features new drawings and sculpture alongside a major sculptural commission for EAF.

Interview Room 11 POLITICALLY UNBECOMING

9 SEP-8 OCT, TIMES VARY, FREE

A group exhibition bringing together new work by national and international artists Sina Boroumandi, Alessandro Di Massimo, Natalie Doyle, Piotr Hanzelewicz, Janie Nicoll, Stephen Kavanagh, nick e melville and Derek Sutherland. The participating artist were invited to investigate and reflect on the shifting relationship between art and politics in relation to their practice.

Inverleith House I STILL BELIEVE IN MIRACLES

1 SEP-23 OCT, 10:00AM – 5:00PM, FREE

During thirty years of exhibitions programming Inverleith House has originated and presented some of the most memorable exhibitions ever staged in the UK and achieved an international reputation for timeliness and originality. I still believe in miracles is a celebration which brings together major works by leading artists based in Scotland and internationally who have made solo exhibitions for the gallery from Carl Andre and Louise Bourgeois to Robert Ryman and Richard Wright, alongside remarkable botanical drawings and models from the Garden’s Library Archive which have been an integral feature of the exhibitions programme throughout its history.

Out of the Blue Drill Hall

TENDER OFFERS FOR THE AGITATED

15-23 SEP, 10:00AM – 5:00PM, FREE

Paintings and woodworks by Andrew MacDonald from 2009 – 2016, who trained as a photographer but took up painting after completing an MSc and becoming disenchanted with digital photography. This is his first retrospective as a painter.

Royal Scottish Academy RSA UNREALISED: ARCHITECTURAL IMAGINATION FROM THE RSA COLLECTIONS

1 SEP-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

1 SEP-30 JAN 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. INSPIRING IMPRESSIONISM: DAUBIGNY, MONET AND VAN GOGH

1 SEP-2 OCT, TIMES VARY, £9 - £11

A showcase of the full artistic output of nineteenth-century French landscape painter Charles François Daubign, who influenced many practices associated with impressionism, yet who has never been the subject of a major international exhibition.

TESCO BANK ART COMPETITION FOR SCHOOLS 2016

1 SEP-27 OCT, TIMES VARY, FREE

A showcase of 53 winning artworks from this year’s Tesco Bank Art Competition for Schools, selected from over 7,400 entries. This year’s themes are ‘Creepy Crawlies’ and ‘Slimy Things’, ‘Circus’, ‘Horse’, ‘Darkness and Light’, and ‘Trees’.

Scottish National Gallery of Modern Art BRIDGET RILEY: PAINTINGS,1963-2015

1 SEP-16 APR 17, 10:00AM – 5:00PM, FREE

A focused display of selected paintings from the works of Bridget Riley, born in 1931. The exhibition chronicles her earlier, iconic use of monochrome, her transition into using a grey palette, before an expansion into using an array of colour.

SURREAL ENCOUNTERS: COLLECTING THE MARVELLOUS

1-11 SEP, 10:00AM – 5:00PM, £8 - £10

The Scottish National Gallery of Modern Art showcases surrealist works from the legendary private collections of Edward James, Roland Penrose, Gabrielle Keiller and Ulla and Heiner Pietzsch. 20TH CENTURY: MASTERPIECES OF SCOTTISH AND EUROPEAN ART

1 SEP-18 FEB 18, 10:00AM – 5:00PM, FREE

An exhibition of works offering a historical overview of some of the most significant artistic contributions made during the last century. The exhibition also aims to place Scottish modern art within an international context. RICHARD DEMARCO AND JOSEPH BEUYS: A UNIQUE PARTNERSHIP

1 SEP-16 OCT, 10:00AM – 5:00PM, FREE

A showcase of the artistic works, lectures and ‘actions’ that Richard Demarco – an Edinburgh-based avant-garde gallerist – commissioned from post-war German artist Joseph Beuys. JOSEPH BEUYS: A LANGUAGE OF DRAWING

1 SEP-30 OCT, 10:00AM – 5:00PM, FREE

The largest collection of work by German artist Joseph Beuys (1921-1986) outside of Germany, this exhibition features 110 drawings covering the artist’s career between 1945 and 1986.

THE TAYLOR WESSING PHOTOGRAPHIC PORTRAIT PRIZE

1 SEP-2 OCT, TIMES VARY, FREE

Selection of sixty portraits anonymously selected for inclusion from over five thousand, featuring a batch of emerging young photographers, alongside that of established professionals, photography students and gifted amateurs. THE TWEEDDALES: POWER, POLITICS AND PORTRAITS

1 SEP-28 MAY 17, TIMES VARY, FREE

Artwork featuring and commissioned by the Tweeddale family, a highly influential dynasty at the heart of Scottish society in the latter half of the seventeenth century who were known best for contributions to politics and the military.

10 SEP-29 OCT, TIMES VARY, FREE

September 2016

Find full listings at theskinny.co.uk/whats-on

Nicolas Party's figurative paintings and print work reduce his subjects to rounded forms, as faces become caricatured and landscapes looking fictionalised and fantastical.

A showcase of the Scottish experience of Italy in the eighteenth century, a time when artistic, entrepreneurial and aristocratic fascination with the country was reaching boiling point. OUT OF THEIR HEADS: BUILDING PORTRAITS OF SCOTTISH ARCHITECTS

1 SEP-5 FEB 17, TIMES VARY, FREE

An opportunity to peer into the minds of some of Scotland’s greatest architects via The Scottish National Portrait Gallery’s collection of portraits and designs. BUILDING SIGHTS

1-25 SEP, TIMES VARY, FREE

A series of photographic portraits by Tricia Malley and Ross Gillespie (aka Broad Daylight), each featuring a celebrity and their favourite building. The exhibition will showcase the magnificent architecture and design to be found in Scotland. FACING THE WORLD: SELFPORTRAITS REMBRANDT TO AI WEIWEI

1 SEP-16 OCT, TIMES VARY, £7 - £9

Taking lead from the ongoing phenomenon of self-portraits on social media, the Scottish National Portrait Gallery presents a collection of portraits spanning six centuries and various media, from paintings to Instagram posts.

St Margaret’s House INSPIRED

10-25 SEP, 10:00AM – 6:00PM, FREE

A selling-showcase of contemporary felted wool craft and design. Visitors will explore a colourful mix of felt artworks, wearables and homewares by our selected textile artists and makers. AFRICAN MOVIE

10-25 SEP, 10:00AM – 6:00PM, FREE

Focusing on re-creating a narrative of African life as she experienced it through her childhood, Vittoria Grant portrays the East African Coast through a series of black and white sketches. TOGETHER

10-25 SEP, 10:00AM – 6:00PM, FREE

Together – a retro-inspective – brings the past, the present and the future together in a collection of works by Deb Ball and connected artists, celebrating a passion for life and the world we live in.

St Mary’s Episcopal Cathedral

THE CATHEDRAL COLLECTION

1-19 SEP, 9:00AM – 5:00PM, FREE

An installation of glass and metal sculptural works by sculpture and design duo Philip Baldwin and Monica Guggisberg. In conjunction with Paul Musgrove of Gallery TEN.

Stills JO SPENCE

1 SEP-16 OCT, 11:00AM – 6:00PM, FREE

CONTEXT IS HALF THE WORK. A PARTIAL HISTORY OF THE ARTIST PLACEMENT GROUP 1 SEP-5 OCT, 11:00AM – 6:00PM, FREE

The Artist Placement Group (APG) was founded in the UK in 1966. This internationally acclaimed exhibition, curated by Naomi Hennig and Ulrike Jordan in dialogue with Barbara Steveni examines seven APG placements through a showcase of research material, video works, art works and documentation of the group’s activity. DIAGRAMMING THE LISTENER

1-30 SEP, 11:00AM – 6:00PM, FREE

South Yorkshire-based artist and producer Mark Fell presents an installation which draws from interests in geometry, time, technology and the self, and how these shape and sustain one another. PESTER AND ROSSI

1-30 SEP, 11:00AM – 6:00PM, FREE

DJCAD graduates Pester and Rossi continue their collaborative practice of sculptural performance, using outlandish costumes, visual puns and irony to subvert the everyday, to explore norms and rituals and to make feminist and sociological comments. HYPER BOWL

1-30 SEP, 11:00AM – 6:00PM, FREE

Tamsyn Challenger brings the fruits of her award-winning practise to Summerhall; an OMG-laden, tongue-in-cheek installation questioning the notion of hype, star-ratings and our uninhibited exaggeration of literally everything on earth.

Talbot Rice Gallery THE SUBJECT AND ME

1 SEP-8 OCT, TIMES VARY, FREE

The first solo exhibition in Scotland of Alice Neel’s striking and resonant portraits, entitled The Subject and Me. The exhibition is part of a wider series promoting the work of leading women artists, previously including Hanne Darboven and Jenny Holzer. ECLECTRC PANOPTIC

1 SEP-8 OCT, TIMES VARY, FREE

Jess Johnson’s suite of drawings, tessellating patterns and VR tech which aims to bridge a portal into another realm. The installation takes genesis from psychomagic group rituals conceived by filmmaker and comic book writer Alejandro Jodorowsky.

Dundee Art Cooper Gallery BANNER REPEATER

9-29 SEP, 11:00AM – 5:00PM, FREE

An exhibition of artists’ books, publications and multiples copresented with the experimental artist publishers Banner Repeater including those recently acquired for abcD DJCAD’s artists’ book collection Dundee.

DCA: Dundee Contemporary Arts KATY DOVE

17 SEP-20 NOV, 11:00AM – 6:00PM, FREE

A memorial exhibition of drawings, collages, paintings, prints and animations by Katy Dove, an artist and former student of DJCAD / employee of DCA who passed away in 2015.

Generator Projects

SOMETHING ABOUT BREAKING LIMBS OFF STATUES

10 SEP-2 OCT, 12:00PM – 5:00PM, FREE

An exhibition of new works by Conor Baird, Katrin Hanusch and Uta Koslik who, through colloaboratin and cumulative reseach have created a body of work investivating censorship, fragment and the nature of being ‘in-between’.

The McManus

DRAW THE LINE: OLD MASTERS TO THE BEANO

1 SEP-23 OCT, TIMES VARY, FREE

A celebration of ‘one of the most basic and enduring of human activities’, The McManus showcases a selection of figure studies and portraiture, illustration, preparatory sketches, landscape and topography by historic and contemporary artists. CHARTING NEW WATERS

1 SEP-23 OCT, TIMES VARY, FREE

An exhibition introducing two major acquisitions to Dundee’s collection, including Scottish artist Frances Walker’s dramatic icescapes of Antarctica, created after she was granted the James McBey Travel Award in 2007.

The Fruitmarket Gallery DAMIÁN ORTEGA

1 SEP-23 OCT, TIMES VARY, FREE

The Fruitmarket’s showcase of new sculptures from Damián Ortega, a prominent Mexican artist whose imaginative works will focus on how the forces of nature – wind, water, earth and fire – act on the earth, independently and in relationship to man.

Stills exhibits two aspects of photographer Jo Spence’s creative output; documentary images from the 1970s illustrating the educational workshops that she developed with collaborator Terry Dennett, along with therapy-based self-portraiture.

Scottish Summerhall National Portrait LAURE PROUVOST 1-30 SEP, 11:00AM – 6:00PM, FREE Gallery French Turner Prize winner Laure

A selection of monotypes exploring the theme of landscape and our relationship with it.

THREE CATS

SCOTS IN ITALY 1 SEP-5 MAR 19, TIMES VARY, FREE

Prouvost presents a series of videos which interact with one another to tell surreal, non-linear stories. These narratives are disorientating, humorous and demonstrate a cynical awareness of contemporary communication. ADAM, EVE, OTHERS AND A UFO

1-30 SEP, 11:00AM – 6:00PM, FREE

Haroon Mirza creates kinetic sculptures which test the interplay and friction between sound and light waves and electric current. This sonic installation urges us to reconsider the perceptual distinctions between noise, sound and music.

Listings

Find full listings at theskinny.co.uk/whats-on

THE SKINNY

Dutch Hustle Amsterdam-based duo Detroit Swindle take time out from a busy touring schedule to discuss paying homage to house music, an upcoming show at FLY’s Edinburgh Open Air Festival, and a forthcoming release featuring a UK electronic icon Interview: Claire Francis

n house music’s formative years, it was common for non-American producers to adopt a misnomer that would have them mistaken for natives of Detroit or Chicago. It’s an indication of the level of admiration for – and appropriation of – house and techno music produced from these two cities, and for Lars Dales and Maarten Smeets, their chosen name of Detroit Swindle is both playful and self-analysing. Formed in 2011, the duo’s Boxed Out LP and a hefty succession of EPs have established them as high-calibre house producers, drawing heavily on the staples (bustling beats, hi-hat claps, liberal vocal samples) of classic house music. They take time out of a mammoth international tour, which includes an appearance at FLY’s Open Air Festival in Edinburgh on 24 September, to chat about paying homage to the genre, clubbing from Beirut to Kyoto, and the pleasures of spinning vinyl. Your name is a light-hearted nod to your mutual love for Motown – could you tell us a little more about this? Maarten: My dad is a big Motown fan, and ever since I can remember, he’s played all the records from Marvin Gaye and Otis Redding, so that was my introduction. When we started playing together, and especially when we started doing more diverse sets, I dove deeper into disco, funk and soul from back in the day, and discovered great Northern Soul stuff and more underground artists. Going through all those old 45s in record stores is really fun, especially when you find those hidden gems. What do you think it is about Motown that holds such a continuing appeal? Lars: Motown really is music from the heart and that’s something for all ages. Also, it’s a really, really sexy genre. Who doesn’t like a song when it’s called Sexual Healing? You’ve also cited hip-hop and early house music as influences – any particular records or tracks? Lars: Anything by J Dilla basically (the other reason we chose to pay homage to Detroit). I like to think we put a bit of Dilla into every track we make. As for house, Larry Heard and Carl Craig are big influences, and our good friend Kerri Chandler. Talk us through the elements of your live show. You have quite an arsenal of digital and analog instruments, including an additional member on the keys, is that right? Lars: Yes, the live show is a fun beast! We’re taking SO much gear with us, it’s a hefty six metres wide on stage. By adding our keys player Lorenz Rhode to the set-up, we can improvise a lot more. We’ve got a great dynamic amongst the three of us. You’ve got a date coming up in Liverpool where you’ll be spinning vinyl for three hours – what do you like about playing vinyl-only shows? Maarten: Playing real records has a certain feel to it you just can’t get with any digital format. Each time you take a record out of its sleeve and play it, you create a moment and take a little bit of that physical thing with you to the next show. It’s something tangible that makes what you do a bit more real, in a way.

September 2016

These days it’s a bit complicated though, with loads of clubs that don’t have a proper set-up for vinyl. It takes a lot of effort from our side, doing soundchecks, bringing our own mixer and needles, balancing everything... all aimed at making sure that you can really bring your music across the way you want and not be obstructed by technical issues. The fun thing about playing vinylonly is the limits you impose upon yourself. You’ve brought a set of records and that’s it, there’s no back-up of millions of songs on a USB, just your personal selection for that specific night. We’ve got a couple of days planned to go digging so I hope we get to bring a few new (old) records and if we’re lucky, we’ll get our upcoming release just in time for this show. You’ve had a busy summer playing festivals across Europe and the UK, and earlier in the year, as far as Australia, Brazil and Japan. Can you name any tour highlights? Lars: The year isn’t even over yet and we’ve done so much touring already. In general those longer tours in South America, Asia and Australia were very special. We brought our live set with Lorenz to the USA for the first time, which was insanely ambitious, but we pulled it off and it was fantastic to see the response overseas. In particular, Star Festival in Kyoto was an amazing experience, where we had hilarious times with (French tech house trio) dOP.

“Playing real records has a certain feel to it you just can’t get with any digital format” Maarten Smeets

We were in Kyoto playing the Star Festival this summer, and after our set, we spent some time with the guys from dOP, who are just as cool as they are weird. After a few joints by the campfire, we all ended up joining this guy who was giving djembe lessons (and who was actually really bad at playing) and we took over his class, got some shakers out, and improvised a whole band out of camping material and this dude’s tent. I don’t know if he actually liked it, but we were rolling on the floor from laughter.

Festival in Belgium last summer was pretty special. It was our first time ever doing the live show in the new set-up with Lorenz, so as you can imagine, we were pretty nervous. We found out that Seven Davis Jr. was playing the same stage that day, and since we had just remixed his track Friends, we invited him up on stage with us to do the vocals. It was a non-rehearsed, improvised-on-the-spot moment but it turned out great – so big thanks to him for that. Also the crowd just went nuts over there. To see 3000 people digging your music on that level with inflatable bananas, Christmas lights for clothing decorations, girls in bikinis just vibing out; it was really something else. A memory we will not forget easily!

You recently played a show at The Garten in Lebanon too – how was that? Lars: Really great! Beirut’s clubbing scene is quite vibrant, which we didn’t anticipate, but it’s so good. Also the promoter took really great care of us – we had some time to hang out, party and explore the city a bit.

In September you’ll be playing at the foot of one of Scotland’s most iconic landmarks, Edinburgh Castle – what other things spring to mind when you think of Auld Reekie? Maarten: The first time ever that we’ve played in Edinburgh was probably our most fun show of the year, playing in a venue that’s closed now. We probably had 40 people in, but everyone went out of their minds. That was a warm welcome, and luckily, coming back to Scotland has been great. Also, haggis. We tried it. Will never order it again, but we tried. Points for that, right?

Can you tell us a career favourite show that you’ve played to date? Maarten: There are too many, but I guess Dour

Could you tell us about your label, Heist Recordings? Lars: We do our own A&R, so we’re quite involved

CLUBS

in it, and it’s a great way to extend the family a bit. We really wanted to give other artists who are just starting out the same chance we got, and we can invite producers we like or look up to, to do an EP or a remix for us. Also fellow Dutchies Nachtbraker and Frits Wentink have got their studios in the same building so we see them a lot and share stories and experiences. Right now, we’re doing more label showcases all over Europe, so we’re getting to hang out more with our friends while playing records at our favourite places. We’re very lucky like that. Finally, what’s on the horizon for Detroit Swindle? Maarten: On the horizon is zero sleep! We’ve got a new EP on Heist coming out, which we’ve managed to get Matthew Herbert involved in too. He’s made an excellent remix for us. Then we’re doing a Boiler Room vinyl-only set in Madrid for Ray-Ban, and we’re starting our new residency Heist in Amsterdam. We’re gonna be back in the USA for a couple of weekenders and touring a lot til the end of the year, so it’s gonna be busy as hell but super fun. FLY presents FLY’s Open Air Festival, Edinburgh’s first inner-city, open air, one-day festival, at the foot of Edinburgh Castle on Saturday 24 Sep. The line-up includes Booka Shade, Mr G (live), Motor City Drum Ensemble, Detroit Swindle, Theo Kottis and more

Out Back

Listings

THE SKINNY

Red Bull Music Academy UK Tour

London 19

Wednesday October

STUDIO SCIENCE WITH GORGON CITY

Leeds 27

A sonic and visual installation

A new photography and film exhibition curated by Hattie Collins that explores how Grime has been documented since its inception. Featuring; Cleveland Aaron, Ewan Spencer, Lord of the Mics, Olivia Rose, Practice Hours, Risky Roadz, Ruben Dangoor, Simon Wheatley, Tim + Barry & Vicky Grout

at Clore Studio, South London Gallery, 7pm – 8:30pm

Venue TBA, 7:30pm – 10:30pm

Black Butter DJ duo Gorgon City lead a special production masterclass at Red Bull Studios, 6pm – 8pm

Thursday October

003 WITH REZZETT

Thursday October

AN EYE ON GRIME

A CONVERSATION WITH DIZZEE RASCAL at The Yard Theatre, 6:30pm – 8pm

GO EAST WITH JAY PRINCE

28 Friday October

FORM & FUNCTION

An all-Berlin techno takeover featuring Marcel Dettmann plus support from Objekt, Call Super & Laurel Halo at Wire Club, 11pm – 6am

Guests TBA

at The Macbeth, 8pm – 1am

THIS IS AWFUL

An Awful Records showcase with Father, Abra, Ethereal, KeithCharles Spacebar, Lord Narf, Tommy Genesis + Special Guests, Blood Orange and Kilo Kish at St. John-at-Hackney, 6pm – 11pm

AWESOME TAPES FROM AFRICA 10TH YEAR ANNIVERSARY African rhythms and rarities at Corsica Studios, 9pm – 2am

21 Friday October

Saturday October

30 Sunday October

DJ Harvey returns alongside the new generation’s finest. With Leon Vynehall, Job Jobse & Palms Trax at Canal Mills, 11pm – 5am

STUDIO SCIENCE WITH SHURA

From her bedroom in West London to headline tours and festivals worldwide, Shura sits down to share an intimate workshop. at Lambert’s Yard, 1pm – 3pm

IT FOLLOWS - LIVE SCORE STUDIO SCIENCE WITH LADY LESHURR

The Queen of Birmingham drops into Red Bull Studios to shed some light on her lyrical process and production techniques at Red Bull Studios, 4pm – 5pm

DIZZEE RASCAL: BOY IN DA CORNER LIVE Venue TBA, 8pm

September 2016

DISCOPOLIS

A special live-scored screening of indie-horror smash, ‘It Follows’, featuring Disasterpeace. Arranged by Emma Jean Thackray and hosted by Gareth Averill at Hyde Park Picture House, Show 1 – 2:30pm, Show 2 – 7:30pm

#RBMAUKTOUR UKTOUR.REDBULLMUSICACADEMY.COM * shows/details subject to change

Features

Red Bull Music Academy UK Tour

Glasgow 13

Thursday October

SUB CLUB SPECIAL

Experience Kölsch live at Barrowland Ballroom supported by Nightwave & The i AM followed by a DJ Set at Sub Club Show & Club Night

Saturday October

DISCO SPIN

Jackmaster and Throwing Shade bring the spin at this micro-party in a Laundrette Special

LA CHEETAH’S 7TH BIRTHDAY

GLA X LDN

Actress (DJ Set), Mister Saturday Night, Beatrice Dillon, Lukid, Wardy & Dom D’Sylva

D Double E, Sir Spyro, Jammz, Capo Lee, Jack Dat, DJ Milktray B2B Rapture 4D, Bushido

Club Night

14 Friday October

A NUMBERS SPECIAL

Lorenzo Senni, Denis Sulta & General Ludd Special

16 Sunday October

A DIFFERENT CIRCLES SPECIAL

Mumdance B2B Logos, Doc Scott (’92-’94 set), Russell Haswell (Live), Beneath & Inkke Club Night

A CONVERSATION WITH YOUNG FATHERS Lecture

STUDIO SCIENCE: A MODULAR SYNTH WORKSHOP Talk with Mumdance, Russell Haswell, Matthew Allum (ALM Busy Circuits) & Aleks Jurczyk (Rub a dub) Lecture

Show details* and tickets at: uktour.redbullmusicacademy.com #RBMAUKTOUR 72

Listings

* shows/details subject to change

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