The Skinny February 2011

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D AN M C O I N LLE Q U R& ER IN AL EC G A 65 NI MA M Ta DA AL CK AN YS EN D Z S : O BU O Z C FST UN IE KF D A And AS TIC JO T M N ER ore NY ...

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FREE ISSUE 65 • February 2011

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

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CONTENTS

primal scream PRESENT

screamadelica live

friday 18th march

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S GLASGOW SECC OLD

0844 395 4000 0844 811 0051 www.ticketsoup.com www.gigsandtours.com

SUN 17TH APRIL

Mon 07 March Edinburgh Sneaky Pete’s Tue 08 March Glasgow Captain’s Rest

O2 ABC2 GLASGOW 0871 220 0260

PHOTO: STEVE GULLICK

A REGULAR MUSIC AND SJM CONCERTS PRESENTATION

P.15 MOGWAI

P.29 WHAT'S HAPPENING IN PAKISTAN? TURN TO TRAVEL

P.16 BEANS MEANZ BUSINESS

P.32 MEET MR. DORITOHEAD AND CO.

FRIDAY 15TH APRIL 0131 668 2019 EDINBURGH Queens Hall

Christy Moore

WITH DECLAN SINNOTT EDINBURGH Queen’s Hall Wed 13th Apr 0131 668 2019

20TH ANNIVERSARY ST. PATRICK’S DAY CONCERT

GLASGOW Concert Hall Fri 15th April 0141 353 8000

THURSDAY 17TH MARCH 2011

GLASGOW Barrowlands Sat 16th April 0871 220 0260

0871 220 0260 www.seetickets.com

Roddy Hart

IN CONCERT

& The Lonesome Fire

plus special guests

GLASGOW Oran Mor Friday 27th May

GLASGOW BARROWLAND

Sat 12th Feb

Glasgow Oran Mor 0871 220 0260

0871 220 0260

BrianWilson

REIMAGINES GERSHWIN & PERFORMS HIS GREATEST HITS

GLASGOW Concert Hall Sun 11th Sept 2011

In association with The Agency Group

0871 220 0260 0141 353 8000 www.seetickets.com

THE SKINNY FEBRUARY 2011 Issue 65, February 2011 © Radge Media Ltd. Let us know what you think: E: hello@theskinny.co.uk T: 0131 467 4630 P: The Skinny, The Drill Hall, 30-38 Dalmeny St, Edinburgh, EH6 8RG The Skinny is Scotland's largest independent entertainment & listings magazine, and offers a wide range of advertising packages and affordable ways to promote your business. Get in touch to find out more.

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TICKETS: www.seetickets.com 0871 220 0260

or in person from Ticket Scotland: Argyle Street Glasgow, Rose St Edinburgh & Ripping Records and all usual outlets

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THE SKINNY FEBRUARY 2011

Editorial Editor Music & Online Editor Art Editor Clubs Editor Comedy Editor Competitions Editor Digital Editor DVD Editor Fashion Editor Film Editor Heads Up Editor Listings/Cyberzap Editor Performance Editor Reading Editor Travel Editor

Rosamund West Dave Kerr Andrew Cattanach Luke Dubuis Lizzie Cass-Maran Adeline Amar Alex Cole Keir Roper-Caldbeck Alexandra Fiddes Jamie Dunn Anna Docherty Anna Docherty Gareth K. Vile Keir Hind Paul Mitchell

Production Production Manager Designer Chief Subeditor

David Lemm Lewis MacDonald Paul Mitchell

Sales/Accounts Head of Sales & Marketing Advertising Sales Execs

Lara Moloney Jan Webster

Publisher

Sophie Kyle

Interns

Louise Robertson Eilidh Hickman Aimee Cassells

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

6: Opinion: Marc DeSadé turns his critical glare on the middle classes; GKV looks forward to Live Art 2011; a formal assessment of the Glasgow art world; anticipating Edinburgh International Film Festival; Skinny on Tour and Hero Worshipping David Bowie.

8: Heads Up: A full spectrum of events and experiences to take you through the month of February.

+ WINTERSLEEP

O2 ABC GLASGOW

WEDNESDAY 9TH FEBRUARY ALBUM ‘HEAVEN IS WHENEVER’ OUT NOW WWW.THEHOLDSTEADY.COM

FEATURES 10: Glasgow Film Festival: An overview of what to expect from the programme in film, music and fashion, including interviews with programmers Mark Millar, Alan Jones and Matt Munro.

14: Gay For Johnny Depp on the future of punk and the possibility of a name-change.

15: Mogwai present lucky album number seven - their greatest departure yet.

16: Beans tells us about his 'deathsweater' and a new union with Anticon.

18: 65daysofstatic explain their score to cult sci-fi flick Silent Running, as part of GFF. 19: Gruff Rhys has built a new hotel from tiny shampoo botels, we salute him.

20: Norman Blake and Euros Childs form Jonny, start hammering the candyfloss.

21: In celebration of Valentine romance, our Books Ed reads his way through three Mills and Boon books to bring you the startling news that they’re a bit rubbish.

23: Playwright Rob Drummond meets GKV’s criticism head on in preparation for his new play, Wrestling.

24: Dan Millar and Alec Mackenzie talk about their work ahead of their Glasgow exhibition.

25: Conquering Animal Sound create an expansive beauty of a debut in their living-room.

26: Taz Buckfaster talks grime, dubstep and not giving a shit about notoriety.

27: Who tickles our funny bone till we cry with desire? We've complied a short list of Comedy pin-ups.

LIFESTYLE

+ TEETH OF THE SEA

GLASGOW SECC

TUESDAY 15TH FEBRUARY BUY ONLINE AT GIGSINSCOTLAND.COM & TICKETMASTER.CO.UK & TICKETSOUP.COM 24HR CC LINES: 0844 499 9990 & 0844 395 4000

45: Music: highlights from Celtic Connections and more 4-5 star reviews than you can shake a FOPP voucher at.

53: Clubs: Where will you get aff yer heid this month?

56: Film: Our views on some of the Oscars contenders, and the best of the latest DVD releases.

58: Art: Living Today at Glasgow School of Art undergoes some scrutiny and we look forward to Jean-Marc Bustamante at the Fruitmarket.

59: Reading: We think you should read some books.

Digital: Alex Cole gets overexcited about the latest tech.

60: Performance: We investigate Bedlam Theatre and review We Will Rock You, unexpectedly.

61: Comedy: Profiling Stuart Murphy and introducing Stephen Callaghan.

62: Competitions: WIN! Magners Glasgow International Comedy Festival tickets! Or enter the FOUND Portrait Competition.

63: LIstings: There’s a lot going on if you care to take a look.

71: Starter for 11 features 65daysofstatic competing for that haggis supper prize while Crystal Baws’ predictions become even more disturbing.

Sunday 13th February Valhalla Dancehall out now

www.britishseapower.co.uk

DF CONCERTS BY ARRANGEMENT WITH THE AGENCY GROUP

+ THE PHOENIX FOUNDATION

GLASGOW ORAN MOR

THURSDAY 3RD FEBRUARY

EDINBURGH LIQUID ROOMS PLEASE NOTE: CHANGE OF VENUE - ORIGINAL TICKETS STILL VALID

O2 Academy Glasgow Monday 21st February SEATING AND STANDING AVAILABLE

FRIDAY 4TH FEBRUARY

NEW ALBUM ROLLING BLACKOUTS OUT NOW THEGOTEAM.CO.UK

Heavenly Recordings in association with DF Concerts, by arrangement with 13 Artists presents

New album Smoke & Mirrors out now on iTunes www.lifehousemusic.com WITH SUPPORT FROM

TREVOR MOSS & HANNAH-LOU + JAMES WALBOURNE

29: Travel: a traveller in Pakistan is offered an unexpected glimpse into the lives of the country’s elite.

32: Showcase features the multi-coloured visions of Edinburgh-based artist Matthew Swan. He likes Lego.

34: fashion looks forward to seeing Aberdeen’s designer wardrobe, the Ghillie Dhu makers market, and an exhibition of Scottish textile design.

36: Food & Drink contains instructions on preparing a meal so romantic it should carry a health warning.

REVIEW

Glasgow Arches

Debut albums Sea of Bees ‘ Songs for The Ravens’ & James Walbourne ‘The Hill’ out now on Heavenly Recordings

Glasgow Captain’s Rest Sunday 13th February www.seaofbees.com www.trevormossandhannahlou.com myspace.com/jameswalbourne

GLASGOW NICE N SLEAZY TUESDAY 8TH FEBRUARY

O2 Academy Glasgow Thursday 3rd February

AIDAN MOFFAT’S VALENTINE REVUE featuring three individual performances by

GLASGOW CAPTAIN’S REST

WEDNESDAY 23RD FEBRUARY

YOAV

AIDAN JOHN MOFFAT BILL WELLS & AIDAN MOFFAT AIDAN MOFFAT & THE BEST-OFS

GLASGOW ORAN MOR

GLASGOW NICE N SLEAZY

WEDNESDAY 16TH FEBRUARY

TUE 22ND FEB

Glasgow Oran Mor Friday 11th February The Deep Field – Album Out Now

www.joanaspolicewoman.com

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

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

February 2011

THE SKINNY

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Hero Worship

Editorial Welcome to (probably) the most romantic issue of The Skinny so far. In honour of the commercial festival that is St Valentine’s Day, we have endeavoured to provide you with an array of somewhat romantic reading matter for the month of February. Reading editor Keir put himself through hell to bring you a brief overview of the published work of Mills and Boon; Aidan Moffat contributes some bespoke Glaswegian love poetry; Comedy editor Lizzie has compiled a list of the five hottest comedians coming to town in the next couple of months; and in Food we’ve put together some recipes to help you prepare a meal so romantic it is (almost) guaranteed to get you laid. Our Crystal Baws horoscopes have also taken a romantic turn in this issue, although they still contain more serial killer references than is traditional at this time of year.

As you can probably tell from our cover, we are very excited about the forthcoming Glasgow Film Festival. For our lead feature we’ve talked to some of the programmers, including Scottish comic book legend Mark Millar (he of Kick-Ass fame) who’s curated a strand of comic book-inspired

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FREE

ISSUE 65 • FEbrUary 2011

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D AN M C O IL N LE Q U R& ER IN AL EC G A 65 NIM MA TA DA A C K an YS L E D Z : BU O SO NZ C FST UN IE KF AT D AN A IC JO ST D M N ER N O RE Y ...

LM FI w O L: O SG va ER La tI H N G E S E R IO F U P AS S v IN

Music | Film | clubs | perFormance | Digital | reading | coMeDy | art | fashion | listings

Edward McGowan is an Edinburgh based illustrator with a keen eye for bright colors and rough textures.

His work has been

films. He’s also currently working on a superhero movie set in Glasgow, which I for one cannot wait to see. We’ve chosen our highlights from across the festival, and spent some time hearing from 65daysofstatic about their gig soundtracking sci-fi classic Silent Running.

In other major news, Mogwai have returned with a stellar new album, so we talked to them about the Scottish influence, eavesdropping on neds and much more besides. Elsewhere, there seems to be a bit of an unintended trend for provocative names amongst this month’s interview subjects: we’ve managed to squeeze in time with Scottish DJ Taz Buckfaster, deliberately controversial band Gay For Johnny Depp, and Glasgow’s Eternal Fags. We’ve also spent some time with Anti-Pop Consortium’s Beans, learned more about new album Hotel Shampoo from Gruff Rhys, and discussed the cultural significance of wrestling with playwright Rob Drummond in advance of his new performance Wrestling, premiering in The Arches this month. In Travel, a writer shares an illuminating experience of accidentally hanging out with Pakistan’s elite.

For more details of what this issue contains I advise you to refer to the Contents page. It’s very informative.[Rosamund West]

published internationally in publications like The New York Times, Paste Magazine, Time Out and American Way. He currently works as a full time illustrator from his studio in Edinburgh’s Grassmarket, where he co-founded Owl & Lion Gallery in November 2007. Edward spends his days drawing, listening to Frank Black and drinking copious amounts of cheap coffee. He hopes to live in San Francisco one day.

Shot of the month

DAVID BOWIE Michief La Bas head honcho and five-star solo artist Ian Smith introduces a familiar face David Bowie may seem a cheesy and obvious choice, but it has to be my choice because I have been following his every move and batting of eyelash for about forty years. You’ll hear this story from everyone, from Boy George, everyone who was completely transformed by the Starman appearance on Top of the Pops in 1972. It did change the world for lots of outsider freakos living in grim suburbs of London, who suddenly realised you could be anything you wanted, even something from another planet.

That has informed my thinking ever since; he is an artist of the twentieth and twenty-first century, and has probably introduced more concepts, styles and subversive thinking to the popular consciousness than anyone else. I was thirteen when I got into him, and he was the first person who was mine. I’d had a huge education in popular culture from my brother who was seven years older than me, so I had been (vicariously) a mod, a greaser, this and that on my brother’s coat-tails. But this was for me and has been ever since.

There are tracks on The Man Who Bought the World that mention Winston Churchill, Kalil Gibran, about seven kinds of religion, gangsterism, et cetera et cetera, and you were then inspired to explore all these things. Jung. I mean, who the hell was Jung? And that was in a top ten pop record.

I went with my brother to the last tour in both Wembley and Glasgow, and it was one of the finest moments of my life to share with my brother who had always led me. And when he did numbers like Waterloo Sunset – for me, as a London boy, it was about as close to bliss as I could get.

Everybody knows what he has done on his erratic and interesting journey: it is like having a freakish big brother, and I’m not disappointed in the least that he seems to be settling down now.

He has done enough, surely! He inspired me to realise that you could be your own person, dress it up a bit and that was enough. Theatre, art and music, my three favourite things, all in one package that looks brilliant. What more do you want?

SKINNY ON TOUR

King Gustav Adolf is confused. Is it a bird? Is it a plane? No, it's reader Bertrand and The Skinny on a famous square.

THE WALKMEN, Òran Mór, 19 JAN

BY JAMES GRAY

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THE SKINNY February 2011

Think you know where this photo was taken?

Go to www.theskinny. co.uk/competitions to submit your answer and win a super secret surprise.

Closing date: Monday 28 February

Illustration: ALVVINO

OPINION

Scopophilia

FORMAL MUSINGS Glasgow-based artists paint nothing but shapes all the time. Their sculptures are of nothing recognisable. They all have an obsessive attention to detail. This vision of homogeneity is, like all good myths, partly true. There is, without a doubt, popularity among young artists to look to the formal aspects of their medium and avoid representation.

It’s a crisis that goes back a long way, and not one I’m about to get stuck into here.

One can’t deny the influence of the generation that saw the rise of Martin Boyce, Toby Patterson and Simon Starling. They changed the artistic landscape in Glasgow. But this was not solely an aesthetic shift, and had more of an impact on the way artists research. Unlike the minimal and conceptual art of the 60s and 70s, the work of this generation is less hermetically tied off from the rest of the world and they, through their research, enter into dialogue with other disciplines, including design and architecture.

They brought about a culture of hero worship.

Artists now reflect on the history of art and design, hand picking individuals from the past that will drive their practice. But despite their admiration, artists, such as Martin Boyce, cannot overlook the failures of their forebears. Central to his work is melancholia, a sadness that the utopian vision once dreamt is in reality, bankrupt. This heritage will in some ways be evident in the work of Alec Mackenzie and Dan Miller when they show at The David Dale Gallery later this month. While Miller reflects on old, washed-out modernist designs, Mackenzie jeers at our pitifully rickety modernity. [Andrew Cattanach]

The Proposition

The Middle Classes Cannot Do Protest Music In the unlikely event you’re reading this through a haze of cigar smoke and brandy fumes, you might as well stop now. That probably also goes for those of you desperately trying to doctor the books of your mind and financially distance yourself from social groups A and B, not to mention trying to pretend your studio apartment is actually on the edge of the schemes rather than the suburbs. The middle classes cannot do protest music. It takes disenfranchisement to generate genuine indignation. “Keep it real,” as the ghetto says.

It’s ironic that much of modern activism stems from the upper echelons of society: i.e. the people who probably need change the least. Remember those outraged students breaking that window last November in London? Did you see how long it took? Mincing back and forth, timidly kicking at the glass in their Brogues. Have you ever seen a drunken builder throw a brick through a window? Now that’s some efficient damage. If those protesters had spent some time at community college they could have defenestrated half the desks in the UK in the same amount of time.

Let’s take rap for example. Its tales of street life and fighting “The Man” (well, pre-platinum album rap, rather than the bling-obsessed, Harrods infomercial that usually follows). It is hilarious to think that so many of our toughest, grittiest genres are kept afloat by voyeuristic curiosity and social guilt. The US rap scene is almost totally dependent on young, affluent, white girls ploughing money into tough looking dudes that Daddy does not want to see at the dinner table, like some perverse reparations for slavery and the decades of subjugation that followed.

But then again, perhaps the rich do deserve some pity. Like the tragically uncool kids at school, they have had to dress down and try to fit in with most of the best bands in history – see The Beatles, Black Sabbath, Nirvana, Guns N Roses. Even The Happy Mondays, Stone Roses and much of the baggy scene wouldn’t have them, so after many meetings and adverts in the Daily Express, they eventually had to invent Coldplay, Keane and “Oxford Rock” just to have somewhere to call home.

They are also faced with the realisation that most music-orientated fashion trends come from the lower classes (rap, punk, heavy metal). Wellingtons and Jodhpurs were never going to catch on in a practical sense where mosh pits were concerned.

Then again, given the amount of vomit usually sloshing about at your average Motörhead show, wellies might well be an idea.

In light of their hopeless credibility prospects, much of the middle class decided to give up on becoming great musicians altogether and, having astutely acknowledged their superior education, chose to

Reel Talk

A bright dawn rising in the east In this month’s issue of The Skinny we look forward to the upcoming Glasgow Film Festival, which, after seven years of continual growth, shows no sign of a seven year itch. Things couldn’t be more different in the east of the country.

Edinburgh International Film Festival is in flux.

Disappointing tickets sales, a slashed budget and the loss of Artistic Director Hannah McGill, who stepped down in August, have left the country’s oldest film festival in a bit of a funk. The good ship EIFF remained rudderless until late December, when came the unexpected announcement that there will be a “radical new approach to its image and structure.”

DAN MILLER

play to their strengths and get highbrow in their ironic embrace of art-rock and the noisy esotericisms it entails. After all, most art-rock doesn’t require much practice, which is perfect because the horses need fed and this salmon isn’t going to smoke itself.

In addition, art-rock is perfect when finding a use for those wonderful knitted sweaters Father keeps and that darling little bicycle Mummy used to ride as a feisty young undergraduate at the RSAMD. At least, that is, until it’s time to surrender the skinny jeans and take over at the firm.

Generally speaking, as long as they can all agree that absolutely none of Sonic Youth’s work is tepid, droning, self-indulgent pish, then they know they are not alone. This “Emperor’s New Clothes” approach is especially useful given that the Bourgeois control the means of production, which invariably means they

run the media and thus can choose to foist pretty much any old shit upon us that they wish whilst calling it solid gold. Vice magazine, I’m looking right at you.

But despite all of this, perhaps there is something to be said for aligning one’s self with the lower ranks. They, at least, have a sense of self deprecating humour. In all likelihood, I may well be discovered some time from now on a St Andrews beach, my lifeless mouth stuffed with exquisite quilted toilet tissue and an immaculately handwritten note saying “PROLE SCUM” pinned to my chest with a disposable plastic fork from Marks and Spencer.

One can only hope the Six Nations goes well and the toffs are otherwise occupied. [Marc DeSadé]

The first of these radical new approaches is that there will be no Artistic Director. Instead, a gang of four will oversee this overhaul: James Mulligan, former creative director of Shooting People, will be logistics man, while a creative team of Tilda Swinton, and two former EIFF Artistic Directors, Mark Cousins and Lynda Myles, will dream up Edinburgh’s new artistic vision. Early changes include scrapping prizes, and scaling back expensive parties and red carpet hoopla.

The reaction to these announcements can best be described as mild cynicism. People fear change, but the truth is this overhaul was badly needed.

EIFF was well run and efficient, but at times it resembled little more than a prosaic parade of movie previews – the films were present and correct, but where were the festivities? Like cinema itself, the form the festival takes is as vital as its content. Few know this better than Cousins and Myles, master

programmers whom I believe will prove the real linchpins of this shakeup.

Both have shown in their tenures as Artistic Director that Edinburgh can be more than a vessel to be filled with gala screenings and star names.

It’s a stage for ideas, imagination and intelligent debate. Myles led the festival during its 70s purple patch, with her biggest coup, perhaps, lying in the foresight that saw her bring the New Hollywood brat pack of De Palma, Scorsese and Coppola to Auld Reekie when their careers were mere twinkles in Peter Biskind’s eye. Cousins’ mid-nineties stint as director, meanwhile, was characterised by theatricality, showmanship and daring retrospectives.

Some will argue that this restructuring is too radical, but that’s the funny thing about a monolith: it can’t be bent or moulded. To reshape it, you have to smash it down and start again. Edinburgh couldn’t have two better architects. [Jamie Dunn]

Marc DeSadé is having trouble with the threat of a Coldplay comeback this summer

CRITICal mass EMERGING ROLES

Beneath the traditional icy surface of January’s performance programme, the roots and shoots of the year’s highlights are already starting to break through.

This month sees the beginnings of the annual Live Art and radical theatre jamboree that is New Territories.

Having been long associated with the National Review (now retired), the festival seems to have a new lease of life, expanding into new spaces, including a visit from Black Market International to SWG3, a film and talk programme at the Ramshorn, and workshops in Edinburgh and further north.

Although March has the bulk of the events – including appearances from Scottish favourites Iona Kewney and Anna Krzystek – late February kicks off the festival with free screenings of work by a wide variety of artists, tackling the thorny question of what makes Performance Art. The themes of the festival, including Polish and dance strands, divide what can be a complex mesh of theories and styles into easily appreciated sections. New Territories has kept the Scottish scene lively for years: always controversial and bracing, it has fuelled the development of Glasgow’s distinctive alternative theatre community.

With the artistic directorships of both the Citizens and Scottish Ballet up for grabs, and the NTS attempting to bring together both Scottish classics and new experimental works (they are reviving Men Should Weep and supporting new artists as part of the Reveal season), Scottish performance might be approaching a new era. Pending the impact of funding cuts or political demands, the future looks, if not bright, then full of possibility. [Gareth K Vile]

February 2011

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WED 2 FEB

Starting the month off in suitably interesting style, The Caves host WHY DO SONGS HAVE LYRICS?, a night of hypothesising and live acoustic performances with Fence Collective head honcho King Creosote, author Ian Rankin, Ziggy Campbell of art-cum-music collective FOUND, and rock critic Simon Frith. The Caves, Edinburgh, 6pm, Free. As part of Let's Get Lyrical, 1-28 Feb

Bringing a little taste of Iranian culture to Edinburgh, a trio of British/Iranian comedians take to the Voodoo Rooms as part of EDINBURGH IRANIAN FESTIVAL 2011.

On the bill is renowned cheeky chappie and Fringe Festival fave Patrick Monahan, alongside Peyvand Khorsandi and Sam Farzaneh. Voodoo Rooms, Edinburgh, 7pm, £9 (£7)

PHOTO: TAKESHI SUGA

TUE 1 FEB

HEADS UP PAINT-SPLATTERED NUDES, HATING ON VALENTINE’S DAY, SPANDEX-CLAD 80S WORKOUTS, AND PUPPET SERIAL KILLERS: IT’S ALL IN THIS MONTH COMPILED BY: ANNA DOCHERTY

KING CREOSOTE

PATRICK MONAHAN

SUN 6 FEB

MON 7 FEB

With a quest to knit 100 million stitches to represent the same number of women believed to be missing due to gender discrimination, Stereo plays host to MUSIC AND KNITTING NIGHT (y'know: balls of wool, live bands, homemade cakes, and some dancing). There's also a 'stitchandknitabit' station in the venue where you can pop in anytime and add a stitch or two to the cause. Stereo, Glasgow, 2pm, £10 (donation to Centenary of International Women's Day)

With a flurry of synth, fuzzy guitar, and shriek-y oohwaah vocals, THE JOY FORMIDABLE would appear to have landed. It's all very catchy and singalongable, which means we might even forget to mock them for being called Ritzy, Rhydian and, er, Matt. Or maybe not... Electric Circus, Edinburgh, 7pm, £10

SAT 12 FEB

SUN 13 FEB

MON 14 FEB

Glasgow lo-fi folk duo CONQUERING ANIMAL SOUND mix unusual song structures with a penchant for battered electronics and toy percussion. It's as carefree and charming as the DIY aesthetics behind it, with impressive first LP Kammerspeil being officially welcomed in to the world on the night. Sneaky Pete's, Edinburgh, 7pm, £4

Marking our distaste for Hallmark Valentines, we'll be taking our cynical selves along to LOVE SICK, a night of anti-Valentines storytelling. MC Jennifer Bryce will take on the role of burlesque star and part-time agony aunt, Miss Dixie Midnight, counselling the audience on their perverted sexual woes, alongside students from the Napier MA Creative Writing course and guests from spoken word group Writers' Bloc. Cabaret Voltaire, 8pm, Free

The GLASGOW YOUTH FILM FESTIVAL gather together some of the best and most innovative animated videos from the past twelve months, including rather beautiful animations to tracks by Grizzly Bear, Massive Attack, and Fleet Foxes. Oh, and since it's Valentines Day an' all, the GFT will also be screening Casablanca and Breakfast At Tiffany's. GFT, Glasgow, 1pm, £7.50 (£6)

FOREST – GRIZZLY BEAR BY ALISON SCHULNIK

SAT 19 FEB

SUN 20 FEB

KEITH FARQUHAR showcases another batch of his rainbow-coloured 2D sculptures in More Nudes In Colour. For each one a naked body is painted, photographed and then precision printed onto cardboard, giving them the ability to be easily transported, disposed of, and even re-born like superheroes from their original templates. Tramway, Glasgow, until 27 Mar, Free

A trio of Scottish writers – DC Jackson, Johnny McKnight, and Douglas Maxwell – clearly let their imaginations run wild in the penning of SMALLTOWN, the tale of what happens when a polluted water supply turns its residents crazy. Enter comedic carnage and supermarket shopping with zombies. Tron, Glasgow, 7.45pm, £15 (£11)

The fourth incarnation of the GSSF takes place from 18-20 Feb with a look back to a Punk film movement that began in New York in the late70s. OPTIMO'S HUNG UP! presents the festival's Closing Party at Sub Club with a party inspired by the sleazy musical world of 1980s New York. Sub Club, 11pm, (£TBC)

THU 24 FEB

FRI 25 FEB

SAT 26 FEB

Long-running Glasgow night Numbers hosts its second ever Sneaky Pete's Edinburgh bash, with resident JACKMASTER taking to the decks. He'll no doubt be playing as many different danceable genres as he can whilst basking in the glory of his recent award of Best Breakthrough DJ (by DJ Magazine). Sneaky Pete's, Edinburgh, 11pm, £5 (£3 members)

Guest DJ RAMADANMAN drops by to give La Cheetah's new soundsystem a proper once over, with his deep-tech beats taking the dubstep genre to some noisy places. Support comes in the form of a live set from Edinburgh-based Jacksonville. La Cheetah, Glasgow, 11pm, £10

Danish ensemble EFTERKLANG's Magic Chairs LP was a favourite of 2010 – we're a sucker for blustery piano and melting strings – and they're ready to give it one last airing before they take an extended break from touring. The show promises to be a good 'un, as they'll be screening An Island, the film they made with Vincent Moon, as an alternative to a support act.

Oran Mor, Glasgow, 7pm, £12

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THE SKINNY FEBRUARY 2011

PHOTO: NAN NA HVASS

FRI 18 FEB

fri 4 feb

sat 5 feb

Innocent-looking furry animals play out the story of American serial killer Dean Corll, as puppeteer Jonathan Capdevielle treads on creepy, yet rather wonderful, ground with his unique performance piece, Jerk. Disturbingly magical. Traverse, Edinburgh, 9pm, £10 (£6).

Part of Manipulate Visual Theatre Festival, until 5 Feb

Touring on the back of their really rather good new album, Rolling Blackouts, The Go! Team are a chaotic joy, with their fuzzy guitars, sampling skills, and schoolyard-style chants making us feel a whole lot better about the world. Liquid Room, Edinburgh, 7pm, £12

Glasgow four piece Zoey Van Goey launch their second album over Glasgow way, filled with more of their jingly-jangly, pop-'til-you-drop alternative lullabies.

Support comes from Malcolm Middleton's new project, Human Don't Be Angry, and some top-secret guests. Classic Grand, Glasgow, 7pm, £7

tue 8 feb

wed 9 feb

thu 10 feb

fri 11 feb

Responsible for one of our favourite lyrical flows of 2010 (on song I Am Europe, which included the gem "I’m a shrugging moustache wearing a speedo tuxedo"), genre-crossing genius Chilly Gonzales is set to bring his somewhat renowned Piano Talk Show to Glasgow, with some secret guests dropping by to help out. O2 ABC, Glasgow, 7pm, £14

For the past five months playwright Rob Drummond has been learning holds and lifting weights, or "manning up" as he puts it. It'll all come together for his performance piece, Wrestling, which fuses short film, narrative theatre, and an almighty leap into the real world of Scottish professional wrestling.

Arches, Glasgow, until 13 Feb, various times, £13 (£9)

Hustling together a small cast of five, The Strange Undoing Of Prudencia Hart is storytelling at its most intimate: a lock-in style evening of supernatural storytelling, singalongs and beer-swilling inspired by the mythical Border Ballads. Tron, Glasgow, 8.30pm, £12 (£10)

Club running mates RPZ and Thunder Disco Club join forces for Workout!, a clubbers homage to spandex-clad 80s workouts. They'll be spinning some special energetic electronic, plus their usual hi-tech disco and Italo. And visuals maestro Joe Crogan will be on hand with some rare 80s exercise video footage. Work those buns! Stereo, Glasgow, 11pm, £5

tue 15 feb

wed 16 feb

Super Furry Animals mainman Gruff Rhys takes to the road with new solo album Hotel Shampoo, with his trademark lyrical cleverness ever present through strings, distorted guitar, and mariachi-tinged forays. He'll be supported by North Wales's instrumental surf rockers Y Niwl, who'll also be helping out on some of Rhys' songs. Oran Mor, Glasgow, 7.30pm, £13.50

Aidan Moffat indulges his romantic side with his Valentine's Revue show, celebrating the forthcoming release of his new mini album of short songs for lovers.

He'll give three separate performances: one completely solo, one with Bill Wells, and one with The Best-Ofs. And it'll be blummin' lovely.

Photo: Euan Robertson

Photo: Marisa Privitera

thu 3 feb

Photo: KAT GOLLOCK

Thu 17 feb The Glasgow Film Festival launches with a UK gala premiere of French director Francois Ozon's film Potiche, but, frankly, we're just as excited about the fact that The Deer Hunter is getting an afternoon airing at the GFT. Let's consider De Niro in powerhouse form as the unofficial party starter, shall we? GFT, Glasgow, 1pm, £7.50 (£6). The Festival runs until 27 Feb

The deer hunter

Mon 21 feb

Tue 22 feb

Wed 23 feb

Getting past the slightly gimmicky band name, New York five-piece Gay For Johnny Depp are pretty damn good. Well, in a hardcore, screeching about killing children and having bottom sex with Johnny Depp, kind of way. You have been warned. Sneaky Pete's, Edinburgh, 7pm, £7.50

Having impressed us at last year's Stag & Dagger Glasgow all-dayer, Yuck, formed from the bones of Cajun Dance Party, bring their sing- alongable grunge pop to Edinburgh. Check out their blog – yuckband. blogspot.com – where you can download a handful of songs for free. Sneaky Pete's, Edinburgh, 7pm, £7

Parisian duo, and self-confessed analogue freaks, Zombie Zombie, wowed last year's Glasgow Music and Film Festival with their performance of music from the films of John Carpenter. This year they return to do even greater things: recreating the live score of Sergie Eisenstein's seminal 1925 film Battleship Potemkin. Bow down. The Arches, Glasgow, 7.30pm, £9

Sun 27 feb Photo: WES KINGSTON

Mon 28 feb

Cargo Publishing and Chemikal Underground come head-to-head armed with prose, poetry and song for A Lyrical Death Match, pitting authors Alan Bissett, Rodge Glass and Doug Johnstone, poet Ryan Van Winkle, and emerging talent Kirstin Innes against the musical talents of Emma Pollock and Lord Cutglass and band. Phew! The Caves, Edinburgh, 6pm, £13 (£9). Part of Let's Get Lyrical

Ending the month with some orchestral folk-pop joy, Admiral Fallow (formerly Brother Louis Collective) play an intimate set at Sneaky Pete's, with clarinets, flutes, and double bass hootingand-tooting as they go. Sneaky Pete's, Edinburgh, 7pm, £7

Emma pollock

February 2011

THE SKINNY

9

FILM

MILLAR TIME:

SUPERHEROES TAKE ON THE ARTHOUSE MARK MILLAR, the comic book writer behind The Ultimates and Kick-Ass, talks to The Skinny about bringing superheroes to the festival crowd, his Weegie superhero movie and an onanistic Peter Parker INTERVIEW: JAMIE DUNN

WHEN DID that happen? One day you’re having your head flushed down the toilet for wearing a set of home-made adamantium claws fashioned from six of your mother’s knitting needles, a couple of metres of BacoFoil and some Krazy Glue. The next, the hottest girl in school is offering to show you her bat cave if she can see your copy of Amazing Spiderman #1.

Geek is now chic. Batman is no longer a barrel chested softy wearing spandex and a girdle. He’s a mean and moody mother with a billion dollar franchise, helmed by the world’s most in-demand director. First comic books took over the multiplex – now they’ve invaded the art house. Well, they will invade one, for a short time at least, as the mighty Glasgow Film Festival takes the comic book movie to its bosom to celebrate Scotland’s considerable influence to the medium with its new strand, Superheroes in Glasgow.

From 17-27 February the Art Deco corridors of the GFT will not only be the destination for any self respecting cinephile eager to catch the best that world cinema has to offer. Skinny boys with pale skin and thick glasses will also be stalking those corridors to catch the likes of Crumb (1994), Terry Zwigoff’s haunting documentary about counterculture comic book artist Robert Crumb, or hear a talk from Dave Gibbons, the man who, along with writer Alan Moore, created Watchmen, the graphic novel that has helped, more than any other title, to convince non-beleavers that comic books are more than just “kids’ stuff”.

We caught up with the strand’s director, the hugely talented Mark Millar, to hear all about it.

If this was suggested several years ago, doing a super hero strand at an established film festival, I’m sure there would have been a few raised eyebrows. But now it seems the most natural thing in the world. What’s changed?

Absolutely, up until very recently you’d be lucky to find anyone into this stuff. Really, until about ten years ago even Hollywood would scoff at the idea of a superhero movie. Periodically you’d get a Batman or a Superman IV or whatever, but they alway seemed to have one good one, three duds, and then they would disappear. But things kind of got reinvented, really; probably just over a decade ago. You had A-list directors suddenly coming along. That changed the entire game. You had Christopher Nolan, Sam Raimi, Bryan Singer, Ang Lee, all these guys lining up to do comic book movies. Everyone wanted a superhero franchise. It got cool, it got respectable, and now it’s in the film festival. It’s brilliant, isn’t it?

I guess, as a comic book writer, it’s a great thing because more people are reading and enjoying your work. But as a fan? Isn’t it a bit like when your favourite obscure band suddenly becomes massive, they’re playing in the likes of the SECC and everyone around you just knows the singles?

It’s funny, growing up I never got that. I remember getting really into Suede years ago just when they were starting out and then, suddenly, everyone seemed to like them. I was delighted. I thought, “Brilliant, everybody’s into this band that I love, there’ll be more people for me to talk about them with.” I think popularity is the greatest gift for any artist; for guys who toil away at stuff – brilliant. So like you say, it’s already cracked the mainstream, but now what it’s doing is hitting the festivals and the art-house crowds. I love the fact that the GFT is going to be showing some super hero films. I could never have imagined that when I was a kid. I only

10 THE SKINNY FEBRUARY 2011

❝

I love the fact that the GFT is going to be showing some super hero films. I could never have imagine that when I was a kid.

I only ever went there in the hope of seeing some nudity in the foreign films MARK MILLAR

❞

ever went there in the hope of seeing some nudity in the foreign films.

Looking at the films you’ve included, they don’t seem to fit the traditional superhero mould. Has the idea of what a superhero should be changed?

I’d say there’s a generational shift going on. What we call the Golden Age of comic books, the 30s and 40s characters, your Superman and Batman stuff, they belong to an entirely different era, and it’s a completely different style of writing from the Marvel stuff created by Stan Lee in the 1960s. One dimensional characters became two dimensional in the 60s, and what I’m trying to do with the Millarworld line of stuff I do, is to create something a bit more realistic. Peter Parker owes a lot to Clark Kent – he’s basically a slightly more realistic version of him. And in the same way in Kick-Ass, Dave Lizewski owes a lot to Peter Parker. But, you know, you’re never going to see a Spider-Man film open with Peter Parker looking up porn and having a wank.

Never say never, they’re filming another one right now.

Yeah, we’ll see what happens. They might have Andrew Garfield wanking up a storm in the reboot.

What do you think of that, the constant rebooting of Spider-Man and The Hulk films?

Has Hollywood run out of ideas?

I think they’ve always been desperate for ideas.

The place burns on them; it’s the fuel that keeps Hollywood going. If an idea makes money, they will keep using it till it dries up, and so far superhero movies have been getting bigger and bigger. This year you’ve got three or four major ones that are going to make a lot of money, but next year it’s going

to get crazy. You’ve got the sequel to The Dark Knight, which will make a billion dollars; and there’s a brilliant team behind this Spider-Man reboot, that’ll be colossal; and you’ve got The Avengers movie, which looks like it’ll be the biggest of the lot. The minute that parabolic curve reaches its peak they’ll start to slow down, but Hollywood’s found a gold mine here and they’re going to keep digging.

I notice that one of the films in your programme, Griff The Invisible, sounds remarkably similar to Kick-Ass – a kind of Australian take on it. How does it feel seeing that your work’s inspiring others?

It’s nice, I guess. Imitation is the sincerest form of plagiarism, you know. But it’s great that someone was into Kick-Ass and has done their sort of Australian version. I’d be annoyed if they’d managed to get their movie out before me, though.

The reason I programmed it is that I thought it

would be nice to see a non-American superhero movie. An Australian take on the superheroes is something I quite fancy seeing.

Speaking of which, you mentioned last year at your GFF “in person” that you’d plans to make a Scottish superhero movie – how’s it coming along?

I’ve actually shot about a third of it. I juggle about five different jobs and I’ve been shooting a bit every time I’ve had a spare week and a half.

It should be all completed by about Easter. I wouldn’t call it a superhero movie, as such though.

It’s people with super powers but it’s done quite realistically. I probably put it closer to a horror film.

And it’s set in Scotland, partly out of laziness on my part because I like the idea of walking out my of house and into work, but mostly because I love the international thing. I love the fact that District 9 is an alien invasion movie in South Africa, not LA like all the rest of them. I’d love to see what an African superhero film would be like, what a Polish one would be like, you know, because they’re all going to bring their own identities to it.

YOU’LL HAVE TO WAIT A WHILE YET BEFORE YOU CAN SEE MARK’S GLASGOW SET SUPERHERO FILM. UNTIL THEN, YOU CAN ENJOY HIS PICK OF SUPERHEROES AT THE GLASGOW FILM FESTIVAL’S SUPERHEROES IN GLASGOW STRAND WWW.GLASGOWFILM.ORG/FESTIVAL/WHATS_ON/ STRAND:SUPERHEROES_IN_GLASGOW

COMPETITION WIN TICKETS TO THE PREMIERE AND AFTER SHOW PARTY OF YOU INSTEAD The Skinny has five pairs of tickets for the world premiere and exclusive party of You Instead, David Mackenzie's freewheeling tale of a rock'n'roll romance set at last year's T in the Park. Shot guerrilla-style in just 5 days, it's the story of an indie star and a punky girl-band leader who find themselves handcuffed together for 24 hours, against the backdrop of the music festival.

The film is part of the Glasgow Film Festival and tickets are also available at www.glasgowfilm.org.

Question: When did T in the Park 2010 take place?

Closing date: Wednesday 16 February Terms: www.theskinny.co.uk/terms The film certificate is 15 but this promotion is open to over 18s onlyTickets are non-transferrable and cannot be exchanged for cash. 2 tickets per winner, guest must also be over 18

SHORT FILM IMPRESARIO

Crammed into three frenetic days at the start of the GFF, the fantastic Glasgow Short Film Festival (GSFF) again provides a chance to see the finest emerging film-makers from across the world. We caught up with GSFF director MATT LLOYD to hear all about it THE ACCORDION

INTERVIEW: JAMIE DUNN THE FESTIVAL looks to have expanded from last year, with even more films in competition – are you finding it easier to get good quality shorts as the festival’s reputation grows?

I think the competition programme really is the core of the festival. We were just amazed last year at how many of the filmmakers wanted to come at their own expense, from America and across Europe. This year we’ve even more. We’ve got about thirty/thirtyfive directors and producers coming from the likes of New Zealand, Singapore, Canada, and you think to yourself, “God, do they realise we’re just a small, new little festival?” I hope they’re coming because the festival’s starting to get known internationally, but I think, mainly, they come because of Glasgow the city and its exciting reputation.

For me it’s so crucial that they’re there. I said this at the launch: Scotland film culture is at its best when it’s in collaboration with international partners. If we can bring more of the world to the festival and put them in the same room as our own filmmakers at a very early stage in their careers, we are contributing to that film culture internationalism that Scottish film thrives on.

There’s also a retrospective on No Wave films [an underground film movement from late 70s New York]. What drew you to this very specific period of American cinema?

It’s quite hard to see a lot of those films. I came to it, initially, through Jim Jarmusch, who’s probably the most successful person to come out of the movement, and, actually, he’s kind of vanilla compared to a lot of the No Wave film-makers.

Then Blank City, the documentary that showed at Edinburgh last year and is showing at the GFF this year, sort of reminded me how much I wanted to see these films because it’s full of all these amazing clips – it was really tantalising.

The other reason I wanted to programme them is that they are an example of people making films with no resources. Right now, when so much funding has been withdrawn from our own industry, I hope that can inspire us. Last year, when we had the Court 13 retrospective and Ray Tintori was here, he found it amazing that we all sat around waiting for funding to make films.

Court 13’s ethos was, “Just go out and make a

film; make the most out of whatever resources you have”. It’s an American entrepreneurial approach which is really refreshing in some ways, and it’s most evident in the No Wave films when they had absolutely nothing.

How do you think they’ll go down with a Glasgow audience?

I hope it will be a popular choice, because what’s interesting about those films is that they were a reaction against the avant-garde American films at the time, which were very structuralist, intensely academic. These films aren’t academic at all; they’re demanding in many ways but on a visceral and emotional level they’re very pulpy.

Also, I’ve noticed that most Glasgow students dress like they’re from New York in 1978 [laughs], so it’s perfect.

You’re dedicating the GSFF to Jafar Panahi and are showing The Accordion, the short film he made before being imprisoned for six years by the Iranian government. Do you see it as the GSFF’s responsibility, and film festivals in general, to highlight this injustice?

If we hadn’t already been showing his film then it would have seemed a bit opportunistic, in that we’re just a tiny little short film festival. We’re not Berlin or Cannes who can make these grand statements. But we were showing the film already, which is amazing, a perfect example of a short film made very simply and cheaply, but one that also says so much.

It was almost instinctive, though. I didn’t really think about it when we sent out the announcement that we were going to dedicate the festival to him. There are all sorts of oppressions and abuses around the world that we should all be up in arms about and many of them make this look like a small thing, but for a film festival, or anyone who promotes film, without being too pretentious about it, it’s an attack on all of us, in a way. To not respond to that would be a dereliction of duty.

Basically, the way I see it, we’re just contributing a world wide movement which is purely there to raise consciousness about this and to embarrass the Iranian government.

WWW.GLASGOWFILM.ORG/FESTIVAL/WHATS_ON/ STRAND:GLASGOW_SHORT_FILM_FESTIVAL

MAESTRO OF THE MACABRE

With Film4’s FrightFest lurking round the corner like a restless Michael Myers ready to terrorise the closing weekend of the Glasgow Film Festival, we've hunted down the festival's founder and horror aficionado ALAN JONES to pick his brains INTERVIEW: ALASTAIR ROY THE GFF always offers up a good mix of films.

Do you aim for the same with your FrightFest picks?

Absolutely, it’s like tossing a salad isn’t it.

Sometimes our audiences will come up to us and say “okay, we’ve had enough of hoody horror, can you please show something else?!” Sometimes you don’t have a great selection to choose from, but this year I think is the best we’ve ever had. It’s a wild mix.

What’s with the Grindhouse influence this year?

Well how can you resist a film with the title Hobo with a Shotgun? It’s completely outrageous and very, very funny. We were lucky to secure that after Sundance. It’s gonna get a lot of heat from that.

And there’s Machete Maidens Unleashed from the director of the superb Not Quite Hollywood. This one is very funny. I think [director Mark Hartley] is going to make a career out of choosing films from very obscure genres to do a documentary about [laughs]. It’s the clips that make it - they’re just so out there. Mother’s Day is one of my favourites too. It seems the trashiest horror films are getting the best re-makes.

Is it better to get scared together?

Absolutely, there’s nothing like it. Okay, you can be at home with your fabulous blu-ray, Dolby surround etc, but there’s nothing like being in a cinema, watching a movie and reacting with the audience. That’s what it is to me, that collective sharing of shocking and horrific moments. And every screening is different. I’ve been doing a lot of retrospectives and Q&As and it’s been very heartening to see young horror fans who never saw these films on the big screen. That’s one of the reasons that we have such a great audience in Glasgow. It’s a mix of the old, the new, male and female – it’s just fantastic.

And Weegies aren’t afraid to ask questions, are they?

Every single film-maker that comes to Glasgow says to us, “God, you get great questions, they don’t just sit there!” I’ve been at other film festivals around Europe [laughs] where no-body says anything. But our audiences are so fanatical and committed – they wanna know!

Can you give The Skinny readers a heads up on any FrightFest guests?

Well, the three Little Deaths directors should be there. And we’ve asked the Territories director and producer to come over. That film shocked me with

HOBO WITH A SHOTGUN

how good it was. I must tell you, it really blew me away. It’s an important movie, very serious, quite horrifying and, well, I don’t want to talk too much because I want people to discover it for themselves. But when you come to the end of the movie you think, “Oh my God, that’s what it’s about”.

And will you take a break from the blood ‘n’ guts to see anything else at the GFF?

If I have time, I’d looove to see Danger Diabolik on the big screen again. I can sing the theme song in my head, [actually sings along]. I know that movie inside out and backwards. That film is very nostalgic for me. I love it to death.

WWW.FRIGHTFEST.CO.UK/

FEBRUARY 2011

THE SKINNY 11

macrobert.org/ilovedance

great dance

at macrobert Danish Dance Theatre ET G & Y 3 CKET U B TI H T 4

Jasmin Vardimon Company

Photo: Tristram Kenton

E E FR

Sat 12 Feb

Janis Claxton Dance Photo: Roy Campbell - Moore

Scottish Dance Theatre

Fri 18 & Sat 19 Feb

Wed 9 & Thur 10 Mar

Thur 17 Mar

CHECK WWW.MACROBERT.ORG FOR MORE EXCITING EVENTS IN A GREAT LOCATION MACROBERT HAS IT ALL!

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01786 466666 12 THE SKINNY February 2011

FASHION

MUSIC

MUSIC AND THE MOVING IMAGE

FASHION IN FILM

The Skinny's Fashion editor casts an appraising eye over the highlights of the Fashion In Film strand WORDS: ALEXANDRA FIDDES

Not to be outdone, the Music and Film strand of this year's GFF is another step up WORDS: CHRIS BUCKLE GIGS ARE conducted on stages in music venues; films are shown in cinemas. In its third year, the Glasgow Music and Film Festival takes such received wisdom and junks it: films will be shown here, there and everywhere; gigs will take place in swimming pools; bands and audiences will co-exist without hierarchy. When a performance by horror soundtrack icons Goblin constitutes the most conventional show in a line-up, it’s best to take a razor to your expectations and orthodoxies.

Admittedly, some prospects are more straightforward than others. If you caught their set of John Carpenter themes last year, ‘Zombie Zombie Score Battleship Potemkin’ (23 Feb, The Arches) will be self-explanatory, though no less tantalising for it. Fresh scores to 70s hippie sci-fi Silent Running and the rarely-seen Spanish-language adaptation of Dracula (filmed concurrently with the Bela Lugosi version in 1931 using the same sets) are also in the offing, the former handed over to intense noiseniks 65daysofstatic (19-20 Feb, The Arches) and the latter accompanied by Gary Lucas’ solo guitar work (21 Feb, O2 ABC).

The Memory Band will cover songs from The Wicker Man with the help of Fence Collective’s Johnny Lynch (24 Feb, The Arches), while Ennio Morricone is paid tribute in Mondo Morricone: a multi-artist collaboration led by Davie Scott of the Pearlfishers and Duglas T. Stewart of BMX Bandits (26 Feb, The Arches). And of course there’s Goblin: coaxed out of a thirty-two year retirement in 2009, the Italian prog-masters – best known for their work with Giallo maestro Dario Argento on genre classics Suspiria, Profondo Rosso and Tenebrae – are sure to impress with their idiosyncratic sound, by now so indelibly linked to scenes of slaughter in the minds of aficionados that it’s essentially auricular gore (25 Feb, The Arches).

A more tenuous union of music and film takes place at North Woodside Leisure Centre: Wet Sounds’ “cinema of the ear”. One sound system will be placed above the water, another beneath the surface, with each playing independently and heard separately depending upon the individual listener’s degree of submergence. Eric La Casa, Adrian Moore and Joel Cahen provide the sounds; you supply the trunks (20 Feb).

Then there’s No Boundaries, No Hierarchies with Los Angelean avant-garde electro duo Lucky Dragons (22 Feb, The Arches). Organised in conjunction with local promoters Cry Parrot, the event comes with an adventurous remit: attendees are encouraged to submit short silent films in advance, with the promise that all will be used on the night.

Conceived by Cry Parrot founder Fielding Hope as an explicit challenge to the conventional gig experience’s “cold, detached” divide between audience and performer, it cedes control of both music and film to the crowd. With interaction and participation its keywords – properties rarely associated with either medium – it’s a bold experiment worth getting involved in.

Finally, the National Youth Orchestra are staging an inter-disciplinary amalgamation of film, photography, animation, sound design, theatre and live performance, with ‘Vanishing Boundaries’ as the organising theme (21 Feb, The Arches).

Getting a clearer idea of how such a combination works probably involves buying a ticket and heading along – advice worth applying liberally across the festival’s line-up.

GLASGOW MUSIC AND FILM FESTIVAL RUNS FROM 11-27 FEB AT VARIOUS VENUES. SEE LISTINGS FOR FULL DETAILS READ AN INTERVIEW WITH 65DAYSOFSTATIC ON P18 WWW.GLASGOWFILM.ORG/FESTIVAL

PAM HOGG – STILLS FROM EPPING FOREST

IN PARTNERSHIP with Glasgow Caledonian University this year GFF has created a mouth watering programme of fantastic fashion films and a stylish series of events.

This will include a nine film retrospective of the work of internationally adored and acclaimed actress Meryl Streep throughout the month, featuring the beautiful Sophie’s Choice and of course The Devil Wears Prada.

Closer to home, Thursday 24 Feb will celebrate The Inventors of Tradition, part exhibition and part film screening, comprised of archive film footage and a soundtrack created by Lucy McKenzie, exploring the history of the Scottish textile industry (find out more in the Fashion section, p34).

A highlight of Fashion In Film is an event scheduled to take place on the 25 February, where Glaswegian designer and musician Pam Hogg will be treating the audience to a screening of her latest film work shot in Epping Forest and showcasing her S/S 11 collection, which will then be followed by Pam discussing the use of film as a medium within her fashion practice.

Expect to see signature catsuits, body con dresses

in gold, silver and ivory and straightjacket inspired coats alongside eccentric accessories including oversized rosettes and hoof like wedges.

Also taking place on 25 Feb is a special screening (introduced by Glasgow’s Lady Munter and followed by an after party) of Pyuupiru 2001-2008, a touching documentary by Daishi Matsunaga, showing the journey a of Japanese visual artist.

Another Scottish designer whose film work will be shown within this programme (on the 26 Feb) is Stirling based Iona Crawford, who, since graduating from ECA in 2007, has already been featured in Vogue, been tipped as ‘one to watch’ and shown work around the world.

So whether it is for the Scottish talent, the international design stars or for the Hollywood legends, I’m sure this diverse and carefully selected Fashion In Film programme will have have all fans of fashion flocking to the cinema. I certainly can’t wait!

FOR DETAILS OF ALL THE EVENTS MENTIONED AND MORE WITHIN THE FASHION IN FILM SECTION PLEASE GO TO WWW.GLASGOWFILM.ORG/FESTIVAL FOR MORE INFORMATION

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ZATOICHI IS BACK

www.theSkinny.C o.uk

With over 250 events spread over 15 venues, choosing what to see at the Glasgow Film Festival is a bit like Hugh Hefner choosing which of the Bunnies to pay a midnight visit. If only there was some sort of daily guide to help you navigate the festival’s cornucopia of film strands and events...

Back for its third GFF, The CineSkinny is on hand to offer some guidance. Published each day of the festival by The Skinny’s crack team of cinephiles, it’s your one stop shop for festival information. We’ll be recommending the cinematic gems hidden within the vast festival programme and the must-attend events happening all across the city. There’ll be daily features exploring such topics as why the The New York No Wave movement can save the British film industry or how you haven’t experienced real 3D cinema until you’ve sampled William Castle’s The Tingler.

We’ll be tracking down the filmmakers and actors attending the festival to get the inside scoop on the films they’ve brought to Glasgow. And we’ll be reviewing and previewing the best movies the GFF has to offer.

theC CIN inEeSkinny

PHOTO: MICHAEL DEMEO

RETURNS TO GLASGOW FILM FESTIVAL

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or visit Glasgow Film Theatre 12 Rose Street, Glasgow, G3 6RB info@glasgowfilmfe stival.org.uk

You’ll find our daily editions for free throughout the festival at the GFT and other participating venues. You can also read the CineSkinny online at www.theskinny.co.uk.[Jamie Dunn]

FEBRUARY 2011

THE SKINNY 13

MUSIC

The Shape Of Punk To Come?

Sid Jagger of Brooklyn bruisers Gay For Johnny Depp ponders tough gigs, name changes and the future of hardcore punk Interview: chris cusack

Given the ridiculous monikers, public fisticuffs and rampant self-abuse Gay For Johnny Depp are increasingly known for, it’s perhaps surprising to learn that, given the opportunity, this feral New York hardcore troupe show themselves to be five insightful young punk enthusiasts with some robust theories on modern living and, believe it or not, a social conscience. Though they’d likely baulk at that humanising appraisal.

Emerging from the lively Brooklyn hardcore scene in 2004, some members had previously served time with Garrison, former Hundred Reasons’ split-EP buddies but now sadly defunct. Upon its inception, Gay For Johnny Depp immediately staked out a claim as bad kids on the block, tearing up venues and baiting audiences. As guitarist Sid Jagger tells us: “Our first show in the UK saw some delicious violence that ended up with some very frightened people and our singer in hospital with eight stitches on the inside of his cheek. Shit way to begin a tour really, because he had to scream every night after that and rip open his wounds again and again.”

Acknowledging his band’s rather divisive sense of humour (a point underlined by the assertion that, in the event of legal action by the real Mr Depp, the band might change their name to Gay For Patrick Swayze), Sid continues: “The UK is our home away from home. We have been very fortunate to have the best and most inspired shows in your fine land because, I imagine, of a deep understanding of political sarcasm and a desire to embrace art in all of its myriad forms.”

GFJD have become the targets of criticism from numerous hardcore die-hards and straight-edgers who claim the band’s comparatively hedonistic lifestyle undermines the reputation of the scene they emerged from. “Boston shaped my early punk years as that is the scene that defined a lot

14 THE SKINNY February 2011

of the music for me when I was younger,” reflects Sid. “But Marty (Leopard, vocals) was deeply involved in both the Long Island and NYC punk scenes. There is a grand idea of attempting to do all things a few times so as to better understand those around you. So when younger we would all book shows, do sound, load gear, play shows, and clean up. It gives you a much richer perspective on those you are working with. As far as I am concerned we are all in the same sinking ship, so best to just grab a bucket and start bailing water.

“When I was being introduced to hardcore it was in a more encompassing way: to embrace all types of music and art. You didn’t have to love the Pogues or The Smiths or The Cure or Slapshot or Ministry or Born Against or Basquiat or Harring or Eno, but you knew they were all valid and they were all not Paula Abdul.” With that in mind, when asked what he feels alienates him from certain contemporary hardcore circles, he admits that “close-mindedness under the guise of a counter culture is something I despise.”

It’s a statement made clearly in reference to the criticism levelled at his own band. Asked to elaborate on the subject, Sid volunteers: “Well, to set the record straight – pun intended – I really have met and adore many people who have decided to lead straight lifestyles – our drummer for the first 7 years of the band comes to mind – and am quite impressed with people who are able to rebel against one of the most obvious forms of mental and physical stagnation in our world, meaning drugs and alcohol. Although I don’t find these things – or anything really – to be inherently evil.

“That said, I am also distrustful of a scene or counter culture that defines itself by what it doesn’t do rather than what it does. I have seen many a self-described ‘Str8’-edge person

❝

Our first show in the UK saw some delicious violence that ended up with some very frightened people and our singer in hospital with eight stitches on the inside of his cheek. Shit way to begin a tour really SID JAGGER

❞ completely buy into corporate America and drink far too much Coca-Cola, or mindlessly fall in love with horrifically bad reality television. That sort of behaviour doesn’t seem to show off any sort of edge on the rest of the world.”

With some of the hardcore scene enjoying a brief flirtation with mainstream success, partly as a by-product of MTV’s fixation on the emo genre and its many manifestations, perspectives on the future of the genre vary, especially where credibility

is concerned. “Don’t take this the wrong way, but I don’t particularly care,” Sid shrugs at the contemporary landscape. “I think that Gallows are pretty fantastic, though I can’t say as much of some of the other faces that have graced the cover of glossy magazines. Music is in a state of flux and has been for the last ten years. The money is gone, which in a way just brings us more in line with the other art forms out there. Lord knows there isn’t much money in being a dancer or an oil painter these days.

“Hardcore will exist and thrive in some ways on a local level, because it’s the easiest way for kids to make a racket and thrash out some of the natural angst of being young. To be fair, most hardcore is rubbish as recorded music, but it’s more visceral, present and absolutely beautiful in the live setting as it speaks to a more primal part of the human condition. Will there be ‘hardcore hits’? I’ll leave that decision to the folks scouring crabcore on YouTube.”

In light of such considered speech, it’s almost hard to believe that this is the same band who have so flippantly entitled not just themselves but almost every track and album they’ve ever released. In particular, the numerous references to homoerotic acts with their namesake seem to fly in the face of Gay For Johnny Depp’s clear powers of analysis. In parting, Sid’s response to allegations that perhaps the band’s reputation for shenanigans has undermined their potential to convey serious messages is as abrupt and effective as much of their musical arsenal: “I would ask the same question of Henry Miller, Dorothy Parker, and Hunter S. Thompson.”

Point taken.

What Doesn’t Kill You, Eventually Kills You is released via Shinebox on 14 Feb Playing Sneaky Pete’s, Edinburgh with The Computers, Secta Rouge and Shields Up on 21 Feb www.gayforjohnnydepp.com

MUSIC

Hardcore 4 Life On the brink of unleashing their startling seventh album, Mogwai’s Stuart Braithwaite explains the merits of the Scottish mindset, owning your own label, and eavesdropping on the rogue element

Photo: Steve Gullick

interview: David Bowes

“You know what, I’m half asleep,” yawns Stuart Braithwaite. Mogwai’s lead guitarist had best cram in some shuteye while he can; not only are the celebrated Glaswegian force preparing for an album release half-way into the most expansive U.K tour they’ve undertaken in some years, but they’re off to the US, Europe and Japan at the beginning of this month.

Despite this early morning intrusion Braithwaite is surprisingly chipper. And so he should be, given that their boldly titled forthcoming seventh studio release Hardcore Will Never Die, But You Will is not only some of the band’s strongest work (“At the moment I definitely think it’s one of our best albums”) but also some of the freshest – adopting a more electronic approach and consciously side-stepping the wall-of-noise they’ve become so synonymous with.

Stuart attributes the shift to writing under the confines of the band’s now scattered locales. “There was a lot of emailing demos over the world,” he explains, “which was different from usual, but I think that was quite good, just for a different process after making six albums pretty much the same way. I think it needed a little bit of new life.”

Only a handful of songs are immediately identifiable as the band that created Young Team back in 1997, but even these were sketchy inclusions. “A few people [in the band] didn’t even want them on the record because they were too obvious,” Braithwaite reasons. “But I think we managed to find a balance between the best songs and those that sounded really different.”

❝

Our nation’s delinquents can be quite illuminating sometimes Stuart Braithwaite

❞

Accordingly, this stylistic progression was accompanied by a nod to the band’s roots from the genesis of Hardcore’s recording, enlisting the services of Young Team producer Paul Savage.

“We remained friends with Paul and all the Chemikal Underground people since we left the label,” says Braithwaite.”We hadn’t recorded with Paul since our first album, so a lot had changed.

I think that we as a band and Paul as a producer have definitely evolved a lot over that time, but all in a positive way. Even though it felt exactly the same personally, on a professional level it felt like a completely different thing altogether.”

Whilst a new album helmed by Savage – who has worked with other such latter-day homegrown stalwarts as The Twilight Sad and The Phantom Band in the intervening years – rightly stirs anticipation amongst Mogwai’s faithful following, its song titles are already enjoying a celebrity of their own – but Braithwaite lets out a hearty chuckle at the prospect of attributing meaning to any of them. “They’re just nonsense, pretty much: various levels of nonsense. Some of them, John [Cummings, guitar] was just hitting the ‘random’ button on Wikipedia. I think that’s how we got San Pedro and Mexican Grand Prix.” And what of the album title: a critique of the Glasgow punk scene, or perhaps a comment on the longevity of the porn industry? “That was something that James [Hamilton] from Errors’ friend heard a ned say in a shop to a guy who wouldn’t sell him a carryout. Our nation’s delinquents can be quite illuminating sometimes.”

Scotland’s influence on the band can be seen in all aspects of their work, from the playfully deadpan titles, provocative lyrics and dark imagery of their artwork (2001’s Rock Action would go so far as to use an interior shot of Nice ‘n’ Sleazy as the cover). Although the band is now split between New York, Berlin and Glasgow, Braithwaite says Mogwai’s strength still lies in its nationality. “I think there are definite Scottish traits that are quite helpful when you’re in a band. We’re quite independent people, we don’t really like being told what to do and we’re also quite single-minded. But that’s a broad generalisation, I’m sure there’s a lot of Scottish people who are the exact opposite.”

Does this independent outlook help explain the stability of the band’s line-up, almost unchanged in their 15 year career so far? It’s another subject that proves particularly mirthful: “Well, we haven’t fallen out with each other,” Braithwaite offers with another by now signature snicker. “We still enjoy making music and hanging about – I think that’s pretty much the secret. Especially if you’re in a band, you spend a lot of time together; it’s quite important that they’re people you like and share a good musical relationship with.”

This simple approach has taken the band from humble beginnings (“Mogwai’s first show was at the old 13th Note, I remember it fondly. I’m sure we were rubbish but it was a good night”) to international recognition. Importantly, Braithwaite suggests that the attitude of the vibrant scene that initially fostered their talent has endured. “The music community in Glasgow was always helpful when we were starting out. I think people are really supportive of each other, and it’s not so much of a competition. It’s more ‘What can we do to make things better?’ rather than ‘What can I do, or what can my band do to make things better for myself?’

I think that’s still as strong as ever.”

Mogwai used their own money, sweat and ingenuity to continue this tradition by founding Rock Action records, originally a vehicle to release their own output but now a springboard to distribute work by international artists that they feel deserve their attention, as well as a clutch of innovative Scottish acts like Remember Remember and Errors – both of whom have joined the band on various dates of their tour. With Hardcore’s impending release on Rock Action – in conjunction with the seminal Sub Pop records in the U.S – are Mogwai enjoying the novelty of bossing themselves about?

“It’s a lot more work,” admits Braithwaite, “but it’s good. I wouldn’t say I’m a control freak, but I like to be involved as much as possible and when it’s happening like this we’re very, very involved. I think it’s a good thing. I encourage every band to do it.”

To have this level of dedication to music takes unique minds with true passion – Braithwaite can pinpoint the moment it all began for him. “I remember the first time I heard Heroin by The Velvet Underground, that it was something very different and powerful – it wasn’t just music to be pretty. I remember that quite vividly, it had a profound effect.”

Given the level of devotion that Mogwai have inspired amongst fans and modern Scotland’s music scene, one hopes a new generation of young musicians will be saying the same of Christmas Steps. “I think we’ve had more of an influence than anyone could’ve imagined,” Braithwaite opines of their legacy so far. “I suppose we’ve got to be pretty happy about that.”

Hardcore Will Never Die, But You Will is released via Rock Action/Sub Pop on 14 Feb Playing HMV Picture House, Edinburgh with The Twilight Sad and Konx-om-Pax on 21 Feb www.mogwai.co.uk

February 2011

THE SKINNY 15

MUSIC

The End Is The Beginning

Anti-Pop Consortium rapper Beans is back with a new solo LP on Anticon – and this time, he’s brought Prefuse 73, Four Tet, Interpol and his special jumper along for the ride

Photo: beowulf sheehan

interview: Bram Gieben

Beans is one third of the seminal electronic hip-hop trio Anti-Pop Consortium. Together, APC revolutionised the rap world with their albums Ends Against The Middle and Arrhythmia, both released on Warp Records, expanding the sonic palette of rap to include booming synthetic bass, inventive glitch-y flourishes and deeply experimental rhyme patterns and lyrical techniques. As a solo artist, Beans has released Tomorrow Right Now and Now Soon Someday, and the under-appreciated, mostly self-produced classic Shock City Maverick on Warp. More recently, the self-released Thorns saw the rapper / producer employing a raw, confessional lyrical style. Last year, he released and toured with APC to promote their epic comeback record, Fluorescent Black.

Now, Beans has returned with his latest solo album, the rhyme-focused End It All, to be released

by Los Angeles (via Oakland) independent / experimental pioneers Anticon. This time, Beans has brought a raft of guest producers in to provide the beats: ranging from Four Tet and Prefuse 73 to Sam Fogarino of Interpol, Flying Lotus, and Tobacco. The result? A rhyme-focused, wildly inventive collection of straight-up hip-hop rhymes over exotic, leftfield beats: from the addictive funk-shuffle of the DJ Nobody-produced Deathsweater, to the menacing Mellow You Out, featuring Tunde Adebimpe of TV On The Radio. We caught up with the man, aks Mr Ballbeam, and quizzed him on End It All, his Anticon move, and what he makes of the current crop of rising hip-hop stars.

16 THE SKINNY February 2011

Having recently finished the Fluorescent Black tour with the full band, is it very different working on solo material again?

It’s a matter of not having to make those necessary concessions that have to be in place in a group situation. Everything is under my control, and I have to oversee everything, make sure everything is right on my end. So yeah, it’s different – sometimes being in a band situation makes things easier, because you can delegate certain responsibilities, but I kind of like being on my own... watching and overseeing everything.

Total control. I kind of enjoy that.

How did you get involved with the producers on End It All? I knew DJ Nobody, who did Deathsweater, Ade Firth I met through a friend of mine, name of Vincent – he introduced me to him. Sam from Interpol, we were friends, and he reached out. So, you know, it was various people like that – Four Tet, I had toured with him, and with Prefuse 73. So it was kinda like that – people I knew, and people I was a fan of, so I just asked them. Most of the people I asked were pretty cool about it. There was one producer – I’m gonna leave him nameless – I did the track, and then when he actually heard it, he wasn’t cool about the direction it went in, so I decided to leave it off the album. But that was the only one hitch working with different producers – everything else was pretty cool.

Can you explain the thinking behind your move away from Warp, and finally to Anticon?

I left Warp after Shock City Maverick. My last album after that was Thorns, and I had selfreleased that. I knew, with all these producers, that I had to find a means of putting it out, I couldn’t

put it out on my own and have the strength and the muscle behind it that it needed. So I was looking at various labels, and Anticon, they have been around for a long time, doing their own thing. The Tobacco album just came out [on Anticon]...

I was seeing the moves they were making with the products that they did, and I saw they were really supportive of their artists. I liked their hustle, and that was what made me decide to try and do the album with them. Also, I met [Anticon rapper] Why? when I was touring Thorns, and we ended up doing a show together. I started talking to him about pursuing Anticon and the various labels I was looking at, and at that point Anticon was my number one choice. So then when they were like, ‘Yeah, let’s go with it,’ I agreed, and that’s kinda how it happened!

Anticon and APC started out in the hip-hop game around the same time. Initially, New York native Beans might have seemed like an odd choice for the Oakland-based label, but with both Beans and Anticon now having more than a decade of releases under their respective belts, the fit seems perfect.

When Anticon came out, I agree with you, we definitely were doing two separate, different things. But we’re both still doing our thing! It’s cool, so far everyone at Anticon has been pretty tight: like, the muscle behind it, the person that I deal with, Shaun [Koplow, manager of Anticon], he’s pretty cool, you know? I like their hustle. I really appreciate how they get down.

Thorns was a very personal album. How does End It All differ?

Honestly, I think End It All differs mainly in that it’s less intense. I wasn’t going through the same

things, and I kind of wanted to make End It All less choruses and more rhyme-heavy. My main emphasis was just to spit: I think I achieved that.

There are things on there that you could play out in a club, but I definitely wouldn’t say that was the whole focus.

How do you personally find new music these days?

I have my certain sites that I go to, and I check out Pitchfork, Stereogum, Hypetrak, Rap Radar... so yeah, mostly online.

Have you got any nostalgia for the way the music industry was, prior to the internet explosion?

I kinda miss quality control. I think the act of making music and putting it out there is somewhat easier now, which is cool for people who are just starting out, but I miss a certain amount of quality control. I miss, like, KRS knocking out PM Dawn for being wack! [Laughs] There’s nothing like that anymore, everyone’s so PC now.

Speaking of the new crop of rappers, how do you think their attitude compares to that of their older peers?

A lot of younger people who are doing music now don’t necessarily acknowledge their past.

They’re obsessed with their own work, moving forward with what they are doing. It’s a lack of respect, really, for older emcees. There’s a real lack of acknowledgement for groups that have come before. I’m just noticing that in the lyrics, and how they come off – there’s a lot of arrogance in these young cats.

It’s wild to me, because I think without the knowledge of what has come before, it limits you in terms of what’s happening now. Young cats aren’t really pushing. Although there are some talented emcees, they tend to do a lot of the same things. I know that they want their turn, and because they’re young they feel that they are entitled, but they’re not necessarily doing anything to bring new things to the game. Something’s missing.

Do you rate anyone from the last few years?

I dig Corey Gunz, I think he’s a great writer.

Given that Ends is a lyrics-heavy album, what have you got planned for the follow-up?

I want to expand the palette on the next album.

I want to do more of a big sound, you know, with huge horn sections... I want to make an album with longer songs, on a shorter record – as in, a smaller amount of songs. But I want to expand with more progression and changes. More like a progressive Krautrock / hip-hop album.

[The prospect of a Beans Krautrock album so excited this interviewer that he promptly dropped the phone. Upon recovering his composure, the interview was concluded] Beans, can you tell us what the heck a ‘Deathsweater’ is?

You know the saying: ‘Dressed to kill’? Well, I just personified it in an item of clothing. That’s what a Deathsweater is.

So, you mean it’s an outfit so good, that if you looked at the person wearing it you would die of Awesome?

[Laughs] Yes! Suits you, sir.

End It All is released on 14 Feb via Anticon To read more of Bram’s journalism, visit www.weaponizer.co.uk www.adoredandexploited.com

© 2011 Jack Daniel’s. All rights reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks.

JACK DåNI´L WAS å µAN OF CøMµITMENT. THå† Iß, UNLESß YOU’R´ †ALKING åBøUT TH´ LADIEß.

Your friends at Jack Daniel’s remind you to drink responsibly.

MUSIC

90 minutes of Static

Teaming up with the Glasgow Film Festival, 65daysofstatic will be performing their very own live soundtrack to environmental sci-fi folk fable Silent Running. Paul Wolinski gives us the low-down on this challenging endeavour interview: Darren Carle

How did the idea originally come about, and why Silent Running?

Glasgow Film Festival approached us to see if we were interested in doing something. I had seen Silent Running for the first time at some point in 2009, so it was still in my head. Nobody has asked us to do [a soundtrack] for a new movie yet, but we got fed up of waiting so decided to do it to a movie that had already been made instead.

What are your thoughts on the original score, including the Joan Baez songs?

I like it, even if I’m not a huge Joan Baez fan. I like how at odds it is with the space setting. Basically it’s strange, orchestral folk music throughout the whole thing. I suppose this is because the importance of the forests is the thrust of the whole film.

Do you think the film has stood the test of time well?

I do. I mean, there are parts where it looks like the spaceships are built of Lego and the robots aren’t really very robotic, but this came before Star Wars and looks infinitely better than the slew of terrible sci-fi films that appeared in the 80s. As far as the narrative goes, it seems really prophetic. Humans are basically stupid and are destroying the planet – and themselves. It’s kind of a timeless message.

What differences are there between this and writing a standard album?

When we’re writing our albums we go to great lengths not to accidentally attach ‘concepts’ to them, or lean too heavily on well established generic hooks. But with a soundtrack, we get to do that. There are rules we get to follow without feeling like we’re supposed to be breaking them.

It’s a whole new approach for us, and really interesting.

What are the main technical hitches in a project like this?

Well, as usual, we have taken on much more than we really needed to and are now drowning in a flood of technological syncing issues. The one

main goal for us when we started this project was to make sure that the whole thing still worked as a movie – we didn’t want to just jam or improvise for 90 minutes while the film played out. We wanted our score to breathe with it – to erupt when something explodes and switch things up precisely with the editing of the film. Doing this exactly as we have decided we want to do it has involved a lot of maths, midi, and headaches.

Have there been any problems with clearance rights?

We haven’t been fully involved in this, fortunately – our wonderful booking agent and management have sorted most of that out, along with the people at Glasgow Film Festival. I know that we got an email from the director Douglas Trumbull, wishing us luck, which has made our year!

Seventies sci-fi cinema is often held up as a golden period for the genre. What are your views on why this is?

I would cautiously suggest that sci-fi films of the 70s are revered because of their place in the context of the whole of modern cinema more than anything else. They were being made at a time when studios were only really beginning to understand the possibilities of new technology, and hadn’t quite grasped the fact that sci-fi movies didn’t have to be restricted to cult movies or B-movie nonsense. There’s a sense of something fresh and new, like listening to a Buddy Holly record.

By the time you reach the 21st Century, for every Moon, you had to stomach an entire trilogy of Star Wars prequels. In contrast, the 1970s looks pure and real in a way that green screen never can. I once read an article that argued you can tell how good a sci-fi movie is by the quality of the spaceship’s ‘corridor set’. Try it out. It’s foolproof. And the corridors in Silent Running look pretty cool.

65daysofstatic score Silent Running at The Arches on 19-20 Feb as part of glasgow film festival www.65daysofstatic.com

Hibiscus Flower Fabulous Fair Trade Fashion at Hibiscus Flower 48 St Stephen Street Edinburgh EH3 5AL

www.hibiscusflower.co.uk 0131 225 4211

THE STAND COMEDY CLUB LIVE COMEDY SEVEN NIGHTS A WEEK

FEBRUARY 2011 HIGHLIGHTS:

WICKED WENCHES Susan Murray, Tiffany Stevenson, Rebecca Donohue, Jill Peacock & host Susan Calman (1st edinburgh, 2nd glasgow)

www.thestand.co.uk 18 THE SKINNY February 2011

RED RAW new comedy: every monday (edinburgh) and tuesday (glasgow)

TOM STADE

Co-star & co-writer of Frankie Boyle's Tramadol Nights (Ch4) (15th edinburgh)

STEVE WILLIAMS

Trail blazing whimsical Welshman’s debut national tour - (21st glasgow 22nd edinburgh)

5 York Place, Edinburgh 0131 558 7272 | 333 Woodlands Road, Glasgow 0844 335 8879

MUSIC

Sleeping Gruff

The newly reunited solo act Gruff Rhys on these times of austerity and his foray into the world of budget accommodation interview: Paul Mitchell

“I was hitting 40 years old and thought ‘What should a man of my age be playing?’ It seemed obvious to me that I should be making an album of piano ballads with saxophone.” Gruff Rhys’s delivery makes it extremely difficult at all times to tell if he’s being serious or not, but he’s insistent that Hotel Shampoo, the third solo album from the Super Furry Animals’ frontman, is what he says it is.

“People think I’m taking the piss. I mean, it sounds ridiculous, but even [current single] Shark Ridden Waters – which is out already – that’s got a piano hook. Making an album based around the piano doesn’t mean it has to be based all around power ballads...although some of the songs are actually power ballads, with saxophone. Some of it’s quite earnest and more of it is a distortion of who I am.”

Rhys, typically of his renowned humour (this is a man given to driving around festivals in a blue techno tank and wearing yeti costumes on stage), has adorned this latest release with an accompanying back-story, which has a wry, cutting edge to it. The title is taken from Rhys’s large collection of miniature shampoo bottles and other complimentary hotel products acquired over fifteen years of touring the world. In the accompanying press release, he claims that these products are “like diary entries, triggering memories of all those buildings and random people I’ve met, and inspiring songs on the album." He goes on to explain a further inspiration "I like a lot of albums from the 70s made by washed up rockstars. Millionaires making albums like Pacific Ocean Blue by Dennis Wilson.

Completely overblown Fleetwood Mac records.

The difference being I’m not a millionaire – I’m not from an era where records sell...or something.”

A mini-documentary of Gruff actually ‘building’ and then sleeping in the hotel is currently on his website (The Gruffington Post), and though the

❝

Like diary entries, triggering memories of all those buildings and random people I’ve met, and inspiring songs on the album Gruff rhys

❞

bottles are all apparently full, Rhys defensively insists that he “did in fact, use some of the stuff.”

There’s a plan to franchise the hotels in the States (“definitely budget, I’m part of the Easyjet-set”), but of course, Rhys has a knack of mixing the surreal with the serious. “In a way, it’s fragments of autobiographical observations from the past 15 years. These are magnified views of aspects of myself, not a literal, earnest collection of biographical songs, but there’s an element of that. The whole time I’ve been touring has mainly taken place during the economic boom, which is over, but was a kind of superficial age. So, it’s like looking back at the boom years, and all I’ve got to show for it is this hotel – built out of disposable shit that I’ve kept. So at least if the shit hits the fan I’ve got somewhere to put my head down for the night.”

It’s been a hectic couple of years for the musician. Nominated for the Mercury Prize in 2008 for his electro-pop concept collaboration with Boom Bip as Neon Neon, last year saw him premiere an acclaimed documentary, Separado! about his time in Patagonia meeting his ancestral family. This was soundtracked by an experimental album (The Terror of Cosmic Loneliness) made with Brazilian artist Tony da Gatorra. He laughs fondly when pondering the notion that this album seemed to rub people up the wrong way. “Well, in the context of other records I’ve ever put out – they’re mostly extremely melodic, harmonious, and quite trippy – this was about volume and dissonance, so you’re only going to enjoy it on that level, like, when you’re very angry. It’s not an album that’s going to work in the background as coffee table music.”

In 2007, after releasing his second solo LP, Candylion, Rhys said he was “breaking up as a solo artist,” so what made him get the band back together? “Well, I suppose that was just a cheap

stunt,” he deadpans. And The Furries on hiatus [according to a report in The Guardian late last year], is that another such stunt? “We’re not on hiatus; we never made that announcement so I’m not sure how that got out there. Last summer was the first year we didn’t do any festivals since 1995 – we were knackered. We’re just going to take our time before releasing another album and let people catch up with some of our back catalogue. We’re trying to sort out a couple of reissues and a book. I mean, we don’t really know how to put books out, but it’s something we hope will come off.”

Rhys, explaining how much he’s looking forward to touring the new album with Y Niwl, the instrumental north Welsh act he calls “the world’s highest altitude surf band,” does admit that even after his substantial time in the industry, still finds some of the trappings that go with it “weird – absurd even.” By way of example, he cites the process of making the video for Shark Ridden Waters – seemingly set in the Riviera featuring a man obsessed with technology and social media – set in the 1960s. I wanted it to look like a Godard film, [specifically 1965’s Pierrot le Fou about a man escaping a humdrum existence in Paris] but with social networking, so I was looking for an object which would look like what an iPhone might have looked like in the 1960s [it’s a red box with buttons, but very chic]. So, it was fucking nuts making the video, all very glamorous, but it’s really nothing like my life. I suppose this album is about the aspects of my life that aren’t normal, and I’ve magnified them, tried to send them up a little, but mostly I live in a terraced house in Cardiff with kids.”

Hotel Shampoo is out on 14 Feb via Turnstile Gruff Rhys plays Òran Mór, Glasgow on 15 Feb www.gruffrhys.com

SOUND

ADVICE

photo: Mark James

“I don’t feel that Roy Ayers ever really got the love from his jazz contemporaries that he deserved.

I’ve been listening to him a lot recently, in particular Virgin Ubiquity – the outtakes from his 1971 album Ubiquity. There are two songs in particular; Funk in the Hole, and Liquid Love – they’re so sinuous, so timeless and beautiful, and utterly defy categorisation. If you put it on at a party, it’s the type of music where the chicks would completely dig it, and not know who Ayers was. And, he wore great clothes.”

The Twilight Singers release new album Dynamite Steps on 14 Feb via Sub Pop. They play The Arches, Glasgow on 19 Mar Pick up the March issue of The Skinny for our full interview with Greg www.thetwilightsingers.com

February 2011

THE SKINNY 19

PHOTO: SAM HOLDEN PHOTOGRAPHY

The saviour of misbehaviour, Greg Dulli tells us which jazz-fusionist he turns to at party o'clock

MUSIC

Heeeere’s...Jonny!

So Norman Blake bonded with Euros Childs when Teenage Fanclub toured with Gorky's Zygotic Mynci back in 1997. Sharing a sweet tooth and a passion for the Bonzo Dog Doo-Dah Band, one day they started calling themselves Jonny

Aidan Moffat’s City of Love

photo: Mission Photographic

interview: paul mitchell

“It certainly wasn’t slick, we had a few ‘technical’ issues, but it was great fun. I think people seemed to enjoy it.” Norman Blake is discussing Jonny’s first ever live outing, the project that has seen him team up with Welsh musician Euros Childs, formerly of Gorky’s Zygotic Mynci. The Teenage Fanclub stalwart compares and contrasts between that relatively low-key experience, and his recent tour with the Fannies. “With Teenage Fanclub, we have a big keyboard setup and have to lug amps about. This tour is much easier. Our keyboard of choice is a Casio MT 65 which is quite small. So we’re just taking a car for this tour and listening to the Play For Today on Radio 4 in the afternoon. We share taste in music so that will be OK in terms of the songs in the car.”

The pair have known each other for a while, since Gorky’s shared a bill with Teenage Fanclub in 1997. Blake even played with the Welsh outfit for a few gigs and they’ve had some informal songwriting and gig playing sessions since then. Eventually, they decided it might be fun to press up some singles and take them on the road for a bit. This notion of fun, explains Blake, is the very reason Jonny exists. “Euros makes his own records but is sort of constrained in a way to being Euros Childs. If you think back to the Gorky’s records, there were quite a few funny and humorous songs. I think with his own records he doesn’t really do that, they’re quite autobiographical. With Teenage Fanclub, well, it’s not like we’re the Bonzo Dog Doo-Dah Band [an avant-garde psych-jazz ‘comedy’ collective formed in the sixties], we have our trusted methods. That said, there are parts of Euros and I that really like the Bonzo Dog Doo-Dah Band and would like to write songs for them, or in that style, so it allows us to have a bit of humour or do anything we want; anything goes, to be honest with you.”

Anyone who’s caught the video for lead single Candyfloss will have twigged straight away that this isn’t meant to be taken altogether too seriously. In a rather literal interpretation of the theme, our protagonists are seen sitting down to a meal consisting solely of the titular foodstuff. It’s pretty evident too that they’re not faking it – in fact, it’s quite stomach

20 THE SKINNY February 2011

❝

We’d spent four hours eating candyfloss and Euros just looked at me and said ‘I’m really sorry!’

Norman Blake

❞ churning. There’s really only one question: why?

“That was Euros’s idea. I took a bit of convincing but it was worth it because you should have seen his face an hour after we wrapped up. We’d spent four hours eating candyfloss and he just looked at me and said ‘Oh, I’m really sorry!’ There’s no camera trickery whatsoever. By the end of it we were just spitting big lumps of sticky, sweet sugar. I don’t think either of us will ever touch candyfloss at any point again in our lives.”

As part of the democratic Teenage Fanclub modus operandi, Blake, along with Raymond McGinley and Gerard Love brings his own songs to the table. Four from each then make it to the album. With Jonny, even though both men had pre-existing songs to work on, it was also a very collaborative affair, an approach Blake seems to have appreciated. “It makes things a little easier. I think a big part of writing songs is confidence, and taking risks. If you come up with something which seems a bit ridiculous, you might worry about it. The other person might say, ‘No that’s good, I really like it’. It helps you to work more quickly

and be less critical of what you do. I mean that in a good way. You get to appreciate letting your creativity flow a little bit more.”

Turns out the name Jonny has nothing to do with the latex prophylactics (we had to ask), although Blake laughs mischievously at the notion it could be construed that way. Instead, the name comes from a photo Blake found on the website of Glasgowbased artist Joseph Mann, featuring five guys lifting their tops to reveal the name painted across their midriffs. The image also features as the cover art for their eponymous album. “We thought we could kill two birds with one stone, band name and album cover. Jonny, it seems, is a friend of the guys in the photo. It was his birthday, and they daubed his name on their chest in his honour. What a very nice thing to do. I’m assuming Jonny was at the other end of the camera, smiling happily at the kind gesture. We did actually ask the guys if it was OK if we used the image and they were all cool about it. You can imagine if they didn’t know about it and came across it one day looking in the record shop...”

Jonny will be playing around Britain for the month of February. In advance of the album launch, they released a free four track EP of non-album songs by way of getting the word out, a deviation from the original plan of pressing vinyl because, as Blake puts it; “We’re in a very different world now to what it was even five years ago.” He also reveals that the Fannies are planning to enter the studio to record their eleventh studio album but that in the meantime, he wants to continue enjoying this project as much as possible. “We both like writing songs, so it’s another way for us to make music together and go out on tour. I hope people will come along and enjoy it for what it is; it’s just us trying to write songs and entertain people. It’s an exercise in self-indulgence to an extent, but hopefully people go off on that.”

Jonny is out now via Alsatian records

Every couple of years or so around this time, my city likes to remind everyone that somewhere in Glasgow Cathedral lies a box with a few bones that used to be part of Saint Valentine. Of course, this almost certainly isn’t true – the Irish, among others, lay claim to the remains, and then there’s the fact that no-one can agree on exactly which one of the Saints named Valentine we’re supposed to be celebrating every February 14th. It’s really just an attempt to remind everyone to go out and spend money on hideous tat and splash out on restaurants they normally couldn’t afford in the ‘City Of Love’; the first attempt to boost the retail economy after the January clear-outs.

Perhaps that’s a little too cynical – I’m not entirely against some elements of Valentine’s Day. For instance, I think it can be great fun for kids, if also somewhat heartbreaking and emotionally scarring. I remember pulling a hat over my face in an attempt to anonymously post a romantic missive through Vivien Gilles’s front door when I was about 8 – but someone saw the whole thing, and I was consistently ridiculed for my secret desire until a class member was found doing something even more pathetic and the attention turned.

Anyway, the song below – and available for download for your listening pleasure – is called City Of Love. Half of it used to be a poem I wrote for a spoken word album, but then I added a couple of choruses so I could sing it live, and it all seemed to make sense.

Happy Valentine’s Day. Suckers.

CITY OF LOVE Saturday night’s the night for fun, but where’s the boy that made your make-up run?

The pubs emptied out, you pushed past on the street, but where was the guy that made your green eyes greet?

Were your knee-high boots and tiny skirt all for the boy that made your heart hurt?

Did the big hoop earrings and new hair-do above have little effect on the boy that you love?

The streets are full of broken hearts, of useless pricks and stupid tarts; the city’s filled with love to save as Saint Valentine spins in his grave.

Did he turn up late in your favourite place and throw his last drink right in your face?

Could he tell something’s wrong, could he tell you were lying before he decided there’s no point in trying?

Did you make a mistake, give in to your lust and prove yet again you’re not someone to trust?

Did you think about begging, pleading and kneeling?

If so, i think i might know how you’re feeling.

Tonight we’ll both get our own way – there’s no-one else to have their say.

In filthy sheets we both shall lie, and do our best to let love die.

Aidan Moffat’s Valentine Revue takes place at Òran Mór, Glasgow on 16 Feb

Jonny play Platform, Glasgow, 19 Feb with support from Adam Stafford. A return bus from Mono, Kings Court, is available for £4

You can download an exclusive rendition of City of Love courtesy of Chemikal Underground via www.theskinny.co.uk

www.turnstilemusic.net

www.aidanmoffat.co.uk

READING

I Read These, So You Don’t Have To

Valentine's Day is coming up, so why don't you read one of Mills and Boon's romance novels? Because of everything that follows, that's why not Words: david Agnew illustration: Jack teagle

In a somewhat over-generous application of the and the Princess ends happily ever after, by the way. ‘don’t knock it until you’ve tried it’ principle, I chose Next up was Beauty and The Billionaire, which begins three readily available Mills and Boon books from my with a beauty called Sinclair Mahoney (and wasn’t local library and set to work reading them. And it was that the name of Steve Guttenberg’s character in work all right. The first of these texts was called The Police Academy?) waking up in bed with a billionaire, called Hunter Osland. She tactfully leaves before Cowboy and the Princess, in which Princess Delfyne he wakes up, ‘glancing one last time at the opulent goes to stay on the (gigantic) ranch owned by one of cherry furnishings’ before going. But lo and behold her brother’s college friends, Owen Michaels. Based she meets him again when he just happens to buy the on the three books I loaned, this ‘traditional name company she works for! This sort of thing happens all meets weird name’ principle would seem to be used the time in Govan, by the way. quite often. The unrealistic job situation, which usually serves to make money a non-issue, also applies reguThe Beauty and the Billionaire initially promised to be larly, or at least the characters will do jobs that are so a laugh riot of ridiculous ‘cherry furnishing’ type detail, vaguely defined that no one can pick up the details. but no, it didn’t live up to that bizarre start. Where The You can make up your own stupid plots easily using Cowboy and the Princess relied on notions of duty to these rules: Brett and Alicia fall in love in the world of separate the leads, here everything could have been high fashion, Hypatia and Oliver fall for one another solved if Hunter just asked Sinclair out. Instead he while producing a film, or Faith and Antoninio get makes innuendo-laden comments at every opportutogether while starting a magazine. Y’know, stuff that nity, and whisks Sinclair off to Paris on a business trip. would never happen.

Works out fine though, because they live happily ever Anyway, The Cowboy and the Princess proceeds after, blah blah. Here’s the real problem with these books: they’re written to a formula, sure, but more incredibly predictably, as Delfyne and Owen (or was it than that, they’re thoroughly bland. Lots of books Chad, or Brad, or Ramon?) are immediately attracted can transcend a formulaic plot, but here it seems that to each other, and feel like they can’t act upon it for there’s some rigorous editing keeping the language most of the book. Meanwhile, there’s the danger of simple and the phrases clichéd. It’s a corporate probthe press discovering that the Princess of (wait for lem, and as the company has around 3 million regular it…) Xenora is on the ranch. This is an old plot, which readers, it’s in their interests not to play around with you can see done well if you rent the film Roman their template too much. If the authors can crank out Holiday, with Gregory Peck and Audrey Hepburn.

180ish pages of plot for a Mills and Boon, they’ve at Here it is not done well, which can be proven by readleast the seed of a talent that can be better, and more ing sections out loud, and trying not to laugh. Try the enjoyably, applied writing what they want to write. tagline: ‘To Lasso A Princess’. Or for actual content, Anyway, these reservations aside, I took up the third try (and this is picked pretty randomly from many, and last book, somewhat wearily. The Consultant’s many examples) this line from the end of Chapter 8: “Now was the time to make memories. It was the only Italian Knight is set, oddly enough, in Aberdeen Gentime.” eral Infirmary, a place I’ve actually been, but – oddly Indeed. I’ve never met anyone who went out with a enough – didn’t recognise here. Lots wrong with this princess. The only person I can think of that did do so, book too, but my main quibble was that the female without themselves being royal, is former PM Gordon lead never says “Fit like, Mario?” to the male. Spoiler: Brown, who, in an eventful university career, dated here’s the last line: “ ‘And for always, amor mio, I will a Romanian Princess, lost vision in one eye playing love you,’ he said huskily as he drew her into his arms rugby and was elected Rector while still a student. Or and kissed her again”. That really is the end. put another way, a Prime Minister often derided as If you really must try this experiment for yourself, orlando skinny 126x155_Layout 1 26/01/2011 12:06 Page 1 books are readily available in most Mills and Boon dull had a more interesting young life than any of the local libraries, often on their own shelves characters in a Mills and Boon book. The Cowboy

Join the troops at Scottish Opera for just 10 of your British pounds!

A cautionary tale for a cold winter’s night

Created by DAVID GREIG and WILS WILSON Victorian Bar, Tron Theatre, Glasgow Wed 9 – Thu 10 Feb, 8.30pm Box Office: 0141 552 4267 www.tron.co.uk

Owens Bar, Coatbridge (Upstairs) Fri 11 Feb, 7.30pm Box Office: 01236 421 551

Ghillie Dhu, Edinburgh Mon 21 – Tues 22 Feb, 7.30pm Box Office: 0131 228 1404 (Traverse Theatre) www.ghillie-dhu.co.uk

All information correct at time of going to press and subject to change. The National Theatre of Scotland reserves the right to alter casts, performances, seating or ticket arrangements. Booking fees and age restrictions may apply. Please check with the box office when booking as some of the venues may have a no under 18s policy due to licensing laws. The National Theatre of Scotland, a company limited by guarantee and registered in Scotland (SC234270) is a registered Scottish charity (SCO33377). Illustration by Silje Eirin Aure

HANDEL’S

ONE MAN’S BATTLE FOR HEART AND MIND

Glasgow • Edinburgh 15 Feb - 5 Mar scottishopera.org.uk Registered in Scotland Number SCO37531 Scottish Charity Number SCO19787 Terms and Conditions apply. Subject to availability. Booking fees apply.

February 2011

THE SKINNY 21

Spring Season 2011 Box Office 0131 650 4673

www.eusalive.co.uk

Live Nation and MZA present...Daniel Sloss

Scotland’s youngest comic prodigy and typical half-man-half -Xbox, hormone ridden teenager, has just turned 20... he started doing stand-up when he was just 16, was one of the youngest-ever ‘So You Think You’re Funny?’ finalists, wrote for Frankie Boyle on BBCs ‘Mock of the Week’, was the first stand-up on ‘Paul O’Grady Show’ and sold-out his first solo Edinburgh Fringe - all before he started to shave...

Pleasance Theatre | Friday 25 February @ 8.00pm | £10/£6 concessions Pleasance Theatre, 60 Pleasance, Edinburgh, EH8 9TJ I Box Office @ Teviot Row House, 13 Bristo Square, Edinburgh, EH8 9AJ

Live Music Theatre Comedy Dance Literature Film Club Nights Edinburgh University Students’ Association is a charitable body, registered in Scotland, with registration number SC015800 DanialSlossFP.indd 1

25/01/2011 14:36:45

k ul

6:45

PERFORM

Wrestling the Critic For his latest play, Rob Drummond has experienced blood, sweat, tears and physical injury. And that was just his research... interview: Gareth K Vile photo: Euan Robertson

Wrestling might be fixed, but it isn’t fake.

In his autobiography, Mick Foley questions how fake a frying pan in the face can ever be: my own early memories of late night American wrestling include a moment when a chain wielding Russian stereotype slipped and swung his opponent into the ropes. His immediate temper tantrum – and the look of abject terror on the face on his prone victim – put wrestling in the same category as theatre or dance, where careful choreography and dramatic scenarios play out deep themes. If the comparison with ancient gladiators has been overdone, the connection to classical Greek tragedy is evident, especially in the increasingly complex network of grudge matches and personal conflict that dominated the US circuit over the last decade.

Rob Drummond – hot from his success with the National Theatre of Scotland as Mr. Write – seems to have spotted the same analogy. If he has been noticed around Glasgow of late looking exhausted, and nursing a dislocated elbow, it is because Drummond has trained himself to become the world’s first sports entertainer and playwright hybrid.

Sitting in the gap between childhood memories – either of the brutal British bouts adored by usually placid grannies, or the glamour shows of the US – the more respected martial arts and the fundamental battle between good and evil (baby faces and heels respectively), wrestling revealed its iconic potential in the recent Mickey Rourke return to form. As theatre strives to expand audiences and include new formats, Drummond’s decision to merge combat and script is imaginative, simultaneously immersing himself in the world of the wrestler and following the contemporary performance practice of using personal experiences to fuel performance.

In a recent article, he named Foley (the artist formerly known as Cactus Jack) as a hero, praising his courage and intensity, while playing down Foley’s second career as respected author and political activist. So while Drummond might appear to be aiming for an easy, lowest common denominator topic, does he recognise that wrestling, perhaps even more so on the back of Arenofsky’s career saving movie, has more depth than the casual observer might imagine?

What attracted you towards wrestling as a subject for a play?

I could try to intellectualise it but the truth is that when the eight year old Rob first saw wrestling he just thought the fact that these massive men were fighting was cool. Maybe it’s something inherent within us that leads men and indeed a lot of women to be drawn to a simpler way of solving problems. It’s embedded in our DNA right back to before we became sentient.

Are you hoping to cross audience boundaries with the show and maybe attract some of the punters who’d rather see a punch up than hear poetry?

There’s something for everyone in this show. If you like wrestling you might be surprised to find yourself enjoying the theatre and vice versa. And the documentary will give a unique insight into the behind the scenes world and what it takes to be a pro wrestler and a theatre maker too.

You have certainly moved away from the traditional approach to script writing. Are you acknowledging that theatre is in need of an energy injection, to escape from its rather tired reputation as a middle class, yet ultimately meaningless, diversion?

I think you’re putting words into my mouth

there, Vile. I am writing two traditional plays just now including one for the Òran Mór. Good writing is good writing in whatever form it comes and the best theatre has a well crafted script or carefully devised narrative at its core. Middle class? Meaningless? I think that’s offensive.

There’s nothing wrong with a nice gentle piece of theatre if people enjoy it. There’s also nothing wrong with an action packed adrenalin fuelled night of wrestling. You always try to boil things down. You’re too prescriptive. I don’t label things – I just try to entertain whatever audience is in front of me.

Does this show rely on a carefully devised narrative alongside the adrenalin inspired subject? And how did you devise that narrative – any particular process?

There’s a script. And I’ve sat down and written that script. In a room. On my own. It’s based on my experiences with watching and training for wrestling and on conflict, masculinity and reality. It’s not as tight and careful a script as I would create for a traditional play – that process will happen in rehearsals. There will be other unscripted elements of course, but at the heart there’s a story. Because people like stories. It’s why wrestling evolved into pro wrestling. The story is king.

❝

Good writing is good writing in whatever form it comes and the best theatre has a well crafted script or carefully devised narrative at its core. Middle class?

Meaningless? I think that's offensive

I like the idea that wrestling – once upon a time the domain of serious sportsmen – evolved into WCW because storytelling is so crucial to human pleasure. But as part of this process, you have put yourself through some serious training. Has the impact of that training on your body altered the way you approach writing?

It’s still a serious sport and if you don’t believe me ask my doctor. It just has an entertaining slant – like the way football has become on Sky Sports. It’s influenced the angle at which I approach the keypad as my back is frequently sore, but it hasn’t affected my writing much at all. It’s the same process as any play – research (whether physical or mental) then write. What these guys and girls do is no more strange than what you or I do for a living. It’s certainly no more strange than people who sit behind a desk all day hating their job wishing they could be home. To even imply it’s not serious is disrespectful.

rob drummond

❞

Wed 9 Feb - Sun 13 Feb, Tue-Fri 7.30pm, Sat/ Sun 1.30pm. £13 / £9 conc / £7 child www.thearches.co.uk/Wrestling.htm

February 2011

THE SKINNY 23

ART

The Atrocity Exhibition The David Dale Gallery and Studios is housed in an old college building in deepest, darkest Bridgeton, Glasgow.

Later this month the gallery brings together Glasgow-based artists Alec Mackenzie and Dan Miller in a two man show called POINT/LINE/SURFACE/SOLID interview: andrew cattanach

Quite different in their approach, and in many ways polar in their aesthetic sensibility, Alec Mackenzie and Dan Miller nonetheless converge at various intervals, not least in their desire to distance themselves from the concepts that drive their work. Mackenzie speaks of an intuitive process in some ways remote from any core research or distinct point of reference, while Miller, who admits to the specific origins of his work, gives little indication of what motivates him to make it.

“I’ve been looking at wire frame modelling, schematics, diagrams – getting a 2D image and chucking it all to a vanishing point,” Mackenzie explains, showing me pictures of large-scale wall drawings that look like retro computer graphics.

“There is an element of forethought and design, but really I just enjoy doing them and working in that method.”

Despite the pared down aesthetic, there’s something garish about these works: their shameless use of trompe l’oeil techniques, their willingness to court various pop-cultural references. Drawn directly onto the wall, the lines are made using electrical tape. They seem rudimentary – a childish fantasy more than a sophisticated work of art.

“It’s that simple pleasure of taking everything back to a point and making a space out of really basic shapes,” Mackenzie says. “I like that sci-fi aesthetic – straight lines, big cavernous spaces – like 2001: a Space Odyssey.”

I suggest that there’s something of the Futurists or the Vorticists (early 20th-century art movements that celebrated militarism and modern technology) in his work; that perhaps his use of de-humanised

❝

“I like that sci-fi aesthetic – straight lines, big cavernous spaces – like 2001: a Space Odyssey.”

Alec Mackenzie

❞

imagery speaks of a kind of nostalgic admiration for progress. “It’s like what JG Ballard has been going on about,” he says, bringing my references a little more up to date.

He goes on to describe the Vorticist artist Norman Wilkinson’s invention of Dazzle camouflage.

A technique used on battle ships during the World Wars, Dazzle camouflage employed a black and white line pattern, not to conceal the vessel but to make it difficult for the enemy to identify it or determine its heading. It was a kind of visual cipher, a way of encoding the perceptible.

Dan Miller, too, employs a similar method of encoding. Quite clearly painting and sculpture, the work is nonetheless difficult to pin down. There’s no trompe l’oeil trickery or overt pop-cultural references. The motifs used – lines and geometric shapes – are simplistic but seem to have no particular source. The paintings are flat, emphasising surface over illusion.

Newly returned from a residency in Denmark where he was focussing solely on painting, he takes me through some slides of the exhibition he held there. Muted shades of blues and greys form patterns over modest, square canvases. Drawing inspiration from Scandinavian design and the work of Dutch painter Van Doesburg, the paintings are aesthetically more coherent than his earlier works.

In one triptych he uses the same repeated pattern, gleaned from a Danish supermarket shopping bag. “When I first got there I thought, ‘I need some kind of new motif’,” he says. “Having seen this bag it kind of got me thinking about the universal kinds of measurements they use in these

shopping stores. Not just the buildings but the way the stalls are laid out. And then I thought of these stalls adopting a very specific reference, something echoing this kind of modernist form, and thinking about why this appropriation has taken place and what they are trying to do with that.”

We discuss the relevance of particular design motifs and what they imply, acknowledging that perhaps in many ways a lot of northern European design denotes a basic need for efficiency and cleanliness.

“There always has been a meticulous sort of coolness,” Miller says of the Glasgow art scene and its adoration of 60s and 70s minimalist art and design. “In a way it’s the product of the sort of time period we find ourselves in – back to a similar sort of economic, political situation.”

It seems the art world follows at the heel of our boom and bust economic malaise. Glasgow during past recessions (not to mention Tory governments) has drawn comparisons to the developing world. Set against a backdrop of decaying social housing, it’s no wonder Scots are ambivalent to modernist design and architecture.

Like a dystopia dreamed up in a JG Ballard novel, Scotland is haunted by its failed ideals.

Exactly at the point when politics and art came to the same conclusions something went awry. It’s now the role of our artists to relive the moment it all went wrong, keeping time with the inevitable beat of financial crises.

David Dale Gallery, 19 Feb - 13 Mar, Free

dan miller

Tempest, Alec Mackenzie

24 THE SKINNY February 2011

dan miller

MUSIC

COMMAND AND CONQUER

With a staunch DIY ethic and a vivid imagination in their favour, CONQUERING ANIMAL SOUND release their debut album this month. JAMES SCOTT and ANNEKE KAMPMAN talk us through Kammerspiel’s conception INTERVIEW: RYAN DREVER

FORGED OVER a mutual attraction to musical exploration, Conquering Animal Sound – Glasgowbased duo James Scott (also of The Japanese War Effort) and Anneke Kampman – gripped the ears of those lucky enough to hear their 25-minute mixtape, Your Friends, Conquering Animal Sound, when it emerged in mid 2009. Since then, the inventive pair have steadily developed and honed their sound – a mixture of electronic textures, brittle, layered vocals and an array of eclectic instrumentation – culminating in a series of clever live electronic performances and their first full-length record.

Released this month on Leeds-based Gizeh Records (in conjunction with Edinburgh indie Mini50), Kammerspiel – taken from the 1920s German silent film movement of the same name – is testament to the fact that home recording and incessant manipulation of loops and gadgets doesn’t always result in the self-indulgent fug of one man and his lo-fi field recordings. Having commenced recording and producing the album in Kampman’s old living room – where the two first met – CAS afforded themselves the time and space to create a diverse and imaginative piece of work.

“People have expressed surprise that we’ve recorded something that sounds as it does with only two microphones in a person’s house,” says Scott. “Personally, I don’t understand their raised eyebrows. The ease of working at home – and the complete lack of constraints – is far more conducive to producing something I’m happy with. If you know what your limitations are, and can work around those, then I don’t see why you can’t produce something that sounds great and interesting.”

“Neither of us have the hours or financial means to record in a professional studio,” Kampman elaborates. “I don’t feel that it would be a valuable use of our time anyway. We can spend a long time editing together very small sections of audio and processing things to our exact specifications without feeling we need to hurry up. I think a lot of people, especially those who make electronic music, feel a certain pressure to make things sound the ‘biggest’ and ‘best’ they possibly can.

“I don’t really subscribe to this attitude – partially due to the fact that I’m not lucky enough to own a lot of expensive equipment, but also because I want our sounds to retain a sense of truth and authenticity,” she adds, before outlining what could very well be the band’s mantra: “If this means that sometimes our kick drums sound a little weak or our synth parts are covered in hiss, then so be it.”

Similar to the sprawling nature of that first mixtape, Kammerspiel flows as a linear experience, with each track slowly unfurling and almost bleeding into the next. It’s an effect few can really nail, but one CAS were keen to explore: “We always had it in mind to make the album flow as one piece of work,” Kampmann asserts. “Whether or not this meant that songs would be literally strung together was not so certain.

“I had the word [Kammerspiel] in mind for a long time. I saw that there was a comparison to be drawn between the way those films were made and what occurred within them, and Conquering Animal Sound’s approach to music making. I imagine a lot of different facial expressions within our songs, similar to the way narrative was conveyed in Kammerspiel films. I think there’s an intimacy to our music, which is probably a consequence of the fact that it has been made by two people together in one space.”

With new material already in the works alongside a welcome chunk of tour dates to accompany the release of their debut, the 2011 calendar is already filling up. What else can we expect from the duo in the coming year?

“Some festivals, if anyone will have us, and more touring later in the year, if we’re allowed any more holidays from work,” Scott jokes as he issues a semi-serious plug. “And if anyone wants us to DJ at their wedding/birthday/child christening, we’d be more than happy to, as long as the money is right!”

KAMMERSPIEL IS RELEASED VIA GIZEH/MINI50 ON 7 FEB PLAYING THE DOGHOUSE, DUNDEE ON 9 FEB; SNAFU, ABERDEEN ON 10 FEB; SNEAKY PETE’S, EDINBURGH ON 11 FEB AND CAPTAIN’S REST, GLASGOW ON 12 FEB WWW.CONQUERINGANIMALSOUND.TUMBLR.COM

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FEBRUARY 2011

THE SKINNY 25

CLUBS

future funk

Taz Buckfaster is undoubtedly one of Scotland's most promising dubstep artists, with a huge following, multiple residencies and a slew of brutal plates of vinyl on the likes of Rwina and Subway. Having recently released the highly anticipated Gold Tooth Grin on Glasgow label Numbers, we caught up with Scotland's finest dubstep export for a little chat interview: Craig Massie & Luke Dubuis

Good morrow to thee Mr. Buckfaster. I trust all is well on the production front of late? Let's start with a little info on how you started out.

When did you adopt the cheeky Taz Buckfaster moniker and what were the first musical endeavours like?

All is good. The name came about around 2006.

Everyone called me Taz, and Buckfaster was just a hat-tip to the dark stuff (for the uninitiated, that’s Buckfast Tonic Wine).

How did you get your first big break and what happened after that?

I had been making tracks on and off for years but once I started immersing myself more in bass music, things just started falling into place.

Breaks-wise, I owe a lot to Hudson Mohawke for being one of the first to regularly play my stuff out, prompting someone from Radio 1 to get in touch and getting me my first airplay. After that, doors began opening, labels began showing interest, Mary Anne Hobbs premiered tracks on her show and I’ve been on that path ever since.

Having been involved in the grime and dubstep scene for a while now, what do you feel has been the most interesting development/ shift in dubstep?

It has diversified to the point where some fans are completely unfamiliar with the other styles under the same umbrella, which is weird. The ‘filthy’ wobbly stuff has almost reached the point of self-parody, and a number of third generation artists are making dubstep influenced by dubstep, disregarding the relevance of a lot of what came before. Musical cannibalism.

Another interesting development is the mainstream’s sudden acceptance of the genre, albeit in a somewhat desperate attempt to cling to some sort of underground credibility, and the cash attached to it, as people’s tastes gradually fall away from the declining market of sanitised pop fodder we’ve grown so accustomed to.

I remember reading that there was a planned album. Is it still in the works or has it taken a back seat for just now?

I completed the album two years ago, but wasn’t entirely happy with how it sat on a track-by-track basis, so decided to shelve the project for the time being. I think when releasing an album, it has to flow seamlessly and sound like an album, as opposed to just another ‘collection of tracks’.

What was the catalyst that made you move primarily from grime to dubstep?

Frankly, the nature of dubstep as an instrumental genre primarily interested me due to the fact that grime MCs, despite sounding great on tracks, tend to take bloody forever to get work done.

Also, grime was a very closed scene with very few people outside of the London set making any significant inroads. Dubstep seemed very much more open, and not dissimilar musically. …And were there any genres that kickstarted your lust for DJing and producing?

I’ve always had a passion for music as far back as I can recall. I was massively into the ‘92 hardcore sound as a kid. I had an older cousin who would pass me tape packs and cassette singles of various artists, Altern-8 being my particular favourite, and despite none of my friends ‘getting it’, I started to immerse myself in the music. An interest in jungle followed, then drum and bass, garage, grime, etc. – the ‘hardcore continuum’.

Embarrassingly, when my first set of decks arrived, I was primarily spinning trance and hard house, and as I started to get into production, my output reflected this. Breaks and jungle began to

26 THE SKINNY February 2011

creep into sets as I grew increasingly bored of the straight 909-led 4x4 fodder.

Which aspect of your music do you consider to have achieved more notoriety, the uplifting synth driven side or the dubstep nitty-gritty of releases on Ramp and Subway?

Meh. Notoriety isn’t something I crave.

Songs like Gold Tooth Grin and Hyphen sound like they were made for vocals. Have you considered working with vocalists on some of those tracks? There were grime MCs on the early collaborations with Durrty Goodz and Professor Green and the track Drunk Sex ft.

Yasmin almost bridges the gap, but what if it got slower?

Both Hyphen and Gold Tooth Grin were made for vocals that never happened. I’m open to working with vocalists and emcees, but so often things get agreed on and then never materialise.

I’m looking at you, P Money. Ha. What would you consider to be the main differences between the music scenes in both Edinburgh and Glasgow?

Edinburgh has the numbers for larger scale events and a burgeoning scene (with more focus on the student-friendly wobblers), not to mention the soundsystems (shouts to Electrikal family!), but Glasgow tends towards a more forward-thinking scene, and it positively oozes ‘cool’, and you feel it in the kind of music coming from there.

Any cities you’d be very keen to play? You mentioned a while ago that an opportunity for getting some gigs in America would be seized right quick.

With a few exceptions on the basis of safety, there’s hardly anywhere I wouldn’t love to play.

However, I’m holding off going to America in the current climate and I won’t be playing in Israel any time soon either (with apologies to my friends in Tel Aviv).

Just out of an insatiable curiosity, what are the top three gigs you’ve played in previous years and why?

1. Playing at The Arches in Glasgow in ‘06 and spotting Pharrell and Chad creep in during my set.

2. Krakow (PL), Feb ‘10. Great city, fantastic hosts, quality club and not an ugly face in sight!

Missed my flight back to London due to the insanely early flight time coupled with the very late club hours. By a stroke of luck, I managed to secure the last seat on a flight to Bristol, which was where I was headed after London anyway. My mates had to wait in Krakow Airport for another 8 hours. Poor lads!

3. Wrong Music, Bristol, Feb ‘10. Day after Poland, long, tortuous flight there with screaming babies, landed in a hungover daze, played a blinder despite huge tech problems, met some of the soundest characters I know and ended up staying longer than expected as a result.

Having just released a successful EP on Glasgow’s Numbers imprint, what have you got planned for 2011?

The Digital Nomad EP is being released shortly on Holland’s Rwina Records, which is (unsurprisingly, given the title) a digital-only affair. I’m also working on a number of projects that I’m keeping hush for the time being. Keep your eyes peeled!

Gold Tooth Grin out now on Numbers. Available in digital and 12” from all good music vendors.

Taz Buckfaster plays at Electrikal Sound System presents DATSIK at The Store, Edinburgh, on 16 Feb

❝

Grime was a very closed scene with very few people outside of the London set making any significant inroads.

Dubstep seemed very much more open Taz buckfaster

❞

COMEDY

COMEDY FETISHIST

A LOT of people think that I first got involved in comedy when I performed it. In fact, I was only an open spot for about 18 months – I was terrible. It’s bloody hard, you know. I first started hanging around the comedy scene years before this ill-fated experiment, though; I once was a comedy groupie.

The thing is, I’ve always been very much of the ‘laugh me into bed’ school. Comedians are HOT. Really hot. My teenagedom was spent drooling over video and TV footage of Jack Dee, Dominic Holland (who I believe started my lifelong love affair with dark, curly hair) and Eddie Izzard and this was before I ever moved to the big city and got introduced to the heady, dizzying highs of live comedy.

In fact, it’s not just the comedians themselves that get my pulse running; merely being around good, clever comedy gets me excited. On my second-ever visit to The Stand, I fell into the arms of an Aberdonian stranger at the next table as we soaked up the lust around us. We bonded together over our love of all things comic and went out for about three months, most of that spent at The Stand. Eventually, he spent one too many nights drinking beer and falling asleep in front of Definite Article, so I dumped him. To The Stand, however, I remain true.

There followed an embarrassing period spent dolled up, spending my dole money at the bar and soaking up the erotic atmosphere of stale beer, cigarettes (in those days) and live comedy.

I never had any famous conquests, I’m sorry to report, but I’ve done the maths and worked out that 85% of all my sexual shenanigans have been with people who had performed or would perform stand-up comedy.

Of course, I’m happily married these days, to a magnificent lady (she made me say that) who has brought down my average by stubbornly refusing to take the mic. I did meet her in Nicol Edwards, though, and I was only in there for the comedy. I just can’t get away from it: if it weren’t for standup, I’d still be a lonely virgin.

In honour of Valentine's Day, our comedy editor explains what it is she loves about comedy WORDS: LIZZIE CASS-MARAN ILLUSTRATION: SAM BREWSTER

TOP 5 HOTTEST COMEDIANS YOU CAN CATCH IN GLASGOW The Magners Glasgow International Comedy Festival this March and April is bringing a myriad of ripe comic specimens to town and frankly, I can’t wait. Seeing as it’s Valentine’s Day and all, I’ve come up the top five sexiest comedians coming to town.

Before I get accused of objectification, by the way, I should clarify that these people are really fricking funny - that’s what makes them so hot.

MILES JUPP One of my original, unattainable comedy crushes.

That dark curly hair, that effortless humour.

See him in: Miles Jupp: Fibber in the Heat, The Stand, Glasgow, 20 Mar 7:30pm, £10(£8) SUSAN MORRISON Made me have to define the term ‘MILF’ to someone. Smart and sexy, could crush you with a single sentence.

See her in: Susan Morrison: Faffing Around, Brel, 25 Mar 8:30pm, £7(£6) IMRAN YUSUF Short-listed as best newcomer for the Edinburgh Comedy Award last Fringe. Had me swooning in Espionage. Sober. Not something that happens a lot.

See him in: An Audience with Imran Yusuf, The Stand, Glasgow, 4 Apr, 9:30pm, £10(£8) SARAH MILLICAN Recently won the slavering admiration of P. Diddy and Vince Vaughan. Which makes her sexier than Jennifer Aniston. And much, much more intelligent.

See her in: Sarah Millican: Chatterbox, Old Fruitmarket, 5 Apr, 8pm, £15 DOUG STANHOPE Angry American in the vein of Bill Hicks (and which of us, really, doesn’t want to go back in time for that rendezvous?). Just watch him rant, lie back and shiver.

See him in: Doug Stanhope, King’s Theatre, 22 Mar, 9:45pm, £19.50 WWW.GLASGOWCOMEDYFESTIVAL.COM

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t

Image: Jeremy Dunn and Ross Jardine, BDes (Hons) Graphic Design

New Short Courses & CPD for 2011

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THE SKINNY 27

TRAVEL

Elite Encounters in Pakistan A backpacker finds himself upgraded to the royal suite for one night only WORDS and photos: Shane Kelleher

Former Royal Palace in Chitral

“Don’t worry about finding Prince, he will find you.” A casual tip from a fellow traveller that propelled me toward Peshawar, to the Pakistani tribal lands, all the way to the Khyber Pass.

For foreigners of many stripes in Peshawar, Prince is a man who can get things done: an individual media types would call a fixer. Prince is a fast talker and a hard bargainer who knows the tribal officials, the government bureaucrats, military men, opium smugglers, weapons dealers, hotel operators, business men, Talibs and more.

As an outsider Prince will get you to the places you want to go. To the tribal lands, to the home-made gun factories and opium bazaars, to the Khyber Pass. To Kabul in Afghanistan if you are willing enough to pay and to trust. Prince will arrange armed guards, SUVs and drivers. Prince will bribe people who need bribing, and smoothtalk the ones who don't. Prince knows what to say and when to pay. If, as a complete outsider, you want to explore the margins of Peshawar, Prince will find you. And Prince did eventually find me but it was the 24-hour journey from the Kalash Valleys of the Hindu Kush to Peshawar that unexpectedly offered a more personal insight to Pakistan and the lives of its true princes.

Unfortunately there was no hop-on, fall-asleep express bus from the Kalash Valleys to Peshawar.

The only possibility was a gruelling full-day’s journey of installments, by whatever means available. So I squeezed into over-crowded buses and I hitched lifts – riding pillion on the back of passing motorcycles and catching rickety trucks trailing plumes of thick oily smoke.

The journey was at all times bumpy and at a pace that was out of all relation to traffic and road quality. Drivers seemed to be involved in an undeclared ultra-competitive sport and the standard of the competitors was impaired by Ramadan. A month of days without food or water.

A month when men driving rockety trucks on pockety roads rise before dawn to eat Ramadan breakfast, and work a full day of sun-soaked labour without food or water, eating again only once the sun is declared down. A time that is notorious for road accidents.

By afternoon I was wedged into another seat on a sweat-box minibus. Beside me sat a young bearded man, wearing ankle-length, immaculately white robes, seemingly untouched by the dusty world outside. His beard was kempt, his Chitrali hat sitting neatly on his head as though it were obeying formal instructions. He sat quietly amongst us; goat herders, labourers and curiosity Westerner.

When the stranger introduced himself I smiled politely and readied the usual answers. No, not American, not British, Irish. No that’s not the same.

Age 30. No, not married. No girlfriend. Not homosexual, no. Just unmarried and 30. Ahmed however spoke fluent English, had studied at university in the UK and was excellent company.

When we arrived in Mardan – two hours and more from Peshawar – it was already after dark.

Ahmed unexpectedly offered the hospitality of his family and I quickly accepted, though I was taken aback when he led me through the crowded market toward a large, chauffer-driven SUV with black tinted windows. Waiting for us was Ali: dressed in the western fashion of suit pants and shirt, and sporting a thick black moustache, he gave the least impression of Ramadan hardship.

After introducing himself politely in English he directed the driver to move off and spoke in Pashto to his cousin. We pushed through crowded streets, foot-traffic giving way, donkeys overtaken, and any intransigent obstacles honked at diligently by our driver. On the streets nearest to the family compound, people raised their hands to the passing SUV in greeting, never knowing if their salutations were noted or ignored through the tinted windows.

Inside the gates of the family home we pulled up beside an island of green lawn that had to require a devilish amount of watering. Ali summoned a boy to carry away my backpack and led us inside a large living area that had once been impressively decorated in creams and beiges, with elegant statuettes and foibles, heavy pelmetted curtains and ornate gilt-framed photographs. To one side was an imperious mahogany dining table that would comfortably seat twenty people. Ali waited a short second while I took this in and began to feel ever more out of place; “Nice, yes?”. Yes, it

was. Though the grandeur was also faded, the carpets a little worn and frayed, the sofas bearing something of a character of dustiness without obvious dust. A scene in sepia.

A man entered the room and was spoken to as servants are. Offered a drink I requested the customary tea. Ali laughed and wondered if I wouldn’t prefer a whisky. Later he would show me his personal – and illegal – stash; cases and cases of whiskys and other spirits. Dinner was rolled to the dining table by two servants, and each plate uncovered from beneath a silver serving dome.

We ate in a small cluster at one end of the table and I surveyed the proudly hung photographs.

One included Margaret Thatcher. Another framed Benazir Bhutto, then exiled in London but seeking a return to Pakistan. Each photo included the same olive-skinned, grey coiffed man – Ali’s father. A one-time member of government, an ally and, the cousin said, close associate of Mrs Bhutto – who would be murdered in a suicide bomb attack only a couple of months later.

Ali clearly relished addressing a foreigner, using his clipped English, speaking of his father, his visits to the UK, his political involvement and his family’s wealth and status. Although it seemed his brother was the substantive heir and political princeling, Ali enjoyed being listened to. And as the evening wore on the alcohol promoted his candour. Ali explained that what I didn’t understand about these silly laws – state and religious – was that they were never intended for people like “us”, with a gesture that encompassed us both. They are for the little people he said, his arm sweeping toward the vast conservatory doors at the end of the room and the imagined hobbits far beyond.

Outside these doors lay a vast estate, with rents dutifully paid by farmers, shopkeepers and householders. Every man who owed the family a rent was expected also to owe them a vote. Both Ali and his brother held local political offices but Ali had little time for government. His brother, he said dismissively, liked this kind of thing. He preferred his hobbies, like shooting, and he eagerly displayed his trophies: three large cardboard boxes, each brimming with spent shotgun cartridges. For every kill he kept the cartridge. My confession to never having held a gun caused incredulity and led to an offer to head out on a shoot the next morning.

❝

Ali laughed and wondered if I wouldn’t prefer a whisky. Later he would show me his personal – and illegal – stash; cases and cases of whiskys and other spirits

❞ When the evening finally slowed to a whisky induced halt I was shown to a guestroom, my backpack resting by the door. Outside were two wiry young men with what I took to be AK-47s and a bare rope bed. My guards gave taut nods of acknowledgement as I closed the door on a fascinating evening.

In the morning I awoke to muffled brightness, heavy curtains filtering out all but a thin frame of sunlight. The knocking at the door was patient but loud. It was Ahmed. He had to leave on business with his cousin. I was welcome to breakfast, and a driver would take me to Peshawar. My friend gave me his mobile phone number and insisted that if I had any problems anywhere in Pakistan I should call him immediately. I thanked him and decided immediately that this was a phone number worth keeping. A firm handshake and he was gone. I expected I would see Ali somewhere before I left, but like our duck-shoot, it never happened. Maybe he was resting a head as sore as mine. But he never re-appeared and before I knew it I was getting out of a black SUV in Peshawar. Back on the road. A dusty traveller looking for Mr. Prince.

Guns and hash for sale outside Peshawar

February 2011

THE SKINNY 29

TRAVEL

GO AWAY!

FORT WILLIAM MOUNTAIN FESTIVAL 2011

To Inchcolm Island, Firth of Forth

Where? Inchcolm Island, Firth of Forth.

What? Apart from the occasional trip across the bridges, or a frankly insane ‘Looney Dook’ on New Year’s morning, I’m guessing most people have never entered the mystical waters of the Firth of Forth. Soaring eagles, chubby seal pups, comical puffins and graceful porpoise are regular inhabitants of the chilly waters. It is likely that you will spot one or all of these amazing creatures on your journey to Inchcolm Island; an ancient little speck of land between Edinburgh and Aberdour on the Fife coast. For such a tiny place it has witnessed an extraordinary history, playing host to Vikings, hermits, kings, monks and soldiers from both World Wars.

Why? Admittedly, the sun is rarely guaranteed, but the promise of adventure, infused with a little history and a warm welcome, results in something even better – a little bit of Scots magic. Plus, it’s

right on your own doorstep! The key feature of Inchcolm is the spectacular eight hundred year old abbey complex, beautifully preserved by Historic Scotland. Take a picnic to enjoy on the immaculately manicured lawns, or take a stroll amongst the eerie war ruins, build sandcastles or listen to tales of ghostly monks and sunken ships laden with treasure. Wherever your Inchcolm adventure takes you, remember you are still in bonny Scotland and so rain coats should be part of your shipwreck survival pack, and pirate impressions are always appreciated … Land ho, me heartys!

How? Inchcolm Abbey and Island is maintained

by Historic Scotland. Ferries depart daily from North Queensferry from the 1 Apr to 31 Oct. [Benjamin Bennett] FURTHER INFORMATION ON FERRY OPERATORS AND PRICES CAN BE FOUND AT WWW.HISTORIC-SCOTLAND. GOV.UK OR BY CONTACTING 0131 668 8600

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30 THE SKINNY FEBRUARY 2011

With the winters we’ve been having, who hasn’t plodded and stumbled along in the vast tranches of the white stuff and thought “I could really do with lessons in this? Come to think of it, a spot of avalanche training might come in handy too.”

If this cycle of weather keeps up these courses will be added to the national curriculum but in the meantime, there’s the opportunity to learn more about basic techniques in mountain walking during snowtime, advanced climbing classes for the brave/ foolhardy, and what to do if a big torrent of the white stuff comes careering in your general direction.

All this takes place at the Fort William Mountain Festival, a five day jamboree of lectures, workshops and films and activities for residents and visitors who want to learn about and celebrate mountain culture (well, if tomatoes and aliens get their own festivals, why not a homage to those magnificent monuments to tectonic instability?).

The events take place throughout Fort William and Lochaber – the Outdoor Capital of the UK – from Friday 11 to Monday 15 February. Included are a series of lectures and films on various aspects of extreme sports including mountaineering, white-water kayaking and ice-climbing; workshops on a variety of activities including skiing and

snowboarding, and an evening of cinematic highlights from the Banff Mountain Film Festival (Canada). Then there’s the really fun stuff. Fancy practising your mountain bike jumps and flips with the safety net of a giant airbag? Or how does the Mammoth Descent sound, where everyone gathers en masse at the summit of Aonach Mor and skis/ snowboards all the way down... to the pub? Well why not?

Getting there: Fort William is well serviced by trains and buses from the Central Belt. Or you can walk there along the wonderful West Highland Way (takes a week mind).

Staying there: The Moorings Hotel offers great views of Ben Nevis in suitably comfortable surroundings, whilst the Torlinnhe guest house is a cosy option with free biscuits and wi-fi. www.moorings-fortwilliam.co.uk/ www.torlinnhe.com [Paul Mitchell] EMAIL INFO@MOUNTAINFESTIVAL.CO.UK PHONE - 01397 700 707.

FOR EVENING EVENTS £14 FOR ADULTS / £12 FOR UNDER 16S ONLY.(£12.50/10 IF PURCHASED ONLINE) FOR INFORMATION ON OUTDOOR ADVENTURE ACTIVITIES IN LOCHABER VISIT WWW.OUTDOORCAPITAL.CO.UK WWW.MOUNTAINFESTIVAL.CO.UK

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THE BEST OF THE WEST Words: Jamie Dunn Photos: Ashley Good I’VE RECENTLY moved from the tinderbox of Bridgeton back to Glasgow’s trendy West End, the area of town I lived in when I first moved to the city as a fresh faced fresher and fell in love with its unique nightlife. Faced with a now unfamiliar cornucopia of new urbane bars, intimate gig venues and inventive club nights, what better way to survey the changes to my old stomping ground than to take up the Morgan’s Spiced challenge to find the perfect night out in Glasgow?

So, with my new flatmates in tow (and a few other hangers on who don’t have work in the morning), I begin my Thursday night tour of the best the West End has to offer with The Belle on Great Western Road.

The Belle is as snug and cosy as a squirrel’s pocket. Situated near the top end of Byres Road, it’s a beery melting pot of hipster students, working Glaswegians and the odd Scottish celebrity. Tonight there are also three dogs roaming the bar, each one having a whale of a time sniffing punters’ crotches. An ideal spot to ease us into our early weekend.

We miraculously manage to get a seat in the one room, one bar boozer and enjoy the warmth of its coal fire and its eclectic clientele.

For our first tipple of the night, we sample one of The Belle’s range of classy continental beers - I go for a crisp Krusovice.

It’s the perfect

! n i w A, MER S CA N IXU E AND A O N AM A CA AL FR F DIGIT OTTLE O ™ B ICED P S ’S GAN R O M

pub to whittle away an afternoon reading the paper or chatting with the friendly bar staff, but we can’t get too cosy as there’s loads more to explore. Next up: Dram!

Recently opened on Woodlands Road, Dram! is a reboot of an established classic. Formerly Uisge Beatha, a dark, atmospheric drinking hole with one of the finest selections of whiskies in town, and with walls cluttered with enough zany Caledonian flotsam and jetsam to make TGI Friday’s vomit of Americana look like the height of minimalism, it was a much loved haunt of mine in my student years whenever I craved some semi-ironic jingoism.

This renovation has let in the light, and with it brought a whole new clientele to the place. But gastropub gentrification hasn’t robbed it of what it did best: whisky and live folk music. Tonight is an open jam by half a dozen talented locals who create a folky funk in the one room of the bar that’s kept its gloomy Calvinist aesthetic.

We order some food and drink to accompany the band’s mile a minute fiddling: haggis balls washed down with some Ardbeg, Dram!’s Malt of the Month, a smooth Islay single malt. A delicious and patriotic combination. With a wee fire in our chest from the Ardbeg we set off into the chilly Glasgow night for our next destination.

Dram! may be known for its folk music but

Skinny's footsteps and If you would like to follow in The , Morgan's Spiced™ are town the on out ts nigh record your nightlife prize in the ect perf the er read offering one lucky a Canon Ixus digital , ed™ Spic form of a bottle of Morgan's can capture and keep your you so e fram al digit a and era cam ition. To enter, just answer memories in pristine digital cond : this simple question creature’s pocket?

The Belle is as cosy as what a) Badger b) Giraffe c) Squirrel

Glasgow is known for its indie scene. We find plenty of the latter at The Free Candy Sessions, The Liquid Ship’s Ship thrice weekly gig night.

Arriving at the Ship it appears surprisingly quiet for 10pm, but we soon realise that’s because everyone’s rammed downstairs for the bands.

Before entering the pub’s sweaty bowels a few of us refresh ourselves with some Morgan’s Spiced cocktails in the upper bar – Morgan’s with apple juice and ginger beer and Morgan’s with pineapple and cranberry go down particularly well.

The King Creosote-esque band that are playing downstairs' intimate stage don’t have a name yet, but their bass player, Rob MacNeacail, informs me they’re toying with “Jamie Cameron [the front man] and the c***s who do what they're told”. Catchy, I think. They’re a tight four-piece and the charismatic Cameron gives the appreciative crowd an impassioned performance.

By the time we reach The 78 for their legendary Dub ‘n’ Grub night it’s just after 11pm and the grub is most definitely finished, but the dub is still dirty and funky and in full flow. A round of Morgan’s and coke with lots of lime get us in the mood for Dub ‘n’ Grub’s Mungos Hi-Fi boys’ distinct brand of reggae and dub.

R

DISCOVE

As the witching hour approaches we can’t tell where the dance floor ends and the pavement begins as the sweaty hordes have spilled out of The 78’s French doors into the cold night.

It’s with a heavy heart we leave this fun crowd to head to our final destination just after midnight, but luckily we’re in for more of the same hedonism with the enthusiastic Thursday night throng of The Art School.

Tonight it’s Mixed Bizness, where DJ Benny Boom takes over the upper floor of The Art School. It’s getting late and it’s a school night, but Benny Boom’s tunes, a heady mix of underground electro and bassy house, and some more Morgan’s Spiced and coke, keep us going into the wee hours.

The Art School is due to close this summer as the GSA campus gets a large renovation. I’d heartily advise you try to sample this fantastic club night before then.

What I can’t recommend, however, is the greasy sausage supper I inhaled on the way home.

You can take the boy out of Bridgeton...

SPIRIT

mpetitions to register Got to www.theskinny.co.uk/co your answer. be 18 years or over. The prize is Terms & conditions: Entrants must tions cash alternative. For full condi non-transferable and there is no erms please see www.theskinny.co.uk/t

The MORGAN'S SPICED words and associated logos are trademarks. © Captain Morgan Rum Co. 2010

FEBRUARY 2011

THE SKINNY 31

SHOWCASE

matthew swan

32 THE SKINNY February 2011

Matthew Swan is an artist/illustrator based in Edinburgh. He graduated from ECA in 2010 and is currently investing all his time and effort into a new studio space (www.superclubstudios.com) as well as preparing for some group exhibitions in the near future. He wants to start making a web comic and really likes Lego.

February 2011

THE SKINNY 33

FASHION

PREVIEWS

Still from Weave me a Rainbow; 1962

Still from Glenhar factory, Hillington; 1953; Filmmaker: Jack Harris

Still from Cashmere is Scottish; 1973; © Dawson International

Still from Glenhar factory, Hillington; 1953; Filmmaker: Jack Harris

Inventors Of Tradition 21 Stockwell Street, Glasgow, G1 4RZ 22 Jan – 26 Feb

The amalgamation of art and business in fashion is one which is historically prominent in Scottish design. Think, for example, of a gloriously knit Christopher Kane jumper and the importance of the textile industry becomes undeniable. This is the subject of a new exhibition, entitled Inventors of Tradition. Using a variety of mediums (including archive footage and clothing from private collections), designer/artist duo Lucy McKenzie and Beca Lipscombe will offer a historical presentation of the Scottish textile industry, with the aim of highlighting its wider social importance.

The industry is undergoing substantive change and re-invigoration, following a period of steady decline. Correspondingly, the duo has created a collection of clothing, furniture and accessories by collaborating with operating Scottish textile

Barrie Knitwear c.196os

WS pringle; 1976

Barrie Knitwear c.196os

Barrie Knitwear c.196os

manufacturers. In this sense, ‘Inventors of Tradition’ is as much a celebration of the future as it is a reminder of the past. The timing of the exhibition also allows the meta-social commentary of the work to come to the fore. In an era of cuts and unemployment, Inventors of Tradition aims to refocus the attention on the undervalued craftsmen behind the finished products. At the same time, with the increasing popularity of Scottish design globally, it challenges us to re-evaluate what is meant by ‘Scottish’ design and even ‘Scottishness’ itself.

If not for this reason, it’s worth seeing due to McKenzie’s involvement; her name is becoming increasingly important in the art world. It’s also the first project from Creative Scotland’s Vital Spark Initiative, being overseen by Panel, an independent creative consultancy which specialises in regional talent. [Emma Segal] Tue-Sat, 11am - 5pm, from 22 Jan - 26 Feb at 21 Stockwell Street, Glasgow, G1 4RZ

Rachel Elliott Glassworks

Ghillie Dhu Makers Market February Valentine's Makers Market Ghillie Dhu, 2 Rutland Place, Edinburgh, EH1 2AD. 12 Feb

Still (rightly) gloating from the success of the Morningside Makers Market in 2010, The Makers Markets are redoubling their efforts in a new series of events throughout 2011, in partnership with the lovely Ghillie Dhu venue.

Every month until November, the Ghillie Dhu Makers Market promises to turn the Rutland Place location into a hub of handmade unique works, with a focus on boutique craft and design.

The Market will kick off on Saturday 12 February, and highlights of the opening event already include talented artists such as Inverness-based Julia Smith, whose ceramic creations range from finely crafted jars and bowls to brooches,

34 THE SKINNY February 2011

adorned with delicate patterns from vintage cut glass and textile.

The very different style of Hand-me-down Helen will be reflected in jewellery with a vintage twist, such as upcycled badges and vintage button rings, whilst other materials will be present in Rachel Elliott’s glasswork and Natty Maid’s hand printed cards, tote bags and notebooks. If visitors are still left wanting for more originality, it is worth drawing their attention to Tara McIntosh’s Twiggd and its range of bespoke furniture, boxes and bags incorporating colour, illustration and textiles with wood.

Open from 10am 'til 3pm, the entry is free and booking is still available for artists interested in exhibiting their work. [Adeline Amar]

Sat 12 Feb 10am - 3pm www.ghilliedhumakersmarket.co.uk

Aberdeen’s Designer Wardrobe Exhibition Provost Skene’s House Costume Gallery 26 Feb – 7 May

Provost Skene’s House opens its (wardrobe) doors on the 26 February to the public, showcasing a closet of designer treasures in a display that explores Aberdeen’s sartorial past and by doing so documents and celebrates the pride present and past residents have taken in their appearance.

Curated by Katie Gillespie, much of the exhibition is comprised of clothing and accessories with a local heritage, with exclusive collections from iconic designers ranging from Aberdeenshire born designer Bill Gibb, who clad the likes of Twiggy and Bianca Jagger, to the celebrated Bernat Klein, a Serbian textile designer based in Scotland, who supplied fabrics to haute couture designer houses including Balmain and Dior.

After a public appeal in October for contributions, much of the exhibition consists of donations from local residents from the place dubbed the Silver City; this is a definitive collection that celebrates the style and taste of the ladies of Aberdeen throughout history and the biographical identity woven within our clothing.

Aberdeen’s designer wardrobe is exactly what it says on the tin and more; an eclectic and exciting display of frocks, fabrics and also memories, documenting the stylistic change of fashion as an essence of society.

The exhibition will run until 7 May, so take a trip up north and see this year’s most hotly tipped Spring/Summer collection! [Mhairi Graham] Provost Skene’s House Costume Gallery, Queen Street, Aberdeen. 26 Feb - 7 May www.aberdeencity.gov.uk

FOOD & DRINK

sexy food In celebration of that most romantic (and not at all cynically commercial) of special days, The Skinny has put together a step by step guide to preparing a Valentine's meal so seductive it should probably be illegal Words: tom farrington illustration: Eleanor Meredith

Since you’re set on securing the affections of a fellow human this Valentine’s Day, you’ll be producing three courses, often known as 'making an effort’. The starter and the dessert are likely to be what your chosen target remembers, so vivify those memories by charming all the senses.

Contrasting textures are noisy and engaging (my lady loves crunch), and carefully arranged natural colours can be mesmerising. You know to season everything, right? Right, now pick and choose from the suggestions below and make someone feel loved.

First get some flowers and candles on the table (low-level are best) and stick some fizz (one pink, one white) in the fridge. A good prosecco will make you look and feel richer than you actually are, and if you’re nervous then an opening Cosmopolitan will help – basically three parts vodka to two parts cranberry juice to one part Cointreau, shaken with ice and the juice of half a lime. Strain into your most pretentious vessels.

Starters should be light, fresh and pretty. Toss rocket, avocado, basil, and crisp, colourful endive leaves with lemon juice, extra virgin olive oil and salt and pepper. Add ripped Serrano or Parma ham and blood orange segments, pomegranate seeds or melon, before tossing again with a little more oil and a drizzle of balsamic vinegar. For a zingier, more substantial starter, gently fry finely diced ginger, red chillies and spring onions (diagonally sliced) in sesame oil and soy sauce, and use this to dress sautéed shiitake mushrooms and purple sprouting broccoli (steamed or simmered for 4-5mins). Don’t bother with raw oysters unless you really know where they’ve come from, and if you do then keep them ice cold and make sure you’ve got tabasco.

With any luck, you’ll want to move after your romantic dinner, so keep the portions small. If you’re set on steak for the main course, then make sure you open a window before getting your griddle pan smoking hot, because tears and fog are for breakups only. A good quality rump steak from

Edinburgh's Newest Cocktail bar HydeOut is hidden away just off Lothian Road alongside the Union canal in the heart of the developing business district. The bar – lead by Head Bartender Ryan McDonald – has a vast selection of premium spirits and liqueurs which are brought to great use with an innovative cocktail menu catering for all drinkers' tastes. A cocktail fresh out of Ryan's book is the 'Lady Juniper' which infuses Edinburgh gin's perfectly chosen botanicals with subtle hints of fruits and spices. the butcher has more flavour than sirloin, but is typically less tender. Whatever you choose, bring it to room temperature and rub with olive oil, salt and pepper before cooking. The best way to gauge the stage of your steak is to give it a prod (sexy).

Relative to the particular steak, when raw it’ll feel like the fleshy part of your open palm, below the thumb. When well done (badly done) it’ll feel like that fleshy part whilst the tips of your thumb and pinky are touching. Bloody meat is sexy. Serve it sliced atop sautéed potatoes, dressed watercress and roasted cherry tomatoes (1hr at 150ºC), with a pepper sauce (single cream and heaps of freshly ground pepper into the vacated steak pan, rapidly reduced), because that’s what you want.

For a fish main, try adhering a crust of parmesan and breadcrumbs to salmon fillets using rocket pesto (rocket, parmesan, toasted, flaked almonds, garlic and olive oil, whizzed up and heftily seasoned) before baking for 12-15mins at 190ºC. Serve with a pea purée (frozen peas blanched for 2mins, blended, then heated gently in a pan with butter) and roasted cherry tomatoes. Or, slash the skin side of sea bass fillets several times, push in a little chopped rosemary, and fry for 2-3mins on each side. Serve this with thinly sliced fennel, onions and cucumber, dressed with blood orange juice and olive oil. Another accompaniment to fish or chicken can be made by roasting, skinning and chopping red peppers, before tossing, cooled, in a heated mixture of flaked almonds, clear honey, vinegar, sautéed garlic and parsley.

A risotto might seem a little safe, but it will go

36 THE SKINNY February 2011

with almost any meat, poultry or fish, and you can easily make it special. Top with asparagus (boiled for 2-3mins), or a generous spoonful of fresh pesto. Or, stir in chopped chives and some seasonal Jerusalem (not globe) artichoke purée, made by bringing peeled artichokes to the boil in single cream, simmering until tender (8-10mins), blending, sieving and seasoning. Jerusalem artichokes also make a superb accompaniment to meat when peeled, thinly sliced and sautéed until golden brown in butter and olive oil. Purées aren’t just for babies; they’re a great way to get colour into a meal. Try blending carrots (boiled until tender), red peppers or beetroot before heating with cream, sieving, and drizzling around or over a finished dish.

Dessert should be an indulgence of texture and taste. Stir blood orange zest, double cream and the scrapings of a vanilla pod into dark chocolate melted slowly in a bowl over boiling water. Set in the fridge and sprinkle with crushed biscuits.

Caramelised runny honey (just heat it up for a few minutes, being careful not to burn it) will set beautifully when poured over decent chocolate ice cream, crushed hazelnuts and fresh fruit. If you can get figs then simply serve quartered with chopped almonds in caramelised honey.

If you’ve followed these instructions carefully, you will find that the romance has reached near tangible levels. Now’s a good time to open the pink fizz and like, totally make out. And remember: always use protection.

Lady Juniper 50ml Edinburgh Gin 20ml Bernard Loiseau - Crème de peaches fleur D'Hibiscus (Peach & Bay Leaf) 2.5ml Chartreuse yellow 2 drops Peach bitters 1 drop Lemon bitters 5 blueberries On the nose the drinker can pick up the floral hints of bay leaf and peach, but once consumed the Lady Juniper produces into an eruption of subtle flavours. Initially the drink uncovers that light spice which comes from the Chartreuse, followed by hints of both blueberry & peach to form a balanced refreshing tipple with a subtle juniper and bay finish.

HydeOut Edinburgh 2 Fountainbridge Square Edinburgh EH3 9QB

REVIEW

ANGELS WITH BAGPIPES My dining partner Susie is already settled with a glass of rosé and blethering with the staff by the time I arrive at Angels With Bagpipes, a new addition to Edinburgh’s Royal Mile and the latest offering from the Valvona & Crolla family business.

My immediate impression of the venue is that it is relaxed and welcoming, decorated in warm orangey tones and velvety fabrics. It’s clear a lot of thought (and money) has gone into the decor. We choose our food over a glass of prosecco (pink, I think) before smiley staff lead us through to the upstairs dining room. The narrow bistro feel of the room would probably be relieved in daylight where the view through the glass wall onto a courtyard reveals another secret outdoor space of Edinburgh’s old town. Mental note, summer lunch.

It’s been a long day, and I don’t realise the chicken terrine is made with fois gras until after dinner when Susie reassures me the creamy-meaty bits I was describing were exactly that. I am a fois gras virgin no longer, and I like it. With a magic mushroom and hazelnut dressing, this is ideal scran for forest food lovers. Susie’s scallop and black pudding-ball dish includes massive and

perfect crispy-on-the-outside-and-translucent-inthe-middle scallops, which really are the stars of the starters.

We order the sea bream to test the handpicked crab ravioli. Delightfully crispy skinned fish, but does chef know unexpected caviar would make up for the disappointing crab ravioli pillow? Who cares, Susie is a caviar virgin no longer, and she likes it. My venison is superbly cooked, if a bit over-presented, and the bitter chocolate is a savoury flavour that complements the meat.

Pearl barley and a turnip circle rounds this into a sumptuous, rich dish.

No more firsts in the third course, but the caramel popcorn is special. Chocolate mousse is actually a ganache, and baked date and toffee sponge is actually sticky toffee pudding. Call it like it is Angels! That said, we’re not stickling over the words.

Or the price. Three courses come in at around £35 per head excluding wine (and you could spend a fortune on the V&C family’s cellar), but considering the prime location, the friendly atmosphere, and little signs of a tip top kitchen, this is a food experience that’s worth it. [Penny Green] 343 HIGH ST, ROYAL MILE, EDINBURGH, EH1 1PW. 0131 220 1111 WWW.ANGELSWITHBAGPIPES.CO.UK

ADVERTISEMENT FEATURE

FOOD NEWS FEBRUARY

SWEETS FOR YOUR SWEET! The annual celebration of love will be with us in a matter of days and and for those keen to avoid last minute Valentine’s Day panic, we’re here to help. Glasgow based bakery The Little Cake Parlour is now taking orders for their delicious Valentine’s Day giftboxes, with a 10% discount if you present them with this article!

On the day itself, remember to mention how the gift is something for you both to ‘share’. No need to be totally selfless when the gift is this yummy (If you prefer living on the edge, the store will also be changing its opening hours so you can visit on Sunday 13th February in a last minute dash).

1002 Pollokshaws Road Shawlands G41 2HG Tel: 0141 6360808

SLOUCH BAR Slouch Bar, Kitchen & Venue opened in September 2010 and is fast establishing itself as a force to be reckoned with amidst the many popular nightlife destinations of Glasgow's Bath Street. Slouch prides itself on being led by musicians and music lovers and aims to cater to both those with a real passion for music and casual fans. With a programme of free live music five nights every week, they've already started 2011 with a bang.

The kitchen uses locally sourced produce, creatively applied to classic pub grub dishes such as a fish supper and a range of unique burgers and pizza options. The friendly staff will make sure you always feel welcome in what they hope will become your new local.

Slouch can be found at 203-205 Bath Street, just before the Kings Theatre. Visit www.slouch-bar. co.uk if you would like to reserve a table for dinner, or an area for a special occasion.

info@littlecakeparlour.com www.littlecakeparlour.com www.twitter.com/lilcakeparlour

Open 12pm -12am seven days. Kitchen open 12-10pm Mon Sat, 12-9pm Sun

Tuesday – Saturday 10am – 6pm Extra Valentine’s Day opening hours Sunday 13 February 12pm – 5pm

FEBRUARY 2011

THE SKINNY 37

Tickets £12.50-£15 Box office: 0131 228 1155 www.usherhall.co.uk

Monday 21 February 2011

Penguin Café

with Portico Quartet

**** The Guardian Achingly cool ... Jazz World and Folk Album of the year. Time Out Shimmers with brilliance (Portico Quartet). BBC Music Magazine

38 THE SKINNY FEBRUARY 2011

MUSIC

Live Music Highlights

METAL COLUMN

words: Mark Shukla

Esben and the Witch

Glasser

HOT TICKET of the month Efterklang Òran Mór 24 Feb

Still fresh from their elegant masterpiece of last year, Magic Chairs, ambitious Danish posse Efterklang head back to Glasgow’s Òran Mór for a gig with a twist. Having spent 4 days on an island with French filmmaker Vincent Moon in 2010, the band will be revealing the fruits of that labour to fans prior to their performance.

OK, so the trailer doesn’t exactly inspire Inception-levels of anticipation, but if Moon gives this stripped-down incarnation of the multi-instrumental combo the same understated treatment he did to Moggers’ Burning concert film last year, we’re sure it’ll be fine work all the same.

[Mark Shukla] 7pm, £12 www.efterklang.net

Photo: Nikolaj Holm Moeller

Blending druggy guitars, sinister ambience and wordy, gothic lyrical themes, Esben and the Witch are one of the more intriguing acts currently threatening to break into the mainstream.

Whilst their oddness may seem a little too studied for some tastes, the simmering intensity of their live performances makes attendance at their gig at Edinburgh Sneaky Pete’s on 4 Feb a no-brainer.

Versatile indie-pop locals Zoey Van Goey celebrate the launch of their new album Propeller Versus Wings at Glasgow Classic Grand on 5 Feb and if their past form is anything to go by it should be a cracker. Support comes from Malcolm Middleton’s new ‘live-performance project’ entitled Human Don’t Be Angry.

So Wire have just put out their twelfth album and we have to admit it’s a damn fine piece of work, recalling both the experimental pop of the classic 154 and the restless energy of their 1977 debut, Pink Flag. A memorable night is on the cards when they take to the stage of Edinburgh’s Cabaret Voltaire on 8 Feb. Those bar-room brawling US veterans The Hold Steady return to Glasgow on 9 Feb for a gig at the O2 ABC. Having slowly evolved into anthemo-rock behemoths without ever forsaking their punk roots they never fail to be less than completely engaging. Oh, and they can really fucking play too. Guaranteed good times.

Experimental Glaswegian two-piece Conquering Animal Sound hit Scotland hard this month to promote their lovely new album Kammerspiel.

Combining live looping of myriad instruments with dreamy vocals and various effects their show is a unique and unpredictable affair – catch them at Dundee Doghouse on 9 Feb, Aberdeen Snafu on 10 Feb, Glasgow Captain’s Rest on 11 Feb and Edinburgh Sneaky Pete’s on 12 Feb. If you like it in yer face then you need to check The Duke Spirit at Edinburgh Sneaky Pete’s on 13 Feb. Noted for the authentic twenty-a-day vocals of irrepressible frontwoman Leila Moss, they manage to channel the muscular spirit of classic rock without sounding tired. A hell of a show.

Commonly recognised for their work in the formative days of Doves, Manic Street Preachers and Saint Etienne, EMI-affiliated Heavenly Records have a fair track record for picking a winner. Side-stepping their indie glory days, this showcase of their latest shining talents – in the form of Trevor Moss and Hannah-Lou, recent Pretenders' guitarist James Walbourne and the much acclaimed Sea of Bees heralds a night of ever-sweet, acoustic charm. Glasgow Captain’s Rest on 13 Feb. The Aidan Moffat Valentine’s Hangover Revue is all set to go down at Glasgow Òran Mór on 16 Feb, featuring performances from Aidan Moffat and the Best Ofs, Aidan Moffat with the legendary Bill Wells and Aidan Moffat solo. With his infamous relationship advice column for Thequietus.com still fresh in the memory, we’re sure there’ll be no shortage of wry romantic musings on offer as well.

Glasser – aka Cameron Mesirow – made waves in 2010 with the eccentric, soaring laptop-pop of her debut album, Ring. Although she tours with a band her live show still retains the unfussy elegance of that record. Hell of a set of pipes, too. Glasgow Captain’s Rest on 20 Feb should be special.

Parisian duo Zombie Zombie made a lot of people smile in 2010 with their interpretations of John Carpenter’s classic movie themes and on 23 Feb they return to Glasgow’s Music and Film Festival, this time to create a live score to the seminal silent film Battleship Potemkin. Analogue synth junkies take note – this one’s for you.

In the face of the recent panic that ‘rock/guitar music is finally dead’, we feel obliged to reassure all those lamenting some kind of rock-pocalypse that you probably aren’t looking hard enough, or have in fact had your brains pulverised by gratuitous use of autotune. But rather than pander to such debate, whatever your thoughts on the state of all that is hard and heavy, we live by the words of the late, great Ronnie James Dio: ‘Metal will never die!’

In fact, one glance at the bountiful feast that February has to offer us is evidence enough, with the shortest month of the year looking to stuff us with so much metal that we’ll be shitting nails by Valentine’s Day. Granted, it’s a slow start, but a searing blast of Arizonan death metal – courtesy of a re-energised Knights Of The Abyss – ought to finally blow those post-New Year cobwebs out of your lugholes. They’re joined at Glasgow’s Classic Grand by the depraved homeland brutality of Glasgow’s very own Scordatura (7 Feb). The next night sees Ivory Blacks engulfed in the epic sludge of Georgian swamp-metallers Black Tusk, with Rhode Island’s Howl rounding out a dirty night of bowel-crushing mayhem (8 Feb).

The following night, Kylesa engulf Ivory Blacks with their sprawling set of sludgy, down-tuned psychedelia (both 9 Feb). A tough choice follows on Thursday when Liverpudlian ‘goth-metal’ pioneers – and now prog-rock peddlers – Anathema visit the Cathouse, squaring off against the re-emergence of Joey Jordison and Wednesday 13’s horror metal troupe, Murderdolls at the O2 ABC (both 10 Feb).

Elsewhere, Brooklyn crew Gay For Johnny Depp head up a night of rampaging hardcore at Edinburgh’s Sneaky Pete’s (21 Feb), fronting a bill decked out with premier local assets Secta Rouge and Shields Up. Meanwhile, Leeds collective Vessels take their post-rock splendour to Glasgow’s Captain’s Rest (21 Feb) before hitting Aberdeen (The Lemon Tree, 22 Feb) and Dundee (Hustlers, 23 Feb) in advance of new album, Helioscope. Fresh from recording their second album with influential producer Ross Robinson (The Cure, Glassjaw, At the Drive-In), Dananananaykroyd also make a welcome return to the north east regions, taking in The Doghouse (26 Feb) and Aberdeen’s Cafe Drummond (27 Feb) as a part of a brief tour.

Back in Glasgow the old guard are out in full force as US thrash titans Evile hit the Cathouse (11 Feb) while legendary beer-guzzler, axe-wielder and beard-enthusiast Zakk Wylde returns to shred the O2 Academy with Black Label Society (16 Feb) and the cockroaches of arena-hair-rock, Europe (ABC, 17) continue to do the rounds – FYI they play The Final Countdown twice, if you had any second thoughts.

February also sees your gran’s favourite gore-monger Rob Zombie ditch the classic horror remakes to make a welcome return to Glasgow.

With a list of industrial thrash classics longer than the sum of ZZ Top’s beards, he’s sure to headbang the O2 Academy (20 Feb) into a coma alongside the ragga-metal stylings of Skindred.

If guitar music’s dead, this is one hell of a graveyard.[Ryan Drever]

February 2011

THE SKINNY 39

Tron Theatre 19 Jan

rrr Pairing Cameroonian sawa-blues with traditional Scottish folk, Celtic Connections again takes roots music and unearths its global interlinks. Muntu Valdo’s up first, using loop-pedals and a warm personality to fill an otherwise empty stage. On the opener, he

Trembling Bells Òran Mór 21 Jan

rrrr

Michael John McCarthy on accordion and a brass section borrowed from The Belle Hops, there are definite echoes of Fairport Convention, but other influences permeate from outside the folk sphere; fuzzy guitar solos and jams on keys suggest Stevie Nicks-era Fleetwood Mac have inspired more than just Blackwell’s dress sense. Towards the end, dance trio The Belles of London City jig through the crowd, decked out like Wicker Man candy canes, but such bells and whistles aren’t necessary: the Bells alone are more than sufficient. [Chris Buckle]

Òran Mór 19 Jan

rrr Even if you are only lucky enough to catch five minutes of Laki Mera’s set, it’s still plenty of time to know that you’re watching something wonderful. Taking the tried-and-tested trip-hop formula and wrapping it around folkish melodies and a drum machine that shakes the building to the foundations, it’s still Andrea Gobbi’s vocals that really make the band, channelling Julee Cruise by way of Liz Fraser.

Nashville, TN’s Mona are a lot less subtle but they sure know how to have a good time. Between slugs of Jack Daniels (what else?), guitarist/vocalist Nick Brown comes across as a 1950s incarnation of Walter Schreifels, and between him and his cohorts they kick up a mean storm of rock bravado and hardcore energy.

After all this, The Walkmen seem somewhat lacklustre in comparison. It’s not that they’re

photo: Charlotte Rodenstedt

wanting for quality material, given the overwhelmingly positive critical response to latest fulllength Lisbon and the admittedly charming bluegrass melodies of songs like Blue As Your Blood, nor is it a lack of stage presence, Hamilton Leithauser wielding the microphone with the conviction of an experienced crooner. It’s simply that after the sensuality of Laki Mera and the boundless energy of Mona, their set doesn’t offer quite the same gravitas.

Nonetheless, it’s the New York quintet that the crowd are here for, and they aren’t leaving disappointed. Rebounding between upbeat surf-infused rock and beardstroking indie experimentation, they provide an hour of tight and accomplished songs that keep the assembled bouncing and swaying in equal measure. Between Leithauser’s dynamic persona and Matt Berrick’s precise drumming, it’s a performance that will surely meet expectations but it’s an odd shame that the support acts managed to exceed them. [David Bowes] thewalkmenmusic.blogspot.com

www.myspace.com/tremblingbells

photo: Ingrid Mur

photo: alishia farnan

“We’re going to start with an a cappella number... so if everyone could...” As Trembling Bells’ Alex Nielson silently mouths “shut the fuck up” to the amusement of singer Lavinia Blackwell, any association between folk and feyness is put to bed for the night. The hubbub subsides once the duo start singing, attentions held even firmer once the full band join the set.

Flanked by Zoey Van Goey’s

www.alasdairroberts.com

The Walkmen

Sleigh Bells

Ani DiFranco O2 ABC 20 Jan

rrrrr Folk revivalist Jim Moray proves a wonderfully apt choice for kicking off this evening, his mostly traditional compositions tending towards the darker side of the classics, tales of infanticide and lost love offset by his dry and self-deprecating wit. Whilst his ability on guitar is not to be played down, it’s his aptitude for storytelling that makes him deserving of praise.

Ani DiFranco is a lot of things: prolific musician, activist, feminist icon and mother, but to call her all of these would still probably be an understatement of her contribution

to modern music. Twenty years – and as many albums – into her career, she still shows the same abundance of energy as a fresh-faced novice to the scene and, between the quality of the material tonight, her sharp wit and her sharper tongue, it is a pleasure to simply take in her presence.

She shows the same passion for change that Bob Dylan and Janis Joplin carried in their hearts and shares with them the ability to bring her message across in song, yet never at the expense of the music itself. Borrowing from the great traditions of American soul, folk and blues and delivering it with an abundance of honest rhetoric, she is the voice of America’s untapped potential. [David Bowes] www.righteousbabe.com/ani

40 THE SKINNY February 2011

Giant Sand ABC2 15 Jan

rrr For a band formed in 1985, Howe Gelb’s Giant Sand manage to sound fresher and more unique tonight than most of the acts who have come and gone like the seasons over the past few years.

A large fraction of their appeal lies in Gelb himself, possessing an oddly monotone voice that still manages to speak volumes and soothe like a campfire storyteller, whilst his guitar style is eclectically wonderful, occasionally blasting forth with unpredictable lines and taking wildly divergent paths from the remainder of the band only to return to equilibrium

without missing a beat.

The other part of their charm lies in the music itself, each song transporting the audience to a new mental vista; from smoky piano bars to honky-tonk hangouts, every so often taking on a faintly dreamlike ambience that would make them right at home in Twin Peaks. And yet, this is only Giant Sand at half power: when they really turn up the tempo, band and audience alike seem to transform with the sudden rush in volume, despite the venue’s sound system beginning to struggle at these points and becoming swamped with noise. Technical issues aside, it’s a captivating set by exceptional players. [David Bowes] www.howegelb.com

Stereo 22 Jan

rr As far as karaoke jams go, Sleigh Bells are up there with the greats tonight. On record these guys are teetering on brilliant, but a comprehensive backing track renders much of their ‘live’ performance redundant. With only a few lead guitar lines and Alexis’ vocals requiring attention, the duo throw themselves energetically around the stage, backed by a symphony of strobes.

K-X-P Captain’s Rest 24 Jan

rrrr Glasgow quintet Pyramidion’s brand of wailing psych-rock is a confusing proposition for a dreary Monday night in Glasgow. There are encouraging moments – reminiscent, by turns, of Sun City Girls’ overdriven cacophonies, and Om’s mystical stoner rock. Ultimately a slight lack of imagination, both in the songs’ structuring and sonic palette, makes it hard to swallow their wigged-out indulgence wholesale.

A Finnish techno/glam/krautrock trio, K-X-P would be pretty confusing in any context, but their sound does make a strange kind of sense tonight: irrepressibly rhythmic and dancefloordriven, but also scuzzy, dark and introspective. Their setup is

The sound is huge: bass heavy and conducive to a massive alternative pop party, glo-sticks and all. Yet it’s hard to shake the feeling that this is just a very hip, savvy reincarnation of Roxette, as one man with guitar and his charismatic female cohort psyche up an audience already 100% decided they will applaud absolutely everything that is thrown their way.

Nice work if you can get it. Sleigh Bells are a musically compelling proposition, but their lack of backing musicians, coupled with little more than a 45 minute set, makes the live experience a little underwhelming. [Chris Cusack]

a novel take on the power trio, with driving bass and drums underpinning the grooves, but guitar eschewed for electronics.

The latter is provided by Timo Kaukolampi, also on vocals, a man whose pop pedigree is indubitable: by day, he writes and produces for Annie. Channelled into the underworld of sleazy techno, that sensibility produces something closer to LCD Soundsystem, with songs that build irresistibly, without ever seeming to hit obvious crescendos. Highlight of the night is the closing Elephant Man, which sees Kaukolampi bellowing and pumping his fist, defying the evening’s inauspicious beginnings. Grim winter Mondays, K-X-P suggest, are precisely when you should be getting your hands in the air.

[Sam Wiseman] www.myspace.com/kxpofficial

photo: Chris Butler

Alasdair Roberts and Muntu Valdo

conjures a choir from a single larynx; later, an entire band is invoked from one guitar. Both tracks appear on album The One and the Many (“That’s what I’m using” he explains, indicating his crowded pedal board, “my sorcerers and me”), and his expressive vocals ensure that, though the storytelling is lost in translation, our attention is not. “Good encounters bring good stuff,” he smiles after a collaboration with headliner Roberts: a motto for the entire festival.

Alasdair Roberts begins his own set by inviting back his “fairly new friend”, Valdo’s harmonies lifting Babylon’s dark content. A rendition of the macabre Long Lankin ups the body count (infanticide followed by nurse-burning), its sinister lyrics reflected in the band’s woozy recital. Roberts plugs gaps given over to tuning with background notes to certain songs, but there’s less inspiration on display tonight than is found across his recordings. Seems Valdo has no manners – Roberts’ new friend just stole the show out from under him. [Chris Buckle]

OTHER LIVE REVIEWS

photo: james gray

photo: Euan Robertson

CELTIC CONNECTIONS highlights

RECORDS

THE DIRTY DOZEN

Giving the world's rock stars a month off to tend their flamboyant facial hair, CHRIS BUCKLE immerses himself in the seedy underworld of February's singles pile

A PRELIMINARY rummage through the coming month’s singles unearths The Megaphonic Thrift, whose Talks Like a Weed King (****) impresses by resembling Silversun Pickups given a shot of Sky Larkin’s vitality. Equally pleasing is the airy and irresistible Sensations in the Dark (****), which sees solo Gruff Rhys land closer than ever to the odd-pop benchmark set by Super Furry Animals. The b-side better encapsulates its creator’s broad and explorative palette by resembling a Geisha dance played through underwater telephones.

Rhys might have built a career from the peculiar-yetpopular, but David Lynch has come to define it. Factor in remixes and Good Day Today/I Know (****) is over an hour long, though for a man who’s birthed radiator ladies and disturbing micro-pensioners, a disregard for conventional duration is a minor eccentricity.

The director has prior form in the music world, but that doesn’t stop the assuredness of this new guise from astonishing.

Like Lynch, Villagers’ Conor O’Brien is a dab hand at strange and evocative imagery, and though Becoming a Jackal (***) is poetic and beautiful and so on, it’s also a re-release – an economy I’m going to hold against it whether it’s fair to or not.

Lykke Li’s own idiosyncrasies seemed to freeze her out of pop’s big leagues last time round, and though the Swede should theoretically find an indie chart full of Florencefanciers more receptive, I Follow Rivers (***) offsets the advantage by being rather drab.

Fenech-Soler are surely only a marketing push away from chart success of their own, with Demons (**) typical of their hook-filled dance-pop.

Calvin Harris has bought many a pair of daft glasses on the back of less, but bland catchiness shouldn’t be a raison d’être in itself. No, if you want innovation in your dance music, dubstep is officially this decade’s genre of choice. Magnetic Man are its de facto mainstream ambassadors, but when guest John Legend’s soulful vocals on Getting Nowhere (***) impress more than the production, something’s either amiss or being watered down.

L.I.F.E.G.O.E.S.O.N. (***) is O.K. – not high praise, but Noah and the Whale don’t lend themselves easily to grand declarations of love. Their comeback is a twee Walk on the Wild Side, and though it won’t reverse opinions, it should give the apathetic a nudge towards the thumbs-up camp.

Talking of grand declarations, the already-polarising Brother are up next. “It is what it is,” sings Lee Newell on debut Darling Buds of May (**), and it’s tempting to appropriate the sentiment and move on. But a shrug of “each to their own” won’t cut it in the presence of ‘the future of music’ – colours must be nailed to masts.

So here goes: this isn’t terrible, but only because illiciting displeasure is beyond its capabilities.

Almost as un-Googleable are CD/EX, which handily extrapolates to Chris Devotion and the Expectations. I Need Your Touch (***) pushes

EP REVIEWS

all the right buttons, their proficiency with dirty, old school riffage already catching the ear of Rocket From the Crypt’s John Reis, to whom they pay an obvious debt.

Exeter’s The Computers went one better and actually recorded Group Identity (***) in Reis’s Californian home, with a reverential recreation of Train in Vain on the b-side confirming their passion for punk kicks, but also verifying their lack of new ideas.

SINGLE OF THE MONTH Renaissance man Chilly Gonzales will spend 2011 hawking not just new album Ivory Tower but a movie of the same name. The lead track from both earns him single of the month: You Can Dance (****) might epitomise breezy cool to the point of pastiche, but it’s pulled back by effusive euphoria.

CHILLY GONZALES PLAYS 02 ABC2, GLASGOW ON 8 FEB DOWNLOAD HIS FREE MIXTAPE AT WWW. CHILLYGONZALES.COM/MIXTAPE

STANLEY ODD

TODDSKA

14 FEB, NUMBERS

21 FEB, CIRCULAR

31 JAN, GIRLS MUSIC

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ILL BLU

MELTDOWN

Ill Blu have come a long way since their take on Shystie’s Pull Up became a UK funky anthem back in 2009. The real talent however was to be found on their double A-side Dragon Pop/Bellion for the enigmatic Hyperdub.

Their next crusade the Meltdown EP will be dropping on Numbers this month, three tracks exploring a more melodic based grime soundscape, aiming to continue blurring the lines between the Detroit of yesterday and London of today. Overdose in particular is the big winner of this mixed encounter, with its bouncing sub lines and rolling percussion.

Closer, Chelt, opts for a more conventional approach, shaping the mood with greater emphasis on cascading synths and punchy drums. The plot thickens. [Lee Smart] WWW.MYSPACE.COM/ILLBLU

PURE ANTI-HERO MATERIAL EP

COWBOY/GAL FROM ENGLAND

The Odd Squad’s debut Oddio showed promise: Solareye’s direct, witty, well-constructed flows meshed well with the funk-jazz stylings of the band, and Veronica Electronica’s vocals added a welcome dash of soul.

Live, the band are Scotland’s answer to The Roots, as anyone who has seen them destroy King Tut’s, or causing moshpits at the T Break stage will tell you.

At times Oddio didn’t quite match that, but Pure Antihero Material ups the ante considerably. The Oddyssey is chopped and screwed electrofunk, Sonarcotics is a dubbed out epic, The Controller plays with crunchy 8-bit, while the savage, heartfelt Letter To A Critic describes the architecture of Scotland’s still nascent hip-hop scene. In a sane world, Stanley Odd would be way more popular than Snow Patrol. [Bram E Gieben]

The fourth release on Toddla T’s Girls Music imprint sees him teaming up with DJ Mag’s newly crowned Best of British winner for Best Producer, Roska. Straight in with the gun fingers on this double-header release, Cowboi and Gal From England both typify the scope and diversity of the UK bass music scene right now.

It’s reassuring to hear such innovative material still rise up from the underground, which still plays ball with the gritty roots of ragga hardcore in Toddla’s native Sheffield, and at the same time the vibrant, multicultural soul of Roska’s background.

As a breath of fresh air for 2011, this writer can see the fruits of this collaborative labour rolling along way into the summer. [Lee Smart]

PLAYING CAPTAIN’S REST, GLASGOW ON 16 FEB; SNAFU, ABERDEEN ON 17 FEB; HOOTENANNY’S INVERNESS ON 18 FEB; JAEGER ROOMS, STORNOWAY ON 19 FEB AND SNEAKY PETE’S, EDINBURGH ON 20 FEB

WWW.TODDLAT.COM

FEBRUARY 2011

THE SKINNY 41

ALBUM REVIEWS

RECORDS

ALBUM OF THE MONTH: MOGWAI

HARDCORE WILL NEVER DIE, BUT YOU WILL 14 FEB, ROCK ACTION/SUB POP

rrrrr It’s hard to believe five Hamiltonians could last in the premier league of anything for this long but, as Mogwai prepare to release their seventh studio album, they are showing no signs of slowing down. Their first release in conjunction with uber-savvy alternative prophets Sub Pop, Hardcore... is reminiscent of 2006 opus Mr Beast in its willingness to swing between significantly disparate styles.

This time, set against the familiar backdrop of accessible, melodic post-rock is an unusually strong Krautrock influence (see Mexican Grand Prix) not to mention numerous returning nods towards the gigantic metallic grind of some of the Rock Action catalogue, including Torche.

Though there are plenty spells of pure, bludgeoning guitar fury, never does this album make itself more heard than on the sublime Death Rays or Letters To The Metro, the latter of which could have easily sat comfortably amidst the absolute mastery of 1999’s Come On Die Young.

Most unexpected is the infectious and disarmingly straight-up George Square Thatcher Death Party which, were it not for the use of vocoder, might well be a very stoned Weezer cover. It’s another accomplished work of independently-minded art from one of modern Scotland’s most admirable exports. [Chris Cusack] PLAYING HMV PICTURE HOUSE, EDINBURGH ON 21 FEB WWW.MOGWAI.CO.UK

ZOEY VAN GOEY

PJ HARVEY

BEAR CLAW

14 FEB, CHEMIKAL UNDERGROUND

14 FEB, ISLAND

7 FEB, SICKROOM

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PROPELLER VERSUS WINGS

Expanded to a four-piece since debut The Cage Was Unlocked All Along, Zoey Van Goey’s launch Propeller Versus Wings with the atypically serious Mountain On Fire. It’s an unsettling opening; self-consciously ‘mature’ when Zoey Van Goey strengths have previously lain elsewhere. While not an entirely convincing facelift, other renovations are significantly more exciting. Robot Tyrannosaur is a noisy, punky bundle in the Bear Suit mould, undeniably twee, but unbelievably fun.

Other areas remain consistent: one of their best assets has always been the vocal contrast between Kim Moore (light, high, English) and Matt Brennan (smooth, deep, Canadian) – both pleasant individually, but bringing out the best in one other when combined (here, most splendidly, on The Cake and Eating It). In this way they echo early Camera Obscura and the sorely-missed Delgados, while also helping ZVG stamp their own name on Scottish indie-pop with equally persistent ink. [Chris Buckle] PLAYING CLASSIC GRAND, GLASGOW WITH HUMAN DON’T BE ANGRY (MALCOLM MIDDLETON) ON 5 FEB

EARTH

ANGELS OF DARKNESS, DEMONS OF LIGHT 1 7 FEB, SOUTHERN LORD

rrrr Whilst Earth’s latest may sound like no great departure for those casually familiar with their sound, particularly in the last five years, those who have paid closer attention will find a lot here to explore. The dense sound of The Bees Made Honey in the Lion’s Skull is now gone, as is most of that album’s roster, to be replaced with a more spacious sense of instrumentation, with cellist Lori Goldston (Nirvana), and bassist Karl Blau (K Records) adding their wealth of experience to the dynamic.

The new range of tones and healthy folk influence allow for a listening experience that is lighter and more uplifting than has been heard from Earth in their career. There is nothing to put off existing fans, with the lengthy desert aura of the songs remaining. Dylan Carlson’s distinctively metallic guitar tone is stronger than ever, but there’s also an immediacy at play that should captivate anyone looking for an entry point to his dark Americana. [David Bowes] PLAYING STEREO, GLASGOW ON 5 APR

LET ENGLAND SHAKE

REFUSE THIS GIFT

2007’s White Chalk saw PJ Harvey reimagining the Dorset of her childhood against a backdrop of stark, spectral folk. That foundation remains on Let England Shake, but it has been gently overlaid with richer arrangements. Similarly, the former album’s lyrical themes are expanded upon: the songs here explore the wider landscape of English history, and the ever-present shadow of war that hangs above it.

All and Everyone describes the corpses of horsemen littering a battlefield, over which “death was in the staring sun,” while single The Words That Maketh Murder laments the futility of trying to “take my problems to the United Nations” in its haunting refrain.

This strident lyrical content, peppered with violent imagery, requires a deft musical touch to prevent the songs descending into melodrama. Accordingly, the instrumentation floats in the background, rather than forcefully emphasising Harvey’s narrative. It’s this will towards subtlety and imagination which ensures that Let England Shake lives up to its lofty conceptual ambitions. [Sam Wiseman]

Two bass guitars, one drum kit and an abundance of bloody good ideas: that about sums up the ingredients behind this Steve Albini-recorded Chicago trio. Gritty, rumbling, frequently-shifting songs that invite numerous obscure comparisons, including the minimalist gnashing of our own Bronto Skylift, as well as an endearing sense of undulating timing and melody similar to criminally-overlooked French alt-rock geniuses We Insist!

The songs are intelligently arranged and never outstay their welcome just as Refuse This Gift is collectively brief enough to encourage immediate repeated plays. In a career not short on misses, Albini scores a direct hit with his production here, keeping the two bass guitars fat but distinct and allowing the drums just enough space to draw the listener in without drowning in Electrical Audio’s notoriously idiosyncratic reverb. With this representing only their third album, Bear Claw sound like a band on the brink of cult status. [Austin Tasseltine]

WWW.PJHARVEY.NET

WWW.BEARCLAWROCK.COM

CONQUERING ANIMAL SOUND

GRUFF RHYS

7 FEB, GIZEH

14 FEB, TURNSTILE

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KAMMERSPEIL

HOTEL SHAMPOO

The sight of woodland shards in the artwork, and the sound of Maschine trickling into life via stuttering bells, syncopated handclaps and double-tracked vocals, intimate a solid metaphor for Conquering Animal Sounds’ aesthetic: the organic and the electronic coexisting beautifully. Various comparisons flicker into earshot: Anneke Kampman’s vocals are Björk-like on some tracks, reminiscent of Sally Shapiro on others; the gentle instrumentation has close affinities with Iceland’s Múm or Sweden’s The Deer Tracks throughout; while a domestic thread is traceable from Wild Things’ mechanical wash to Mogwai’s Rock Action. But following such threads never threatens to unravel Kammerspiel’s gracefully busy tapestry of scuffling electronic loops and toy-box tics. It’s difficult to believe this is their first full-length release; all parts interlock with crystalline clarity, the complexity of the whole is secreted beneath precisely-placed layers of sound. For some, this is confirmation of the significant promise demonstrated live; for others, it will be a remarkable unveiling. [Chris Buckle]

A career of over fifteen years recording music has provided irrefutable evidence of one thing – Gruff Rhys knows his way around a tune, and Hotel Shampoo serves as continuing affirmation of that fact. The melodies, harmonies, and pithy lyrics which are Rhys’s impressive signature once again appear in playful abundance with upbeat highlights being the Gainsbourg-esque Shark Ridden Waters, and the mariachi fanfare of Sensations in the Dark.

Elsewhere, the mood is generally more sombre, particularly on circumspect ballads Vitamin K and Take a Sentence proving that even in poignancy, Rhys always sees the funny side. But, such is the general feeling of instant familiarity; it can feel at times like a pastiche of his SFA back catalogue presented in the comparatively restrained style of his solo records to date. Of course, this still makes it a joy, just a somewhat contained one in the context of his broad catalogue. [Wilbur Kane]

PLAYING THE DOGHOUSE, DUNDEE ON 9 FEB; SNAFU, ABERDEEN ON 10 FEB; SNEAKY PETE’S, EDINBURGH ON 11 FEB AND CAPTAIN’S REST, GLASGOW ON 12 FEB

WWW.GRUFFRHYS.COM

PLAYING ÒRAN MÓR, GLASGOW ON 15 FEB

TAKUMI UESAKA/PETER BRODERICK

THE CAVE SINGERS

THE TENEBROUS LIAR

21 FEB, JAGJAGUWAR

31 JAN, TVT

14 FEB, COTE LABO

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GLIMMER

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NO WITCH

RUN RUN RUN

With Glimmer, the aim was simple: make music for a quiet midnight, but even with the same goal in mind, Takumi Uesaka and Peter Broderick’s contributions to this release could not be more different.

Uesaka’s guitar is used to create delicately lilting melodies, broken chords that expand and contract with the scope of a full orchestra.

Despite midnight being a time of darkness, his songs are filled with hope and a simple desire for a better day to follow.

Meanwhile, Broderick’s four piano-centric songs, whilst not lacking the power of Uesaka’s music, instead utilise considerably more dramatic impact to form a more solemn take on the twilight hours, opting to focus on the surrounding darkness than the coming light. Together, these two distinct individuals have created what is not only a balanced work but also one of undeniable beauty. [David Bowes]

‘Authenticity’ is fetishised in folk and rock alike.

It’s a vague, unempirical concept, the application of which relies upon a paraphrasing of Potter Stewart’s assessment of pornography: “I know it when I see it”. It can’t be measured, but those suitably steeped in a scene’s canon recognise it at once. The Cave Singers’ avowedly traditionalist debut passed the sight-test, but follow-up Welcome Joy faltered by introducing less convincing rock numbers.

Third album No Witch finds them move closer to the resolutely retro likes of The Dead Weather and further from the folk icons referenced at their outset. They mimic multiple Mojo cover-stars – Led Zep-esque blues drives Black Leaf, while Outer Realms echoes Summer of Love psychedelia – but no guise feels natural, save quieter moments like Distant Sures. They’re stretching their sound, but in the process they’ve diluted their identity, and it’s difficult to get excited by the residue. [Chris Buckle]

Anyone who remembers with faint disappointment when the White Stripes and their ilk were the ‘saviours of rock and roll’ would do well to have a listen to The Tenebrous Liar, unholy spawn of noted music photographer Steve Gullick, because this has all the sordid appeal that rock music should have.

Take The Sickness for example, muted guitars and steady snare transformed with the crash of a cymbal into a wave of distortion and noise, all overlaid with Gullick’s sensuously slurred vocals.

This is an album that is as at home on the shelf next to Johnny Cash as to The Stooges and it seems to be driving headfirst into the black heart of America, a goal that is matched by its stark artwork. Whilst it is true that this kind of grimy rock has been done to death in the past, it’s rare that it’s done with this much menace. [David Bowes]

WWW.COTELABO.COM

WWW.MYSPACE.COM/THECAVESINGERS

WWW.TENEBROUSLIAR.COM

42 THE SKINNY FEBRUARY 2011

THE BELLRAYS

THE LUYAS

LA SERA

28 FEB, FARGO

21 FEB, DEAD OCEANS

14 FEB, HARDLY ART

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BLACK LIGHTNING

TOO BEAUTIFUL TO WORK

LA SERA

If doubters can get past the fact that The Bellrays are clearly not high-concept, it would be nice to think they could appreciate the sheer eagerness to rock exhibited by these Californians. Lisa Kekaula’s voice is, at times, pretty astonishing and easily the match of any contemporary male rock singer. As soulful as they are gritty, her gruff tones benefit both the fast and slow songs equally yet it is on the more racy numbers where the band really comes into its own.

Indeed the eponymous opening track is about as succinct, catchy and adrenalised as a modern rock and roll band could really hope for. Whilst that introduction does set the bar deceptively high, Black Lightning doesn’t slump away by any standards. Power Stone is a pleasantly corny orgy of hooky backing vocals and adorably gormless 80s naivety, while Sun Comes Down is a textbook slice of soulful MOR pop. [Chris Cusack]

Too Beautiful to Work’s dizzying title track sets out an impressive stall. “No one could follow” incants Jessie Stein over repetitive organ riffs. “She looked back to see there’s no one, nobody, not much to speak of”, lyrics that could be interpreted as a statement of confidence in her band’s musical trail-blazing. The Montreal quartet make unusual music with unusual instruments (as well as vocals, Stein handles zither duties), which in those quarters is fast becoming the status quo.

As the effervescent opener segues into the moody, trembling Worth Mentioning, they affirm their range: assisted by local heroes Owen Pallett and Arcade Fire violinist Sarah Neufield, album highlights include Canary’s chilly and sparse balladry, the murky mechanics of Spherical Mattress’s reverb swamp, and the wonky dramatics of Gold Canada.

Their hometown’s cultural capital has been high for some time; the Luyas gift the city one more thing to shout about. [Chris Buckle]

Some bands instigate scenes by inspiring others to emulate them; others simply go forth and multiply. The Vivian Girls seem to be inadvertently following the second route: Ali Koehler left to backup Best Coast; Frankie Rose assembled her Outs via a stint in the Dum Dum Girls; Cassie’s raising The Babies; while Katy Goodman (aka Kickball Katy) emerged last year under the guise of All Saints Day. Now Katy launches side-project number two, and if the bands just namechecked float your boat, La Sera should provide further buoyancy.

This self-titled offering ticks off all the expected adjectives: dreamy, wistful and, er, Philspectory, but casual fans of the style may struggle to find grip-holds with which to anchor this debut’s pretty sounds. It might lack the playful personality that helped crown Bethany Cosentino last year’s ‘Queen of This Sort of Thing’, but deserves comparable adulation thanks to two-minute marvels like single Never Come Around. [Chris Buckle]

WWW.THEBELLRAYS.COM

WWW.MYSPACE.COM/THELUYAS

WWW.MYSPACE.COM/IAMKATYGOODMAN

RINGO DEATHSTARR

GAY FOR JOHNNY DEPP WHAT DOESN’T KILL YOU, EVENTUALLY KILLS YOU

COLOUR TRIP 14 FEB, CLUB AC30

14 FEB, SHINEBOX

rrrr Texas based Ringo Deathstarr are the latest band of pilgrims to fixate their sound on the My Bloody Valentine sonic template, so it is with some trepidation that Colour Trip is approached. As a lover of good old-fashioned song-craft, these things are far too often left wanting for production value over homage doting – could The Pains of Being Pure Mediocre please stand up? Thankfully Ringo Deathstarr have abolished such reservations in style, scattering pop hooks and inventive melodies amongst their towering Mary Chain-esque wall-of-noise.

Do It Every Time is punch-the-air fantastic with vocalist Elliott Frazier bringing to mind the drawl of Courtney Taylor-Taylor in his heyday, but The Dandy Warhols haven’t sounded this exciting in a long, long time.

The band comes into its own on the sweet pop of So High and terrific dreamy closer, Other Things, making excellent use of female bassist Alex Gehring’s gorgeous voice, layering harmonies and swapping lead with Frazier’s croon to great effect. Dare say, believe the hype. [Alan Souter]

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BEANS

END IT ALL 14 FEB, ANTICON

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PLAYING STEREO, GLASGOW ON 12 FEB

It’s fitting that the songs on What Doesn’t Kill You, Eventually Kills You are imbued with the same sense of deadpan nihilism that the album’s title might suggest. Shorn of any fat, at under 22 minutes this record (only the band’s second cohesive, full-length effort) drips with the kind of venom that The Locust have built a career on. The bass-led Suckcess is an especially volatile head-turner, reminiscent of the group’s authentic hardcore roots.

Though GFJD regularly have the dubious tag “spazz-core” levelled at them, it’s worth pointing out that, amidst the frenzy, they adhere much more closely to a traditional hardcore blueprint than the likes of their aforementioned contemporaries. She Has The Hottest Limp also manages to combine some sensational riffing with a couple of paint-peeling wails that would make Axl Rose blush. All said, this is the succinct, beautiful, bloody, punch to the face that many frustrated circle-pit regulars have been waiting for since Converge’s last outing. [Austin Tasseltine]

Anti-Pop Consortium’s Beans, now happily ensconced on the Anticon roster, bring us his fifth album proper. A departure from the largely self-produced Thorns and Shock City Maverick, the album features collaborations with a raft of different producers; but rather than ending up with an experimental hodge-podge of styles, End It All is a focused, streamlined hip-hop album. Tracks like the DJ Nobody-produced Deathsweater, with its falsetto chorus and loping funk beat, wouldn’t sound out of place as a vehicle for Jay-Z, but Beans owns the track without compromising his cut-up vocal technique. Electric Bitch, produced

by Interpol’s Sam Fogarino, features an animated Beans over a shoegazeflavoured beat. The Tobacco-produced Glass Coffins toys with 8-bit guitar riffs, while the stomping Mellow You Out, featuring TV On The Radio’s Tunde Adebimpe, successfully fuses Beans’ compact flows with menacing blues-funk. Collaborations with Four Tet, members of Tortoise and Flying Lotus are equally successful. Crucially, at 33 minutes, and most tracks under four, End It All never outstays its welcome. [Bram E. Gieben]

WWW.RINGODEATHSTARR.COM

PLAYING SNEAKY PETE’S, EDINBURGH ON 21 FEB

WWW.ADOREDANDEXPLOITED.COM

...AND YOU WILL KNOW US BY THE TRAIL OF DEAD

THE TWILIGHT SINGERS

THE STREETS

14 FEB, SUB POP

7 FEB, 679/ATLANTIC

7 FEB, RICHTER SCALE / SUPERBALL RECORDINGS

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TAO OF THE DEAD

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COMPUTERS AND BLUES

It’s to their credit that, some seventeen years into their career, Trail of Dead still court the image of a relatively cutting-edge act. These days the production on their albums is half a world away from their earliest output, understandably so given the band’s brush with mainstream success around the turn of the century.

That same bluster and love of the grandiose is still very much present, but the greater clarity afforded by their latter output albums has steadily eased them away from past overt Sonic Youth similarities. Tao of the Dead is a perfect example of this. The songs are as intermittently bellicose and jubilant as anything on 2002’s Source Tags & Codes. Admittedly, the band might find that the lack of their early aural grittiness leaves a certain portion of their original fan-base a little cold but, for the more accepting of inevitable progression, this is a typically buoyant, explosive, rather excellent album. [Chris Cusack]

Remaining true to The Twilight Singers’ founding ethos, Greg Dulli once again assembles a notable cast for the longawaited return of his New Orleans troupe. Dynamite Steps comes peppered with the distinct skill of raconteur Joseph Arthur, fellow Gutter Twin Mark Lanegan, modern folk icon Ani DiFranco, prolific go-to rock violinist Petra Haden, and (somewhat surprisingly) The Verve’s Nick McCabe – but it’s the cinematic vision of our ‘director’ that defines this characteristically dark and confessional offering.

Kicking off with the dramatic slow-burn of Last Night in Town, Dynamite Steps sets an exceptional bar – matched by the understated menace of Be Invited, the broken and bruised balladry of She Was Stolen, the open road anthemia of The Beginning Of The End, Waves’ startling recollection of the Afghan Whigs’ halcyon days, and the redemptive glory of its Black Love-besting title-track. Another decadent and varied round of sleazerock theatrics from the saviour of misbehaviour. [Paul Neeson]

The Streets’ Mike Skinner has been on a downer ever since releasing Original Pirate Material in 2002, but then no-one seemed bothered. His melancholic parables of estate life were coloured by gratuitous drink and chemical binges, which made his cautionary urban tales – picking fights with the telly repairman, 5AM break-ups, and perpetual spliff-rolling – oddly romantic, and perversely entertaining to hear.

While some of that emotional resonance is lacking on the radio-friendly numbers on Computers and Blues, this is a stronger release than one might imagine nearly a decade on from that debut. Skinner’s innate knack for crafting delectable pop tunes remains undiminished – we could pick at least five potentially charting singles here – while his street patois and strength of observation are sharp as ever. Whether tackling weed-induced agoraphobia on Outside Inside, or the perils of Facebook relationships on OMG, Skinner’s self-appointed role as working-class bard remains valid, making Computers and Blues as dignified a “last album” as could be. [Martin Skivington]

PLAYING THE GARAGE, GLASGOW WITH RIVAL SCHOOLS ON 17 APR

PLAYING THE ARCHES, GLASGOW ON 19 MAR

PLAYING HMV PICTURE HOUSE, EDINBURGH ON 18 FEB AND O2 ABC, GLASGOW ON 19 FEB

JAMES BLAKE JAMES BLAKE 7 FEB, ATLAS / A&M

rrrrr Having wowed audiences last year with a trio of acclaimed EPs, here Londoner James Blake expands his imaginative soul hybrid over eleven full tracks, and launches himself to the fore of current developments in electronic music in the process. The album opens with Unluck – a dark procession of winding synthesiser motifs, off-kilter percussive clicks, and Blake’s broody, effects-manipulated voice – which immediately recalls the stretched and skewed soundscapes of Burial’s 2007 dubstep opus Untrue.

On I Never Learned To Share, he meditates painstakingly on a single vocal mantra, before the tune crescendos in a speaker-rattling climax of synthesisers and clattering drums. Elsewhere, I Mind and To Care (Like You) add new timbres to the dubstep canon, while Measurement and Lindesfarne I and II show Blake’s penchant for combining unnerving, minimal compositions with thick, gospel-styled vocals. Sublimely atmospheric and accomplished, this runner-up in the BBC’s Sound of 2011 poll might yet prove to be the winner. [Martin Skivington]

TOP FIVE ALBUMS 1 2 3 4 5

MOGWAI

HARDCORE WILL NEVER DIE, BUT YOU WILL

JAMES BLAKE

JAMES BLAKE

CONQUERING ANIMAL SOUND

KAMMERSPIEL

EARTH

ANGELS OF DARKNESS, DEMONS OF LIGHT 1

ZOEY VAN GOEY

PROPELLER VERSUS WINGS

RELIGIOUS TO DAMN GLASS PRAYER 7 FEB, M’LADY

rrr That Zohra Atash, vocalist and the brains to Religious to Damn’s spiritualistic brawn, once spent time filling in for Jarboe will come as no surprise to anyone upon hearing her gently pained utterings for the first time. The similarities are uncanny, most notably in her shifting twixt world-weary sighs and coquettish naiveté, but also in her peculiarly specific tastes in tone and timing.

Musically, the only connection that may be made is in their similar leanings towards unpredictability, Religious to Damn taking a psychedelic scenic route through gypsy and folk rock, Americana and baroque pop, with melodies that are frequently addictive in their sobriety. Despite the music’s meandering and expansive nature, Atash’s vocals bring the album down to terra firma, making it a thoroughly inviting journey through the aether that is a pleasure to traverse. [David Bowes] WWW.RELIGIOUSTODAMN.COM

FEBRUARY 2011

THE SKINNY 43

MUSIC

ITCHY FEET The first of two bands from Winning Sperm Party's roster this month, GUMMY STUMPS are as challenging an act as one could hope to hear from a city renowned for its hard-working musical underground. Vocalist COLIN STEWART explains why they can’t sit still INTERVIEW: RYAN DREVER PHOTOGRAPHY: CRIMSON GLOW

IN AN age where we’re constantly told that the good ideas are already taken, out pops a band with a moniker that’s not only fun to say but also conjures up the kind of brutal, blackly humorous imagery that’s buried in the dark recesses of your mind. All of that, before you’ve even heard a note; which brings us to the next great point about Glasgow trio, Gummy Stumps.

Linking together brazen, spoken-word vocals – led by vocalist Colin Stewart’s Beefheartian howl – with clattering percussion and a three string guitar that revels as much in fuzz as it does melody, Gummy Stumps create a collective sound that manages to circumnavigate musical conventionality. As you might imagine, it’s not always an easy listen, but therein lies the beauty of their fervent bursts of entrancing noise.

“All subject matter is considered; all the emotions, everyday observations in everyday life and commentaries on the absurdities,” explains Stumps’ vocalist Colin Stewart. “They can vary from straight narrative spoken-word to more verse/ chorus song-orientated lyrics, or using the vocals as an extra instrument. Both sets of lyrics to a piece are usually interpretations of each other, interchangeable, and can come across like two different songs at times with Rob [Churm, vocals/ guitar]’s counterpoint attack creating a third dimension or different meaning.”

Stewart and Churm, along with drummer Rob Alexander, have all previously (and currently) been linked to numerous bands around the local area – from the equally awesomely-titled Bubblewrap Holocaust to Park Attack, Plaaydoh and Eternal Fags – with close links to French label Textile Records as well as Glasgow arts collective/label, Winning Sperm Party. Formed as part of a one-off show for Textile, the band have spent their few years together touring sporadically throughout the UK and Europe, committing some of their fevered gems to tape along the way.

YOUR NEW SEWING CAFE IS HERE! 3 Osborne Street Merchant City G1 5RB

Workshops on Now! ashley@makeitglasgow.co.uk

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44 THE SKINNY FEBRUARY 2011

Last year saw the release of the band’s Barking Doggerel EP, aided by the capable hands of Teenage Fanclub front-man and all-around good guy Norman Blake. “Norman, as a favour to his missus, recorded four tracks that made up the single released in conjunction with Rob C’s exhibition at GOMA,” says Stewart. “He came down to our studio with his own mobile recording gear – a collection of Heath Robinson type homemade contraptions with wires trailing – set up, and got the job done in no time with very little fuss and not too many takes. The pleasure was all ours, a proper gent.”

Always working on new ways to freak out themselves as well as their following, Gummy Stumps are already in the process of ensuring this year is suitably productive, with upcoming releases in the works including a split vinyl LP with fellow Glasgow miscreants Vom, due later in the year on Winning Sperm Party. “We’ll concentrate on getting those out then move on to some of the newer things we’ve been sketching out and hopefully gig them before too long,” says Stewart. “We like to move on.”

DOWNLOAD CRY PARROT COMPILATION 3 VIA WWW.WINNINGSPERMPARTY.COM FOR FREE TO HEAR GUMMY STUMPS WWW.MYSPACE.COM/THEGUMMYSTUMPS

MUSIC

Beefheart and a lot of krautrock.” Go figure.

Since knocking out their debut at Green Door studios in Glasgow last year (“we were able just to go in and jam out the tracks live… we didn’t spend a lot of time mixing”) the band have been busying themselves on the live circuit, playing Winning Sperm Party’s Christmas bash and recently taking in a jaunt to Murcia, Spain, to play for the Suena Imposible collective. On top of that, they’ve contributed various tracks to compilations by local gig promoters Cry Parrot and equally excellent Glasgow label Electropapknit.

What next for the ebullient three-piece? Well, album number two is in the pipeline and will be recorded “really soon,” while lately the band has broken things down to their core elements and are working as a duo. They remain a self-sustained outfit, practising the ‘do it yourself’ mantra, rather than hanging around waiting for someone else to put in the work. But they’re no insular loners, either.

As they have it: “We’re quite happy doing our own recordings and putting on gigs. It’s often nice to work with like-minded others too.”

It seems that there’s no heady master plan, but wherever Eternal Fags go from here you can guarantee they’ll be leaving a trail of busted musical equipment and ringing ears in their wake. As Lester Freamon would put it, "that’s just how they do."

DOWNLOAD ETERNAL FAGS’ DEBUT ALBUM FOR FREE VIA WWW.WINNINGSPERMPARTY.COM WWW.ETERNALFAGS.COM

A world of music in the hills!

26th-29th MAY 2011 Horace Andy and Dub Asante * DJ Yoda * DJ Food

films worth talking about

Salsa Celtica * Adrian Edmondson and the Bad Shepherds The Demon Barber Roadshow * Russkaja * Lau * Aberfeldy

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

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

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

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

Mim Suleiman * Gol * The Horndog Brass Band Bajaly Suso * Mungo’s Hi Fi Sound System * Walter Strauss and more...

hem? If so we’ll take the lithe and ty of Isabella Rosellini, couple it with istrionics of Elton John, and marry uture-race breeding of the Olsens and s-a-sacrificial-cow ambition of James , this sexual, ambitious future-race “wrapped in plastic, à la Joan Rivers.” sounds elaborate and messy, it fits tities; if their answers sound articulate reflects their crafty, cultured smarts. nds are too readily vilified for not nailund,” they argue. “It seems to us that tte can produce the most interesting ults.” Their particular palette reaps our-way musical input that doesn’t aturally in the same direction. be fair to say that we began this at o the approach has been to try and

the crow’s nest, is all guitar-cradling wearing, while Sam will go down ghing to the last at his cockpit of ctively explain Glasgow (via Fife) chael plays at drums and dressing ngine room, and Pablo stands at indy rhetoric and last night’s om for a celebrity endorsement on hat ‘Got Milk’ campaign has done y sales over the years – want to he-Drink lovers as spokespersons for

Plus workshops, dance tent, crafts, kids area, real ales, stalls, sessions, healing area, open mic, cabaret, camping, cinema, silent disco

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

Future Trad Collective feat. Michael McGoldrick Found * Hidden Orchestra * Niteworks * Bombskare

More info and tickets: www.knockengorroch.org.uk 01644 460 662 FEBRUARY 2011

THE SKINNY 45

HOME OF THE EDINBURGH INTERNATIONAL FILM FESTIVAL

A festival in SW Scotland:

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

www.theelectriccircus.biz www.theelectriccircus.biz

ckle .ryanmcgoverne.co.uk

PHOTO: AIMEE MCNALLY

INTERVIEW: MARTIN SKIVINGTON

GLASGOW IS a noisy place. We’re not talking the lascivious, wall-filtered sounds coming from your neighbour’s flat at ungodly hours, or the racket of a repair guy hammering on something random at eight in the morning, although those still count. This is about the musical noise rising up through the pavement, such as that proffered by local punk trio Eternal Fags – surely the city’s loudest export since lager-swilling padres in football shirts first fled to the Mediterranean in droves for their annual holidays.

Elusive and nameless, Eternal Fags rose from the ashes of two of the city’s revered garage rock outfits, Plaaydoh and Dirty Summer, who had both released music on local DIY label Winning Sperm Party. It wasn’t long after forming that the ‘Fags followed in their footsteps, releasing a self-titled mini-album of brutal and nervy punk rock which showed parallels with the discordant beauty at the heart of the city’s contemporary scene, going on to garner well-deserved acclaim last year. As the band quips: “We pretty much just did it ourselves and Winning Sperm Party took the credit for it.”

Like an amalgam of the more subversive branches of heavy music heard over the past few decades, Eternal Fags serve up a volatile cocktail of overdriven guitar, primal beat-keeping, and the deranged, wordless yowling that the band passes for vocals. All of which is bolstered by a solid backbone of infectious punk hooks. What drove them to produce such a feisty wall of noise? “When we were making the songs on that album we were primarily listening to Fun House, Sabbath, Captain

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

Ear buds at the ready, ETERNAL FAGS are about to tear your quiet space apart

t Milk?

MUSIC

FAG BREAK

CLUBS

PREVIEWS Mixed Bizness and GSA present MJ Cole Glasgow School of Art 18 Feb

Mixed Bizness have pulled off a coup with another booking of UK Garage legend MJ Cole. Born Matt Coleman, he has been active on the underground dance scene since 1997. With almost 15 years under his belt and huge success with his label Prolific, he has become one of the most influential UK house/garage artists in the UK. Coleman’s past is rooted in music, attending the Royal College of Music where he learnt to play the oboe and piano. His tastes quickly drew him to the underground dance scene where he started to work with computers and turntables, never looking back.

Having remixed the likes of Shy Fx, Mad Decent, Primary 1, Drop The Lime and worked alongside the prolific grime artist Wiley on his latest tune From The Drop it is evident that Cole is a phenomenal producer.

For those unfamiliar with him, I recommend you check out his Riddim Ep that epitomises the 2step UK house sound he has developed. MJ Cole will be joined by Hint of Thru Thoughts and Benny Boom of Solid Steel.

Be sure to attend what will no doubt be a fantastic journey through UK Bass music. [Jodie Barnaby]

Fuse presents Congorock The Lane 4 Feb

Two years is a long time for any promoter to keep a spot at one venue, and to celebrate their departure from The Lane, Edinburgh party starters Fuse will be bringing Congorock to the decks for their last instalment in the former Berlin nightclub.

Already Congorock has a Swedish House Mafia remix under his belt and having supported the likes of Benny Benassi, Steve Angello and Crookers, 2011 looks to be a busy year for the Fool’s Gold producer. Having also remixed the likes of Rex the Dog and collaborating with The Bloody Beetroots as well as making his own creations, Congorock is fast becoming a must-see name in the scene.

With a name that suggests a combination of tribal influences and a rock’n’roll attitude, Congorock seems like the perfect choice to join the long roster of DJs that have graced the Fuse decks at Berlin, names that include Kissy Sellout, The Filthy Dukes and Zombie Nation. The event on 4 Feb will be across three rooms for the evening with support provided by many friends and local talent in what promises to be an exceptional closing party to mark two years well spent at their home in the capital. [Kat Young]

18 Feb. 11pm - 3am. £3/5

4 Feb at The Lane, Edinburgh, 10pm-3am adv tickets £7 from Tickets Scotland, Ripping, Ticketweb and Skiddle

Musika 4th Birthday with John Digweed

Headlock ft. Sir David “Ram Jam” Rodigan & Toddla T

The Liquid Room 12 Feb

The Caves 9 Feb

They say a leopard never changes its spots. This is certainly the case with regards to Edinburgh club night Musika, which will be celebrating its fourth birthday this month with John Digweed. Born out of the ashes of popular noughties progressive house night Progression, Musika has become known for its eclectic booking policy, hosting artists from Luciano to James Zabiela to Joris Voorn to Booka Shade. Sometimes, the promoters just can’t help booking a name who seems more suited to days gone by. Luckily for Musika, Digweed has moved on from prog house himself and these days plays more in a tech-house vein which should suit the birthday celebrations.

An industry heavyweight, Digweed has given himself longevity past the sound that made him famous by incorporating current music and genres into his famously cohesive DJ sets. Completing the lineup is Maetrik, who will be showcasing his new Maceo Plex alter-ego, departing from his signature futuristic techno in favour of the dark house sound that he has been releasing on label of the moment, Crosstown Rebels. Support is provided by residents Derek Martin and James McKenzie. [Kat Young]

West London based label Headlock will be hosting their first party of 2011 with a rather huge line-up featuring legendary British selector David “Ram Jam” Rodigan and Toddla T. Any true connoisseur of reggae music will no doubt be familiar with esteemed broadcaster Rodigan and his huge role in exposing the Jamaican music scene in the UK. A true musical fanatic, it can be assured that his track selection will be second to none.

His recent FABRICLIVE mix was hands down my favourite of the series, featuring an eclectic mix of early roots and dub, modern dancehall and dubstep. Sheffield’s Toddla T is a man who needs little introduction; his album Skanky Skanky gained him much deserved attention, blending elements of hip-hop, electro, garage, dancehall and house in his lovable tongue in cheek style. His lively and charismatic personality is truly reflected in his DJ sets, so expect a fun-filled evening of good vibes and warm sub bass. Support comes in the form of Colebs (Heard It Through The Bassline) and Cadenza (Headlock) who will be providing the early music with a back-to-back set. [Luke Dubuis]

12 February, 9pm-3am, adv tickets £15

9 Feb, 11pm-3am, £8 advance/£10 OTD

Slabs of the Tabernacle 031: Lone (Live)

No Sleep presents Ramadanman

La Cheetah 5 Feb

La Cheetah 26 Feb

Slabs of the Tabernacle at La Cheetah in Glasgow is looking to bring in some huge talent this year.

The first-Saturday-of-the-month dance night is hosting Nottingham-born producer extraordinaire Lone on 5 Feb for the first time. Born Matt Cutler, Lone is a self-described ‘bedroom producer’ who has made a fairly huge impact on the underground house scene with his futurist jackin' sound.

Lone released his first album Lemurian, strongly influenced by hip-hop and early 90s hardcore, back in 2008 on Dealmaker records. He now co-operates his own record label Magic Wire Recordings, on which he released his monster club hit Pineapple Crush – a track that undoubtedly established him as one to watch. His sound is a fascinating mixture of old and new that never fails to be appealing.

His latest album Emerald Fantasy Tracks shows Lone to have found a sound he can really call his own, effortlessly mixing elements of Chicago and NYC into his futuristic sound. He has a real knack for creating some of the most interesting synthetic textures that can sound retro yet futuristic at the same time. Lone will be joined

by SOTT alum Brian d’Souza and Andrew Ingram. You know it’s going to be busy. [Jodie Barnaby]

No sleep promises to be exactly that this month as DJ duo Adam Watt and Why Eleven welcome Hessle Audio heavyweight Ramadanman down to La Cheetah. With high profile releases on Soul Jazz, Apple Pips and Aus, David Kennedy has continued to explore the spacious landscape between techno and dubstep with his own inimitable minimal flair since his first 12” Good Feelin/The Woon dropped many moons ago back in 2007. Since hitting us hard with those bass heavy vocal led beasts Ramadanman has gone on to collaborate with Appleblim, form the hugely influential Hessle label alongside Ben UFO and Pangaea and release a power of quaking productions, culminating in a more experimental self titled EP released early last year.

Given the expansive nature of the music, Kennedy’s tunes are sure to have reached you at some point having been played out by a host of varied crate diggers and selectors including Ricardo Villalobos, Kode9 and Francois K. A master of understatement but still capable of making your knees careen to the point of inoperability, Ramadanman is a must. Support comes from Darren Quail (a superior local delicacy), and Edinburgh-based next big thing Jacksonville. [Calum Sutherland]

11pm - 3am.£8 before midnight, £10 after

26 Feb, 11-3am, £10

46 THE SKINNY February 2011

Pure Sorcery Words: Cal Sweeney

The music industry seems to spend the first couple of months of the year crystal-ball gazing, looking beyond the grey mornings and trying to find the artists destined for success and capable of providing a musical shot in the arm. Even if you find the annually published hype lists predictable, there’s masses of online interest as blogs compete for credibility and aim to discover the year’s breakthrough talents long before you ever knew they existed.

Credit has to go to Death Disco in February for attempting to untangle the PR lines as they present some genuinely talented and supported new artists.

On the surface, this month’s headline artist, The Magician, is the perfect example of a fresh-onthe-scene, hotly-tipped act. He ticks all the boxes: an online mixtape series with a cultish following, collaboration with established, major name producers and excellent remixes creating a clamour for the release of his debut solo material. However, that’s all a bit of an illusion. The Magician’s not quite as fresh faced and wet behind the ears as it might seem.

Stephen Fasano’s latest project may only be months old, but he knows this type of hype well from his time in cosmic disco heavyweights Aeroplane. His long partnership with Vito ended in the summer of 2010, just prior to the release of the pairing’s debut album and after becoming established as one of the most in-demand remix and DJing duos in Europe. Speaking to Fasano, there’s no sign of any bitterness towards the split, only excitement for his new productions. “With Aeroplane I learnt a lot but, I love the new challenge! It’s very exciting!” Though he does appreciate the freedom he now has producing solo: “With The Magician,

I’m doing what I like without any concessions.

You know when you’re working with someone, it’s always a deal to make the final decision.”

The sound of The Magician’s monthly mixtapes and early remixes for the likes of The Aikiu and Yelle don’t represent a great deviation from the italo flavoured disco of Aeroplane, but with The Magician he has been able to express himself outwith the music. Fasano certainly views The Magician as more than simply a new production alias: “I think it’s important to introduce something else in a musical project. My girlfriend is working with me for fashion, we designed what I wear and some accessories. I’m also working with Belgian illustrators and producers to create the visual side of the project.”

Glasgow is a city that always has an appetite for the balearic beats and cosmic synths common in Fasano’s DJ sets, and he’s played there numerous times before as Aeroplane and even for his third ever DJ set under the name of The Magician. Regarded as an extremely talented DJ, Fasano signs off with a pretty cheesy promise to live up to expectations: “Glasgow can expect some magical moments on the dancefloor!” If he delivers, then we can forgive the cringe-worthy line.

Playing in support of The Magician are an array of other fresh talents from close to home and further afield. Helsinki house pairing Renaissance Man, the multi-instrumentalist pop producer Bright Light Bright Light and New Yorkers Blondes will all be performing along with Glasgow’s own HaHaHa, the young Subcity beatmaker who well deserves the platform.

DEATH DISCO : The Magician // Renaissance Man // Bright Light Bright Light // Blondes // HaHaHa Sat 19 Feb 11pm-3am. £14/£7 (sign up to DD mailing list for half price passes)

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

CLUBS

CLUBBING HIGHLIGHTS

late night bar / live music / private karaoke rooms

BORN TO BE WIDE

MUSIC PHOTOGRAPHY NIGHT

& OXFAM RECORDS DJs THU 03.02

WORDS: RAY PHILIP ILLUSTRATION: JAMIE JOHNSON Dance music, by definition, is not supposed to be soothing. Your parents and neighbours certainly do not find it soothing. Oily massages; avuncular Morgan Freeman monologues; White Ladder: these are soothing. Dance music is, on a superficial level, engineered to plead to your base, atavistic desires. Take your reptilian yearning to shneck the neon-bathed object of your fleeting, drunken fancy, the aesthetically offensive high-viz playground of 90s acid house, or the oasis of sweat and oxytocinal bonhomie at Xplicit.

Darkstar – like many of their Hyperdub labelmates – are busy revising this particular line of argument. North, their debut longplayer released at the end of last year, is perhaps the most idiosyncratic manifestation yet of what Kode9 calls the “hardcore continuum”. The dance music textures within the lunar wooziness of In The Way and the rat-tat-tat snares of Deadness reveal themselves in glimpses rather than gazes, and most of these textures orbit the album’s much-lauded centrepiece, Aidy’s Girl Is A Computer. That said, a trip to Nice ‘N’ Sleazy’s on Wed 16 Feb – particularly for dance music novices – presents an inviting in-road to the innovative, becalming possibilities of the trio.

Sneaky Pete’s offer more familiar clubs territory for their second Numbers night on Fri 25 Feb. A forthcoming Fabriclive mix in May should serve to consolidate Jackmaster’s standing as one of the UK’s, if not Europe’s, most genuinely exciting DJs. Modeselektor, Drexciya and Robin S are all equals in a blissfully inclusive record bag that bursts, like a lovingly overstuffed doner kebab peering out of its Styrofoam cradle, with techno, garage, hip-hop

and house cutlets aplenty. Look out for another excellent Numbers lineup in Stereo on Fri 18 Feb with Jackmaster, Deadboy and Joy Orbison.

Bigfoot’s Tea Party host a leaner, though no less edifying affair on Fri 4 Feb at the Glasgow Art School. Hosting M_nus’ Ambivalent at the Art School last December should remove any lingering doubts as to their credentials for swinging dick status, with or without a headliner to supplement their always-transfixing visuals, though in this instance, Daniel Steinberg’s primary coloured techno should raise the bar(tab) higher still.

Compakt offer a starker set of rhythms on Friday 11 Feb at Cabaret Voltaire. Headliner Edit Select’s ghostly, dungeon techno smoulders beneath low frequencies that invoke the spirit of Basic Channel’s dubbier leanings. Support comes in the wispy shapes of Siren, Gabriel Kemp, DD, Bruno FK and DJ Phrase, a combination likely to elicit copious splashes of ectoplasm and other paranormal sweat juice on the ceiling.

Speaking of soiled ceilings, the Sub Club’s Polyfilla-slurping fist magnet will soon be in need of another hasty repair job as a brace of techno delights begins with Raresh on Fri 18 Feb at Sensu. Already a bit of a godhead in his native Romania, Raresh draws frequent comparisons to Ricardo Villalobos, mostly on the pretext that the former favours a similarly slinky, hedonistic blend of techno and tech-house. They also have the same hair. Handily, you can judge such comparisons for yourself: Villalobos will be flicking his titanium strength fringe for your pleasure at Subculture on Fri 4 Mar.

& the ChapMan FaMily

07.02 16.02 JAMeS ApOLLO & eMeLLe, JOSHuA CAOLe 17.02 7pm & SCOuNdreLS 21.02 7pm & CHASiNg OwLS

epic 26, Dupec, Stormy Seas LAuNCHiNg THurSdAy 24.02

CIRCUS arcade

£100 CASH PRIZE

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Funk, Northern Soul & chilled out lounge tunes

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Bar open from 5pm Fridays

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Sing on stage with our house band, the Bearded ladies! 150+ songs, see if they know your favourite 10pm weeKLy. Free eNTry BeFOre 10.30/£5

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Facebook/twitter: electriccircusedinburgh FEBRUARY 2011

THE SKINNY 47

REVIEWS

February Events

FILM

For the romantics out there, head to the GFT on Valentine’s Day (14 Feb) and take your pick of four love stories, ranging from the classic to the contemporary. Throughout the day there’s a chance to see Humphrey Bogart and Ingrid Bergman in Casablanca, a tale of romance and wartime intrigue, or Audrey Hepburn in that little black dress in Breakfast at Tiffany’s. If you want something more modern, director Xavier Dolan follows his critically acclaimed debut I Killed My Mother with Heartbeats, an offbeat film about two friends competing to win the heart of a sexually ambiguous acquaintance.

the fighter

The Fighter

Waste Land

Director: David O. Russell

Director: Lucy Walker

Starring: Mark Wahlberg, Christian Bale, Amy Adams, Melissa Leo Released: 4 Feb Certificate: 15

Starring: Vik Muniz Released: 25 Feb Certificate: PG

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Micky Ward (Wahlberg) is a plucky welterweight who’s been given a rough deal in life – his family. His manager/mother Alice (Leo) and his trainer/older brother Dicky (Bale), a former boxer and current crack addict, treat him like a human piñata, pitting him against pugilists looking for an easy ‘stepping stone’ on their way to the championship. Alice and Dicky pocket the cash while doctors put Micky’s face back together.

Other directors would have made them villains but Russell instinctively sees them as lovable rogues – his camera adores them. Leo is magnetic as the chain-smoking bulldog matriarch, a hyperactive blur of bleached hair and denim. Bale’s emaciated Dicky is even more wild-eyed and loose-limbed – he’s not had this much fun on screen since chewing the scenery as Patrick Bateman in American Psycho. Russell’s direction is as squirrely and unpredictable as the performances, making, as he did with Three Kings and Flirting with Disaster, a tired genre feel fresh and dynamic. Dare I say it? It’s knockout. [Jamie Dunn]

Amid the bleak surroundings of Brazil’s Jardim Gramacho, the biggest landfill in the world, Lucy Walker’s Waste Land finds an inspiring true story. Her documentary follows artist Vik Muniz as he embarks upon an ambitious project, recruiting a number of ‘pickers’ from the site and creating huge portraits of them from discarded materials.

It’s fascinating to watch this project gradually develop, but the real power of Waste Land exists in the characters Walker and Muniz find toiling away among mountains of garbage. The film really makes us care about the likes of Tiaõ, the charismatic head of the pickers’ association, or Isis, a heartbroken woman whose life has been marked by tragedy, and the fact that we become so involved in their stories gives Waste Land an extraordinary emotional resonance. Pedro Kos’ editing balances these stories expertly and develops an absorbing narrative, while Moby provides a fine musical score. Waste Land is a deeply moving and genuinely uplifting experience, and an irresistible ode to the transformative power of art. [Philip Concannon]

Brighton Rock

Animal Kingdom

Director: Rowan Joffe

Director: David Michôd

Starring: Sam Riley, Andrea Riseborough, Helen Mirren, John Hurt, Andy Serkis Released: 4 Feb Certificate: TBC

Starring: James Frecheville, Jacki Weaver, Ben Mendelsohn, Guy Pearce, Joel Edgerton Released: 25 Feb Certificate: 15

rrr Over sixty years on from John Boulting’s original noir, Rowan Joffe resurrects Graham Greene’s Brighton Rock, fittingly setting it within the context of 1964’s moral panic. Pinkie Brown (Sam Riley) is an ambitious gangster, who hunts child-like waitress Rose (Andrea Riseborough) after she witnesses him prior to committing murder. Forming an ambiguous relationship, the masochistic Rose, having been neglected by her mother Ida (Helen Mirren), loves Pinkie unquestioningly, compromising her own virtue for his staggering moral shortfall. Riley is exceptional as the religiously tormented Pinkie, switching disconcertingly from conflicted boyish charmer, to genuinely frightening psychopath.

Adhering firmly to Greene’s ‘shades of grey’ Catholic themes, sinister shots of Brighton’s pier and pavilion add to the looming institutionalised atmosphere. Despite this, the Quadrophenia-style turmoil within the era’s seaside resort seems as clichéd as the moon landings within a 60s montage. Also unnecessary is the overt focus on Mirren’s guilt-ridden Ida. Although excellent, it suffocates the pivotal central relationship, which by the end feels under-developed. [Juliet Buchan]

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Detached, monosyllabic teen Joshua’s (Frecheville) mum has, as he puts it, “gone and OD’d and she’s dead”, so he turns to estranged grandmother (Jacki Weaver) and her criminally inclined offspring for shelter, support and advice with funeral arrangements. Joshua is comfortable with life in a family of armed robbers and drug dealers, enjoying the guidance of father-figure Baz (Edgerton). However, the return of Granny’s prodigal son, ‘Pope’ (Mendelsohn), and an attack on one of the clan lead things to go swiftly and devastatingly awry.

Joshua’s loyalties are tested by his kin and a sympathetic detective, Leckie (Pearce), as he’s slowly revealed to be brighter and more resourceful than initially appears. Debut writer/ director David Michôd has fashioned a taut, understated, elegiac drama full of surprising twists and well-rounded, plausible characters. In an excellent cast, Weaver and Mendelsohn stand out as the monstrous matriarch and unhinged ‘Pope’ – one of the most manipulative, nuanced and terrifying of recent screen lunatics. [Chris Fyvie] www.animalkingdommovie.com

True Grit

Inside Job

Director: Ethan Coen, Joel Coen

Director: Charles Ferguson

Starring: Jeff Bridges, Hailee Steinfeld, Matt Damon, Josh Brolin, Barry Pepper Released: 11 Feb Certificate: 15

Starring: Matt Damon (narrator), Released: 18 Feb Certificate: 12A

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The Dude replaces The Duke in the Coens’ first pure western, with the brothers ignoring the antiquated 1969 Wayne vehicle and choosing instead to mine the Americana source novel by Charles Portis. Set in the 1870s, indomitable 14-year old Mattie Ross (Hailee Steinfield) hires a man with ‘true grit’ in Reuben ‘Rooster’ Cogburn (Jeff Bridges) to bring to justice the man who killed her father, Tom Chaney (Josh Brolin). Accompanied by Matt Damon’s Texas Ranger La Boeuf, the unlikely posse head out into Indian territory to retrieve their bounty. It’s the literary source that provides the linguistic richness here as Cogburn’s whiskey raw southern drawl ebbs like the tide against Mattie’s whip smart rebuttals and La Boeuf’s false whimsy. The Coens are respectful of the material and they show great restraint in keeping their trademark sardonic humour at bay. Instead they deliver an artfully re-envisioned western of brutish characters shot in sunbleached cinematography to tell a tale not easily forgotten. [Thom Atkinson]

Money? It’s a gas. The carnage of Wall Street gets the focus treatment in Charles Ferguson’s timely documentary about the recent global financial meltdown. Matt Damon’s calm narrative weaves you into this economic web of intrigue which dissects the crisis much as recent theatre hit Enron did. Many important global financial players, journalists and politicians are brave enough to appear here and explain how risk taking and de-regulation led to problems on a massive scale. Those who chose not to appear still get referred to. On the plus side, inventive graphics help to delineate complex issues and the film is pleasingly devoid of political leanings. On the minus, certain issues which may also have been root causes are glossed over.

Overall you’re left knowing money was creamed off all too easily from a system badly in need of improvement, and the uncomfortable knowledge that some of the key perpetrators may still be in positions of power. [Matthew Arnoldi]

www.truegritmovie.com

48 THE SKINNY February 2011

www.sonyclassics.com/insidejob

heartbeats

Throughout the month the Filmhouse in Edinburgh is proud to host three classic musicals, including a sing-along version of one of the greatest films of all time, Singin’ in the Rain, on 6 Feb. There are also two films celebrating iconic musicians, with Don’t Look Back, a documentary following Bob Dylan on his British tour in 1965, and Across the Universe, a 2007 film using The Beatles’ unforgettable music to frame a romance set in the free-spirited era of the Sixties.

Singin' in the rain

The Howard Hawks retrospective continues throughout February and March at the Filmhouse, with classics such as To Have and Have Not (3 and 4 Feb), His Girl Friday (10 and 11 Feb) and the screwball comedy Bringing Up Baby, starring Cary Grant and Katherine Hepburn (24 and 25 Feb). Hawks is one of America’s most diverse and successful directors, bringing quick wit and biting flair to each film, regardless of genre. Unmissable.

On 9 Feb the DCA in Dundee is showing camp cult classic Hedwig and the Angry Inch, starring director John Cameron Mitchell as a transsexual female touring the USA. The film is part of Cinema Republic, a wild-card slot filled by films chosen by the public. They welcome your suggestions, so if there’s something you really want to see on the big screen, let the people at the DCA know.

In February and March, the CCA in Glasgow is hosting a series of films in association with Takeaway China: Art. Film. Culture, an arts festival celebrating the Chinese New Year. The seven films are free, with tickets allocated on a first come, first served basis. A notable inclusion in the programme is In the Mood For Love (17 February), Wong Kar-Wai’s visually dynamic period film about love and forbidden desire. Check out the CCA website for more details.[Becky Bartlett]

bringing up baby

FILM

DVD REVIEWS MAN HUNT

THE REEF

THE SWITCH

DIRECTOR: FRITZ LANG

DIRECTOR: ANDREW TRAUCKI

DIRECTOR: JOSH GORDON, WILL SPECK

STARRING: WALTER PIDGEON, JOAN BENNET, GEORGE SANDERS RELEASED: OUT NOW CERTIFICATE: PG

STARRING: DAMIEN WALSHE-HOWLING, ADRIENNE PICKERING RELEASED: OUT NOW CERTIFICATE: 15

STARRING: JENNIFER ANISTON, JASON BATEMAN, JULIETTE LEWIS, JEFF GOLDLUM RELEASED: OUT NOW CERTIFICATE: 12

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Tired of four-legged prey, legendary hunter Captain Thorndike (Walter Pidgeon) sets his sights on bigger game, sneaking behind German lines to acquire Hitler’s ‘tache for his trophy cabinet. His silly buggers plan is scuppered and, once in Nazi hands, he’s threatened to ‘fess up as a British assassin. Made of stern stuff, Thorndike won’t play ball, and when his captors realise this and throw him off a cliff, the man plain refuses to die. Our hero escapes back to England with ze Germans hot on his tail – determined he sign their papers. What ensues is more an elaborate game of hide ‘n’ seek than a man hunt. And Thorndike seems to forget he’s playing – visiting his bro for tea and taking his squeeze out to buy a pin for ‘er ‘at. The casualness of the chase is made more ridiculous

by Dick Van Dyke accents and ham-fisted dialogue. Metropolis director Fritz Lang missed the mark with Man Hunt. [Alistair Roy]

rrrr Sharks are scary. Almost the perfect movie villains.

There’s no dialogue to worry about, no fiendish plan to come up with, and all they have to do is threaten to be there and our imagination will take care of the rest. Director Andrew Traucki understands this well.

Loosely inspired by true events, The Reef tells the story of five friends sailing off the Australian coast when their boat suddenly capsizes. Faced with a slow death waiting for help which might never arrive, they unwisely decide to take their chances and swim for land. Traucki sticks to essentials: the characters struggle against rising panic and their own helplessness while a great white shark stalks them and picks them off one by one.

Almost as effective as when it isn’t there, when the shark does appear, a combination of real footage and CGI make its attacks almost unbearably realistic and disturbing. The simple back-to-basics approach makes for a nerve shreddingly tense experience. [Scotty McKellar] WWW.REEFMOVIE.COM/

THE TOWN

BLACK

DIRECTOR: BEN AFFLECK

DIRECTOR: PIERRE LAFFARGUE

STARRING: BEN AFFLECK, REBECCA HALL, JEREMY RENNER RELEASED: OUT NOW CERTIFICATE: 15

STARRING: MC JEAN GAB’1, CAROLE KAREMERA, FRANÇOIS LEVANTAL RELEASED: 14 FEB CERTIFICATE: 15

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“It’s how everybody’s doing it these days.” So says Debbie (Lewis) of the ‘I’m getting pregnant party’ during which her friend Kassie (Aniston) will retire to the bathroom to inseminate herself with donated sperm. In the relationship between Kassie, a New York professional who has decided not to wait for Mr Right, and her hapless, commitment-phobic best friend, Wally (Bateman), The Switch strives for a topicality which at times rings hollow. The film hits its stride when it begins to tease out the consequences of Wally’s drunken decision to substitute his sperm for the donor’s, with Bateman proving a likeable lead and Thomas Robinson charming as the son who springs from this immaculately contrived conception.

With its obsessive concern with parenting and its portrait of an endlessly deferred, decade-long courtship during which its protagonists visibly fail to age – presumably Botoxed into suspended animation – The Switch does ultimately capture something of the ambivalences of modern romance. [Keir Roper-Caldbeck]

THE VALLEY (OBSCURED BY CLOUDS) DIRECTOR: BARBET SCHROEDER

STARRING: BULLE OGIER, MICHAEL GOTHARD RELEASED: 14 FEB CERTIFICATE: 15

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In his directorial debut, Gone Baby Gone, Ben Affleck returned to the working class milieu of his breakthrough role in Good Will Hunting (which he co-wrote with Matt Damon). With The Town, his second feature as director, the social background remains the same, while the town in question is Charleston, which we learn has produced more bank robbers than any other. Affleck plays Doug, a thief tied to his ignoble profession by the bonds of kin and by his “pitiable Irish omerta”, as the cop who is chasing him describes it.

Like the gruff drawl he employs throughout, there are times when Affleck’s story tips over into macho affectation, but this is offset by a gritty sense of locale, a strong supporting cast, and three exciting heists, one of which ends what may be the first car chase in which the getaway vehicle is an MPV (ideal for taking the kids to school AND the gang to the scene of the crime). [Keir Roper-Caldbeck]

Beginning worryingly like a Guy Ritchie rip-off with freeze frame introductions of loveable rogues, French heist movie Black quickly confounds your expectations of a ‘Mock Stock’. Black (MC Jean Gab’1) is a Parisian thief who wants out of the game via one last diamond robbery in Senegal. Nothing new there you might think, even after he gets stopped mid-street by a frenzied Shaman who prophesises that Black is ‘the lion’ who will travel far to defeat ‘the snake’. A symbolic prediction surely?

Wrong again. Encountering various characters including a scenerychewing Russian mercenary who makes a Bond villain look subtle, and an undercover girl-cop, Black forges ahead to defeat his slimy nemesis Degrand (François Levantal). The Dakar locations are skillfully used while Gab’1 provides a muscular performance with a light touch. Totally random both in plot and execution, Black is a plethora of diversions coinciding to show how fate cannot be escaped. [Juliet Buchan]

Like trying to follow the ramblings of an old hippy whose brain has been fried by too much acid, watching the counter-cultural films of the 60s and 70s can be hard work. The Valley (1972), which tells the story of Viviane, a bored diplomat’s wife who joins a small group of freaks on their expedition to find a magical valley in the highlands of Papua New Guinea, certainly has all the clumsy symbolism and meandering storytelling of its time, but with a Gallic flavour. Viviane is très chic, with tousled blond hair and trouser suits to die for, while her companions’ clothes remain clean and pressed even in the jungle, as they would only on a French hippy. The obligatory drug trips and free love are best ignored in favour of the remarkable images of the Papuan landscape and its bewitching inhabitants.

Like the journey undertaken by its protagonists, The Valley is frustrating and possibly pointless, but the view is spectacular. [Keir Roper-Caldbeck]

THETOWNMOVIE.WARNERBROS.COM/DVD

WWW.BLACKLEFILM.COM/

FILMSTORE.BFI.ORG.UK/

17-27 February 2011

GLASGOW MUSIC & FILM FESTIVAL Extraordinary live events, original commissions, documentaries and feature films celebrating music, sound and moving image.

Tickets on sale now at www.glasgowfilm.org/festival Glasgow Film Festival is an operating name of Glasgow Film Theatre (GFT). GFT is registered as a charity (No SC005932) with the Office of the Scottish Charity Regulator Image: Zombie Zombie, photo by Stuart Crawford

FEBRUARY 2011

THE SKINNY 49

PREVIEW

ART

REVIEW

GEORGE ORWELL’S NATIONAL UNION OF JOURNALISTS CARD. ORWELL ARCHIVE, UCL SPECIAL COLLECTIONS

LIVING TODAY @ MACKINTOSH GALLERY, GSA MACKINTOSH GALLERY, GLASGOW SCHOOL OF ART 15 JAN – 5 MAR

rrr Sporting a title of almost limitless possibility, the group show Living Today at the Mackintosh Museum assembles works by contemporary artists who explore aspects of the society they live in, combined with material from the Orwell Archive relating to George Orwell’s 1937 publication Wigan Pier.

Glass-topped trestle tables displaying excerpts from Orwell’s manuscripts flank the artworks to provide a central point of context. It seems several of the artists have borrowed their formal conventions from the museum, so that works of fairly wide-ranging subject matter are each dense in content but barely engaging to the eye.

Eva Merz’s free publication You, Me, Us and Them (2011) brings together a series of interviews

LEFT: BAC À SABLE II, 1990 ABOVE: LANDAU, 2010 BATTLING INERTIA, MATEI BEJENARU, HD VIDEO STILL, 2010

about women in prison and criminal justice in Scotland, and looks a promising read, albeit one to take home for later.

A quiet, serious-looking work in the corner, Matei Bejenaru’s documentary video nevertheless captures the attention and is worth investing fourteen minutes of your time. Battling Inertia (2010) follows an ex-worker revisiting the library he set up when he and his co-workers established a literary circle in an industrial plant in communist Romania.

Meanwhile, a series of works by Ross Birrell and David Harding extend the exploration into Orwell and Wigan. If you’re hoping for an Orwell-fest that feeds the imagination, you might be a little disappointed; the amalgam of artworks and archive material seem to exist in a mental or narrative space that hasn’t quite translated into the gallery – with the exception of David Harding’s text Orwell and Wigan Today. This brief A4 handout is witty, anecdotal, and the closest the exhibition comes to explaining Wigan and its significance. [Jac Mantle]

JEAN-MARC BUSTAMANTE @ FRUITMARKET GALLERY FRUITMARKET GALLERY 4 FEB - 3 APR

With Jean-Marc Bustamante, the Fruitmarket is decidedly moving on from the visually striking Childish Things (Paul McCarthy’s zipped open doll, anyone?) to a show that promises to be much, much more conceptual.

Don’t let this scare you away though, for Bustamante isn’t the old cliché of the conceptual artist, with intellectualism pushed to a ridiculous extreme and work so dense it is impossible to grasp. One of France’s senior artists and a major figure in the international art world, Bustamante has worked with photography, sculpture, painting, architecture and installation and was chosen to represent France at the 50th Venice Biennale in 2003.

Starting as a photographer, Bustamante was first noticed for his Tableaux, a series of large-scale

colour photographs of the Barcelona suburbs, arresting with their focus on concrete landscapes with little charm. He extended this work in the 90s with more photos of unnamed cities, ultimately succeeding in creating not portraits but atmosphere, and the fleeting feeling that something is missing (actually the title of his project). Often characterised by its blurring of boundaries between the various materials used, Bustamante’s work presents the visitor with a quiet, hypnotic depiction of the world around him.

Such photos will be found in the show, as well as sculptures and more recent work from the last decade, including a series of paintings on Plexiglas completed in 2010 especially for this exhibition.

As usual with the Fruitmarket, the programme of talks deserves highlighting and includes an inconversation between Bustamante and Penelope Curtis (recently appointed director of Tate Britain) and a talk by fellow artist and Skinny favourite Neil Clements. [Adeline Amar]

February 2011 St Andrews 16–20 March performances : open mics music : installations : slam walks, talks & much, much more including: Ciaran Carson

FRE ENTRE Y*

CCA Glasgow presents an eclectic programme this February including free exhibitions, live music, performance and film. Pick up a brochure at CCA or in selected venues across Glasgow.

Selima Hill : Julia Donaldson Philip Gross : Douglas Dunn Marilyn Hacker : Paul Farley Fiona Sampson : Rab Wilson Yang Lian : Krikri : Hugh McMillan Jenny Lindsay : Jo Bell Bob Holman

Join us in the Terrace Bar every Friday and Saturday from 9pm for free DJ nights!

Keep up to date with CCA news on Twitter @CCA_Glasgow and

www.facebook.com/CCA.Glasgow.1 T FIRS AY SD THUR

Photo Credit Pavel Antonov

100 poets, musicians & artists

80+

events

–

many

free

tickets 01334 475000 : brochures 01334 474610

w w w . s t a n z a p o e t r y. o r g 50 THE SKINNY FEBRUARY 2011

REVIEWS

READING

TREBLINKA

BY CHIL RAJCHMAN

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THE LIBERATION OF CELIA KAHN

PROUST WAS A NEUROSCIENTIST

THE BREAKERS

BY J. DAVID SIMONS

BY JONAH LEHRER

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BY CLAUDIE GALLAY

Set against the background of rent strikes, anti-war sentiment and a revolution brewing in Russia, a young Jewish woman from the Gorbals gains her first taste for protest and female solidarity. Distraction from her crusade comes with a love affair, exposing her to the prospect of a new life in communal settlements taking root in Britishmandate Palestine. The Liberation of Celia Kahn is not only about a young woman trying to find her way in the world of men, but also a story of the new world for women opened up by socialism and contraception in the early years of the twentieth century. These themes of immigration, family and community were handled in Simons’ debut, The Credit Draper, and are still prominent here, though through Celia’s eyes we focus more closely on issues of gender and class. Simons’ ability to capture the essence of his protagonist will really strike a chord; Celia’s pain and challenges are sensitively rendered, her passion and stoicism enchanting. A quietly brilliant book, Simons’ writing brings up interesting questions of sex, religion and morality, how our attitudes have progressed in the last century and how there might still be room for improvement. [Rebecca Isherwood]

Jonah Lehrer’s exploration into that old Science vs. Art debate throws up some refreshing and thought-provoking messages.

Lehrer takes his modern-day reader into the archives of literary history, pondering over the musings of poets, writers, artists and composers in order to prove his theory – not just that Proust was a neuroscientist, but that artists and new-radicals are the innovative crowd in matters of science and, in particular, the human brain. In a study of some of the most prolific art-crowd – including George Eliot, Igor Stravinsky and the poet Walt Whitman – Leher makes the point that it is through the boundless freedom at the heart of these artists’ work, that they have uncovered truths about science before the scientists themselves have had a chance to catch up. The artistic hypothesis which forms the foundation of the work of these creative thinkers is based on ‘measuring the immeasurable’.

They attempt it by treating their art as a living entity – exploring the ‘anatomy of emotion’ rather than treating their art as pure surface matter. in this fascinating and unusual book, Lehrer makes an insightful case for Art triumphing over Science, selecting visionary thinkers to illustrate his very valid points. [Megan Agnew]

Villages at the end of the earth share a degree of uniformity in that through their inhospitable settings and eccentric communities, they have an ability to offer solace and redemption to those haunted by or needing to escape the world.

In The Breakers, Gallay has stuck to the template, but managed to create a distinct version: French, rough hewn from an interminable and unforgiving sea, a place where the wind ‘tears the wings off butterflies’ and where the village is built from the wood of infinite shipwrecks. It’s a fairly straightforward mystery, but as the plot demystifies, Gallay etches a solitude and disconnectedness into each character and each sentence. Yet despite its aloof, abandoned-lighthouse-like tone, the story has heart.

There is an appealing complexity in the relationships, rather than the individual characters, of the odd and curious village community. The hostility of the narrative works, but when Gallay tries to bridge the reader to characters through unnecessary ‘real’ moments, it only serves to annoy. Unnecessary love stories underwhelm: you can’t warm to this story but you may find satisfaction. Be warned, when the most real character is an unforgiving sea, the reader is obliged to swim in troubled waters.

[Renée Rowland]

OUT NOW. PUBLISHED BY MACLEHOSE PRESS. COVER PRICE £16.99

RELEASE DATE 2 FEB. PUBLISHED BY FIVE LEAVES. COVER PRICE £8.99

RELEASE DATE 3 FEB. PUBLISHED BY CANONGATE. COVER PRICE £16.99

OUT NOW. PUBLISHED BY MACLEHOSE PRESS. COVER PRICE £14.99

DIGITAL

Chil Rajchman’s memoir of mass extermination in the Nazi death camp of Treblinka is unhysterical in tone, but harrowing in effect.

Its spare, unsensational prose underlines just how inhuman humans can be.

Thirst, hunger, exhaustion and the stench of death saturate the book’s pages. Throughout there is cruelty, from the petty to the barbaric.

Small wonder that Rajchman’s first waking thought each day was to envy the dead. Yet it’s a measure of the scale of misery that he can be considered one of the lucky ones. He escaped the gas chambers through slave labour, shaving the heads of those destined for death and extracting the gold teeth from their corpses. Rajchman endured this nightmare existence for ten months before breaking free, an escape story as tense as any thriller. Accompanying Rajchman’s story is an essay by Russian writer Vasily Grossman.

His reflections on Treblinka, just weeks after the camp was closed, include a question some readers themselves might ask: why the need to rake over the ashes of the past? His answer is as valid now as then: the writer’s duty is to tell the truth; the reader’s duty is to learn from it. [James Carson]

TECH OF THE FUTURE! Yesterday's future is here tomorrow WORDS: ALEX COLE

BITE-SIZED TECH NUGGETS WITH ALEX COLE

THE FEED

IT’S THE future! The future is totally here, and it’s totally awesome! CES 2011 has given us all a brief but mighty glimpse into what the next year holds in tech, and, well, let’s be honest it looks a lot like last year.

That’s not totally fair – a lot of what’s coming means that the whiz-bang stuff from previous years is getting more numerous, more standardised, and best of all, cheaper. Like iPad-style tablets? Now Motorola, LG, Samsung and Blackberry all have real contenders hitting the stage that compete hugely on features and price, and mean we’re all just a Curry’s purchase away from tablet heaven. Fancy smartphones caught your eye? A slew of new Android and WinMo7 phones are coming, along with some new 3D TVs, new accessory gizmos, and some hilariously designed video goggles courtesy of Lady Gaga herself. Let’s see Ke$ha beat that.

If technology goes in ebbs and flows, where one year crazy new stuff comes out and the next it gets consolidated and polished, this year looks like it’s gonna be the latter. Where last year Apple busted out a shiny new phone design and the iPad, Kinect and Android made their first real impression, and 3D TVs made everybody shrug, this year Android busts out a new tablet friendly OS and shows up on a boatload of phones, tablets go from a field of one to a dozen, and everybody still shrugs at 3D. The stuff that worked last year gets cheaper and more common, and the stuff that didn’t gets laughed at.

For those with some folding money to spend, keep an eye out for the Motorola Xoom and Blackberry Playbook (new tablet goodness), the Nexus S (the latest version of Android), some fancy 3D video cameras, and a cup of soup that heats itself through magnetic induction. Yeah, I can’t make this stuff up.

DEAD SPACE 2 PUBLISHER: ELECTRONIC ARTS RELEASE DATE:25 JAN CONSOLE(S): PS3, XBOX 360, WINDOWS PRICE: £39.99

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MOTOROLA XOOM1

The fact that Dead Space is even getting a sequel so soon after the original is a credit to their heavy branding efforts and constant hinting throughout the game at a much larger world, while still managing to keep it focused tightly on one story. The whole game, whose primary mechanic was designed around dismemberment, had the same working-class hero, claustrophobic tone and gross out factor as Alien, in the best possible way.

Dead Space 2 expands on the world and builds in some impressive multiplayer, allowing players to either take on the super creepy necromorphs, or play as them and slaughter the humans. While

the gameplay still has some annoying quicktime sequences, a mixed weapon choice and the all-too-common problem of trivializing big boss fights by reducing them to “shoot the big glowing thing a lot,” the visual design is hugely impressive, there’s a great spooky feel to the atmosphere, and the expanded world makes exploration all the more fun.

These days first person shooters all have pretty standard interfaces of looking around, shooting, picking up weapons and trying not to die, and this doesn’t stray too far from the pack. Where it strives to be different (by having to dismember enemies bit by bit instead of going for a headshot, for instance), it does a solid job, and as ugly as the enemies are, the game is very pretty to look at.

It remains to be seen if the multiplayer is at the same level of popularity as Halo and Call of Duty, but this remains a hugely fun game not to be played after 2 am. Alone, anyway.[Alex Cole]

LADY GAGA DEVELOPS CRAZY VIDEO CAPTURE/DISPLAY DEVICE, STEVE JOBS WILL DESIGN HER NEXT DRESS • UK GOVERNMENT WILL OFFER PCS AT £98, FREEING UP CASH FOR PIRACY SETTLEMENTS • WIKIPEDIA TURNS 10, WOULD BLOW OUT CANDLES BUT THEY ARE CURRENTLY BEING EDITED • EVERYONE CRAZY WORRIED ABOUT CYBER-WARFARE, BUT I, FOR ONE, WELCOME OUR NEW CHINESE OVERLORDS • 2,500 YEAR OLD CELTIC RECIPE FOR BEER DISCOVERED, ARCHAEOLOGISTS WAY TOO DRUNK TO TELL YOU ABOUT IT • SAMSUNG RELEASES MACBOOK AIR COMPETITOR, COULD CUT YOUR HAND OFF AS SOON AS TWEET ABOUT IT

FEBRUARY 2011

THE SKINNY 51

PERFORM

Venue of the Month:

Bedlam

Less chaotic than its name suggests, here is one independent venue set to survive the crunch WORDS: Zoe Keown

Home to the Edinburgh University Theatre Company (EUTC) for over 30 years, the Bedlam Theatre, in its 19th century stature alone, is one of the Capital’s most distinctive student institutions.

But this isn’t the only thing that sets it apart.

Boasting alumni such as Kevin McKidd (Trainspotting, Dog Soliders), Rachael Stirling (Maybe Baby, Another Life) and Ewen Macintosh (The Office) to name but a few, the Bedlam is a cornerstone for nurturing talent and encouraging dreams. And with playwrights such as Al Smith and Lucy Kirkwood in its history books, it offers its members more than a stage to fulfil their ambitions.

As the EUTC President, Camille Acosta suggests, one of Bedlam’s main aims is to “encourage new writing,” and its playwriting talents are certainly being rewarded. Winning a Fringe First in 2008, and subsequently a run in London’s West End and New York, Eight, by Ella Hickson is a fine example of one of the Theatre’s landmark productions. The comedy Wild Allegations, co-authored by two EUTC members, which has now been published, is another.

As the Roxy Art House, owned by the Edinburgh University Settlement closed its doors in 2010 due to financial difficulties, it’s natural to wonder if Bedlam will suffer the same fate.

Eleanor Chalmers, Productions Manager of the EUTC is confident that this will not happen, as she says: “There are always financial issues involved with running a theatre but thankfully Bedlam Theatre is fully supported by Edinburgh University which is a wonderful asset to us.

The alumni association of the EUTC is similarly supportive.”

On top of this, Bedlam’s infallible strength is also demonstrated in its sense of community and its members’ involvement whereby around 200 of its some 350 affiliates take an active role in the running of the building and organisation: from writing and directing the weekly shows, to building sets and selling box office tickets. Operating without any faculty or departmental supervision, Bedlam has always been valiantly independent. As EUTC President Acosta explains: “Bedlam operates successfully because of the hard work and passion of all of its members and this drive comes from the fact that every single member of the EUTC, in some way, is responsible for the building and considers it a second home.”

This responsibility results in a win-win situation for Bedlam’s members and its audience, as Acosta continues: “Because of the student-run nature of Bedlam, the passion and energy that goes into our productions are immediately evident to any member of the public that steps through our iconic red doors.

“We operate completely on the enthusiasm of our members and their commitment is truly evident in the sheer volume and high quality of the shows that are performed.” As it takes one of the worst recessions in history in its stride with confidence the Bedlam Theatre is testament to the power of student responsibility, and community. Keeping both of these in place, it will still be standing tall in another 30 years.

The Bacchai, 2 & 3 feb A Clockwork Orange, 8-12 feb A Dream Play, 16 feb The Lion the Witch and the Wardrobe, 22-26 feb www.bedlamtheatre.co.uk

REVIEW

PREVIEW

He’s Just a Small Town Boy

Small Town Tron, Traverse and touring

Zombies in Ayrshire? It must be a social realist drama, then

We Will Rock You @ The King's theatre

rrr The Bohemians are back. Following a successful 2009 tour, We Will Rock You returns to Scotland in all its crowd-pleasing glory. Packed with Queen’s inherently theatrical songs and a witty script by Ben Elton, it remains near impossible to resist the show’s charms.

In an imagined future where instruments are banned and live music has been replaced with ‘Computer Recorded Auto-tuned Pop, C-R-A-P’, it is somewhat surprising to see Noel Sullivan as Galileo, the young rebel destined to save rock‘n’roll. Was he not a member of a certain manufactured band, the kind that the plot credits with encouraging the demise of real music? Perhaps his former sins would be forgivable had he not simply acted as a depthless caricature of the role’s previous interpretations.

52 THE SKINNY February 2011

Vocally, the cast are strong but the principals’ predilections for the riff become, at times, a little self-indulgent. Although a culprit of this, Amanda Coutts’ sardonic Scaramouche remains a highlight. Whilst the chorus members appear tired, Coutts’ energy never lapses and her edgy characterisation is consistently engaging.

The great spectacle that the London production boasts is successfully captured on tour to a lesser scale; however, the constraints of visiting theatres of varying sizes are evident in the smaller sets and tighter staging. A rock concert vibe is ensured by the awesome band, with a guest appearance by Queen legend Brian May, to play the guitar solo in Bohemian Rhapsody, adding to the already electric atmosphere on press night. So go along, rise up fellow rebels and rock. [Laurin Campbell] We Will Rock You The King’s Theatre, Glasgow 7.30 pm 18 Jan-19 Feb www.ambassadortickets.com/glasgow

Random Accomplice, vehicle for the collaborations between Johnny McKnight and Julie Brown, have forged a reputation for restless and accessible boundary hopping. Both Brown and McKnight recently returned from pantomime duty and, although comfortable with serious matter, like cultural relativism in Douglas Maxwell’s Promises Promises, Smalltown takes an intense theme – water pollution – and slips in the zombie references.

“Smalltown is absolutely a big, bold, bawdy comedy,” McKnight explains. “It’s probably closer to the pantomimes than previous Random Accomplice shows. When we were conceiving the show we always had strong reference points – Scooby Doo, Twilight Zone, Grindhouse, and B Movies.”

Three of Scotland’s established writers lend a specific Ayrshire touch (Maxwell, McKnight and DC Jackson wreak terror across three towns), and Smalltown imagines how a tainted water supply might wipe out outsiders, turn sexually active teenagers feral or make zombies. And since there are three playwrights, there are three possible endings: the audience decides on the night.

“It is pure unabashed, unapologetic entertainment,” McKnight continues. “But it also says interesting things about identity, location, nature versus nurture arguments. 2010 felt like a really heavy year and we wanted to bring in the New Year with something more joyous!”

Perhaps best known for the Little Johnny Trilogy,

which catalogued McKnight’s path to self-acceptance, via family feuds and musical theatre, Random Accomplice return to humour after Promises Promises took a serious detour. But McKnight remains serious about his love for show business.

“I love the possibilities of theatre: that it’s live and can’t ever really be repeated the same again,” McKnight concludes. “Most of all though, I love an audience. I want to make work that’s accessible to as wide an audience as possible and I don’t think you ever need to dumb that down or concern yourself with fears of being viewed as populist.” [Gareth K Vile] 15–19 Feb, Tron Theatre, Glasgow ; 23 Feb, Paisley Arts Centre, Paisley; 24 Feb Howden Park, Livingston; 25 Feb Brunton Theatre, Mussleburgh; 10 Mar Eastwood Park Theatre, Giffnock; 12 Mar MacRobert, Stirling; 17 Mar Kilmarnock Palace Theatre, Kilmarnock; 24–26 Mar Traverse Theatre, Edinburgh www.randomaccomplice.com

COMEDY

In Profile:

Stuart Murphy

“Type damn you. Type!

It’s the only way to liberty.”

Improv veteran Stuart Murphy talks dirty fumbles and curing cancer interview: Siân Bevan Illustration: Robbie porter

UK Première “I arrived in the back of a thresher’s van, with a knapsack upon my back, a pocket full of dreams and a head full of miracles. And 17 disappointed women in hot pursuit.”

Apparently, this is how a young Stuart Murphy turned up in Edinburgh from his home town of Blairgowrie in 1993. Inspired by a single improvised comedy workshop, he joined the Bedlam Improverts as an enthusiastic whippersnapper and started a career which would see him lodged in the heart of the Scottish comedy scene like a witty pacemaker.

I, like most Scottish comedians, have had respect for Murphy drilled into me from my very first forays.

He’s half of Stu & Garry, the improv wizards behind Whose Lunch Is it Anyway?, entertaining hungover audiences every Sunday at The Stand since Take That were worshipped the first time. He also writes sketches, has done stand-up and is a regular compere at the club’s Red Raw night. But it’s the improvised stuff which really lies at the heart of his work. “Improv is the one I get the most enjoyment and satisfaction from. I like to think that Whose Lunch is it Anyway? is the underground show that the management have no idea is happening.

People come in for free, leave and no-one knows it happened. Improv will always be my first love, compering will always be my dirty fumble in the back row of the cinema.”

While spending his formative funny years at the Bedlam Theatre, Stu helped set up a comedy night with some other young, inexperienced Improverts which now make up a pretty impressive roll-call:

Mark Dolan (Balls of Steel), Ewan Macintosh (The Office) and Mitch Benn. “They’ve all gone off, and I’m here watching you eat a sandwich I couldn’t possibly afford.” (I did offer him a sandwich. He’s nothing if not dramatic). This first foray into stand-up drew him to the attention of Tommy Sheppard and Jane Mackay who would soon set up The Stand, changing the face of Scottish comedy forever. “I was incredibly lucky,” explains Stu. “You decide you’re going to do comedy, move to Edinburgh and see the scene blossom before your very eyes...that was very exciting.” Whose Lunch...? was born in 2000, with Stu performing weekly with ex-Bedlamite Paul Graham, replacing Jack Weatherall. Paul left in 2006, Garry Dobson stepped in and the rest is history.

And now things are shifting forward again. As well as compering The Stand’s new talent evening more regularly, Stu and Garry have joined Billy Kirkwood in Improv Wars: improvised comedy battles where special guests take part in the show.

A regular night at the Glasgow Stand, the show has been warmly received and, apparently, “can cure cancer, give your kids superhero powers and do everything which we can’t possibly back up.”

Or it’ll do as Murphy does best and just make audiences laugh their wee socks off.

By Linda Griffiths

Wildly inspired by The Odd Women by George Gissing A co-production with Stellar Quines Theatre Company

18 February –12 March 2011 (then touring)

BOX OFFICE: 0131 248 4848 GROUPS 8+: 0131 248 4949 www.lyceum.org.uk/arousal Royal Lyceum Theatre is a Registered Company No. SCO62065 Scottish Charity Registered SCO10509 Stellar Quines is a Registered Company No. 157796 Registered Charity No. SCO23628

films worth talking about

HOME OF THE EDINBURGH INTERNATIONAL FILM FESTIVAL

recommends this month...

True Grit From 11 Feb The Coen Brothers’ adaptation of Charles Portis’ novel is definitely not what we have come to expect from them. Remarkably self-reliant and assured 14-year-old Mattie Ross (Hailee Steinfeld, perfect) hits town in search of the meanest, toughest lawman – of the titular grit – to help her track down and kill the man who killed her father, Tom Chaney (Josh Brolin), and sets her sights on the grizzled, booze-addled Marshal Reuben J ‘Rooster’ Cogburn (a brilliant performance by Jeff Bridges). But there’s another man on Chaney’s trail too, the indignant Texas Ranger LaBoeuf, with whom ‘Rooster’ has a past…

See Stu this month in Whose Lunch Is It Anyway?

The Stand, Edinburgh, every Sunday, 1.30pm, free Joe Heenan’s Movie Madness The Stand, Glasgow, 7 Feb, 8.30pm, £2 You can also see the Improv Wars Festival Special at the Magners Glasgow International Comedy Festival on 28 Mar

New Act of the Month:

Stephen Callaghan

to make you

smile?

The King’s Speech Showing all month

Photo: Grant Thistle

We check in with Stephen Callaghan, co-host of alternative comedy night The Stockholm Syndrome.

Age: 27 Based in: Glasgow First gig: June 2008 Number of gigs: Around 80 How did you get into comedy? I first started writing sketches with a friend of mine, and we got into the final of the Comedy Unit sketch writing competition.

But we were disqualified because our sketch involved using Hungry Hippos as puppets and Hasbro wouldn’t let us use their product. Then me and my friend [Cameron Stark] made a drunken pact at The Stand one night that we’d both give it a go.

What are your aims onstage? With my solo stand-up, I try and be quite observational but The Stockholm Syndrome is fully geared towards being as experimental and as alternative as we can be; we like to do things on stage that we’ve never seen, and hopefully people have never seen before. It’s about a conscious effort to try and do something different.

Something

Who are your heroes on the Scottish comedy scene? The people that I work with – Davey See – I have to say that, he’s my comedy wife. Also people who are doing stuff that’s a bit different. I also have a lot of time for the behind the scenes people – like all the staff at The Stand, and the Glasgow Comedy Festival – people who have a passion for doing what they do without the need to stand on stage and be clapped and cheered for it. [Lizzie Cass-Maran] See Stephen in gigs around the country this month as he gears up for his first solo show, Stephen Callaghan’s Memory Box, 3 Apr – part of the Magners Glasgow International Comedy Festival The Stockholm Syndrome also previews this month ahead of its run at Capitol every Saturday night at 10pm during MGICF

Colin Firth, Geoffrey Rush and Helena Bonham Carter star in this inspiring telling of the life of King George VI (Firth), the monarch who suffered from a severe stammer. With war looming, George is forced to face his demons to unite the country. Expect plenty of nominations come awards season.

Rabbit Hole From 4 Feb Becca and Howie Corbett (Nicole Kidman and Aaron Eckhart) are a married couple struggling to return to their everyday existence after the loss of their child. With their world tilted off of its axis, the couple must decide whether to allow their fractured personal journeys to bring them back together. Rabbit Hole is a vivid, honest and unexpectedly funny portrait of a family searching for what remains possible in the most impossible of situations.

Get your free Filmhouse Loyalty Card supported by THE SKINNY Sign up for FREE! Collect loyalty points and spend them on FREE tickets and DVDs!

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

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February 2011

THE SKINNY 53

COMPS

MAGNERS GLASGOW INTERNATIONAL COMEDY FESTIVAL

We’re pretty chuffed to once again be a partner of the Magners Glasgow International Comedy Festival (17 March – 10 April) as it starts its 9th year.

All the programme details have now been announced, with more than 400 shows across 50 venues over 25 days this year - a lot to choose from no matter what your taste may be.

To get you started, we’ve got two pairs of tickets to give away for each of the following shows: • Pam Ann: ‘You f’coffee’ Tour 2001 (The King’s, Sun 20 March) • Tom Allen Toughens Up (Blackfriars, Fri 18 March) • Paul Foot: Ash in the Attic (The Tron, Fri 18 March) • Des McLean (The King’s, Thu 17 March) • Danny Lobell (The Stand, Mon 28 March)

Q: WHICH ONE OF THE AFOREMENTIONED ACTS WAS A REGULAR HOST ON THE LAST SERIES OF BIG BROTHER’S BIG MOUTH? Closing date: Monday 28 February To enter, visit www.theskinny.co.uk/competitions Terms: www.theskinny.co.uk/terms Tickets aren’t redeemable for cash. Over 18s only. www.drinkaware.co.uk for the facts Please indicate your preferred show when answering the question, and we'll try to accommodate this whenever possible.

CINE

54 THE SKINNY FEBRUARY 2011

FOUND will also display a selection of the portraits at the album launch events.

Check www.theskinny.co.uk/competitions for a surprise: the band members tried their hand at drawing each other’s portrait!

Closing date: Wednesday 23 February Terms: Entrants must be 18 or over and agree to allow their work to be used by The Skinny / FOUND in print and online. Entrants retain all rights to their work. Prizes aren’t redeemable for cash

online?

Try

theC CIN inEeSkinny

An independent free daily guide to the Glasgow Film Festival 2011 produced by The Skinny Th eEOf TH OFfic l FICia IAL DaDA ily ILYGu e GUiD IDE

saTurDay 14 february 09 TUESDAY 20 FEBRUARY

Wh WH aT’s AT’S ins INS iDe IDE ? ?

2 » TOMORROW’S PICKS 2 » TOmOrr This is a descriptio OW’s picks n of the Our highlight content of be whichs will in tomorrow ’s films Tomorrow’s picksand events

Happy Birthday!

Jonathan melvill e raises a glass always hit his target. to an archer who

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A certain magazine called The Skinny once called FOUND "one of the most experimental, exhilarating and without doubt enjoyable of the current crop of bands”, and The Skinny speaks truth.

To celebrate the release of FOUND’s new album, we have an unusual competition: draw a portrait of either Kev, Tommy or Ziggy and send an image of it (jpeg please) to competitions@theskinny.co.uk.

Entrants can submit several drawings and are encouraged to use whatever materials they like: felt tip, charcoal, collage, clay, alphabetti spaghetti, Scottish breakfast...

FOUND will choose their 3 favourite portraits and 3 lucky winners will each receive: • 1 pair of tickets to either the Edinburgh (3 March) or Glasgow (14 March) album launch

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FOUND PORTRAIT PRIZE

2 » FEATURE 2 » mexicO spOTliGhT This is a descriptio n of the A glimpse into the feature on page films in the Mexican 2 strand 3 » REVIEWS 3 » revieW Film title 1 s  Chiko  Film title 2  Johnny Mad Film title 3 Dog   Elevator  3 » YOUR FESTIVAL 4 » WhaT’s DescriptionneW of theOnline “your Check out our online blog festival” contents as well as excitinghere reviews, coverage 4 » club WHAT’S fun stuff NEWand ONLINE This is a descriptio n of 4 » cheGGe reD pasT the content which will be in this Michael Gillespie part of the sheet talks Shakespeare, Britflicks Keith 4 » and Chegwin GUEST BLOGGE R This is a descriptio n of the 4 » Quiz content which will be in You win part can 2 tickets to this of the sheet The Burning Plain

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Glasgow music Tue 01 Feb

Katet, TV Revo, Catcher

Malcolm Middleton

Forever Living Dead

Maggie May’s, 20:00–22:30, £5

Metallic rock and indie.

Mono, 21:00–23:00, Free

Post-folk musings.

Alternative rock.

Miss Quincy, Mark Wynn

Initial itch

Angels & Airwaves (Neon Tree)

State Bar, 20:00–22:30, £4

Acoustic Americana.

13th Note, 21:00–23:30, £tbc

Ivory Blacks, 18:30–22:30, £6

O2 ABC, 19:00–22:00, £tbc

Alternative rock.

Gun (Anavris)

O2 ABC, 19:00–22:00, £10

Hard-talking duo.

Wu Lyf (ETERNAL FAGS)

The Arches, 19:30–22:00, £6.50

Grungey, melodic indie.

The Glasgow Slow Club Bloc+, 21:00–01:00, Free

Relaxed night with guest bands.

Wed 02 Feb

Azure Ray King Tut’s, 20:00–23:00, £8

David Burns, Matt Johnston, Little Fire

13th Note, 21:00–23:30, £tbc

Acoustic indie, folk and rock.

Matt Norris and the Moon (Lovers Turn To Monsters) Bloc+, 21:00–23:30, Free

Edinburgh-based modern folk collective.

Muso (Toy Fires, So Many Animal Calls, Lonely Boy)

Buff Club, 21:00–03:00, £4 (£3)

Live indie pop and DJs.

Thu 03 Feb The Die Youngs, The Joys Twins, Sunset Stereo Ivory Blacks, 18:30–22:30, £6

Indie and acoustic.

The Bravery

O2 ABC, 19:00–22:00, £10

Indie rock five-piece.

The Go! Team

Oran Mor, 19:00–22:00, £14

Chaotic experimental, touring their new album.

NME Awards Tour 2011 (Crystal Castles, Magnetic Man, Everything Everything, The Vaccines)

Rock and powerpop.

Rock singer/songwriter.

Chilly Gonzales: Piano Talk Show

Evile

Acoustic pop loveliness.

Chris Devotion & The Expectations

Black Tusk, Howl

13th Note, 21:00–23:30, £tbc

The George Lindsay Band Chicago-style blues.

Sat 05 Feb

Nice ‘n’ Sleazy, 19:30–23:00, £tbc

Experimental types.

Classic Grand, 19:00–22:00, £7

Innocent Civilian, Broken Indigo, Devour, Dirty Diamond & The Gunslinger Maggie May’s, 20:00–22:30, £5

Captain’s Rest, 20:00–23:00, £tbc

The Sensational Alex Harvey Band tribute.

We Came From The Sea (Stuart and Paddy, Natalie Pryce, Placid Trip) Nice ‘n’ Sleazy, 19:30–23:00, £5

Alternative Glaswegian collective.

Jonathan Sebastian Knight Tchai-Ovna, 20:00–22:00, £2

Solo from My Cousin I Bid You Farewell frontman.

The Random Guy

O2 ABC, 19:00–22:00, £14

Electro-pop duo.

Would You Like Fires With That?, The Fugitives, Frontline, Black Rising Classic Grand, 19:00–22:00, £6

Dave Hughes & The Renegade Folk Band (Adam Boucher, Jud Harron, Adam Bennett) 13th Note, 21:00–23:30, £tbc

Electro-acoustic duo's much awaited album launch

The Colin Blunstone Band The Ferry, 20:00–23:30, £16.50

Acoustic folk and punk.

Voice of The Zombies.

The Glasgow Slow Club

Dakota Beats, Little Eskimos, Napoleon In Rages

Bloc+, 21:00–01:00, Free

Relaxed night with guest bands.

Wed 09 Feb

Mon 14 Feb Harrys Gym Stereo, 19:00–22:30, £6

Dark sonic pop.

Kerrang! Tour 2011 (Good Charlotte, Four Year Strong, Framing Hanley, The Wonder Years) O2 Academy, 19:00–22:30, £16

Kerrang! Magazine live line-up.

Michael Simons Tchai-Ovna, 20:00–22:00, £2

Folk and blues fingerstyle guitar.

Uncommon Men From Mars, Mike TV, The Lie Detectors Captain’s Rest, 20:00–23:00, £tbc

Punky pop, with hints of rock.

Fireside Kicks

13th Note, 21:00–23:30, £tbc

Alternative rock and punk.

O2 ABC, 19:00–22:00, £15.50

Sat 12 Feb

My Chemical Romance

Jimmy Webb

SECC, 18:30–22:00, £26.50

Brooding soulstress.

Kylesa, Okkultokrati

The Magic Platters

Heavy rock and thrash.

The Ferry, 20:00–23:30, £17

Rock and roll nostalgia.

Halt Bar Hijack Halt Bar, 20:00–00:00, Free

Ivory Blacks, 19:00–22:30, £10

Kirsty’s Metal Hands (Hot Jupiter) Nice ‘n’ Sleazy, 19:30–23:00, £tbc

Glasgow-based alternative rock.

Live Jazz Tchai-Ovna, 20:00–22:00, £2

Jazz classics and modern standards.

Oran Mor, 19:00–22:00, £25

American songwriter plays rare solo show.

Dean Wareham Plays Galaxie 500 Stereo, 19:00–22:30, £13.50

Fortunate Sons

Experimental duo.

Wire

Heavy metal showcase night.

King Tut’s, 20:00–23:00, £14

Roll Deep

Country-tinged rock and roll.

Ivory Blacks, 18:30–22:30, £6

Metal thrash.

Nachtmahr (Uberbyte, Kommand, Kontrol)

Post punk pioneers.

Random Hand (Dirty Revolution, Sinister Flynn) 13th Note, 21:00–23:30, £tbc

Metallic punk.

Wot Gorilla, What The Blood Revealed Bloc+, 21:00–23:30, Free

Classic Grand, 19:00–22:00, £12

Post-rock noisemakers.

The Saturdays

Muso (The Fiction, Colin Hunter, Cities & Skylines)

SECC, 19:30–22:00, £tbc

Buff Club, 21:00–03:00, £4 (£3)

Dancefloor destroyers.

Nice ‘n’ Sleazy, 19:30–23:00, £tbc

Punk and rock types.

Captain’s Rest, 20:00–23:00, £6

The Joy Formidable King Tut’s, 20:00–23:00, £10

Ethereal fuzzy-pop loveliness.

NIGEL CLARK Cafe Cossachok, 21:00–23:00, £6

Jazz guitarist.

Butterfly Strategy Butterfly & Pig, 21:00–12:00, Free

Acoustic acts; local and far-flung.

Periphery

Michael Simons

Ivory Blacks, 19:00–22:30, £7

The Garage, 19:00–22:30, £11

Grime and hip-hop crew.

Hue & Cry O2 ABC, 19:30–22:00, £tbc

Full band performance.

Carmine, The Works, Sons Of The Morning Star Maggie May’s, 20:00–22:30, £5

Hip-hop, garage rock and experimental blues.

Miles Kane King Tut’s, 20:00–23:00, £7.50

Live indie pop and DJs.

Part-time Last Shadow Puppet.

Thu 10 Feb

Halt Bar Hijack

We Used To Call This Summer

Underground band takeover.

Ivory Blacks, 18:30–22:30, £6

Before Machines, As Autumn Falls

Grunge rock with catchy riffs.

Murderdolls O2 ABC, 19:00–22:00, £15

Metallic punk duo.

Anathema The Garage, 19:00–22:30, £15

Experimental rock.

Grace and Cara Tchai-Ovna, 20:00–22:00, £2

Guitars and folk singalongs.

IMELDA MAY O2 ABC, 19:00–22:00, £16.50

Rockabilly blues.

Gruff Rhys Oran Mor, 19:00–23:00, £13.50

Jazz session with bassist Gus Stirrat.

The Lovely Eggs Captain’s Rest, 20:00–23:00, £tbc

American rockers.

Super Furry Animals mainman.

Post-punk, electronica and rock.

1901 Bar, 21:00–00:00, Free

Tue 15 Feb

Following the re-release, Dean Wareham performs a set of Galaxie 500 songs.

Fury UK, Charger, Rough Diamonds, Graceless Age, The Broken, Let’s Play God

13th Note, 21:00–23:30, £tbc

Halt Bar, 20:00–00:00, Free

Gus Stirrat

Folk and psych tinkerers.

Metallic rock.

Danceable, bass-laden, punk.

Francesqa

The Black Atlantic, Blue Sky Archives

Hells Bells

Acoustic indie and stirring experimental.

Halt Bar Hijack

Last Lungs, Cairnhill Trading Estate, The Clock Bloc+, 21:00–23:30, Free

Alternative indie.

Soul Control (Attica! Attica!, Fallacies, Notebooks) 13th Note, 21:00–23:30, £tbc

Experimental types.

Fri 18 Feb Billy Bragg

The Arches, 19:00–22:00, £16

Politically-minded songwriter.

Rescheduled date.

Shakin’ Stevens

O2 ABC, 19:00–22:00, £22.50

30th anniversary tour.

The Follies

Oran Mor, 19:00–22:00, £10

O2 Academy, 19:00–22:30, £25

Nice ‘n’ Sleazy, 19:00–23:00, £6

Melodic hardcore from Aberdeen.

Bloc+, 21:00–23:30, Free

Earth-shaking riffage and guitars.

The Defects, Prairie Dugz Ivory Blacks, 21:00–23:30, £9

Rock and punk.

Whisky River Foot-stomping blues rock.

Reel Big Fish O2 ABC, 19:00–22:00, £14.50

Californian six-piece.

The Naked And Famous

13th Note, 21:00–23:30, £tbc

Unfiltered heavy metal longtimers.

The AidAn Moffat Valentine’s Revue

The Ferry, 20:00–23:30, £17.50

Angry Vs The Bear Electro-pop and punk.

The Scottish Enlightenment, Thirty Pounds of Bone

O2 Academy, 19:00–22:30, £tbc

GMFF: Lucky Dragons The Arches, 19:30–22:00, £7

Conceptual, audience-controlled, gig. Part of Glasgow Music and Film Festival.

Yoav Nice ‘n’ Sleazy, 19:30–23:00, £tbc

Alternative indie-pop.

Magic Carpet Cabaret Tchai-Ovna, 20:00–22:00, £2

Jim McAteer introduces some of his favourite acts.

Innercity Pirates King Tut’s, 20:00–23:00, £6

Alternative rock, with hints of disco.

Wolf People (Figure 5, Hidden Masters) Captain’s Rest, 20:00–23:00, £7

Psychedelic folk rock.

Apples Of Energy Mono, 21:00–23:00, Free

Experimental acoustic.

The Rupture Dogs, The Dirty Beggars 13th Note, 21:00–23:30, £tbc

Grunge punk and acoustic blues.

The Glasgow Slow Club Bloc+, 21:00–01:00, Free

Relaxed night with guest bands.

Wed 23 Feb Shaun Ryder (The Twang) O2 ABC, 19:00–22:00, £16.50

O2 Academy, 19:00–22:30, £tbc

Pyro-laden, monster stage show.

Solo material, as well as Happy Mondays and Black Grape tunes.

The Watch

Jason Derulo

Acoustic rock.

GMFF: 65daysofstatic The Arches, 19:30–22:00, £10

Live mathy score to 1972 film Silent Running. Part of Glasgow Music and Film Festival.

Kill It Kid, Scoundrels, Lenzie Moss

O2 ABC, 19:00–22:00, £16.50

Captain’s Rest, 20:00–23:00, £tbc

Maroon 5 (Sara Bareilles)

Rob Zombie (Skindred, Revoker)

Alternative rock.

David McAlmont

O2 ABC, 19:00–22:00, £tbc

O2 ABC, 19:00–22:00, £7

Alternative types.

Deeply-layered baroque synth siren.

O2 Academy, 19:00–22:30, £18.50

Grand Ole Opry, 20:00–22:30, £8

Captain’s Rest, 20:00–23:00, £7

King Tut’s, 20:00–23:00, £6

Americana blues, rockabilly and pop.

From Russia with Lev Cafe Cossachok, 21:00–23:00, £6

Russian and Klezmer folk music.

Butterfly Strategy Butterfly & Pig, 21:00–12:00, Free

O2 Academy, 19:00–22:30, £tbc

Rising star, popular with the kids.

GMFF: Zombie Zombie The Arches, 19:30–22:00, £10

The Parisian duo soundtrack the infamous Battleship Potemkin. Part of Glasgow Music and Film Festival.

Hiroshima Blackout, Life In December, Mechanical Smile, Healthy Minds Collapse Nice ‘n’ Sleazy, 19:30–23:00, £tbc

Punk, rock and alternative pop.

Live Jazz Tchai-Ovna, 20:00–22:00, £2

Jazz classics and modern standards.

Peter Lawrie (Bear Bones, Man Gone Missing) Captain’s Rest, 20:00–23:00, £6

Soulful hip-hop-cum-folk.

The Crave, Tiger Please King Tut’s, 20:00–23:00, £7

Alternative rock.

7Weeks, Hagana Bloc+, 21:00–23:30, Free

Acoustic acts; local and far-flung.

Alternative rock with big guitars.

Scottish alternative pop and folk.

Mon 21 Feb

Drew Gardner

Cold War Kids

Such Gold, Starters, First Step To Failure, Wolves At Heart

The Garage, 19:00–22:30, £11.50

13th Note, 21:00–23:30, £tbc

Acoustic singer/songwriter.

Gruff rock four-piece.

Sat 19 Feb

Lifehouse

Muso

Nice ‘n’ Sleazy, 19:30–23:00, £tbc

Live Jazz

Kraul (Echo Bass, This Way Down)

Singalong radio rock and roll.

Oran Mor, 19:00–23:00, £12.50

Country-tinged rock and roll.

Special evening with former Arab Strap frontman.

Ivory Blacks, 19:00–22:30, £6

Manatees, Holy Mountain, Khuda

Strawberry Ocean Sea

Hobo Sonn, Duncan Harrison

Metal thrash, new wave and indie-rock.

Unique take on techno and dubstep.

Acoustic singer/songwriter.

Wed 16 Feb

Bluesy four-piece.

1901 Bar, 21:00–00:00, Free

Soundhaus, 20:00–03:00, £7 (£5)

Glasser

King Tut’s, 20:00–23:00, £14.50

Black Label Society (Godsized)

Fortunate Sons

Live and Underground (LunaJet, Girobabies, Madskull, Frantic Chant)

Sun 20 Feb

Bloc+, 21:00–23:30, Free

Minimalist psych and experimental.

Halt Bar, 20:00–00:00, Free

Underground band takeover.

Big-chorused punk-pop.

The Blues Band

13th Note, 21:00–23:30, £tbc

AC/DC tribute act.

Not Advised (2 Thirds Youth, Fires Attract)

British songwriter, of McAlmont and Butler.

Emotive hardcore with indie leanings.

The Ferry, 20:00–23:30, £10

1901 Bar, 21:00–00:00, Free

O2 ABC, 19:00–22:00, £6

Tinie Tempah (Katy B)

Rock and pop five-piece.

Gerry Loves Records EP launch, on which the bands feature.

Captain’s Rest, 20:00–23:00, £6

O2 ABC, 19:00–22:00, £10

Experimental noisemakers.

Captain’s Rest, 20:00–23:00, £5

King Tut’s, 20:00–23:00, £7

Experimental Oxfordshire five-piece.

SECC, 19:00–22:00, £36

Pop and R’n’B singer and producer.

Grime rapper.

Americana songstress from Canada.

Dirty Black, Umbilical Cord, Phiktion, The Miniature Society

Captain’s Rest, 20:00–23:00, £6

Guitar, vocals and auto-harp.

Captain’s Rest, 20:00–23:00, £6

Intelligent experimental post-rock.

Miaoux Miaoux, Japanese War Effort, Fox Gut Daata, Wounded Knee

Citizen Cope

Bloc+, 21:00–01:00, Free

King Tut’s, 20:00–23:00, £8

King Tut’s, 20:00–23:00, £10

Tchai-Ovna, 20:00–22:00, £2

Experimental rock and pop types.

Sarah McClurg (Silver Creek, Bad Bad Men)

Alternative rock and indie.

Taking Dawn

Andrea Heins

Maggie May’s, 20:00–22:30, £5

Chapel Club (Dabid’s Lyre)

Wooden Wand

Folky indie-pop five-piece.

King Tut’s, 20:00–23:00, £10

Indie and punk-rock.

Experimental types.

Japanther (Shellshag, Streets Of Rage)

Nice ‘n’ Sleazy, 19:30–23:00, £tbc

The Glasgow Slow Club

Ivory Blacks, 14:00–17:00, £6

Folk and blues fingerstyle guitar.

Senses Fail (The Gap Year Riot, Wolves At Heart, Man Overboard)

Waiting For Go, My Name Is A Dirty Word, Station, Recovera

Funk rock and indie blues.

Progressive metal.

Maggie May’s, 20:00–22:30, £5

Oran Mor, 19:00–22:00, £10.00

NYHC-style Hardcore on Reaper Records.

Alternative rock trio.

Alternative pop five-piece.

Tue 22 Feb Ne-Yo

The Ferry, 19:00–23:30, £12

Relaxed night with guest bands.

Vessels (Stuart Warwick)

The Dirty Violets, The Core, The 4/5s, Wasted Radio, Richard Kerr

Grader, Lords, Notebooks, Flags Rased, Defence

13th Note, 20:00–23:30, £6

King Tut’s, 20:00–23:00, £6

Soulful rock.

Spirit Aid Charity Music Night (Justin Currie, James Grant, The Bluebells)

Nice ‘n’ Sleazy, 19:30–23:00, £5

Reggae artist who’s been recording since 1963.

Naysayer, Broken Teeth, Flags Raised, Horrors That You’ve Seen

Sound Of Guns, Run From Red

Psych and experimental.

SECC, 19:00–22:00, From £28

The Heartbreaks Captain’s Rest, 20:00–23:00, £5

Tchai-Ovna, 20:00–22:00, £2

Folk and blues fingerstyle guitar.

Crooning singer/songwriter.

King Tut’s, 20:00–23:00, £6

Infectious indie-pop with 60s doowop and C86 influences.

Michael Simons

James Blunt

Beatbullyz Funky hip-hop duo.

O2 ABC, 20:00–22:00, £15

Solo guitar score to Dracula. Part of Glasgow Music and Film Festival.

Our Love Will Destroy The World, Burghead, Bong Monster

John Holt (Bass Warrior Soundsystem, Maxi Priest)

White Lies

Tchai-Ovna, 20:00–22:00, £2

O2 ABC, 19:00–22:00, £17.50

Swedish hard rock.

Hot new Scottish trio.

Sun 13 Feb

Maggie May’s, 20:00–22:30, £5

Europe

The Arches, 19:30–22:00, £10

Tchai-Ovna, 20:00–22:00, £3

Plastic Values, The Broadcasters, Irrational Fever, Sleepyheads

Davey Horne, Selective Service, The Foundrymen, UK.Reign

Thu 17 Feb

Live mathy score to 1972 film Silent Running. Part of Glasgow Music and Film Festival.

Grinspoon, Sucioperro, Jettblack

Anthemic rock and roll.

King Tut’s, 20:00–23:00, £7

GMFF: 65daysofstatic

French Wives (Pilots, ISwimWithSharks)

Butterfly & Pig, 21:00–12:00, Free

Acoustic acts; local and far-flung.

United Fruit, Illness, P For Perisa, Pensioner

Folk rock niceness.

Live indie pop and DJs.

Butterfly Strategy

Bloc+, 21:00–23:30, Free

Up-beat indie-pop.

Barrowland, 19:00–23:00, £6

Punk rock. In Barrowland 2.

Alternative indie-rock, psych and blues.

Lauren Pritchard

Indie, punk and rock showcase.

Nice ‘n’ Sleazy, 19:30–23:00, £9

Captain’s Rest, 20:00–23:00, £4

Experimental Celtic five-piece.

Live gig raising money for Davie Hayman’s Spirit Aid Charity.

Alternative rock, folk and indie.

The Hold Steady (Wintersleep)

Mon 07 Feb

The Garage, 19:00–22:30, £10

Conquering Animal Sound

Buff Club, 21:00–03:00, £4 (£3)

GMFF: Gary Lucas

O2 Academy, 19:00–22:30, £10

13th Note, 21:00–23:30, £tbc

Maggie May’s, 20:00–22:30, £5

Fuzzy Stockholm guitar-pop five-piece.

Hurts (Clare Maguire)

Indie rock trio.

King Tut’s, 20:00–23:00, £7

Queen Jane, Geein’ It Laldy, Not Half Right

Single launch.

Cowards, First Step To Failure, The Stay Gones

Fri 04 Feb

New music acts showcase.

Cafe Cossachok, 21:00–23:00, £6

13th Note, 21:00–23:30, £tbc

Electronic goth-pop artiste.

Collision of rock and punk.

San Fran and the Siscos

Maggie May’s, 20:00–22:30, £6

Er, Davie Bowie tribute. May be sensational.

Ivory Blacks, 19:00–22:30, £tbc

Sad Day For Puppets (The Starletts)

Bloc+, 21:00–23:30, Free

Nice ‘n’ Sleazy, 19:30–23:00, £tbc

Folky pop.

Ape Man Alien, Audiodriver, Mair

Captain’s Rest, 20:00–23:00, £6

Nice ‘n’ Sleazy, 19:30–23:00, £6

The Good Fight

Popster girl group.

The Good Natured

Conor Oberst’s band play a special intimate gig.

SAHB Memorial Night

Florrie, Sonny Marvello Pop and experimental rock.

Port Cullas, Razorblade Smile, LK Audio

6 day riot

Alternative indie, rock and metal.

King Tut’s, 20:00–23:00, £6

Piano and vocal performance.

Tchai-Ovna, 20:00–22:00, £2

Glasgow indie-poppers launch their second album.

Agonized Deformity, Deadly Inscription

Funked-up bass loops, with a guest soloist.

O2 ABC, 19:30–22:00, £tbc

Indie five-piece.

Poets, punks, rappers and ravers.

Tchai-Ovna, 20:00–22:00, £2

Hue & Cry

Zoey Van Goey (Human Don’t Be Angry)

Sun 06 Feb

Dave Dominey

O2 Academy, 19:00–22:30, £tbc

Alternative indie powerpoppers.

Grouplove

O2 ABC, 19:00–22:00, £14

The Alternative Burn’s Supper

Pivo Pivo, 19:30–23:00, £7 (£5)

Bright Eyes

Captain’s Rest, 20:00–23:00, £6

Heavenly Records showcase.

Virtuoso accordianist Georgie Gajjic plays romantic French tunes for Valentines.

New wave popsters.

Heartbeats, How Garbo Died, Cherri Fosphate

Blanco’s Exile

Stereo, 19:00–22:30, £7.50

Haunting melodies and dark atmospherics.

Sea Of Beas, Trever Moss And Hannah-Lou, James Walbourne

Room 16 (Dirty Old Rebel, Landslide)

Hairy death metal four-piece.

The Sensational David Bowie Tribute Band (Cha Cha Heels)

Deaf School

Francis Rossi

Status Quo frontman.

Devil Sold His Soul

Experimental and instrumental loveliness.

Power of the Accordian

Classic rock, punk and pop-rock.

Underground band takeover.

O2 ABC, 19:30–22:00, £19.50

Ivory Blacks, 19:00–22:30, £8

Punk metal and thrash.

Nice ‘n’ Sleazy, 19:30–23:00, £tbc

The Garage, 19:00–22:30, £11

Oran Mor, 19:00–23:00, £17.50

O2 Academy, 19:00–22:30, £16.50

NME fresh new acts tour.

Warped alternative rock.

Captain’s Rest, 20:00–23:00, £tbc

1901 Bar, 21:00–00:00, Free

King Tut’s, 20:00–23:00, £6

Bloc+, 21:00–23:30, Free

Oran Mor, 19:00–22:00, £15

Jazz classics and modern standards.

Electro-pop duo.

Muso (Retrofrets, Johnny Reb)

Joan As Policewoman

Experimental rock.

Diagram of the Heart (Dead Robots)

Remember Remember

The Garage, 18:30–22:30, £12.50

O2 ABC, 19:00–22:00, £14

Sweet Relief

Mondegreen (Invidia)

We The Kings

Solo piano set from the genrecrossing genius.

Monthly battle-cum-singalong.

13th Note, 21:00–23:30, £tbc

Departures (Brotherhood Of The Lake, Bastions, The Party Program)

Lauries Bar, 20:15–23:00, Free

Babelfish

The Arches, 19:30–22:00, £13.50

Fri 11 Feb

the Latecomers

Acoustic Tribute Night

Indie rockers.

Tue 08 Feb

Alternative rock.

British Sea Power (Teeth Of The Sea)

Progressive punk and rock.

13th Note, 21:00–23:30, £tbc

Transcendent acoustic duo.

Live Jazz

Tchai-Ovna, 20:00–22:00, £2

Scratch poetry, live music, comedy and performance.

Brides, Notebooks, Search Party, Dweller

Barrowland, 19:00–23:00, £16

Darkstar

Tchai-Ovna, 20:00–22:00, £2

Bloc+, 21:00–23:30, Free

1901 Bar, 21:00–00:00, Free

O2 ABC, 19:00–22:00, £6

Jazz classics and modern standards.

Grunge rock.

Stanley Odd

The Streets

Captain’s Rest, 20:00–23:00, £tbc

Hip-hop funk-out.

O2 ABC, 19:00–22:00, £17.50

Mike Skinner doing his thing.

O2 Academy, 19:00–22:30, £17.50

NYOS Futures: Vanishing Boundaries The Arches, 20:00–21:45, £9 (£6)

Cross art-form musical performance. Part of Glasgow Music and Film Festival.

Pop-punk and hardcore.

Buff Club, 21:00–03:00, £4 (£3)

Live indie pop and DJs.

Thu 24 Feb Efterklang Oran Mor, 19:00–22:00, £12

Off-kilter Danish pop, plus a screening of their film An Island.

February 2011

THE SKINNY 55

Glasgow MUSIC Kid Canaveral (Randolph’s Leap, Martin John Henry)

GMFF: Mondo Morricone

Kid Canaveral raising pennies to get to SXSW: let’s Jim’ll Fix it for ‘em.

Classic tunes and specially-curated visuals. Part of Glasgow Music and Film Festival.

Stereo, 19:00–22:00, £7

GMFF: The Memory Band The Arches, 19:30–22:00, £6

Performing songs from the Wicker Man soundtrack. Part of Glasgow Music and Film Festival.

Jericho Hill: At Folsom Prison

Grand Ole Opry, 19:30–23:00, £tbc

Celebrating the music of Johnny Cash.

Vilaka, Tattie Toes, Connoly, Reid, Marwick & Jones Nice ‘n’ Sleazy, 19:30–23:00, £5

Experiemental showcase from the Cry Parrot crew.

Blonde Louis, The Corleones, The Replay, The Boy Next Door King Tut’s, 20:00–23:00, £5

Rock and pop types.

Skinny Villains

Captain’s Rest, 20:00–23:00, £tbc

The Arches, 19:30–22:00, £15

Lost In Audio (Lennox) Nice ‘n’ Sleazy, 19:30–23:00, £tbc

Alternative rock trio.

Havoc, Six Million Broken, Battle For Second Place Maggie May’s, 20:00–22:30, £5

Punk, indie-rock and grunge-pop.

Morning Parade King Tut’s, 20:00–23:00, £6

Super-charged poppy rock.

Dalmallyfest (Tergazzi, The Lost Weekend, ÊLucky Dog, The Vizzitors, Somethin’ Else, No Shame, The Seventh Sons) The Ferry, 20:00–23:30, £7

EDINBURGH music Tue 01 Feb Why Do Songs Have Lyrics?

(King Creosote, Ian Rankin, Simon Frith, Ziggy Campbell) The Caves, 18:00–20:00, Free (book online)

An evening of words and music. Part of Let’s Get Lyrical.

Leith Folk Club: Michelle Burke The Village, 19:30–22:45, £8

Queen’s Hall, 19:45–22:30, £10 (£7)

Adventurous cellist player.

Wed 02 Feb This Is Not A Toga Party (Miasma, Tams Railways, Every Sliver Lining ) Maggie’s Chamber, 19:00–22:00, £3 (£2)

Student-friendly live music night.

Secret CDs (Man Gone Missing, Calum Carlyle, Lorraine McCauley, Fitzroy Soul)

Roots and blues female.

Underground band takeover.

Cut, Godstalker, The Bucky Rage

Quickbeam, Scragfight 13th Note, 21:00–23:30, £tbc

Veteran sax player.

Garage rock.

Acoustic indie and grunge punk.

Hotrods

Djevara

Fortunate Sons

Wee Red Bar, 22:30–03:00, £3

Progressive rock.

Fri 25 Feb Devlin

O2 ABC, 19:00–22:00, £9.50

Dark and lyrical grime artist.

GMFF: Goblin

The Arches, 19:00–22:00, £21

Performing songs from classic films.

Part of Glasgow Music and Film Festival.

Ben Folds (Kate Miller-Heidke)

O2 Academy, 19:00–22:30, £25

Touring new album Lonely Avenue, a collaboration with novelist Nick Hornby.

Ocean Colour Scene

Barrowland, 19:00–23:00, £23.50

Acoustic indie rock.

Bentjamin Leftwich

The Ka-Tet Blues and funk five-piece.

Sinocence, From Apathy, Skud Boots

Thu 03 Feb

Thrash rock and metal.

Example (Starsmith) Barrowland, 19:00–23:00, £15

West London wordsmith.

Brian Hughes & His Band The Ferry, 19:00–23:30, £8.50

New country singer/songwriter.

Anna Calvi (Penny Black) The Arches, 19:30–22:00, £6.50

Unique female vocalist.

King Tut’s, 20:00–23:00, £7.50

Tchai-Ovna, 20:00–22:00, £2

Rock Sound exposure tour.

Revolvers

John Knox Sex Club (North American War)

Beatles tribute.

Andy McKee

The Jazz Bar, 23:00–03:00, £2 (£1)

Sun 27 Feb

Wing and a Prayer

Maggie May’s, 20:00–22:30, £6

The Jazz Bar, 20:00–22:30, £8 (£6)

Country-tinged rock and roll.

Japanese Voyeurs, Dinosaur Pile Up, The Xcerts

Blues-influenced singer/songwriters.

Herb Geller

Rockabilly retro from the last half century.

Beautiful indie folk singer.

The Arches, 20:00–22:00, £6

Voodoo Rooms, 19:30–01:00, £3

Live gig-cum-CD sale of Edinburgh musicians.

1901 Bar, 21:00–00:00, Free

Ivory Blacks, 18:30–22:30, £7

Captain’s Rest, 20:00–23:00, £tbc

Quiet-loud atmospheres.

Bannerman’s, 20:00–23:00, £4

Industrial and electronic rock.

Fri 04 Feb Echo Arcade (Ivory, U Know Hoo) Electric Circus, 19:00–22:00, Free

Original indie five-piece.

The Go! Team (The OK Social Club, Messiah) The Liquid Room, 19:00–22:00, £14

Brighton-based experimental quintet.

Trapped Mice, Echo Arcadia, Precious & Grace Wee Red Bar, 19:00–22:00, £4

The Mine showcase.

Esben and The Witch (Trophy Wife, Wintergreens) Sneaky Pete’s, 19:00–22:30, £7

Maggie’s Chamber, 19:00–23:00, £10

Live music showcase.

RSNO: Tchaikovsky’s Pathetique Usher Hall, 19:30–22:30, From £10

Punk metal.

Janelle Monae

O2 Academy, 19:00–22:30, £8

Henry’s Cellar, 20:30–03:00, £6

The Arches, 19:00–22:00, £7

Experimental acoustics and special guests.

The Dandwars, Casino City, Inner City Magicians, Amy Ledger

Classic Grand, 19:00–22:00, £6

Indie, punk and rock showcase.

Michael Simons

Cramps tribute night, with profits being donated to charity.

Tchai-Ovna, 20:00–22:00, £2

Late ‘n’ Live (James Brown Is Annie)

Folk and blues fingerstyle guitar.

The Jazz Bar, 23:30–03:00, £5 (£3)

Dutch Uncles King Tut’s, 20:00–23:00, £6.50

Funky five-piece fronted by guitarist Barry Gordon.

Bouncy indie rock.

Sat 05 Feb

Iain Shaw

Genetic Stereo, Deco Arcade, The Weatherkings

Mono, 21:00–23:00, Free

Rosewood (State Of Emergency, Circa 88, Steel Rose)

Alternative rock chap.

Local band showcase.

O2 Academy, 19:00–22:30, £tbc

Alternative indie.

Angel Eyes

Secret Affair

13th Note, 21:00–23:30, £tbc

Son Of Portslade, Julia’s Daughters, Caro Bridges & The River

Ivory Blacks, 19:00–22:30, £tbc

Soulful blues.

Garage rock.

56 THE SKINNY February 2011

Late ‘n’ Live (Azi Space Funk Explosion)

Random Hand, Anti-Vigilante

Punk rock.

The Jazz Bar, 23:30–03:00, £5 (£3)

High-energy four-piece.

Sun 06 Feb The Party Program (Bastions, Brotherhood of the Lake) Sneaky Pete’s, 19:00–22:30, £tbc

Best of UK hardcore.

Doctor Bluegrass

Bannerman’s, 20:00–23:00, £5

Sneaky Pete’s, 19:00–22:30, £8

Leila Moss’ rock outfit play a special intimate gig.

Ska-punk mayhem.

BBC Scottish Symphony Orchestra

Fri 11 Feb

Haydn meets Brahms.

Lost In Audio

The Meadows Chamber Orchestra

The Liquid Room, 19:00–22:00, £5

EP launch.

Panda Su (I Build Collapsible Mountains, Finn Le Marinel) Sneaky Pete’s, 19:00–22:30, £4

Usher Hall, 19:30–22:30, From £10

Queen’s Hall, 19:45–22:30, £11 (£9)

Lively orchestral performance.

Anti Valentine’s: Clare Daly The Jazz Bar, 20:00–22:30, £5 (£3)

Usher Hall, 19:30–22:30, From £10

Lux Lives 2011 (The Fnords, Gin Goblins, The Pharisees, Charles Randolph Rivers Slim Rhythm Revue)

RM Hubbert (Finn Le Marinel)

Live battle for a chance to perform at London’s Hard Rock Calling 2011.

The Duke Spirit (Tape The Radio)

Mon 07 Feb

Ben Montague, Leddra Chapman (The Lake Poets) Acoustic singer/songwriters.

Hard Rock Café, 20:00–23:00, Free

Henry’s Cellar, 23:00–03:00, £4

Voodoo Rooms, 19:00–22:30, £5

Alternative indie four-piece.

Nightmare Frequency, Dead on the Live Wire (Mick Fucknall)

Composer special.

O2 ABC, 19:00–22:00, £15.50

Sad Society

Battle of the Bands: Final

The Deep Red Sky (Squirrel, Donald Macdonald, Jill Leighton)

Tamla motown funk and soul.

Pick’n’mix of fresh new acts.

Metallic noisemakers.

Soulful and rhythmic pop.

Voodoo Rooms, 20:00–01:00, £7

Live music showcase night.

Voodoo Rooms, 19:30–01:00, £7

Scottish indie talent interpret the Bob Dylan songbook. Part of Let’s Get Lyrical.

Alternative indie, powerpop and rock.

The Sunday Sinners

Edward and the Itch, Emelle Bros, The Krimson, The Rising Sons, Censor Thoughts, Frantic Chant

Stereo, 19:00–22:00, £8.50

Limbo (Delta Mainline, The Machine Room, Pet)

Wee Red Bar, 19:00–22:00, £5 (£4)

RSNO: Romantic Valentine’s Classics

Acoustic acts; local and far-flung.

Die So Fluid

Rock anthems for the weekend.

Pareto, The Whisky Works, Skies Fell, Smithsonian

New residency showcase night.

Poptical Island

Powerpop fluff.

Bannerman’s, 20:00–23:00, £4

Dylan Uncovered (Esperei, Hookers for Jesus, Norman Lamont, Shock and Awe, The Sundancer)

Bluesy rock songstress.

Tamla motown funk and soul.

Brighton banshee indie-folk trio.

Ivory Blacks, 18:30–22:30, £6

The Blue Spiders, Blow

Emo and hardcore.

The Liquid Room, 19:00–22:00, £16

The Jazz Bar, 20:00–22:30, £5 (£3)

Butterfly & Pig, 21:00–12:00, Free

O2 ABC, 18:30–22:00, £5

Alternative rock with a punk edge.

Voodoo Rooms, 19:30–01:00, £5 (£4)

Live music showcase night.

IMELDA MAY

The Sunday Sinners

Butterfly Strategy

Octane OK (Living In Hiding)

Henry’s Cellar, 20:00–23:00, £4

Corner Sessions (We See Lights, Erin Todd, Paul Gilbody)

Fresh bunch of scenesters.

Hardcore punk from the mean streets of Brooklyn.

Red Dog Music, 15:00–16:00, Free

Heavy grungy rock.

Rolling Stone tribute.

Sat 26 Feb

The Barrett Wise Experience, Fireside Aliens

Henry’s Cellar, 19:30–23:30, £5

Punky ska from London town.

Don Broco (Here Lies a Warning, As Autumn Falls, Victim of a Hero, Opener)

Hair of the Dog Sundays (The Industry)

CRANACHAN

The Ferry, 20:00–23:30, £10.50

Lost In Echoes, Silver Lined City, Breaking The Silence, Survive The Asylum

Maggie’s Chamber, 19:00–23:00, free

True Beat, Joe Viterbo, The Graeme Mearns Band

Gay For Johnny Depp (The Computers, Secta Rouge, Shields Up)

Sun 13 Feb

Steve Heron, Sebastian Dangerfield, The Last Knights, The Shenanigans

Cafe Cossachok, 21:00–23:00, £6

Chicago-style blues.

Sneaky Pete’s, 19:00–22:30, £5

Rachel Cormack’s indie-rock act.

Heartwarming orchestral performance.

Fri 18 Feb

Funky five-piece plus horns.

Kiltreiser

Russian and Scottish operatics.

1901 Bar, 21:00–00:00, Free

Run/Lucky/Free (Saint Saviour, Black Hand Gang, Emelle)

Queen’s Hall, 19:30–22:30, From £9

Indie-pop band of brothers, and their pals.

Unpeeled (Jill Hepburn, The Last Of Barrett’s Privateers, Jack’s Rabbit’s Foot Minstrels, The Graeme Mearns Band)

The Stones

Mon 28 Feb

Sheffied-born singer/songwriter.

Electric Circus, 19:00–22:00, £6

The Jazz Bar, 23:30–03:00, £5 (£3)

Anti-Hallmark songs from the Irish vocalist.

Ambient acoustic.

The George Lindsay Band

Stravinsky: The Chamber Ballets II

Queen’s Hall, 19:00–22:30, £27.50

The Dykeenies

Bittersweet acoustic Fifer launches new EP.

Russian Maslennitza

Indie-pop.

Paul Carrack

Thu 17 Feb Kill It Kid (Scoundrels)

Late ‘n’ Live (Die Schneiders, Dj Astroboy)

Bannerman’s, 20:00–23:00, Free

King Tut’s, 20:00–23:00, £15

13th Note, 21:00–23:30, £tbc

Experimental trio.

The final in a four-week battle.

Halt Bar Hijack

13th Note, 21:00–23:30, £tbc

Alternative indie rockers.

Matthew Barley: The Virtual Cellist

Cherry Lee Mewis (Ben Poole)

Bloc+, 21:00–23:30, Free

Wee Red Bar, 19:00–22:00, £tbc

Battle of the Bands Final

Unsigned acts mini-fest.

Halt Bar, 20:00–00:00, Free

The Thyme Machine

The Liquid Room, 19:00–22:00, £8

Former lead vocalist of Cherish the Ladies.

Lyrical indie rock.

The Ferry, 20:00–23:30, £6

The Law

Electric Circus, 19:00–22:00, £6

Wee Red Bar, 19:00–22:00, Free

Soulful folk and acoustic.

Bluegrass and folk.

Henry’s Cellar, 20:00–23:30, £4

The Jazz Bar, 23:00–03:00, £2 (£1)

The Joy Formidable (The Chapman Family) Electric Circus, 19:00–22:00, £10

Ethereal fuzzy-pop loveliness.

Glamour & The Baybes The Jazz Bar, 22:30–03:00, £2 (£1)

Maggie’s Chamber, 19:00–23:00, £4

Bannerman’s, 20:00–23:00, Free

Classic rock covers.

The Jazz Bar, 23:00–03:00, £2 (£1)

Romantic orchestral performance.

Mon 14 Feb

Brian Kellock Trio

Scottish Ensemble: RSAMD, Side By Side

Queen’s Hall, 20:00–22:30, £12 (£10)

From classic pop to jazz standards.

Conan, Jackal-Headed Guard of the Dead Bannerman’s, 20:00–23:00, £4

Old St Paul’s Church Hall, 20:00–23:00, £8 (£6)

Jazz rock unit with manic vocals.

Sneaky Pete’s, 19:00–22:30, £6

Double bill of British rock.

Leith Folk Club: Sharon King and the Reckless Angels The Village, 19:30–22:45, £8

Tender Stateside prairie echoes.

Battle of The Bands Hard Rock Café, 20:00–23:00, Free

Live battle for a chance to perform at London’s Hard Rock Calling 2011.

Jackie Treehorn (Secta Rouge, Solomon Grundy, Silent Front) Henry’s Cellar, 20:00–23:45, £4

EP launch.

Wed 09 Feb Battle of The Bands Hard Rock Café, 20:00–23:00, Free

Live battle for a chance to perform at London’s Hard Rock Calling 2011.

Devil Sold His Soul, Feed the Rhino (Mind Set a Threat) Bannerman’s, 20:00–23:00, £7.50

Progressive metalcore.

Limbo (6 Day Riot, The Pineapple Chunks, White Heath)

Bannerman’s, 20:00–23:00, £4

Glamour & The Baybes The Jazz Bar, 22:30–03:00, £2 (£1)

Old and new songs from the Fence Collective folkie. BYOB!

Tue 15 Feb

Skip Little Axe McDonald

A Day Overdue, Autumn in Disguise, Altered Sky, Three Long Words

Voodoo Rooms, 20:00–01:00, £10

Solo show from the Sugarhill Gang man.

Late ‘n’ Live (Federeation of the Disco Pimp) The Jazz Bar, 23:30–03:00, £5 (£3)

The Store, 19:00–22:30, £5

Local showcase.

Leith Folk Club: Mike Vass The Village, 19:30–22:45, £8

Disco beats and trumpets.

Scottish fiddle player.

Sat 12 Feb

Ryan Francesconi (Rob St John, The Wee Rouge)

Jon Fratelli, Morning Parade

Old St Paul’s Church Hall, 20:00–23:00, £6

HMV Picture House, 19:00–22:00, £10

Part of the Next Big Thing showcase.

Shots Were Fired Henry’s Cellar, 19:00–22:00, £5

Traumatised songs of revenge.

To Catch A Thief (Atlas, Your First Mistake, The Winter Tradition) Electric Circus, 19:00–22:00, £4

Local rockers.

Weekend City Scene, Funky Moe & The Debt Collectors, Something Illustrated Wee Red Bar, 19:00–22:00, £5 (£4)

Experiemental batch of musicians.

Balkan composer and guitarist.

BYOB event.

Wed 16 Feb James Apollo (Emelle, Joshua Caole) Electric Circus, 19:00–22:00, £5

Romantic rambler.

This Is Not A Toga Party (Wildtype, Babylon Dub Punks, Edward and the Itch, Michael Steele) Maggie’s Chamber, 19:00–22:00, £3 (£2)

Student-friendly live music night.

Alister Spence Trio (Raymond MacDonald)

Voodoo Rooms, 20:00–01:00, £8

Conquering Animal Sound (Miaoux Miaoux)

The Ka-Tet

Experimental pop built from found sounds.

The Last Battle (Oso Street Outreach, Letters)

Blues and funk five-piece.

Transmission: The Sound of Joy Division

Noisy punk outfit.

Thu 10 Feb

Joy Division tribute.

Live music showcase night.

The Jazz Bar, 23:00–03:00, £2 (£1)

Stone Soup (Mairi Campbell) Maggie’s Chamber, 19:00–22:00, £6

Electric and acoustic music, poetry and stories. Hosted by davesnewbike.

Sneaky Pete’s, 19:00–22:30, £4

Voodoo Rooms, 19:30–01:00, £8

Bwani Junction (The Colours) Maggie’s Chamber, 20:00–23:00, £5

Upcoming Scottish talent.

The Jazz Bar, 20:00–22:30, £8 (£6)

Cutting-edge jazz improv.

Henry’s Cellar, 20:00–23:30, £5

Jammin’ at Voodoo

Penguin Cafe (Portico Quartet) Usher Hall, 19:30–22:30, £15 (£12.50)

Charming orchestral melodies.

Glamour & The Baybes

New Delusion, Morris Major, Outback Eskimos, Blues For Pocket Money

Jazz rock unit with manic vocals.

Henry’s Cellar, 19:00–22:00, £4

Great Junction Music Studios showcase.

The Streets HMV Picture House, 19:00–22:00, £17.50

Mike Skinner doing his thing.

Death Trap City (A Fight You Can’t Win, The Fatalists) Sneaky Pete’s, 19:00–22:30, £5

Bainbridge Music showcase.

RSNO: Sibelius Six and Seven Usher Hall, 19:30–22:30, From £10

Majestic final symphonies.

Head 2 Head The Jazz Bar, 20:00–22:30, £4 (£3)

Original jazz compositions.

Michael Marra (Mairi Campbell)

The Jazz Bar, 22:30–03:00, £2 (£1)

Tue 22 Feb Yuck (Paws, Young Spooks) Sneaky Pete’s, 19:00–22:30, £7

Lo-fi shoegaze, formed by chaps from Cajun Dance Party.

Leith Folk Club: Emily Barker and the Red Clay Halo The Village, 19:30–22:45, £8

Tender songwriting and instrumental backing.

Emma Forman, Sweep Across Horizons, Soundtracks for Daydreams, Nobody Else Maggie’s Chamber, 19:30–23:00, £5

LGBT Youth live music fundraiser.

Wed 23 Feb

Queen’s Hall, 20:00–22:30, £13 (£11)

Poetic troubadour.

Wynntown Marshals (Dolly Varden, Magnolia Summer)

Manatees, Khuda

Americana powerpop.

Bannerman’s, 20:00–23:00, £5

Technical and progressive rock.

Sat 19 Feb Figure 5 Cabaret Voltaire, 19:00–22:00, £tbc

Jangling indie.

No Drive Home, Altered Sky, The Koves, Virtue

Cabaret Voltaire, 19:00–22:00, £tbc

Martin Zenker Quartet The Jazz Bar, 20:00–22:30, £8 (£6)

Jazz four-piece from Hamburg.

Underword: The Ghost of William Shatner The Caves, 20:00–00:00, £4

Writers and performance poets bring stripped-down songs to the stage. Part of Let’s Get Lyrical.

Electric Circus, 19:00–22:00, £5

The Ka-Tet

Rob St John, Ziggy Campbell, Thirty Pounds Of Bone

Blues and funk five-piece.

Local band showcase.

Wee Red Bar, 19:00–22:00, £5 (£4)

Tasty Meat, Seafield Foxes, Chernobyl Dreams

Trashy punk rock.

Sneaky Pete’s, 19:00–22:30, £7.50

Hook-laden bouncy indie pop.

Umbilical Chord, Ana Trash & the Sociopaths

James Yorkston (Marry Waterson, Oliver Knight)

Hold Your Horse Is, Mojo Fury (Trapped In Kansas)

Cabaret Voltaire, 19:00–22:00, £6

Celebrating British composers.

Tue 08 Feb Cabaret Voltaire, 19:00–22:00, £14

Little Comets

Handpicked selection from music blogger Song, By Toad.

Doom metal and sludge.

Post punk pioneers

Studio 24, 19:00–22:00, £6

Queen’s Hall, 19:45–22:30, From £12

Jazz rock unit with manic vocals.

Wire

Delta blues grooves and roots.

Cabaret Voltaire, 19:00–22:00, £9

Henry’s Cellar, 19:00–22:00, £4

Manic musings and LP launch from Tasty Meat.

The Stay Gones, Ruby Alba, Curtarors, Taking Chase, From The Cradle To The Rave Maggie’s Chamber, 19:00–23:00, £10

Live music showcase.

Head 2 Head The Jazz Bar, 20:00–22:30, £4 (£3)

Original jazz compositions.

Bons Balls Bannerman’s, 20:00–23:00, £5

AC/DC tribute.

Late ‘n’ Live (Man At The Window) The Jazz Bar, 23:30–03:00, £5 (£3)

Glasgow-based reggae six-piece.

Sun 20 Feb Hair of the Dog Sundays (The Ordinary Allstars) Red Dog Music, 15:00–16:00, Free

Old school hip-hop hooks.

Sounds Of Guns (Pose Victorious, Thousandsounds) The Store, 19:00–22:30, £6

Towering indie-rock.

Stanley Odd Sneaky Pete’s, 19:00–22:30, £tbc

Unique live hip-hop.

CRANACHAN

The Jazz Bar, 23:00–03:00, £2 (£1)

Thu 24 Feb Voltage (Epic 26, Dupec, Stormy Seas) Electric Circus, 19:00–22:00, £5 (£4)

Launch night for Voltage, who host a trio of new acts.

SCO: Prokofiev Symphony Queen’s Hall, 19:30–22:30, From £9

Emotive orchestral performance.

Colours of One, Art of Privilige Bannerman’s, 20:00–23:00, £4

Melodic hardcore.

Fri 25 Feb Cherry Lee Mewis (Ben Poole) The Caves, 19:00–22:00, £8

Swinging roots and blues.

Darwin Deez The Liquid Room, 19:00–22:00, £10

American indie folksters.

Djevara, Hosemox Henry’s Cellar, 19:00–22:00, £4

Post hardcore and alternative metal.

Neon Cougar Wee Red Bar, 19:00–22:00, £5

80s glam hair metal.

Urban Scot Raw (Steg G, Wardie Burns, Werd, Adam Holmes) Studio 24, 19:00–22:00, £3

Selection of Scottish urban acts.

Chris J Smith (Laymanites, Fiasco, Work & Weather) Sneaky Pete’s, 19:00–22:30, £5

This Is Sound showcase.

Brian Hughes Bongo Club, 19:30–22:00, £8.50

Bannerman’s, 20:00–23:00, Free

Classic rock covers.

Singer/songwriter and his nine-piece band.

The Sunday Sinners

RSNO: Dvorak Cello Concerto

The Jazz Bar, 23:00–03:00, £2 (£1)

Tamla motown funk and soul.

Mon 21 Feb Mogwai

Usher Hall, 19:30–22:30, From £10

Melodic cello concerto.

Jazz Bar Mystery Quartet The Jazz Bar, 20:00–22:30, £4 (£3)

Un-named jazz line-up. Surprise!

Voodoo Rooms, 20:00–01:00, Free

Beautifully-crafted post rock.

HMV Picture House, 19:00–22:00, £tbc

Mari Wilson’s Threesome The queen of soulful pop.

The Ka-Tet

Or, the Whale (Chasing Owls)

Monthly live jam. Good with toast.

The Jazz Bar, 23:00–03:00, £2 (£1)

Blues and funk five-piece.

Electric Circus, 19:00–22:00, £7

Melodic rock with plenty riffs.

Queen’s Hall, 20:00–22:30, £12

Sinocence, A Machine Divine Bannerman’s, 20:00–23:00, £4

Bruising thrash metal.

Glasgow CLUBS Late ‘n’ Live (The Union) The Jazz Bar, 23:30–03:00, £5 (£3)

Funk and soul seven-piece.

Sat 26 Feb Beardyman The Liquid Room, 19:00–22:00, £12.50

Experimental funk.

Kid Canaveral Wee Red Bar, 19:00–22:00, £5

Lyrical indie pop.

Quarriers Live: Battle of the Bands Electric Circus, 19:00–22:00, £5

Live gig-cum-battle.

Tue 01 Feb I Am Sub Club, 23:00–03:00, £4

Student night with residents Beta & Kappa.

Killer Kitsch (Nom De Strip) Buff Club, 23:00–03:00, £4 (£3)

Electronic music of all ages for all ages, with Nom De Strip specialguesting.

Revolt The Garage, 23:00–03:00, £5 (£3)

Rock and metal. In the Attic.

Y’Uptae The Garage, 23:00–03:00, £5 (£3)

Student fun night.

Wed 02 Feb

Classic Fridays Classic Grand, 22:30–03:00, £5 (£4)

Aternative rock, metal and punk.

Supernova (Misjah) The Arches, 22:30–03:00, £12

Techno special guest.

Bigfoots Tea Party (Daniel Steinberg) Glasgow School of Art, 23:00–03:00, £10 (£8)

Experimental Berlin-based DJ guests.

Slabs Of The Tabernacle (Lone) La Cheetah, 23:00–03:00, £8 (£10 after 12)

House, electro and techno.

Subculture (Junior, Telford & Esa) Sub Club, 23:00–03:00, £8/£10

Electronic funk for freaks.

The Rock Shop Maggie May’s, 23:00–03:00, Free (£5 after 12)

Residents showdown.

Dinky The Arches, 23:00–03:00, £10

Dancefloor burning DJ. In the cafe bar.

Croos-genre danceathon.

Feel My Bicep

Sunday @ Bookclub

80s sleaze, house and disco.

Muck (Light Year)

Button Up

Atmospheric post-rock, with teeth.

This Is a .44 Magnum, Sweep Across Horizons

Chart and classics with Andy R.

Stoked The Garage, 23:00–03:00, £5 (£3)

Varied rock. In the Attic.

Henry’s Cellar, 20:00–23:00, £4

Wednesdays

Metal showcase.

Flat 0/1, 23:00–03:00, Free

Dollar Bill The Spiders Web, 20:30–23:00, £8

Rockin’ blues man.

Late ‘n’ Live (Digital Jones)

Synth funk and urban jams.

Take It Sleazy Nice ‘n’ Sleazy, 23:30–03:00, £1 (£3 after 12)

80s pop, synth and techno.

The Garage, 23:00–03:00, £5 (£3)

Stereo, 23:00–03:00, £5

Numbers Present Underground Quality (Levon Vincent, Jus-Ed)

Punter requests with Mythic and Muppet.

Two of house music’s finest.

Old Skool Buff Club, 23:00–03:00, £6

Jazz, funk and punk.

Only Fools and House Flat 0/1, 23:00–03:00, Free

House, disco and electro.

The Jazz Bar, 23:30–03:00, £5 (£3)

Propaganda

High-energy indie-pop.

Thursdays

Indie audio visual night.

Halt Bar, 20:00–00:00, Free

Riot Radio

Art School Thursdays

Maggie May’s, 23:00–03:00, Free (£5 after 12)

Deep house and slo-mo techno.

SCO Chaamber Concert

Glasgow School of Art, 22:00–03:00, £4 (£3)

Queen’s Hall, 14:30–17:00, £12

Romantic orchestral performance.

Hair of the Dog Sundays (The Gillyflowers) Red Dog Music, 15:00–16:00, Free

Heart-melting country pop.

A Lyrical Death Match: Cargo Vs Chemikal (Alan Bissett, Ryan Van Winkle, Emma Polllock, Lord Cutglass) The Caves, 18:00–00:00, £13 (£9)

Cargo publishing and music label Chemikal Underground join forces for prose, poetry and song. Part of Let’s Get Lyrical.

Ashes To Angels, Danzig, Two Steps To Envy Wee Red Bar, 19:00–22:00, £tbc

From goth rock to metallic progressive.

The Solid Silver 60s Show Usher Hall, 19:30–22:30, From £21

D’n’B night.

Buff Thursdays Buff Club, 23:00–03:00, £3

Euan Neilson plays the best of Buff.

Co-Op Sub Club, 23:00–03:00, £3 (£2)

Weekly party curated by Orderly Disorder, Mount Heart Attack and Dirty Noise.

Feel My Bicep Flat 0/1, 23:00–03:00, Free

80s sleaze, house and disco.

I.DJ Shed, 23:00–03:00, £2

Punter iPod playlists.

Misbehavin’ (Dolly Daydream, Drucifer) Cathouse, 23:00–03:00, £3 (£2)

Electro, dance and dirty pop.

Scuzzy alternative rock.

The Sunday Sinners The Jazz Bar, 23:00–03:00, £2 (£1)

Tamla motown funk and soul.

The Garage, 23:00–03:00, £5 (£3)

Maggie May’s, 23:00–03:00, Free (£5 after 12)

The newest in indie, rock and pop.

Skint/Vengeance Cathouse, 23:00–03:00, £3 (£2)

Suck My Decks The Garage, 23:00–03:00, £5 (£3)

Hip-hop and dirty house.

Classic Grand, 23:00–03:00, £3

Funk, soul and post-punk.

Burn Buff Club, 23:00–03:00, £5 (£3)

Damaged Goods

Disco, funk and electro.

Nice ‘n’ Sleazy, 23:30–03:00, Free (£3 after 11.30)

Inked

Punk rock, reggae and NY disco.

The Garage, 23:00–03:00, £5 (£3)

Rock, emo and punk. In the Attic.

Sat 05 Feb

Tue 08 Feb

Voodoo

I Am

Cathouse, 16:00–21:00, £6 (£3 members)

Sub Club, 23:00–03:00, £4

Rock, metal and indie. Under 18s.

Student night with residents Beta & Kappa.

Saturday @ Bookclub

Killer Kitsch

Hillhead Bookclub, 21:00–00:00, Free

Buff Club, 23:00–03:00, £4 (£3)

Funk, soul and hip-hop.

Electronic music of all ages for all ages.

Butterfly Saturdays

Revolt

Butterfly & Pig, 21:00–03:00, Free

The Garage, 23:00–03:00, £5 (£3)

Balkan beats and big band gypsy.

Colours 16th Birthday (Paul Van Dyk, Chuckie)

Nice ‘n’ Sleazy, 23:30–03:00, £2 (£3 after 1)

Impact (Infexious, Pavo, The R3bels)

Wed 09 Feb

Special guest party night.

Soundhaus, 22:00–03:00, £13

Shed, 22:00–03:00, Free (£6 after 11)

Absolution

Bazodee

Danse Macabre

The Arches, 22:00–03:00, £25

Cheap ‘n’ Nasty

Butterfly & Pig, 19:00–03:00, Free

Student fun night.

Old-school goth rock and classic disco.

Pop classics and hip-hop.

Disco, indie, electro and funk.

The Garage, 23:00–03:00, £5 (£3)

Classic Grand, 22:30–03:00, £5 (£4)

Pop, punk, metal and rock.

Cathouse Saturdays Cathouse, 22:30–03:00, £6 (£5)

Rock, punk and metal.

I Heart the Garage more than yer Maw The Garage, 22:30–03:00, £5 (£3)

Vinyl Night Butterfly & Pig, 21:00–12:00, Free

Hip-hop, mod, funk and ska.

Octopussy The Arches, 22:30–03:00, £7 (£5)

Bouncy castle fun night.

Gaga Wednesdays The Garage, 23:00–03:00, £5 (£3)

Chart and classics with Andy R.

Labelled (Drucifer) Cathouse, 23:00–03:00, £3 (£2)

Love Music

Wednesdays

Friday @ Bookclub

O2 ABC, 23:00–03:00, £7

Hillhead Bookclub, 21:00–00:00, Free

Classic and underground disco.

Maggie’s Chamber, 19:00–22:30, £5

Crash

Folk rockers embark on UK tour.

Shed, 22:00–03:00, Free (£5 after 11)

Pop, dance and hip-hop.

Ballbreaker/Vice Cathouse, 22:30–03:00, £6 (£5)

Rock, metal and indie. Resident DJs.

Maggie May’s, 23:00–03:00, Free (£5 after 12)

The newest in indie, rock and pop.

Skint/Vengeance Cathouse, 23:00–03:00, £3 (£2)

Emo, punk and metal. Resident DJs.

Stay Plastic: 1st Birthday (Partice Scott) La Cheetah, 23:00–03:00, £10

Birthday celebrations with special guests.

Thursdays Classic Grand, 23:00–03:00, £3

Saturday night disco.

Nu Skool Buff Club, 23:00–03:00, £6

Nice ‘n’ Sleazy, 23:30–03:00, £2

Disco, indie and punk spectacular.

Fri 11 Feb Butterfly Fridays Butterfly & Pig, 19:00–03:00, Free

Resident bands night.

Scarlett Fever Valentines Ivory Blacks, 19:30–23:00, £10

Burlesque-themed night with guest performer Dolly Tartan.

Friday @ Bookclub Hillhead Bookclub, 21:00–00:00, Free

90s tunes and free bingo. In the kitchen bar.

Crash Shed, 22:00–03:00, Free (£5 after 11)

Yoyo Saturday Shed, 22:00–03:00, Free (£6 after 11)

Pop classics and hip-hop.

Absolution Classic Grand, 22:30–03:00, £5 (£4)

Pop, punk, metal and rock.

Cathouse Saturdays Cathouse, 22:30–03:00, £6 (£5)

Taste of Chaos aftershow special.

Traffic Light Party The Garage, 22:30–03:00, £5 (£3)

Red for taken, green for single.

CODE: 1st Birthday (Hans Bouffmyhre) Club 69, 23:00–03:00, £5

Crash

Burn

Pop, dance and hip-hop.

Ballbreaker/Vice

Inked

Rock, metal and indie. Resident DJs.

The Garage, 23:00–03:00, £5 (£3)

Rock, emo and punk. In the Attic.

Valentine’s Speed Dating The Garage, 23:00–03:00, £5 (£3)

Flirty matchmaking fun night.

Tue 15 Feb I Am Sub Club, 23:00–03:00, £4

Student night with residents Beta & Kappa.

Killer Kitsch Buff Club, 23:00–03:00, £4 (£3)

Electronic music of all ages for all ages.

Revolt The Garage, 23:00–03:00, £5 (£3)

Student fun night.

Wed 16 Feb Vinyl Night

The Arches, 22:30–03:00, £7 (£5)

Bouncy castle fun night.

Gaga Wednesdays The Garage, 23:00–03:00, £5 (£3)

Chart and classics with Andy R. The Garage, 23:00–03:00, £5 (£3)

Varied rock. In the Attic.

Flat 0/1, 23:00–03:00, Free

Nice ‘n’ Sleazy, 23:30–03:00, £tbc

New electro and dubstep night from the Homebass crew.

Thu 17 Feb Thursdays Halt Bar, 20:00–00:00, Free

Deep house and slo-mo techno.

Only Fools and House Flat 0/1, 23:00–03:00, Free

House, disco and electro.

Propaganda O2 ABC, 23:00–03:00, £5

Indie audio visual night.

Indie rock and roll, from the 60s to now.

In About It

Stereo, 23:00–03:00, £5

Tech and dirty beats.

Power Tools

Thursdays

Flat 0/1, 23:00–03:00, Free

Halt Bar, 20:00–00:00, Free

Nice ‘n’ Sleazy, 23:30–03:00, Free (£3 after 11.30)

Flying Duck, 23:00–03:00, Free (£3£5 after 11)

Kino Fist 60s psyche, new wave and sleaze.

The Garage, 23:00–03:00, £5 (£3)

Numbers (Joy Orbison, Jackmaster) Stereo, 23:00–03:00, £10

Numbers back-to-back set, plus a two-hour warm-up from Deadboy.

Buff Club, 23:00–03:00, £6

Only Fools and House Flat 0/1, 23:00–03:00, Free

House, disco and electro.

Propaganda O2 ABC, 23:00–03:00, £5

Indie audio visual night.

Riot Radio Maggie May’s, 23:00–03:00, Free (£5 after 12)

Indie rock and roll, from the 60s to now.

Sensu (Raresh) Sub Club, 23:00–03:00, £10

Sensu’s party goes monthly.

Upside Down Nice ‘n’ Sleazy, 23:30–03:00, Free (£3 after 11.30)

Quality tunes with the residents.

Sat 19 Feb Voodoo

Euan Neilson plays the best of Buff.

Rock, metal and indie. Under 18s.

Co-Op

Hillhead Bookclub, 21:00–00:00, Free

Blackfriars Basement, 23:00–03:00, £3 (£5 after 12)

Funk and soul.

Flat 0/1, 23:00–03:00, Free

Sub Club, 23:00–03:00, £3 (£2)

Sub Club, 23:00–03:00, £8/£10

Maggie May’s, 23:00–03:00, Free (£5 after 12)

Rock, indie and surf classics.

Wrong Island Nice ‘n’ Sleazy, 23:30–03:00, Free (£3 after 11.30)

Electronic and club classics.

Sun 13 Feb Sunday @ Bookclub Hillhead Bookclub, 17:00–20:00, Free

Relaxed rockabilly social club.

Button Up Flat 0/1, 21:00–02:00, Free

R’n’B, jump jive and exotica.

Cathouse Sundays Cathouse, 23:00–03:00, £2 (£1)

Cryotec (Daniel Graves)

House bands and DJ Dave Stone.

Classic Grand, 23:00–03:00, £3

Yoyo Saturday Pop classics and hip-hop.

Exclusive Scottish DJ set.

Butterfly & Pig, 21:00–03:00, Free

Shed, 22:00–03:00, Free (£6 after 11)

Absolution

I.DJ

Pop, punk, metal and rock.

Classic Grand, 22:30–03:00, £5 (£4)

Shed, 23:00–03:00, £2

Cathouse Saturdays

Rubbermensch

Rock, punk and metal.

Punter iPod playlists.

O2 ABC, 23:00–03:00, £4

Indie night.

Rumble Thursdays The Garage, 23:00–03:00, £5 (£3)

Cathouse, 22:30–03:00, £6 (£5)

I Heart the Garage more than yer Maw The Garage, 22:30–03:00, £5 (£3)

Massive student fun night.

Bouncy castle fun night.

AV (Mr Copy, Chris Lamb)

Shake It Up

Glasgow School of Art, 23:00–03:00, £5 (£4)

Maggie May’s, 23:00–03:00, Free (£5 after 12)

Dance and dark techno.

The newest in indie, rock and pop.

Death Disco (The Magician)

Skint/Vengeance

Alternative disco and dirty electro.

Cathouse, 23:00–03:00, £3 (£2)

The Arches, 23:00–03:00, £14

Emo, punk and metal. Resident DJs.

Love Music

Thursdays

Saturday night disco.

Classic Grand, 23:00–03:00, £3

Hung Up!

Best in Show

Shedkandi ( )

Butterfly Saturdays

Flat 0/1, 23:00–03:00, Free

Emo, punk and hardcore.

Sub Club, 23:00–03:00, £tbc

Saturday @ Bookclub Funk, soul and hip-hop.

Punter requests with Mythic and Muppet.

Optimo-curated weekly night.

Cathouse, 16:00–21:00, £6 (£3 members)

Weekly party curated by Orderly Disorder, Mount Heart Attack and Dirty Noise.

80s sleaze, house and disco.

Buff Club, 23:00–03:00, £6

Global bass, garage and dubstep.

Pass The Peas (DJ Dan)

Buff Club, 23:00–03:00, £3

The Rock Shop

Jazz, funk and punk.

Glasgow School of Art, 23:00–03:00, £5 (£3)

Buff Thursdays

Feel My Bicep

Old Skool

Mixed Bizness (MJ Cole)

Buff Club, 23:00–03:00, £6

Electronic funk for freaks.

The Garage, 23:00–03:00, £5 (£3)

Flying Duck, 23:00–03:00, £5 (£4)

Lesbian night of Italo-house and electro.

Jazz, funk and punk.

Classic Fridays

Chart, indie and hip-hop.

Lock Up Your Daughters

Octopussy

Subculture (Harri & Domenic)

Mobile Disco Fridays

Roots, reggae and dancehall.

Old Skool

Rock, metal and indie. Resident DJs. Classic Grand, 22:30–03:00, £5 (£4)

Blackfriars Basement, 23:00–03:00, £3

Butterfly & Pig, 21:00–12:00, Free

Hip-hop, mod, funk and ska.

Jakebeats

Italo, disco and house.

Aternative rock, metal and punk.

Argonaut Sounds Reggae Soundsystem (DJ Caroline)

Chart, indie and hip-hop.

The Garage, 23:00–03:00, £5 (£3)

Love Music

La Cheetah, 23:00–03:00, £8 (£10 after 12)

Classic Grand, 22:30–03:00, £5 (£4)

Aternative rock, metal and punk.

Mobile Disco Fridays

Synth funk and urban jams.

Mount Heart Attack (Cosmin TRG)

Classic Fridays

Y’Uptae

New night of female-driven music.

Saturday night disco.

Cathouse, 22:30–03:00, £6 (£5)

Rock and metal. In the Attic.

Wednesdays

O2 ABC, 23:00–03:00, £7

Shed, 22:00–03:00, Free (£5 after 11)

Disco, funk and electro.

Hotwire Flying Duck, 23:00–03:00, £5

The Arches, 22:00–03:00, £19

Kerrang Relentless afterparty.

Stoked

Ballbreaker/Vice Cathouse, 22:30–03:00, £6 (£5)

Cathouse, 22:30–03:00, Free

Paisley producer and DJ of the techno variety, Hans Bouffmyhre, guests.

Power Tools

Themed mash-up night, of 80s day-glo.

Deep house and slo-mo techno.

Soundhaus, 22:00–03:00, £tbc

Pop, dance and hip-hop.

Garage punk, sleaze and rock.

Italo, disco and house.

Soundhaus, 22:00–03:00, £7

Fidget, techno and house.

Funky disco and soul.

Thu 10 Feb

Flying Duck, 23:00–03:00, £6 (£5)

House bands and DJ Dave Stone.

Flying Duck, 21:00–03:00, Free (£3£5 after 11)

The Cave

Orderly Disorder

Butterfly & Pig, 21:00–03:00, Free

Nu Skool

RPZ Vs Thunder Disco Club

Nice ‘n’ Sleazy, 23:30–03:00, £4 (£3)

Butterfly Saturdays

Common People: 1st Birthday

Techno and disco from the Subcity Radio crew.

Funky disco and soul.

Funk, soul and hip-hop.

Classic and underground disco.

Flat 0/1, 23:00–03:00, Free

Synth funk and urban jams.

Hillhead Bookclub, 21:00–00:00, Free

Scottish debut from the technotinged groover.

Maggie May’s, 23:00–03:00, Free (£5 after 12)

Varied rock. In the Attic.

Saturday @ Bookclub

Funk-filled tunes and sexy costumes.

Riot Radio

Massive student fun night.

Halt Bar, 20:00–00:00, Free

Over 25 artists over eight-hours.

Shake It Up

Bouncy castle fun night.

Stoked

Reggae beats.

Buff Club, 23:00–03:00, £5 (£3)

The Garage, 23:00–03:00, £5 (£3)

Gay night, with a rock twist.

The Garage, 23:00–03:00, £5 (£3)

The Arches, 20:00–04:00, £25

Fresh Lick: Valentine’s Ball

Andy R plays the hits.

Emo, punk and hardcore.

Nice ‘n’ Sleazy, 23:30–03:00, £3

Rumble Thursdays

Superfly Flying Duck, 23:00–03:00, £5

Electro remix legends.

Rubbermensch

Teenage Lust

The Garage, 23:00–03:00, £5 (£3)

2manydjs

Disuko (Speedu Action, ZiggyGee, Junior Lazarou)

O2 ABC, 23:00–03:00, £4

Hillhead Bookclub, 21:00–00:00, Free

Classic and underground disco.

Mon 14 Feb

Burlesque-themed Valentine’s ball.

Indie night.

Friday @ Bookclub

Pop Punk Party (Mythic)

Shed, 23:00–03:00, £2

Punter iPod playlists.

The Garage, 23:00–03:00, £5 (£3)

Fantasylands Valentines Festival (D-Block & S-Te-Fan, Breenan Heart, DJ Isaac)

Rock, metal and indie. Under 18s.

I.DJ

Emo, punk and hardcore.

Yoyo Saturday

Admiral Fallow (Alasdair Young)

The Jazz Bar, 22:30–03:00, £2 (£1)

Buff Club, 23:00–03:00, £3

Funk, house and electro.

Hip-hop and dirty house.

Cathouse, 16:00–21:00, £6 (£3 members)

O2 Academy, 21:00–03:00, £15.50

Mon 07 Feb

Thursdays

Rap wordsmith from Fulham.

Jazz rock unit with manic vocals.

Sin City

Suck My Decks

Club Noir Valentine’s Masked Ball

Alibi Mondays

Hardstyle, trance and tech.

Resident bands night.

Glamour & The Baybes

House and R’n’B.

Sat 12 Feb Voodoo

Flat 0/1, 23:00–03:00, Free

Indie rock and roll, from the 60s to now.

Emo, punk and metal. Resident DJs.

Butterfly Fridays

The Amsterdams

Shed, 23:00–03:00, £2

Rumble Thursdays

Example (Starsmith)

Louis Abbot’s rousing indie-folk crossover.

Shedkandi

Y’Uptae

Fri 04 Feb

Sneaky Pete’s, 19:00–22:30, £7

Optimo-curated weekly night.

Glasgow School of Art, 22:00–03:00, £8

Mon 28 Feb HMV Picture House, 19:00–22:00, £15

Sub Club, 23:00–03:00, £tbc

BALKANARAMA (Robert Soko, Baghdaddies, Black Cat)

Indie night.

Stormy Sunday Blues

Bannerman’s, 20:00–23:00, £4

Hung Up!

O2 ABC, 23:00–03:00, £4

Rubbermensch

Shake It Up

Vices, Black Avenue, Wildtype (Legends of Awesome)

Cathouse, 23:00–03:00, £2 (£1)

Rock and metal. In the Attic.

Bouncy castle fun night.

Blues showcase from James Carr.

O2 ABC, 23:00–03:00, £5

Cathouse Sundays

House bands and DJ Dave Stone.

Original 60s hits.

The Jazz Bar, 20:00–22:30, £5 (£3)

Flat 0/1, 21:00–02:00, Free

R’n’B, jump jive and exotica.

Thu 03 Feb

Sun 27 Feb

Hillhead Bookclub, 17:00–20:00, Free

Electro, techno and house, with a debut slot from Australia’s Light Year.

Sub Club, 23:00–03:00, £10

Sub Club, 23:00–03:00, £3 (£2)

Weekly party curated by Orderly Disorder, Mount Heart Attack and Dirty Noise.

Sun 06 Feb Relaxed rockabilly social club.

Sneaky Pete’s, 19:00–22:30, £5

Flying Duck, 23:00–03:00, £5 (£4)

Co-Op

Chart, indie and hip-hop.

The Garage, 23:00–03:00, £5 (£3)

Cloak & Dagger

Nice ‘n’ Sleazy, 23:30–03:00, Free (£3 after 11.30)

Octopussy Gaga Wednesdays

Euan Neilson plays the best of Buff.

Pandemic

Mobile Disco Fridays

Bouncy castle fun night.

Buff Club, 23:00–03:00, £3

Club 69, 23:00–03:00, £6

Butterfly & Pig, 21:00–12:00, Free

The Arches, 22:30–03:00, £7 (£5)

Buff Thursdays

Blink (Nini, Mofo, David Todd, Kenny Campbell)

Vinyl Night

Penguins Kill Polar Bears (Aviation For Kids, Your Neighbour The Liar, Tiny Little Robots)

Underground techy, tribal, D’n’B and house.

Electro, alternative and nu-disco.

Bongo Club, 19:00–22:00, £5

Hip-hop, mod, funk and ska.

Stereo, 22:00–03:00, £5

Rock, indie and surf classics.

Underclass (The Red Show, Scrap Brain) Double A-side vinyl launch.

Oxygen Junkies (Slazenger Oats, Ryan McKenna, Dave Robertson)

Nice ‘n’ Sleazy, 23:30–03:00, £2

Indie, electro and pop from the ex-Findo Gask lads.

O2 ABC, 23:00–03:00, £7

Mungo’s Hi Fi Sound System (Dixie Peach, Afrikan Simba) Stereo, 23:00–03:00, £8

Heavyweight selection and MC combination.

Nu Skool

Shed, 23:00–03:00, £2

House and R’n’B.

Fri 18 Feb

Funky disco and soul.

Sin City

Butterfly Fridays

Buff Club, 23:00–03:00, £3

Butterfly & Pig, 19:00–03:00, Free

Power Tools

Funk, house and electro.

Resident bands night.

Buff Club, 23:00–03:00, £6

Flat 0/1, 23:00–03:00, Free

Italo, disco and house.

February 2011

THE SKINNY 57

GLASGOW CLUBS SINGLES NIGHT

CO-OP

FLYING DUCK, 23:00–03:00, FREE (£3£5 AFTER 11)

SUB CLUB, 23:00–03:00, £3 (£2)

7-inches, all night long.

SUBCULTURE (MAURICE FULTON) SUB CLUB, 23:00–03:00, £8/£10

FREE ENTRY EVERY TUESDAY- RESTLESS http://www.facebook.com/club.restless THURSDAY 1st,3rd 4th thursday of the month THE BUNKER 2nd Thursday of the month GLOCK'N'SHPIEL

Lo-Tone FRIDAY 4th FEB

a collective of djs and producers with an affliction for dance music in all its permutations. .rst friday of every month.

£3 entry

THE ROCK SHOP

DO U REMEMBER?

FREE IN for the rst 50 (before 11pm), £7/£6 Techno/Electro/Electronica

ELECTRIKAL SOUND SYSTEM WITH DATSIK WEDNESDAY 16TH FEB

ADVANCE TICKETS £6 DATSIK (90 MINUTE SET) (UK TOUR - ONLY SCOTTISH DATE) DUBSTEP

WOLF PARTY FRI 18th FEB

£3/4 the indpendent indie night http://www.facebook.com/wolfpartyedinburgh

KIDOLOGY "Be My Valentine" Ball !

SAT 19TH FEB Be My Valentine" Special...If you come with your Valentine pay for just one entry £6/8 HOUSE/TECHNO

SOUND OF GUNS + POSE VICTORIOUS SUNDAY 20TH FEB DOORS 7PM, 14+, £6

MODERN LOVERS FRI 28th JAN £4/5

Rhythm & Blues, Rock 'n' Roll, Garage Punk, Funk & Breaks, Northern and Soul AVAILBLE FOR HIRE for all bookings email info@thestorevenue.com call 0131 220 2987 or message us on facebook

58 THE SKINNY FEBRUARY 2011

Pop quiz and musical bingo.

CLASSIC GRAND, 22:30–03:00, £5 (£4)

ANTICS

Pop, punk, metal and rock.

CATHOUSE SATURDAYS CATHOUSE, 22:30–03:00, £6 (£5)

Rock, punk and metal.

I HEART THE GARAGE MORE THAN YER MAW

80s sleaze, house and disco.

Massive student fun night.

I.DJ

LOVE MUSIC

Indie dancing club, for dancing.

SUN 20 FEB SUNDAY @ BOOKCLUB

FLAT 0/1, 23:00–03:00, FREE

SHED, 23:00–03:00, £2

RUBBERMENSCH

MODERN LOVERS

O2 ABC, 23:00–03:00, £4

Relaxed rockabilly social club.

RUMBLE THURSDAYS

BUTTON UP

Bouncy castle fun night.

FLAT 0/1, 21:00–02:00, FREE

CATHOUSE SUNDAYS CATHOUSE, 23:00–03:00, £2 (£1)

Punter requests with Mythic and Muppet.

GSFF CLOSING PARTY: HUNG UP! SUB CLUB, 23:00–03:00, £TBC

Optimo-curated weekly night.

SHEDKANDI SHED, 23:00–03:00, £2

House and R’n’B.

BUFF CLUB, 23:00–03:00, £3

SUCK MY DECKS THE GARAGE, 23:00–03:00, £5 (£3)

Hip-hop and dirty house.

SPECTRA

O2 ABC, 23:00–03:00, £7

Saturday night disco.

Indie night.

R’n’B, jump jive and exotica.

THE GARAGE, 22:30–03:00, £5 (£3)

Punter iPod playlists.

HILLHEAD BOOKCLUB, 17:00–20:00, FREE

Funk, house and electro.

SUBSTANCE vs I LOVE ACID SAT 12TH FEB

ABSOLUTION

NICE ‘N’ SLEAZY, 23:30–03:00, FREE (£3 AFTER 11.30)

PULSE PRESENTS ALAN FITZPATRICK SAT 5TH FEB

£3/5 House / Techno / Electro! www.facebook.com/elementarynights

Anything goes tunes and nostalgic visuals.

THE GARAGE, 23:00–03:00, £5 (£3)

SHAKE IT UP MAGGIE MAY’S, 23:00–03:00, FREE (£5 AFTER 12)

The newest in indie, rock and pop.

SKINT/VENGEANCE CATHOUSE, 23:00–03:00, £3 (£2)

Emo, punk and metal. Resident DJs.

THURSDAYS CLASSIC GRAND, 23:00–03:00, £3

TUE 01 FEB CIRCUS ARCADE

FEEL MY BICEP

www.facebook.com/LoTone

ELEMENTARY RESIDENTS PARTY FRIDAY 11TH FEB

STEREO, 23:00–03:00, £4 (£2)

SHED, 22:00–03:00, FREE (£6 AFTER 11)

Pop classics and hip-hop.

BOTTLE ROCKET

SIN CITY

HOUSE-TECHNO-ELECTRO ADVANCE TICKETS £8

CATHOUSE, 23:00–03:00, £3 (£2)

Electronic funk for freaks.

Rock, indie and surf classics.

37 guthrie (formerly the GRV)

COUNTERFIET 90s nu-metal.

MAGGIE MAY’S, 23:00–03:00, FREE (£5 AFTER 12)

.nd us on facebook The Store Edinburgh

Weekly party curated by Orderly Disorder, Mount Heart Attack and Dirty Noise.

YOYO SATURDAY

EDINBURGH CLUBS

FLYING DUCK, 23:00–03:00, FREE (£3£5 AFTER 11)

ELECTRIC CIRCUS, 20:00–01:00, FREE

THE HIVE, 22:00–03:00, FREE

Rock, indie and punk.

RESTLESS THE STORE, 23:00–03:00, FREE

Electro, breaks and dubstep.

SOUL JAM HOT SNEAKY PETE’S, 23:00–03:00, FREE

Funk, soul and hip-hop.

SPLIT CABARET VOLTAIRE, 23:00–03:00, FREE

D’n’B, breaks and electro.

TUESDAY HEARBREAK THE JAZZ BAR, 23:00–03:00, £2 (£1)

Swirling guitars and driving beats.

Soul, psych and garage punk.

WED 02 FEB

NO SLEEP: RAMADANMAN

HUSH

LA CHEETAH, 23:00–03:00, £10

From deep house to jungle with guest Ramadanman.

NU SKOOL

ELECTRIC CIRCUS, 21:00–01:00, FREE

Northern soul and funk, plus cocktails.

BANGERS & MASH THE HIVE, 22:00–03:00, £1 (£3 AFTER 11)

BUFF CLUB, 23:00–03:00, £6

Chart and cheese.

Funky disco and soul.

INDIGO

POWER TOOLS

Indie, pop and alternative.

FLAT 0/1, 23:00–03:00, FREE

THE LIQUID ROOM, 22:30–03:00, £3 (£1)

Emo, punk and hardcore.

Italo, disco and house.

AXIS

THE PUMP CLUB

SUBCULTURE (HARRI & DOMENIC)

Electro, fidget and bassline house.

NICE ‘N’ SLEAZY, 23:30–03:00, £2

Electronic workout with the regulars.

FRI 25 FEB

SUB CLUB, 23:00–03:00, £8/£10

BONGO CLUB, 23:00–03:00, FREE

Dub, dubstep and jungle.

THE ROCK SHOP

SLAP BANG

MAGGIE MAY’S, 23:00–03:00, FREE (£5 AFTER 12)

BUTTERFLY & PIG, 19:00–03:00, FREE

Rock, indie and surf classics.

FRIDAY @ BOOKCLUB

JUNGLEDUB

Electronic funk for freaks.

BUTTERFLY FRIDAYS Resident bands night.

SNEAKY PETE’S, 23:00–03:00, FREE

TRONICSOLE (PEZZNER)

CABARET VOLTAIRE, 23:00–03:00, FREE

Mid-week residents party.

THU 03 FEB

THE ADMIRAL, 23:00–03:00, £10 (£9 MEMBERS)

MOVEMENT

Classic and underground disco.

Seattle deep house live guest.

MON 21 FEB

CRASH

ALIBI MONDAYS

Pop, dance and hip-hop.

LET’S GO BACKÉWAY BACK (DESERT STORN, DRIBBLER)

Independent releases, local and international.

NICE ‘N’ SLEAZY, 23:30–03:00, £4 (£5)

Electro, techno and rock, plus visual electronics.

HILLHEAD BOOKCLUB, 21:00–00:00, FREE

SHED, 22:00–03:00, FREE (£5 AFTER 11)

STEREO, 23:00–04:00, £10

THE GARAGE, 23:00–03:00, £5 (£3)

THE GARAGE 17TH BIRTHDAY

Acid house, techno and rave.

THE GARAGE, 22:00–03:00, £5 (£3)

BURN

Charlie and the Chocolate Factorythemed antics, with candy floss and chocolate fountain.

HOT CLUB

Andy R plays the hits.

BUFF CLUB, 23:00–03:00, £5 (£3)

Disco, funk and electro.

INKED

BALLBREAKER/VICE CATHOUSE, 22:30–03:00, £6 (£5)

THE GARAGE, 23:00–03:00, £5 (£3)

Rock, metal and indie. Resident DJs.

TUE 22 FEB

CLASSIC FRIDAYS

I AM

Aternative rock, metal and punk.

Rock, emo and punk. In the Attic.

SUB CLUB, 23:00–03:00, £4

Student night with residents Beta & Kappa.

KILLER KITSCH BUFF CLUB, 23:00–03:00, £4 (£3)

Electronic music of all ages for all ages.

REVOLT THE GARAGE, 23:00–03:00, £5 (£3)

CLASSIC GRAND, 22:30–03:00, £5 (£4)

HOW’S YOUR PARTY (REDLIGHT, TAYO, BOOM MONK BEN) SUB CLUB, 23:00–03:00, £8 (£6)

BUTTERFLY & PIG, 21:00–12:00, FREE

Hip-hop, mod, funk and ska.

OCTOPUSSY

FLAT 0/1, 23:00–03:00, FREE

FLYING DUCK, 23:00–03:00, £5 (£4 LADIES)

Long-running indie night.

PROPAGANDA O2 ABC, 23:00–03:00, £5

FLAT 0/1, 23:00–03:00, FREE

Synth funk and urban jams.

DIRTY NOISE NICE ‘N’ SLEAZY, 23:30–03:00, £5

Underground hits and visuals.

Relaxed rockabilly social club.

OCTOPUSSY

BUTTON UP

Chart, indie and electro.

FLAT 0/1, 21:00–02:00, FREE

HMV PICTURE HOUSE, 23:00–03:00, £6 (£4)

Punter requests with Mythic and Muppet.

HUNG UP! SUB CLUB, 23:00–03:00, £TBC

Optimo-curated weekly night.

SHEDKANDI SHED, 23:00–03:00, £2

House and R’n’B.

CABARET VOLTAIRE, 23:00–03:00, FREE

THE STORE, 23:00–03:00, FREE

The Dubkaos DJs play jungle, hardcore and D’n’B.

WE GOT SOUL BONGO CLUB, 23:00–03:00, FREE

Funk and soul beats.

FRI 04 FEB BALKANARAMA (ROBERT SOKO, BAGHDADDIES, BLACK CAT) Balkan beats and big band gypsy folk.

SUCK MY DECKS

MISFITS

BUFF CLUB, 23:00–03:00, £3

THE GARAGE, 23:00–03:00, £5 (£3)

TRASH AND BURN

EVOL

CLASSIC GRAND, 23:00–03:00, £4

SAT 26 FEB

NICE ‘N’ SLEAZY, 23:30–03:00, £3 (£4)

CATHOUSE, 16:00–21:00, £6 (£3 MEMBERS)

Rock, metal and indie. Under 18s.

DIRTY BOOTY BUTTER

House bands and DJ Dave Stone.

DER SUPERMAX LOVE MACHINE (BILLY WOODS)

BRUNSWICK HOTEL, 22:00–02:00, £5

Rock’n’roll discotheque.

LANE NIGHTCLUB, 22:30–03:00, £7

CITRUS CLUB, 22:30–03:00, FREE (£6 AFTER 11)

Andy R plays the hits.

BUFF THURSDAYS

FUSE (CONGOROCK)

MON 28 FEB ALIBI MONDAYS

Deep house and slo-mo techno.

Indie, pop and electro.

Edinburgh debut for Congorock.

HILLHEAD BOOKCLUB, 21:00–00:00, FREE

BUTTERFLY & PIG, 21:00–03:00, FREE

THE LIQUID ROOM, 22:30–03:00, FREE (£6 AFTER 11)

Hip-hop, breakbeats and funky house.

SATURDAY @ BOOKCLUB

BUTTERFLY SATURDAYS

THE HIVE, 22:00–03:00, FREE (£4 AFTER 10)

Chart, electro and alternative.

Glam and hair metal classics.

VOODOO

STUDIO 24, 22:00–03:00, £7 (£9 AFTER 11)

Hip-hop and dirty house.

Indie, electro and anything else they fancy playing.

THURSDAYS

BUFF CLUB, 23:00–03:00, £3

SNEAKY PETE’S, 23:00–03:00, FREE

Funk, house and electro.

MAGGIE MAY’S, 23:00–03:00, FREE (£5 AFTER 12)

Funk, soul and hip-hop.

Euan Neilson plays the best of Buff.

Remixed disco and soul.

RIOT RADIO

THU 24 FEB HALT BAR, 20:00–00:00, FREE

DAPPER DANS

HILLHEAD BOOKCLUB, 17:00–20:00, FREE

Indie audio visual night.

NICE ‘N’ SLEAZY, 23:30–03:00, FREE (£3 AFTER 11.30)

WEDNESDAYS

SUNDAY @ BOOKCLUB

SIN CITY

THE GARAGE, 23:00–03:00, £5 (£3)

THE GARAGE, 23:00–03:00, £5 (£3)

Retro with DJ Bob Grasse.

THE BUNKER

ONLY FOOLS AND HOUSE

BLACK TENT

Varied rock. In the Attic.

WEE RED BAR, 22:30–03:00, £3

SUN 27 FEB

CATHOUSE, 23:00–03:00, £2 (£1)

Jazz, funk and punk.

GAGA WEDNESDAYS STOKED

THE VINYL

Indie and electro fave.

Bouncy castle fun night.

Chart and classics with Andy R.

D’n’B, dubstep and bassline.

CATHOUSE SUNDAYS

BUFF CLUB, 23:00–03:00, £6

Indie rock and roll, from the 60s to now.

THE ARCHES, 22:30–03:00, £7 (£5)

THE LIQUID ROOM, 22:30–03:00, £2 (£3 AFTER 12)

SICK NOTE

PIN UP NIGHTS: LADIES NIGHT 4

VINYL NIGHT

ILL BEHAVIOUR

R’n’B, jump jive and exotica.

House, disco and electro.

WED 23 FEB

THE HIVE, 22:00–03:00, FREE

Chart, dance and electro.

OLD SKOOL

Y’UPTAE Student fun night.

60s psych and sleaze rock.

FRISKY

Bassline, funk, dub and house.

Rock and metal. In the Attic.

THE GARAGE, 23:00–03:00, £5 (£3)

NICE ‘N’ SLEAZY, 23:30–03:00, FREE (£3 AFTER 11.30)

ELECTRIC CIRCUS, 22:00–01:00, FREE

THE GARAGE, 23:00–03:00, £5 (£3)

BURN

PLANET EARTH Retro from 1970 to 1999.

GIRLS & BOYS HMV PICTURE HOUSE, 23:00–03:00, £5 (£3)

Brand new indie night.

Disco, funk and electro.

INKLING (MOLECULAR SCISSORS, MC SILVER TONGUE)

INKED

Funk-fuelled beats. In Speakeasy.

THE GARAGE, 23:00–03:00, £5 (£3)

JUNGLEDUB FRIDAY SPECIAL

BUFF CLUB, 23:00–03:00, £5 (£3)

Rock, emo and punk. In the Attic.

CABARET VOLTAIRE, 23:00–03:00, FREE

BONGO CLUB, 23:00–03:00, £4

Dub, dubstep and jungle.

EDINBURGH CLUBS LOTONE

REDEEMER

THE STORE, 23:00–03:00, £3

STUDIO 24, 23:00–03:00, £5 (£4)

DJ and producer collective, with a penchant for dance in all it permutations.

Alternative, rock and metal.

ROBIGAN’S REGGAE (LOVELLA ELLIS)

WEE RED BAR, 23:00–03:00, £1 (£3 AFTER 11.30)

WEE RED BAR, 23:00–03:00, £5

Dub, reggae and dancehall.

THE 100TH TOKYOBLU (GABRIEL KEMP, NIALL AND DENIS MCKERVEY, DJ NO BAD) CABARET VOLTAIRE, 23:00–03:00, £8 (£5)

Underground dance celebration.

THIS IS MUSIC SNEAKY PETE’S, 23:00–03:00, £3 (MEMBERS FREE)

Indie-electro from the Sick Note gang.

SAT 05 FEB WIRED FOR SOUND

THE EGG Edinburgh indie institution, with DJs Chris and Paul.

THE GO-GO STUDIO 24, 23:00–03:00, £5 (£4)

BUBBLEGUM THE HIVE, 22:00–03:00, FREE (£4 AFTER 10)

Chart, dance and retro disco.

LUVELY: BACK 2 SKOOL THE LIQUID ROOM, 22:30–03:00, £12 (£10 MEMBERS)

Members party night.

TEASE AGE CITRUS CLUB, 22:30–03:00, FREE (£6 AFTER 11)

Rockin’ 50s to the disco-laced 70s. In Speakeasy.

MUMBO JUMBO (JAYMO, ANDY GEORGE) BONGO CLUB, 23:00–03:00, £5 (£7 AFTER 12)

COMPAKT (EDIT SELECT, SIREN, GABRIEL KEMP, DD, BRUNO FK, DJ PHRASE)

THE HIVE, 22:00–03:00, FREE

Chart, dance and electro.

ILL BEHAVIOUR (BOY 8-BIT)

ANIMAL HOSPITAL

Electro, breaks and dubstep.

Minimal and techno.

SOUL JAM HOT

GLOCK’N’SPIEL

CABARET VOLTAIRE, 23:00–03:00, £8 (£5)

Long-running night hosted by Gareth Sommerville.

VOLUME! SNEAKY PETE’S, 23:00–03:00, FREE

Edinburgh dubstep crew, playing bassheavy beats.

SUN 06 FEB GOSSIP ELECTRIC CIRCUS, 22:00–03:00, FREE (£4 AFTER 11)

New contemporary student night.

ROCK SHOW THE HIVE, 22:00–03:00, FREE

Rock, punk and alternative.

SUNDAY ROAST THE LIQUID ROOM, 22:30–03:00, FREE (£2 AFTER 12)

SNEAKY PETE’S, 23:00–03:00, FREE

Breaks, dubstep and D’n’B.

KILLER KITSCH CABARET VOLTAIRE, 23:00–03:00, FREE

Electronic music of all ages for all ages.

MON 07 FEB

THE HIVE, 22:00–03:00, FREE

THE STORE, 23:00–03:00, FREE

SNEAKY PETE’S, 23:00–03:00, FREE

Funk, soul and hip-hop.

SPLIT

CABARET VOLTAIRE, 23:00–03:00, FREE

D’n’B, breaks and electro.

TUESDAY HEARBREAK

THE JAZZ BAR, 23:00–03:00, £2 (£1)

Swirling guitars and driving beats.

Northern soul and funk, plus cocktails.

SNEAKY PETE’S, 23:00–03:00, FREE

ELEMENTARY THE STORE, 23:00–03:00, £3 (£5 AFTER 12)

DAVID RODIGAN, TODDLA T, CADENZA, COLEBS THE CAVES, 23:00–03:00, £10

BONGO CLUB, 23:00–03:00, FREE

Detroit soul and blues from the 50s/60s.

Hip-hop, chart and R’n’B.

NU FIRE SNEAKY PETE’S, 23:00–03:00, FREE

Producers showcase, from hip-hop to dubstep.

TRADE UNION CABARET VOLTAIRE, 23:00–03:00, FREE (£2 AFTER 12)

Anything goes with Beefy and Wolfjazz.

REDEEMER

TUE 15 FEB

STUDIO 24, 23:00–03:00, £5 (£4)

CIRCUS ARCADE Pop quiz and musical bingo.

OCTOPUSSY

BONGO CLUB, 23:00–03:00, £3 (£5 AFTER 12)

CABARET VOLTAIRE, 23:00–03:00, £5

ANTICS

HMV PICTURE HOUSE, 23:00–03:00, £6 (£4)

Chart, indie and electro.

SICK NOTE CABARET VOLTAIRE, 23:00–03:00, FREE

Indie and electro fave.

BONGO CLUB, 23:00–03:00, FREE

Indie pop DJs and live bandaoke.

MISFITS THE HIVE, 22:00–03:00, FREE (£4 AFTER 10)

Chart, electro and alternative.

EVOL THE LIQUID ROOM, 22:30–03:00, FREE (£6 AFTER 11)

Indie, pop and electro.

PLANET EARTH CITRUS CLUB, 22:30–03:00, FREE (£6 AFTER 11)

Dub, dubstep and jungle.

Retro from 1970 to 1999.

SLAP BANG

UNPOP!

Mid-week residents party.

Indie, pop and disco.

CABARET VOLTAIRE, 23:00–03:00, FREE

STUDIO 24, 23:00–03:00, FREE (£5 AFTER 11.30)

Dubstep, bass and grime with Datsik’s only Scottish date.

THE HIVE, 22:00–03:00, FREE

SICK NOTE SATURDAY

WEE RED BAR, 22:30–03:00, £4 (£3)

ELECTRIC CIRCUS, 20:00–01:00, FREE

THE STORE, 23:00–03:00, £6

JUNGLEDUB BONGO CLUB, 23:00–03:00, FREE

Dub, dubstep and jungle.

SLAP BANG CABARET VOLTAIRE, 23:00–03:00, FREE

Mid-week residents party.

THU 17 FEB MOVEMENT ELECTRIC CIRCUS, 22:00–01:00, FREE

Independent releases, local and international.

FRISKY THE HIVE, 22:00–03:00, FREE

Chart, dance and electro.

Dancing fodder, from deep funk to hip-hop.

Indie and electro fave, weekend edition.

THE HIVE, 22:00–03:00, FREE

ILL BEHAVIOUR

GIRLS & BOYS

THE EGG

Rock, indie and punk.

WEE RED BAR, 23:00–03:00, £1 (£3 AFTER 11.30)

RESTLESS

D’n’B, dubstep and bassline.

HMV PICTURE HOUSE, 23:00–03:00, £5 (£3)

Brand new indie night.

THIS IS MUSIC SNEAKY PETE’S, 23:00–03:00, £3 (MEMBERS FREE)

Indie-electro from the Sick Note gang.

INDIGO

SNEAKY PETE’S, 23:00–03:00, FREE

CABARET VOLTAIRE, 23:00–03:00, £5

DATSIK

FOUR CORNERS: 6TH BIRTHDAY

ELECTRIC CIRCUS, 17:00–01:00, FREE (£5 AFTER 10.30)

Electro, fidget and bassline house.

IT’S ALL GOOD (TONYKEO, CLAUDIO, TOMMY KAY, CRAIG WILSON)

MON 14 FEB MIXED UP

Fresh, new tunes.

SAT 12 FEB

AXIS

Reggae, grime and jungle.

LAND OF 1000 DANCES

MC El Fata launches his new 7-inch single.

MUSIKA: 4TH BIRTHDAY (JOHN DIGWEED, MAETRIK)

Indie, pop and alternative.

BONGO CLUB, 23:00–03:00, £5

Funky house and electro. In Speakeasy.

FRI 11 FEB

THE LIQUID ROOM, 22:30–03:00, £3 (£1)

BIG ‘N’ BASHY

THE CAVES, 23:00–03:00, £5 (£8 AFTER 12)

LOST WEEKEND

Chart and cheese.

Indie and alternative.

DANCEHALL (MC EL FATA)

THE HIVE, 22:00–03:00, £1 (£3 AFTER 11)

BANGERS & MASH

JUNGLEDUB

Producers showcase, from hip-hop to dubstep.

Night for true techno-heads.

HMV PICTURE HOUSE, 23:00–03:00, £1 (£5 AFTER 12)

Alternative, rock and metal.

Funk and soul beats.

ELECTRIC CIRCUS, 21:00–01:00, FREE

CABARET VOLTAIRE, 23:00–03:00, £6 (£5)

BEAT CONTROL

Residents party with Prof and Andy Hardie.

THE STORE, 23:00–03:00, FREE

HUSH

THE HIVE, 22:00–03:00, FREE

NU FIRE

SNEAKY PETE’S, 23:00–03:00, FREE

WE GOT SOUL

MIXED UP

PULSE PRESENTS: ALAN FITZPATRICK

THE LIQUID ROOM, 22:30–03:00, £7 (£5)

WED 09 FEB

London-based label Headlock dub DJ selection.

Hip-hop, chart and R’n’B.

New kid on the techno block.

Pop quiz and musical bingo.

FRISKY

RESTLESS

Funk, soul, disco and electro.

THE STORE, 23:00–03:00, £8

ELECTRIC CIRCUS, 20:00–01:00, FREE

CABARET VOLTAIRE, 23:00–03:00, £3 (£4 AFTER 12)

Monthly charity night, where DJs play whatever they want. In Speakeasy.

Special guest edition with monochromatic electro chap Boy 8-Bit.

COALITION

CABARET VOLTAIRE, 23:00–03:00, £3

CIRCUS ARCADE

BOUND FOR GLORY (BEEFY, FLYING SAUCER)

Independent releases, local and international.

Rock, indie and punk.

New mix of indie, pop and electro.

BEEP BEEP, YEAH!

TUE 08 FEB

ELECTRIC CIRCUS, 22:00–01:00, FREE

ULTRAGROOVE (LEL PALFREY, CARINA RAMOS)

BEAT CONTROL Indie and alternative.

Anything goes with Beefy and Wolfjazz.

THU 10 FEB MOVEMENT

ANTICS

Indie, rock and soul.

HMV PICTURE HOUSE, 23:00–03:00, £1 (£5 AFTER 12)

CABARET VOLTAIRE, 23:00–03:00, FREE (£2 AFTER 12)

60s, beat, mod and pop.

THE VILLAGE, 21:00–01:00, FREE

Monthly disco, playing anything and everything danceable.

TRADE UNION

THE LIQUID ROOM, 21:00–03:00, £15

Edinburgh indie institution, with DJs Chris and Paul.

BASS SYNDICATE SNEAKY PETE’S, 23:00–05:00, £3 (MEMBERS FREE)

Edinburgh’s breaks and bassline crew.

THE STORE, 23:00–03:00, FREE

Electro, breaks and dubstep.

AD HOC

SOUL JAM HOT

Indie, rock and punk.

SNEAKY PETE’S, 23:00–03:00, FREE

HOMEGROWN

SPLIT

Liquid D’n’B.

CABARET VOLTAIRE, 23:00–03:00, FREE

D’n’B, breaks and electro.

OCTOPUSSY

GOSSIP

TUESDAY HEARBREAK

Chart, indie and electro.

ELECTRIC CIRCUS, 22:00–03:00, FREE (£4 AFTER 11)

Swirling guitars and driving beats.

THE JAZZ BAR, 23:00–03:00, £2 (£1)

SICK NOTE

BUBBLEGUM

ROCK SHOW

WED 16 FEB

THE HIVE, 22:00–03:00, FREE

HUSH

Chart, dance and retro disco.

Rock, punk and alternative.

HIS & HERS Alternative indie.

SUBSTANCE VS I LOVE ACID THE STORE, 22:30–03:00, £7 (£6)

Substance and I Love Acid team-up.

TEASE AGE CITRUS CLUB, 22:30–03:00, FREE (£6 AFTER 11)

Indie, rock and soul.

SNEAKY PETE’S, 23:00–03:00, FREE

SUN 13 FEB

New contemporary student night.

ELECTRIC CIRCUS, 22:30–03:00, £5 (£6 AFTER 12)

HENRY’S CELLAR, 23:00–03:00, £2

Funk, soul and hip-hop.

Celebratory night, with special guests a-go-go.

THE HIVE, 22:00–03:00, FREE (£4 AFTER 10)

THE LIQUID ROOM, 22:30–03:00, £2 (£3 AFTER 12)

HMV PICTURE HOUSE, 23:00–03:00, £6 (£4)

CABARET VOLTAIRE, 23:00–03:00, FREE

Indie and electro fave.

THE BUNKER THE STORE, 23:00–03:00, FREE

ELECTRIC CIRCUS, 21:00–01:00, FREE

SUNDAY ROAST

Northern soul and funk, plus cocktails.

The Dubkaos DJs play jungle, hardcore and D’n’B.

THE LIQUID ROOM, 22:30–03:00, FREE (£2 AFTER 12)

BANGERS & MASH

WE GOT SOUL

New mix of indie, pop and electro.

Chart and cheese.

COALITION

INDIGO

SNEAKY PETE’S, 23:00–03:00, FREE

THE HIVE, 22:00–03:00, £1 (£3 AFTER 11)

THE LIQUID ROOM, 22:30–03:00, £3 (£1)

Breaks, dubstep and D’n’B.

Indie, pop and alternative.

KILLER KITSCH

AXIS

CABARET VOLTAIRE, 23:00–03:00, FREE

SNEAKY PETE’S, 23:00–03:00, FREE

Electronic music of all ages for all ages.

Electro, fidget and bassline house.

BONGO CLUB, 23:00–03:00, FREE

Funk and soul beats.

FRI 18 FEB LOST WEEKEND ELECTRIC CIRCUS, 17:00–01:00, FREE (£5 AFTER 10.30)

Indie pop DJs and live bandaoke.

FEBRUARY 2011

THE SKINNY 59

DUNDEE MUSIC Misfits

Coalition

Chart, electro and alternative.

Breaks, dubstep and D’n’B.

Evol

Killer Kitsch

The Hive, 22:00–03:00, Free (£4 after 10)

The Liquid Room, 22:30–03:00, Free (£6 after 11)

Indie, pop and electro.

Planet Earth

Citrus Club, 22:30–03:00, Free (£6 after 11)

Retro from 1970 to 1999.

Bears Party (Mishka, Corky)

Sneaky Pete’s, 23:00–03:00, Free

Cabaret Voltaire, 23:00–03:00, Free

Electronic music of all ages for all ages.

Mon 21 Feb

Studio 24, 23:00–03:00, £6 (£4)

Psychadelic trance and progressive house, with decorations visuals.

The Quarriers: Battle of the Bands

Citizens Theatre

Girls & Boys

British rapper, born and raised in Hackney.

Underground electronica and soul guest DJ. HMV Picture House, 23:00–03:00, £5 (£3)

Brand new indie night.

Modern Lovers

Hustlers Snooker Hall, 19:30–22:30, £6

Hustlers Snooker Hall, 19:30–22:30, £6

07:30PM, 22 Feb—26 Feb, £10 (£7)

Adventures in retro stereo, from punk to pop.

Raucous rock five-piece.

Moody blues.

Numbers

Mon 07 Feb

Ghosts of Progress (The Trade, The Killing Floor)

Numbers resident Jackmaster on deck duty.

Autumn In Disguise, Make Out Kids, Out Like A Lion, A Day Overdue

Album launch.

The Hive, 22:00–03:00, Free

Sneaky Pete’s, 23:00–03:00, Free

Cabaret Voltaire, 23:00–03:00, Free (£2 after 12)

Anything goes with Beefy and Wolfjazz.

Tue 22 Feb Circus Arcade

Electric Circus, 20:00–01:00, Free

Pop quiz and musical bingo.

The Store, 23:00–03:00, £5 (£4)

Sneaky Pete’s, 23:00–03:00, £tbc

Sugarbeat (Jack Beats, Krafty Kuts)

Cabaret Voltaire, 23:00–03:00, £15

Special guests to celebrate Cab Vol’s 6th Birthday.

Vintage Violence

The Store, 23:00–03:00, Free

Conquering Animal Sound

Brian Hughes

Bongo Club, 23:00–03:00, £4 (£6 after 12)

Residents and special guests.

Doghouse, 20:00–23:45, £6

Doghouse, 20:00–23:45, £7.50 (£5.50)

Scottish experimental duo.

Lovely, too.

Jazz jam with full band.

Electro, breaks and dubstep.

This Is Music

Sneaky Pete’s, 23:00–03:00, Free

VEGAS! (The Correspondents)

Thu 10 Feb

Split

50s fun and showgirls a-go-go.

Feeder

Indie-electro from the Sick Note gang.

Wolf Party

The Store, 23:00–03:00, £5 (£3)

Indie, rock and pop, new and old.

Sat 19 Feb Bubblegum

The Hive, 22:00–03:00, Free (£4 after 10)

Chart, dance and retro disco.

Funk, soul and hip-hop.

Voodoo Rooms, 20:30–01:00, £8 (£7)

Bubblegum

Tuesday Hearbreak

Chart, dance and retro disco.

The Jazz Bar, 23:00–03:00, £2 (£1)

Swirling guitars and driving beats.

The Hive, 22:00–03:00, Free (£4 after 10)

Magic Nostalgic

Electric Circus, 22:30–03:00, £5 (£6 after 12)

Indie, rock and soul.

Beat Control

Doghouse, 20:00–23:45, £8

Doghouse, 20:00–23:45, £7

London experimental pop troupe.

Punchy pop collective.

Bangers & Mash

HMV Picture House, 23:00–03:00, £1 (£5 after 12)

Indie and alternative.

Indie, pop and alternative.

Karnival (Funk D’Void, Aqua Bassino, Mike Pinkerton)

The Liquid Room, 22:30–03:00, £3 (£1)

His & Hers (Wolf Party)

Axis

Special guest DJ edition.

Electro, fidget and bassline house.

Sneaky Pete’s, 23:00–03:00, Free

Special guest night.

Tease Age

JungleDub

Messenger: Bob Marley Birthday Special

Devil Disco Club (Digital Jones) Bongo Club, 23:00–03:00, £5/£4 (£7 after 12)

Classic disco, electro-funk and acid.

Driven

Henry’s Cellar, 23:00–03:00, £4 (£3 before 12)

Doghouse, 20:00–23:45, £7

Alternative rock.

Sat 26 Feb

Indigo

Indie and alternative.

Doghouse, 20:00–23:45, £6

Jangly, rhythmic folk.

Dananananaykroyd (Kid Adrift, Flashguns)

Surf, doo-wop and rockabilly, plus free cake!

HMV Picture House, 23:00–03:00, £1 (£5 after 12)

The Crave (Tiger Please)

Fri 11 Feb

Chart and cheese.

Beat Control

Classic punk.

6 day riot

Chapel Club (David’s Lyre, The Mirror Trap)

Citrus Club, 22:30–03:00, Free (£6 after 11)

Green Door

Indie, rock and soul.

Acoustic and electric-driven chaps.

Tease Age

Electric Circus, 21:00–01:00, Free

The Hive, 22:00–03:00, £1 (£3 after 11)

Citrus Club, 22:30–03:00, Free (£6 after 11)

Fat Sam’s, 19:30–22:30, £20

Hustlers Snooker Hall, 19:30–23:00, £tbc

Wed 23 Feb

D’n’B special guests.

Electric Circus, 22:30–03:00, £tbc

Blitzkreig, Cash From Chaos

Hush

Northern soul and funk, plus cocktails.

Studio 24, 22:30–03:00, £5 (£4)

Fri 25 Feb

From 90s rave to powerballads.

Xplicit (Andy C, Netsky, MC GQ) The Liquid Room, 22:00–03:00, £14

Sat 26 Feb

Cabaret Voltaire, 23:00–03:00, Free

D’n’B, breaks and electro.

Indie-pop scamps.

Thu 24 Feb

Fat Sam’s, 19:30–22:30, £12

Disco, electro and acid house gay disco party.

Soul Jam Hot

Doghouse, 20:00–23:45, £7

Melodic pop.

Rock, indie and punk.

Restless

Wed 09 Feb

Sun 20 Feb The Dykeenies (Tiny Little Robots)

The Feeling

Brand new indie night.

The Hive, 22:00–03:00, Free

Dexter’s Bar, 19:00–22:30, £5

New bands showcase.

Doghouse, 20:00–23:45, £4

Wee Red Bar, 23:00–03:00, £4

Wonky (Asazi Space Funk Explosion, Dam Mantle)

Sneaky Pete’s, 23:00–03:00, £3 (members free)

07:30PM, 17 Feb—26 Feb, not 20th, 21st, From £10

Hip-hop, chart and R’n’B.

Classic oldies and brand new sounds.

Wee Red Bar, 23:00–03:00, £5 (£3)

Live gig-cum-battle.

Marilyn

Kill It Kid

Antics

Hot Mess (Simonotron)

Doghouse, 20:00–23:45, £tbc

Japanese Voyeurs

Studio 24, 23:00–03:00, £5

Girls & Boys

HMV Picture House, 23:00–03:00, £5 (£3)

Fat Sam’s, 19:30–22:30, £13.50

Electro swing.

Trade Union

Cosmic (Aurora, North Soundscape, Matti Basmatti)

Professor Green

Mixed Up

UK club night extraordinaire.

Fang-themed glam techno night.

The Caves, 23:00–03:00, £9 (£8)

Sat 19 Feb

Bedbug (Jigsaw)

Bongo Club, 23:00–03:00, £6 (£5)

G LAS G O W

Sat 05 Feb

Producers showcase, from hip-hop to dubstep.

Confusion is Sex

Fri 18 Feb

Hippy Hippy Shake

Cabaret Voltaire, 23:00–03:00, £3

Cabaret Voltaire, 23:00–03:00, £tbc

Fri 04 Feb

Departure Lounge (Benji B, MC Judah, Northern Xposure)

Intimate portrait of the ultimate blonde bombshell, offering a glimpse into her private life.

Nu Fire

Gay dance night. In Speakeasy.

T H E AT R E

Bongo Club, 23:00–03:00, Free

Dub, dubstep and jungle.

Slap Bang

Cabaret Voltaire, 23:00–03:00, Free

Mid-week residents party.

Thu 24 Feb Movement

Electric Circus, 22:00–01:00, Free

Independent releases, local and international.

Frisky

The Hive, 22:00–03:00, Free

Cabaret Voltaire, 23:00–03:00, £8 (£6)

Bongo Club, 23:00–03:00, £6 (£7 after 12)

Playing top Marley selections, and other reggae faves.

Playdate

Sneaky Pete’s, 23:00–03:00, £3 (members free)

House specialists Stewart and Steven on the decks.

Redeemer

Studio 24, 23:00–03:00, £5 (£4)

Alternative, rock and metal.

The Egg

Wee Red Bar, 23:00–03:00, £1 (£3 after 11.30)

Goth, industrial, EBM and future-pop.

Chart, dance and electro.

Kidology: Be My Valentine Ball (Mike Mikalis, Geeeko DJs)

Ill Behaviour

Edinburgh indie institution, with DJs Chris and Paul.

D’n’B, dubstep and bassline.

Underground

Techno and house Valentine’s special.

Octopussy

Punk, new wave and 2-tone.

Chart, indie and electro.

The Liquid Room, 22:30–03:00, £2 (£3 after 12)

DUNDEE CLUBS

The Birthday Party

07:30PM, 01 Feb—19 Feb, not 6th, 13th, from £11.50

Queen meets Ben Elton for sci-fi musical.

Ailey 2 07:30PM, 22 Feb—23 Feb, From £13.50

Graceful and impressive troupe of dancers.

Moscow State Circus Various times, 24 Feb—26 Feb, From £16.50

07:45PM, 22 Feb—23 Feb, £10

Theatrical performance about the life of Mae West.

Blood Brothers 08:00PM, 25 Feb—26 Feb, £10 (£8)

Various times, Tue 1st, Sat 12th, £16 (£10)–£17.50

Classic anti-sectarian play.

The Arches Rob Drummond: Wrestling Various times, 09 Feb—13 Feb, £13 (£9)

Unique piece fusing short film, narrative theatre and pro wrestling, as playwright Rob Drummond steps into the ring.

07:30PM, 10 Feb, £10.50 (£8.50)

Fri 04 Feb

Fri 18 Feb

HEADWAY

CTRL*ALT*DEFEAT

Reading Rooms, 22:30–02:30, £tbc

Underground techno.

Renegades Kage, 23:00–03:00, £4

Electro, trip-hop and funk.

Sat 05 Feb

Reading Rooms, 22:30–02:30, £tbc

Electro musings.

Felt Kage, 23:00–03:00, £4

Indie, retro pop and rock.

Sat 19 Feb

Shakespeare’s tale of starcrossed lovers. told by youthful ballet company Ballet West.

Richard III

Church Hill Theatre

Farcical Shakespeare comedy.

Various times, 02 Feb—05 Feb, not 4th, From £8.50

Shakespeare’s tale of a villainous king, re-told by all-male company Propeller.

Cinderella 07:30PM, 08 Feb—12 Feb, From £12

The Dubkaos DJs play jungle, hardcore and D’n’B.

Fri 25 Feb

Sneaky Pete’s, 23:00–03:00, £3 (members free)

Sun 20 Feb Gossip

Lost Weekend

Electric Circus, 17:00–01:00, Free (£5 after 10.30)

Electric Circus, 22:00–03:00, Free (£4 after 11)

Indie pop DJs and live bandaoke.

Rock Show

Chart, electro and alternative.

New contemporary student night.

The Hive, 22:00–03:00, Free

Rock, punk and alternative.

Sunday Roast

The Liquid Room, 22:30–03:00, Free (£2 after 12)

New mix of indie, pop and electro.

Misfits

The Hive, 22:00–03:00, Free (£4 after 10)

Evol

The Liquid Room, 22:30–03:00, Free (£6 after 11)

Breaks, dubstep and D’n’B.

Hip-hop, reggae and house.

Fri 11 Feb SPACEBALL Reading Rooms, 22:30–02:30, £tbc

Wonk beats.

Underground electronic. In Speakeasy.

Indie, pop and hardcore.

Mon 28 Feb

Sat 12 Feb

Mixed Up

Garden of Evil Burlesque

Cabaret Voltaire, 23:00–05:00, £5

The Hive, 22:00–03:00, Free

Hip-hop, chart and R’n’B.

Killer Kitsch

Cabaret Voltaire, 23:00–03:00, Free

Electronic music of all ages for all ages.

Planet Earth

Nu Fire

Retro from 1970 to 1999.

Producers showcase, from hip-hop to dubstep.

60 THE SKINNY February 2011

Reading Rooms, 22:30–02:30, £3.50

Dare (Jon Pleased Wimmin, Adam Le Chic)

Indie, pop and electro.

Citrus Club, 22:30–03:00, Free (£6 after 11)

Kage, 23:00–03:00, £5

Rock, metal and punk.

Sneaky Pete’s, 23:00–03:00, Free

Transmission Kage, 23:00–03:00, £4

Rock, metal and punk.

Thu 24 Feb PLASTIC SOUL Reading Rooms, 22:30–02:30, £3.50

Fiery, operatic favourite.

The Merry Widow 07:30PM, 16 Feb, From £15

Operatic tale of the young, beautiful and stupendously wealthy widow Hanna Glawari.

Hip-hop, reggae and house.

The Portrait

Fri 25 Feb

Cautionary tale about a poor artist.

GLITCH (Harri & Domenic) Reading Rooms, 22:30–02:30, £tbc

Glasgow’s Sub Club guest duo.

Beartrap Kage, 23:00–03:00, £4

07:30PM, 18 Feb, From £15

Yes, Prime Minister Various times, 22 Feb—26 Feb, From £9.50

A world of spin, Blackberrys and sexed-up dossiers, from the original writers of the classic BBC series.

Art rock, indie and punk.

Tramway

Sat 26 Feb

From Where I’m Standing

Club Noir

07:30PM, 12 Feb, £6.50 (£4.50)

Club Wonka glam burlesque night.

Lavish burlesque masked ball.

A moving and funny look at family dynamics, from Glasgow’s company of teenagers, Junction 25.

Monism (Askillz)

Autodisco

Tron Theatre

Doghouse, 20:00–23:45, £12

Reading Rooms, 22:30–02:30, £8

Fat Sam’s, 21:00–02:30, £15.50

Reading Rooms, 22:30–02:30, £tbc

Alternative beats launch night.

Electro, funk and disco.

Asylum

Asylum

Kage, 23:00–03:00, £5

Kage, 23:00–03:00, £5

Rock, metal and punk.

Rock, metal and punk.

Brunton Theatre

Various times, 01 Feb—05 Feb, not 2nd, From £8.50

Velvet (Trendy Wendy, Jeremy)

Cosmic house, punk and wonky disco.

Dystopian meditation on free will and violence.

Comedy of Errors

PLASTIC SOUL

Sneaky Pete’s, 23:00–03:00, Free

07:30PM, 08 Feb—12 Feb, £5 (£4.50)

Hip-hop, reggae and house.

Hip-hop, reggae and house.

Rock, punk and alternative.

Coalition

A Clockwork Orange

Romeo and Juliet

The Bunker

Bongo Club, 23:00–03:00, Free

Classic Greek tragedy, with a madcap all-female chorus.

Theatre Royal

Long-running night hosted by Gareth Sommerville.

Funk and soul beats.

The Bacchai Various times, 02 Feb—03 Feb, £4 (£3.50)

Reading Rooms, 22:30–02:30, £3.50

Thu 10 Feb

We Got Soul

02:30PM, 16 Feb, £4 (£3.50)

Reading Rooms, 22:30–02:30, £3.50

Ultragroove

Wasabi Disco (Andy Blake)

Bedlam Theatre

PLASTIC SOUL

Rock Show

Genre-spanning LGBTI night. In Speakeasy.

E D INBUR G H

PLASTIC SOUL

Italy’s promoting-producing-DJingparty machine guests.

The Liquid Room, 22:30–03:00, Free (£2 after 12)

The Supper Club Cabaret

Thu 17 Feb

New contemporary student night.

New mix of indie, pop and electro.

08:00PM, 24 Feb—26 Feb, From £7

Thu 03 Feb

Sick Note (Reset!)

Cabaret Voltaire, 23:00–03:00, £6 (£5)

A Scheme

07:30, 22—26 Feb, £5 (£4)

Edinburgh indie institution, with DJs Chris and Paul.

Sunday Roast

Black comedy set around the spiralling relationship of two gay barbers.

Singin’ I’m No A Billy He’s A Tim

Kage, 23:00–03:00, £5

The Store, 23:00–03:00, Free

07:45PM, 23 Feb—26 Feb, From £7

LION, WITCH AND WARDROBE

Asylum

The Hive, 22:00–03:00, Free

Staircase

SECC

Gossip

Cabaret Voltaire, 23:00–03:00, £8 (£5)

Musical theatre singalong favourites, plus booze and nibbles.

New adaptation of West End favourite, by the Take3 Theatre group.

Sneaky Pete’s, 23:00–03:00, Free

Cabaret Voltaire, 23:00–03:00, Free

04:00PM, 20 Feb, £12

A DREAM PLAY

07:30PM, 15 Feb—19 Feb, not 16th, 18th, From £15

Electric Circus, 22:00–03:00, Free (£4 after 11)

A Song, A Sip and A Sandwich

Short versions of all the shows incarnations, in celebration if its 15th anniversary.

Royal Lyceum Theatre A View From The Bridge Various times, 01 Feb—12 Feb, not 6th, 7th, From £12.50

Arthur Miller’s modern social tragedy set in a post-war New York.

Age Of Arousal Various times, 18 Feb—26 Feb, not 20th, 21st, From £12.50

Rule-bending sexual revolution.

07:30PM, 24 Feb—26 Feb, £8 (£6)

Asylum

Hip-hop and dance.

A world of uncertain morality, and where to draw the line.

07:30PM, 21 Feb, From £10

No-holds barred cabaret.

Four-hour guest set.

Wee Red Bar, 23:00–03:00, £1 (£3 after 11.30)

Like This

The Circus Of Horrors: Four Chapters of Hell

Oran Mor An Evening with Mae West

Carmen

The Egg

07:45PM, 15 Feb—19 Feb, From £11

Robin Red Breast

Rockabilly, doo-wop and soul.

Ride

Smalltown

80s anthems stage musical phenomenon.

08:30PM, 24 Feb—25 Feb, £10

Sun 27 Feb

Alternative, rock and metal.

Post cabaret cabaret.

Brand new one act plays set in a Glasgow housing scheme.

Reading Rooms, 22:30–02:30, £tbc

Studio 24, 23:00–03:00, £5 (£4)

Various times, 14 Feb—19 Feb, From £15.50

08:30PM, 12 Feb, £5

Footloose

Russian circus artistes. including contortianists and a rotating wheel of death.

Locarno

HMV Picture House, 23:00–03:00, £6 (£4)

Lost in Digression

08:00PM, 16 Feb—19 Feb, From £7

Reading Rooms, 22:30–02:30, £5 (£7 after 12)

Redeemer

Various times, 08 Feb—12 Feb, From £11.50

King’s Theatre We Will Rock You

Playhouse Annie

An evening of supernatural storytelling, music and theatre inspired by the Border Ballads.

Polluted water turns a community crazy.

Mixed Bizness (Boom Monk Ben)

Studio 24, 23:00–03:00, Free (£5 after 11)

08:30PM, 09 Feb—10 Feb, £12 (£10)

Pinter’s nightmare-ish classic, as two sinister strangers enter a birthday party...

Re-telling of the fairytale favourite

by Matthew Bourne, which finds Cinders in mid-Blitz London.

The Store, 23:00–03:00, £6 (£8 after 12)

The Strange Undoing Of Prudencia Hart

Just Checking 07:45PM, 02 Feb—12 Feb, not 6th, 7th, From £7

One-woman comedy, with original music from PJ Moore.

Fame Various times, 01 Feb—05 Feb, £12.50 (£8.50)

The ultimate dance classic of stage and screen.

Festival Theatre Peter Pan On Ice

The Store Three men are summoned to an abandoned warehouse, in Michael Shand’s mysterious play.

Traverse The Animals and Children Took To The Streets 07:30PM, 01 Feb, £14 (£10)

Twisted fairytale, told using live music, performance, and animation.

Part of Manipulate Visual Theatre Festival.

Kefar Nahum 07:30PM, 02 Feb, £14 (£10)

The story of Creation, told through puppets and odd objects. Part of Manipulate Visual Theatre Festival.

Jerk 09:00PM, 03 Feb, £10 (£6)

The crimes of American serial killer Dean Corll told through cute animal puppets. Part of Manipulate visual Theatre Festival.

Snapshots: Creation and Play 07:30PM, 04 Feb, £10 (£6)

Puppetry cabaret, with WARP winning animation

Malediction 07:30PM, 05 Feb, £14 (£10)

Two men fight the green monster of envy. Part of Manipulate Visual Theatre Festival.

Various times, 09 Feb—13 Feb, From £22

Stick Up!

Adaptation of J.M. Barrie’s childhood fave, with the Russian Ice Stars.

Comic crime caper. Part of Manipulate Visual Theatre Festival.

Awakenings 07:30PM, 16 Feb—18 Feb, From £12

Imaginative dance from the Rambert Dance Company.

The Blues Brothers Party Various times, 22 Feb—26 Feb, From £19

09:30PM, 05 Feb, £6

A Play, A Pie and A Pint 01:00PM, 15 Feb—26 Feb, not 20th, 21st, £12

Latin/American plays adapted by Scottish playwrights. Plus a pie and a pint, naturally.

Classic musical singalong.

King’s Theatre Master Class Various times, 08 Feb—12 Feb, From £14.50–From £16.50

Stephanie Beacham does soprano Maria Callas.

Fiddler on the Roof Various times, 15 Feb—19 Feb, From £10–From £14

Classic musical

The Comedy Of Errors 07:30PM, 22 Feb—26 Feb, not 23rd, 25th, From £14.50–From £16.50

Farcical Shakespeare comedy.

Richard III Various times, 23 Feb—26 Feb, From £14.50–From £16.50

The bad king of England

D UN D EE Dundee Rep Singin’ I’m No A Billy He’s A Tim Various times, 01 Feb—12 Feb, £16 (£10)–£17.50

Classic anti-sectarian play.

Spirit of the Dance Various times, 02 Feb—06 Feb, From £14

Tango meets Irish dance. Seriously.

Scottish Dance Theatre: Letters From America 08:00PM, 16 Feb—19 Feb, £16 (£9)

American choreographer premiere piece.

COMEDY GLASGOW

Thu 10 Feb

Fri 18 Feb

Fri 25 Feb

Tue 01 Feb

The Thursday Show (Carey Marx, Dan Nightingale)

Jimmy Carr: Laughter Therapy

The Friday Show (David Hadingham, Foil, Arms & Hog, Gordon Smith)

Red Raw The Stand, 20:30–22:30, £2

Open mic beginner’s showcase.

Wed 02 Feb Wicked Wenches (Susan Murray, Tiffany Stevenson, Rebecca Donohue, Jill Peacock) The Stand, 20:30–22:30, £6 (£5/£3)

All-female stand-up. Hosted by Susan Calman.

Thu 03 Feb The Thursday Show (Susan Murray, Sean Grant, Rob Kane) The Stand, 20:30–22:30, £8 (£7/£4)

Headliners and newcomers. Hosted

by Billy Kirkwood.

Fri 04 Feb Comedy Central Live (Jojo Sutherland, Scott Faulconbridge, Mark Nelson, Stu Who?) Highlight, 20:00–23:00, £12

Live stand-up. Doors open 7pm.

The Friday Show (Sean Grant, Rob Kane)

The Stand, 20:30–22:30, £8 (£7/£4)

Headliners and newcomers. Hosted

by Susan Morrison.

Fri 11 Feb Comedy Central Live (Micheal Legge, Chris Henry, Mark Walker, Kieran Lawless) Highlight, 20:00–23:00, £12

Live stand-up. Doors open 7pm.

The Friday Show (Carey Marx, Dan Nightingale, Kieran Lawless) The Stand, 20:30–22:30, £10 (£9/£5)

Sat 05 Feb

Comedy Central Live (Billy Kirkwood, Gavin Webster, Keith Farnanm Ray Bradshaw) Highlight, 20:00–23:00, £12

Live stand-up. Doors open 7pm.

The Friday Show (Ian Cognito, Gus Tawse, Danny Lobell)

The Stand, 20:30–22:30, £10 (£9/£5)

Prime stand-up. Hosted by Susan Calman.

Sat 19 Feb

Prime stand-up. Hosted by Susan Morrison.

Jimmy Carr: Laughter Therapy

Sat 12 Feb

Sharp-witted comedy.

Comedy Central Live (Micheal Legge, Chris Henry, Mark Walker, Viv Gee)

Comedy Central Live (Billy Kirkwood, Gary Little, Keith Farnan)

Highlight, 20:00–23:00, £15

Live stand-up. Doors open 7pm.

The Saturday Show (Carey Marx, Dan Nightingale, Kieran Lawless) The Stand, 21:00–23:00, £15

Weekend laughs. Hosted by Susan Morrison.

The Stand, 20:30–22:30, £10 (£9/£5)

Prime stand-up. Hosted by Billy Kirkwood.

SECC, 20:00–22:00, £25

Sharp-witted comedy.

Sun 13 Feb Micheal Redmond’s Sunday Service

SECC, 20:00–22:00, £25

Highlight, 20:00–23:00, £15

Live stand-up. Doors open 7pm.

The Saturday Show (Ian Cognito, Gus Tawse, Danny Lobell) The Stand, 21:00–23:00, £15

Weekend laughs. Hosted by Susan Calman.

Sun 20 Feb St Margarets Hospice Comedy Gala (Des Clarke) Oran Mor, 19:00–23:00, £15

Comedy Central Live (Jojo Sutherland, Scott Faulconbridge, Stu Who?)

Resident Irish funnyman and guests.

Comedy night for charity, with some promised ‘very special’ guests.

Highlight, 20:00–23:00, £15

Mon 14 Feb

Micheal Redmond’s Sunday Service

The Saturday Show (Sean Grant, Rob Kane)

John Bishop

Live stand-up. Doors open 7pm.

The Stand, 21:00–23:00, £15

Weekend laughs. Hosted by Billy Kirkwood.

Melting Pot (Leo Zero) The Admiral, 23:00–03:00, £10

Eclectic underground beats from guest Leo Zero.

Sun 06 Feb Kids Comedy Club The Stand, 15:00–17:00, £4

Live stand-up for little ones.

Micheal Redmond’s Sunday Service The Stand, 20:30–22:30, £6 (£5/£1)

The Stand, 20:30–22:30, £6 (£5/£1)

SECC, 20:00–22:00, £25

Liverpudlian comic.

Raise The Roof The Stand, 20:30–22:30, £20

Fundraiser for Rab’s Fund.

Tue 15 Feb

Whimsical Welshman.

John Bishop

Tue 22 Feb

SECC, 20:00–22:00, £25

Liverpudlian comic.

Red Raw The Stand, 20:30–22:30, £2

Open mic beginner’s showcase.

Wed 16 Feb Benefit Night

Mon 07 Feb

Fundraiser in aid of Amnesty International.

The Stand, 20:30–22:30, £7 (£5)

The Stand, 20:30–22:30, £2

Thu 17 Feb

Tue 08 Feb

The Thursday Show (Ian Cognito, Gus Tawse, Danny Lobell)

Comedy movie quiz.

Red Raw

The Stand, 20:30–22:30, £8 (£7/£4)

The Stand, 20:30–22:30, £2

Open mic beginner’s showcase.

Mon 21 Feb Steve Williams: Stand-Up Story Man

Resident Irish funnyman and guests.

Joe Heenan’s Movie Madness

The Stand, 20:30–22:30, £6 (£5/£1)

Resident Irish funnyman and guests.

Headliners and newcomers. Hosted

by Susan Calman.

The Stand, 20:30–22:30, £10 (£8)

Red Raw

The Stand, 20:30–22:30, £2

Open mic beginner’s showcase.

Wed 23 Feb The Best of Irish Comedy (Johnny Candon, Foil, Arms & Hog, Jeff O’Boyle) The Stand, 20:30–22:30, £7 (£6/£3)

All-Irish line-up. Hosted by Michael Redmond.

Thu 24 Feb The Thursday Show (David Hadingham, Foil, Arms & Hog)

The Stand, 20:30–22:30, £8 (£7/£4)

Headliners and newcomers. Hosted

by Raymond Mearns.

The Stand, 20:30–22:30, £10 (£9/£5)

The Friday Show (Gavin Webster, Neil McFarlane, Rebeca Donohue, Mikey Adams) The Stand, 21:00–23:00, £10 (£9/£5)

Thu 10 Feb

Thu 17 Feb

Wed 23 Feb

The Thursday Show (Simon Munnery, Wendy Wason, Danny Lobell, Ray Bradshaw)

The Thursday Show (Jason Cook, Joe Wilkinson)

The Best of Scottish Comedy

The Stand, 21:00–23:00, £8 (£7/£4)

The Stand, 21:00–23:00, £8 (£7/£4)

Headliners and newcomers. Hosted

by Bruce Devlin.

Headliners and newcomers. Hosted

by Jo Caulfield.

Fri 18 Feb

Improv comedy troupe.

Fri 11 Feb

The Stand, 21:00–23:00, £15

Sat 05 Feb

Comedy Central Live (Benjamin Crellin, Phil Butler)

Comedy Central Live (Smug Roberts, Adam Crow, Des Clarke)

Sun 27 Feb

Comedy Central Live (Susan Morrison, Kevin Gildea, Joe Heenan)

Prime stand-up. Hosted by Raymond Mearns.

Sat 26 Feb The Saturday Show (David Hadingham, Foil, Arms & Hog, Gordon Smith) Weekend laughs. Hosted by Raymond Mearns.

Micheal Redmond’s Sunday Service

The Stand, 20:30–22:30, £6 (£5/£1)

Resident Irish funnyman and guests.

Mon 28 Feb Trailer Park Boys

O2 ABC, 19:00–22:00, £15

Live comedy, based on the TV series of the same name.

EDINBU R G H Tue 01 Feb Wicked Wenches (Susan Murray, Tiffany Stevenson, Rebecca Donohue, Jill Peacock)

The Stand, 20:30–22:30, £6 (£5/£3)

Prime stand-up. Hosted by Martin Mor.

Improverts Bedlam Theatre, 22:30–00:00, £4.50 (£4)

Highlight, 20:30–23:00, £13

Live stand-up. Doors open 7pm.

The Saturday Show (Gavin Webster, Neil McFarlane, Rebeca Donohue, Mikey Adams) The Stand, 21:00–23:00, £15

Weekend laughs. Hosted by Martin Mor.

Sun 06 Feb Whose Lunch Is It Anyway?

The Stand, 13:30–15:00, Free

Improvised comedy sketches.

The Sunday Night Laugh-In (Lucy Oldham, Ben Verth) The Stand, 20:30–22:30, £6 (£5/£1)

Chilled comedy.

Mon 07 Feb

Highlight, 20:30–23:00, £10

Live stand-up. Doors open 7pm.

The Friday Show (Simon Munnery, Wendy Wason, Danny Lobell, Ray Bradshaw) The Stand, 21:00–23:00, £10 (£9/£5)

Prime stand-up. Hosted by Jo Caulfield.

Improverts Bedlam Theatre, 22:30–00:00, £4.50 (£4)

Improv comedy troupe.

Sat 12 Feb Comedy Central Live (Mikey Adams, Benjamin Crellin, Phil Butler) Highlight, 20:30–23:00, £13

Live stand-up. Doors open 7pm.

The Saturday Show (Simon Munnery, Wendy Wason, Danny Lobell, Ray Bradshaw)

Highlight, 20:30–23:00, £10

Live stand-up. Doors open 7pm.

The Friday Show (Jason Cook, Joe Wilkinson) The Stand, 21:00–23:00, £10 (£9/£5)

Prime stand-up. Hosted by Bruce Devlin.

Voodoo Rooms, 18:00–01:00, £tbc

Improv comedy troupe.

Sat 19 Feb

The Friday Show (Dave Johns, Sandy Nelson)

Comedy Central Live (Craig Hill, Smug Roberts, Adam Crow, Des Clarke) Highlight, 20:30–23:00, £13

Live stand-up. Doors open 7pm.

The Saturday Show (Jason Cook, Joe Wilkinson) The Stand, 21:00–23:00, £15

Weekend laughs. Hosted by Bruce Devlin.

Sun 20 Feb

The Stand, 21:00–23:00, £15

Comedian-cum-burger van owner.

Whose Lunch Is It Anyway?

Kojo

The Stand, 20:30–22:30, £10

Thu 03 Feb The Thursday Show (Gavin Webster, Neil McFarlane, Rebeca Donohue, Mikey Adams)

The Stand, 21:00–23:00, £8 (£7/£4)

Headliners and newcomers. Hosted

by Martin Mor.

Fri 04 Feb

Whose Lunch Is It Anyway?

The Sunday Night Laugh-In (Dan Nightingale, Mark Davies)

Playhouse, 20:00–22:30, £26

Improvised comedy sketches.

Wed 09 Feb

The Stand, 20:30–22:30, £6 (£5/£1)

Kojo

Chilled comedy. Hosted by Wendy Wason.

Hot new comic.

The Sunday Night Laugh-In (Sandy Nelson, Rhona McKenzie)

Mon 14 Feb

Mon 21 Feb

Chilled comedy.

We Happy Few (Mickey Anderson, Hitch Hanrahan, Adam MiTChell, Ben Verth, Who Is Jean?)

The Banshee Labyrinth, 20:00–22:30, £3

Red Raw: Valentine’s Day Special

Raucous sketch and stand-up comedy night.

The Stand, 20:30–22:30, £2

Melting Pot The Stand, 20:30–22:30, £5 (£4/£2.50)

The kilted funnyman lets loose.

Live stand-up. Doors open 7pm.

Sun 27 Feb

North-East comedy showcase.

Hosted by Joe Heenan.

Ray Bradshaw, Des Clarke (Matthew Winning, Elaine Devlin)

Highlight, 20:30–23:00, £10

The Stand, 19:45–21:00, £8

Hot new comic.

Comedy sketches chosen by the audience.

Comedy Central Live (Bruce Devlin, Mark Nelson, Kevin Gildea)

Queen’s Hall, 19:30–22:30, £16.50

Improvised comedy sketches.

The Stand, 20:30–22:30, £7 (£5)

Craig Hill: Why Don’t You Come Down The Front?

Brunton Theatre, 19:30–21:30, £14 (£12)

Sat 26 Feb

Weekend laughs. Hosted by Michael Legge.

Sun 13 Feb

Fundraiser in aid of Spartans FC Youth Team.

Improv comedy troupe.

Angelos Epithemiou and Friends

Tue 08 Feb

Benefit Night (Tom Stade, Gary Tank Commander, Mark Nelson, Gary Little)

Bedlam Theatre, 22:30–00:00, £4.50 (£4)

Improvised comedy sketches.

Wed 02 Feb

The Stand, 13:30–15:00, Free

Improverts

The Saturday Show (Dave Johns, Sandy Nelson)

Patrick Monahan, Peyvand Khorsandi, Sam Farzaneh

Northern Laughs (Gus Tawse, Gus Lymburn, Ed Patrick, John Aggasild)

The Stand, 21:00–23:00, £10 (£9/£5)

Prime stand-up. Hosted by Michael Legge.

The Stand, 13:30–15:00, Free

Whose Lunch Is It Anyway?

Weekend laughs. Hosted by Jo Caulfield.

Iranian comedy showcase. Part of Edinburgh Iranian Festival.

Fri 25 Feb The Friday Fix Live stand-up session, plus live music and DJs.

Open mic beginner’s showcase.

Voodoo Rooms, 19:00–21:00, £9 (£7)

The Stand, 21:00–23:00, £8 (£7/£4)

Headliners and newcomers. Hosted

by Johnny Candon.

Bedlam Theatre, 22:30–00:00, £4.50 (£4)

Red Raw

The Stand, 21:00–23:00, £15

Thu 24 Feb The Thursday Show (Dave Johns, Sandy Nelson)

Improverts

All-female stand-up. Hosted by Susan Calman.

The Stand, 20:30–22:30, £2

The Stand, 20:30–22:30, £6 (£5/£3)

All-Scottish line-up.

Open mic beginner’s showcase.

Tue 15 Feb Tom Stade The Stand, 20:00–22:00, £10

Original, and silly, comic.

Jimmy Carr Sharp-tongued comedian.

The Stand, 22:00–23:30, £8

The Stand, 20:30–22:30, £6 (£5/£1)

Red Raw The Stand, 20:30–22:30, £2

Open mic beginner’s showcase.

Tue 22 Feb We Happy Few (Mickey Anderson, Hitch Hanrahan, Adam MiTChell, Ben Verth, Who Is Jean?)

The Banshee Labyrinth, 20:00–22:30, £3

Wed 16 Feb

Raucous sketch and stand-up comedy night.

3 Sisters, 21:30–23:30, £3 (£2)

Benefit Night (Jason Cook)

Comedy showcase, with two headliners and two support acts.

Hosted by Jojo Sutherland.

Fundraiser in aid of First Step Community Project.

Steve Williams: Stand-Up Story Man

The Stand, 20:30–22:30, £7 (£5)

The Stand, 13:30–15:00, Free

The Stand, 20:30–22:30, £10 (£8)

Whimsical Welshman.

Mon 28 Feb Red Raw The Stand, 20:30–22:30, £2

Open mic beginner’s showcase.

DUNDEE Fri 18 Feb Phil Kay: In Tweed Dundee Rep, 22:30–00:30, £12 (£10)

Quick one-liners and silly songs.

Find more listings online February 2011

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ART GLASGOW Burrell Collection China Through The Lens Various times, 04 Feb—27 Feb, Free

The work of pioneering travel photographer John Thomson, from 1837-1921.

CCA Harun Faroki: Comparison via a Third

Recoat Gallery Apartness 12:00PM, 03 Feb—27 Feb, not 7th, 14th, 21st, Free

Artists working in the genre of pop surrealism.

Sorcha Dallas Sophie Macpherson 11:00AM, 01 Feb—18 Feb, not 6th, 7th, 13th, 14th, Free

New body of bold, colourful and abstract works from the GSA graduate.

11:00AM, 16 Feb—26 Feb, not 20th, 21st, Free

Archive of work from the pioneering filmmaker, artist and writer, including some key installation pieces.

Street Level Photoworks

Cafe Cossachok

In Case It Rains In Heaven: Kurt Tong

From Image to Reality and Reality to Image Various times, 03 Feb—27 Feb, not 7th, 14th, 21st, Free

Oil paintings, watercolours, prints, ceramics and crafts by globespanning artists.

David Dale Gallery and Studios

Various times, 04 Feb—27 Feb, not 7th, 14th, 21st, Free

A series of photographs of items made of joss paper to be burned as offerings for the dead.

The Arches Totem Of My Love Various times, 15 Feb—27 Feb, Free

Point/Line/Surface/Solid 12:00PM, 19 Feb—27 Feb, not 21st, 22nd, 23rd, 24th, Free

The Common Guild

Double-header exhibition from Alec Mackenzie and Dan Miller.

Tacita Dean

Flying Duck

Natural forms as still life, focusing on growth, transformation and demise.

08:00PM, Tue 1st, Tue 8th, Tue 15th, Tue 22nd, £4

Drawing class with a backdrop of DJ beats and a bar to the side.

Gallery of Modern Art Hertie Querty Various times, 01 Feb—27 Feb, Free

Playful works from artists including David Shrigley, Roderick Buchanan and Beagles & Ramsay.

Unsettled Objects Various times, 01 Feb—27 Feb, Free

Contemporary photography, video and installation from artists’ based outside the UK.

Glasgow School of Art Living Today Various times, 01 Feb—26 Feb, not 6th, 13th, 20th, Free

Group exhibition presenting artists whose work explores aspects of the society they live in.

Glasgow Sculpture Studio Christine Borland: Cast From Nature 09:00AM, 01 Feb—26 Feb, not 6th, 13th, 20th, Free

New work inspired by a John Godsir sculpture, taken from a cast of a medically-anatomised corpse.

Hillhead Library Love Out Of Bounds 10:00AM, 01 Feb—14 Feb, Free

Visual and verbal stories of loves that have been rejected.

Make It Glasgow In the Heart of the Moroccan Medinas 10:30AM, 09 Feb—26 Feb, not 13th, 14th, 20th, 21st, Free

Travel and documentary photography

by Edinburgh-based Jerome Lorieau.

Mary Mary Maximillion Zentz Zlomovitz 12:00PM, 19 Feb—26 Feb, not 20th, 21st, Free

12:00PM, 02 Feb—05 Feb, Free

The Modern Institute Dirk Bell Various times, 01 Feb—19 Feb, not 6th, 13th, Free

New solo body of work.

Tony Swain 12:00PM, 26 Feb, Free

Solo showcase of dreamlike paintings.

Tramway More Nudes In Colour 12:00PM, 18 Feb—27 Feb, not 21st, Free

French Drawings

Window To The West: The Rediscovery of Highland Art Various times, 01 Feb—27 Feb, £tbc

Asking questions about art and the Highlands, both historical and contemporary.

Collective Gallery Nicolas Party, Catherine Payton

11:00AM, 01 Feb—06 Feb, Free

Part of the New Work Scotland series, supporting new creatives.

Alex Gross, Anna Meilds

11:00AM, 18 Feb—27 Feb, not 21st, Free

New collaborative work investigating architecture as a frame.

Dean Gallery Artist Rooms: August Sander Overview of Sander’s most important images.

Edinburgh Printmakers John Goto: Mosaic

10:00AM, 01 Feb—26 Feb, not 6th, 7th, 13th, 14th, 20th, 21st, Free

Abstract mosaics, prompted by the invasion of the Gaza Strip by the Israeli Defense Force.

Embassy Gallery

Group exhibition of film and video works, looking at the meditation of experience through moving image.

Trongate 103 China Between: Polly Braden Various times, 04 Feb—27 Feb, not 7th, 14th, 21st, Free

Documentary photography on the modern city culture of contemporary China.

scotlandart.com The Big Postcard Show Various times, 01 Feb—27 Feb, not 7th, 14th, 21st, Free

Huge new collection of unframed ‘postcard’ artwork.

Jack Frame Various times, 18 Feb—27 Feb, not 21st, Free

New paintings from the GSA Painting and Printmaking graduate.

EDIN B UR G H Bristo Square Red Bull Stereopticon 06:30PM, 24 Feb, Free

Artist Elph transforms Edinburgh’s McEwan Hall into a 40ft canvas, in a real time live art event.

City Art Centre Ian Hamilton Finlay

Heger

Exhibition of two recently-acquired stone sculptures, alongside prints and a group of photographs of Little Sparta.

Various times, 01 Feb—27 Feb, £tbc

62 THE SKINNY February 2011

Out of the Blue Drill Hall Face Off 10:00AM, 01 Feb—05 Feb, Free

Paintings and installations by two contemporary Iranian artists, Maryam Hashemi and Haleh Jamali, exploring cultural identity.

Patriothall Gallery Journeys: Andrea Lobban 12:00PM, 01 Feb—05 Feb, Free

Digital prints on paper and textiles.

St Margaret’s House Art’s Complex Jewellery Exhibition Various times, 04 Feb—13 Feb, Free

Group jewellery exhibition, housed within a Valentine’s theme.

Pre-Degree Showcase 10:00AM, 19 Feb—26 Feb, Free

Group show run by the 27 honours painting students of Grays School of Art.

Stills

The Embassy crew’s annual members show.

11:00AM, 01 Feb—27 Feb, Free

12:00PM, 03 Feb—06 Feb, Free

Fruitmarket Gallery Jean-Marc Bustamante

Various times, 04 Feb—27 Feb, Free

New and recent work, tracing the development of Bustamante’s ideas and artistic language.

Henderson’s Restaurant and Arts Venue

Personal snapshots of recognisable figures.

11:00AM, 08 Feb—26 Feb, not 13th, 14th, 20th, 21st, Free

Works from Poussin to Seurat.

Social Documents: The Ethics of Encounter Part 2

Transmission Gallery Elastic Frames

10:00AM, 05 Feb—27 Feb, Free

Members Show

Roddy Martine: Scenes From A Life

Mono Various times, 01 Feb—24 Feb, Free

A new body of expressive willow works.

More flat-pack, cardboard cut-out sculptures from Keith Farquhar.

Experimental Berlin-based artist.

Glasgow-based stencil and streetstyle artist.

National Gallery of Scotland

Various times, 01 Feb—27 Feb, Free

10:00AM, 12 Feb—27 Feb, Free

Poet Drew Taylor and sonic artist Fi Johnston’s gathered testimonies of love.

All The Young Nudes

Spirit Of Air: Inscriptions by Lizzie Farey

08:00AM, 01 Feb—26 Feb, not 6th, 13th, 20th, Free

Ingleby Gallery Craig Murray-Orr

10:00AM, 10 Feb—26 Feb, not 13th, 20th, Free

New Zealand-born artist displays first solo exhibition in nearly ten years, featuring twenty small landscape paintings.

Institut Francais d’Ecosse Rebel(le)

Various times, 12 Feb—26 Feb, not 13th, 20th, Free

Paintings and drawings by french painter and illustrator Philippe Lagautriere.

Inverleith House Marc Camille Chaimowicz 10:30AM, 01 Feb—05 Feb, Free

Interconnected installations of new and historical work.

Claude Cahun, Sue Tompkins 10:00AM, 27 Feb, Free

Photographs by the celebrated photographer Claude Cahun, and the first major solo exhibition in Scotland for Sue Tompkins.

Leith Gallery New Faces

11:00AM, 05 Feb—26 Feb, not 6th, 13th, 20th, Free

Handpicked exhibitors chosen from the Scottish Art College Degree Shows.

National Gallery Complex

Looking at alternative means to engage with social realities.

Talbot Rice Gallery Rosemarie Trockel: Drawings, Collages and Book Drafts 10:00AM, 01 Feb—26 Feb, not 6th, 7th, 13th, 14th, 20th, 21st, Free

Presentation of Trockel’s works on paper, taking in 30 years of graphic output.

The Jazz Bar Dr Sketchy 03:00PM, 13 Feb, £7 (£6)

Glam burlesque drawing class. GO!

DUNDEE Central Library Hodge-Podge Various times, 02 Feb—26 Feb, not 6th, 13th, 20th, Free

Recent works by Brian Cheeswright.

In the Fine Art Library.

Cooper Gallery Simon and Tom Bloor: The Fascination of Islands Various times, 01 Feb—26 Feb, not 6th, 13th, 20th, Free

Municipal urban landscape and the notion of play as a Utopian act.

DCA Jonathan Horowitz: Minimalist Works From The Holocaust Museum Various times, 01 Feb—20 Feb, not 7th, 14th, Free

New work in response to Horowitz visiting the Holocaust Museum in Washington.

Duncan of Jordanstone College of Art and Design Collection(s): Part 1 Various times, 19 Feb—26 Feb, not 20th, Free

New Art and Design student work, alongside ‘lost’ objects from the University of Dundee’s Museum Service.

Generator Projects

The Young Vermeer

Annual Members Show

Intimate display of paintings by a young Vermeer.

Members showcase.

10:00AM, 01 Feb—27 Feb, Free

12:00PM, 03 Feb—13 Feb, not 7th, 8th, 9th, Free

STARTER FOR ELEVEN:

65daysofstatic

CRYSTAL BAWS WITH MYSTIC MARK

Due to take on a live reworking of cult sci-fi film Silent Running at the Glasgow Film Festival, Paul Wolinski of 65daysofstatic tests his nerd mettle for that first prize haggis supper Quizmaster: Darren carle Q1. Silent Running is said to have influenced many things, but which 2009 British independent sci-fi film has been added to this list by its first-time director?

Moon. It’s got a great soundtrack.

A. Moon (1 point) Q2. 2001: A Space Odyssey was written by Arthur C. Clarke but what was the name of his own short story it was based on?

Don’t know.

A. The Sentinel (0 points) Q3. According to his famous monologue at the end of Blade Runner, what did Rutger Hauer watch “glitter in the dark near the Tannhauser Gate?”

C-Beams!

A. C-Beams (1 point) Q4. Which creatures were at the centre of Star Trek IV: The Voyage Home?

Whales. Not sure why I know that though.

A. Humpback whales (1 point) Q5. Which cult sci-fi film was publicly shown last year with an extra 30 minutes of footage for the first time?

Metropolis. Si, our bass player, saw it. He says it’s great.

A. Metropolis (1 point) Q6. Which sci-fi television show periodically featured, and spawned a spin-off show called, The Lone Gunmen?

The X Files.

A. The X-Files (1 point) Q7. Who was Steven Spielberg’s first choice to play the part that eventually went to Richard Dreyfuss in Close Encounters of the Third Kind?

Harrison Ford?

A. Steve McQueen (0 points) Bonus point for the film’s tagline.

Is it ‘Doo-dooo-dooo-do-dooooo’?

A. We are not alone (0 points) Q8. John Carpenter’s first film Dark Star was co-written with Dan O’Bannon, who would go on to pen which sci-fi horror film?

Alien.

A. Alien (1 point)

Q9. “This is your receipt for your husband...and this is my receipt for your receipt.” Name the ‘dystopian sci-fi satire’ from which this quote is lifted.

Brazil!

A. Brazil (1 point) Q10. Can you name Robocop’s initial three prime directives in the first film? (1 point for each) 1. To protect and serve.

2. To have a wicked soundtrack.

3. To have a good time, all the time.

A. Serve the public trust, protect the innocent, uphold the law. (1 point for ‘protect and serve’) A bonus point for the, initially classified, fourth directive.

Destroy All Humans.

A. Robocop cannot arrest a senior executive of OCP. (0 points) Q11. Where did Family Guy’s Star Wars parody Blue Harvest get its title from?

When they were shooting Return of the Jedi they called it ‘Blue Harvest’ to keep stalker fans away from the set.

A. It was the fake working title of Return of the Jedi (1 point)

A respectable nine points places Paul third on the hall of fame, though the finer details of Robocop’s programming protocol have scuppered the chance of that delicious haggis supper.

1. Talib Kweli 2. Johnathan Rice 3. Paul Wolinski (65daysofstatic) 4. Mark Arm and Steve Turner (Mudhoney) 5. Kele Okereke

Performing a score to Silent Running as part of Glasgow Music and Film Festival 2011 at The Arches on 19-20 Feb www.65daysofstatic.com

ARIES 21 MAR – 20 APR Valentine’s Day. And you don’t have a date! Don’t worry, once the zombie apocalypse comes you’ll be able to have the date of your dreams. Next year you can Taser yourself a real catch with cute dimples in its rage-filled cheeks, tie it to your bed and commence a real coital classic, until its rotting genitals are pulped by your passion into an orgiastic mince. Just don’t try oral, whatever you do...

a

TAURUS 21 APR – 21 MAY Despite your best efforts it still doesn’t take this relationship seriously. Maybe if you stop lowering lotion down to it in a basket it might warm to you a bit more. Try lowering it some flowers instead.

b

GEMINI 22 MAY – 21 JUN An appropriately romantic way to hammer a full stop on Valentine’s Day is with some hydraulically-themed tasks between two people who love each other very much. Truly, is there a better way to express love than with an orchestra of liquid noises?

c

CANCER 22 JUN – 23 JUL Your current lover is not The One. Your true Soul Mate lives on a stretch of the Xingu River, wears war paint, eats human flesh, has a lip plate and has no intention whatsoever of ever looking for you.

d

LEO 24 JUL – 23 AUG Your fingers smell like a mixture of sour milk and blood.

You pick wiry hair out of your teeth with a red right hand, observe a tide mark that goes all the way up to your wrist. You can taste raw meat. What were you doing last night?

e

VIRGO 24 AUG – 23 SEP Lonely? Draw a face on a pillow, close your eyes and get gymnastic on that pillow’s ass.

f

LIBRA 24 SEP – 23 OCT One hellish flesh-berg of a night you’ll endure riding the waves of obscenity and rolling in the shores of a blubbery

g

ebb-tide until dawn, until your morale drowns in the ultimate nightmare your reality becomes.

Purple tracksuits are unlucky.

SCORPIO 24 OCT – 22 NOV Do you have all the stuff you need for your big date? 9ft of rubber hose? Shipping container?

Steel-mesh holding cube? Old dental chair? And plenty of Cillit Bang to clean up what the plastic sheeting doesn’t catch? Great!

The date’s on then.

h

i

SAGITTARIUS 23 NOV – 21 DEC

Just ignore the judgemental tone of David Attenborough’s commentary in your head as you make love.

j

CAPRICORN 22 DEC – 20 JAN

The first flashback you have when you wake up in that skip is of faces laughing, of someone spiking your drink with bull Viagra. Memories flood back as if a sewage pipe’s burst in your skull. Try not to cry as you remember yourself first fucking a tree, then a wheelie bin and finally as an encore, a flapping, screeching duck in Kelvingrove Park as dogs barked and parents shielded their childrens’ eyes.

AQUARIUS 21 JAN – 19 FEB Look on the bright side, there’s plenty more organic lifeforms in the sea.

k

PISCES 20 FEB – 20 MAR ‘Tis the season to warm up the rack as unfulfilled politicians, lawyers and media executives beat a path to the door of your dungeon. They come a-begging to lick your boot heel, be ball-gagged, cheese grated and Abu Ghraibed. Think of all the money as you flick the ash from your cigar into the mouth of that nappy-wearing judge who addresses you as “mein Commandant”. And remember, once you’ve prostate-milked your final MSP you can go home, and snuggle under your duvet with a hot mug of cocoa and a copy of OK!

l

February 2011

THE SKINNY 63