The Skinny Scotland August 2013 Issue 95 by The Skinny

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CULT U R A L

J O U R N A L I S M

Scotland Issue 95 August 2013

Comedy Chris Dangerﬁeld John Fleming Paul Vickers Rap Battles Yianni Adam Larter Choose Your Own Adventure Film Nicolas Winding Refn Neil & Rob Gibbons Art Rachel Maclean Gregor Schneider Andrew Gannon The Complaints Choir

Books EIBF Highlights Joe Sacco & Chris Ware Vic Galloway Music David Byrne & St. Vincent Shigeto David Yow The Yawns Julianna Barwick Super Adventure Club The Future of Music Theatre EIF Highlights Kieran Hurley Robert Softley

Clubs Sync in Squares Nightwave

“I HAVE NO ADVICE TO GIVE” BO BO BURNHAM BURNHAM LEADS LEADS US US INTO INTO THE THE FESTIVALS FESTIVALS

REAL HORROR

SHOW

An Actor’s Lament

THE PAJAMA MEN JUST THE TWO OF EACH OF US

STEVEN BERKOFF

Shhhhhhhh ! hh

The premiere of a brutal new comedy

Six tales of terror by COLIN HOULT

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“Admired as an actor, director and - above all - phenomenon.”

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Enter a world of pure imagination and wonder with former Cirque du Soleil star clown and mime artist Julien Cottereau.

From Clancy Productions, the multi-award winning company behind Cincinnati, Horse Country and Fatboy

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AT THE FRINGE THE ARCHES & REGULAR MUSIC in association with RICHARD JORDAN PRODUCTIONS:

Created by CORA BISSETT with SWIMMER ONE & DAVID GREIG

★★★★ ‘A MAJOR ACHIEVEMENT’ LIST Featuring new music & text by: RM HUBBERT . RACHEL SERMANNI . WITHERED HAND R I C K Y R O S S . E R R O R S . B I G G TA J . M E U R S A U LT EMMA POLLOCK . ANNIE GRIFFIN . ISABEL WRIGHT WOUNDED KNEE . STEF SMITH . ALAN BISSETT ALAN SPENCE . KIERAN HURLEY . CONQUERING A N I M A L S O U N D . E U G E N E K E L LY . K I R S T I N I N N E S . TA L K I N G M A K E S N O S E N S E

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EMMA S

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Contents

CULTU R AL

JOU R NALI S M

Issue 95, August 2013 © Radge Media Ltd.

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IMAGINATION

Contents 06 Front

Opinion: Editorial; Stop the Presses; Shot of the Month; Skinny on Tour; Crystal Baws; our editors' Top 5 Picks of the Edinburgh Festivals.

Paradigm Shift: Until The Music Stops Part two of our three-part series on the future of the creative industries, with comments from Simon Raymonde (Bella Union), Shaun Koplow (Anticon), the Chemikal Underground team, plus artists RM Hubbert, James Graham (The Twilight Sad) and Adam Stafford.

Shigeto details his autobiographical new album for Ghostly International.

Julianna Barwick on her brooding, mercurial return, Nepenthe.

Sync in Squares prepare for an epic month of gigs with Brainfeeder's Thundercat, Andrés, DJ Haus and hiphop supremo Just Blaze

Heads Up: A democratically chosen

08 selection of recommended events in Glasgow, Edinburgh and Dundee.

Festivals 10

Kicking off our Festivals special, Bo Burnham reveals why Stewart Lee hates him.

Rising comic Yianni tells us why hiring out the 1200-seater EICC is a really good idea; Adam Larter confesses to being a weirdo.

Juliette Burton on the virtues of haranguing family members for Kickstarter funding; revered comedian John Fleming bows to the Malcolm Hardee awards.

Comedic wildcard Chris Dangerfield tells us how he was reduced to fucking a dog. Ex Dawn of the Replicants man Paul Vickers attempts to explain his Twonkeys show and Rap Battles prepare for a showdown.

46 Food & Drink: Back to the festivals with

Choose Your Own Goddamn Adventure: Fred Fletch presents a harrowing guide to the Fringe.

Travel: A look at Jakarta, the stopover en route to paradise.

We talk to Kieran Hurley about the politics of contemporary theatre.

Deviance: Rosie Wilby introduces her Fringe show on monogamy. And is fat sexy?

Edinburgh International Festival picks. Playwright performer Robert Softley introduces If These Spasms Could Speak.

Artist Rachel Maclean weaves together oil, Nessie and Clyde the thistle to paint a portrait of contemporary Scotland ahead of her Edinburgh Printmakers show.

Gregor Schneider brings sinister installation art to Summerhall; Andrew Gannon introduces his Edinburgh Sculpture Workshop exhibit. The Complaints Choir gives Edinburgh the chance to air some grievances, plus Art Festival highlights. Edinburgh International Book Festival programme highlights, and some words with Vic Galloway and Chris Ware ahead of their Skinny-sponsored events.

Features

Lifestyle 44

Fringe food highlights, plus Phagomania unsuccessfully makes chorizo.

50 Fashion: Rachael Forbes shows off her Imaginarium Apparel.

Review 55 Music: New albums from Run The Jewels,

Forest Swords, David Yow, Newsted and MONEY, plus picks from Scotland's forthcoming gig calendar.

62 Clubs: Clubbing Highlights for August, plus an exclusive DJ chart from Gavin Richardson (Substance), and an interview with up-and-coming producer Nightwave

66 Film & DVD: The Lone Ranger, Foxfire and Pain and Gain in review, plus the August Film Event Highlights.

Art: Reviews of Tomorrow Never Knows

68 and Magic Mirror.

69 Books: Canongate launch a search for

emerging writing talent, plus reviews of four new releases.

70 Theatre: Venue of the Month is

Paterson's Land, plus we take a look at new work by Vincent Dance Theatre, Theatre Uncut and Steven Berkoff.

30 David Yow, legendary frontman of The

Jesus Lizard, tells us all about his longgestating debut solo album

Neil and Rob Gibbons lift the lid on Alan Partridge: Alpha Papa and working with Steve Coogan.

Former Talking Heads icon David Byrne & St Vincent discuss their blossoming creative partnership.

36 Only God Forgives director Nicolas

Showcase: GSA graduate Mikey Cook explains his practice and exhibits highlights from his degree show.

Competitions: WIN exclusive tickets to the Doc Martens store launch, £200 of vouchers and Book Festival tickets.

Listings: Music, Clubs and Art events in Edinburgh, Glasgow and Dundee. For full Festivals listings, head along to www. theskinny.co.uk/listings.

Canongate is turning 40, and to celebrate we’ve asked some of the wisest and funniest authors, designers, illustrators and collaborators we know to tell us what forty means to them.

FIND OUT MORE AT WWW.CANONGATE.TV/40

Winding Refn talks re-teaming with Ryan Gosling.

August 2013

Contents

Editorial W

hy are there so many people? Why can’t I cross the city without feeling the urge to punch slow moving tourists in the head? What does this urge to violence say about me? Where did the last year go? These are all questions that I ponder as I look forward to the cultural explosion we are about to witness in our fair capital. Festival season is upon us and I expect it will be both marvellous and harrowing, as always. In anticipation, we have put together an extensive guide to all the things our section editors and contributors are most looking forward to from across the various festive strands. Our Fringe Comedy previews open with an interview with Bo Burnham, an internet sensation and “more Justin Bieber than Justin Bieber,” according to our comic oracle Bernard. He tells us about being hated by Stewart Lee and the difference between a live audience and internet LOLs. We also chat to extremely loose cannon Chris Dangerfield about his experiences of bestiality, and other topics that should be too controversial to discuss in print. Up and comer Yianni tells us why he has taken the bold step of booking the 1200-seater EICC when hardly anyone knows who is. Sink or swim, basically. We also have words with Adam Larter, Paul Vickers and Rap Battles, before offering a compact choose your own adventure style guide to navigating Edinburgh in the Fringe. Shit gets weird. Moving on to Theatre, new section editor Eric has conducted exhaustive research into the programmes for the International and Fringe festivals to bring you an expert guide to what’s worth shelling out for. Highlights include a look at the political theatre popping up ahead of the impending independence debates, featuring words with Kieran Hurley and Robert Softley. Art looks at some of the Edinburgh Art

Festival shows that have caught our fancy this year. First and foremost, Rachel Maclean presents I HEART SCOTLAND in Edinburgh Printmakers, an exhibition of new prints dealing with Scottish identity in her trademark twisted technicolour style. We are also mostly looking forward to Gregor Schneider’s sinister installations at Summerhall, Andrew Gannon’s ESW work and the Complaints Choir giving us a space to air our grievances in a musical fashion. Books has its own festival as well, naturally, with the Edinburgh International Book Festival arriving in Charlotte Square mid month. We’ve got an array of highlights to recommend, as well as a couple of events we’re sponsoring that you should definitely go along to. We’ve spoken to their respective stars, Vic Galloway (him off the radio) and Chris Ware (a legend of the comics scene). Finally moving out of the Edinburgh Festivals bubble, Music offers some exclusive interviews with an array of artists set to resurface on our radar in some capacity this month. David Byrne and St Vincent’s collaborative work has been widely praised and now they’re bringing the live show up here to Glasgow. We also spoke to David Yow, Julianna Barwick, Shigeto and The Yawns, set local nutters Super Adventure Club loose on the singles and offer up a deep analysis of the state of the music industry in the second part of our Paradigm Shift feature series. This is a massive issue for us, and I literally do not have the space to rave about all the features, previews and reviews that are ace. I know I say that all the time, but it’s even truer this month. I haven’t even mentioned Film for god’s sake and it’s got Ryan Gosling in it. You should read the contents on the previous page for more detail or, you know, just read the magazine. [Rosamund West]

Shot Of The Month

Yeah Yeah Yeahs' Karen O at T in The Park, Sun 14 Jul, by Jassy Earl

Chat

Chem19’s coveted SoundLAB course open for applicants Now in its third year, Chem19 studio will play host to SoundLAB, a unique opportunity for 18-25 year olds to learn hands-on work in sound engineering and production from the studio’s own reputable staff. “A couple of our graduates have gone on to secure jobs at leading education establishments in areas of sound engineering and owe their success in large part to their experience gained with the course." says course co-ordinator Emma Pollock. "Other graduates have set up as self employed engineers, and hire various studios across the country working with a variety of artists. The course runs from October 2013 to June 2013. With just 12 places available, applications close on Friday, 16 Aug. To apply, visit www.chem19.co.uk. For more on the initiative, read our full interview with Emma Pollock at www.theskinny. co.uk/music

Jem Rolls is the founder of Big Word, Edinburgh’s original and best spoken word night, which helped launch the careers of countless Scottish poets including Rally & Broad’s Jenny Lindsay (who co-ran the event). He left Scotland in 2006, and after years of successful tours to the Canadian Fringe, and rave reviews from around the world, he returns to the Edinburgh Fringe for a very special, one-man show - a ‘best-of’ from his sell-out tours. Subversive and political, savagely hilarious, relentlessly physical, Jem Rolls’ performance is a hurricane of words, gesture and meaning - come and see the man who inspired a generation of performance poets in this very special, pay-what-you-can show. Part of PBH’s Free Fringe @ The Banshee Labyrinth, 29-35 Niddry Street, 3–24 Aug, 8.40pm [exc. 20 Aug

No Mean City Festival is now in its 3rd year, bringing a broad spectrum of Americana to Glasgow throughout September. From 31 Aug-28 Sep events will be popping up across the city, in venues including O2 ABC, Oran Mor, Nice ‘N’ Sleazy, Broadcast and the Art School. The line-up ranges from new underground favourites like Strand of Oaks, Dawes & Junip to living legends Eels & Kris Kristofferson. The festival kicks off with an all day, one ticket, multi venue event featuring up & coming acts including Jim Dead, Blindfolds, 3 Blind Wolves and Warren Mcintyre & The Starry Skies and will be under the banner of 'For the Sake of the Song mini festival.' See the full line-up at www.nomeancity.co.uk

The Meow Photo Award, is a competition running alongside the exhibition ‘Coming into Fashion: a Century of Photography at Conde Nast’ being held at the City Art Centre throughout the summer. The emphasis is to find new up-andcoming talent based in Scotland. Participants are asked to submit between 3 and 5 photos in a series, to the theme of tradition within the contemporary. Judges looking for participants to use traditional established codes within fashion photography while utilising advancements in the field and technology. The first prize is a free workshop with internationally renowned and acclaimed fashion photographer Miss Aniela. The competition is open and running until September. Full details and entry requirements are available on meowphotoaward.co.uk

Where are we going? From 27 July, Analogue Books of Candlemaker Row opens its exhibition We Had Longer Ways To Go. The show features the works of 18 image-makers from a variety of disciplines, illustrating geographical ambles, psychological voyages and visual snippets we find along the way.

This month's cover: Emer Tumilty "Emer is a recent graduate of Illustration at Glasgow School of Art. Her work is mostly screen prints on paper and textiles, though this year she also developed an interest in installation. Emer is currently establishing a studio space here in Glasgow, practising for upcoming gigs with John Knox Sex Club, and designing record sleeves."

The Skinny On Tour

f you can guess where this copy of The Skinny ventured on holiday you could be in with a chance of winning a copy of The Novel Cure: An A to Z of Literary Remedies by Ella Berthoud & Susan Elderkins, courtesy of our good pals at Canongate. Head along towww.theskinny.co.uk/

about/competitions to log you answer. Competition closes midnight Sun 1 Sep. Winners will be notified via email within two working days of closing and will be required to respond within one week or the prize will be offered to another entrant. Full terms and conditions can be found at www.theskinny.co.uk/about/terms.

THE SKINNY

Crystal Baws With Mystic Mark ARIES Finally you go on that holiday to Thailand hoping to find yourself. Instead you end up finding bits of yourself in the hotel shower plug hole after contracting a voracious tropical disease.

TAURUS Even before Morpheus has finished his speech you’ve already gobbled down both pills and given him a wink. As the effects take hold you start to wish you’d just asked him for a dab of speed instead.

GEMINI In this life you have found it almost impossible to find your soulmate. You have however met several soul-acquaintances, as well as the occasional soul-fuck-buddy.

CANCER A bell-end is like a beautiful flower. Once the stalk has grown to a sufficient length without succumbing to disease or being eaten by hungry animals, the protective membrane peels back, releasing a cheesy musk into the air, which in turn attracts bees from the local area who carry its seed to nearby budding orifices.

LEO This month after damaging your ankles again you decide to just have them scooped out and replaced with old bits of dog.

VIRGO You spend far too much time in R.E. class contemplating the size and texture of the Lord God’s mighty and omnipotent sphincter.

LIBRA Devoid of friendships, you decide to put googly eyes on everything in your house, turning it into an anthropomorphised silent hell of staring, judging eyeballs.

SCORPIO Scorpios are known for the sting in their tail. After contracting a sexually transmitted disease this month it feels like you’re pissing white-hot rolls of barbed wire.

SAGITTARIUS Saturn’s ring appears so swollen this month, it can be seen with the naked eye. Astronomers advise parents to take care while stargazing with young children.

CAPRICORN With your relationship in tatters you explain tearfully how you wish you could unfuck all those people. How you wish you could just spindle all the semen back into your balls like nothing ever happened.

AQUARIUS k Astronomers recommend you regularly check Uranus with a telescope to see if it has been entered by Cancer. PISCES l At work you don’t feel like you fit; often it seems like you’re just a square dildo being hammered into a round hole.

August 2013

Top Festival Picks Edinburgh, offering their sophomore efforts on the dark side of the American dream. Meyer in particular has been singled out for praise in 1. Doogie Paul Memorial Concert many quarters, with his new book, The Son, set to 8 Aug, The Assembly Rooms, 9pm, £18 establish him as one of the most important new Some of the finest minds in contemporary Scottish contemporary voices in American fiction. music celebrate the life of bass player Doogie Paul, 5. Joe Sacco + Chris Ware who succumbed to cancer last year. Post-rock 14 Aug, Scottish Power Studio Theatre, titans Mogwai headline alongside Doogie’s friend 7pm, £10 (£8) and former Athletes bandmate James Yorkston, As part of the 'Stripped' strand, a duo of the most plus King Creosote, Alasdair Roberts and crime innovative and ground-breaking graphic novelists author Ian Rankin, amongst others. in conversation. Sacco, known for his politically 2. Swans engaged, yet beautiful narratives, and Ware, the 13 Aug, The Liquid Room, 7pm, £22 technically ambitious observer of unnoticed lives. Come down from a day of Fringe hilarity by, umm… This one is a must-see, and not just because we're plumbing the depths of human despair with sponsoring it. [Ryan Rushton] Michael Gira’s post-punk margin walkers, Swans. Although last summer’s formidable two-hour piece THEATRE The Seer is barely in the rear view, Gira’s men have 1. Metamorphosis been debuting work in progress on recent dates. 10-12 Aug, King's Theatre, Various times, Expect catharsis. Expect to shit the bed. From £12 3. Songs in the Key of Fife A play adapted from Kafka’s original work about 25 Aug, The Guardian Spiegeltent, a man who, one day, wakes to find he has been 9pm, Free transformed into a large insect. This adaptation makes for an exhilarating multidisciplinary Veteran broadcaster Vic Galloway presents an one-man show, weaving together the flair and evening of music and discussion centring around his debut book – an insightful document from the beauty of the Far East with the anxiety of Kafka’s narrative. frontlines on the much-missed Beta Band’s rise and fall, the Fence collective’s steady trajectory 2. Psycho and a still-burgeoning community of DIY musi1-13 Aug, The Counting House, cians hailing from Fife’s East Neuk. 10.15pm, Free 4. The Twilight Sad Described as “fantastic, like a kind of dark, dirty, 21 Aug, The Liquid Room, 7pm, £12.50 louche angel” by Martyn Jaques of the Tiger Lillies, Following a successful run of acoustic shows, cabaret singer and comic Dusty Limits is back. A the Kilsyth trio return fully amped to win hearts performer like no other – a pioneer even – Dusty’s and perforate eardrums with their spellbindis not a show to miss, especially as it is part of the ing Scottish Album of the Year nominated LP. Free Fringe. “This will be the last show of the No One Can Ever 3. Motherland Know era before we disappear to record our 19-23 Aug, Summerhall, Various times, new album,” frontman James Graham tells us. £12 (£10) Unmissable, then. A direct attack on society’s hypocrisies, Vincent 5. Roddy Woomble Dance Theatre’s latest show negotiates the 7 Aug, The Assembly Rooms, 9.30pm, £14 troublesome issue of gender politics through live Seize this opportunity to catch the Idlewild’s front- music, dance and theatre. man Woomble, who’ll deliver selections from his 4. Fight Night recently released third solo LP, Listen to Keep, a series of sedate, latter day folk hymns. [Dave Kerr] 1-25 Aug, Traverse, Various times, £19 (£14) Ontroerend Goed, multiple Fringe First winners, along with Australia’s The Border Project return BOOKS to the Traverse an ambitious new piece. Set up 1. Amnesty International as five rounds, with five performers, and one survivor, it reflects the traps of voting systems that Imprisoned Writers Series 10-26 Aug, Peppers Theatre, 5.30pm, Free seem inherently democratic and ‘fair.’ Every day at the Book Fest Amnesty International 5. L’Après-midi d’Un Foehn explore the plight of imprisoned writers from around the globe. Featuring readings and discus- 2-25 Aug (not 6, 11, 12, 17, 18, 22), sions from a variety of contemporary voices. Summerhall, 2pm/7pm, £10 (£7) Colourful plastic bags, Debussy and air currents. 2. Jura Unbound This inspired dance piece offers up an ethereal 10-26 Aug, The Guardian Spiegeltent, performance, with plastic bags featuring as ‘dancers.’ Defying gravity, and beautiful in its simplic9pm, Free ity, this is Company Non Nova’s UK debut, and is Drop in, have a beer, grab some culture – the more free-form alternative to the main book definitely worth catching. [Eric Karoulla] festival, Jura Unbound features a mix of music and readings in the cosy Spiegeltent setting. COMEDY

MUSIC

3. Iain Macwhirter

15 Aug, Scottish Power Studio Theatre, 5pm, £10 (£8) Accompanying the TV series book, political journalist Iain Macwhirter's talk is part of the 'Scotland's Choice' strand. Whatever your opinion on next year's referendum, this event looking at the key moments leading to the independence crossroads will make sure you're making an informed decision when the time comes.

4. Partick Flanery + Philipp Meyer

10 Aug, Peppers Theatre, 6.45pm, £10 (£8) Two exciting up-and-coming novelists take to

1. The Malcolm Hardee Comedy Awards Show

23 Aug, The Counting House, 11pm, Free Increasingly prestigious, and increasingly a beacon for the truly alternative, the Hardee Awards are presented during a two-hour variety show that brings together the most bizarre and brilliant acts in town. If you're looking for the Spirit of the Fringe, it's right here. And it's free.

2. The Wrestling II

13 Aug, Pleasance Courtyard, 11pm, £15 A one-night only blend of genuine wrestling, top comedians and utter chaos, the 2011 incarnation

of this show scooped the Panel Prize at the comedy awards in recognition of its hilarious insanity, and this outing promises another evening of big names and horrifying injuries. There may be blood.

3. Scotland's Pick of the Fringe

31 Jul-25 Aug (not 12, 19), The Beehive Inn, 9pm, £5 (£4) Grassmarket haven The Beehive Inn is once again hosting the Scottish Comedy Festival, bringing together some of the best homegrown talent in one location. If you want to get a flavour of what's on offer you could do worse than checking out this nightly showcase.

4. Baconface: It's All Bacon!

3-25 Aug (not 12), The Stand Comedy Club II, 1.20pm, £5 The legendary 80s hero of Canadian comedy is back, but who is really hiding behind the Mexican wrestling bacon mask? Could it actually be a well-known British comic doing a character act? Baconface's identity is pretty much the worst-kept secret in Edinburgh, but come see for yourself.

5. A Young Man Dressed As A Gorilla... 5

12 Aug, The Voodoo Rooms, 6.45pm, Free Full mouthful: A Young Man Dressed As A Gorilla Dressed As An Old Man Sits Rocking In A Rocking Chair For Fifty-Six Minutes And Then Leaves... Part 5 – yet also completely accurate. Whether it's comedy, theatre, performance art or a desperate cry for help, this cult classic is the stuff of Fringe legend. [Bernard O’Leary]

ART 1. Rachel Maclean: I Heart Scotland 2 Aug-7 Sep, Edinburgh Printmakers, TueSun, 10am-6pm, Free Skinny favourite and winner of this year’s Margaret Tait Award, Rachel Maclean’s hilarious exploration of Scottish identity cuts close to the bone in this solo show of digital prints. Expect fairy princess Celtic and Rangers dresses, a Foxy John Knox and a sticky fate for the Commonwealth Games' Mascot.

2. Gregor Schneider: Süßer Duft Edinburgh 2013

2-31 Aug, Summerhall, Mon-Sun, 1pm-6pm, Free Since 1985 Gregor Schneider has created disturbing environments based on his childhood home in Germany – dank, wretched holes suggesting the nefarious deeds of ghouls like Fred West. His major new installation work in Summerhall’s basement promises a controversial statement about racism and slavery.

3. The Complaints Choir of Edinburgh

1 Aug-1 Sep, Times and locations tbc, Free A unique idea, The Complaints Choir invites residents to share their complaints and sing them aloud. Finnish artists Tellervo Kalleinen and Oliver Kochta Kalleinen have taken the project all over the world, and the premiere of their video installation situates the gripes of Edinburgers alongside those of Singaporeans and Helsinkians.

4. Jeremy Deller + Alan Kane

3 Aug-15 Sep, Jupiter Artland, Thu-Sun 10am-5pm, £8.50 (£4.50) Jeremy Deller teams up with long-time collaborator Alan Kane in a show at expansive sculptural installation park, Jupiter Artland, featuring a Steam Powered Internet Machine and one of Deller’s beloved steel drum bands. Free shuttlebus leaves from the EAF kiosk on George Street.

5. Game Changer

1 Aug-1 Sep, Meadowbank Sports Centre, Mon-Sun 10am-8pm, Free Rachel Adams, Jacob Dahlgren, Nilbar Güres and Haroon Mirza explore materials, physicality and body image in the context of the sporting arena. [Jac Mantle]

Chat

So, as per the August law, Edinburgh Festival takes over proceedings a little this month, with picks from across the gamut of art, books, comedy, theatre, and music. Ne'er fear, though – Glasgow still gets a decent look-in, clocking up 15 mentions across the month. Democratic hoorahs all round

Thu 1 Aug

Taking care of Tuesday nights at Subbie as only they know how (i.e. in myriad and varied shades of electronica, techno, and house), i AM's resident young guns Beta & Kappa team up with the Bad News chaps for a one-off special – joined on the decks by versatile British producer Glimpse, best known for his energetic live sets incorporating his beloved Roland 909. Sub Club, Glasgow, 11pm, £5

Writers of the 2012 festival hit Coalition, Robert Khan and Tom Salinsky pitch up at this year's Fringe with Making News – a fast-moving satire about the BBC, starring Phill Jupitus as the Director General charged with keeping things together when a crisis threatens to bring down the whole corporation. Pleasance Courtyard, Edinburgh, various dates until 25 Aug, From £7.50

Myriad galleries come to life for Edinburgh Art Festival, with highlights including an off-site outing for Collective Gallery (at Meadowbank Sports Centre) bringing together works by Rachel Adams, Jacob Dahlgren, Nilbar Güres, and Haroon Mirza, plus a chance to ogle Krijn de Koning's lofty new platform constructed for the ECA's Sculpture Court. Various venues, Edinburgh, until 1 Sep

Glimpse

Phil Jupitus

ECA's Sculpture Court

Tue 6 Aug

Wed 7 Aug

Thu 8 Aug

Returning for their 37th summer festival, Scottish Youth Theatre present patron Liz Lockhead's almost Shakespearian study of power politics, Mary Queen of Scots Got Her Head Chopped Off, with one side of the stage representing Scotland (and a relatively inexperienced Mary Queen of Scots), and the other, England (and the strong-willed Elizabeth: Queen of England). Tron Theatre, Glasgow 6-10 Aug, 7.30pm, £10

With his 2013 LP, Listen to Keep evidencing his continued retreat from erstwhile noisiness into warm and more familiar folk territories, solo singer/songwriter and sometime Idlewild frontman Roddy Woomble takes to the Assembly Rooms for a solo acoustic set – drawing on songs from said new LP, as well as handpicking a few tracks from the Idlewild back catalogue. Assembly Rooms, Edinburgh, 9.30pm, £14

Eclectic cavalry Armellodie Records take to Broadcast for a label showcase outing, with Super Adventure Club and their rollicking hardcore assaults on headline duties, alongside Galoshins, Cuddly Shark, and Thirty Pounds of Bone. And lo', it'll be SAC's last show for the foreseeable future – perhaps even forever. Tears at the ready. Broadcast, Glasgow, 8pm, £5

Roddy Woomble

Mary Queen of Scots Got Her Head Chopped Off

Super Adenture Club

Wed 14 Aug

Thu 15 Aug

Fri 16 Aug

Built on Michael Gira's affecting baritone, unprecedented levels of volume, and sheer visceral bloody energy, NYC-based post-punk outfit Swans head Edinburgh-way – still riding high on 2012's two-hour marathon of an album, The Seer, they'll be playing tracks from that whilst generally resonating all four walls of The Liquid Room beyond repair. The Liquid Room, Edinburgh, 7pm, £22

As part of the Stripped strand at this year's book festival, graphic novelists Joe Sacco and Chris Ware unite to discuss the brilliance of bringing together word and image on the page. With Sacco known for his politically engaged, yet beautiful narratives, and Ware's suburban fictions admired for their technically ambitious observerations of unnoticed lives. Charlotte Square Gardens, Edinburgh, 7pm, £10 (£8)

Where would we be without an off-site Fringe performance, eh? The ever-inventive Vision Mechanics theatre company bring their intentionally spooky piece, Dark Matter, back to the 'burgh – using light trickery to tell a story of the shadows that lurk in our subconscious, played out in a secret garden location somewhere down't Leith. Meet at Victoria Bar, Edinburgh, 15-24 Aug (not 18), 10pm, £12 (£10)

This month finds Glasgow's The Glad Cafe, celebrating their 1st birthday with a rather special musical weekender (what else?), for which they've assembled their very own supergroup – Carbs – made up of Jonnie Common, Jamie Scott (one half of Conquering Animal Sound), and Jay Kural (of Field Mouse), with the following evening manned by Trembling Bells. The Glad Cafe, Glasgow, 16 & 17 Aug, 8pm

Swans

Photo: Crimson Glow

Tue 13 Aug

Joe Sacco, The Footnotes

Dark Matter

Thu 22 Aug

Realising a crazed, yet delicate balance between doom metal, grunge, and power-pop like nobody else'd bloody dare, Miami merrymakers Torche descend on Glasgow once more – with axe-wielders Steve Brookes and more recent recruit Andrew Elstner keeping it as tightly played as ever, performing tracks from their latest LP, Harmonicraft, along side a few new B-sides. Broadcast, Glasgow, 8pm, £12.50

Post this year's excitement of SAY Award nominations and touring with Frightened Rabbit in the US-of-A, The Twilight Sad boys take to Edinburgh amidst festival mania to play a full-band set, hopefully previewing a new track or two that they've been busily recording. Support comes from Conquering Animal Sound and Honeyblood. The Liquid Room, Edinburgh, 7pm, £12.50

An annual highlight of the Edinburgh Art Festival calendar, Art Late pops up for two late night happenings – with various galleries in the north of the city (15 Aug) and then the south (22 Aug) lit up with live music, performance, artist talks, and tours, taking in Edinburgh Printmakers, The Fruitmarket Gallery, Edinburgh College of Art, Dovecot Studios, and many more. Various venues, Edinburgh, 6pm, Free (but ticketed)

Torche

Twilight Sad

Photo: David Anderson

Wed 21 Aug

Photo: Mairead Palmer

Tue 20 Aug

Jonnie Common

Dovecot

Tue 27 Aug

Wed 28 Aug

Thu 29 Aug

Fri 30 Aug

Glasgow's favourited cheapie vintage emporium, The £10 Thrift Store, makes a special midweek trip along the M8 with upwards of 5,000 handpicked items in tow – taking in a summer-y mix of Levi cut-offs, sun hats, printed t-shirts, and festival-friendly leather jackets – all priced at a tenner, jollied along by afternoon teas served up in the cosy cocoon of the cafe booths. Cabaret Voltaire, Edinburgh, noon, Free

Sneaky's midweek bass spectacular, Witness, serve up a rare guest slot for their last trick of the month – welcoming Leicester scratch DJ and producer Jon 1st for a shot on the decks, mixing it up across numerous tempos and styles of the bass music spectrum, while incorporating technical skills developed in his background as a competitive turntablist. Sneaky Pete's, Edinburgh, 11pm, £tbc

Talking Heads co-founder David Byrne and Annie Clark (aka St Vincent) tour on the back of their collaborative new gem of an LP, Love this Giant – the result of a threeyear creative dialogue between the pair. They'll be giving it a live airing in the suitably lofty surrounds of Glasgow Royal Concert Hall, complete with brass band backing. Glasgow Royal Concert Hall, Glasgow, 7.30pm, From £30

Following their Liquid Rooms date with Jeff Mills the week prior (23 Aug), the Jackhammer boys round off an eventful festival with an eight-hour summer's BBQ outing in The Annexe, at which Magda, Marc Houle, Danny Benedettini, and Wolfjazz & Keyte will take turns on the decks providing the techno-heavy tuneage, while a flaming grill will provide the meaty sustenance. The Annexe, Edinburgh, 9pm, £18

£10 Thrift Store

Chat

Jon 1st

David Byrne & St Vincent

Magda

THE SKINNY

Photo: Ailie Z Killer

Compiled by: Anna Docherty

Wed 31 Jul

Photo: Ingrid Mur

Heads Up

Tue 30 Jul

Sun 4 Aug

Mon 5 Aug

Tramway hand over the gallery space to sculptor Brian Griffiths (as in he of the 7.5 metre giant panda head) and his ambitious new solo exhibition – Borrowed World, Borrowed Eyes – which finds the artist responding to the industrial scale of the gallery with a field of giant geometric instillations, each shrouded in worn, painted, patched, and stitched tarpaulin. Tramway, Glasgow, until 22 Sep, Free

Making his own wee DIY mark on Edinburgh festival proceedings, label owner and blogger Song, By Toad hosts a series of special outings under the banner The Pale Imitation Festival (1-31 August), showcasing stellar local acts while providing an enclave from the Fringe hubbub – with this edition manned by FOUND, Adam Stafford, and Mike MacFarlane. Henry's Cellar, 7pm, £5

Infrequent – but ever welcome – visitors on the live circuit, (a very pregnant) Manda Rin and her Bis cohorts revive their finest hyper-pop moments for an intimate hometown outing at Mono, playing what will be their third and final gig of the year. Joining 'em in their high-energy singalongs will be experimental Birmingham trio Ghosts of Dead Airplanes, taking on official support duties. Mono, Glasgow, 8pm, £7

Vic Galloway takes to Potterrow for a live recording of his favourited alternative music show, BBC Introducing, which will stream live on BBC Radio Scotland at the same time as folk in Edinburgh can enjoy two hours of in the flesh performances from his handpicked line-up of Three Blind Wolves, Young Fathers, RM Hubbert, and more. Potterrow, Edinburgh, 8pm, Free (but ticketed)

FOUND

Brian Griffiths

Bis

Photo: Sol Nicol

Sat 3 Aug

Photo: David Anderson

Friday 2 Aug

Young Fathers

Fri 9 Aug

Sat 10 Aug

Sun 11 Aug

Mon 12 Aug

Glasgow eight-piece Randolph's Leap play a special Edinburgh festival set, charmingly twisting the folk-pop genre into little ear-worms of joy as they go – joined by allgirl pop kids on the block, TeenCanteen, formed from the ashes of Futuristic Retro Champions. Superfans can then catch 'em at Green Man and Doune The Rabbit Hole festival later in the month. Electric Circus, Edinburgh, 7pm, £8

The Nomadic tech-house crew that is Bigfoot's Tea Party take to their occasional backwater of 100 Stobcross Road for Bigfoot's Riverside, a summer-styled, ninehour clubber's extravaganza with special guest DJ all the way from Chile – Alejandro Paz – jollied along by the usual BBQ action, before it comes to a messy head at a secret after-bash. 100 Stobcross Road, Glasgow, 3pm, £8

With Julian Clary, Ed Byrne, and Alan Davies et al manning Amnesty International's Secret Comedy Podcast in the Underbelly (2-25 Aug), the comics hit up the Meadows for a rare Sunday afternoon off – with the Critics Vs Comics footie match returning in grudge mode, with various comedians attempting to trounce the critics for a second year in a row. Go cheer. The Meadows, Edinburgh, 3pm, Free

Glasgow's Sonica, make their way to Edinburgh Fringe with Sven Werner’s seriously magical Tales of Magical Realism – an installation embodiment of Werner’s feature film Oculista, told in miniature through a peep hole, pedal-powered by a Penny Farthing imported from the Czech Republic. Summerhall, Edinburgh, 12-25 Aug (not Weds), Various times, £14 (£9)

Randolph's Leap

Bigfoot's Tea Party

Julian Clary

Sat 17 Aug

Sun 18 Aug

Mon 19 Aug

The Flying Duck keep it as delightfully irreverent as ever for their 6th birthday bash, hosting a Zoolander-themed party night (i.e. for ridiculously good-looking people), featuring a DJ set from former Pin Up Nights' chap Paul Smith, alongside plenty of fun and frivolity in the form of a Blue Steel competition, a mock catwalk, an on-site make-up artist, and a walk-in wardrobe. The Flying Duck, Glasgow, 11pm, £5

GFT host a one-off showing of British sculptor Andy Goldsworthy's 2001 documentary, Rivers and Tides – a beautifully-shot insight into the sculptor's life and work. Filmed across four seasons, it focuses its lens on his intricate and often ephemeral works, which are threatened and sometimes destroyed by nature and the passing of time. Glasgow Film Theatre, Glasgow, 5.30pm, £7.50 (£6)

Let the vitriol wash over you like a big, bastarding wave, as renowned standup comic-cum-magician Jerry Sadowitz returns to the Fringe for a sevenday stint – this year focusing his performance on the card tricks and close up magic side of his talents, but likely still awash with the same number of expletives and hateful rants. The Assembly Rooms, Edinburgh, 19-25 Aug, 7pm, £15.50

Zoolander

Rivers and Tides

Tales of Magical Realism

Jerry Sadowitz

Fri 23 Aug

Sat 24 Aug

Sun 25 Aug

Mon 26 Aug

Glasgow Print Studio mark their 40th year with 40/40, a special showcase featuring 40 new prints by 40 of their best-known artists – amongst them Alasdair Gray, Elizabeth Blackadder, Martin Boyce, Jim Lambie, and Toby Paterson – with each print a limited edition of, yes, 40. Opening night party, Friday 23 August (6pm-8pm). Glasgow Print Studio, Glasgow, until 13 Oct, Free

Pitching up for a one-day electronic festival outing on the banks of the River Clyde, Electric Frog and Pressure join forces for Riverside Festival – a carnival-styled all-dayer featuring the likes of Jamie xx, Josh Wink, Boys Noize, Len Faki, Slam, and Auntie Flo, plus live comedy, performance art, boutique stalls, and all the street food you can fit in yer gub. Riverside Museum and The Tall Ship, Glasgow, 4pm, £30

As part of the book fest's Unbound series of late night happenings, BBC broadcaster, journalist, and Scottish new music champion, Vic Galloway, launches his new book – Songs In The Key Of Fife. Carefully charting 20 years of DIY Fife label the Fence Collective, he'll be joined on the night by a selection of bands from their roster. Charlotte Square Gardens, Edinburgh, 9pm, Free

We return to the Book Festival's late night Unbound setting for one final fling (as in, it all comes to an end today), where Sian Bevan and her Electric Tales cohorts host a special outing of the night, under the guise Robots Dream of Electric Tales, where a selection of comic storytellers will imagine the future like we thought it would be: with robots. Charlotte Square Gardens, Edinburgh, 9pm, Free

Toby Paterson

Jamie XX

Vic Galloway

Sian Bevan

Sat 31 Aug

Sun 1 Sep

Mon 2 Sep

The Edinburgh Mela takes over Leith Links in its usual flurry of colour and sound, spreading their world music and dance celebration across two music stages, a dance stage, a marketplace, a food village, and a funfair – where amongst the 100+ artists set to decend are dance aficionados The Orb, who headline alongside Ghanian master drummers Kakatsitsi. Leith Links, Edinburgh, 31 Aug & 1 Sep, £4 day-access

Labelling themselves 'environmental alchemists', the Ecomunky Pop-Up Boutique returns to Oran Mor's gargantuan auditorium space for an afternoon of guilt free shopping – offering up a selection of eco, vintage, organic, upcycled, and recycled goodies across ranges of clothing, homeware, and gifts. Go forth with your jute shopping bag. Òran Mór, Glasgow, 12.30pm, £1

Having been working together since he was a young(er) man and she were but a teen, Robin Ince and Josie Long kick off their new collaborative mini tour, mixing new solo material with extracts from the Dirty Book Club – Robin's follow up to his Bad Book Club show, taking in passages of oddball erotica from books rescued from skips and charity shops. The Stand, Glasgow, 8.30pm, £12 (£10)

August 2013

The Edinburgh Mela

Ecomunky

Josie Long and Robin Ince

Chat

Welcome to the Fringe Words: Bernard O’Leary Illustration: Joachim Sperl

he Fringe is upon us again and it’s time to reopen all the old debates. Who will deserve to win an award? Who will actually win an award? Who will be the big breakthrough act? Who will fail miserably? And, everyone’s favourite, has the Fringe become too corporate and lost its soul? The answer to the latter is yes, and no. Sure, there will be very business-minded comics using the Fringe as their big break, but many others will be trying to create something that’s beautiful and experimental and shocking. This issue celebrates the pioneers of the Fringe, the ones who’ve done everything their way every step of the way. From Bo Burnham, who escaped YouTube to become a superstar, to Paul Vickers who is possibly an alien, these are people who have challenged what a comedian is supposed to do and written their own book of rules.

And audiences need to experiment as much as performers. So if you’re in Edinburgh this August, take some risks. Go see people you’ve

“Might be good, might be shit.” Malcolm Hardee

never heard of, explore shows that look a bit odd, and give people the chance to show you something amazing. Comedy legend Malcolm Hardee used to introduce new acts by saying, “Might be good, might be shit.” That’s true of every show at the Fringe. So when you’re booking tickets, take a few risks.

“I’m an authority on confusion” YouTube’s first comedy megastar stormed the 2010 Fringe, so what can we expect from Bo Burnham this time?

omedy has a pretty well-defined route to success. Do some open spots, get a name, start getting booked to do paid gigs, headline a few club nights, lose a fortune at the Fringe, and if you’re lucky you might get a spot on Mock The Week. Unless you’re Bo Burnham. If you’re Bo Burnham, you dick around on YouTube a bit until one day you discover that, completely by accident, you have become Earth’s most famous young comedian. From the kid who made videos addressed to “Internet pedophiles” to global superstar in a few short years; when did he realise that something was really happening for him? “In the beginning it was really abstract,” he says. “My day-to-day life wasn’t changing at all, but I could see these large numbers of views, and a large number of comments that I mainly wasn’t reading. I don’t quite remember, honestly. To me, hindsight is not 20/20. Instead of rose-tinted glasses, I have shit-tinted glasses.” Burnham turns 23 during this year’s Fringe, and has already has a record that would put most old pros to shame. A world tour, an HBO special, and a 2010 Panel Prize from the Fosters Comedy Awards. Despite all of this, he sounds like a pretty ordinary young guy: humble, excited, a little baffled by his success and very excited about appearing on stage. Even the whole YouTube thing, he admits, was just a way of killing time. “It was just about doing these silly songs so I had something to do while I prepared to go to college and do theatre. I did theatre all my life,

Feature

Interview: Bernard O’Leary

so even though people were watching I didn’t feel like anything was real until I did my first show. It was only 200 people showing up but it was amazing, and those 200 people laughing felt ten times better than 100,000 people typing ‘ha ha ha.’” The 2010 Fringe is where Burnham graduated from being an Internet novelty to a bona fide comic voice. His show that year, Words Words Words, was a word-of-mouth smash hit and ended up catching the eye of the award judges, who fudged things slightly by giving him the Panel Prize rather than Best Act. Although he’s quite happy with that: “If I’d won the main award, that’d be just like asking for the backlash. I think it was the best-case scenario.” There was a slight backlash though, from more established comedians who weren’t too happy about some kid off the internet stealing their thunder. “Yeaaah…” he says sounding uncomfortable, “Stewart Lee hates me.” Why’s that then? “When I was last in Edinburgh, the show was taking off and I was doing a lot of interviews. Basically, in one of them I said something like, ‘Stewart Lee is doing this amazing thing, this self-referential, post-modern comedy which I feel like I haven’t seen as much in Europe since Andy Kaufman did it.’ I was trying to say is that he’s really great, but I think it came off sounding like he’s doing something people did in the United States years ago. “I think Stewart Lee is a genius. But I heard he talked for 10 minutes in his show about me and he was like, I’m just a 20-year old and must be

singing about Facebook or something. He wrote a whole article on me. But, you know, I was 19 years old and I was on the umpteenth interview of that day and I just mixed up my words a little.” Technology changes fast. It’s three years on, and most career comics are as concerned about their Twitter follower count as they are ticket sales for their gigs. So do people now hit up Burnham (750k+ followers) for advice on being funny in a digital age? “No,” he says firmly.

“Stewart Lee hates me.” Bo Burnham

Really? Why not? “I’m pretty isolated. The Fringe was so amazing and had such an impact for me, but then I came back to the United States and it was like nothing had changed for me. Over there, I felt people were really getting what I was trying to say with the show, but I still felt like I was just the YouTube kid on the this side of the pond. I’ve been trying to keep to myself and build a good show and… yeah, I have no advice to give. I just got super, super lucky.” Burnham has forged a new path for comedians, but he has no idea how he got there. He doesn’t even really know what comedy is, or what his new show is meant to be, which is why he’s

COMEDY

named it What? “I’m making it up and I don’t really know what it all means. Especially when I’m trying to vaguely blur the lines between theatre and comedy. I’m trying to figure out at what point pouring your heart out emotionally becomes funny, and why is it funny. But I have no idea. “I do know what it can do to people, and I try to work with that, I try to do something positive. I’m much more value giving people a laugh or confusing them or making them wonder for a while. Rather than like, you know, shoving social issues at them or trying to be edgy. I just don’t think I’m an authority on those things. I think I’m an authority on confusion.” Does he at least have an opinion on the traditional stand up scene? “I don’t think all comedy should be born from a male-heavy brick building. I don’t think all comedy should be able to withstand a drunk audience. Even though that is great. Some of my favourite comedians like Jim Jeffries, who do this stripped-down art that’s violent and territorial, and I love that. But I think there’s comedy that’s gentle, or poetic, or crazy, or gay or straight or whatever.” Are comedy clubs dying? “No, I don’t think clubs are dying. I personally don’t work in the clubs simply because the hour I’m doing doesn’t make sense in a club. But I have no interest in things dying. I’d prefer to see new things thriving and co-existing.” www.edfringe.com/whats-on/comedy/bo-burnham-what

THE SKINNY

Thinking Big The up-and-coming Yianni prepares to take on the Fringe’s biggest venue

“I

’m not mad,” says Yianni, “I’m just ambitious.” It’s not the first time that Yianni has been asked if he’s lost his mind, given the scale of his undertaking for the 2013 Fringe. Last year, he played the Free Fringe with a great show about maths and autism, and enjoyed the kind of success that might justify taking on a paid show at a larger venue. But Yianni has overshot that somewhat, and is instead planning a one-off extravaganza at the Fringe’s largest venue, the 1200-seater EICC. It’s an audacious leap forward and a crazy risk, so why is he doing it? “I wanted to do something really personal and look at my weaknesses, and my big weakness is that sometimes I don’t follow through on my ideas. So I wrote a show about what we can achieve if we really believe in ourselves. And then I thought, well why don’t I do something to demonstrate that? “I asked around at some of the other venues,

Interview: Bernard O’Leary

like trying to get the Pleasance One for an evening but it was really hard to book it out for just one evening. The EICC hadn’t even occurred to me until a friend suggested it when we were in a pub. I said, ‘Could you put me in touch with the venue manager?’ and he said, ‘No problem, he’s coming down here in five minutes.’” And now Yianni faces the biggest challenge of his career. It could be a huge breakthrough if he pulls it off, but is it actually part of a masterplan to succeed in comedy? “God no, I have no big plan. This could just be another event in a long line of failures. But, whatever happens, even if it’s just me in front of twenty people in a huge room, it’s going to be a lot of fun.” Think Big (The Big One) is at the EICC, 25 Aug, 6pm, £10/£8 Think Big also runs at The Dram House, 3-24 Aug, 4.45pm, free www.edfringe.com/whats-on/comedy/yianni-in-think-bigthe-big-one

Professional Weirdo Comedy weirdo Adam Larter tells us about his two new Fringe shows and fails to pronounce ‘satirist’

t’s difficult to describe Adam Larter, so how would he describe himself? “I don’t really know. Comedian. Clown. Pisstaker. Satiririst... Saterrier... no, I can’t be one of those if I can’t pronounce it. The Independent came to see the show once and called it ‘sharp satire’, which was strange.” It is strange, considering that Larter’s shows tend to include things like mini-plays about Danny Zucco from Grease going on an adventure with Godzilla. Maybe that was seen as a comment on the coalition government? “Possibly. My favourite bit of that particular show was when I had the audience singing Christmas carols in August.” Larter’s style of manic invention, which is a blend of clowning, storytelling, and strange props, isn’t something that would fit into a normal comedy club, so how did he even get started? “I did start off doing normal five minute open spots and I used to worry, ‘oh this bit is too weird, it might not work.’ Then I realised, I have my day job to pay the bills, I don’t need to worry. If I’m going to do this, I might as well just have

August 2013

Interview: Bernard O’Leary

as much fun with it as possible. And yeah, some people hate it but I’ve been lucky to find more and more people who really get it.” His act branched out into one of the most talked-about comedy nights in London – Weirdos – and has created a space for equally absurd and difficult-to-categorise acts such as Carl Shultz and Holly Burns, culminating in a proper alternative comedy panto last year, which Larter describes as “the thing I’m most proud of.” This year, he’s back as part of a double act with the equally odd Ali Brice, while Weirdos runs for five nights at the Jekyll & Hyde. “It’s curated by a different person each night,” he says of Weirdos, “and we’ll be competing to see who runs the best night. But we’re allowed to interfere and fuck it up for our rivals. I can’t wait.” Adam Larter and Ali Brice: Plumpy’nut, The Hive, 2.44pm, free Weirdos: Good Evening Glasgow, Jekyll & Hyde,18-25 Aug, 11.45pm www.edfringe.com/whats-on/comedy/adam-larter-and-alibrice-plumpy-nut

COMEDY

AN EVENING WITH

DAVID SEDARIS N E W

Y O R K

T I M E S

B E S T

S E L L I N G

A U T H O R

17-24 AUGUST - 18:30 SHOW VENUE 150 LENNOX SUITE @EICC EDINBURGH 0844 871 8803 kililive.com 0844 847 1639 venue150.com “He has a Bennett-like way with a pause, and pitch perfect comedy timing…” SCOTSMAN “Profanity seldom sounds this refined, phrases so expertly massaged, or laughs so lovingly engineered.” THE HERALD “No, Sedaris isn’t a stand-up, but he’s certainly a masterful comic writer, whose modest delivery brings his words to hilarious life.” CHORTLE OUT NOW

A KILIMANJARO PRODUCTION IN ASSOCIATION WITH SHOW AND TELL

NATIONAL THEATRE WALES

THE RADICALISATION OF BRADLEY MANNING By Tim Price Directed by John E McGrath

6th - 25th August 7.30pm (2.30pm) Pleasance at St Thomas of Aquin’s High School (Venue #17) pleasance.co.uk | 0131 556 6550

THE SKINNY

How to Crowdfund a Fringe Show Crowdfunding is an increasingly popular option for cash-starved artists, but how does it work and where does your money go? Words: Juliette Burton

am so sick of requests. No I will not sign your petition. No I will not sponsor your bike ride. No I will not pledge money for your Edinburgh Fringe show… Wait, that last one was a request sent by me. People are tiring of crowdfunding and I have witnessed that first hand. My show is going to cost money. A helluvalotta money. The whole Fringe is an industry built on creatives who want to get their work seen – by the public, by industry, by press, but we need money to make it happen. So the pleas for help begin. What did I offer people if they crowdfunded? We began enthusiastically. I was at first advised, by a university graduate with all the enthusiasm of youth, that we could “easily” raise £5000. I thought that was a little hopeful. I would be begging those dear friends and family to give me their cash to make my dream – not theirs – come true. Maybe by the end of the pestering it would be their dream to shut me up and stop me emailing them asking for more money. We offered people the option to give any sum they wished – even 1p. Four people claimed a public ‘thank you’ on Facebook. Two claimed a signed flyer for £10. Five lovely people claimed a badge or a drawing sketched by me for £20. Three amazing people gave £50 and for that I spent time

writing them personalised poetry. One utter hero pledged a whopping £75 for which he will receive signed merchandise and baked goodies made by me. He’ll be receiving that in person at the Fringe this August. How much did I raise? We aimed to raise £3000. Did we? No. Those of you good at maths will have already realised that. After 60 days of publicising it on Twitter and Facebook and sending annoying emails to friends and family we raised £740. That’s not what we aimed for. But I am grateful for every single penny. Sadly, not every single penny came to us – after deducting the Indiegogo percentage and the PayPal fee we’d lost over £100 of that money. But every single penny left after that deduction is going to help me with my show. Where does my money go? I felt the only ethical thing to do would be to set up a business bank account purely for the show. All the crowd-funding money would go into that pot – separate to my own personal income and outgoings. It would be there simply for the costs of materials – the flyers and posters, the graphic design, the PR costs, the venue hire, and the production of the show itself.

How did I raise the rest? I was lucky enough to be given some money towards ‘Professional Development’ from Creative Scotland. That money is going towards my director’s fees, the script consultant’s fees and any writing courses I need to go on beyond the Fringe. Is it ethical to crowd-fund? Would I crowd fund again? Well, I would love ideally to not have to. I’d love to live in a world where the government gives comedy writers and performers money to create shows and tour them around the UK and the world. But I don’t, even if our shows are terrific and we’re really, really lovely people. I hate the idea of begging friends and family again for money. But I honestly don’t know a better way the creative industry will currently be funded. With government cuts in the arts and less money going around in general – it’ll be thanks to the generosity of others that any of us will get future shows off the ground. Crowdfunding is one of the few ways we can make it happen. I will need to continue relying on the kindness of strangers to make my dreams come true. Mace & Burton, When I Grow Up, Gilded Balloon Teviot, 31 Jul-26 Aug, 1.15pm, £9

“We’re all waiting for the comedy Beatles”

One of the most respected figures in the comedy scene, John Fleming explains the increasing prestige of the Malcolm Hardee awards Interview: Bernard O’Leary

ohn Fleming has, without really trying, become one of the most influential figures in British comedy. It’s mostly because of his blog, in which he meticulously chronicles the truly alternative side of comedy, interviewing visionaries and artists and sometimes just plain weirdos, all of whom are united by the fact that they’ll never, ever appear on telly. It is required reading for anyone who has a real interest in comedy. And it all started as a simple PR stunt. “Originally, the blog was just to publicise the movie I produced, Killer Bitch,” says Fleming, “which is the worst movie ever made and I’m extremely proud of that. I reckoned that if I started writing every day, I could build up a readership by the time the movie was released. At the beginning, there were lots of general posts on politics and such, but I noticed that I tended to get vastly more hits when I wrote about comedy.” Part of the popularity of the blog is the fact that he returns again and again to the same characters, building fascinating long-running narrative threads about the success and failures of barely-known comedians. It’s something that’s resulted in him becoming known as “the Boswell of the alternative scene.” “Yeah, Chortle regret saying that, because I’ve quoted it everywhere. Although I’d be interested to hear what The Skinny have to say.” How about The Archers for comedy nerds? “…I’ll probably stick with the Chortle thing if it’s all the same. “The idea has always been to turn the blog into a series of ebooks, and if you’re doing that then you need ongoing narratives to keep people reading. For instance, when I wrote recently about Matt Roper getting ill in Vietnam, I didn’t just leave it there so you’re wondering ‘well, what happened next?’ And it’s the same with other threads, like finding out what Bob Slayer has broken recently, or which minority is currently boycotting Lewis Schaffer.” Fleming is also the custodian of the

August 2013

increasingly prestigious Malcolm Hardee Awards, a venerable institution that began in 2007 following the death of one of comedy’s most anarchic and large-testicled figures. “The awards,” said Fleming, “were started just so I could be listed as a performer and get free tickets to everything. I think that’s something Malcolm would have approved of.” With the main awards now chiefly being a method of driving consumer engagement with the Fosters brand, the increasingly prestigious Malcolm Hardee awards have taken a special place in the heart of the comedy community. A lot of this is due to the award ceremony itself. Rather than the comedy elite getting together to pat each other on the back, the Hardees are an open-door free gig with a two-hour showcase of some truly bizarre acts, ending in the three main awards being presented whether the recipients want them or not. It is the highlight of the Fringe. “I’ve booked hardly anything for this year,” he says, “but I’m sure it’ll be fine. Miss Behave is presenting again and she’ll be helping me to programme it, although she’s just broken her heel in Ireland so I’m not even sure if she’s coming.” Fleming’s blogging process will be performed live at his own chat show, taking place in the one of the Fringe’s weirder venues, Bob Slayer’s Bookshop. With his overview of the industry, what does Fleming think about comedy in general? “It’s a little boring. I think it’s a bit like 1963: nothing happens and then suddenly the Beatles show up. I think we’re all waiting for the comedy Beatles.” What about people like Doctor Brown, who seem to be succesfully challenging old-fashioned standup? “Yes, they’re… like really great skiffle bands. We’re still waiting for the Beatles though.” Aaaaaaaaaaaaarrghhh So It Goes – John Fleming's Comedy Blog Chat Show, Heroes @ Bob's Bookshop, 19-23 Aug, 3.30pm, pay what you want

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“You can’t work out if it’s bollocks or amazing” One of Britain’s most psychedelic absurdists, Paul Vickers is ready to confuse Edinburgh again with the ongoing adventures of Twonkey Interview: Vonny Moyes

“Make it funny, and you can say anything” The most controversial comedian at the Fringe, Chris Dangerfield prepares for another year battling the Guardian and the Feminist Avengers Interview: Vonny Moyes

s frightening as it is to receive a courgette with instructions to go fuck yourself during your first Fringe hour, Chris Dangerfield is braving Auld Reekie for another bash at this comedy stuff. This year’s show, How I Spent $150,000 on Chinese Prostitutes in 18 months is likely to niggle some of the more dogmatic prudes out there - maybe this time they’ll send him a marrow for his troubles. Fact: people use prostitutes. Chris Dangerfield is one of those people. He’s ferociously honest and refreshingly eloquent about it. Despite last year’s Sex Tourist being so popular punters elbowed their way in, a vocal minority took him to task. According to them, prostitution and all its ugly pals are still off limits. Yes, it’s a far cry from the giggles of prime-time comedy shows, and it still has the power to shock even those with a latent nervous disposition. The subject even made him the poster boy of The Guardian’s misogyny witch-hunt. “The logical conclusion of that is that there are no jokes left. You can’t make jokes about something that has damaged someone; that includes everything.” Dangerfield knows his subject, and even more so; he knows his argument. “The nonsense talked about prostitutes is a disgrace. There’s so much violence against women woven into all manner of public, private, moral, ethical, religious and social institutions. To bother with me is a piss take, really.” On paper, he doesn’t really have much to grin about: lifelong drug addiction, soul-crushing debt, firing heroin into a vein in your groin, being shot at... yet out of the grisly absurdity of it all, there’s still something that tickles. “My experience of humans is that you put them in situations and they come alive. The fact that we can laugh, despite the unquellable awfulness plaguing the world, is just what keeps us all going. If we stop

Feature

laughing, or limit it, my money is on us all developing a lemming complex before the year’s out.” His sense of humour has probably been a saving grace, allowing him an easy candidness about his vices. “I had a terrible, terrible sense of not existing and needing to be validated, and was always trying to make people laugh, as a three year old. It’s always been there.” A few years ago, an unlikely white knight in the form of Doug Stanhope persuaded him his cautionary tales might have an audience. “I was in the rehab flat and I discovered him – I hadn’t really seen any comedy. He did a piece about Jews – and I’m a militant atheist – and I thought, ‘make it funny, and you can say anything.’ I do that, and that’s it.” And he does. When I asked him about the inspiration for his show, I was entirely unprepared for his assault on my tastes, and my blatant inability to stem my laughter. “I was out of rehab for a while and I thought, ‘I don’t want a girlfriend,’ and there was an incident. With a dog. An actual dog. Penetration... I fucked a dog. The situation leading up to it is very long and unpleasant. At one point I tried to get it off me, but I sort of had its legs up in the air, barrelling around the room... And its name was Claire... it had a common, human name. It was quite gross because I don’t know what a bitch’s vagina or arse is, so I don’t know whether I was fucking the bum or the fanny. It’s awful... So that happened, and I thought, ‘You know, there’s a slim chance I’m not getting enough sex.’” See it yourself to decide whether it’s worth your laughs, but do us a favour: leave the passiveaggressive veg at home. Chris Dangerfield is at The Hive from 5-24 Aug www.edfringe.com/whats-on/comedy/chris-dangerfieldhow-i-spent-150-000-on-chinese-prostitutes

“I

’ve never really seen myself as one particular art form. I’m a bit of an ideas person really, and I didn’t really fully intend to get into songwriting; it just sort of happened.” Paul Vickers, former frontman of 90s indie darlings, Dawn of the Replicants, has stumbled into comedy and surprised himself that it’s going well. He’s a serial creator, meandering into whatever takes his fancy. I asked him where it began. “I started doing drawings; city landscapes, kind of like Lowry, but quite intense. I thought I was going to do well in my art GCSE, but I only got a C, which I was disappointing, because my friend got a B+ and all he’d done were really accurate drawings of Roland Rat...” Undeterred by exam-board taste, he trundled off to art college, joined a band, and was then nudged in the direction of comedy, eventually gracing the Fringe with a surrealist’s wet dream; songs, stories, a windmill, a cottage, an underwater circus and a Twonkey: a

cytpozoological puppet accomplice with a knack for numbers. Where do you even begin writing something like that? “You have a spazzy moment, and you can’t work out if it’s utter bollocks or if it was amazing, and you reflect on that a few days later. That seems to be how it works with comedy. When you’re at your most mad and out there— which is what worries me— people like that the most.” Since then, he and his moveable pal have peppered another two festivals with their own flavour of folklore, occasionally disturbing crowds with loaves of talking bread. He’s not so much a man who does it by the book, as one who writes his own. Make sure you catch it before the wind takes him somewhere else. Twonkeys Blue Cadabra, Laughing Horse @ Espionage, 1-25 Aug, 7.30pm, free, over 18s only www.edfringe.com/whats-on/cabaret/twonkeys-bluecadabra-free

“It’s important to have fun at the Fringe” Strong concept shows like Set List always light up the Fringe. Ro Campbell tells us about a brand new concept show in Edinburgh this summer Interview: Bernard O’Leary

here are going to be some fun concept shows at the Fringe, and one of the most exciting is the debut of Comedy Rap Battles happening in Bannermans. Run by Ro Campbell, it’s based on the Comedian V Rappers battles organised by Glasgow’s only comedian/rapper/wrestler, The Wee Man. “I did it in Glasgow,” says Campbell, “and I said to The Wee Man afterwards that maybe we don’t even need the rappers, because without meaning any disrespect, the comedians shit all over the rappers. If you look at rap battles online, you’ll see rappers tend to do a lot of homophobic or misogynistic stuff, and comedians don’t need that. When Bruce Morton was doing his, he was using all these big words and the rapper was like ‘I don’t even know what he’s calling me.’” So Campbell and The Wee Man have joined

COMEDY

forces to make this happen at the Fringe and some of the lineups are pretty mouth-watering, including Simon Munnery vs Phil Kay and Brendon Burns vs John Robertson. “I actually asked people who they wanted to battle,” said Campbell, “and they mostly picked their friends, so they should have some excellent dirt on them. “The Fringe can get a little stale sometimes and can feel like hard work for comedians. This is a chance for people to get away from all that and do something that’s just a lot of fun. It’s really important to try and have some fun at the Fringe.” It sounds promising. Although if it takes off, isn’t there a chance that Scottish comedy will be gripped by an east coast/west coast gang war? “Yeah, it might happen,” says Campbell, “but at least if it does, it’s only an hour’s drive.” Bannermans’, Thu & Sun during the Fringe, midnight, free

THE SKINNY

DR.MARTENS ARRIVES IN EDINBURGH AND ASKS WHAT DO YOU STAND FOR? There’s a lot of love for Dr. Martens; most of us have worn and cherished a pair at some point in our lives. There is something indefinably brilliant about the boots with yellow stitching, that you can’t quite put your finger on. And this August, Edinburgh will be lucky enough to get its first ever Dr. Martens store – which we’re pretty excited about!

1460 8_EYE BOOT IN BLACK LEATHER

The iconic brand, famed the world over for its individual and authentic designs, will be opening right in the middle of the capital’s most famous shopping destination, Princes Street. It will unwrap its fresh new A/W13 collection and stock its shelves with boots, brothel creepers, brogues and even high heels. There will also be a selection of clothing, accessories and Dr. Martens branded garments. UK retail marketing manager Amy Nelson explains: “We have such an eclectic mix of shoppers from enthusiasts who have bought from every range over the years, to kids who just love the styles and bold designs.” So, whether you are a fashion forward fan, a die hard DM devotee or a just someone looking for both comfort and style, the new store is sure to have a pair for everyone! Nelson adds: “The DM culture is vast in Scotland, especially in Edinburgh, so we’re delighted to meet the demand with the opening of our new store. We’ve spotted the variety of trends and styles on Edinburgh’s busiest shopping street and we can’t wait to put our own stamp on it with some of our best sellers – including our signature 1460 boot.”

WOMEN’S TARTAN SHIRT DRESS

The brand has been linked with notoriously rebellious subcultures over the past few decades – think skins, punks, mods and grunge – and ﬁttingly will be encouraging their new Edinburgh audience to “express their own individuality, celebrate style and stand up for what they believe in,” says Nelson. “We’ll be asking the people of Edinburgh to share with us what they stand for.” Shoppers will be able to tweet pictures and musings with the hashtags #STANDFORSOMETHING #DRMARTENSEDINBURGH The stunning Edinburgh store has been designed to give a nod to the company’s British manufacturing heritage, with exposed wooden ﬂoors and brick walls. Additionally, for the kids (and for any big kids interested) the store has collaborated with the makers of Scottish institution, The Beano, to create comic book covered seating with hidden suprises (spoiler alert – whoopee cushions). This will be the brand’s second Scottish store, following the Glasgow store’s opening in late 2011, and is part of string of recent launches around the UK in cities such as Norwich, Brighton and Newcastle. To celebrate the opening of the Edinburgh branch at 6pm on Wednesday 14 August, Dr. Martens will be giving Skinny readers a chance to win four tickets for the VIP in-store launch event and (a not-too-shabby!) £200 in gift vouchers to spend at the Dr. Martens Edinburgh store. So whether you’re looking for a black 8-eye boot, a silver satchel or a tartan shirt dress – head along to the new Dr. Martens Edinburgh. See you there!

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THE SKINNY

Choose Your Own Goddamn Fringe Adventure Words: Fred Fletch Illustration: Joachim Sperl

A thrilling adventure in which YOU are a reviewer for the Skinny. Can you battle your way through the mayhem of the Fringe without getting fired?

It’s August the 1st and The Fringe has just started. This is bad news for you, because YOU are a comedy reviewer for The Skinny. Your phone rings. “HI, IT’S ROS, YOUR EDITOR. I EXPECT TWO REVIEWS ON MY DESK BY 8PM TONIGHT.” You put the phone down and try to think over the sound of your own, wordless scream. Do you: • Pull your shit together and start reviewing. Turn to 3. • Fuck the Festival. Start drinking. Turn to 2.

streets, the guy who figured out how to sell a bin- numbers. Stepping over the body, you take a liner with holes cut in it is probably a millionaire, deep breath and press on. Turn to 12. As you force your way through the crowds hunting hobos for sport on his own private island. via a series of crotch punches and spinYOUR GODDAMN ADVENTURE ENDS HERE. ning elbows, you enter a clearing in the road You decide to call in your progress to Ros, hope- where a street act is performing. “DO WE HAVE fully postponing her 3rd tension-related stroke. A VOLUNTEER?” he cackles while clutching seven Entering the callbox with more semen in it than an juggling machetes and a can of petrol. entire season of Law & Order: SVU, you realise that Do you: your recently-dicthed your jacket contained the • Volunteer. Turn to 13. loose change you’d need to make the call. • FUCKING RUN. Turn to 14. Do you: Your last thought as the flaming machete • Ask a passer-by for change. Turn to 7. To hell with the Festival. A month of experienters your face is ‘I hope my coroner has an • Keep going up towards the Mile. Turn to 8. mental theatre, street acts and David fucking option for ‘dumbass’ on the cause of death form.’ You catch the eye of a passer-by and ask Baddiel is somebody else’s problem. You grab YOUR GODDAMN ADVENTURE ENDS HERE. him if he’d possibly lend you 50p to call your the vodka from your bedside table and decide to You have made it to the heart of the Fringe. editor. He is actually a plain clothes police ofkeep drinking until everyone has fucked off back There are 9,453,238,375 shows to choose to London. By the 15th day, your liver is welcomed ficer, tasked with chasing all vagrants out of from and most of them look so terrible, it’s like tryEdinburgh. Before you know it, you’ve been relointo Valhalla. “FUCK YOU, FRINGE,” you think, as ing to choose a glory hole at a bee-farm. You’ll need cated to a private tropical island, where a man oblivion embraces you. to see at least two shows before you can go home. with an elephant gun greets you. “I HOPE YOU YOUR GODDAMN ADVENTURE ENDS HERE. Will you watch: LIKE RUNNING AND BEAR-TRAPS, ASSHOLE,” he Trying desperately to figure out exactly where shouts while adjusting his infrared-goggles and • New act cutting his teeth at the Fringe. Turn your life went wrong, you start to gather toto 16. binliner poncho. gether some clothes to wear. • Shocking, edgy show. Turn to 17. YOUR GODDAMN ADVENTURE ENDS HERE. Do you: • Established act doing their 17th consecutive As you work your way towards the Royal Mile, • Dress for bad weather. Turn to 4. Fringe show. Turn to 18. the crowds of people ambling about triples in • • Dress for summer. Turn to 5. A really great act, but you can’t get a review size. You battle forward through what feels like ticket. Turn to 19. It’s summer in Edinburgh, of course the Thunderdome with maps and iPads. • Look around for something else. Turn to 15. weather’s going to be shit. You throw on a You are approached by someone giving out • Watched 2 acts, now fuck off home. Turn to 20. jumper, waterproofs and a warm coat and hit the flyers for the shows, you accidentally make eye You notice a large poster with Ben Elton on streets. FUCK YOU, Edinburgh. You’re prepared. contact and they thrust a flyer in your direction, it. It proudly announces ‘DAVID BADDIEL: Outside, it’s a cloudless 31°. In desperation you insisting that the garish bullshit advertised on it FUNNY, ONCE’ shed your jacket and jumper and soldier on. With is “really, really good.” You realise you’re making a terrible mistake. the Royal Mile in sight, you realise you haven’t Do you: Return to 14 and pick a proper show. phoned the editor back. • Take it. Turn to 9. Do you: • Punch them in the thorax. Turn to 11. You sit through some fresh-faced comedi• Use a nearby phonebox to update Ros. They thank you for taking the flyer. As they Turn to 6. an’s hour-long apology to his parents. The move on, they are quickly replaced by another venue’s atmosphere of Toilet Duck and despair • Keep heading towards the mile. Turn to 8. person thrusting a flyer at you. Turn to 10. melds seemlessly with a stuttering routine that It’s the middle of August, it’s bound to be would have been less painful if he’d just taken Once again, you take another goddamn sunny. You throw on a t-shirt and shorts and comedy out into the street and shot it in the face. flyer. Turn to 9. hit the streets. Return to 14 to pick your next show. As the snow begins to strip the flesh off your The punch does the job. Flyer-people You choose the cutting edge shock-comedy arms, your thoughts wander to whoever invented startle easily, but will be back in greater act ‘KKK RAPER,’ which turns out to be an the disposable poncho. While you’re dying on the

August 2013

10 11

16 17

COMEDY

hour of watching a comedian doing they stand-up equivalent of replying to emails for dick-enlargement-cream. Return to 14 to pick your next show.

You feel safe in the hands of a well known comic. 97% of their act is stuff from their Christmas DVD, 2% were jokes they did on last week’s Mock The Week and the remaining 1% is a howling bitter resentment that turns laughter into centipedes. Return to 14 to pick your next show.

You break the first rule of reviewing and agree to pay for a ticket. They swipe your credit card and usher you inside. Weeks later, living homeless under a bridge and nursing five broken ribs that the debt collector gave you, you think back to that show you paid to see. It was shite. YOUR GODDAMN ADVENTURE ENDS HERE.

On the way home you pass about 5,454,782 posters for The Ladyboys of Bangkok, a show about things that you don’t expect to have penises, HAVING PENISES. “They should do this show EVERY YEAR,” you think, as you take a long swig from your hip flask. • Turn to 21.

You make it home. You are a fucking mess but the job is done and you can spend tomorrow in bed watching all 5 Die Hard movies. The phone rings. It’s Ros. “THANKS FOR THE REVIEWS, ONLY 700 MORE TO GO!” You reach for the vodka. YOUR GODDAMN ADVENTURE NEVER ENDS. Classic TV adventure Knightmare will come to life at the Fringe, allowing lucky audience members to wear the dungeoneer’s helmet www.edfringe.com/whats-on/comedy/knightmare-live John Robertson’s The Dark Room returns to the Fringe for a second year. Can you escape? www.edfringe.com/whats-on/comedy/john-robertson-thedark-room And with 1,500 pieces of footage to select from, audiences will be able to play Choose Your Own Documentary every day www.edfringe.com/whats-on/theatre/choose-your-owndocumentary-by-nathan-penlington

Feature

Politics at the Fringe As Edinburgh gears up for a packed Fringe, we take a look at the shows which offer a political commentary on the world at large, and ask if theatre itself is inherently political Interview: Eric Karoulla

ome people say everything is political. While this statement might hold true for certain things, it doesn’t necessarily always help the critic with an analysis of theatre. Then again, perhaps theatre as we know it is inevitably and inherently political, since it involves an artist exerting their right to free expression. It doesn’t really consider anything that is not an issue in modern society – admittedly, that doesn’t explain the underlying motives for creating certain musicals, although there are a fair few that sparked controversy and debate in their time, like Jesus Christ Superstar in the 70s, or film-turned-musical Priscilla. Even just flicking through this year’s programme, it is obvious a great deal of political commentary is bursting to the surface; How to Occupy an Oil Rig, The Exception and the Rule, and Daniel Bye’s The Price of Everything are just a few of the works on the stage grappling with politics and the current socioeconomic situation. Quite a few of today’s young Scotland-based theatremakers like Rob Drummond, Harry Giles (curator of Anatomy at Summerhall), Nic Green, and Kieran Hurley are considered political thespians. This often goes hand in hand with social activism, and activism through art. When chatting to The Skinny about his work, Hurley commented: “I don’t set out self-consciously to be a political theatremaker. Normally, my work starts from me thinking about a broad thematic – a political or social thematic – and figuring out stories within that. It just really comes from an impulse of wanting to create something that I think actually matters.” Kieran Hurley is performing in Beats, which also features DJ Hush Puppy (Alan Miller) behind the decks. In many publications, it has been described as the prequel to Chalk Farm, probably due to its strong political content. The play follows the coming of age story of a young man in London in the 1990s, around the time the Criminal Justice and Public Order Act came into effect. The 1994 Criminal Justice and Public Order Act effectively banned raves and unlicensed outdoor gatherings. The legislation defines raves as ‘a gathering on land in the open air of 20 or more persons at which amplified music is played during the night.’ Music is described as follows: ‘sounds wholly or predominantly characterised by the emission of a succession of repetitive beats.’ The performer and writer explained: “That [the Act] was interesting to me. It says something interesting about how power is threatened by young people gathering together, even when that gathering might not be subconsciously political.” It went on to win the Arches Platform 18 Award 2012, an award that prides itself on exploring new directions and supporting new work, and emergent artists. Meanwhile, Thick Skin theatre are bringing their version of Chalk Farm, an emotionally charged play about the London riots of 2011. Hurley co-wrote it with AJ Taudevin last year. Taudevin will also be performing in Thick Skin’s version. A reasonably young company, Thick Skin are exciting to watch, as their productions are

Preview

constructed with a great deal of weight on the visual. They seem to enjoy mashing together physical movement and text with digital media – someting that became quite obvious in Boy Magnet (THAT festival 2012, Macrobert). As a writer, Kieran Hurley has contributed a few pieces to Theatre Uncut for their 2013 season, and sneak peeks of these plays will pop up at the Traverse. Formed in 2010 as a response to cuts in public spending, Theatre Uncut are intent on using theatre as a medium of response to global events and societal pressures. This year, they’ve brought along a double bill of David Greig’s Dalgety and Fragile. Kieran was an actor in Glasgow Uncut, the first year Theatre Uncut were active. Then, there is the Bloody Great Border Ballad Project. A political mêlée bringing together artists from both England and Scotland, it is an attempt to create a ballad for our time. With nineteen guest balladeers, and six resident ones – Kieran Hurley and Cora Bissett on the Scottish side, and Chris Thorpe, Alex Kelly, Lucy Ellinson, and Daniel Bye on the English one – it could be seen as a glorified jam session. Of course, within the context of the Scottish independence debate, it could take on a completely different significance.

“It says something interesting about how power is threatened by young people gathering together” Kieran Hurley

Chronologically, Whatever Gets You Through The Night is probably the oldest production Hurley is involved with. Albeit not political, this is an extremely popular piece that recreates various soundscapes from across Scotland between midnight and 4am, from urban to rural and back. It showcases big names of the Scottish theatre and music scene: Cora Bissett, David Greig, RM Hubbert, Errors, and Kieran Hurley, to name but a few. Aside from his role as a writer and performer, Hurley is also participating in TalkFest 2013. Last year, he was invited to be a panelist in the discussion regarding theatre and technology, and he has been called back. He is chairing the discussion Whatever happened to political drama? although, examining the number of shows that come under the genre of political theatre in the programme, it is hard to imagine there being a lack of political work. TalkFest is put together by the Playwrights’ Studio Scotland, and brings the public in touch with artists to explain how they make work, and what stimulates them to make work. Other talks

Fight Night

include Let the games begin: The art and artifice of live performance chaired by Clare Duffy; Big Bang Theatre chaired by Rob Drummond, and The Body Politic: The human body as the drama chaired by Jo Clifford. Of course, when discussing political theatre at the Fringe, it would be hubris to talk solely about Scottish work and overlook companies like Ontroerend Goed (Belgium). Based on the trailer they’ve created for their latest production, it appears they are taking apart the veneer that is the theatricality of politics at the time it is most obvious: election time. This is Fight Night, an immersive reinterpretation of media-saturated democracy and the traps that are innate in the election system. They clearly have something to say regarding the legitimacy of Europe and the Western world, made up of democratic countries that storm into other countries under the pretext they are to bring about the ‘utopia’ that is democracy. Then, there are other kinds of politics that don’t attack the system itself head-on, but rather examine how traditional politics treat specific

THEATRE

groups. With a great deal of feminist work coming through, gender politics are discussed at length in pieces like Motherland by Vincent Dance Theatre, or The Fanny Hill Project by TheatreState, and Fanny Whittington by Lashings of Ginger Beer Time. Finally, how can we forget the subversive politics of cabaret? Admittedly, cabaret has its own section in the programme, but performance is performance. Cabaret is by no means a lesser genre of performance, and has its own rich history of tackling the system’s politics. What’s more, when performers from the cabaret scene like Scottee of Eat Your Heart Out fame elect to go solo and launch a career in theatre, how can we say that theatre is not political? Kieran Hurley, BEATS, Pleasance Courtyard, 2-11 Aug, 10.20pm, £13.50 Talkfest 2013, Traverse, 19 Aug, 1pm & 5pm, £6.50 Bloody Great Border Ballad Project, St Stephen's Church, 3-24 Aug, 10pm, £14 Chalk Farm, Underbelly, 1-25 Aug, 6.30pm, £10.50 See Listings for full times and prices. www.edfringe.com

THE SKINNY

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KID CANAVERAL feat. Cairn String Quartet with support from ballboy & Campfires In Winter

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with support from Monoganon Hosted by Vic Galloway

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Doors 6.30pm, Over 16’s only Tickets £10, available from Tickets Scotland, Ticket Web and Ripping

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August 2013

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THE SKINNY

Flavours of the EIF

With live performances and heavy use of digital media, the Edinburgh International Festival 2013 steals a peek far into the future and a glimpse at the past

Words: Eric Karoulla

If these spasms could speak Among the array of strongly political theatre present at the Fringe this year, Robert Softley brings a slightly more humane piece to the stage Interview: Eric Karoulla

Metamorphosis

hile not featuring Mogwai or Massive Attack (as the Manchester International Festival did), this year’s Edinburgh International Festival has a diverse programme. In true post-apocalyptic fashion, it consists of shows taking advantage of interactive and innovative media –from a one-man show about the difficulties of everyday life, to a dance piece that ensnares the senses, an opera featuring space stations, and also a site-specific performance about abandoning the Earth. First and foremost: Metamorphosis (10-12 Aug, King’s Theatre), Kafka’s tale of anxiety and frustration, is given a new spin by Wu Hsing-Kuo of Contemporary Legend theatre. All the way from Taiwan, this adaptation of Kafka’s novel fuses together multimedia, live music and aesthetics from Peking Opera tradition. The flourishes of colour and in the costume design form a stark contrast to Kafka’s desolate tale that dates back to 1915. Taking the mythical ethereal element of Ovid’s Metamorphoses, this one man show depicts Kafka’s story through the lens of age-old traditions from the East. Next up, there is Scottish Dance Theatre’s SisGo (17&18 Aug, Festival Theatre) – already sold out – that promises to be an exhilarating sensory experience. Choreographed by Fleur Darkin, the performance is intended to be a physical conversation between the audience and the performers. In a world where the buzz and hum of daily life never stops, this show tries to replace the verbal communication with physical movement. SisGo is based around social dance situations, like going out clubbing. Any decision made manifests itself physically – much like dancing in a club, then heading to the bar to get a drink

August 2013

and returning to the dancefloor. While there will be no drinking involved, it requires no audience participation, but in Darkin’s words rather “invites the audience to experience the dance as a visceral artform, not as a spectacle”. After all, audience members will be at arm’s length of ten of Scotland’s most talented dancers – close enough to see, hear, and even feel them moving. With costumes by Hayley Scanlan, Dundee’s V & A young fashion designer of 2012, and minimalist music from Berlin, this experience has been designed to be “strong on sensation.” The dance programme this year also showcases work by Jose Montalvo and his company in the form of Don Quichotte du Trocadéro (29-31 Aug, Festival Theatre). This is a large-scale production featuring all kinds of dance – from hip hop to ballroom to burlesque to ballet. Although it shares a lead character with Cervantes’ novel, this show takes us on a journey through dance; Don Quichotte is a gentleman in his fifties trying to achieve greatness in the dancehalls of Europe. Featuring Patrice Thibaud along with a great deal of visual and digitally-manufactured effects, it is bound to be a surreal experience. Meanwhile, starting off at the Edinburgh International Conference Centre, Grid Iron theatre’s Leaving Planet Earth (10-24 Aug, sold out) tackles a future that many post-apocalyptic, sci-fi films have wrestled with. As in the distant alternate reality portrayed by Wall-E, humans have decided to leave Earth (Old Earth) and are taken to New Earth. But what happens when the very architect of this new world begins to doubt and question her own creation? Initially inspired by an article written by

George Monbiot, Grid Iron theatre have put together this site-specific world premiere that incorporates digital technologies into live theatre. Philip Glass’s latest endeavour explores humanity’s fascination with beauty and horror, using the black and white film La Belle et la Bete (1946) as a starting point. Removing the original score and dialogue, he substitutes in his own version (10&11 Aug, Edinburgh Playhouse). The score by Glass and the operatic back and forth which he has added in sync with the screen are performed live by the Philip Glass Ensemble. While this is part of the EIF, it is also part of the British Film Institute’s Gothic season, that invites people to “explore the dark heart of film” nationwide. Meanwhile, although the Wooster Group performances of Hamlet are sold out, another tribute to Shakespeare seems to be of an equally epic scale. Directed by Lin Zhaohua, an immense production of Shakespeare’s The Tragedy of Coriolanus is brought back to life by the Beijing People’s Art Theatre (20&21 Aug, Edinburgh Playhouse), featuring live music by Miserable Faith and Suffocated, two of China’s leading heavy metal bands. The International Festival 2013 programming holds many promises for festival-goers and raises the bar for local performers. With works of this scale and at this level, it is hard to imagine any other work being competitive or even comparable to it, however the volume of work (and cheaper ticket) at the Fringe makes up for that. Either way, these pieces seem they are worth keeping an eye out for. www.eif.co.uk

THEATRE

ritten and performed by Robert Softley, If these spasms could speak reveals an insider’s take on disability, and the sad, awkward, or funny moments it can bring about. It all started a couple of years ago, when Softley and his partner were on holiday. “We got some champagne and then my hand spasmed, and I spilt the champagne all over him. And we had to laugh,” he says. Having exchanged stories with other disabled people, as well as making use of his own experiences, Softley began to develop If these spasms could speak during a residency with Creative Scotland in 2011. It follows Softley’s work Girl X, a play about an eleven year old girl with cerebral palsy, co-created with The National Theatre of Scotland. “It was good work but I thought, I don’t want to come across as this person who’s angry at the world all the time,” Softley says of Girl X. “That’s not who I am. I wanted to create a piece that was more friendly, and more accessible.” Now the artistic director for theatre company Birds of Paradise, Softley has been in the acting business for about eleven years. In the last four years, he has focused on his own artistic practice. Consequently, he has been able to create work about issues he feels are interesting or vital to discuss. “You create work about the stuff that seems important to you at the time,” he says. His latest works have engaged with disability – more specifically other people’s perceptions of disability and whether they are accurate or not. They also tie in with his efforts in disability activism. In truth, it is very difficult to disentangle the politics of disability activism from performances about disability or by disabled artists. This is possibly one of the reasons he creates work intended to make people think as well as entertain. “In some ways, my being on stage is always going to be a political thing,” he offers. “It’s so out of the ordinary that it’s always going to be political.” Unfortunately, accessibility is still a problem in many places across Scotland. Most recently, Softley and his partner faced a form of discrimination at a club in Glasgow, when they were not granted access. “It’s 2013. There has to be a point where we say ‘Actually, that’s not acceptable,’” says Softley. He is absolutely right – there is still work to be done. However, according to the performer, not all is lost. In some respects, things are getting better. Last year’s Paralympics seem to have had a great impact on how disability is perceived. While there are not many parts or many directors willing to cast disabled actors in the world of conventional theatre, disabled artists can still make work about their experiences and about themselves, creating some of the most interesting work around. This is probably how Robert Softley’s one man show became one of the highlights of The Arches Behaviour programme in 2012. If these spasms could speak is presented as part of the Made in Scotland showcase. 1-26 Aug, 5.45pm, Pleasance Courtyard www.edfringe.com/whats-on/theatre/if-these-spasmscould-speak

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My Kingdom for a Gift Shop Ahead of her major solo show at Edinburgh Printmakers we chat to Rachel Maclean about her hyper-seductive, super-saturated visions of Scottish independence

Interview: Jac Mantle

The Baptism of Clyde

cotland is a land well known for its patriotism. There’s never really a time when it’s not flying the flag, in one way or another. One might almost wonder naïvely how expressions of Scottish identity could possibly become any more central within contemporary culture than they already are, as part of everyday life. But with the upcoming referendum on Scottish independence in 2014, of course they will. With a solo show at Edinburgh Printmakers during Edinburgh Art Festival, Rachel Maclean will be plunging her hyper-glowing, ‘monstrously alluring’ grotesquery of Scottishness right into the heart of the capital and the debate on Scotland’s future. Her work has frequently explored Scottish identity in larger-than-life parades of kitsch, but this show, I HEART SCOTLAND, will also make particular reference to contemporary political debate. “I was quite keen to play with the more romantic, more abstract, semi-fictional, semi-historical narratives but also to bring in independence,” says Maclean. When we meet, she isn’t far off finishing the new commissions – the results of an amazing two-year slog. As with her videos, she has produced the new digital prints through a hugely time-consuming and labour-intensive process involving making costumes, photographing herself, and hours and hours of post-production. By means of extensive Photoshopping and green screen, she plays every character in the work – even, in this show, warping her facial features to resemble a cartoon thistle. The show will premiere two series of four large-scale digital prints, two individual prints, and will also screen a film. Titled Our Future and Our Past respectively, the two series bring together figures and events from various periods in Scottish history, uniting them in vividly imagined tableaux. For instance, a chaotic scene featuring characters in Disney princess-style dresses made from football strips and the Loch Ness Monster simultaneously makes reference to the

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St George and the Monster

Highland Clearances, Donald Trump’s controversial golf course, football as an abstract motif for Sectarianism, and the biblical Massacre of the Innocents paintings which have previously inspired Maclean’s LOLCATS work. One of the prints in the series Our Future is The Baptism of Clyde – Clyde being the cartoon thistle conceived as the official mascot of the Glasgow Commonwealth Games. Set on a golf course, the print depicts Clyde flanked by various surreal figures. A queen sporting Union Jacks takes a rest from putting, while a be-suited figure with a Donald Trump-style barnet and a face painted as the Saltire anoints Clyde with North Sea oil. Kneeling in worship in the foreground are two green-skinned maidens wearing dresses made from Celtic football strips. The scene is recognisable at a glance as referencing the composition of religious icons, but it takes a moment to register that the subject of worship here is actually a cartoon thistle in a flowerpot. “It’s based on The Baptism of Christ [by Leonardo da Vinci], but I’ve called it The Baptism of Clyde, explains Maclean, laughing at the look on my face. “It’s one of those ideas where I was like, ‘It’s quite funny but should I actually do that? … Yeah!’” North Sea oil also features in The Lion and The Unicorn, the film Maclean is showing in addition to the prints. Shot in the stately surrounds of Traquair House in the Borders, it shows the titular heraldic characters drinking the golden substance from Jacobite Crystal goblets. In the digital prints, the oil acts as a thread running through the series, along with the humps of the Loch Ness Monster, which emerge out of the oil. “It’s more a mythical substance than reality,” says Maclean. “But I like the idea of having the oil – that’s the pragmatic backbone of independence, at least as far as Alex Salmond is concerned. That’s going to be what is supporting us

economically.” She mimes incredulity. “It’s a finite resource!” The narrative progresses through the series, coming to a head in a busy scene with multiple characters wearing the football strip dresses. “I was perplexing various women in charity shops by buying both Rangers and Celtic football shirts,” Maclean laughs. “‘I just can’t decide, I like them both so much!’ I started adding the strips to the dresses, and it was quite fun. But I also wanted the idea of Scotland not being united in itself, not being one unified identity in the first place, and I guess it’s slightly jokey, playful, that they’re all to a certain extent based on religious painting.”

“Oil – that’s the pragmatic backbone of independence, at least as far as Alex Salmond is concerned” Rachel Maclean

The style of the dresses and the characters’ poses are also inspired by 1950s musical film and paragon of bad taste, Brigadoon. “God knows what Brigadoon costumes are based on,” says Maclean. Filmed entirely in a Hollywood studio, the film hopelessly romanticised the idea of the Scottish Highlands. An enthusiastic consumer herself of kitschy gift shop tat, Maclean’s images take all the

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Highland Romance

merchandised aspects of Scottish culture and highlight them in a fantasy landscape while simultaneously trashing them through grotesque caricature. So seductive is her Fantasy Art aesthetic, though, it seems likely that those who are fans of experiencing Scottish heritage merchandised and flogged wholesale on Edinburgh’s high streets will enjoy them in Maclean’s work – trashed and ironic as they are – all the more. She muses on how her audience at Edinburgh Printmakers during the festival will differ to the art crowd in Glasgow, where she is based. “I think the theme of the work does bring it into a wider context. Not the work so much as the theme. Independence is something you have to make a decision about unless you’re just not going to vote. You’ve got to think about, what does it mean to be Scottish? Now if you make work about anything to do with Scottish identity you play into that.” Relieved at having the end of the work in sight – she often has a massive rush to get it finished – Maclean is now considering how to decorate the gallery walls. Well, with her supersaturated aesthetic and ‘Baroque disdain for emptiness,’ we shouldn’t be surprised to learn that the work won’t be restricted to the confines of its flamboyant gold picture frames. Apparently the gallery will be something like a mini National Gallery cum shop-bought Victorian castle. The show will also overflow the gallery in the form of an artist talk, a costume workshop and a symposium on the theme of re-thinking identity in contemporary Scotland, as part of Parley, the festival’s public art discussion programme. As for the opening night, Maclean will be dressing up in the Old Firm football strip costumes. Which one? I ask. “Both! I can’t just do one. You could only have Rangers AND Celtic.” edinburghprintmakers.co.uk/exhibitions/I-HEARTSCOTLAND

THE SKINNY

01.08.13–01.09.13

Game Changer

Rachel Adams | Jacob Dahlgren Nilbar Güreş | Haroon Mirza

Smashed gandini juggling

Off-site exhibition at Meadowbank Sports Centre

Observers’ Walks

Ruth Ewan and Astrid Johnston Supported by Outset Scotland

City Observatory & City Dome 38 Calton Hill Edinburgh EH7 5AA ++44 (0)131 556 1264 mail@collectivegallery.net www.collectivegallery.net

Funded by

3rd - 26th August (13th) 6:05pm Venue 35, Rainy Hall, Assembly Hall smashedjuggling.com Part of

ADMISSION FREE Festival Opening Hours Monday – Sunday 10am – 6pm

#smashedjuggling

‘Juggling: not just artful but art’ Ly n G a r d ne r , T he G ua r d i a n

Image: Haroon Mirza, installation view of Sitting in a Chamber, 2013. Courtesy the artist and Lisson Gallery.

Heavy metal meets Shakespeare Beijing People’s Art Theatre BEIJING DAILY

Tuesday 20 & Wednesday 21 August 7.30pm Supported by

Book tickets now at eif.co.uk/coriolanus or call 0131 473 2000 24

Photo: Beijing People’s Art Theatre Charity No SC004694

The Ministry of Culture, People’s Republic of China

THE SKINNY

Eau de Schneider

Prince of Lightness As part of PRODUCT at Edinburgh Sculpture Workshop, Andrew Gannon presents the results of his recent residency there. We chat to him about the fine art of performance and how much is ‘just enough’

Endlessly reconfiguring the same house of horrors, German artist Gregor Schneider has been disturbing people for the last 25 years. His new installation at Summerhall taps into the darkness inside your head. We spoke to Summerhall Curator, Paul Robertson

Interview: Adam Benmakhlouf

Interview: Jac Mantle

Schneider, Haus u r Rheydt, 1985

n a dark, dark house there were some dark, dark rooms and in the dark, dark rooms there were some dark, dark stairs. Down the stairs there was a cellar, and in the cellar unspeakable acts of perversion and cruelty are being committed. This is not the installation currently on show in Summerhall’s basement galleries. Nor is it the house in Rheydt, Germany where Gregor Schneider grew up and still lives and works, and which he has been recreating in endless labyrinthine configurations since 1985. But Schneider’s installations speak of these dark dungeons only too well. Dank, forbidding spaces with lowered ceilings and compromised access, his works suggest death and child abuse – sordid dens befitting ghouls like Josef Fritzl and Fred West. Sometimes Schneider’s installations are left empty for the viewer to falter through like an intruder; sometimes they include sculptural bodies lying face down, or real people performing everyday tasks. They’re places we’ve seen on the news, read about in fiction, thrilled to recoil from in TV crime dramas. The reason they’re so disturbing is because of the real-life truths they evoke, and we know that more of these wretched places exist. Many, in fact, have come to light since Schneider has gained fame. Known as Haus u r, the subject of the ongoing transformation is Schneider’s childhood home, and he began remaking its rooms aged sixteen following his father’s death. These details only add to a work that’s ripe for dramatisation. Schneider has never divulged any personal trauma and seldom gives interviews, but the question of authenticity is central to the fascination his work holds for us. No matter whether they are his own truths – they are somebody’s. Schneider deals in simulacra, but it’s not the walls and dirty floorboards that we’re afraid of. More recently his works have shifted to addressing death as an isolated subject. He has

August 2013

caused uproar by stating his wish to stage an exhibition in which a human being will die. His work Black Cube, based on the Kaaba, the most sacred mosque in Mecca, was to be installed next to St Mark’s Basilica in Venice but was cancelled due to fears of offending the Islamic community. Offending people is quite different to upsetting or unsettling them – Schneider’s line has generally been in the latter. Paul Robertson, Curator at Summerhall, assures me that, having spent hours and hours with Schneider while planning the new work he is showing there, “It’s absolutely not his intention to offend.” The installation, titled Süßer Duft (Sweet Scent) will be located in Summerhall’s “already dungeon-like” basement. To preserve the impact, Schneider is giving little away, but it will be a series of rooms in different degrees of light and darkness, scent and perhaps temperature. Viewers will enter one at a time and experience it alone. With a black and white symbolism, the work pledges to make “a strong, perhaps controversial statement about racism and slavery.” “For Schneider to do this as a white man –” says Robertson. “I can’t really think of any other white artists working with these themes.” Since the furnished rooms of Haus u r, Schneider’s installations have become physically a lot emptier. In a version of Süßer Duft he showed in Paris in 2008, the rooms were superficially bare – of course, the lone viewer’s wandering thoughts filled in the gaps. As with an IKEA store, once having entered, you could only progress and not retreat. Imagine an empty IKEA, only with uncomfortable spaces, more smells, no little wooden pencils and no other customers. Just you and Schneider’s imagination. festival.summerhall.co.uk/exhibition/susser-duftedinburgh-2013/

extual description with deadpan conciseness accompanies a clean line drawing. Andrew Gannon’s work is economical. He summarises his practice with the questions: “How much can be taken away from something without taking away from it? How can I get the art that I make to be really, really light?” Answer: he removes all excessive elements and makes work that is close to being nothing. In the most literal sense, he precariously balances his five planned performances for PRODUCT on these “light” foundations – admitting he hasn’t managed the proposed Standing on the Skirting in all Corners for more than six minutes before falling over. Gannon approached the ESW residency that this show follows “with the full intention of using the space. All the work was to do with being in the studio.” Faithful to his pared down ethos, he kept the studio completely empty. Production thus amounts to obsessive subtraction, until the point of “just enough.” Though this strategy is evident throughout the work he plans to include in PRODUCT, it’s most obviously expressed in the work in which Gannon stands legs spread apart in his studio – as well as its no-nonsense title, Standing Work. It’s risky work, and not just because he might actually fall flat on his face. Having deliberately decided a set of circumstances that allows for works that “might work or fail or change, what they’re really going to be” is unclear until they actually happen. But as it’s the showcase of a residency rather than a regular exhibition, a little fluidity is expected, and he’s making the most of this. In Gannon’s ideal world, the works will go as planned to an extent, but “will be better by something else happening,” but he has “no way of knowing what it’ll be.” An instance of this shifting of the work into a new direction took place while Gannon was making Work with Newspaper. As he was “lying

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on the floor, face covered with newspaper,” his immediate sense of the piece was that “it was funny; it was ridiculous.” Complicating this view of the work, Gannon’s friend instead associated it with the organisation of dead bodies in sports stadiums after genocidal atrocities: often only the faces are covered. By pushing work as close as possible to being nothing, Gannon potentiates these moments of surprise: the shock when “almost nothing” so spontaneously substantiates itself into something so heavily associative. As well as this concern with lightness, Gannon’s work continues to return to a reflexive interest in the documentation of performance work. In PRODUCT, each of the five performances corresponds to one of five sets of prints that will be exhibited during the show. Gannon classifies the prints as somewhere between proposal and just drawing: “The prints present the performances as what they are: quite simple actions, stupid or absurd or seemingly very slight little things.” They are intended to present more immediately the difficulties of documenting performance work. That as soon as you add in duration, people, it becomes temporal and complicated by things you wouldn’t have imagined. These simplyproduced drawings make no claims to being authoritative original work. Providing just enough information about the performance, the posters could be teasing invitations to remake the work: passive spectatorship isn’t provided. During his cutbacks, he’s disposed of any residual artistic privilege or authority to shape or narrow the experience of his work. He’s a bit of a chancer, and that’s always exciting. www.andrewgannon.info PRODUCT is at Edinburgh Sculpure Workshop 3-17 Aug www.edinburghartfestival.com/exhibitions/edinburgh_ sculpture_workshop_2013

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A Chorus of Complaints Festival season can really give Edinburgers something to moan about. Well, the Complaints Choir, a worldwide project by Finnish artists Tellervo Kalleinen and Oliver Kochta-Kalleinen, invites residents to sing their gripes aloud. Tellervo told us more

TELLERVO KALLEINEN AND OLIVER KOCHTA-KALLEINEN, THE COMPLAINTS CHOIR OF CHICAGO (MCA), 2007 COURTESY THE ARTISTS

How did the idea for a complaints choir come about? When Oliver [Kochta-Kalleinen, Tellervo Kalleinen’s collaborator and husband] said: “Let’s deal with complaints,” I instinctively knew it was a good topic. I was interested in gaining a better understanding of complaining, and I thought the topic would resonate with others too. Our work is always an invitation to other people to explore some topic together with us.

There is a Finnish word, valituskuoro, literally translated as “complaints choir.” It describes a group of people complaining about the same thing. The choir is such an amazing metaphor for the collective. A choir sounds better when everybody listens to each other than if everybody tries to stand out alone. We thought that creating a choir out of individual complaints would emphasise the positive aspect of complaining; the attempt to connect with another person.

The Complaints Choir project has developed a certain independence and autonomy - you’re no longer involved in every choir. What is your role in the Complaints Choir of Edinburgh? In Edinburgh the local musicians have the biggest role in leading the process. But there is a clear written manual on the website [www. complaintschoir.org]. We created this after many requests from around the world from people who wanted to start their own Complaints Choir. It would have been silly to say: “No, don’t start a choir,” just because we can’t get there. However, it’s very important that there are certain principles of the project; guidelines that help transform the complaints into an empowering collective experience.

All the choirs around the world generate really different musical results. What informs the choice of musicians? The musicians can’t be super-egos and must understand that it’s everyone’s song. They must be very flexible and work very fast. They also have to be good with people in order to create an enthusiastic atmosphere. The music should be uplifting, the melody should contrast with the lyrics.

What are these principles? First of all, anyone can take part. Singing skills are not required, so music must be easy enough for anyone to learn, but sound good anyway. Second, whoever is organising the choir must organise food. It might sound silly and minor, but the choirs only meet five times so the practice sessions are a lot of work, people are coming after work. Also, common meals help to form a community. Thirdly, the process has to be democratic. We have created a system so that groups collectively choose which complaints the choir will sing. The choir format itself gives the performances a directness and impact. How did you choose that specific form to deal with the concept of complaining?

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The Complaints Choir is accessible, straightforward and simple. How important are these values to your work? Because we always work with participants, ethical questions are unavoidable. We never want to trick people in an artwork so everyone must understand what is happening. But we do not underestimate others’ ability to understand. A concept can be both simple and intelligent. These are not opposites. One of the strongest aspects of the Complaints Choir is its sincerity. What do you think makes it so genuinely relatable? One thing I think which makes it so beautiful is that it is so non-judgmental. It addresses with warmth the tendency to complain, yet it also gives a concrete example of how powerful it can be to do something with the energy we put into complaining. There is also a level of solidarity in the project, as people are singing others’ personal complaints. www.edinburghartfestival.com/commissions/ complaintschoir

THE SKINNY

Photo: Clare Britt

Interview: Adam Benmakhlouf

'Carpet 1 Incomers and Outgoers' from the exhibition Artist Rugs Dovecot's Contemporary Rug Collection

Follow the Thread

Dovecot, 2 Aug – 14 Sep As part of Dovecot’s centenary celebrations last year a significant tapestry was commissioned and, after over a year in the making, will be unveiled during Edinburgh Art Festival. Fleece to Fibre: The Making of the Large Tree Group Tapestry will showcase this major commission and explore the processes behind its production. Inspired by Victoria Crowe’s painting, Large Tree Group, the highly unique tapestry has been woven using a pallet of un-dyed wool specifically chosen by Dovecot’s weavers and colour-matched to represent the wintry landscape of the painting. Over 70 producers of wool contributed toward the making of the tapestry, from small crofters to larger estates, providing a variety of sheep breeds to give it a truly original quality. Running alongside will be a series of specially commissioned photographic portraits of those involved in the project, in celebration of the entire creative process.

Henry Fuseli, Three Weird Sisters from Macbeth (1785) Courtesy Scottish National Gallery of Modern Art

However, this is just one of three exhibitions at Dovecot in Follow the Thread, its summer celebration of weaving and wool. Artist Rugs: Dovecot’s Contemporary Rug Collection presents a series of hand-tufted rugs, all of which are for sale and have been created by Dovecot’s weavers in collaboration with artists such as John Byrne, Ruth Ewan and Alasdair Gray. Finally, Dazzle @ Dovecot is returning for its second consecutive year, exhibiting the works of 50 contemporary jewellery designers and silversmiths. In line with the theme of Follow the Thread, this exhibition will also celebrate the use of yarn, textiles and fabric in contemporary jewellery practice. This trio of exhibitions looks set to be a true celebration of wool, exploring the journey from ewe to yarn and the processes involved in creating pieces that Dovecot has been at the forefront of for the last century. [Katie Rice] dovecotstudios.com

Witches and Wicked Bodies

Scottish National Gallery of Modern Art, until 3 Nov The summer show at the Scottish National Gallery of Modern Art looks set to be an intriguing and thought-provoking examination of a wellknown and often controversial subject. Witches and Wicked Bodies proposes to challenge the preconceived notions of witches and witchcraft which have developed over the last 500 years. From the ugly old woman stooped over a cauldron casting evil spells to the beautiful seductress, the exhibition considers the culture that has given rise to these popular images of witches. This is the first major exhibition of its kind in the UK, centering on artists’ interpretations and fascination with witches. Consisting mainly of works on paper the exhibition focuses on work by artists from the late fifteenth century onwards, including Albrecht Dürer, Francisco de Goya and contemporary artists such as Cindy Sherman and Kiki Smith. This exhibition also plans to demonstrate

that artistic preoccupations with witches and witchcraft tend to focus on the most sensational ideas associated with its practice, such as Sabbaths and evil pacts, both of which were associated with depraved sexual practices. It is also perhaps no surprise that the witches depicted in the show are primarily female, fitting the traditional gendered stereotype. These works will no doubt highlight the ways in which women have been depicted within male-dominated society over the centuries. Organised thematically, the exhibition will cover sections ranging from ‘Unholy Trinities and the Weird Sisters of Macbeth’ to ‘Incantations and Raising the Dead.’ These groupings will also serve to highlight the diversity in artistic approaches toward the subject, particularly when one thinks about comparing Albrecht Dürer to Kiki Smith, demonstrating generational differences and how the figure of the witch has been considered through the ages. [Katie Rice] www.nationalgalleries.org/whatson/exhibitions/witcheswicked-bodies

ADVERTISING FEATURE

Edinburgh Art Festival Words: Jac Mantle

ever mind that the city of Edinburgh is full to the brim with good art exhibitions all year round, there’s still a genuine rush of exuberance and excitement at the very mention of the words ‘Edinburgh Art Festival.’ Muster all the youthful vigour you have (or failing that, pack a hip flask) and prepare to take on the annual splurge at full pelt. Careful, mind that tram! If you’re wondering where the hell to start, how about Peter Liversidge’s show at Ingleby Gallery. Liversidge is an artist who begins every work by sitting at his kitchen table with an old manual Olivetti typewriter, writing pages of proposals and sending them to galleries by Royal Mail. Ranging from the absurd and utterly impractical to the rather mundane, Liversidge’s works differ wildly - often all that unites them is their origin as this proposal formula. He is as likely to write, “I propose to dam the Thames and flood the City of London,” as “I propose to paint the wall that the proposals are hung on a dark grey.” Some of his proposals don’t sound like works of art at all, such as, “I propose to sit with my sons George and Thomas and eat biscuits.” Then his simple repeated formula also serves to frame the actions and legitimise them. Though we’d be mistaken to think Liversidge is taking the piss - he’s been tapping out these

ideas and mailing them off for a decade - there remains a wonderful flippancy to his work. After all, there’s only so much seriousness you should invest in a pledge to eat biscuits. His show at Ingleby, doppelgänger, is based on some etchings from 1881 by Max Klinger which tell the story of a lost glove dropped by a roller-skating woman and found by the artist. Liversidge will re-present the etchings as screen prints and install them with an exquisitely carved marble glove. This eminently practical-sounding show appears at the same time as his commission for Parley, the public art programme strand of the festival. For this, Liversidge has exhibited his trademark buoyancy and invited anyone in the city with a flagpole to fly a white flag bearing the greeting: HELLO. Over at Edinburgh Printmakers, you’re likely to see another flag flying: the Saltire. I HEART SCOTLAND, the title of Rachel Maclean’s solo show, says it all. Maclean is known for videos that riff on aspects of Scottish culture and national identity, stretching them into grotesquely kitsch displays in a hyper-saturated, Fantasy Art-style aesthetic. With extensive use of green screen, Maclean acts every character herself - even, in this show, the Loch Ness Monster, and Clyde, a cartoon thistle that is the Glasgow

Peter Liversidge Flags for Edinburgh (2013) Courtesy Ingleby Gallery

Commonwealth Games Mascot. The show features two new series of digital prints which explore Scottish national identity and its founding mythologies. Particularly pertinent with the upcoming Referendum on Scottish Independence, the show also includes Maclean’s video The Lion and the Unicorn, in which the heraldic characters quaff Northern Oil in Jacobite crystal, in the historical setting of Traquair House. Referencing the banking crisis, Old Firm rivalry and hilariously, Donald Trump, Maclean’s

tableaux of Scottish culture assemble and mutate as we watch. She cites an anecdote about the film Brigadoon, which was shot entirely in a Hollywood studio after the director supposedly visited the Highlands and declared the landscape just wasn’t Scottish enough. A deficiency that’s laughable, looking at Maclean’s work - well, if it wasn’t in 1954, it is now. Edinburgh Printmakers and Ingleby Gallery both offer a range of prints and limited edition artworks by represented artists, and are both supported by the Own Art scheme www.ownart.org.uk

Galleries across Scotland are members of the Own Art scheme. By offering interest-free loans of £100-£2,000 through Own Art, buying an original piece of quality contemporary art or craft couldn’t be easier. For more information about Own Art and a list of participating galleries see the Own Art website: www.ownart.org.uk

Offer subject to age and status. Terms and conditions apply. You will need a UK bank account that can handle direct debits, proof of identity and address, and you will also need to be over 18. Own Art is an Arts Council England initiative operated by Creative Sector Services CIC, a Community Interest Company registered in England and Wales under number 08280539. Registered address: 2-6 Cannon Street, London EC4M 6YH.

Look for the pink logo. (representative 0% APR)

249 West George Street Glasgow G2 4QE

August 2013

ART

Feature

The Good Word

Edinburgh International Book Festival has grown to gargantuan proportions, showcasing hundreds of authors over sixteen days. Having thoroughly digested what’s on offer, we present to you our pick of the bunch

Mukesh Kapila, Standing Up to the Slaughter in Sudan

The Independence Debate with Kirsty Wark

Books such as Dave Eggers' What is the What? and the recent anthology of fiction from the new nation of South Sudan, There is a Country, have helped to put a human face on some of the atrocities committed in the Sudanese region in recent years. In this event, author and former head of the UN in Sudan, Mukesh Kapila, discusses his book Against a Tide of Evil, which examines 21st century ethnic cleansing and genocide in Darfur.

The flagship event in the Book Festival's 'Scotland's Choice' strand, this discussion stands aside from Iain MacWhirter's equally worthy look on the 15th at the history leading us to the national crossroads we face. With Kirsty Wark at the helm, a team of academic experts from both sides of the independence debate will verbally duke it out to try and give you the full picture of where we stand now. The event promises 'to debunk the myths and false statements around Scotland's referendum debate,' which is handy information for us all.

Sat 10 Aug, 3.30pm, ScottishPower Studio Theatre, £10 [£8]

Patrick Flanery & Philipp Meyer: As Dreams Become Nightmares Sat 10 Aug, 6.45pm, Peppers Theatre, £10 [£8]

One for fans of contemporary American fiction, this event brings together two of the most promising young writers on the scene. Flanery's thriller about a property developer whose American dream goes horribly wrong was a highlight of the first half of the year. Meyer is being touted as the next big thing, with an inclusion in The New Yorker's 20 under 40 list. His second novel, The Son, re-explores American creation myths in a manner akin to Cormac McCarthy. Grab a chance to see these upcoming stars before they are shifted over to the main theatre.

Multiples with Adam Thirlwell

Mon 12 Aug, 3.30pm, ScottishPower Studio Theatre, £10 [£8] Starting life as an issue of McSweeney's Quarterly Concern, Adam Thirlwell's Multiples project is being published as a book in its own right. This event looks at the hows and whys of getting 61 of the world's best writers to push 12 stories through 18 languages, and pull them back out again. Accompanied by contributors John Banville and Nadeem Aslam, this lit experiment should yield some interesting results.

Feature

Words: Ryan Rushton

comprised of various kinds of image and text materials. A highlight of the new Stripped strand of the Book Festival this year.

Tue 13 Aug, 4.30pm, Baillie Gifford Main Theatre, £10 [£8]

Amy Sackville & Evie Wyld Tue 13 Aug, 7pm, Baillie Gifford Corner Theatre, £7 [£5]

In this event two of Britain's most promising young novelists discuss the influence of geography, and specifically islands, on their work. Amy Sackville's new book Orkney follows on from the her John Llewellyn Rhys Prize-winning debut. Evie Wyld is a writer who blends the harsh rural environments of her Australian youth into her work. Her new novel, All The Birds, Singing, continues that trend. One of Granta's Best of Young British Novelists, The Skinny interviewed her in June, when she said of Australia: “It's one of the most vivid landscapes of my childhood, and I think because of that it will always be the first place I go to.”

Joe Sacco & Chris Ware

Wed 14 Aug, 7pm, ScottishPower Studio Theatre, £10 [£8] £5, under 26s Two graphic novelist heavyweights in conversation. Sacco is known for his politically astute journalistic work, whereas Ware's tragicomic tales of domestic alienation offer an alltogether different experience. Both, however, are experimentalists with form. Sacco is about to publish The Great War; an accordion format pull-out graphic novel stretching 24 feet, and Ware's Building Stories was a graphic novel in a box,

John Burnside: Something Like Genius

Wed 14 Aug, 10.15am, The Guardian Spiegeltent, £10 [£8] One of the best writers Scotland has, and rightly celebrated for his poetry, stories and novels, John Burnside is always a fascinating and forthright speaker. Last year he did something very few writers do and discussed, in detail, a large project he was currently working on. This year he brings a new collection of short stories called Something Like Happy. After a year of awards in which the world seemed to finally recognise the full talent of Burnside, this new collection of stories is sure to resonate with the same assured depictions of otherworldy places.

Vic Galloway: The Centre of Fife's Music Universe

Tue 20 Aug, 8.30pm, ScottishPower Studio Theatre, £10 [£8] Here to celebrate the launch of his new book on Fife's rich musical heritage, Songs in the Key of Fife, Vic Galloway will discuss why the region has produced so many of Scotland's leading indie figures of the recent past. As a childhood friend of several Fence members Vic knows their story intimately and will recount how a small collection of like-minded musicians came to run a successful record label and put on some of the most eagerly anticipated music festivals of the calender.

Margaret Atwood: Madam I'm MaddAddam Sat 24 Aug, 8pm, Baillie Gifford Main Theatre, £10 [£8]

One of the big names of this year's festival, Margaret Atwood is here to talk about MaddAddam, the third part in her Oryx & Crake trilogy. Although she is in conversation with Neil Gaiman later in the festival, it will be the concluding part of her environmental sci-fi opus fans will

books

want to know about most. Due for publication at the end of August, this sneak-peek at the book's contents will offer some details as to what's next for her post-apocalyptic vision of the future.

A Celebration of Iain Banks: Leading Writers Pay Tribute

Sun 25 Aug, 9.30pm, Baillie Gifford Main Theatre, £10 [£8] Following Iain Banks' premature death earlier this year, there was an outpouring of tributes from both literary and non-literary communities. In this event, three of Banks' close friends – Ken Macleod, Val McDermid and Ian Rankin – talk about the work of one of our very best. Expect discussion on masterpieces like The Wasp Factory and his Culture novels, and what made him a great man, as well as a great writer.

Amnesty International Imprisoned Writers Series

Every day, 5.30-6.15pm, Peppers Theatre, free – tickets available from the box office on the day This daily event is always worth going to. Usually under a different theme or region, and with a revolving cast of international authors, Amnesty aim to raise awareness of writers imprisoned for speaking out against oppressive regimes in their countries. Expect readings from a variety of voices, information on injustices not covered by the mainstream media, and the opportunity to get involved.

Jura Unbound

Every night, 9-11pm, The Guardian Spiegeltent, free and drop-in Billed as 'Stories, Music and Literary High Jinks' this after hours component is where the Book Festival lets its hair down. Featuring authors from the day programme and some unexpected faces, Unbound delights in surprising. Turn up, grab a pint, and see what the evening has to offer. The full Unbound programme was published in last month's Skinny, but is browsable on our website (www.theskinny.co.uk) and will also be available from stands at the festival.

THE SKINNY

Building Worlds

Widely recognised as one of the most important voices in comics, Chris Ware will be at the Book Festival discussing his conceptually ambitious graphic novel Building Stories, as well as appearing with Joe Sacco

he Skinny: You are at the Book Festival primarily to talk about Building Stories. With a project like this, that was written over a decade, how does it feel now it is in the public sphere? Chris Ware: I wanted to make something as much like art as I could within the limits of mass production. I was indeed nervous when Building Stories was released for its possible perceived pretentiousness. Despite my worries, the aim of the book, which is more or less about remembering, lying to oneself and trying to understand and empathise with other people, came through somehow.

cubist terms, he’s analytic and I’m synthetic. Or, in comics award terms, he’s ‘reality based’ and I’m – not?

For someone who has read Jimmy Corrigan and Building Stories, is the best way to engage with your work more regularly still your ongoing Acme Novelty Library comic? I’ll continue the periodical out of sentiment and the fact that I still like the experience of putting out an irregular, limited-edition hardcover of stuff as I finish it, though it’s definitely always the completed collection I have in mind as the ‘finished work,’ if I may be so bold. I’ve been working on my other interminable graphic novel for as Building Stories is formally experimental, as long as I worked on Building Stories, and serialisa series of different reading materials (books, ing it still seems to me to be the most personal newspapers, drawings) presented loose in a and personable way of promulgating it as I go, box. I note that Joe Sacco’s forthcoming work, since I don’t tweet or tumbl nor do I have a webThe Great War, is also in a non-conventional for- site. I figure doing occasional hardcover books is mat. Do you feel that experiments with form are more than arrogant enough. intrinsic to the evolution of the graphic novel? I don’t categorically think that the future of Finally, the Book Festival is acknowledging the comics lies in the experimentation with materiplace of comics and graphic novels this year als and presentation, though I think it’s a part of with the Stripped strand. How do you feel the form and should be considered if one is an about representing your work at these more author who’s prone to considering such things. If traditional events? these books are printed on paper, they’re physiI’m thrilled, but when graphic novels get their own special corners in festivals, magazines and As he prepares to launch his insider’s history of Fife’s rich alternative musical cal objects, just like we are. bestseller lists it makes me a little nervous, as history, we ask Vic Galloway why he wanted to tell this story, what makes The In your other event, sponsored by The Skinny, such roping-off can continue comics’ misunderFence Collective so special, and what he has planned for the Book Festival you will be in conversation with Sacco, a prosstanding as a genre (which it’s not) rather than its pect anyone with an interest in alt. comics will acknowledgement as another way of telling huInterviews: Ryan Rushton find pretty mouthwatering. Do you feel there man stories. After all, Nabokov himself conceded Illustrations: Rupert Smissen are similarities in what you do? that people think not always in words but also Well, I consider Joe a good friend and probin pictures. It seems as crazy to me to believe ably the most reliable bellwether comics has of that thoughtful readers are interested in graphic its own seriousness at grappling with what one fter years of bringing the best new music to interests, but thought maybe now was the time novels as a general subject matter any more than, comics award tellingly refers to as ‘reality-based’ say, people who eat would be interested only in our eyes and ears with his TV and radio work, to write a book.” subject matter. He’s a living example of what Vic Galloway is turning his hand to the world of Fife’s finest, The Fence Collective, have an baking. It all reminds me a little of that controone should aim for not only professionally, but books. Songs in the Key of Fife, his debut tome ex- entire chapter dedicated to their ascent from versy a couple of months ago about Wikipedia’s ploring that most musically fruitful of Kingdoms, humble beginnings as a small group of like-mind- also on a simple human scale, which is to try to creating their ‘women novelists’ list apart from is bringing Galloway to the Book Festival, ed musicians, to a successful record label and understand other people and the extremes of hu- the ‘novelists’ list. Then again, I don’t know the man cruelty and sympathy. He uses comics as a although it turns out whatever medium he is festival organiser. “I think Fence has appealed to solution, and my complaining about it sounds working in, he has a pretty steady purpose: “I’m people because it is down to Earth, friendly, non- medium for seeing and imagining things that are unintentionally ungrateful, which I’m not. Thank frequently unimaginable. The main difference be- you, Edinburgh Book Festival! not on a specific mission, or I’m not some kind of corporate, DIY, and devoid of ego, or largely so,” evangelist,” he explains “but like a lot of people he says. “They have tried to put the music and the tween he and I, however – other than he’s clearly Chris Ware will be appearing at ScottishPower Studio out there I’m fairly appalled at what gets passed art and the fun first, and all the kind of business, smarter and much better read than I am – is that Theatre, Mon 12 Aug, 8.30-9.30pm, £10 [£8]. Details of his appearance with Joe Sacco can be found opposite he writes non-fiction and I write fiction. Or, in off as good music in the mainstream. I’ve always, and the machinations of the music industry secsince I’ve been a teenager, looked for the wonder- ond. A few of these artists have sold large numful and interesting. It doesn’t have to be weird, it bers of records; King Creosote, James Yorkston, just has to be interesting, and in some ways push The Pictish Trail, they’ve all sold decent amounts the boundaries. There are so many dreadful, me- of records now and are building up a good foldiocre acts out there, across all genres of music, lowing and long may that continue. But it’s a DIY and I just thought if I’ve got any kind of platform ethos, it’s like DIY musicians who don’t approve or influence, no matter how small, then I’d like to of or enjoy the major label world and want to do something positive with it.” show an alternative. Musically, it might not sound Songs in the Key of Fife aims to chart how like punk, but it has the same ethos.” one relatively small county produced a wealth Galloway has two events at the Book Festival of excellent musicians at around the same time. this year. One is part of the main programme Tracing the intertwining paths of artists like The which, he explains, “will be some readings, a Beta Band, KT Tunstall, James Yorkston and The discussion about the book, a Q and A with the Fence Collective, Galloway explains: “The book audience, and a signing.” His Jura Unbound performance, however “is going to have solo sets is a fairly extensive documentation of people of from King Creosote and James Yorkston, more my era (roughly) who came from the East Neuk of Fife, and to some degree have all become suc- readings and chat from me. It will be pretty freecessful. They’re my peers, I’ve been in bands with form and a lot more off the cuff.” We also agreed them. Once things started taking off for me on it would be a crime not to mention the Fife radio, I was able to document their music on air. launch, taking place on Sat 21 September, at the It wasn’t nepotism. I was playing them because Cambo Estate in the East Neuk, which he says will what they were doing was extraordinary.” feature “readings, a Q and A, live music from King He reflects that “It dawned on me a couple Creosote and Withered Hand, as well as specialof years ago, wouldn’t it be good to write a book? ity Songs in the Key of Fife beer, with everyone Initially I thought of doing a blog, or magazine getting a souvenir engraved beer glass.” Surely article, but then realised this was a huge story, worth a trip to the Kingdom! and if I’m gonna cover it well I should try and Songs in the Key of Fife will be published in August by do a book about it. I was about to turn 40 and I Polygon, RRP £12.99. Details of Vic’s main programme event can be found opposite, with his Jura Unbound event taking thought I wanna branch out and start doing difplace Sun 25 Aug ferent things, keeping my radio and TV as central

Fife 4 Life

August 2013

BOOKS

Feature

The Lizard King

Having busied himself with acting and illustration in recent years, the inimitable David Yow marks a slight return to the music world by literally dropping his ‘accidental’ debut solo album like a slab of concrete this month. Don’t expect any ballads

s the frontman of two seminal bands, Scratch Acid and The Jesus Lizard, David Yow is a central figure in the history of American noise and post-hardcore throughout the 80s and 90s. It’s difficult to imagine Austin or Chicago’s underground scenes in those decades without him; something due partly to his bands’ relentless twisting of hardcore templates into new shapes, but also a reflection of his unforgettably vociferous stage persona. For those who’ve witnessed Yow’s writhing, spitting and stage-diving live perfomances, the prospect of interviewing the man engenders a degree of trepidation. When The Skinny catches up with him ahead of the release of his first solo LP, Tonight You Look Like a Spider, however, it quickly becomes clear that the live persona is just that. Speaking on the phone from his home in Los Angeles, Yow comes across as affable, charming, even humble, always taking the time to think through his responses carefully. Although happy to acknowledge that “drinking as much as possible” remains one of his priorities, his life nowadays revolves around a variety of projects, including graphic design, visual art and acting; Spider, he explains, doesn’t reflect any plans to return to music full-time. Produced at a leisurely pace between 1998 and 2007, the LP signals a dramatic departure from Yow’s work with Scratch Acid, The Jesus Lizard and latterly at the helm of LA noise-rock trio Qui: a series of creepy-yet-playful instrumentals utilising low-tech synths, murky saxophone, scattered piano stabs and guitar feedback, Spider eschews those bands’ brutal efficiency for an approach which emphasises abstraction, indeterminacy and digression. Did this new approach to structure and texture reflect a conscious desire to pursue creative avenues that didn’t really mesh with Yow’s bands? “It’s not like I was aching to do that,” he explains, evidently wary of romanticising or glamorising the creative process. “It wasn’t anything important that I was trying to get out. But once I got started I enjoyed it so much that I fucked with it for several years before deciding to call it quits.” Spider’s inception was more or less accidental, resulting from a chance meeting with Ipecac owner Mike Patton: “I’d been messing with Pro Tools, and a couple of weeks later I met Mike, and he just grabbed me and said: ‘You’re doing a solo record, and I’m putting it out.’ I thought, well how fortuitous, because I’d just started working on it.” With its dark, twisted corridors of noise and occasionally puerile humour – evident in song titles like Lawrence of a Labia – Spider would seemingly be at home on Patton’s label; but in the event, “so many years went by, and the music climate changed, to the point where Ipecac don’t fuck with stuff like that now, it’s either the Melvins, or stuff that Mike is doing.” Instead, the record eventually found a home on Joyful Noise, who – as Yow puts it with characteristic self-deprecation – were “cognisant of the crap that I’ve done in the past, and they got all excited about the idea.” The label were also enthused by his proposal to release a limited run of 50 copies encased in a concrete monolith, crafted by Yow himself: “I had made these cement things to display my interactive portfolio, when I was doing photo retouching,” he explains, “and I just sort of bastardised that mould to make the thing. I mean it was a motherfucker to make 50 of those things, but it’s a really cool package.” The choice of such a heavy, imposing artefact could be seen as a response to the ways in which technology is eroding the

Feature

Interview: Sam Wiseman Illustration: David Yow

materiality of music. “I’ve always liked cool packaging, like PIL’s Metal Box, or like that Big Black Headache record,” he explains, suggesting that despite the rise of digital music, there will always be a market for packaging which is “out of the ordinary, creative, fun... and cool to look at.” Packaging aside, Spider is also noteworthy for the absence of lyric-based songs, which reflects a “fear of redundancy, and not necessarily feeling that anything I had to say was worthwhile or important enough, or that I hadn’t already said it.” Ironically, Yow’s decision to make a solo record seems at least partly to have been motivated by a desire to escape the limelight. In The Jesus Lizard, he explains, “part of the reason I wrote lyrics was because I was the singer, and it was part of the job, so then when I got to make a solo record where I’m the sole decision maker, I chose not to have a lyricist.” Instead, Spider represented an opportunity for Yow to explore the communicative potential for sound, texture and melody alone. “I like the idea of the musical language of instrumental stuff, and the imagery that it might conjure up, where you don’t have to be shackled to any actual narrative that might inhibit someone’s imagination.” His influences in pursuing these ideas might surprise fans of Yow’s former work: Edvard Grieg, he suggests, “shows up a couple of times,” in the way the music sometimes “sneaks in in these little chunks.” He also mentions Prokofiev and Angelo Badalamenti. On the other hand, some of the compositions didn’t feel like a conscious engagement with influences: “Senator Robinson’s Speech, I think that was just an attempt to bum out the listener,” he laughs. In that respect, some of the old volatile, an-

“Mike Patton grabbed me and said ‘you’re doing a solo record,’ I thought, well how fortuitous...” David Yow

tagonistic persona remains in evidence on the record. Yow is acutely aware of the degree to which such images are cultivated and perpetuated by the media, but he explains that this “doesn’t irritate me, because I understand where it comes from. If you saw us live or saw videotapes or listened to the records, I can imagine why people would think that. So it doesn’t bother me that people think that, I just find it funny when they take it very seriously.” Although Yow is amused by some fans’ inability to distinguish between persona and personality, then, he is also aware that blurring this distinction might sometimes be of value. Does he see any connection between the development of his image as a frontman and his recent forays into acting? “I think a lot of directors had thought that I might be good at acting because of the music stuff,” he acknowledges. “But the performance part I think is very different. With acting you have specific things that you have to do and say, at a certain time, whereas with music, or at least the music that I’ve been involved with, I always had the freedom to do whatever the fuck I

wanted at any point at any time.” Along with his acting work – including a supporting role in the upcoming film High and Outside, as an alcoholic caregiver – Yow has also been pursuing graphic design, visual art and video art in recent years. These projects, he explains, have become more central to his creative output than music: “I’m much more into drawing or painting or acting or directing videos now.” Nonetheless, a recent stint touring with Girls Against Boys – “they had me along to ruin a couple of songs for them” – was “wonderful,” and The Jesus Lizard will reunite to play the Release the Bats festival in Melbourne this October. Yow is also cautiously hopeful that Spider will be toured at some point, although he refuses to make any promises. “Initially I didn’t think it would be possible, because some of the compositions were so fucked up and screwy that it’d be very hard for an ensemble to play, and I didn’t want to stick a computer on the table and push

MUSIC

play, I didn’t wanna do that. But I’m definitely gonna make an effort to see what kind of live presentation we could do with it.” Despite his contemplative, thoughtful attitude to the creative process, Yow retains a remarkable energy and vitality; his irrepressible enthusiasm for new projects is central to his continual reinventions of his artistic role. As for rock music, however, he feels it is a “young man’s game.” “Powerful, aggressive rock music is not intended for people who are far past halfway in their life,” he laughs. He’s also amusingly pragmatic about the appeal of visual art for a man in middle age: “I’ve been hospitalised so many times with the band, and hurt, and got bloody and bruised up,” he reflects. “That doesn’t happen too much with the painting or drawing.” Tonight You Look Like A Spider is out now via Joyful Noise www.davidyow.net

THE SKINNY

CHARCOAL, PATIENCE AND A FEW GOOD FRIENDS.

IT’S LIKE JACK WAS MADE WITH BARBECUES IN MIND.

We’ve always found it interesting that three of the main ingredients that go into making Jack Daniel’s are the same that go into making a proper barbecue. Maybe that explains why Lynchburg, Tennessee, hosts “The Jack”, an annual tasting competition where people indulge in some of the fi nest barbecue in America. And while tastes may differ, everyone can agree that Jack Daniel’s is the perfect way to toast the winner. J A C K D A N I E L’ S

TENNESSEE WHISKEY

THE SKINNY

Knowing Neil Gibbons, Knowing Rob Gibbons This month Norfolk’s premier broadcaster, Alan Partridge, makes his debut on the big screen in Alan Partridge: Alpha Papa. We speak to Neil and Rob Gibbons, the writing duo responsible for Partridge’s glorious comeback

itcoms, as a general rule, make for lousy movies. But that didn’t stop the British film industry churning them out in the 1970s with the nonchalance of Kate Middleton squeezing out an heir to the throne. If you don’t believe me, tune your goggle box in to ITV4 of an early evening and you’ll find them there still haunting the airwaves: Steptoe and Son Ride Again, Mutiny on the Buses, The Alf Garnett Saga – and those are just the sequels. Over the last few decades, however, our appetite for feature length sitcoms seems to have waned, save for a few rare examples (the good – In the Loop (2009); the bad – The League of Gentlemen’s Apocalypse (2005); and the downright ugly – Keith Lemon: The Film (2012)). However, the unexpected success of The Inbetweeners Movie, which ended its theatrical run as the UK’s third highest grossing film of 2011, has put the sitcom spin-off back in vogue. Jennifer Saunders has announced that she’s currently working on a feature-length version of her riot of bad taste and badder behaviour, Absolutely Fabulous, while this month Steve Coogan’s most enduring creation, Alan Partridge, finally finds a medium big enough to contain his considerable ego – his own movie, Alan Partridge: Alpha Papa. The cynical might suggest that Alpha Papa is an equally cynical cash in, but unlike most other TV comedy spin-offs, which tend to appear around the time the series in question is past its sell-by date, Alan Partridge is as popular and as funny as he ever was in his mid-90s heyday, what with a best selling autobiography (I, Partridge: We Need to Talk About Alan) and Mid Morning Matters, the hilarious bite-sized internet series that served as the character’s comeback in 2010. Behind that book and internet series, and co-writers of the upcoming film, are comedy writing duo Neil and Rob Gibbons, 35-year-old twin brothers who’ve gone from scripting a few gags for Coogan’s grotesque Calf siblings characters

August 2013

(Paul and Pauline) to being Partridge’s chief writers. A few weeks before Alpha Papa makes its world premiere in Partridge’s spiritual home of Norwich, I spoke to the Cheshire-born brothers via a three way conference call to discuss their involvement with the film and I start by asking what it’s like to be writing for a long established character, especially one so iconic and muchloved as Partridge? “We watched Partridge growing up but we’d avoided becoming anoraks. We liked it but there are a lot of blokes that know every word he’s ever spoken,” reveals Neil. This might sound like a hindrance, but, in fact, Partridge’s creator also has a blurry recollection of the Norwich broadcaster’s back catalogue. “When Steve is walking down the street there are people who’ll shout a Partridge line at him but he just thinks they are abusing him because he can’t remember saying it himself. So we had an understanding.” And this lack of obsession over the character’s past means they weren’t beholden to doing Partridge the way that he had always been done. Another reason why Neil and Rob felt comfortable putting their own stamp on Coogan’s character was that Partridge had been off our screens for nearly a decade. “Alan was in a slightly different place in his life,” explains Rob, when I ask how the Partridge of Mid Morning Matters and Alpha Papa differs from the one we saw in the last episode of I’m Alan Partridge in 2002. “He’d sort of changed as a person in the same way that real people change. He’s sort of softened a little bit. He’s less of a desperate schoolboy, he’s now someone trying to be a a bit more relaxed and cool.” He’s certainly more relaxed. It’s hard to imagine the Partridge of old discussing his erectile dysfunction live on air, as he does on an episode of Mid Morning Matters (for the record, he blamed his lack of tumescence on being

Interview: Jamie Dunn

distracted during foreplay when he remembered his tax disc was out of date). Rob puts this freshness down to a pact he and his brother made with Coogan when they initially sat down to work on Mid Morning Matters: “Neil, Steve and I decided collectively that we were going to try and avoid the Partridge clichés,” he explains. “People, for example, always think about Partridge and James Bond. Since we’ve started doing Partridge we haven’t done any Bond whatsoever because that feels like it’s just too easy a place to go.” “The thing about Partridge is that if you’re determined to sort of just make him a collection of greatest hits, buzz words from the past, then he stops to feel like a real person,” continues Neil. “He’s more of a sort of frame of mind than a checklist of hobbies and interests; he’s got a skewed way of looking at things and a sort of desperation to be respected. And that just broadens your scope massively because you’re not ploughing the same furrow all the time.” As laid back as the new 2.0 version of Partridge is, he’s still prone to some fairly dark thoughts. While interviewing a Tory councillor on an episode of Mid Morning Matters his mind segues to Fred and Rosemary West when he tries to come up with an example of a coalition, and when discussing counterinsurgency techniques with a reluctant secret serviceman, Partridge invents a hypothetical scenario where Bill Oddie has radicalised an RSPB terrorist cell after a Russian oligarch has eaten the last osprey egg in Britain for breakfast. How do they get into that warped mindset? The answer, they reveal, is improvisation. And awkwardly they often do this improv in the same room as the man who’s played Partridge for over two decades. “What we do, is me, Neil and Steve sit round a table and the three of us sort of improvise as Partridge and when we come across a half-decent line we’ll write it down,” explains Rob. “Steve will obviously do the Alan voice, but we feel we’ve got

FILM

to give it a go too so we can differentiate from when we’re just speaking.” “To be fair, Steve doesn’t always throw himself into doing the Partridge voice,” says Neil. And this can often lead to confusion. “Sometimes he’ll just be improvising as Alan and he’ll say he saw a brilliant episode of Air Crash Investigation last night and you’ll start laughing, but then you’ll realise that he’s actually talking as Steve Coogan.” So the line between Steve Coogan and Alan Partridge is quite hazy, then? “You can never tell if he’s berating you for being stupid,” says Neil, “or if he’s improvising a line that Alan would say to Lynn [his put-upon, but ever faithful PA, played by the great Felicity Montagu, who, the brothers inform me, will make an appearance in Alpha Papa]. It’s weird, you’ve got to stay on your toes.” This anecdote perhaps reveals why Partridge has been so enduring. Beginning life as the sports correspondent on Chris Morris’s seminal spoof current affairs show On The Hour in the early 90s, Partridge has proved a rather durable character, going on to host his own spoof chat show Knowing Me, Knowing You, being the centre of the brilliantly awkward sitcom I’m Alan Partridge, and he’s slipped seamlessly into the online world of Mid Morning Matters. And now he’s about to be a movie star. Why can’t Steve Coogan, despite his flirtations with Hollywood and ‘serious’ acting (this month also sees Coogan star in What Maisie Knew, a drama based on Henry James’s novel of the same name), let go of Partridge? “There was a slight clue in the title of the tour he did in 2009,” suggests Rob, “which was just called Steve Coogan – As Alan Partridge And Other Less Successful Characters. I think there’s some truth in the fact that Alan is the character Steve was born to do, and when you can do something at that level I supposed you’re loath just to let it die.” Alan Partridge: Alpha Papa opens in cinemas 7 Aug

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Photo: Andreas Laszlo Konrath

The Democratic Circus B

y the time Annie Clark, aka St. Vincent, was born in September 1982, David Byrne’s Talking Heads were at work on their fifth album Speaking In Tongues. The band were about to enter their MTV-embracing commercial breakthrough, an era arguably defined by Byrne’s staggering physical performance replete with over-sized suit and webbed shoulder pads in the concert film Stop Making Sense. Thirty years on and the pair are in the midst of a three year collaboration which has produced one storming album, Love This Giant, innumerable tours and a new EP, Brass Tactics, comprising unreleased tracks, remixes and live cuts. As with any collaboration, particularly one between a veteran male icon and a younger female artist, there’s a certain mystery and intrigue at play: who wrote what? Do they really get on? And what the hell is the story with those ridiculous Photoshopped images of each other on the album cover? Of course, everything with David Byrne seems unfeasibly meta, as if it’s part of some wider cultural context that only he is fully tuned into. And as a songwriter and singer, Byrne is a master in employing non-verbal languages: his Talking Heads back catalogue is infested with yelps and yowls and all manner of urgent cries. Conversely, or perhaps perversely, Byrne is articulate to the point of loquacious while Clark is comparatively reserved and content to amuse herself at her collaborator’s verbal

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parambulations. Clark has had a long apprenticeship within the music world; as a teen she performed with her uncle’s jazz duo and regularly toured with Polyphonic Spree, Glenn Branca and Sufjan Stevens before creating St. Vincent in 2006, an increasingly elaborate vehicle for her florid and ornate stories of twisted, personal catharsis. Align these two disparate talents and what do you get? A brass jungle of horns and percussion and mildly absurd lyrics which may or may not be about love and beasts and self-improvement through watching TV.

“Are you saying I try and influence where we play, dependent on where there’s good cycling routes?” David Byrne

Of course, such conceptual tomfoolery can result in artifice rather than art but there’s a warmth and wonder to Love This Giant which is also evident when speaking to Byrne and Clark;

their discursive rapport is filled with good humour and joy, and it all seems to make sense when you least expect it to. “David and I both had the experience of telling people ‘we’re working together!,’ reflects Clark, “and you could see it in their eyes, they were thinking ‘this is going to be some experiment, this is going to be really esoteric and I probably won’t like it!’ [laughs]. And the album did start out a little bit more abstract but, as we kept going along and working on the songs, it got really open to a more art pop direction.” While both Clark and Byrne are shameless, rampant collaborators, the process of creating Love This Giant was a more fruitful occasion for both musicians. “It was very collaborative,” Clark continues, “we’ve both worked in situations where the roles were more stratified, like: ‘okay you write lyrics and I write music’ but with this, we were both writing music and sending ideas back and forth.” “There were electronic files sent back and forth initially,” Byrne confirms, “but the recording was very old-fashioned, a lot of jazz players, percussionists, all in the same room or group of rooms, reading musical charts. And I felt the same as Annie and I’ve done a lot of collaborations! The borders were more fuzzy than some of the others I’ve done. In others, I’d just write the words, or top-line melody, or sing it. This one, there could be parts where Annie wrote one

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section and I wrote another. Although once we were in the studio, with all the musicians, it was too late to collaborate! They had the music in front of them at that point.” The genesis for the two to collaborate originated from a series of hazy encounters which were initially the genesis of Housing Works – a New York non-profit organisation which was promoting a series of dual performances (Björk and Dirty Projectors are similar offspring) – Byrne attending St. Vincent’s New York shows and, bizarrely, a visit to the White House. “We got invited by NPR,” says Byrne, “the non-profit radio chain in the US, to attend the White House Correspondents’ Dinner. NPR are really supportive of artists like ourselves and it was a way for us to show support for them too, they’re under siege from certain parts of the political spectrum.” The duo’s live performances have been honed and sharpened from the past year spent on the road. While the Brass Tactics EP features a faithful version of Talking Heads’ Road To Nowhere, the standout track is Marrow, which originally featured on St. Vincent’s 2009 album Actor. While the original slid and slinked along with heavily compressed beats, this new version shimmers and soars, adorned with all-new arrangements, the righteous brass allowing Clark to breathe, freed from the suffocating production on record. “Well, that was one of the more obvious songs of mine to do live…” Clark begins

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Photo: Andreas Laszlo Konrath

We catch up with the art pop dreamteam of David Byrne and St. Vincent to discuss collaborations, Creationism and the art of cycling while on tour, prior to their imminent visit to these shores later this month

before Byrne interrupts. “No, I agree. I think that song comes across really well live.” The current tour has an even distribution of St. Vincent, Talking Heads, and collaborative songs. So, Burning Down The House rubs shoulders with Cheerleader from St. Vincent’s 2011 album Strange Mercy while Byrne’s other collaborative work – Strange Overtones from his 2008 album with Eno and Open the Kingdom from Philip Glass’s 1986 album Songs From Liquid Days, for which Byrne contributed lyrics. This melange of the more obvious and the more obscure create an invigorating and vibrant live show. “Oh my God, it’s so fun playing David’s songs live,” laughs Annie. “I have to pinch myself – I’m actually playing these songs with David.” “It’s like a music fan’s dream,” laughs Byrne. “You get to sing along like you do in an audience but people can actually hear you sing.” The last time The Skinny saw David Byrne live, he was tentatively giving a lecture in New York on the lineage of acoustics in music venues through the ages. This eventually fed into How Music Works, his remarkable book on the myriad places in which music exists. Has this level of scholarship influenced the venues in which he now plays? “A little bit, yes,” he confirms. “We get the venues we are being offered to us before we say ‘yes’ so we know what we are getting into. If there is a venue that has a reputation for really bad sound or is excessively formal, then we might

August 2013

have a question about that. But we also streamline our set when we play festivals – too many ballads in an outdoor festival is probably not a good idea. But if you’re playing to a seated audience in an orchestral hall you can put some in and save the rave-up stuff ‘til the end!”

“It’s fun playing David’s songs live, I have to pinch myself” Annie Clark

Furthering his reputation as a renowned polymath, Byrne, through the advent of his blog and Bicycle Diaries, has become a committed activist in the world of urban cycling, advocating the two-wheeler as a fully-fledged means of daily transportation. So, in the midst of this mammoth tour, presumably Byrne has managed to maintain his cycling exploits… “[Byrne interrupts]. Wait a minute. Are you saying I try and influence where we play is dependent on where there’s good cycling routes?” Absolutely. “Ha! No, it’s all been pretty random. I’ve been really enjoying Middle America! I might not be expected to say that but I’m really enjoying it out there. The reception at

Interview: Colm McAuliffe

the concerts has been really good. I think there was a little bit of shock when we begin and then, by the end stage, the audience has decided that they are accepting and eventually they like it. But we’re finding incredible places to explore and things to see wherever we go. The other day we went to Cincinnati and visited the Creation Museum [Annie: “Woah…”] which is a museum made by a religious group to counter the Darwin Theory of Evolution and counter the idea that life on earth is millions of years old, all that sort of thing. It’s fascinating and much bigger and slicker than we expected. It wasn’t like dioramas in someone’s barn, it was a big deal.” “Yeah, the idea begins with dinosaurs in the Garden of Eden. It’s a $27 million endeavour. Very evangelical,” says Clark. So, on tour they’ve been enjoying Middle America and visiting pious history re-creations? Hmmm… “I wasn’t totally convinced,” retorts Byrne. “But you know, I was towing along, I was following the arguments…until there was a skip in logic which was like ‘Woah! Wait a minute! We just went from Adam and Eve and the Fall straight onto Mein Kampf!” One of St. Vincent’s standout tracks from her Strange Mercy is Year of the Tiger, which detailed a particularly troubled year in her life. Is she finding 2013 – the Year of the Snake – a more pleasant experience? “Oh wow!” she gasps. “We’ve been watching a lot of David Attenborough documentaries about reptiles! But yeah, it’s been

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perfect. And this tour feels like a vacation. It’s really fun, there’s field trips, nobody’s arguing – well, in that sense it’s not like a vacation! But it’s summertime, we’ve been all around the US and Europe will be fun too.” Speaking of Europe, it’s often not remarked upon that Byrne, the pansophic doyen of the New York art and music world, was actually born in Dumbarton, Scotland. “That is correct,” he affirms. “You should see the guest list for our Glasgow gig! We left when I was very young but we’d go back to visit the aunts and uncles and cousins and grandparents every couple of years for a while. I did have a Scottish accent until I was six, or seven, or even eight but by then it was just the peer pressure of other kids [that made me lose it]. But that’s what happens with kids, kids at that age lose their accents immediately. My parents didn’t, but I did.” Can he possibly imagine how different his life would have been if he hadn’t left for North America at such an early age? “It would have been a very interesting experiment if I had stayed and grown up in Dumbarton! Although you know what? It would have been even funnier if I had stayed there… and turned out exactly the same.” Playing Royal Concert Hall, Glasgow on 29 Aug and End of the Road Festival, Wiltshire on 30 Aug www.lovethisgiant.com

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“Trust me, because I’ve done acid” He’s made movies about Vikings, video store clerks and criminals. He made Ryan Gosling an icon. He even directed Geraldine McEwan in Marple. We sit down with the mercurial Nicolas Winding Refn to get the lowdown on his latest film, Only God Forgives

shadow passes the waiter’s face as he approaches our table; you get the impression that he’s been dealing with Nicolas Winding Refn’s left-field refreshment requests for a little longer than he’d like. “Do you have a carrot juice – a freshly made glass of carrot juice?” Refn enquires. Surprisingly, they don’t. “Do you have steamed milk?” They do have steamed milk. “Then I’d like a hot chocolate with steamed milk.” Refn, who doesn’t touch the hot chocolate once, speaks slowly, purposefully, with a slight Danish accent and an impish, mischievous look behind his hipster glasses. He wears a white shirt and grey cardigan beneath a custom Adidas zipthrough top, and on his back slinks a scorpion – the same scorpion Ryan Gosling’s unnamed character wore in Drive. He’s an intimidating person to interview. He doesn’t just keep you on your toes, he makes you dance; even he seems unsure what he’s going to say next. Always outspoken, sometimes bizarrely tangential, and often as open as a bad clam, his press-tactics are as mercurial as his films. “I needed to destroy everything I’d built in order to recreate everything again,” he says of his most recent work, Only God Forgives, a strange and breathtakingly poised fever dream of a film. “I could have easily made a much safer choice, a formula that had worked before. To avoid doing that, I had to go away and explode.” He doesn’t give any details on how he exploded, but it was probably worth a watch. After the sparse, hyper-stylish thriller Drive, which saw Ryan Gosling play a brooding stunt driver who saves his beautiful neighbour (Carey Mulligan) and her young family from the hands of murderous hoodlums, Refn had Hollywood on a plate. Tinseltown was desperate to make the Danish director their own, a sort of commercially-safe version of Lars von Trier, a director who could inject derivative material with European highstylings and an ice-cool fetish for violence and sex. The industry wanted more of the same, but

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Refn fobbed them off, disappearing into the wilderness before announcing he was to shoot the Bangkok-set Only God Forgives, a French-Danish co-production from a screenplay he wrote years ago. “I decided,” he says, “if Drive was really good cocaine, then Only God Forgives was going to be really fucking good acid.” Inspired by The Evil Cameraman, a fantastically violent short film by underground New York filmmaker Richard Kern – which Refn describes as “frightening, but erotic. Vulgar but sexy” and “nihilistic but very alive” – Only God Forgives follows Julian (Gosling), an American exile in Bangkok who runs a boxing club with his brother, Billy. The club is just a front, however, for a massive drug smuggling operation, which is overseen by the brothers’ fearsome mother (Kristin Scott Thomas) back in the States. When Billy brutally murders an underage prostitute, we meet Lieutenant Chang – known as the Angel of Death – who hands out bloody justice with a sword he keeps concealed behind his back. As the trailer makes clear, Chang’s dance of death with Julian is the film’s inevitable conclusion. This exile-revenge drama is a meditation on familial obligation, on what it is to be a foreigner in a strange country, and on the way violence inevitably begets further violence. It turns Bangkok into a dark, somnabulist vision of neon hell, a city teeming with people yet indifferent to their fate. “Bangkok is like a gateway, a borderline between West and East,” Refn says. “During the day it’s like Disneyland, but when Bangkok turns into night, it becomes a magical city of Asian mythology. I wanted to make a fairy tale, so I needed a city with a twilight sensibility. People talk about the magic hour in LA but it’s nothing compared to Bangkok.” Only God Forgives had its world première at Cannes in May, it was the festival’s hottest ticket. Yet it got trashed, brutally, by critics who were expecting, and probably hoping for, another Drive. “This picture isn’t so much about

who, what, where, when, and why as much as posing Gosling just-so in front of exotic orangey Oriental-print wallpaper, or allowing the camera lens to travel lovingly across the length of a sword about to be used to perform horrible deeds,” reads the review by The Village Voice’s Stephanie Zacharek. “Without a brand name like Refn’s at the helm, there’s no way this project would be In Competition at Cannes, or even found its way out of your local bargain bin,” reads another review at Film School Rejects. They should have known better. Refn has

“I needed to destroy everything I’d built in order to recreate everything again” Nicolas Winding Refn

always had an anti-establishment ethos, an unwillingness to meet expectations. Even in his adolescence – shared between America and his native Denmark – Refn was a contrarian and a trouble-maker. At the age of 17, he was thrown out of acting school for throwing a chair through a window. And at film school he barely lasted a month: he dropped out after realising that his tutors were only interested in teaching him how to make “products.” His first flush of success came in Denmark with the cult film Pusher, one of the first in a long line of dark, noir-centric films which came to characterise turn-of-the-century Scandinavian cinema. But he was far from set. In his early thirties, he declared himself bankrupt – owing his bank £1 million – after the commercial catastrophe that was his third feature, Fear X, a film he says still “haunts” him. He ended up in London, “broke and indifferent,” trying unsuccessfully to

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Interview: Tom Seymour

get his surreal Charles Bronson biopic, Bronson, into production and eventually agreeing to work, believe it or not, on the glamorous set of Miss Marple: Nemesis, ITV’s TV-movie adaptation of the Agatha Christie novel. The doldrums have served Refn well. His collaborators talk of a humble, open director who rarely makes demands on set – he’s happy to ask his production designer, his editor, his cinematographer, etc., to do what each of them thinks will work best for the scene. “You have to utilise your talent,” he says. “I’m more interested in what other people think than what I think, because usually there is a better version of what I want to do.” The 42-year-old director has never worked with a substantial budget. Drive, his most expensive film by some margin, cost $13 million – nothing in the world of Hollywood. And Only God Forgives cost roughly a third of that. But he likes working this way: “Money feels great, but it’s your burden. The more money you spend, the more the movie has to make. The only way you can make more movies is by being commercially successful. You can’t lose money in this industry. So the more expensive your films are, the more enslaved you are to what the film should be.” Refn, though, doesn’t answer to anyone. He’s a filmmaker working only on his own terms, writing his own rule of law. It makes for a cinema exhilarating in its unfamiliarity, compelling in its inscrutability, and audacious in its lack of concern for the tried and tested methods of ‘product’ filmmaking. “Usually, films present their characters right from the beginning,” he says. “But I want to create a permanent state of unease. I want the audience to ask, ‘What the fuck is going on?’ If they ask that, they can start to let go a bit. Some people don’t. Some people can’t. But if you go with it, then trust me, because I’ve done acid: you’re in for a ride.” Only God Forgives is released in cinemas Aug 2 by Lionsgate

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Paradigm Shift: Until The Music Stops

In the second of our three-part series on the arts, we speak to a range of leading lights from all tiers of the independent music industry about labels, revenue and sustainability in the digital age. Is this a brave new world, or a broken dystopia?

he changes the music industry has undergone since the turn of the century have been seismic. The collapse of key markets and formats, and the growth and emergence of new ones which have failed to directly or adequately replace the old models (at least so far), has left the industry atomised. The proliferation of boutique, short-run and digital-only netlabels have ushered in a wealth of new talent, but often without an ability to effectively market or monetise the artists they represent. The death knell for high street chains such as HMV has sounded – they will struggle on, no doubt, in some reduced form, but the way we buy and consume music continues to evolve and change. We spoke to label bosses, artists and promoters in an effort to take the pulse of the music industry, both in Scotland and internationally. The picture that emerges is one of intense creativity, massive opportunity in terms of potential audience reach, and myriad threats to the traditional idea of the successful artist and label; of people who are passionate, fractious, and prepared to sacrifice everything to pursue creative fulfilment. Alun Woodward of Scotland’s leading independent label Chemikal Underground says: “Technology has been great for bands to get their music heard, and a fucking calamity for people who have to listen to it.” Is this a brave new world, or a broken dystopia?

LIFE BEYOND LABELS?

oodward is unapologetically a traditionalist. “I like to be told what to listen to by labels and bands I trust,” he says. “We have a relationship. They release records and I buy them.” Many up-and-coming and DIY artists tend to agree. “The value of a label that releases physical products is that it is a brand,” says Greg Hurst, who has released electronic music as Magic Daddy on Optimo and Stuff Records, and now plays in Machines In Heaven. Looking beyond Scotland, Shaun Koplow, manager of respected independent US label Anticon, has a similar view. “I’ve read on social media about how new artists don’t see the idea

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of a label holding the same weight as it once did. I disagree. Our logo is a stamp of approval.” And yet, a healthy amount of scepticism exists. Major labels, in particular, seem to be anathema to emerging bands. Louie, front-man of Hector Bizerk, another band to play this year’s T Break stage, has been offered label deals for his band’s second album but has turned them down due to what he calls “trust issues.” Having pressed and sold the band’s debut, he is unsure what value a label could add: “I’ve been promised the world before,” he says. “If you can manage your own music from your bedroom, do you really need someone to represent you?” What can an established label offer that a self-distribution platform like Bandcamp cannot? “Throwing a new artist into a label’s machine hopefully means they immediately have a publicist, a distribution network, better chances at finding a booking agent, people to shop their music for sync licensing, radio PR, and a litany of services they will not take care of on their own until they’ve had a bit of experience in the industry,” says Koplow. Adam Stafford, who rose to prominence as front-man of Y’All Is Fantasy Island, has dealt with labels, and distributed his own work. The key thing a label can provide, he feels, is “reach.” RM Hubbert, winner of the 2013 Scottish Album of the Year Award and a key player in the Chemikal Underground stable, has nothing but praise for his label. He feels “a responsibility” towards them, encouraging him to achieve as much as possible with his music, which he describes as “a bizarre form of therapy.” “The first thing Chemikal asked me to do was to not change anything about what I do,” he says. Working with Chemikal “makes a huge difference to how much time I can spent writing and touring. I don’t think I could do it without them at this stage.” Not all artists experience the warm glow Hubbert describes. “We had people working for us who we felt would benefit the band but ultimately didn’t give a fuck about us, and we were just a number or a name on their roster,” says James Graham, vocalist with The Twilight Sad. “The past 7 years have been a constant uphill battle... There have been some bad decisions and

some missed opportunities, and we take a lot of the responsibility for that.” Growth is necessary for The Twilight Sad to survive: “We can’t sustain a career with the way things are at the moment and our next album is definitely the most important album of our career.” Like The Twilight Sad and RM Hubbert, Dave Hook’s band Stanley Odd were on the shortlist for the 2013 Scottish Album of the Year Award. The band had parted ways with record company Circular after their first two albums, and found themselves the only group on the shortlist without a label or publisher. He remains positive about the effect a label can have on an artist’s career: “There’s real value in being independent, but I don’t think you lose that independence when you license your work to somebody else and let them distribute it,” he says. Hook is also wary of the baggage that goes along with self-promotion: “I’m terrified of the word ‘entrepreneur.’ An entrepreneur, in our current culture and climate, is what everybody is supposed to be.” For Simon Raymonde, founder and owner of Bella Union, there is simply no substitute: “Labels have infrastructure and relationships built up over years that you cannot put a monetary value to. Labels can promote an artist to a level no selfreleasing artist could do... not without at least a team of people to help set it up. That team is called a label.” Bella Union do not ask artists to commit to long-term, exclusive contracts: “We borrow their stuff, help them progress then if they want it back it’s theirs at the end of a short period.” For Raymonde, “Bandcamp pages are like frogspawn. I’ve been hearing for years about how labels are now redundant with the self-release, Bandcamp phenomena but I see this mostly as trying to give credence to something [by] knocking the status quo.” Former Delgado Emma Pollock, one of the co-founders of Chemikal Underground who is also helming the third year of Sound Lab – a Creative Scotland subsidised course for aspiring producers at Chem19 studios – identifies the problems with self-distribution: “It’s very time consuming and extremely hard work to write material, record it yourself at a good enough quality and then do the back-breaking work of promoting

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Words: Bram E. Gieben Illustration: Emer Tumilty

it yourselves,” she says. When a band is signed to an established label, she argues, this eases the burden. By helping Chemikal to emerge, and being closely involved with their ongoing efforts to develop and support independent musicians in Scotland, she and her colleagues have created an alternative to the mainstream. But the music industry is now so atomised, and Chemikal so established, that there exists an alternative to that alternative – hence the rise of boutique and netlabels. Established in 2009, Clan Destine Records have built a small but dedicated following, with limited-edition runs of 200 or fewer tapes or vinyl consistently selling out, and a strong track record of breaking new artists. “It’s all about sustainability,” says owner and manager Carl Clan Destine. “I prefer to do things ethically. I get feedback from distributors and customers, so from the grass roots, I can tell if I need to re-press a record.” He has recently signed a distribution deal with online distributor Boomkat, and deals with independent shops including Glasgow’s Rubadub. Aural Sects is an example of an internet-only label whose releases are mostly free, with occasional forays into physical releases. Co-owner Bunny compares the function of netlabels to zines or traditional press: “A label is just another place a listener goes to find new music of a certain ilk.” His label’s strategy involves encouraging collaborations between artists, releasing compilations, and driving engagement through social media. His artists have “total control.” Forays into physical releases are driven by a desire to break even, rather than make money. Greg Hurst nails the problem facing labels and artists: “Ten years ago, it was possible for a lot of mid-level acts to make a full-time living. Not getting loaded, making a hundred grand a year, but making enough for everyone to survive. Nowadays, that mid-level, the bottom’s fallen out of it.” Chris Cusack and Gerry Blythe, both wellknown faces in the Glasgow music scene, are setting up a new record label attached to the venue Bar Bloc, a gig space which supports emerging bands. Cusack agrees that the middle has

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collapsed: “There’s no affection, no loyalty for the artists [traditional labels] represent. Their ideal scenario is to pick up a band who already have a buzz. Failing that, they’ll engineer something. It’s all about how astute they are at marketing.” Cusack and Blythe hope to open the eyes of Glasgow bands: “There’s a disconnect between the reality of the situation and their expectations,” says Cusack. “For every six breakout bands from Glasgow, there are a dozen, far superior smaller acts who just didn’t play the game in those specific ways, and so they went to the wall.” Their label, says Blythe, operates a defensive strategy, in response to the collapse of the middle: “The money is draining upwards. The bands who are currently hyped might not be here in a year, because there’s no investment. The industry rides the crest of each successive wave, and everybody just grabs what they can.”

SEEKING SUSTAINABILITY

“T

he secret is to be prudent,” says Louie of Hector Bizerk, who grins cheekily when describing his life for the past seven years of making music as “living on the breadline.” James Graham faces similar issues with his much better-known band The Twilight Sad. “Making money from recorded output is very unlikely for a band our size,” he explains. “We’re not selling tens of thousands of records so making money after recording and marketing costs has been unheard of with us. Touring is expensive when you’re a band of our size and ambition.” If album sales and touring revenue are no longer the most profitable parts of a band’s income, what has replaced them? Much controversy has been generated this year over the revenue payments given to artists by streaming sites, but Marcus Scott, manager of ground-breaking electronic label Hyperdub, says that streaming revenues now account for 25% of the label’s digital income. “As user numbers grow revenue for labels will grow,” he argues. “Consumers create the demand for these things and you can’t swim against the tide or hope it will stop,” despite the fact “the amounts paid are not high enough at the moment.” Streaming does not seem to have

August 2013

a deleterious effect on digital sales, either – according to Scott, they are an additional stream. Stewart Henderson, who co-runs Chemikal with Woodward, offers some cutting insights into streaming platforms: “I’m concerned that streaming sites are all about the platform and the convenience of the consumer with the value of the music itself coming a distant third,” he says. “Access to all music, all of the time is now considered by many as an inalienable right rather than an artform deserving of the consumer’s patronage.” The money spent on subscription fees used to be invested directly into bands, but now, the majority goes to the streaming sites. “It’s like putting it into a woodchipper. Let’s face it, the last thing in the world streaming sites want is people buying albums.”

becoming too important to their business model. “I think it is important but you can’t rely on it as a core part of running a label or a band,” says Woodward. Koplow takes a similar approach: “We are totally fine with sync licensing. Most of the potential licenses that grace our desk are tasteful proposals. Sync licensing only becomes questionable when a particular license is an obvious sellout move.” James Graham is actively looking for more opportunities to sync his band’s music, “so I’m able to write more music and keep doing this. Eventually life catches up with you and you have to be able to afford to actually live.” Sync deals can provide a crucial income for bands whose sales do not provide a liveable income. Davey Gwynne of Machines In Heaven would also be open to sync deals: “The morality changes when you don’t have a pot to piss in,” he says. As Dave Hook observes: “Art can’t make money for art’s sake these days, it has to be involved in some way with other economics.” His band participated in an ad campaign for the City of Edinburgh, but learned all too soon that once you’ve taken the corporate buck, compromise becomes an issue. “The mistake we made was that we didn’t get to just license a song we were proud of and we’d written. They used the music, and gave us a brief to change the words. That was really, really difficult,” he says. For Simon Raymonde, this element of personal choice for the artist when arranging sync deals is crucial: “This label is for our artists not for me,” he says. Marcus Scott of Hyperdub also Adam Stafford offers a word of caution: “If you’re a publisher or Shaun Koplow agrees: “What bothers me the label and you’re basically signing music for sync most is that it continues the devaluation of music then you should stop releasing music.” as a product.” There seem to be few voices deChirs Cusack takes a sterner view. “The very fending the right of musicians to make a decent liv- word makes my skin crawl,” he shudders. “That’s ing. As Greg Hurst puts it: “You never hear anyone what music’s about now? It’s not about how good worrying about losing our musicians to a foreign the band are, it’s about ‘how many Citroëns can country if we don’t pay them big enough bonuses.” we sell with their music,’ ‘how many episodes of Another income stream which has become Hollyoaks can we get this into?’ Bands are signed hugely important for artists is the ‘sync’ stream – on the basis of their potential for sync. For me, revenue from music sold to advertising, film and the two are anathema. Art is not about selling TV. For many bands, this revenue far outstrips stuff. There are too many people out there now album sales and touring revenue. Established expecting to make a living from art in a world labels like Chemikal are wary of the ‘sync’ stream where it has been devalued, almost entirely.”

“Most artists in Scotland are forced to work a menial job to subsidise their art. This is a failing ideology”

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NME OF THE STATE?

ven with revenue from sync, artists still struggle to make a living at every level except the very highest echelons. “Most artists in Scotland are forced to work a menial job to subsidise their art,” says Adam Stafford. “This is a failing ideology: in the UK, the creative sector accounts for 5% of annual income, so why are the arts being cut to almost nothing, and the artists treated like little more than avid hobbyists?” Graham Crossan of Machines In Heaven has an explanation. “Being a musician, in some ways, is like being a nurse or a fireman – it’s more like a calling,” he says. “The people in power can completely fuck with the workers, because they know they’re there because of love, passion, compassion.” In other parts of Europe, the arts councils and state funding bodies make up some of this shortfall. “If you play 47 shows a year in France, you can apply for the basic minimum wage – and you can work on top of that as well,” says Cusack. “Why can’t we do that? Why can’t that be our legacy to musicians?” Stafford agrees: “Funding bodies are more than happy to come on board after all of the hard work has been done it seems, to stamp their ident on the final product, to drum-up some good PR for their organisation.” But Dave Hook offers a damning question: “Because of the internet, everyone can release music. If you start to monetise everyone who makes music, where do you draw the line? If everyone in the entire world is making art, how do you say if someone’s is of value, and someone else’s isn’t?” The problem, says Stafford, is one of hierarchy. “Glasgow, and Scotland in general has one of the greatest music communities in the world at the moment, but there is little or no nurture from the top.” The SAY Award, which was set up in part to recognise success, but also to provide key development and distribution opportunities for artists like RM Hubbert and Stanley Odd, is seen by some as an exercise in back-slapping, and by others as a vital and necessary celebration of Scotland’s musical culture. It was funded in part with money from the Scottish Arts Council. And

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yet, the way RM Hubbert spent his prize money says it all. After paying collaborators, “the rest went on paying overdue taxes and paying off some of the large amount of credit card debt that I’ve amassed over the years.” Establishing yourself as an artist is costly, time-consuming, and even when an artist starts to gain wide recognition, they still have dues and bills to pay. James Graham is also full of praise for the SAY Award: “I felt it was more of a celebration of good Scottish music instead of a direct competition,” he says. “I think it’s money well spent.” Chris Cusack, as ever, is sceptical. “The Scottish Arts Council [now Creative Scotland] have supported some very good things, but they’ve also supported a much larger amount of absolute fucking nonsense. And they’ve used our money, as taxpayers, to get themselves invited to parties, and get their photo taken next to Billy Sloan and Ricky Ross. The amount of sycophantic shit that goes on, at our expense, is genuinely obscene.”

ENDS AGAINST THE MIDDLE

usack’s comments lead to speculation about the perceived tiers of the music industry. Adam Stafford offers a highly plausible model. First off, there is: “The Lowly Tier – DIY, self-funded, small-time bands and artists with a limited fan base or small appeal... usually self-released or on a small label, with no booking-agent and a day-job to subsidise the music – I would include myself in this category.” Next up there is the “MidTier – musicians who release on mid-size or large indie labels, are able to tour regularly off the back of supporting a more well established act, can command a decent fee, can make a decent earning from merchandise, and are likely to get good coverage in major blogs and magazines.” This tier would presumably include musicians like The Twilight Sad, in Stafford’s view – and yet as we have seen, even they are struggling to make ends meet. Then there is the “Top Tier – the indie concern, artists who have built up a huge fanbase over the years, probably signed to at least a big indie or major, [making] regular comfortable earnings from touring, merchandise and sync deals.” Who does Stafford see on this level? “Your Biffy Clyros, I suppose.” Cusack sees this final tier as vampiric. “Biffy Clyro are rubbish,” he says. “They’re held up as some paragon of national musical identity – but there are far superior bands, and people should be furious about that. Bands like Biffy Clyro are part of a system that suppresses the people around them. They suppress the scene that they came from. The money is so concentrated in their end of the spectrum that it sets unrealistic targets.” It is down at least in part to bands of the Biffy Clyro level of operation that the middle tier has become financially precarious, as Cusack sees things. But as James Graham points out: “Artists who were ‘underground’ then had a quick rise to popularity via the internet... are now mainstream artists.” Talk of an ‘underground’ often leads to a kind of naïve idealism about music as a sustainable independent business, not to mention a healthy dose of nostalgia for the ‘good old days’ of the late 80s and 90s. “A lot of the independent labels from that era, like Domino and Sub Pop, are either majorlabel funded now, or they have been at some point,” Carl Clan Destine points out. “The indie labels had to take a lot of shit as a result. I’d never become a subsidiary of anybody. The word speaks for itself – it’s a subservient position.” Underground music has a “simpler aim,” according to Emma Pollock. “The underground artist is usually the artist that has been given the freedom to make the music they wanted to without too much interference from the label they are making it for. The sheer lack of money that most independent labels have can lead to a much freer environment for the artist to work in... That allows the artist’s vision to come through and very often that’s what makes the most compelling and unique record; the one that stands the test of time.” Her Chemikal colleague Stewart Henderson

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agrees there must be balance between these two poles. “The originality and quality of the music is always going to be central to any decision we take in terms of signing. As far as marketability is concerned it’s important that we have as much to work with as possible but it’s not necessarily a prerequisite to getting signed – the music will always be the driving factor.” Simon Raymonde confirms this: “Some labels look at things clearly and work out marketing spend on a projected sales budget for each artist,” he explains. “Years of doing this have taught me it’s utterly futile. I look more at personality and how we get on with and relate to the artist and management.”

"The underground artist is usually given the freedom to make the music they wanted to without too much interference. Often that's what makes the most compelling and unique record” Emma Pollock, Chemikal Underground

For Carl Clan Destine, his thoughts about the marketability of his roster echo what many of the artists tell us about their motivations. “I work all the time on the label, because I love it,” he says. “I have no ambitions to drive a Ferrari. I’m happy to just put records out and live a normal life.” For Marcus Scott of Hyperdub, it’s all about: “Music that gives us a little electric shock and a sense of intrigue. Marketability and potential sales power are irrelevant at that point.” Although Henderson talks of a need for “an increasingly bespoke approach” for releases, and describes his label’s recent runs as “increasingly conservative” in their numbers, he is still convinced that the right bands, signed because of their quality, and marketed sensibly and creatively, can sell physical products, despite the rise and rise of digital markets. Koplow agrees too: “People still appreciate being able to walk into a store and hold a record.” For Raymonde, the debate over digital and physical formats is simple: “As soon as we can’t make vinyl records any more,” he says, “I won’t be running a label.” It seems that whether we are talking about a long-established label like Bella Union, or an emerging curator like Aural Sects, many of the challenges that exist for labels and artists alike are broadly similar. For all their ideological differences, these bands and artists are all united against the mediocrity and repetition they see characterising the commercial music business. They share a passion for music, and a distaste for pre-packaged, overly-marketed musical ‘product.’ Sustainability is their key to success. The enduring picture is one of passionate creatives prepared to take the industry as they find it, grateful for the successes they can achieve with limited means. As Louie from Hector Bizerk tells us: “We’re not making enough money to start buying up property in the West End... but I had some hummus with my toast this morning!” Thanks to Dave Kerr for additional research

THE SKINNY

Photo: Anthony Ciannamea

One Step Back, Two Steps Forward Zach Shigeto Saginaw needed a fresh start after time spent in New York and London; but – as he tells The Skinny – he found it in one of the most unlikely places

t takes conviction to step back into your past so that you might move forwards again; it also takes a great deal of self-discipline to convince yourself that it’s right to risk returning to a place where you run the risk of walking in your own shadows. That Ghostly International’s Shigeto would return to his native Michigan earlier this year, having spent a decade or so in between New York and London after growing up in Ann Arbour, isn’t perhaps so surprising when hearing his previous records and listening to him speak. The producer – whose stage name is both his middle name and grandfather’s first name – holds strong family values and his family still live locally. “Michigan is home and having a sense of that is what makes me comfortable,” he explains from Paris, where he’s out on tour with fellow Ghostly label mate Com Truise. “It’s like what religion must be for some people I guess, having that something you can always go back to.” Yet this homing trait sits at odds with Shigeto’s latest record No Better Time Than Now. His previous material grew to be inflected with sonic clippings denoting his past, paeans for home evident in staple Detroit sounds of motown and blues, jazz and disco; they zigzagged through the jarred electronics of his EPs, 2010 LP Full Circle and last year’s Lineage like lightning forking black skies. Now that he’s home, however, No Better Time Than Now sounds like it’s travelling back out the other way. It cuts loose from previous home-doting homage and instead glimmers in a whole new light, with the likes of Ringleader and Ritual Howl informed by the sort of chiming techno and soft elemental edges found on influential European labels like Border Community and Kompakt. The LP title itself, meanwhile, suggests an artist whose creative direction is very much on a progressive trajectory, even as his physical one has reverted back. “I think going back into my history ultimately made this progression easier on me,” he reflects.

August 2013

Interview: Simon Jay Catling

“I wanted to go home so that I could build something bigger for many reasons: personal life, wanting to save money – I need to start getting health insurance and all that sort of stuff.” He was careful, though, not to succumb fully to comfort and return to his boyhood Ann Arbour, instead opting for its bigger neighbour, Detroit city. “It didn’t feel like backtracking, it still felt new because I’ve never lived in the city itself; and because it’s affordable I suddenly had all this space for the first time. I’ve got a separate studio now and so the record was recorded more like a band because I could just leave everything set up.” Shigeto had actually moved back to Michigan with his fiancée – who he’d met before he’d even started exploring electronic production – with an intention to settle down, buy a house and start a small business. “Long story short? We split up,” he says curtly. However, although admitting he was “heartbroken,” the break allowed him to see his familiar surroundings through new eyes, free of the shared perception of life that one can take on when involved in such a deep relationship. “I don’t want to speak for her out of respect, but for me, when we broke up my mother said ‘you look so much happier.’ It was like I had this glow and I think what it is, is you spend all these years loving someone and you seek approval all the time from them because you want them to love you; but when that was gone I could stand back and really see what I’d actually achieved, and what I was doing in life. It was like a new mirror after that, every time I looked I saw a different me.” Shigeto is used to forging fresh creative paths against the backdrop of love dashed. Smitten with jazz music as a 10 year-old, the young son of a deli owner set being a jazz drummer as his ultimate goal. “Drumming remains what I feel I can express myself best with,” he says, and it still plays a major part in his live set. However, upon closing in on his jazz aspirations, with a University place at New School in New York

to study jazz playing, he found the terrain of his promised land to be somewhat beige. “It was this thing that I considered to be this most free expression and had the least amount of rules,” he recalls dolefully, “and then this University environment put it in black and white, right and wrong terms. I just found it really saddening.” Disillusioned, he dropped out and found himself drifting, his confidence in picking a new direction to take shattered, given the disappointment his previous choice had caused.

“I wanted to go home so that I could build something bigger” Shigeto

Gladly accepting an exit route of a job in a London café, offered to him by a family friend, Shigeto found internal solace, embracing the sense of being hidden among the inattentive millions. “I’d come out of this jazz scene where everyone knew each other and competed for the same slots,” he says. “Before that I’d lived in Ann Arbour all my life with my closest friends and family. But in London no one knew me! But when no one’s paying attention you get the space and time to really work out who you are and what you’re doing with your life. And I really dug those little feelings you get when you’re living somewhere else, which tell you that this isn’t home. They gave me a sense of independence I’d never had previously.” It was in London that he started to furtively explore electronic production as a new creative release; his first EP under his moniker came out on Ann Arbour label Moodgadget in 2008,

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(around the same time, he also released an EP on the same label uner the name Frank Omura.) Moodgadget is closely linked with Ghostly International, and was founded in 2004 by Jakub Marek Alexander and Adam E. Hunt out of a desire to promote electronic music driven by narrative and process, as opposed to being created for the club scene. Shigeto’s union with them and ultimately Ghostly makes sense, given that he winds his own personal narrative intrinsically around the music he makes, which sets him apart from many peers, who are more reticent in admitting any intended thematic dialogue in their work. “I’d say that without making a personal narrative I wouldn’t be able to make music, he says. “I couldn’t be a persona with an aesthetic, it’s just easier for me to be me; and although it can hurt being more open, it’s not enough to not want to do it. I mean, this album’s about me! I guess it’s a diary of the last year of my life, the move and the break-up.” “I’m not a techy guy,” he continues, “and to be honest for the past couple of years I’ve really struggled with how I want to convey my identity through my music. But I feel that I use these electronics only as a vessel, so if someone says it sounds like there’s a human behind it then that’s fucking perfect for me!” Shigeto describes the autobiographical No Better Than Time Than Now as the third in a trilogy, with 2010’s Full Circle referencing his teenage life, in releasing it on Moodgadget whom he’d looked up to since High School, and Lineage a tribute to the Japanese side of his family. “But then,” he points out “this is also the first from this new space, so it really could be the start of something too.” Such is the on-going evolution of an artist whose ultimate direction always remains forward. No Better Time Than Now is released on 19 Aug via Ghostly International. ghostly.com/artists/shigeto

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In the Loop Her acclaimed second album The Magic Place made Julianna Barwick’s haunting, looped vocals the go-to comfort for long, lonely summer nights. She returns this month with the lighter but no less beguiling Nepenthe

PHANTOM BRAKE PEDAL

Interview: Sam Lewis

‘objects for entertainment’

Now available on Three Blind Wolves

officialpbpband officialpbpband official phantom brake pedal band

or over thirty years now, The B-52’s (O2 ABC, 12 Aug) have poised themselves as the ultimate intergalactic, surf-pop, party band. It’s a notion that has papered over some dark times (the death of founding member Ricky Wilson in 1985) and some cringe-worthy ones (their stint as The BC-52’s for the dire Meet The Flintstones movie). Thankfully, the sixteen-year hiatus between 1992’s reasonable Good Stuff and 2008’s Funplex helped settle the dust and give the Athens, Georgia oddballs the respect they had earned. Their first two albums, particularly 1979’s eponymous debut, remain classics while the latter pop breakthrough of Cosmic Thing will ensure this appearance will be a night of pure, unfettered fun. With an early discography as long as your arm, it’s perhaps no wonder Lonnie Liston Smith (O2 ABC 2, 22 Aug) has worked with so many influential names or become such a wide-ranging influence himself. Notably, Smith worked with Miles Davis and free-jazz exponent Pharoah Sanders before stepping up to his own career with The Cosmic Echoes, releasing some fifteen albums between 1973 and 1986. A daunting back catalogue, but Smith is perhaps best known for A Chance for Peace and A Garden of Peace, which have been sampled by the likes of Jay-Z and Mary J. Blige amongst others. Respect due then, so be sure to pay yours on the night. No Mean City (31 Aug-28 Sep), a month of music with its heart in Americana, returns to the city of Glasgow once more this year, kicking off with a mighty launch day mini-festival on 31 August. For the Sake of the Song will see Brighton indie-folksters Peggy Sue alongside genre-blurring Three Blind Wolves, rubbing tails with psychedelic trip-mongers Haight-Ashbury. Warren McIntyre, who runs label Mecca Holding Co., will also prep up the bill with his band Starry Skies, along with some classic garage riffs from Glaswegian quartet Blindfolds. It should prove the perfect kickstart to a whole month of events taking place across the city throughout September. For full festival line up, please visit nomeancity.co.uk [Darren Carle] www.o2abcglasgow.co.uk

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Photo: Pete Dunlop

debut ep

ulianna Barwick’s first experience of a capella singing was in church, in the American South where she grew up. “My dad was youth minister,” she explains to The Skinny outside London’s Southbank Centre, where tonight she’ll perform as part of Yoko Ono’s Meltdown festival. “Our congregation would sing together. It was two decades of growing up, two or three times a week singing with people in a room with no accompaniment. I was always singing.” Years later, in Brooklyn, she began experimenting with recording vocal loops on “this little pedal. I was just trying stuff out, it was more about the sound, making these crazy, choral, experimental little pieces. It wasn’t about any message, just about the sound of it, and it still is.” Barwick’s music lies somewhere between that of Grouper and Enya (hang on, come back!), both otherworldly and new-agey, each track layering abstract vocal loops in joyous – and occasionally melancholy – union. Her 2011 album, The Magic Place, was named in honour of the farm where she was raised, and she describes her upbringing in Louisiana and Oklahoma as “super mellow. Slow paced, easy going, pretty much the antithesis of New York. Hazy, sunny, summer days.” This haziness passes over into her music; a world of repeating cycles and drifting harmonies. “I like things that repeat,” she says. “When I started making loops, it just became addictive.” Ten years later after seeing Sigur Rós play in 2002 – an experience she describes as “still one of the best concerts I’ve ever seen; I couldn’t get it out of my system for days, I couldn’t even talk afterwards” – she found herself fielding a call from producer Alex Somers, one half of the Sigur Rós side project Jónsi & Alex, asking if she’d like to record with him in Iceland at the band’s Sundlaugin studio, built into an abandoned swimming pool. The intensity of the process led Barwick to the title of her third and forthcoming album, Nepenthe: an ancient Greek word that describes a ‘drug of forgetfulness.’ “Part of the

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recording process was really heavy,” she recalls. “I mean, it was glorious – I was in Iceland, I was with great people – but some of the time I felt really isolated. It was cold. I just liked the idea of something that could be used to make all of that go away. Feeling alone, and the heaviness of some of the process.”

“It’s not about any message, just about the sound of it” Julianna Barwick

Nepenthe was written and recorded during two trips to Iceland, one of which was cut short due to a family bereavement. “The second time I was alone, for five or six weeks,” she explains. “It was a long time. I was thinking about some pretty heavy things when I was there. It all worked together to be pretty powerful and intense.” But despite its dark context, the record makes, like Barwick’s previous work, for an uplifting experience. Featuring members of Múm and Amiina, it has more shades of light than dark. Does purely vocal music – be it choral singing, or singing alone at home – tend towards catharsis? “It always does, that’s what it is,” she insists. “That’s how I feel every time I make music. Even when the feeling of the music is coming from a sorrowful, sad place, I still love to make beautiful music. My favourite musical combination is sad and pretty. But I guess it doesn’t always have to be sad, it can just be pretty.” Julianna Barwick plays End of the Road Festival, 1 Sep, Wiltshire Nepenthe is released 12 Aug through Dead Oceans www.juliannabarwick.com

THE SKINNY

Thundercat

No Grand Narrative

With no fixed abode, an apparent disregard for any notion of genre and a commitment to only that which is ‘forward-thinking’ Sync In Squares this month challenges the norms of club promotion

hat are we really talking about when we talk about forward-thinking music? What qualities elevate certain tracks out of the established spheres of sonic experience, and into realms capable of arousing emotions both new and suppressed? Do we talk about that sync-in sync-out rhythm, that hi-hat sound, or that gorgeous, washed-out texture? Do we rely too much on context, on the story behind a record, or the nostalgia it evokes? Under what kinds of conditions is it made? Can its origins be disguised, and be replaced with the fantastical, or purposely made ambiguous? Are these questions even worth asking, or might the history of music journalism be one of a fruitless pursuit of the ineffable? Working hard to dispel the notion that any of these questions can be answered definitively are Glasgow-based promoters Sync In Squares. Having previously brought the likes of Mala and Geoff Barrow to the city, their August line-up is set to take us on a fascinating journey across the club music spectrum, touching down on everything from jazz-informed electronica, to soulful, heavy-handed hip-hop instrumentals, to raw UK funky. The future, it seems, lies in not one but several directions – least of all behind us, back when the ‘futuristic’ was an altogether more solid concept, and not plagued with the difficulties particular to the digital age. It was on the cusp of this, just prior to the turn of the century, when producer Justin Smith AKA Just Blaze began putting out the first in a vast catalogue of productions for what reads like a who’s-who in US hip-hop – name any major state-side player who’s put out a record in the last ten years, and chances are Just Blaze has been in some kind of contact with them. Through liberal use of colourful soul samples, and taking an obvious tip from Dilla’s inimitably dragged out style of beats, Smith crafted a sound that not only successfully flourished in as mainstream a medium as commercial hip-hop, but contributed heavily to its overall direction

August 2013

Words: Jean-Xavier Boucherat

throughout the 00s. Obvious examples include his work with a then seemingly unstoppable Jay-Z, through which Smith would (quite literally) lay down a blueprint for many of the similarlyminded producers that would follow in his wake, including local boys like Rustie and Hud Mo. Tracks like Hovi Baby are alive with the kind of frenzied, saturated synth work you can hear on the former’s Glass Swords. Smith’s creations remain so fresh and accessible as to ensure his continuing relevance, with recent projects including work with Kendrick Lamar, a collaboration with Baauer, and upcoming tracks on Pusha T’s debut album, due out in August on GOOD music. His work is a testament to the mutable qualities of pioneering sounds: forward-thinking need not necessarily mean challenging, high-minded, or elitist. Sometimes you just have to ask what sounds best coming out your car. California based label Brainfeeder have been synonymous with exciting, left-field releases ever since founder Steven Ellison (AKA Flying Lotus) started putting out tracks by the likes of Samiyam and Ras G, before later going on to release work by Martyn, Lapalux, and animated FlyLo alter-ego Captain Murphy. 23 August sees the Scottish debut of Thundercat, real name Steven Bruner, following this June’s release of the much-lauded Apocalypse. The former Suicidal Tendencies bassist turned LA beat scene producer signed to Brainfeeder in 2011, with the gorgeous Golden Age of the Apocalypse. His bass playing remains central to his sound, in which he decorates his Pastorious-style modal workouts with a dazzling array of sun-kissed synths, melancholic vocals and tweaked, innovative drum samples, as likely to displace a listener as they are to make one move. Bruner makes no attempt to disguise the origins of his sound, born out of a place where, in the romantic imagination, the sun is always on the verge of dipping below the horizon, and the party’s starting in an hour or two. This, however,

from the mind of a man whose father played with Diana Ross, who lost friends to gang activity in high school, and, if his interviews are anything to go by, has been exposed to an incredible range of music from birth, from Mahavishnu Orchestra to the Final Fantasy OST. His Thundercat moniker gives him the perfect opportunity to reconcile these influences, unlike his session playing, of which Snoop Dogg once asked, ‘man, do you have to play all them notes?’

“Forwardthinking need not necessarily mean challenging, highminded, or elitist. Sometimes you just have to ask what sounds best coming out your car” August will also see the return of Andrés, a legendary member of Theo Parrish’s Rotating Assembly collective, and DJ Haus, head of the YouTube channel-turned-globally-recognisedlabel Unknown to the Unknown. UTTU’s original approach celebrated what was and remains for many a disconcerting truth about electronic music in our time – that everybody’s making it, and if they’re not, they easily could be. The channel began uploading home-made videos featuring tracks sent in to DJ Haus that had yet to be released on any label – as he suggested in an interview for XLR8R in 2012, “Everybody says ‘It’s

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the end of the music industry,’ but it’s just a different way of absorbing sound, really… This is just pure fun for me.” UTTU furthered a tradition of playful behaviour that has always been present in the UK underground, accompanied by a wry sense of humour that has worked its way into grime’s lyrical content, early dubstep’s obnoxiously minimal synths, and UK Funky’s sample-work and remix choices. DJ Haus is set to bring all this to the Saint Judes basement, along with a healthy disregard for any remaining genre-borders, and the earthly, life-affirming love of jam-trax he showed on this year’s Thug Houz Anthems. Sync In Squares themselves are an interesting proposition, with an approach that differs from many of their Glasgow contemporaries. Some in recent years have tied themselves to particular acts, and others have purposefully chosen to limit what they do to within a certain sound. Sync In Squares have eschewed any kind of definitive identity in favour of focusing their efforts on creating ideal spaces for experiencing the innovative, exciting sounds due to visit this August. All of the above will be hosted in the city’s smaller venues (Poetry Club, Berkley Suite, etc.), all tickets are cheap, and all feature local support, including the likes of Nightwave, Inkke, and Simply Richard of Numbers. There’s little in the way of pretension, nor is there any grand statement on what the modern club should consist of. Rather, Sync In Squares seem to make a humble and necessary admission that the current underground landscape is a bewilderingly complex place, which due in part to the internet operates on a kind of quantum level whereby experiments that might have remained localised can now yield global influence. This is something to celebrate, and while wrapping your head around it remains a gargantuan task, any attempt to do so is bound to yield interesting results. Sync In Squares launches on 17 Aug with Just Blaze and Nightwave @ The Berkeley Suite, £5-7

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The Julie Mythos, INSTALL DETAIL, 2012 - ONGOING

The Julie Mythos, 2013 - ONGOING

Boldly & Frankly , 2013

SHOWCASE

THE SKINNY

NYMPIS. 2013, polyurethane fom on creenprinted board

Mikey Cook M

ikey Cook graduated from Glasgow School of Art in 2013 with a BA (Hons) Fine Art: Painting and Printmaking. "A Synchronicity is the occurrence of two events which are apparently mutually acausal or unlikely to occur together by chance, yet do so in a revelatory manner. Synchromysticism is the world-view that everything in the universe is connected. My current practice concerns the fabrication of a simultaneously fictitious and factual Yorkshire: an alternate reality (or more aptly, realities) of God's Own County where the distinction between fact and flummery becomes increasingly blurred. These microcosms are concocted through the exploration, exploitation and documentation of the weird and unheimlich,

August 2013

or uncanny, within the consensus reality via a synchromystic filter. Although the degree of truth retained is often subject to intense undulation, fact of some sort never ceases to remain a common denominator, whether it be historical, social or scientific. It is these perpetually fluctuating 'truths' which become the basis for fictional narratives, tall tales and absurd characters created through a process of uncovering a plethora of far fetched and often irrational links – a demented Six Degrees of Separation more suited to the serendipitous endeavours of a boondoggling detective or apophenia-ridden conspiracy theorist. "A recent trip back to Yorkshire resulted in the discovery of several Biro scrawled newspaper cuttings, their positions undeniably premeditated, their reference to 'Julie' a common denominator

and their handwriting identical, both to each other and cuttings discovered around the area since pre-puberty, unsavoury signifers of the transition of commodification in correlation to coming of age. I have discovered innumerable synchronicities between these cuttings; pre-teen porn collecting; Castleford's rich Roman heritage; lineage of nomenclature traced back to the Goddess of love and sex, Venus (reappropriated from the Greek's Aphrodite, or Cytherea – an alias now adopted by a porn star); the mythical Siren (in early Christian etymology Siren was a euphemism for prostitute); and linguistic contortion. Collectively these synchronicities culminate in the fabrication of a highly speculative yet eerily plausible universe, a uchronic Castleford enriched in the omnipresent 'Julie Mythos.' This holographic

SHOWCASE

microcosm is then used as a platform from which to synthesise a body of work involving the reappropriation and subsequent deformation of a plethora of relics from an imagined Castleford. Perverting paraphernalia from its Roman past to the work of its most famous son, Henry Moore, up to its present infatuation with pound shops, markets and bargain centres, semi-fictional souvenirs incite unhinged doppelgängers of Classicism. Impeccable antiquity is subverted as once elegant objects are transformed and contorted by Poundland cheap and low brow construction: items which were once opulent in their antecedence metamorphose to suit today’s post-Thatcher Castleford. " www.mikeycook.co.uk

Info@mikeycook.co.uk

Food News: Fringe Special 2013 It’s happened again, someone’s sneaked a series of major international cultural festivals into Edinburgh for the 66th year on the bounce. Guess there’s only one thing for it – a Food News Fringe special!

Words: Peter Simpson Illustration: Nick Cocozza

Back to the Food Survey, part 3 The Skinny Food and Drink Survey is back! Allow us to pester you into filling it out. No no, we insist Words: Peter Simpson Illustration: Eva Dolgyra

ur round-up begins in the great outdoors. After Taste of Edinburgh literally drowned last summer in the rainpocalypse, Foodies Festival is Edinburgh’s one chance to stand in a big park filled with food tents and eye up various exotic jams before deciding not to buy anything. There will be the usual array of demos, stallholders giving out free samples (one for you, and one for ‘your mate at another stall’ wink-wink), and hayfever-addled members of the food media trying not to sneeze on everyone. 9-11 Aug from 10am, Inverleith Park, £12/10. But what if you don’t like or trust the outdoors? Well, we have that lovely young man from that Great British Bake Off on the telly for you. The one with the jumpers, he was nice wasn’t he? Yes, Fair Isle-wearing cake enthusiast/medical student James Morton will take an hour out of his evidently packed schedule for some baking and a spot of chat. He will explain “the science, history and magic of baking,” but we’ll be most impressed if he can wear a wool jumper for an hour in a Fringe venue without passing out from heatstroke. 7 Aug, 12.30pm, Assembly Rooms, George St, £10. It wouldn’t be the Fringe without bizarre and po-faced claims about “exploring the nature of sensory perception” through fairly average auspices. Enter Dinner is Swerved, a dining experience which as far as we can tell involves avant-garde food and some sort of theatre/comedy element that’s explained entirely through sentence fragments. Basically, it’s a late-night

Lifestyle

dinner where your meal comes with a side of annoyance. Or humour. It’s hard to tell. Thanks to all the sentence. Fragments. 3-25 Aug, 11.30pm, C Nova, Victoria St, £16.50/£12.50. Right, that’s enough food to fill the first part of our remit, now to cocktails! This being the Fringe, these aren’t just any old cocktails – they are powered by the dark arts. Yes, you read that correctly, The Dark Arts of the Cocktail is a journey through the folk tales and pagan traditions associated with fruit-based mixed beverages. The event will also teach you some drinks recipes created by noted 19th-century occultist weirdo Aleister Crowley, and all packed into a hilariously inappropriate midday timeslot. Go to the shops, spot of satanic drink-making, pub lunch – that’s your Saturday afternoon sorted. 10 Aug, 12pm, Hendrick’s Carnival of Knowledge, Royal Circus, £12. From cocktails to gin, and a whistle-stop verbal tour through the ins, outs, ups and downs of everyone’s fourth favourite spirit. The Quintessential Anthology of Gin sees Duncan McRae talk us through Hendrick’s Gin, unveiling the secrets of the production process and presumably shedding light on why the stuff goes so well with cucumbers. 11 Aug, 2.30pm, Hendrick’s Carnival of Knowledge, Royal Circus, £15. With rum at the top of The Skinny’s distilled spirit rankings, the national drink sits nicely in second place, and whisky is represented in two ways at this year’s Fringe. The first: a madcap comedy play about a whisky baron on the high

he world of food is a lot like a dog on a bus – constantly moving, unpredictable and exciting, and one bite could well give you some kind of disease. Restaurants relocate, pubs bring in new uncomfortable chairs, entire brackets of the national menu get the boot in case there’s bits of horse in them. It’s a vibrant and ever-changing landscape, and one that needs to be checked over every once in a while. Say, through an annual survey of some kind... Wait a minute, we have one of those! Yes, voting is now open for the third edition of The Skinny Food and Drink Survey. In January seas. Raiders: The Whisky Trader tells the story we pored over thousands of suggestions of your of Charlie Hepburn, a whisky man who stows away favourite places to be fed and watered, recruited on a boat from Scotland to Africa, where comsome of the country’s top musicians and bands to edy, love and copious drinking ensue. 1-20 Aug, unduly influence you all, and boiled your opinions 5.25pm, Spotlites @ Merchant’s Hall, Hanover St, on Scottish food and drink down to a handy supplement that we assume you all still have to hand £8/6. and make regular reference to. The second: a whisky tasting invoking Even if you don’t and have to make your picks the magical days of prohibition. Moonshine, from scratch, we still trust you to make some Medicine and The Mob will take you back to the good choices. That’s the whole point of the surcarefree days of yore, when a dram would be served from under a false counter in a ‘greengro- vey – no-one really knows food and drink like the people who take the time, effort and dinero to go cer’ and the evening’s entertainment consisted of police armed with tommy guns bursting in and and get it. Wisdom of the crowd, that’s what we calling everyone ‘Mack.’ We may be confusing his- need from you. Real people know what’s up, where to get tory with The Simpsons here, but the point stands a kick-ass sandwich, and when a good pub be– this will be a fun way to taste whisky, and a comes a great pub. Personally, a wide choice of chance to try out your best 1930s policeman impression. 5.45pm, 6-10, 13-17, 20-24 Aug, Jenners, rums gets our attention, but since that whole ‘most expensive rum in the world’ thing we’ve got Princes St, £15/13. a bit above ourselves. We’ve become gentrified. And finally, our Fringe round-up takes some Help us Skinny Food section readers, you’re our time to stop and reflect. To think back on the past, and all those who have gone before. People only hope! So there we are, it’s your time to shine. Tell like Hitler, Picasso, and Jesus. The Thinking Drinker’s Guide to Alcohol brings together these us where does the food good, and we’ll do some counting and get back to you at the end of the and many more famous figures to get to the bottom of our relationship with the demon hooch. It year. Go to tinyurl.com/foodsurveyScotland to cast votes for your Edinburgh and Glasgow faves. also offers attendees six free drinks each, and is We’re joined by the Northwest team in survey therefore our pick of the entire Fringe. Bad luck to everyone else, but we’re pretty sure you’ll have land this year, so if you know your way around that neck of the woods you can cast your votes another chance to impress next year. 31 Jul-25 Aug, 6.30pm, Assembly Rooms, George St, £10/9. there too on our website. The fate of the world (of food (in Scotland)) is in your hands. Just try For more info and tickets visit edfringe.com not to get bitten and you should be fine.

FOOD AND DRINK

THE SKINNY

HAPPY HOUR Tuesday – Friday from 5pm – 6pm throughout August Follow us on twitter @TheRoaminNose

14 Eyre Place, Edinburgh EH3 5EP | 0131 629 3135 | www.theroaminnose.com Tuesday – Saturday 10am-10pm | Sunday 10am-8pm | Closed Monday

The Rosehip Restaurant and Bar Using only fresh, locally sourced ingredients to create high quality classic mains, rotating specials and a generous grill menu for those who need a more hearty feed. Come and join us this Fringe for some great food and drinks (not to mention the largest whisky selection in the new town) 43 Rose Street, Edinburgh, EH2 2NH tel: 0131 225 8028 info@therosehipedinburgh.com

www.therosehipedinburgh.com

August 2013

Ten Venues

One Challenge

We gave ten unique venues a mini buffalo trace barrel and tasked them with creating a barrel aged cocktail with either white dog or buffalo trace. Join the buffalo trail to experience the incredible results…

Edinburgh

Tucked away in plain sight between Queen Street and George Street, the Bon Vivant is a moody, cosy and actionpacked bar. In many ways it’s the ideal place to test out cocktails, with the low lighting making you focus on the range of flavours in your drink, and bar staff who really know how to make a cocktail stand out in the crowd. If you like your drinks served with a side of glamour, then the Voodoo Rooms are more than happy to oblige. A modern re-imagining of a classic speakeasy, the Voodoo Rooms has all the details covered, from delicious cocktails served from a wall of bottles that’s as impressive as it is daunting, to the leather-backed booths that make the place feel like one big sofa. Not to be outdone in the style stakes, Tigerlily adds modern trappings to its George Street heritage. Shiny, bright and full of fun, it’s a great place to grab a cocktail while trying in vain to count up all the chandeliers and glitter balls on show. They also have one of Europe’s best bartenders at the controls in Kevin Griffin, so there’s substance to go with the style. In terms of visual cues that you’re in for a good time it’s hard to beat a twinkling archway full of fairy lights. Monteiths’ entrance takes you from the busy Royal Mile to a land where past and present collide, a bit like... well, like a good cocktail. Take a seat at the cool modern bar, occasionally peer over at the grand old fireplace, and enjoy a range of fun and inventive cocktails. Cocktails are all about invention and variety, a concept the guys at Bramble have taken to new levels. So full of ideas and style, they actually have three ways to enjoy their drinks: The Last Word Saloon, bringing the spirit and style of the Old West to Stockbridge; The Lucky Liquor Co. with 13 hard-to-find spirits and 13 bespoke drinks; and New Town flagship Bramble with its candlelit nooks and crannies and brilliant concoctions.

Glasgow

Aberdeen

A seafood restaurant isn’t the first place you might think of going for cocktails, but the Finnieston Bar is out to change that. A cool, rustic space with a neat beer garden and quirky interior, the Finnieston offers up an ever-changing drinks menu meaning that no two trips need ever be the same. And after the first, you’ll probably want to plan a second.

The Tippling House has the art of naming sorted, evoking a sense of hip style while making plain that this is a place to get a drink. A good drink at that, with boutique spirits and hand-crafted cocktails on the menu in this exciting underground bar in the heart of Aberdeen.

If Edinburgh thinks it has the market in glamorous Scottish bars sewn up, then the Blythswood Square Hotel would like a word. An incredible building right in the heart of Glasgow, Blythswood Square is the buffalo of bars – massive, historic, and a little imposing. Get inside and you’ll find a modern, stylish and surprisingly trendy cocktail bar, where the inventive drinks match the grand exterior.

Orchid brings a bit of glamour and colour to the Granite City, setting its stall out early with a bright pink mural above the backlit bar. Beneath that mural are a range of top-notch spirits, and a bar team that know exactly what to do with them. Stylish and lively, Orchid offers a vibrant oasis for cocktail-lovers, and with such a daring look you’ll never be short of conversation topics.

The Kelvingrove Cafe sat empty for years, but now it’s back and better than ever. The vintage signage claiming that ‘Ices are a Specialty’ remains, but the interior has been brought bang up to date. It’s right in the shadow of the University and Kelvingrove Museum, and any bar with a 16-page drinks menu is bound to please even the most discerning drinker.

Visit the venues and vote on your favourite cocktail for your chance to win one of ten Buffalo Trace Magnums. Visit www.buffalotrace.co.uk for more details and terms & conditions Follow us BuffaloTraceUK. Like us BuffaloTraceUK

Get a free mint julep tin with every bottle of buffalo trace at

Phagomania: Jerkin’ it Phagomania’s adventures in the wide world of meat production continue with homemade chorizo, despite the unhelpful nature of some of our equipment and the unexpected warmth of some of our cupboards

hose of you wise enough to read last month’s escapades of Phagomania will know two important things. First, that we enjoyed the thrills of making bacon (and saying ‘making bacon’ a lot), including experimental and semi-successful Cuba Libre bacon. Second, we promised the prospect of smoked bacon and chorizo. Well, lots of exciting smoked things actually. However the smoker is still in the process of construction, and you really can’t rush these things. For now, all we have is chorizo. Homemade chorizo. And now you’re not annoyed anymore. If you are, along with the majority of the population, of the mindset that anything is made better by the addition of chorizo, you have come to your Garden of Eden. And here’s the scoop: making your own chorizo makes it vastly cheaper, and it won’t look like the supermarket stuff that’s both anaemic and luminescent at the same time. Following on from last month’s bacon making, myself and partner-in-crime Alistair (armed

with a hefty delicatessen knowledge) put ourselves out in the firing line for you, dear reader. The thing I forgot about when eating things like salami or chorizo is that you are essentially eating raw meat. What we are dealing with here are fermented sausages where the salt and ageing gives us our lovely meaty goodness, but when you leave raw meat hanging about the proposition of chomping on it feels a bit daunting. But we did it for you. You’re welcome. First things first, pork meat. We went for the easy option and bought minced pork. But with any good salami, you want those chucks of fat in there, so we bought pork belly slices and put them through a blender. For a better quality product you want to finely chop up shoulder meat. Next it is recommended to go for 25g of salt for every kilo of meat. We just went visually and tossed a load in there. Now for the key flavouring, lovely smoked paprika. As some of you know, you can get some pretty fancy-pants and pricey paprika out there,

Words: Lewis MacDonald Illustration: Pedro Martinez but in the interests of making this advice useful to everyone/being cheapskates we grabbed some Tesco smoked paprika and used a ton of that. We also added garlic powder, chilli powder, ground coriander, dried oregano and sugar. As a bonus, we had some dried, smoked chipotle chillis finely diced and chucked in there. Get your hands dirty and mix it up, and prepare for the most innuendo-rich paragraph in the history of food writing. As we were air drying and not making fresh sausages, we went for an unusual but effective casing – tights. Hand stuff it and squeeze it in there, using gravity as your friend. You’ll end up with a freaky, long, thick, orange dangling sausage on your hands. You can leave it to hang whole but if you know how to link sausages, this would handy timing to (ahem) whap out your sausage skills. At this point, our two chorizo looked great, and as we watched our meat-packed tights swing we wished we had some regular sausage casings to cook up a fresh taster. But here’s where

we may have gone wrong. We left it to dry out in a boiler cupboard. After a month of patience, the chorizo had really dried out. And I mean dry. Ever done the cinnamon challenge? Or the water cracker eating challenge? Or been ship-wrecked on a desert island? That dry. Turns out we had successfully made jerky chorizo. Hey, it was pretty tasty stuff, if a tad overly salty. And no-one died of food poisoning. If you are interested in our experimental jerikizo then that’s great, try it, but I believe we should have had it somewhere with more air circulation, such as a garage or even outside in a cage. For serious candidates, there’s many welldeserving online guides but I’d recommend the Guardian salami guide, with our above adjustments on the flavourings. But then they probably won’t tell you to stuff your meat into a pair of tights – we’re different like that. Catch up on Phagomania’s mini-series on making your own meat at theskinny.co.uk/food

Around the World in 20 Drinks: The Netherlands Our global drinks trolley rolls into the Netherlands, with options for rappers on a budget, hardcore gin enthusiasts and those of you who want a slightly thicker beverage. Words: Peter Simpson

August 2013

t has to be said that the millionaire playboy stars of the hip-hop game have it tough. OK, they get to perform to adoring fans and stage lavish parties, but think of all that money they have to waste on ‘ON-TREND BEVERAGE X.’ Thankfully, the Dutch have their back with Vieux, or Dutch Brandy. Vieux started life as a direct rip-off of Cognac, albeit a bit cheaper and without the same glamour. When the French got wind of those pesky Dutch rip-off artists calling their spirit Cognac, the Dutch drop’s name was changed to Vieux – the French word for old. The drink did the

1960s equivalent of going viral, Dutch distillers managed to nick some French prestige and get away with it, and now hip-hop has a low-cost alternative to Courvoisier. Everyone’s happy (if you ignore the French). Jenever on the other hand is basically a prototype for gin that’s still hanging around even though the finished product is everywhere. There are two varieties – young Jenever which has your standard clear spirit hallmarks (neutral smell and a hefty kick), and old Jenever which is darker, smoother and less of a slap in the face than its younger counterpart. But what if you fancy

FOOD AND DRINK

something even smoother, viscous even? Well, the Dutch have got a present for you. Yes, it’s that favourite of the old lady’s drinks cabinet Advocaat. The bright yellow colour and weird consistency are odd enough, but the fact that the ingredients list is basically custard plus brandy just makes things even stranger. Oh, then there’s the fact that thick advocaat seen across the region is often consumed with a spoon. That’s not really how you do drinking, Dutch people, but you have given us a brilliant idea for a nightclub scene in Jay-Z’s next video.

Fashion Theatrics! Words: Alexandra Fiddes

s we are well aware, Festival season is now upon us. So with this in mind dear Skinny readers, we thought we’d inspire and delight with some very theatrical fashion. After completing her degree in Performance Costume Design at ECA, Rachael Forbes worked within the theatre, the film and music industries. Earlier in the year she decided to go it on her own, launching her own label in the capital, named The Imaginarium Apparel. Forbes says, “[I] was frustrated that more unusual designs were not so readily available to buy, therefore I decided to make my own!” Adding that fashion is a big influence on her work, she elaborates “I have always admired the dramatic catwalk fashion designers like Alexander McQueen, Thierry Mugler and Issey Miyake and enjoyed how they encompassed theatre, performance art and fashion.” Rachael’s work is beautifully intricate,

Lifestyle

extremely sculptural and wonderfully sinister. “The latest collection is inspired by the sculptural shapes, colours and textures of insects and amphibians; the aliens of our world. I love the contrast of delicate wings and antennae in comparison to their armoured bodies, spiky pincers and defensive or attack mechanisms.” These somewhat unlikely inspirations are translated into wearable pieces of high fashion. Forbes explains, “There is something very appealing about transferring these insect qualities of beauty, delicacy and danger onto humans; hopefully giving them an otherworldly quality.” The headpieces and garments are made from traditional costume and millinery techniques, using a wide range of materials, from light fabrics such as chiffon, more industrial materials like PVC, leatherette and also latex. The material is then manipulated and embellished.

She says, “I work into them using embroidery, dye, distressing, quilting and beading to create something a little unexpected. Most pieces require a lot of inner structure, creating cages using different types of boning, lots of supportive fabrics and stiffeners to create the sculptured forms.” Here we’ve paired standout pieces from The Imaginarium Apparel with garments by Judy R Clark, A Weekend In Hell the AW13 collection of Obscure Couture, jewels from Vanilla Ink, along with shoes by Topshop. Shoot Credits: Photographer – Elliott Mackie www.elliottmackie.co.uk Stylist – Alexandra Fiddes www.alexandrafiddes.co.uk Make Up & Hair Stylist – Sian Lidgate www.siananigans.com

FASHION

Model – Bethany @Model Team www.modelteam.co.uk Headpieces – The Imaginarium Apparel www.theimaginariumapparel.com Location – Thanks to Shirley and all at The Royal Lyceum Theatre Workshop Anisoptera Headpiece £280 by The Imaginarium Apparel with Vixen Dress by Obscure Couture (curly, feather) Arachnoidea Headpiece £250 The Imaginarium Apparel with Vixen Dress by Obscure Couture (sparkly hornlike) Muscae neckcorset £125 The Imaginarium Apparel with Vixen Dress by Obscure Couture More of Rachael’s stunning work can be seen at www.theimaginariumapparel.com For news and upcoming events check out the Imaginarium Apparel’s Facebook page engb.facebook.com/theimaginariumapparelpage www.theimaginariumapparel.com

THE SKINNY

August 2013

FASHION

Lifestyle

The Pleasure Pain Principle Jakarta to Bali: is time spent in the Indonesian capital is the price to pay for paradise?

Photo: Prayitno Photography

Words: Rara

ife is defined by pursuing pleasure and avoiding pain, some guy called Freud once said. Even hardcore hedonists struggle to achieve both these goals. Exploitative internships lead to dream jobs, months of cake-avoidance and situps lead to abs, long haul flights lead to paradise – pain is an unavoidable obstacle in the pursuit of pleasure. This frustrating joy/pain struggle often strikes backpackers – those insatiable pleasure junkies – on the way to Bali. The Indonesian traveller nirvana, with its golden beaches, turquoise waters, drinks promos and half-naked randy Aussies is high on the ‘desirable destinations’ list for those braving Asia. Sadly not everyone can afford to fly directly into Bali, geographically or financially. If you’re counting pennies and can only fly through Jakarta, you must earn your week of getting high and laid by surfers by putting in some miserable time in the pain-zone. Jakarta is the grotesque, smoggy purgatory you must bide your time in before enjoying a cold beer on Kuta Beach. The Indonesian capital is a sprawling, landlocked farrago of skyscrapers, slums and shanty districts. There is no definable centre, nor many green spaces, and catastrophic transport infrastructure allows a 10 minute taxi journey to take four hours. The latter usually occurs in a cab with no air-conditioning, driven by a man hell bent on swindling you and suffering from uncontrollable flatulence. The general ambience of Indonesia’s capital is one of foreboding and control, by comparison to the yoga-on-the-balcony, ‘yeah, bro I’m just here to, like, work out what I wanna do’ incense-tinged atmosphere of Bali. Jakarta is a

Lifestyle

chaotic metropolis, slowly asphyxiating beneath viscose smog, sound-tracked by the guttural cry of the mosque. Most people stumble out of Soekarno-Hatta airport with their rucksacks on and head straight for Jalan Jaksa – the only backpacker-friendly area named in traveller bible The Lonely Planet. The street is not a ‘get-a-free-shot-on-arrivaland-go-home-with-a-sexy-stranger’ kind of backpacker zone, unless the shot in question is a stray firework to the face and the sexy stranger is a prostitute. Instead, Jaksa is a one-way street of ramshackle bars, none of them particularly appealing. Most people stopping over in Jakarta take a quick look around Jaksa, then opt to stay in their hostel and plead for time to go faster. If you’re over-eager (or a North American tourist) and are determined to be productive during your Jakarta stop-over, you could always celebrate the white European invasion by visiting the Dutch quarter of Kota Tua. Here you can cycle gaily around the square on colourful rented bicycles and admire the slow decay of buildings that were once Asia’s grand centres of commerce. There’s also a puppet museum where you can watch delicate Wayang shadow-puppet shows performed with handmade puppets – some of them centuries old. Alternatively, you can visit Jakarta’s extremely low budget Disney rip-off, Taman Mini Indonesia Indah. Creaking cable cars, eerie fairground music and attractions such as an aquarium of mutant fish will have you wondering when Scooby and the gang are going to rock up to save the day. Huge, furry Taman Mini mascots wander

around in 40 degree heat waving dutifully at kids, but are more often seen with their animal heads off, smoking cigarettes and sweating profusely. Monkeys in chains wearing masks perform tricks for visitors, beating their drums and skating on mini monkey skateboards. It’s a surreal, verging on nightmarish cultural experience.

“Jakarta is the grotesque, smoggy purgatory you must bide your time in before enjoying a cold beer on Kuta Beach” Taman Mini may be your only chance to stroke a real-life Komodo dragon, which (unless you are an anti-zoo activist and hardcore animal lover, in which case – Indonesia might not be for you) is an opportunity difficult to pass up. The 20-year-old captive Taman Mini dragon is approximately 7 feet long and docile enough to be petted – visitors are actively encouraged to get in the pen and stroke him. There is also a nearby

TRAVEL

water park called Snow Bay (Florida’s Blizzard Beach ring any bells?) where you can splash down the rides – but ensure you wear Islam-friendly swim gear so as not to upset local families. The warnings at the top of the flumes read ‘No Smoking and No Jeans.’ At night the choice for backpackers is simple – warm, cheap beer outside a 7/11 on an uneventful ‘backpacker strip’ or clubbing at Stadium. Visitors to this predominately Muslim metropolis may be shocked by what goes on inside the latter. It’s a five-floor nightclub that throbs with trance and progressive house, in which the waiters deliver your ecstasy tablets in a menu board with a glass of water (should you be brave enough to risk both Indonesian chemistry and law.) Food is served until 9am, not like you’ll be needing it, and there isn’t much of a dress code unlike other snooty Jakarta clubs. If the idea of a five storey vice den doesn’t get your pulse racing, there are lots of high-end clubs such as Immigrant and Embassy (dress code is film star, not backpacker) and there’s Ladies’ Nights in venues every night of the week if girls want to drink for free and guys don’t mind paying full price. For people living in Jakarta – mainly English language teachers locked into annual contracts, or older white men with smoking hot Indonesian wives – this hectic, polluted city is what it is, for all its faults. For backpackers passing through, by the time you sink your toes into the sand at Bali’s Jimbaran beach and get your Eat Pray Love kicks in Ubud, you will be glad you put in the time within the borderline intolerable, yet fascinating, Asian capital of Jakarta.

THE SKINNY

Opening Relationships Funny Women finalist Rosie Wilby is coming to the Fringe this month with new show Is Monogamy Dead? We ask her what she’s on about Interview: Ana Hine

kay, Rosie, is monogamy dead? It’s certainly wounded. Originally it meant staying with one person for life and nobody really does that any more. Internet dating means that we have way more choices available to us. We tend now to mean serial monogamy, which means that you have to endure a breakup every few years and often lose that person from your life entirely. Sometimes it’s necessary, but it seems like a waste to me. True connections in life are precious so why throw them away? I’ve always been monogamous, but I realised recently how counterintuitive to my natural human instincts and hard wiring it was. So I started to question whether there might be some better options. How has the breakdown of monogamous relationships, that you’ve personally witnessed, affected your perception of them? I’ve witnessed friends’ long term relationships that I’ve thought were super strong break down. You think ‘well if they can’t do it, who can?’ I was always a romantic who dreamed of meeting ‘the one’ but now I’ve understood that these expectations set us up for a fall and fly in the face of neuroscience. Lust dies and then more attached and companionate love takes over, because that’s how the brain is supposed to work. It was designed to drive us towards procreation and rearing young in a stable environment as a first priority – not for individual happiness. Now we are starting to choose to be happy and finding ways to feel more free from society’s imposed oppressive rules. A few exceptional monogamous couples manage to keep romance and sex alive successfully, but for the majority of us desire wanes as a partner becomes familiar. It doesn’t mean you’ve failed, it means you’re human. Your show 2009/10 Fringe show The Science of Sex surely covered some of this ground

already? What are the differences and similarities between the two shows? In The Science of Sex I covered the key stages of lust, romantic love and attachment as well as some of the differences between gay men, heterosexual couples and lesbians in terms of sexual activity and the way our brains worked. But it’s a sign of how much polyamory has come into the public consciousness that I was really only talking about monogamous and open relationships back then. Certainly in my lesbian circles, once the sex had died in a relationship, the only three options seemed to be to leave or have an affair or give up on your sexual self entirely (which I don’t believe anyone, especially a woman, should do). Naomi Wolf’s book Vagina brilliantly describes how great sex defines a woman’s creativity, confidence and purpose. I think it can only be healthy that we are now more aware of people questioning all of these boundaries – and of course gender boundaries too. So this show is far more emotional and philosophical as I’m trying to wrangle with these conflicts myself. Before you started researching for Is Monogamy Dead what was your perception of polyamory? I was a little ignorant and assumed it was couples having agreed to have consenting open relationships or consensual swinging. But that’s only part of the story. I’ve learned from reading books like the wonderful Opening Up that polyamory can be about several simultaneous loving relationships, and that it’s much more about love than sex. I didn’t really know much about triads and quads and those relationship structures with more than two people. Arguably, you could say that many of us are polyamorous if we have a partner and we have very close intimate friends that we love and share secrets with. If you took monogamy to its (il)logical conclusion we should only have one

person in our lives that provides all of our needs. Which we know is impossible (and sounds terrible!) In the animal kingdom monogamous animals tend to be antisocial and isolated guarding their territory and young – not nearly as much fun as being a promiscuous and social bonobo. People always hold up birds as monogamous but they’re actually socially monogamous. They nest in pairs but have other sexual pairings. Birds are having open relationships. How modern of them.

“Once the sex had died in a relationship, the only three options seemed to be to leave or have an affair or give up on your sexual self entirely” Do you think your show will help to dispel some of the more negative stereotypes about relationships between more than two people, or having multiple or secondary partners? I want the audience to come on the journey that I’ve been on over the past few months and, hopefully, some people will feel a little less trapped and stifled by these enforced societal rules. Even having a discussion with my partner and agreeing, for now, to stay monogamous made me feel so much more empowered than never having really talked about it at all. I have found much more

space to flirt with other people now that I know my partner’s boundaries. In my opinion polyamory is by far the most rational choice. But it’s a leap into the unknown when monogamy’s been drilled into you for years. The more niche sexual communities are notorious for having their own lexicon that’s difficult for ‘outsiders’ to understand. Did you feel that about the polyamorous community? Does your show serve in any way as a dictionary for the uninitiated? Yes I will explain a few fun terms that I’ve stumbled across – like polysaturated, frubbly, unicorn hunters, and one penis policy – in the show itself. You put together an anonymous online survey as part of your research for the show. What kind of questions did it ask? It asked what kind of things counted as ‘infidelity’ in a monogamous relationship and what other secrets couples kept from each other. I wanted to shine a light on monogamy and show that maybe we’re the weird ones. Are you concerned that some polyamorous people might see your show as making fun of their orientation or lifestyle choices? No. As per above, I’ve come to view polyamorous relationships as far superior in terms of communication and mutual respect. Yes of course they can also go wrong but my thinking is ‘isn’t monogamy difficult and weird? Why do so few of us question it?’ Have you been converted to polyamory or will you be returning to exclusivity now that the show is ready and the research has ended? My partner and I have not ruled anything out. Is Monogamy Dead? will be playing at the Baillie Room, Assembly Hall from 1-25 Aug (not 12) at 5.15pm

Fat: Just As Sexy Words: Katherine McMahon

sometimes write erotica. It usually comes in the form of poems, but recently I’ve been writing more short stories. In poetry, I don’t usually do much description of the bodies of the people in question: for me, it’s really more about what you do with them. When I started trying to write a sex scene with the visual clarity of good prose, though, I suddenly stumbled. I was picturing two women having gorgeous sex in a fierce little house by the sea; they also happened to be fat, like lots of people are. This didn’t seem like a particularly central point, except that when I thought about it I had a strong suspicion that if I didn’t specify their size, my readers would picture normatively thin people – because that’s what we’re led to expect. In fact, I realised that that’s what I do when I read erotica. I’m a feminist, and I think seriously about these things, and I’m kind of fat myself. Because there is so much media and culture that centres around thin people (and it’s an even greater proportion if you

August 2013

just count things which depict sex), the default setting on imagination is usually ‘thin.’ I really didn’t want my characters to be defined by their fatness, but I didn’t want it to disappear either: positive fat visibility is an important part of battling the damaging prejudices

“I just wanted to celebrate ordinary fat sexy bodies” around body image that have made me and pretty much every other woman I know struggle with our bodies at some point. I had to find a way to make my characters come out of the closet as fat. This meant that I needed to describe their bodies in some sexy fat terms. The problem is, there are very few nice words for fat people. For thin

people, there are words like slender, svelte, lithe, lean, lissome, slight, slim – although the point is that they’re not needed, because we’re constantly presented with images saying that sexy equals thin. To describe fat people, there is much less choice. With the help of my Facebook friends I came up with a short and unsatisfying list, including Rubenesque (which translates as ‘you would have been sexy if you were born 450 years ago’), curvaceous (which doesn’t really mean fat), and voluptuous (which just sounds a bit cheesy, really). All of them seemed to be skirting the issue of actual fatness being actually sexy. I didn’t want to fetishise it, and I didn’t want to talk around it. I just wanted to celebrate ordinary fat sexy bodies. The truth is, though, that it’s not really the words that are the problem. Fat is just a descriptor, like tall or brown-eyed. The problem is that because being fat is seen as a bad thing, its descriptors become loaded with negative meaning, to the point that they stop being used in positive

deviance

contexts at all. I have often had conversations that go something like this: “and I’ve put on a bit of weight recently, so –” [interrupts] “Oh, no, you’re not fat!” While I know that kind of comment is well-meant, it’s pretty annoying. I’m not being self-deprecating; I’m stating a fact. I know if I’ve put on weight, because it’s my body. Yet people feel the need to refute it, like it’s a terrible thing. Even mentioning it in passing to make some other point, it suddenly becomes the focus. How, then, do you write erotic fiction with all that ridiculous baggage? The answer that my friends and I came to (with the help of some wonderful fat activist writing) is to just go for it – to use words like fat unapologetically in positive contexts. That is, to do what queers and other outcasts have always done: to reclaim it. To just drop the baggage by making it clear that it doesn’t have to be there. To use it in passing as if it were no big deal, since it shouldn’t be. To use it in erotica as if it’s totally sexy, because it is just as sexy as any other body shape.

Lifestyle

Fringe 2013 at The Queen’s Hall STANLEY ODD Fri 2 August KING CREOSOTE Sat 3 August DECAGRAM Sun 4 August ORKESTRA DEL SOL Thu 8 August RACHEL SERMANNI Fri 9 August WITHERED HAND Sat 10 August BATTLEFIELD BAND Sun 11 August ADMIRAL FALLOW Tue 13 August RED HOT CHILLI PIPERS Wed 14 August

BELLA HARDY & THE MIDNIGHT WATCH Thu 15 August

THE CHAIR Fri 16 August KARINE POLWART Sat 17 August

SCOTTISH NATIONAL JAZZ ORCHESTRA Sun 18 August

BARB JUNGR Wed 21 August

THE QUEEN'S HALL, CLERK STREET, EDINBURGH, EH8 9JG TICKETS AND INFORMATION 0131 668 2019 • www.thequeenshall.net TWITTER @queens_hall • FACEBOOK QUEENSHALL

august@ flat

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01/08 analo gue anonymo us 02/08 rum ours (deep house, bass) 03/08 dj gre enman (reggae, hi p-hop, soul) 07/08 i hat e fun (hip-H op, rnb, g 08/08 analo rime) gue anonymo us 09/08 dirty basement (disco, electro, house) 10/08 matthew crai 14/08 i hate fun g (i am) (hip-hop, rnb, gr ime) 15/08 analogue an onymous 16/08 tremors (deep house, electro) 17/08 boogaloo crew (techno, d eep bass) 21/08 milk 22/08 analogue ano nymous 23/08 mirror s presents ‘flat54’ (funk, disc 24/08 oxjam o) charity hip h o p 28/08 i hate event fun (hip-hop, rnb, grime) 29/08 analo gue anonym ous 30/08 *somethi ng very special... * 31/08 dun can harvey (sou l, mo-town)

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www.flat-1.co.uk THE SKINNY

Gig Highlights

Song, By Toad's inaugural Pale Imitation Festival offers respite from flyer dodging, plus gigs from King Creosote, Swans, Patti Smith, Tame Impala and The Twilight Sad, and an unmissable live outing for David Byrne & St. Vincent

n 2 Aug, Mike Heron of The Incredible String Band brings his The Circle Is Unbroken tour to Glasgow’s Òran Mór – a legend of the 60s psychedelic folk scene, Heron is 70 this year, and is celebrating with a string of gigs backed by fellow psych-folk travellers, Trembling Bells. Alex Neilson and Lavinnia Blackwell’s Glasgow-based band, whose last LP in 2012 was a co-release with Bonnie ‘Prince’ Billy, are well-used to collaborations – expect a celebration of Heron’s Incredible String Band, with a few Trembling Bells numbers thrown in for good measure. Although the founder of the marvellous Fence Records announced his own departure from the label, Kenny Anderson aka King Creosote has remained prolific with other projects, re-recording his album That Might Be It, Darling this year with a full band, and Sure & Steadfast as a benefit CD for Scottish Fisheries Museum Boat Club in Anstruther. His former Fence co-pilot, Johnny Lynch aka The Pictish Trail, told us what he admires so much about Anderson back in 2011: “No one writes like him. No one. He doesn’t write songs for the football terraces, or for the indie disco, or even for other people. Kenny writes songs for Kenny.” He plays The Queen’s Hall on 3 Aug. Gin-loving blogger Matthew Young’s Song, By Toad record label has a solid reputation for releasing some of the absolute cream of the crop from the local contemporary folk scene, most recently counting Adam Stafford and Sparrow & The Workshop on his roster. Throughout August, Song, By Toad is curating a series of gigs in one of Edinburgh’s most intimate venues, Henry’s Cellar Bar, and the line-up is a who’s who of innovative Scottish indie, with the headliners picking the support. On 3 Aug, The Pale Imitation Festival welcomes FOUND, the aforementioned Adam Stafford, and Mike MacFarlane. 8 Aug proves a little more in-your-face, with sets from Plastic Animals, Death Cats and Mad Nurse. On 10 Aug, Sparrow and the Workshop are joined by Siobhan Wilson and The Rosy Crucifixion. Recent SAY Award winner RM Hubbert comes to town on 17 Aug, with support from Wounded Knee and Lidh. That’s just the tip of the iceberg – there are more great gigs throughout the month, and with door tax a mere fiver in most cases (£25 ‘season tickets’ are available too), this is a great opportunity to retreat from Fringe madness and encounter some of Scotland’s finest music in its nartural, wild habitat. Speaking of the Fringe, on 4 Aug a very special collaboration created specially for the Edinburgh glitterati makes its debut

– Decagram, a one-off performance at The Queen’s Hall. Part of the ongoing Tinderbox Orchestra project, regulars will collaborate with ten experimental musicians and sound artists to create a new orchestral soundscape-cumsymphony, melding electronic beats, noise and traditional composition. The full line-up is yet to be announced, but the list of contributors already includes Edinburgh’s sublime Lipsync for a Lullaby, electronic shoegazers Hiva Oa, art-rockers Tokamak and Black Lantern Music beatsmith Asthmatic Astronaut. The ingredients for a unique night. On 12 Aug, punk’s high priestess and premiere poet Patti Smith comes to Òran Mór. Always an inspiring and imposing performer, she has been widely acknowledged as one of the founders of the punk movement since her 1975 album Horses, and over the years has collaborated with everyone from R.E.M. to Bruce Springsteen, to Kevin Shields of My Bloody Valentine. For her Glasgow show, expect a run through some of her biggest hits and a healthy does of more obscure material. For Smith’s diehard fans, there is also a short poetry reading and film screening at the Jim Lambie-designed Poetry Club, earlier in the evening. The last time Michael Gira’s Swans came through Scotland, gig-goers at the Arches spoke of a shimmering, shuddering wall of post-rock noise, culled from their hugely-admired last album, The Seer. Gira returns to Scotland to play The Liquid Room on 13 Aug – pack some earplugs, and prepare for sonic devastation. On 16 Aug one of Glasgow’s most exciting new venues celebrates a year of intimate gigs. The Glad Cafe 1st Birthday is headed up by Carbs, an experimental ‘supergroup’ comprised of Jonnie Common and Conquering Animal Sound’s beatsmith Jamie Scott, with hip-hop vocals from Jay Kural, aka Field Mouse. Given that it’s a birthday party, and in a cafe known for its healthy, appealing food as much as for its growing live reputation, revellers can reasonably expect cake. Kevin Parker’s magnificently faded surfpop / psych-rock gang Tame Impala, whose Lonerism dominated more than a few end-ofyear lists in 2012, come to The Picture House on 20 Aug. Production genius Parker also masterminded last year’s fantastic debut by Melody’s Echo Chamber, and his way with a breezeblock beat and a winning melody is even more apparent when reunited with his Tame Impala bandmates. Australia’s finest, this could be their last Scottish outing for a while – move fast if you want a ticket.

Words: Illya Kuryakin

Church of Noise T

Patti Smith

On 21 Aug, The Twilight Sad promise a fully-amped set taking in the finest moments from their (quite rightly) SAY-nominated No-One Can Ever Know. They’ve told us that this will be their last full band show before they sequester themselves to record a new LP, which according to frontman James Graham, who speaks to us this month as part of our Paradigm Shift series, will be “the most important album of our career.” If we’re lucky, they might even play a few songs from it. If you want to get out of town for a few days between 22 and 25 Aug, the destination of choice is the Doune The Rabbit Hole festival. A boutique affair with a strong lineup of local bands including punk-pop noiseniks PAWS, brooding songsmiths Meursault, superlative Phantom Band side-project Rick Redbeard, indie classicists The Pastels, folk phenomenons Washington Irving and Randolph’s Leap, and disco/punk-funk party-starters Nevada Base among others, they also have a formidable electronic headliner in the form of Canada’s Aaron Funk, better known as Venetian Snares. Check Listings for full times and prices

his month opens with a couple of prolific acts – it’s a pretty big deal, really. First, U.S. sludge masters Eyehategod take to Ivory Blacks with brooding doom-bringers The Gates of Slumber (1 Aug), then post-hardcore pioneers Texas Is The Reason hit up the Classic Grand to take their listeners back to the 90s (2 Aug). Headbangers Balls is a charity night at the Classic Grand, with all profit going to the Teenage Cancer Trust. Ex-Dragonforce singer ZP Theart’s new band I Am I are on the bill, as are hard rockers States of Panic, UK thrashers Reign Of Fury and pagan black metallers Cnoc An Tursa, adding incentive to support a worthy cause (4 Aug). If you’re up Auld Reekie, a night of grind is on the cards with Rat Faced Bastard, Twice the Trauma, Sufferinfuck and (ahem) Major Cunt at Henry’s Cellar Bar on the same night. Next, there’s some dark, folk-infused rock from John Knox Sex Club, one of Scotland’s most engaging live acts of recent years, returning to the circuit. Strike the Colours’ Jenny Reeve and Sparrow and the Workshop’s Jill O’Sullivan provide support with their collaborative project Body Parts. That’s at Nice ‘N’ Sleazy (8 Aug). Back east, if you’re a psych disciple who also digs heavy metal, you’ll want to be at Bannermans for Headless Kross. Irish sludge comes courtesy of Slomatics (10 Aug). Deathwish Inc. alumni Loma Prieta will be tearing Audio up with their aggressive screamo. Weirdly accessible powerviolence comes from Gunfinger, and Fiesta Minor provide emotionally wrought punk (13 Aug). A few sweaty summer evenings later, there’s some local hardcore from Glasgow regulars No Island and fast-paced aggro-punk from D.T.P (15 Aug). Next, get some sleazy, pop-fuelled hard rock from Georgia’s finest, Torche. That’s at Broadcast (20 Aug). Your monthly death metal extravaganza is at Audio this month, with sets from a variety of depravers, namely Aborted, Dyscarnate, System Divide and Acrania (21 Aug). New Zealand’s Die! Die! Die! bring the noise pop to Sleazys with the like-minded Garden of Elks and Young Philadelphia (23 Aug). They take Edinburgh’s Opium the next night with Battery Face and Lady North in tow. If you’re looking for something a little more abrasive, go for the screechy sonics of Metal Rabies, the droney textures of Matthew Pastkewicz and the cosmic prog of Luminous Monster. All at the 13th Note. Word Or Object, Genetic Noose, Sissyboy Slap Party and Madam support (26 Aug). Topping off the month is some tech-metal from The Colour Pink Is Gay with opening sets by Fiesta Minor, Winters and Sectioned at King Tut’s (29 Aug). So there you go; Edinburgh festi-what? [Ross Watson]

Do Not Miss David Byrne & St Vincent

losing the month in fine style, legendary Talking Heads frontman, Brian Eno collaborator and, more recently, respected musical theorist and author David Byrne joins Annie Erin Clark, aka St. Vincent, for a live performance of some of their greatest hits, augmented by a full brass and woodwind section. The main thrust of the show will be their collaborative work, as showcased on the delightfully oddball Love This Giant album, and recent EP Brass Tactics. When we interviewed the duo this month, as well as telling us about Byrne’s newly-found love of cycling, they promised versions of Burning

August 2013

Down The House and other Byrne-penned classics, and a smattering of hits from Clark’s back catalogue. Byrne ranks as one of the most respected and enduring living songwriters, with a career so mercurial and wide-ranging he puts David Bowie to shame – and he’s technically Scottish, having been born in Dumbarton, which practically makes this a homecoming show. Clark meanwhile is an accomplished musican and performer whose CV includes work with Bon Iver, Sufjan Stevens and The Polyphonic Spree. With the creepy masterpiece Strange Mercy, she also recorded our album of 2011. Expect fireworks.

Music

David Byrne & St Vincent

Preview

Photo: Andreas Laszlo Konrath

Royal Concert Hall, Glasgow 29 Aug

Photo: Marta Perovic

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Nazoranai / Jer Reid & Friends Stereo, 10 Jul

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www.discogs.com/artist/Vatican+Shadow

Photo: Vito Andreoni

Detroit innovator Jeff Mills defines techno as a ‘futurist statement.’ It has meaning, or at least it should. GG Allah, whose recorded output of deafening, slowly evolving drone is bulked-out live with harsh industrial techno, offers a gentle play on the name of punk pioneer GG Allin and our media’s current Islamophobic obsessions. It’s a hipster joke, and it works, but the meaning is fleeting. Dominick Fernow’s music, however, is manifestly about something - this comes through in his visuals, looped photographs of what seems to be the archetypal ‘wall of madness’ so familiar from hundreds of interchangeable ‘catch the pyscho’ movies. Newspaper clippings analysing domestic terror attacks and the wars in Iraq and Afghanistan are interspersed with passages from religious texts and dictionaries. Meaning

emerges from their totality – this performance is about the terror and majesty of religious extremism; about military control; the shocking fallout of sudden violence. Mid-pattern stops and tempo changes evoke unexpected bomb blasts. Thundering, ear-splitting industrial techno passages roar and shudder like heavy weaponry. There is catharsis here, a revelling in darkness, as Fernow steps from behind his stealth-black equipment to headbang and flail. His music is rough and unfinished in places, transcendant and euphoric in others. Moments of repose are laced with aching funereal, gothic synths. The visuals anchor these brutal, rough-shod sonic assaults, and although the message is unclear, a meaning emerges. Vatican Shadow makes techno about war, and death; musical shock and awe. Less futurist statement, more abstract, excoriating journalistic reportage. [Bram E. Gieben]

Photo: Alex Woodward

Nice ‘n’ Sleazy, 3 Jul

Ultramagnetic MCs

O2 ABC, Glasgow, 10 Jul

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Two of Glasgow’s finest emcees kick things off, Gasp performing choice cuts from his grim and gritty new album A Series of Fortunate Misunderstandings, losing some of their subtlety but none of their intensity live, particularly a snarled, anthemic Rain Town. Loki tears through cuts from Edging God Out with gusto, getting the crowd moving with a blistering Michael Keaton. Both deliver polished, swaggering performances that proclaim the health of the Glasgow scene. An impromptu display of breakdancing from local crews quickly fills the dancefloor for a set from Bunty and the Mixkings, before Ultramagnetic MCs take the stage. Moe Love, dressed in his custom leather jacket from the cover of Critical Beatdown, and the energetic ‘rhyming force Delta,’ Ced Gee, warm up the

Review

Following Keiji Haino’s rapturously-received solo performance at Tramway last year, his return to Glasgow as one-third of Nazoranai feels like a significant event; and that’s before the other band members – Sunn O)))’s Stephen O’Malley on bass, and multi-instrumentalist Oren Ambarchi on drums – are factored in. Nazoranai are effectively a noise supergroup, and it’s therefore fitting that tonight’s support is a collaboration between four figures who’ve all played a significant role in Glasgow’s underground arts scene in recent years. Jer Reid and Joseph Quimby create a backdrop of twisted guitar stabs and drones, embellished by Lucy Duncombe with wailing vocals and rhythmic manipulation of objects including a plastic bottle and parcel tape; this is interspersed with periods of tense quietude, while Paul Henry operates as a near-silent central figure, wearing a white dress and shifting his body

in agitated accompaniment. The group’s measured fluctuations between tentative, spacious improv and grinding power chords demonstrate the welcome unpredictability that such collaborations can generate. In that respect, Nazoranai’s attempts to forge a new sound from the combination of Ambarchi, O’Malley and Haino is not always effective: the sheer force of Haino’s blistering guitar tends to dominate proceedings, and for all of their talent, the rhythm section can feel constrained and predictable. However, in terms of sonic texture, O’Malley’s unmistakably heavy, droning bass provides a brutally effective counterweight to Haino’s frazzled, hallucinatory fretwork and yelping vocals; and when Ambarchi does launch into more freeform rhythms, the trio reach the kind of transcendental heights that their combined talents promise. At other points, the collaborative energy which underpins tonight’s support act can feel oddly absent. [Sam Wiseman] www.ideologic.org

crowd before Kool Keith arrives, head wrapped in a black and gold scarf. Classics begin to flow, and the venue becomes a sweaty, euphoric moshpit. Give The Drummer Some’s frenetic breaks still have the power to stun and amaze, while Ain’t It Good To You’s devastating scratches and tightly-laced rhymes are greeted with delirium. The audacity of Ultramagnetic MCs’ pause-filled, staccato bars proves ageless, much like the physique of Ced Gee. Keith wheels out both Blue Flowers and Poppa Large, untouchable hip-hop classics which are still humbling in their invention, much like Critical Beatdown. The sound is punchy in places, and the carnival atmosphere better suited to a venue with a little more character, but this proves irrelevant – as their DJ tells us, we are in the presence of “the black Beatles of hip-hop.” No arguments here. [Bram E. Gieben] KRAFTWERK AT T IN THE PARK 2013. SEE OUR FULL COVERAGE ONLINE AT WWW.THESKINNY.CO.UK/MUSIC'

https://twitter.com/McsUltra

MUSIC

Photo: Jassy Earl

Vatican Shadow

THE SKINNY

The Dirty Dozen: Super Adventure Club search for a feel good hit of the summer On a day off from recording, Bruce Wallace and Mandy Clarke of Super Adventure Club battle hangovers and heatwaves to debate the summer’s singles. “The horse will be here in 5 minutes,” Bruce casually explains, “but we can get started…” Superchunk – Me & You & Jackie Mittoo [from I Hate Music, out 19 Aug, Merge] Mandy: This sounds like American film music – it makes me think of teenagers in the back of a car, and everyone’s dead happy. It’s making my hangover a bit worse… Are they a new band? The Skinny: Not at all – they’ve been doing this kind of thing since at least the early 90s… Bruce: That maybe explains it then. It sounds like 90s music – it gives me the same feeling as Semisonic and The Supernaturals and stuff like that. It’s not really my cup of tea – it’s just really squeaky clean. The vocals put me off quite a lot as well. I’m quite particular about vocals. M: The more I hear this the worse it gets… B: 4 out of 10. Washed Out – Don’t Give Up [12 Aug, Weird World Records] B: It sounds like lo-fi Lemon Jelly or something. M: I loved this when it first came on, but it’s a bit, eh, wishy-washy... B: It’s quite middle of the road… 5? M: 6? The Horse, who arrived just as the song began: 7? B: Nah, I like the overall sound of it, but it isnae doing much. Stick with 6. MONEY – Hold Me Forever [12 Aug, Bella Union] B: The production’s really cool but I’m not really enjoying the tune. There’s something a wee bit Bono about the vocal as well, that’s putting me off. M: I quite like the way his vocals over-do it a wee bit. Are those steel drums? Horse: Or marimba? B: It could just be an effect on the guitar… M: I think they’d be really good live, with the steel drums. B: Well it depends if that’s what it is…. M: True – 6, but if there are steel drums, 7. Deer Tick – The Rock [12 Aug, Partisan Records] M: I think this would sound good at a festival. B: I’d be intrigued to hear more by them – there are a few surprises, a few bar changes I didn’t expect. It sort of reminds me of Supergrass. 7? Horse: If that gets a 7, Ghostpoet should get a 9… B: You’re going to have to change the Horse’s Ghostpoet score now… Blondes – Elise [from Swisher, out 5 Aug, RVNG Intl.) M: This isn’t the sort of music I really listen to, so it’s hard to really rate it. B: Yeah, it’s alright, but just a 6. [skipping ahead] That’s quite a nice breakdown… This would be

The Bug

Filthy EP Big Dada, 12 Aug

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Kevin Martin aka The Bug returns with a 4-track teaser for the forthcoming album Angels & Devils. He’s still emperor of the territory where tough dub soundsystem beats meet dirty ragga and hip-hop vocals, his reign only briefly marred by the fact that since the seminal London

August 2013

Interview: Chris Buckle Photography: Michael Gallacher

nice in a club. Or maybe as the soundtrack to some movie with Ryan Gosling driving around looking moody, where nothing happens. [sighs] I was so disappointed by that film… Eels – Kinda Fuzzy [2 Sep, E Works/V2] We try streaming the track from YouTube, but initially get a Kopparberg advert instead. B: 3 out of 10! M: I’d love a Kopparberg right now… The song starts; in the video, E wanders around dressed as a miserable clown. B: Is that one of Adam and Joe? Wow, he looks different… Well obviously, he does, he’s in clown makeup… I like this. Eels kind of just do the same thing, but it’s something I like. Though actually there’s a bit more going on here than in a lot of their stuff. There’s something a bit more lush about this, with a bit more range as well. M: That’s definitely an 8. His autobiography is amazing – I cried. B: This makes me want to listen to more Eels. Nothankyou – Know Yourself [5 Aug, Moshi Moshi] The Skinny: This is a collaboration between Tom Vek and Olga Bell. B: I kind of like some of Tom Vek’s ideas, but I don’t really like him overall. Who’s the other person? The Skinny: Olga Bell – she plays keyboards in Dirty Projectors. B: Ah, right. There’s one Dirty Projectors song that I really love – I can’t remember its name, but it prompted me to check out their other stuff and I was disappointed. This is alright though. I’d be interested to hear more. But I’m going to go for 6, just because I reckon that if I did check their other stuff out it might not be very good. Dunno why, I’m just being utterly biased. M: But you should be judging just this one song! I like her voice, it’s cool. B: Let’s go with 7 for that song then, and 6 for my expectations of what their other stuff will sound like. Texas – Detroit City [12 Aug, [PIAS] Recordings] M: I hoped they’d stopped. Everyone’s going for that real 80s vibe at the minute eh? B: Yeah, it kind of sounds like they’re reaching for something current and not really getting it. I quite like early Texas stuff – I think it’s well-crafted pop music. It’s kind of bland but it’s well-put together. But this? This is just… bad. 2. The Skinny: As someone who used to listen to Superchunk a lot, I’m glad they’re no longer the lowest scorers… Zoo emerged, a slew of imitators have pillaged The Bug’s sound and vibe, leaving the tracks on Filthy sounding a little less unique. Danny Brown, his voice all whiny treble and lazy rhymes, is practically unlistenable on the title track, a terrible choice of collaborator. Luckily, Flowdan rescues the same rhythm on track two, while Daddy Freddy’s Kill Them is a piece of brutal, feral genius and Louder, also featuring Flowdan, is another banging appetiser for the LP. [Bram E. Gieben] ninjatune.net/us/artist/the-bug

M: You like them? Ah but you were young then, you didn’t know any better. I used to like Pitchshifter, you know what I mean? Horse: My worst crime was buying a Linkin Park album… M: If I could go far enough away, I would probably listen to that quite loudly just now. [sings] ‘Craaaaaaawling in my skiiiiiiiin’! Lovechilde – Sweat Lodge [22 Aug, Rough Trade] M: It sounds like it’s not finished. B: I don’t even know what to compare this to. There’s kind of an industrial thing going on, but it’s almost too watery to say that. I don’t have anything to say about this: I just don’t like it. M: It’s like they’re not all playing the same song. B: It kind of sounds like music you would get in the club scene in The Crow or something like that. It’s bad. The Skinny: Texas-level bad? M: Nah, they definitely feel it, whatever it is… B: Give it a 3 then. Bleach Blood – H.O.P.E [12 Aug, Transmission Recordings] B: This is minging. Ab-so-lutely minging. The Skinny: Apparently it’s about being hungover… B: It sounds like a hangover – turn it off, it’s really bad. M: This might tip me over the edge… B: That gets zero. It starts out like Lightning Seeds and then turns into, I don’t know… a Chumbawamba meets Jennifer Lopez anthem. The Skinny: That makes it sound kind of

Toby Gale

Starfruit EP Tape Club, 29 Jul

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The debut release from this South London producer is an admirably concise affair: over four tracks, totalling only 12 minutes, Gale flits rapidly through realms also explored by producers like Rustie and Starkey: a synth-heavy, funk-driven mutation of contemporary bass rhythms dominates, but there are also

RECORDS

awesome… B: It’s absolutely disgusting. Disclosure – F For You [19 Aug, PMR Records] B: It sounded like it was maybe going to get interesting for a wee moment there. But nah. M: That wee techno sound in it is annoying me. Who is this? The Skinny: Disclosure – they had a number 1 earlier this year with AlunaGeorge. M: Really? Wow – how does that one go? We cue up White Noise and get instant, unimpressed recognition. M: Ah shit, that? Man… I hate this tune. The Skinny: Actually Wikipedia’s just informed me I’m mistaken – it was a number 2, not a number 1. B: It’s a number 2 alright. Their new song can have 4 though. TRACK OF THE MONTH: Ghostpoet – Cold Win [26 Aug, Play It Again, Sam] B: I’ve heard things by Ghostpoet before, I quite like it… [has a wee listen]. Garage is coming back as well, in quite a big way. M: Is it definitely? B: It is – gonna do that cover of Sweet like Chocolate aye? [sings said hit’s title] M: I love that song! I like this too, this is cool. B: Yeah, it’s good, I like that quite a lot actually. 8. Super Adventure Club play Henry’s Cellar Bar, Edinburgh on 7 Aug and Broadcast, Glasgow with Galoshins, Cuddly Shark and 30 Pounds of Bone on 8 Aug armellodie.tumblr.com

hints at a dreamy, fuzzier approach on opener 15 Love. The standout is Cool Car (also given a rather unadventurous remix here, courtesy of Mr Mitch), a glossy blend of twinkling samples, staccato breaks and reverb-heavy snares. In its brevity, the EP is inevitably somewhat slight, but Starfruit is nonetheless a promising statement of intent. [Sam Wiseman] www.tobygale.com

Review

Album of the Month Run The Jewels

Run The Jewels [Fools Gold, Out Now]

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With Run The Jewels, El-P and Killer Mike deliver an object lesson in the first principles of hip-hop. The beats are a showcase in minimalist effectiveness – walking the line between sick, infectious loops, and breaks and bridges which mirror and emphasise the stress-points of the lyrical content. In short, it sounds like the duo are having tremendous fun with this project. And yet, themes elevating the material to acutely-observed social commentary are not avoided on the album’s final track, A Christmas Fucking Miracle, which offers an unflinching depiction of poverty and struggle, and some rare notes of hope. “Don’t fret little man, don’t cry,” raps El-P, “they can never take the energy inside you were born with.”

Moderat

Forest Swords

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Moderat II [Monkeytown Records, 5 Aug] There were seven years between Moderat’s first EP and album, with the Modeselektor duo and Apparat’s Sascha Ring putting the gap down to “artistic differences.” It’s taken another four years for them to record a follow-up and as with its predecessor, it’s the creative dissonance that acts as the adhesive holding the record together and which ultimately makes it such a thrill. Apparat’s navel-gazing, soulful songwriting (although this year’s excellent Krieg Und Frieden showcased a more experimental bent) sits beautifully on top of Modeselektor’s marauding, electronic tub-thumping. The salubrious Gita, with its chopped backing vocals and warm, droning harmonies, is the biggest collaborative success. But on the epic, 10-minute Milk – which takes Modeselektor’s beats down a road well-travelled by Orbital – and the introspective Damage Done, both place their own indelible stamp on the record. It’s marginally more cohesive than I, and an excellent listen from start to finish. [Finbarr Bermingham]

Engravings [Tri Angle, 26 Aug] From its opening notes, Forest Swords’ debut album – after last year’s well-received mini, Dagger Paths – is an understated and hauntingly beautiful experience. Combining guitar, drums, field recordings and delicately sampled and treated vocals, it is a perfect fit for groundbreaking NYC label Tri Angle, who brought you the likes of Holy Other, Haxan Cloak and Evian Christ. More pastoral and natural in feel than these artists, Liverpool-based Forest Swords has more in common with an earlier Tri Angle artist, Balam Acab – his music evokes the countryside of his native Wirral, with titles such as Thor’s Stone referencing the psychogeographical history of the region, engaging with its Norse and pagan history. With traces of hip-hop, folk and shoegaze in its musical DNA, the album pulls off that very Tri Angle trick of referencing populist musical forms while journeying in spectral, undiscovered sonic realms. [Bram E. Gieben] forestswords.tumblr.com

Playing Edinburgh Picture House on 10 Oct. www.moderat.fm

Shigeto

David Yow

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No Better Time Than Now [Ghostly International, 19 Aug]

Tonight You Look Like a Spider Joyful Noise, out now

Japanese-American producer Shigeto, aka Zachary Saginaw, has a lot in common with the Brainfeeder stable of beat-makers – his productions are mercurial, wide-ranging, with an understated but complex musicality, frequently using field recordings in the drum patterns. He also bears comparison to early trip-hop pioneers like DJ Krush, with whom he shares an affection for traditional Eastern sounds, with wooden chimes and shamisen-like strings proliferating on tracks like Detroit Part 1. At its base, his music is rooted in a hip-hop and electro aesthetic, never falling into the trap of sounding like abstract, formless ambient, and always tied to inviting, danceable rhythms. Ringleader coalesces into gently pulsing house, Perfect Crime’s deconstructed electro hits all the right notes, while Ritual Howl has more in common with a Dilla instrumental. Restlessly inventive, but never showy or over-cooked, his beats are flawlessly constructed [Bram E. Gieben]

Fourteen years on from the Jesus Lizard’s demise (excluding reunion tours), David Yow has finally released a solo debut which was purportedly conceived even before the breakup. The long gestation process has not, however, resulted in the kind of taut, intense precision with which the Jesus Lizard are associated. Tonight You Look Like a Spider was apparently inspired by Mike Patton, and the LP is a bleak trawl through a loosely-structured Patton-esque soundscape of paranoia and abrasiveness. There are occasional echoes of the Jesus Lizard in the visceral, grinding basslines on Roundhouse and Bleth My Thoul, but for the most part Spider relies upon doom-laden synths, scattered low piano arpeggios, whining feedback and low-mixed saxophone squalls. The complete absence of vocals or traditional rock structures will alienate some fans of Yow’s former work; yet the menacing tone is instantly familiar, manifesting his unmistakably acerbic persona in an entirely new form. [Sam Wiseman]

www.ghostly.com/artists/shigeto

www.joyfulnoiserecordings.com

Kill the Captains

Sounds Mean [Armellodie, 12 Aug]

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Pleasingly difficult to pin down, Kill the Captains’ second album Sounds Mean skips around pigeonholes dextrously and with a discernible sense of humour. With darting melodies, wonky guitar lines and vocalist Leon Carter’s upfront croon, the Sheffield quartet veer from propulsive dance-punk (Disco Nazi) to chugging, rough-edged indie-rock (The Trial) to straight-up hushed balladry (The Taking Of) – each appealing in its own way, and together giving a good account of the band’s diverse interests. Admittedly, once you grab hold of the slippery so-and-so and give it a proper gander, some of the introductory thrills subside somewhat, as a handful of tracks reveal their plodding side while occasionally clumsy lyrics start to grate on repeat exposure (in particular, Share the Load’s geopolitical sloganeering – a neat idea, awkwardly executed). Better to focus on the tracks of more unequivocal merit, with opener Umami proving especially enjoyable thanks to its quirk-filled midpoint breakdown. [Chris Buckle] killthecaptains.bandcamp.com

Review

Then there are moments like the bubbling, none-moregangsta 36” Chain; the rambling, psychedelic tour journal Sea Legs; and the deceptively simple ‘mission statement’ raps of Get It, which are just incredibly good fun, and feel entirely unburdened by either artist’s long and expectation-loaded careers. The collaborations, with Outkast’s Big Boi on the 80s electro-bumping Banana Clipper; with up-and-coming producer Until The Ribbon Breaks on the ethereal R ‘n’ B-flavoured Job Well Done; and with Chest Rockwell (aka Prince Paul) add depth and texture. But it’s the sheer fun to be had listening to El-P and Killer Mike, the duo’s confident, too-future swagger, that puts Run The Jewels so many leagues ahead of most of this year’s crop of hip-hop. [Bram E. Gieben] Available now for free download foolsgoldrecs.com/runthejewels

Barbarossa

Bloodlines [Memphis Industries, 5 Aug]

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‘We can’t forget where we’re coming from,’ sings James Mathé (AKA Barbarossa) on single Pagliaccio, and he’s right: appreciating the new direction shown on Bloodlines requires a bit of context. Five years ago, Fence debut Chemical Campfires offered string squeaks and finger-picked lullabies; now, the acoustics have been (largely) replaced with a battery of electronics, with drum machines, keyboards and synths joining reverb-treated guitar lines. What seems on paper a comprehensive aesthetic overhaul in reality sounds far more natural, possessing the same intimacy and pop outlook as before, just painted in fresh tones. From Turbine’s crisp funk to the hip-hop-referencing beats of The Load, Bloodlines exudes stylistic freedom, and with lines like "I would break and shatter every bone to work this out" (from S.I.H.F.F.Y), there’s lyrical intrigue to match the impressively varied arrangements. A marginal slump in the latter half aside, Bloodlines is a slow-burning triumph. [Chris Buckle]

Georges Vert

An Electric Mind [Melodic, 26 Aug]

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Having started his musical life as a transposer of classical scores, before a sudden, ephiphanic swerve into synth composition, France’s Georges Vert has constructed a debut LP which reveals the attentiveness of that classical training in every groove. An Electric Mind, however, is not characterised by complexity of structure or melody, being content to chug along in a mixture of Italo, motorik and funk rhythms; the detail, instead, lies in Vert’s awareness of his musical lineages. Thus, the opening title track flawlessly captures the atmosphere of 80s synth-arpeggiated film soundtracks, overlaying reverb-heavy guitar lines to complete the effect; while cheesy, squelching moogs and rolling funk percussion dominate on pieces like Jovan Freak and Sue Le Vif. That variety does mean that An Electric Mind lacks a sense of direction and cohesion; instead, it feels like a series of vintage collectibles, anachronisms crafted with an unusual sense of history and precision. [Sam Wiseman] www.soundcloud.com/melodic-records

Zola Jesus & JG Thirlwell

Ras_G

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Versions [Sacred Bones, 19 Aug] Zola Jesus, aka experimental musician and songwriter Nika Rosa Danilova, collaborated with veteran producer Foetus, aka JG Thirlwell, on these neo-classical arrangements of her understated, gothic electronic compositions for a show at New York’s Guggenheim. These tracks, the studio versions of their collaborations, take her melancholic, cinematic songwriting and strip away the more experimental aspects, revealing the fragile and intense songwriting at their core. Thirlwell, who has worked with a plethora of artists from Nine Inch Nails to Pantera and Swans, brings an assured touch to the clean, beautifully-produced tracks, for the most part simply stripping away the drums and synths and replacing them with gorgeous, towering string arrangements. Danilova’s voice is also placed front and centre, elevated out of the miasmic wash of the original productions to stand naked and bold. For fans, it will prove an emotive experience; the uninitiated may want to explore the original renditions before approaching Versions. [Bram E. Gieben]

RECORDS

Back on the Planet [Brainfeeder, 12 Aug] Ras_G’s first album for Brainfeeder since 2009’s Brotha From Another Planet is a perfect, psychedelic hybrid of dusty LA beat-scene boombap and the cosmic jazz excursions of the Sun Ra Arkestra. One of the original talents behind the Low End Theory nights, and a core member of its spiritual predecessor Project Blowed, Ras_G is a stalwart of the LA scene, one of its founding fathers just as surely as Flying Lotus is. Like FlyLo, his music is inspired as much by past epochs and movements as it is by modern technology and sample-craft, and this is very much in evidence in Back on the Planet. With snatches of vocals taken from soul, jazz, funk and black power movements both political and spiritual, the album manages to be both an abstract, off-the-wall excursion into sonic adventure, and a positive statement about African-American identities. For fans of Sun Ra, Funkadelic and FlyLo, this album will be an absolute revelation. [Bram E. Gieben] www.soundcloud.com/ras_g

THE SKINNY

Pinkunoizu

No Age

Newsted

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The Drop [Full Time Hobby, 12 Aug]

An Object [Sub Pop, 19 Aug]

Heavy Metal Music [Spinefarm, 5 Aug]

There’s more than a whiff of prog about The Drop, the second LP from this Danish quartet, from the disorienting, pitch-bent synths of opener The Great Pacific Garbage Patch, to the concept-heavy titles and lyrics (The Swollen Map was inspired by the Borges story of the same name,) On closer inspection, however, the more salient reference points lie within the lineage of 70s krautrock. Thus, a motorik beat underpins much of the record, as on Necromancer and Tin Can Valley; but in both cases, the template is twisted to accommodate bold, epic chord progressions, varied percussive textures, and elements of psych-rock. When Pinkunoizu eschew this eclectic, free-spirited take on their influences, The Drop loses some of its gleeful, restless energy; but it never descends into the kind of self-absorbed indulgence that a cursory glance might suggest. [Sam Wiseman]

Los Angeles based duo No Age’s previous albums explored the boundaries between noise, punk and melodic indie-rock, with frequent beatific results. Their fourth, An Object, finds them on rather more jagged territory, guitarist Randy Randell’s washed out noise-scapes scaled back to angular rhythms and taut riffs. Drummer and singer Dean Spunt yelps the words out with force and conviction, with the album sounding markedly less produced than previous outings. On opener No Ground Spunt screeches "I don’t care what you say / I don’t work for you," the chanted, didactic lyrics recalling Crass or Minor Threat. But it’s the dreamier, more personal numbers (see Running From A-Go-Go: “long drive / tears in your eyes / I wanna be off that road again”) that define No Age as a great band, still capable of pulling heart strings, as well as challenging both ears and mind. [Sam Lewis]

The rock journeyman finally releases his solo debut. It’s just over a decade since Jason Newsted called time on his 15 years with Metallica, a gig he landed after the tragic death of original bassist Cliff Burton. Since then he’s become one of the most prolific players on the circuit, including stints with Ozzy Osbourne and thrash legends Voivod. Jason ‘New Kid’ is 50 now, and Heavy Metal Music - there’s some statement of intent - is as solid as his lengthy CV would lead you to expect. Its chugging riffery and Newsted’s near-spoken growl pinpoint largely legacy influences - the nu metal crowd might find it a little too trad. But at its best, as on the churning …As the Crow Flies, or on the crunching, Sabbath slowburn of Futurereality, it’s a blast, and his sure-footed backing (including Staind guitarist Mike Mushok) play up a storm. Hugely likeable, highly recommended. [Gary Kaill]

www.pinkunoizu.com

www.noagela.blogspot.com

www.newstedheavymetal.com

Crocodiles

Laura Veirs

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Crimes of Passion [Zoo Music, 19 Aug] Since the lo-fi guitar fuzz of early albums Summer of Hate and Sleep Forever, San Diego’s Crocodiles have cleaned up their sound immensely. Their shoegaze leanings have been parked, replaced by an altogether sunnier disposition. Maybe those shades welded to their faces may now even be put towards outdoor use? The honky tonk piano and groove of opener I Like It In The Dark could pass for Primal Scream in Stones mode, while the big hooks and backing vocals of drummer Anna Schulte on Marquis de Sade help Crocodiles explore ‘radio friendly pop hit’ territory for the first time. Brandon Welchez’ vocals revel in surfing on top of the mix rather than being buried in distortion and there’s even some big brass on Heavy Metal Clouds. Edging away from their Mary Chain revivalist roots, Crocodiles now feel like kinsmen to Danish exiles the Raveonettes, maintaining a detached retro cool while never losing sight of melody. Their most adventurous excursion yet. [Stu Lewis] Crocodiles Play Broadcast, Glasgow on 24 Aug and Sneaky Pete’s, Edinburgh on 25 Augs

Washed Out

Paracosm [Weird World, 12 Aug]

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Franz Ferdinand

Warp and Theft [Bella Union, 19 Aug] Laura Veirs’ ninth studio album is an atmospheric, country-inflected journey, forged from tales of bad men, jazz musicians, and the sights and sounds of summer ending. Heavily pregnant with her second son during recording, Veirs’ mind is clearly on the world her child is about to enter. The pretty, plaintive chorus of America distracts from a disturbing tale of “men packing heat” and “founding fathers rolling in their graves,” and the “motherless children” of Dorothy of the Island speak for themselves. Dubious characters with equally dubious motives seem to feature throughout Say Darlin Say and Finister Saw the Angels. Featuring collaborators including producer/husband Tucker Martine, Jim James from My Morning Jacket and KD Lang, it’s a sombre party. Though an attractive brand of melancholy holds it all together. Veirs’ strong songs and understated electric and slide guitar stop the record from becoming too bleak, her sound remaining traditional enough to lend the work depth without becoming cloying or staid. If winter sounds like this, bring it on. [PJ Meiklem]

Right Thoughts, Right Words, Right Action [Domino, 26 Aug]

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Alex Kapranos has talked of how Right Thoughts, Right Words, Right Action comes from “the idea of the cynic’s search for optimism.” It’s a compelling concept for a band that have played the music game for over a decade. If youth is behind them, then they aren’t panicking. Instead, the Glasgow quartet still mix the staccato energy of punk with highly calibrated pop ballads. With direct hits like Stand on the Horizon and Bullet, it’s another radical exhibition of how guitar lines can weave and creep around each other before breaking into perfectly synced melodies, all layered over Paul Thomson’s pounding drum lines. The album ends with Goodbye Lovers and Friends, a dark, brooding reworking of a song Kapranos originally recorded with Boom Bip in 2011, concluding with the chorus: “When they lie and say this is not the end, you can laugh and say we’re still together.” It sounds final, but this shouldn’t be the end. Time gets us all Alex, but there’s plenty of cause here for optimism. [Tom Seymour]

The Civil Wars

Sarah Neufeld

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The Civil Wars [Sensibility Music/ Columbia Records, 5 Aug]

Hero Brother [Constellation Records, 19 Aug]

A paracosm is a psychological term for a spectacularly detailed imaginary world - think Tolkien’s Middle Earth or Westeros in George RR Martin’s A Song of Ice and Fire books. This, the second record record from Georgia-based producer Ernest Greene under the Washed Out banner, is his attempt to create the aural equivalent, but instead of dwarves and elves think lazy beats, languid vocals and samples which sound culled from some heavenly all-night summer party. Beneath the electronica wooziness, Don’t Give Up hides a great chorus and an infectious drive; Weightless makes you feel like you’re exactly that, lush and dreamy; while closer All Over Now could soundtrack the scene in a hundred eighties movies where the hero rides across a strange dreamscape. Greene reportedly used more than 50 different instruments to bolster his computer and synths, and one listen is enough to believe it; the sound is so textured you could dive right in and fall without ever reaching the bottom. [PJ Meiklem]

With three Grammys on their mantelpiece, The Civil Wars’ slick output has no shortage of admirers. The secrets of their success are obvious: both Joy Williams and John Paul White have expressive voices that harmonise beautifully, and when their muses align they have an instinctive feel for timeless country-soul songwriting (for instance, tumultuous ballad The One That Got Away – made more interesting in light of the duo’s public fall-out last year, which led to tour cancellations citing “internal discord and irreconcilable differences”). However, for every drop of glossy appeal there’s a gallon of blandness to swallow first – and when they get it wrong (e.g. an insipid cover of Smashing Pumpkins’ Disarm), they get it very wrong. Ultimately, for a duo whose professional partnership was already assumed fractured-beyond-repair, it’s the workmanlike-aspects of this state of the union address that prove most damning, suggestive as they are of a musical relationship coasting on fumes. [Chris Buckle]

Best known as violinist in Arcade Fire but having also supplied her talents to Bell Orchestre and The Luyas, Sarah Neufeld’s debut solo album is a natural fit for the Constellation Records roster (home of Godspeed et al). Across Hero Brother ’s ten compositions – each consisting almost exclusively of layered violin playing – her often avant-garde instrumentals prove nuanced and haunting, triggering unexpectedly intense emotional responses from a minimalist setup. From the light, airy ‘ooohs’ that settle across They Live On’s dusty pizzicato repetitions to the gentle piano trickles offsetting Forcelessness’s piercing, descending refrain, Neufeld appears to instinctively know when to introduce another texture and when to leave well alone and let her bowing have the spotlight. Whether quivering and echoing on opener Tower, screeching and wailing through Dirt, or frenziedly skipping through Sprinter Fire, Neufeld revels in her instrument’s versatility, ensuring Hero Brother an appeal beyond its ostensible niche. [Chris Buckle]

www.washedout.net

www.thecivilwars.com

www.sarahneufeldmusic.com

MONEY

The Shadow of Heaven [Bella Union, 26 Aug]

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Julianna Barwick

Nepenthe [Secretly Canadian, 20 Aug]

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Exploring The Shadow of Heaven is like walking around a cold, cavernous, stately mansion. The ecclesiastical architecture gives space for the tracks to resonate, and Jamie Lee’s soft crooning echoes down its corridors, seeking out musings on mortality and isolation. Gloom permeates; deeply melancholic Goodnight London, with insistent piano its only accompaniment, evokes an urban loneliness; likewise Black treads mournfully into night as the album ends. By contrast, there’s a calm jubilance to opener So Long (God Is Dead), and when the pressure breaks on Cold Water, the resultant echoic clangs and crashes are uplifting. Who’s Going To Love You Now even recalls a buoyant (though haunting) Funeral-era Arcade Fire; light versus the gloom. Indeed, the LP’s strength is in its immiscibility, its irreconcilability. By turns bleak and yearning, Mancunian quartet MONEY embrace that conflict, and share with us a searching, dissatisfied record, restlessly pawing at shadows for resolution. [George Sully]

Nepenthe was an antiquated potion of forgetfulness (literally, “anti-sorrow”), and this second album from ethereal songstress Julianna Barwick is similarly intoxicating. Awash with swells of warm synths and vocals so layered they often lose their human shape, the record is at times so homogenously fluid it almost feels like one singular journey. Finding herself in unfamiliar Iceland for Nepenthe’s production, Barwick communicates the beguiling landscapes in her arrangements, such as the frosty majesty of Crystal Lake, or the surging beauty of Forever. And the ubiquitous layered vocals (Labyrinthine or One Half being prominent examples) ensure a consistent undercurrent, and allow her sparse lyrics to float up like shimmering whirls in a stream. These sounds are so enchanting, so intricately observed (she’s enlisted a teenage choir and a string ensemble), and so drawn from genuine grief and hopefulness, that bathing in this album – succumbing to this heady medicine – is a balm. [George Sully]

www.lonelysexydeath.com

www.juliannabarwick.com

August 2013

RECORDS

The Top Five 1 2 3 4 5

Run The Jewels

Moderat

Moderat II

Forest Swords

Engravings

Barbarossa

Bloodlines

Shigeto

No Better Time Than Now

Review

Scottish Opera

BabyO SensoryO Dance Derby

A Co-production with Company Chordelia John and Zinnie Harris

The Garden A Sound Festival production

Gareth Williams and Johnny McKnight

Last One Out

A Co-commission with Sound Festival Kurt Weill and Bertolt Brecht

The Seven Deadly Sins A Co-production with Company Chordelia

9 â&#x20AC;&#x201C; 26 August Patersonâ&#x20AC;&#x2122;s Land (venue 247)

37 Holyrood Road, Edinburgh Box office open 9 August 0131 651 1421 l patersonsland.co.uk

Fringe Box Office

0131 226 0000 l edfringe.com Booking fees apply

Scottish Opera is core funded by

scottishopera.org.uk Registered in Scotland Number SCO37531. Scottish Charity Number SCO19787

Happy To Accept

The four guys and one girl that make up The Yawns have all paid their dues on the UK circuit with numerous other bands, so what is it that makes this particular group so special?

f you’d like a revealing glimpse into the Pollokshields world in which The Yawns work, rest and play there’s no need to pace up and down Melville Street searching for the flat its five members share; instead, simply watch the video for their single Full of Admiration, released in February this year. In it you can view the bedroom – ordinarily occupied by guitarist Stuart McIntosh – with mattresses pressed against the windows, which doubles up as their recording studio. There are also several amusing scenes shot in their humble abode’s bathroom – although anyone with a weak stomach may wish to turn away, given the colour of the bath water in which Stuart and frontman Sean Armstrong can be seen floating. Away from the yucky stuff, in less than a year The Yawns have recorded, produced and released their self-titled debut album. Initially released online as a free download last October, the laid-back, distorted surf rock sound of songs like Summer Wasted, delivered with a sure-footed swagger, quickly found many admirers, leading to its re-release by London-based label Records Records Records and Manchester’s Giant Hell imprint, a second wind for the LP that caught the band by surprise. “Considering it was recorded in a bedroom, we weren’t really sure how it was going to turn out,” explains Stuart. “Then someone mastered it, and we were like ‘wow! listen to that!” “The reaction was a lot bigger than anyone of us expected,” confirms Sean. “I don’t think we expected any label to step in and release it on vinyl. We just wanted to play live. Before we did the album, we only played one gig, at Nice ‘N’ Sleazy’s. We wanted to have songs to show people.” Guitarist Gavin Will, who runs the Electropapknit digital label on which the album was initially released, agrees. “It had been planned over a long time. We sort of realised we all had a lot of ideas, and once we joined them together we realised we had an album’s worth of stuff.” His brother, drummer Rikki Will, sums up the reason for the group’s speedy working practices. “We couldn’t take long recording because Stuart would start to complain about us being in his bedroom.” Although they were taken aback by the level of response, The Yawns’ relative early success

August 2013

was also the result of some astute forward planning. “We worked hard emailing blogs and labels,” adds bassist Emma Smith. “We weren’t afraid of letting people know the album was out there.” The Yawns consist of five folk who all made the move to Glasgow, becoming friends as they played in various bands and collectives based around the city. They each continue to divide their time between a remarkable number of other projects, and their faces will be familiar to any regular attendees at gigs hosted in many of Glasgow’s well-known subterranean venues over the past several years. There’s Rikki and Gavin, who, when not on Yawns duty, make up two-thirds of party rock terrorists Battery Face. They’re joined by Emma, formerly of Household, alongside Stuart and Rikki of Copy Haho – both of whom previously played in Project: Venhell with Gavin. Then there’s vocalist Sean, who runs the small independent CATH label with Phillip Taylor and Josh Swinney of PAWS, old school friends and fellow Tain natives. Those familiar with Sean’s prodigious output as a lo-fi solo artist, very much in the same tradition as early Ariel Pink recordings, may be surprised to see him reinvented as the twirling singer that stars in the Full of Admiration video. It’s a sticky July evening when The Skinny meets The Yawns in a city centre bar, across the river from their spiritual home in Pollokshields, in an attempt to fully understand what makes this particular group that bit more special. “We all met going to gigs... or more accurately, going to each other’s gigs,” Sean explains. “Basically any gig that we could get guestlist for,” adds Stuart. “We were in other bands, but we wanted to do something together, and then Sean moved in. He played bass to begin with.” Sean smiles. “It was never my dream to be a frontman.” “I don’t know if I believe you,” retorts Gavin. “I think when you moved in, one of your only possessions was a picture of Morrissey.” “I do have other possessions. That picture was a gift...” Given their singular, self-produced sound, if any member of The Yawns was to flit from Melville Street, is there an unwritten rule that the group would then come to an end? “Well, Emma can play drums, so if Rikki goes then that’s cool,” laughs

Stuart, as Rikki shakes his head at such impertinence. “And last week they played a gig without me.” “We could always have a Skype band practice,” suggests Gavin. “There’s no unwritten rules. I guess we’ll come to that bridge when...we cross that bridge...” Sean trails off as his bandmates dissolve into laughter. Despite achieving greater recognition than any of its members had envisaged, The Yawns are unlikely to become a full-time operation. The quintet remain firmly committed to their other groups and projects. “This has taken a front seat, almost unintentionally,” says Gavin. Sean agrees. “I don’t have the attention span to concentrate on one thing. We try to make time for all our stuff.”

“The hardest bit is finding a van” Gavin Will

Regardless, it’s clear the band very much enjoy each other’s company, a quality that lends itself well to any musical collaboration. “For me, it’s the most fun I’ve had in a band,” says Stuart. “Which is maybe why we’ve dedicated a bit more time to it. And because there’s been a better response from people.” The Yawns are now busy working on their second album in Melville Street, utilising the same recording techniques that worked so well for them first time around. Surprisingly, the band insist they have received few noise complaints from their neighbours. Instead, one man living downstairs was so enamoured that he requested Rikki join his son’s hip-hop band. “I signed Rikki up for it... but the next time he saw me he wasn’t that happy about it,” says Sean. Rikki considers this. “I think if he asked me again it would be hard to say no – because he’s asked twice now.” The as-yet-untitled album, which Sean insists he wants to call Karaoke, much to his bandmates displeasure, is likely to be released in September, coinciding with The Yawns’ first European tour, which they are organising

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Interview: Chris McCall Photography: Vito Andreoni

themselves. Such a logistical challenge would be beyond most bands under a year old, but not The Yawns. “The hardest bit is finding a van,” Gav states. “It might sound a bit arrogant, but we wanted to get the European dates fixed before we organise a UK tour,” adds Sean. As the result of an incident involving a banana, in the aftermath of a Sean solo show, The Yawns are however unlikely to return to one certain venue in Edinburgh. There’s a collective groan when prompted for further details; it falls on Rikki to explain. “It was my fault. Someone put a banana down, and the guy who owned the venue got out of his Mercedes and said: ‘I’m the owner of this place! What’s this banana doing here?’ and chucked it under a car.” Stuart continues. “Then I got back from the toilet and asked ‘where’s my banana?’ So I fetched it, and we all burst out laughing because we were drunk.” Sean nods. “To be fair, we were all quite drunk. We tried to go in later, and he told us that we were banned and that he was calling the police. Rikki called him a cunt.” Rikki cuts in. “Because he told us to fuck off! He told us to go drink somewhere else, and then he was like ‘I fucking own this street!” Stuart laughs. “It’s more fun when you end the story with the banana.” But Rikki is on a roll. “Battery Face also got banned [from another Edinburgh venue] as well. But that was because [Battery Face frontman] Al complained about the drink prices and told everyone they could come backstage and drink our rider. The management were not happy. They told us we couldn’t come back.” With the summer evening light beginning to fade, it’s time for The Yawns to have their picture taken. As they begin to move outside, Sean makes a final point. “Just don’t mention that we’re supposedly ‘DIY’. It’s true that no one else does anything for us. But that’s nothing to be embarrassed about. If people did want to do something for us, we would be happy to accept.” Rikki considers this. “I don’t know if that has an abbreviation. ‘HTA’?” Sean nods. “HTA.” The Yawns play Nice N Sleazy, Glasgow on 14 Aug with Sex Hands and Cutty’s Gym, then Music Language Festival, Glasgow on 6-8 Sep. theyawnsband.bandcamp.com

Feature

Clubbing Highlights

Ahead of a particularly alluring month, we cast a bleary eye over the August schedule to pick out gems including hip hop turned house maestro Andrés, techno goodness from Jerome Hill and Jeff Mills, and jazz-flavoured electronics from LA’s Thundercat... Words: Ronan Martin Illustration: Michael Arnold

his month sees one half of our highlights roundup dominated by the launch of Sync In Squares, a mouth-watering series of nights held across various Glasgow venues with the simple aim of bringing some of the most ‘forward-thinking’ names to the city. First up is hip-hop production royalty Just Blaze. Having produced for the likes of Eminem, Busta Rhymes and Jay-Z, Justin Smith has had a hand in some of the biggest rap records of the last decade. In recent years he has emerged as more of a name in his own right and this year collaborated on hyperactive hit Higher with trap poster boy Baauer (he of Harlem Shake fame). Smith is joined on the bill by Maya Medvesek AKA Nightwave. Taking in influences such as jazz, house, techno and juke and melding them with UK sounds such as grime and garage, Medvesek is as acclaimed for her productions as she is for her party-focussed DJing style (17 Aug, The Berkeley Suite, £5 adv). The following week, the series returns with a set from Stephen Bruner AKA Thundercat. A protégé of brainfeeder label boss Flying Lotus, the producer from LA serves up a celestial electronic take on jazz and soul, pushing these forms to new and intriguing frontiers. With his criticallyacclaimed 2013 album Apocalypse, Bruner has become one of the most talked about names in the Brainfeeder family (23 Aug, Poetry Club, £8 adv). 24 hours or so later, a new bi-monthly night launches at La Cheetah. With the aim of bringing a diverse selection of guests to town every other month, State announce their presence with a set from Ukranian producer Vakula. Mikhaylo Vityk has gained acclaim for his analogue-driven forays through the jazzier recesses of deep house and, with last May’s Resident Advisor podcast bringing him further into the spotlight, Vakula is a name that you will doubtless hear more from over the next few years. In support are resident Malcolm Bennett and the ever reliable crew behind Jelly Roll Soul (24 Aug, £8 adv, £10 on the door). Sticking with La Cheetah for the moment, August sees the club resuming their Motor City Electronics series, this time hosting the gifted apprentice of some of the most iconic house producers to emerge from the mechanised funk Mecca that is Detroit. Kyle Hall was schooled by the likes of Carl Craig, Rick Wilhite and Omar S, and his sound retains all of the hallmarks of their work without at all seeming like an imitation. Hall’s productions display an introspective, soulful sensibility, a tempered approach to pacing and structure and, above all, the kind of raw authenticity that so often eludes many modern laptop producers (30 Aug, £10). Finally, on 31 Aug Sync In Squares return to offer up not one, but two options with Make Do playing host to Andrés and Saint Judes welcoming DJ Haus to their ever-flourishing Bath Street lair. Formerly known as DJ Dez of seminal rap crew Slum Village, Andrés has increasingly proven the diversity of his sound, effortlessly bridging between elements of soul, jazz, house and, of course, hip-hop. His 2012 track New For U became the song for that summer, and indeed for any summer. With its soaring strings and deep, roving bassline, that one release alone has had many listeners excitedly journeying through the Andrés back catalogue to find more of his subtle, skilfully textured productions. As a DJ, Andrés exhibits the kind of scope and flair that

Preview

his background suggests and he is very much in the mould of other legendary Detroit-based selectors such as Theo Parrish and Moodymann (free before 12, £5 after). Meanwhile, the founder of Unknown to the Unknown, one of the most talked about labels in recent years, DJ Haus hits Saint Judes to round off an impressive first run of events in the series (free before 12, £5 after). In Edinburgh, with much of the city in festival mode, the clubbing schedule is also pleasingly hectic. Many promoters will be taking advantage of the special 5am licence on offer and an early highlight comes in the formidable shape of London-based producer Jerome Hill. The label boss behind Don’t has been honing his DJing skills since 1990 and his technically outstanding, scratch-happy mixing style takes in techno of all hues, old school hip-hop, garage and whatever else takes his fancy on a given night. Make no mistake, Hill is a DJ who has mastered his craft, consistently ploughing his own furrow rather than hopping on any particular bandwagon. He is joined for Unseen by the mesmerisingly anarchic Sicknote, a punk-meets-techno five piece from Cardiff whose lack of any apparent musical genius is more than made up for by their wild stage antics and the energy with which they deliver their absurdly catchy tracks (2 Aug, Studio 24, £7 before 11, £10 after). On the same night, local label Ghost Groove are in session at Henry’s Cellar Bar, with a wealth of techno and electro from residents Rendezvoodoo, Jack of Diamonds and Krowne running from 2am to 5am (£3 before 1am, £4 after). The event kicks off at 11pm – come early, and you can catch a live hip-hop showcase with local lads TH!NK, Ill Papa Giraffe, MasterSystem and others. Later in the month, Cab Vol welcomes Aus Music duo Will Saul and Midland to the capital to showcase the label Saul established in partnership with Fin Greenall AKA Fink. Emerging in 2006, Aus has steadily built in stature over the years and, through standout releases from the likes of Ramadanman and Appleblim, has become one of the more reliable outlets offering dubstep and bass-oriented producers safe passage into more housey territory. Saul is very much in the label owner mould of DJ with an eclectic approach which often throws up surprising selections amid the kind of dub-infused house which the label has become known for. With a handful of celebrated releases on Aus, Midland has become one of the most talked about producers to emerge from the outlet. His recent track Trace is already en route to becoming one of the label’s most popular releases to date (9 Aug, Cabaret Voltaire, £8-10). On 23 Aug, international men of mystery Tiger & Woods bring their perfectly-sculpted blend of disco and house to Sneaky Pete’s. Having steadily built up a loyal fanbase with the release of several killer records sampling the likes of Evelyn King and Imagination, the duo finally collected their masterful edits together on their 2011 album Through The Green and have since reached wider audiences with a dazzlingly hip sound they call ‘future boogie.’ In support is Glasgow’s Atom Tree (£14). If that’s not quite your thing, the same evening sees techno heavyweight Jeff Mills head to the capital for the first part of the Jackhammer Festival Special. A monolithic force in the development of techno, Mills has enjoyed a return

to form in recent years; at least as far as his thundering DJ sets go. His set for Substance in Edinburgh back in February of 2012 was easily among the best he has performed on these shores over the last decade and more recent Glasgow performances have confirmed he still has what it takes to deliver big room techno which retains the depth and character synonymous with his hometown of Detroit. UK-based Ben Sims is a similarly enduring act. Like Mills, the Hardgroove label boss has been known to deliver his pulsating sets via a three deck setup so we expect this night to go off with a bang (23 Aug, The Liquid Room, £15 adv). Finally, UK drum ‘n’ bass institution Hospital Records is teaming up with local night Xplicit

CLUBS

to host their biggest Hospitality party north of the border. In the main room, the likes of High Contrast, S.P.Y and Nu:Logic will be taking charge of proceedings, while the I Love Hip-Hop room will bounce to sets by Nasty P and Ritchie Ruftone, who blitzed his way through a scratchinfused bass music set to win the UK DMC contest in 2012 (24 Aug, The Liquid Room/The Annexe, £15-20). With those nights totalling only the essential picks (in our humble opinion), and with the usual last minute announcements sure to be made in the coming weeks, we reckon August’s clubbing calendar is among the strongest we’ve had this year. Never before has an overdraft facility seemed so tempting. Fill yer boots!

THE SKINNY

August 2013

Redressing the Balance

As she prepares to welcome Parisian ghetto house player Big Dope P to Glasgow, DJ and producer Nightwave gives us the low down on her fledgling club event. Interview: Ronan Martin

“I

think everyone is fed up with all these macho line-ups!” jokes Maya Medvesek on being asked her thoughts on the overwhelmingly male-dominated world of DJing. Though there are undoubtedly many girls devoted to cutting edge club music of all varieties, for whatever reason the DJ booths of most venues are still disproportionally occupied by members of the opposite sex. Some would point to the obsessive attributes guys allegedly possess, which make them avid collectors of items such as records. Others would argue club culture is as skewed by chauvinist preconceptions as any other area of life. Idiots will tell you it’s because girls can’t mix. With the launch of Nightrave in May, Medvesek, better known under her production alias Nightwave, perhaps unwittingly issued a challenge to the status quo. Her residents, Lucky Me’s Eclair Fifi (who recently followed fellow Glaswegian Jackmatser in bagging a prized Radio 1 slot) and Subcity’s Jackie Your Body are both incredibly well-equipped to bring the party to any venue. Glasgow’s cosy La Cheetah basement has proven to be particularly conducive to their up-tempo DJ sets. Reflecting on a packed opening night, Maya speculates on one possible side benefit of having an all female lineup in charge of the proceedings. “We had three girls playing and, though I would never ever use this as a selling point in our PR, we did notice a lot of girls in the club – about 50%, which has never happened to me at that kind of party before. So I think more girls on the bill will attract more girls.” Yet, it is important not to be misled. Though the prospect of more proportionate gender representation, both in front of and behind the decks, is an encouraging one, Nightrave’s mission statement is first and foremost concerned with offering an exciting blend of electronic club music of the type most likely to get crowds moving. As Maya explains: “The night is about good music, playing through a decent sound system, in a dark club where people can let go and enjoy themselves a hundred percent. There’s way too much hype out there and we’re trying to bring it back to basics! We play fun things like ghettotech, juke, Detroit techno, rap and grime. I also love La Cheetah and have always enjoyed going there, so it made sense to do a party there.” Born and raised in Slovenia before moving to the UK, Medvesek has developed a captivating production style which is in part informed by her love of classic house and techno, in part by jazz and hip-hop, with the unmistakable influence of UK styles such as grime and garage also seeping in throughout her work. Her releases as Nightwave have graced such labels as Svetlana Industries, the increasingly celebrated Unknown to the Unknown and Glasgow’s own Fortified Audio. “I really think Glasgow is the best place in the UK for music, maybe even in the world!” she says when asked about the local scene and the Glaswegian thirst for electronica. But, healthy as that scene may already be, with the club’s strong focus on genres such as ghettotech and juke, Nightrave promises to offer something a little different from the more run-of-the-mill house and techno events. “A lot of people are well-acquainted with old ghetto records and juke,” says Maya, “but I reckon the music appeals to newbies as well because of its ravey and funky energy, its combination of tempos and the funny, sleazy lyrics… it’s the antidote to the boring minimal techno and tech house that’s far too prevalent in my opinion.” It’s hard to argue with this point. Many a faithful techno purist has become weary with the way in which the form has developed. Stripped down, at first to great effect, but with increasingly formulaic results, a lot of techno has become homogenised and essentially drained of its substance and impact. It’s no surprise that many

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have become much more enthralled by developing styles such as juke and footwork, which have reached wider audiences in recent years through the work of figureheads like DJ Rashad and DJ Spinn. Yet aren’t these sounds, which are arguably heavily derivative and indebted to earlier ghetto house, equally susceptible to being watered down and commercialised? Certainly the explosion of juke in particular has led to the release of some fairly tiresome records. For Maya, it’s simply a question of plucking out the gems from the pile. “As with any music trend, there’s always going to be people experimenting with it,” she says. “But it’s quickly clear what’s good and what doesn’t work. There’s a lot of footwork and juke that’s really bad and that stuff doesn’t just come from new producers! We’ll try and get some exciting acts down but always keep a healthy balance between genres at our nights.”

“Juke music and ghetto records are the antidote to boring minimal techno” Maya Medvesek

If the opening event is anything to go by, Medvesek won’t have to worry about filling the club this month. All three residents’ sets were particularly well received last time round and the night was capped off in fine style with a surprise appearance by local Warp Records luminary Rustie. Given the positive feedback on that first foray, Maya has cause to feel Nightrave is indeed tapping into something people have been looking for in a club night. “We did extremely well and sold out within an hour,” she says. “It really was a fantastic night with brilliant energy. I think having Rustie as secret guest helped, although a lot of people had no idea beforehand. The plan is to do nights every couple of months in Glasgow and Edinburgh now. We’ll be doing one at Sneaky Pete’s in October.” With the plans for Nightrave taking shape, Maya will also make a welcome return to production later in the year. “After a long break, I have two EPs in the pipeline for autumn,” she confirms. “One for Marble and a follow up EP for Svetlana Industries. I can’t wait for those to come out!” With a gap of a couple of years to further hone her production, and with such an apparent passion for so many different styles of music, it will be interesting to see how her sound has evolved since her last outing. Early tracks such as the frenetic but beautiful Jazz 312 and the brassembossed Palenque already exhibit the clear signs that Nightwave is a sure-footed and skilled producer and it seems likely her music will only become more accomplished with time. In the immediate short term, Maya’s focus is on this month’s night and the visit of Parisian ghetto champion, Big Dope P. Label head of Moveltraxx, responsible for releases from the likes of DJ Tameil and Todd Terry, he’s one of a number of French artists putting their own touch on the urban electronics of Detroit and Chicago. “I’m really excited to have him play in Glasgow,” says Maya. “He’s one of my favourite artists and is very consistent with his production. He’s created his own mix of ghetto house and rap, with a French disco influence.” Perhaps most importantly, “his DJ sets are high energy, which is perfect for Nightrave!” Big Dope P hits La Cheetah for Nightrave on Sat 3 Aug. Also catch Nightwave at The Berkeley Suite on Sat 17 Aug

Clubs

THE SKINNY

DJ Chart: Gavin Richardson The resident of Substance, one of Edinburgh’s most discerning techno nights empties his record bag to share ten current favourites...

owadays, if a club night lasts beyond a couple of years, continually attracting A-list names as well as introducing crowds to lesserknown talent, it’s safe to assume something is working. In an age when anyone with a laptop is a DJ who can invent a night out, club events come and go before most have had a chance to build a loyal following. Edinburgh’s Substance is of an altogether different breed. Now in its 7th year, an anniversary set to be celebrated with the visit of Moderat in October, the night run by brothers Gavin and Adam Richardson has been a consistently reliable fixture in the capital’s sometimes frustrating club scene. Bringing techno heavyweights such as Jeff Mills, Surgeon and Neil Landstrumm to the city in recent years, alongside newer talent such as Boddika, Objekt and Rephlex Records’ Dave Monolith, Substance always seems to strike the right balance. As with any dependable night though, a lot depends on having a trusted resident at the helm. With a reputation that has landed him gigs across the UK, including at Bloc’s Stubnitz Boat Party in 2012, Gavin Richardson is one such DJ. As he prepares for Substance’s Edinburgh Festival special, Richardson picks out ten records he has on heavy rotation just now. SHXCXCHCXSH – LTTLWLF [Avian] This is just one of those tracks, from the unpronounceable Swedish duo Shxcxchcxsh’s impressive debut LP. Amazing. Greg Beato – Let Em Know [Apron Records] This is some debut EP from the Miami-based teenager on Funkineven’s Apron Records. Let Em Know is absolutely slammin’. Punchy kick, strong hi-hat, and a nice organ riff, perfect for this unusually prolonged summer weather. Respect The 78 is also cool; all creeping tricks and twists. Special Request – Hardcore EP [Forthcoming, Houndstooth] Huge EP, this one. Wall to Wall is an absolute belter, whilst Mindwash (remixed by Anthony Naples) captures that amazing hardcore utopia/dystopia vibe. Broken Dreams is ace too as it goes, all breaks and jitters, whilst the hugely talented Lee Gamble is recruited for the fourth and final track. Keep an eye out also for the Special Request version of Tessela’s Hackney Parrot. Delta Funktionen – Onkalo (Karenn Remix) [Delsin] Blawan has obviously been so important in bringing back techno in the UK over the past couple of years, and this rework with Pariah as Karenn doesn’t mess about – an absolute brute! The synth is great and reminds you a bit of

August 2013

Interview: Ronan Martin

Landstrumm et al back in the day. Dark, dark! Will & Ink – Fermat [Will & Ink] Nice bassy club techno from Dutchmen Will & Ink, produced on custom built hardware by all accounts. The first release on this new label. MGUN - Bean Chirp [Don’t Be Afraid] Probably one of our favourite new producers of the last year or so - a warm welcome to you, Manuel Gonzalez! This one’s got a bit of a disconcerting retro feel. Make sure you also check out the rest of the EP If You’re Reading This, and his three previous releases from last year: The Upstairs Apt; Harmnear; and, The Near Future which appeared on Will Bankhead’s Trilogy Tapes and Kyle Hall’s Wild Oats. Loads of variation in each. Forward Strategy Group - We’re Looking For Manpower [Perc Trax] Triumphant stuff from the Edinburgh-Leeds duo, who finally arrived on the international stage with Labour Division and the following live shows. Huge melodic chords looping over and over on this one. Can’t wait to see what’s up next from them. Hugh Mane – Spectra Sonics EP [Forthcoming, Running Back] First EP from this pseudonym, brought back to life from a dusty DAT according to Clone. It was recorded in the early 90’s by all accounts. Tuff City Kids’ edit of Fukdemdiscoidkids probably edges it from an excellent, varied EP of golden era house. Kobosil – Think & Think [RK3] New Berlin producer breaking through, Think & Think is another quality cut of murky, nofrills techno on a super limited vinyl only run. As one of the chosen remixers of the Barker & Baumecker album, Transsektoral (alongside Machinedrum, Third Side & Blawan), it’s safe to say there is more to come from this guy. Ekman – Reform [Berceuse Heroique] On a similar tip as L.I.E.S. man Vereker, this is heavy, scuzzy, nighmare-ish stuff from Bunker affiliate Ekman, the first release on new label Berceuse Heroique (which translates as lullabies for heroes, taken from the 1914 piano solo by Claude Debussy). DJ Sotofett, Gesloten Cirkel, Boddika, MGUN and Unit Moebius have all been recruited for the label’s first few releases. Watch out though for L’estasi Dell’oro, who is next up Kingdom For A Kiss is an epic 12-minute monster. Catch Gavin at the Substance Festival Party on 9 Aug, The Bongo Club, £tbc

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August Film Events Pain & Gain

Pain & Gain

Foxfire

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Director: Michael Bay Starring: Dwayne Johnson, Mark Wahlberg, Anthony Mackie Released: 30 Aug Certificate: 15

Words: Becky Bartlett

Director: Laurent Cantet Starring: Raven Adamson, Katie Coseni, Madeleine Bisson, Claire Mazerolle, Lindsay Rolland-Mills Released: 9 Aug Certificate: 15

Michael Bay has never given the impression of being a filmmaker particularly interested in irony. His bombastic oeuvre features all the self-awareness of your average shower mat. But now we have Pain & Gain, a scabrous satirical swipe at not only the knuckle-headed machismo the director seems so enthralled by, but also at an America crippled by consumerism. He even takes a swipe at his own back catalogue. Mark Wahlberg, Dwayne Johnson and Anthony Mackie are excellent in this real-life story of a trio of bodybuilders who kidnapped and extorted a Miami businessman (Tony Shalhoub) in search of their own American Dream: pots of cash. This violent, ill-fated criminal enterprise is presented with such over-the-top Bayness that one can’t help but smile. Super slow motion, an excruciatingly lurid colour scheme and a plethora of those trademark 360 degree pans all but wink; while the jet-black, perfectly absurd script recalls the Coens at their most vicious. Is this a bold new direction, or is something more distressing afoot… could Bay have been kiddin’ us on all along? [Chris Fyvie]

An adaptation of Joyce Carol Oates’ feminist novel Foxfire might seem like an unlikely choice for Laurent Cantet, but the material actually feels like a continuation of themes he explored in his Palme d’Or winner The Class. Both films depict a group of teenagers rebelling against authority, testing their own boundaries and finding their place in the world. Cantet’s American debut doesn’t feel as fully formed, but it still has fleeting moments of power. Cantet’s vision of 50s small-town America is loose but evocative, and the scenes in which his film’s girl gang takes revenge against the town’s menfolk are superbly handled. However, while Foxfire starts and finishes well, the film suffers from a dramatic lull in the centre of the picture that drains much of the story’s energy and momentum. Tighter editing could have elevated this from a respectable adaptation into something with an incisive edge, but at least it’s a better take on the book than the misguided 1996 version, and in the pivotal role of Legs, Raven Adamson is a real find. [Philip Concannon]

From Up on Poppy Hill

What Maisie Knew

Director: Gorō Miyazaki Starring: Sarah Bolger, Anton Yelchin, Gillian Anderson (English language version) / Masami Nagasawa, Jun’ichi Okada, Keiko Takeshita (Foreign Language with English Subtitles) Released: 2 Aug Certificate: U

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Director: Scott McGehee, David Siegel Starring: Onata Aprile, Julianne Moore, Steve Coogan, Alexander Skarsgard Released: 23 Aug Certificate: 15

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From Up on Poppy Hill will be released both in an English language version and in its original Japanese version with English subtitles

An adaption of Henry James’ 19th century novel of the same name, What Maisie Knew has undergone modernising alterations but retains the same pitiable core: a child passed from pillar to post by divorced parents, repeatedly let down by those in whom she places the most trust. Anchoring the film and appearing in every scene, seven-year-old Onata Aprile is superb as the titular moppet, naturalistically weathering the many disruptions and disappointments carelessly sent her character’s way. As the warring narcissists responsible, meanwhile, Julianne Moore and Steve Coogan play to familiar strengths (displaying neurotic histrionics and haughty arrogance respectively) but never let their roles become twodimensional monsters; though both parties are deeply selfish, they’re too pathologically pathetic to be boo-hiss hateable. Tonally the film plots a slightly unsteady course, with an encroaching mawkishness taking it a hair’s breadth from Nicholas Sparks territory. But pat resolutions aside, What Maisie Knew squares its emotions believably, provoking upset and anger at its scenes of collateral damage, but also inspiring respect for the resilience of youth. [Chris Buckle]

The Lone Ranger

Paradise: Hope

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It’s 1963, and high school student Umi wakes each morning to raise signal flags to the drifting tugboats of postcard-pretty Yokohama. When local boy Shun writes a poem about her ritual in the school newspaper, she tumbles into the joyous, dilapidated community of the Latin Quarter, and sets about helping Shun save its shambling clubhouse from demolition. The glowing, hand-drawn backdrops and warming themes of diligence and rejuvenation are assuredly Ghibli. But through their singularly subtle story of adolescent longing and gentle domesticity, From Up on Poppy Hill’s protagonists emerge as unexpectedly facetless, especially from a studio with such a vibrant and morally complex back catalogue. While the virtues of good, honest work have provided much of the charm of films like Kiki’s Delivery Service and Spirited Away, the distinct absence of a snarling dragon or skyward broomstick to form its counterpoint makes all of this quaint domesticity feel a little bit of a chore. [Kirsty Leckie-Palmer]

Director: Gore Verbinski Starring: Johnny Depp, Armie Hammer, Tom Wilkinson, William Fichtner, Barry Pepper, James Badge Dale Released: 9 Aug Certificate: 12A Bloated, hubristic and an awkward mish-mash of wildly conflicting tones, it’s easy to see why US critics lined-up to give Gore Verbinski’s The Lone Ranger a kicking. But there’s also a good bit of fun to be had in this lolloping behemoth. Handsome but bland Armie Hammer dons the mask and Stetson, and Johnny Depp puts a Native American spin on his list of eerily similar oddballs to essay Tonto. Thrust together by a shared need for vengeance against a brutal outlaw (William Fichtner), the pair bicker their way through a cartoon Old West, uncovering a broader conspiracy into the bargain. While the often funny slapstick and sub-Python surrealism sit uneasily alongside some surprisingly strong violence and ill-judged attempts at historical commentary, there’s also great spectacle to enjoy. A few exciting set-pieces might be the least one expects in a 150-minute summer blockbuster, but the prolonged locomotive-set denouement in particular deliciously captures the spirit of the Boys’ Own serials to which Verbinski’s film aspires. A shame they couldn’t have trimmed the fat. [Chris Fyvie]

Review

As if Edinburgh didn’t have enough festivals happening in August, Filmhouse delivers two more: Beyond Borders Scotland Film Festival and Just Festival. Other highlights include a sober Lindsay Lohan and David Bowie’s codpiece

Director: Ulrich Seidl Starring: Melanie Lenz, Verena Lehbauer, Joseph Lorenz, Michael Thomas, Viviane Bartsch Released: 2 Aug Certificate: 15 The third film in Ulrich Seidl’s Paradise trilogy is the most heartfelt and uplifting of the three, which comes as both a surprise and a blessed relief. Set in an amusingly draconian fat camp, the film follows 13-year-old Melanie (Melanie Lenz) – the daughter of Love’s Teresa – as her flirtatious relationship with the camp’s affable doctor (Joseph Lorenz) develops into an all-consuming crush. Seidl’s film has plenty of watch-through-the-fingers moments of awkwardness and tension (and he’s not above finding comedy in the sight of tubby kids exercising), but the director also displays a commendably light touch in his negotiation of this tricky territory, and the picture is buoyed along by the marvellously authentic and endearing performances he elicits from his young cast. The quality of the filmmaking (with cinematography team Ed Lachman and Wolfgang Thaler again doing stellar work) will come as no surprise, but the sensitivity and empathy with which Seidl explores the pangs of first love might catch many viewers off guard. [Philip Concannon]

FILM

ilmhouse in Edinburgh is hosting two festivals this month: Beyond Borders Scotland Film Festival (20-22 Aug) and Just Festival (4-22 Aug). The former, part of a series of other events taking place in Edinburgh and the Scottish Borders, consists of six films focused on themes of homeland, dialogue, and others. Included in the line-up is This is Not A Film (22 Aug), shot partly on an iPhone during director Jafar Panahi’s house arrest and – so the story goes – smuggled out of Iran on a USB stick concealed within a cake. More information can be found on Filmhouse’s website. Four films are screening as part of Just Festival, which all consider the festival’s theme of ‘behind closed doors,’ with specific reference to current European issues, traditions, and diversities. The Dardenne brothers’ 2008 film The Silence of Lorna (4 Aug) begins the strand, and is followed by Illégal (8 Aug), prison drama R: Hit First, Hit Hardest (15 Aug), and Kalinovski Square (22 Aug). A Q&A follows each film, with Scottish MEPs and other experts discussing the various themes and issues raised. Club Noir’s Film Night returns on 24 Aug, with a special screening of Cabaret at Ghillie Dhu in Edinburgh. The multi-Oscar-winning film starring Liza Minnelli, Michael York, and Joel Grey is a decadent delight, featuring wonderful show tunes, tangled sexploits, and Nazis – a musical that embraces the seedy underbelly of Berlin in the 1930s. As with Club Noir’s previous film nights, the movie is preceded by a special burlesque performance, and attendees are encouraged to dress for the occasion, making this far more than just a trip to the pictures. The GFT is screening Mean Girls (23 Aug) as part of its Late Night Classics series. This scathing, hilarious teen flick, written by and starring Tina Fey, might be less than ten years old but it has already achieved classic status, largely because it is one of the most quotable films of recent years. This showing will be introduced by comedian Josie Long, and ticket prices include free entry to Nice ‘N’ Sleazy – it’s the perfect excuse to don your finest pink clothing, pass judgement on the people around you, and learn a valuable life lesson about being yourself. Finally, the Cameo in Edinburgh is hosting an 80s Fantasy Double Bill on 5 Aug, when backto-back screenings of Labyrinth and Willow give audiences a chance to revisit their youth and, with regards to the former, be utterly transfixed by David Bowie’s codpiece.

THE SKINNY

Serial Mom

Director: John Waters Starring: Kathleen Turner, Sam Waterston, Ricki Lake, Matthew Lillard Released: 5 Aug Certificate: 18

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Beverly Sutphin is the perfect wife, the perfect mother, and “f*cking nuts!” Queer cinema hero John Waters’ deliriously dark slice of serial killer mayhem has Kathleen Turner butchering anyone who stands in the way of her family’s happiness. Despite the gore, Serial Mom is a broad farce and Waters is at home sending up the ridiculousness of suburban America and the country’s love of true crimes and court TV. Turner is especially good, shamelessly throwing herself into the part as the demented bird-obsessed hausfrau. Some fans may complain that Waters is selling out, but with a respectable budget and a simple concept, Serial Mom remains one of the director’s most polished and accessible works. Still essential viewing for filth mongers and foul-mouthed perverts everywhere. [Scott McKellar]

Runaway Train

Director: Andrei Konchalovsky Starring: Jon Voight, Eric Roberts, Rebecca De Mornay, Kyle T. Heffner Released: Out Now Certificate: 15

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A surprise contender at the 1986 Academy Awards, Andrei Konchalovsky’s thriller Runaway Train transcends its potentially trashy B-movie premise with committed performances and first-rate direction. Jon Voight and Eric Roberts leave no scenery unchewed as the escaped convicts who hitch a ride on a train that’s soon careering out of control, but both actors find an unexpected amount of emotional depth in their characters. Konchalovsky establishes and sustains a suitably relentless forward momentum with intelligent staging and tight editing, and the old-school stunt work on display as the characters cling to the side of the snow-covered train is frequently astounding. You can’t help but wonder what the great Akira Kurosawa, whose unproduced screenplay inspired the film, would have made of it all. [Philip Concannon]

23 Oct-23 Nov

2013

www.sound-scotland.co.uk

With performers including: Brian Irvine, Edison Studio, Joby Burgess, Leafcutter John, Red Note Ensemble and many more...

Passion

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Director: Mania Akbari Starring: Neda Amiri, Hassan Majooni, Payam Dehkordi, Bahareh Rahnama, Ashkan Mehri, Roya Javidnia Released: Out Now Certificate: PG In an Iranian society that places heavy emphasis on beauty regarding a woman’s worth, Ava (Amiri) finds herself the victim of an acid attack to the face courtesy of a former long-term partner who does not take kindly to her interest in another man. Built around a series of extended conversations, One. Two. One documents various stages of Ava’s recovery process, and gives insights into the various men involved in her life, whether she wishes them to be or not. Director Mania Akbari’s meticulously conceived film is a suitably claustrophobic work appropriate for its lead’s frustrations. Its conversation and camera rhythms have an entrancing quality that, aided by very strong, subtle performances, builds a haunting portrait of loss and renewal regarding love. The cumulative result is quietly devastating. [Josh Slater-Williams]

The Gatekeepers

Director: Dror Moreh Starring: Ami Ayalon, Avraham Shalom, Avi Dichter, Yaakov Peri, Yuval Diskin Released: 12 Aug Certificate: 15

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Even by intelligence agency standards, Israel’s Shin Bet is a secretive institution, with its ranks anonymous and its accountability murky. The only members whose identities are publicly known are the select few to have occupied the top job of director. In The Gatekeepers, filmmaker Dror Moreh interviews six former directors, and their candid disclosures are both fascinating and disheartening. Using source footage, Moreh plots a narrative of powder keg relations starting with the Six-Day War; a history of assassinations and air strikes, illegal settlements and intifadas. Throughout, the tone is cool and collected (one testy exchange over the killing of handcuffed prisoners aside), with interviewees tending to frame their decisions pragmatically, and demonstrating comparatively little patience for emotional or moral examination. Committedly averse to drawing glib conclusions, The Gatekeepers is a weighty contribution to an ever-pressing debate. [Chris Buckle]

Discover New Sounds

Director: Brian De Palma Starring: Rachel McAdams, Noomi Rapace, Karoline Herfurth, Paul Anderson Released: 12 Aug Certificate: TBC With Passion making its debut on the small screen, have cinemagoers been denied another masterpiece by shortsighted distributors? In a word, no. But there are pleasures to be had in this corporate satire cum sapphic thriller. Rachel McAdams plays an icy ad executive who begins a war of attrition with her unassuming underling (Rapace). Their cat and mouse battle over an “edgy” viral marketing campaign makes for an airless first half. When Repace’s fragile character eventually cracks under pressure, however, so too does the film, allowing the self-styled master of the macabre to pull out every baroque set-piece in his repertoire, including a jaw-dropping use of split screen. So this is half a good De Palma film, which means it’s still superior to most movies. [Jamie Dunn]

Dressed to Kill

Director: Brian De Palma Starring: Angie Dickinson, Nancy Allen, Michael Caine, Keith Gordon Released: Out Now Certificate: 18

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Brian De Palma’s skill as a director is matched by his glorious bad taste. Several filmmakers have had the gall to mine laughs out of serial killer material (Hitchcock, Jonathan Demme, Bong Joon-ho), but Dressed to Kill remains the pinnacle of this murder-sex-comedy sub-genre. The film opens and closes with soft-focus fetish fantasies, each belonging receptively to Dressed to Kill’s two female protagonists (Angie Dickinson’s sexually frustrated housewife and Nancy Allen’s cheery prostitute), and the rest of the film plays as one long De Palma wet dream that’s part erotic melodrama, part giallo and part mismatched buddy movie. Scene after scene De Palma dazzles with his bravado camerawork and elaborate plot machinations. This is a hothouse for voyeurs and cinephiles, an uncouth pulp thriller elevated into an artwork of sound and image. In other words: this is pure cinema. [Jamie Dunn]

Comedy Editor Required Are you hilarious? Clued up on the Scottish comedy scene? Do you own a pen? Great. We're looking for a new Comedy editor for our Scottish edition and we want to hear from you. More info can be found at: www.theskinny.co.uk/about/get_involved

image © Alan Watson

Scotland’s Festival of New Music

One. Two. One

Illustration: Emer Tumilty

August 2013

DVD

Review

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Tomorrow Never Knows at CCA brings to Glasgow the work of two artists commissioned by the Jerwood/Film and Video Umbrella Award. Ed Atkins and Naheed Raza received the accolade last year, giving them an opportunity to make new work with the support of the awarding bodies. The three works on display, two by Atkins and one by Raza, are exceptional. All of them display a near peerless use of the medium. One could go as far as to suggest the exhibition contains two of the finest works of video art you’re likely see any time soon - the work of Ed Atkins. Raza’s documentary, Frozen in Time, takes a look at the cryogenics industry, interviewing scientists and patients who believe that if one has their dead body frozen, future generations may have the technology to bring them back to life. The video is a fascinating portrait of these

– more coherent than one might have anticipated – individuals. Largely, the patients are resigned to the limited possibility that we will ever manage to defy death, but think it’s worth a shot. The work of Ed Atkins is a tour de force. He uses a mixture of live action video, found footage and graphics to create strange dream worlds and dystopias. In Warm, Warm, Warm Spring Mouths a longhaired man sits alone listening to music through headphones. Over and over he directly addresses the viewer, reciting the same lines of poetry. “The weathers they lived in,” he says sadly, recalling what friends have told him of the past. “Christ, the sun on those Saturdays.” Likewise, Material Witness or A Liquid Cop – also by Atkins – is a non-linear narrative told in voiceover. The stories are compelling and the visuals are dark and otherworldly. With a playful use of digital effects and exceptional audio, this is indeed the art of the future. [Andrew Cattanach]

Sarah Pucill, Magic Mirror 2013 © The artist, courtesy LUX 2

Magic Mirror

www.cca-glasgow.com/programme/5177bb27c118e3ac 4d000008

Ed Atkins, Warm, Warm, Warm Spring Mouths (2013) Courtesy CCA

laid over a woman’s chest with a cherry used to adorn her nipple. rrrrr Pucill, working in photography and film since Sarah Pucill’s film Magic Mirror hovers somethe early 90s, shares Cahun’s concern with a split where between a love letter to its subject, subjectivity. Both artists obsessively repeat an French Surrealist Claude Cahun, and a critical iconography of mirrors, shadows, and the female self-examination. Working in her favoured medouble, which represent the difficulty of embodying a whole, integral personality. In an illustrative dium of black and white 16mm, Pucill animates the photography and writing of Cahun, one of her arrangement, Cahun, this time with cropped hair and a dramatic checked coat, gazes at her own major influences. A series of highly staged tabcamera while her reflection stares off into space. leaux either recreate the earlier artist’s images Cahun snapped her lover of 40 years, Marcel or visualise the enigmatic prose of her 1930 text Aveux Non Avenus (Confessions Cut Off ), heard via Moore, in a similar pose. Pucill mixes up these constituents, creating Moore as the face meeting voiceover. Cahun’s well-known photographs include, for her partner’s in reflective glass, with a further instance, a doubled, superimposed self-portrait, mirror behind the couple, duplicating them and suggesting the beginning of an infinite doubling. where a pale, shaven-headed character contemplates her clone. Pucill recasts this as an actor Ideas like this make Magic Mirror an exacting closely resembling her idol, staring curiously at study of an intriguing figure from 20th century but this time swivelling around and exploring its art alongside a forceful philosophical tract on the doppelgänger. A strange, poetic line from Aveux female self-image. [Helen Wright] Non Avenus – “the mother was so unappetising www.glasgowfilm.org/theatre/whats_on/5234_magic_ that the baby was offered an aperitif before being mirror served the breast” – becomes a piece of pastry GFT

Photo: Alan Dimmick

Tomorrow Never Knows

CCA

1 August – 1 September 2013 The UK’s largest annual festival of visual art, presenting work by the best contemporary, modern and historic artists. Pick up your free artist designed map at participating galleries. www.edinburghartfestival.com @EdArtFest

Review

ART

THE SKINNY

The Love Affairs of Nathaniel P.

Four New Words For Love

The House of Journalists

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By Adelle Waldman

A product of a post-feminist, politically-correct upbringing, Nathaniel Piven is conscientious, intellectual and successful. He is also selfabsorbed, snobbish, shallow and in self-denial about most of the above. Waldman, like Jeffrey Eugenides, has no small talent for detailed character sketches, here skewering the chat of the New York literary intelligentsia and their obsessive analyses of personal relationships. The Love Affairs works its way through the women that Nate has known, filtering their appearances, quirks and personalities through his critical viewpoint. Waldman’s irony is to bestow on Nate intellectual snobbery and a profession to prefer rational, abstract argument, while the novel focuses on the deeply personal, in which lust, guilt and emotion win over logic and objectivity. He is a character who would be far happier if he were able to think less. This is a wonderfully capable, humorous, debut that gets under the skin of its protagonist to an uncomfortable degree. Nate is not easily likeable – he is too self-righteous and self-conscious for that – yet you cannot help but wince in recognition or nod in sympathy. Waldman pokes fun at the human tendency to pretend that we’re caring, superior members of society when really, we’re all creatures of self-obsession. [Alice Sinclair]

By Michael Cannon

“Things don’t cost what you give for them, they cost what you give up to get them.” So says Gina, an intelligent and resourceful young Glaswegian, who has pulled herself away from a pair of alcoholic parents to make something of her life as an independent single mother. She’s the first voice we hear in this emotionally compelling novel of platonic love and friendship across generations and class; indeed, she remains the core of the novel, even when we shift from her effective first person narrative to the more distancing, and far less engaging, authorial third person story of Christopher, a suburban London pensioner who has unexpectedly outlived his wife in a loveless, constrained marriage and is now learning to live and love again. Both Gina and Christopher have been damaged by the constraints on their lives, but Michael Cannon is brave enough not to suggest that two wrongs can easily make a right; Christopher, out of ignorance of the facts, makes several mistakes, not least his attempt to engineer a reconciliation between Gina and her mother. But they are both good-hearted people, and that is the link that binds them, despite having grown up in very different worlds. [Paul Cockburn] Out 5 Aug, published by Freight Books, RRP £8.99

Kiss Me First

By Lottie Moggach

By Tim Finch

Located in a London terrace, the House of Journalists is a refuge for writers exiled from their home nations due to conflicts of interest with their oppressive regimes. Tim Finch’s novel traces the story of the house’s inhabitants, just as mysterious new lodger AA arrives on the scene. One of the most impressive aspects of the book is the ease and authenticity with which the author manages to slip into a character’s voice: from the overbearing leader of the organisation, Julian; through to the elderly Mr Stan, body crippled through genetics and corporal punishment; and the unwanted intruder of Edward Crumb, an outside journalist sceptical of the house’s validity and with more than a touch of Christopher Hitchens in his pronouncements. The realism of the political aspects of the book come as no surprise when one learns Finch works for London think-tank The Institute for Public Policy Research, and was a BBC political journalist. His prose is efficient and engaging, and the unfolding story of a rupture at the heart of the house is well-handled. There are moments when it feels as if things could move faster, or that it’s missing a greater sense of drama, but generally The House of Journalists is an engaging debut. [Ryan Rushton]

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Leila is a socially isolated young woman who lives alone after the death of her mother. When the charismatic leader of an internet forum contacts her with a very special favour, Leila starts to take over the online identity of Tess, a wild child with a chequered past. At first, it is all too easy; no one has any reason to suspect that Tess is not who she was. But how much can Leila live through Tess without her own identity becoming blurred? Leila is an interesting narrator, an outsider who observes and doesn’t fully understand social interactions (she is, perhaps, mildly autistic), yet who becomes the perfect online mimic. Leila’s logical view of the world can be discomfiting; the dismissal of her generation’s shallow status updates and their herd fashion habits, plus her romantic naïvety that cannot translate to real life. Moggach has written am uncomfortable story for our social media times, suggesting a modern affliction where we do not really exist without the validation of others – those ‘likes’, retweets and replies are what create us. The tone is far from preachy, but is it a warning that we spend too much time online and not IRL? [Alice Sinclair] Out now, published by Picador, RRP £14.99

Out now, published by Jonathan Cape, RRP £16.99

Out now, published by Heinemann, RRP £14.99

The 40-Year Itch

In the second part of our look into the 40th birthday celebrations of world-renowned Scottish publisher Canongate, we throw open the application process to storytellers from across the arts Words: Ryan Rushton

David Shrigley

August 2013

ast month we looked at how Canongate are celebrating their 40th anniversary by inviting the nation’s leading movers and shakers across the arts to nominate their favourite bright young writers. This ‘storytellers of the future’ project aims to find the future heavyweights of their fields, selected by respected names such as CCA"s Francis McKee, Grid Iron's Judith Doherty, Liz Lochead Mark Cousins, David Shrigley, Chemikal Underground, and Alasdair Gray. Shrigley is a recent recipient of a place on the shortlist for the 2013 Turner Prize, having become a huge cultural presence thanks to the dry wit of his multi-disciplinary work. Glasgow’s Chemikal Underground record label was formed in the 90s by The Delgados and plays home to such renowned lyricists as Aidan Moffat and Malcolm Middleton. Gray of course needs no introduction as one of the true elder statesmen of Scottish arts. Although still best known for his groundbreaking novel Lanark, his restless drive to work in a variety of fields makes him an ideal nominator for the project. This month, to help them find the 40 upand-coming storytellers most likely to dominate in the next four decades Canongate are looking outwith the world of books and reaching into new media to locate the most exciting prospects Scotland has to offer. They’re throwing open their (metaphorical) doors and inviting submissions from storytellers outwith the confines of the literary world, from artists, lyricists, filmmakers, designers, animators, performers, illustrators and many more besides. This cross-disciplinary approach aims to anticipate the changes currently occurring in the world of publishing, speculating how ‘the book’ might continue to evolve and diversify, and offering opportunities for the collaboration between formats that Canongate clearly sees as a big part of the future.

BOOKS

The aim is to find the multidisciplinary storytellers who may not be on the nominators’ radars, but who could potentially lead their fields in years to come. Canongate asks those working in film, illustration, games, animation, music, art and performance to take a well-known story, myth or fable and reimagine it as something entirely new. The chosen finalists may get a chance to work with a Canongate author on a new piece of work, and could feature as a part of the 40th anniversary celebrations. The brand new Canongate 40 website has just launched where you can find all the information you need on becoming a ‘storyteller of the future,’ as well as finding links to the new 40 book. Visit canongate.tv/forty and get involved! In the coming weeks developments in the ‘storytellers of the future’ project will be announced, as well as details of a September launch event to bring everything Canongate 40 together. This extravaganza will feature award-winning authors such as Michel Faber reading alongside the Godfather of Tartan Noir, William McIlvanney, in an eclectic night hosted by South Bank’s poet-inresidence Lemn Sissay. In other 40th birthday news, a specially commissioned e-book of short fiction and art has been published and is available now. Showcasing work from Canongate’s all-star roster of artists, the book titled simply 40 features artwork and writing by David Shrigley, Karl Pilkington, Matt Haig, Lemn Sissay, Rebecca Miller, Margaret Atwood, Yann Martel, Michel Faber, Philip Pullman, Alasdair Gray, to name a few. Also included is a piece by Ruth Ozeki, Zen Buddhist priest and author of A Tale for the Time Being, nominated last month for this year’s Booker Prize. And the best part is, it’s completely free! www.canongate.tv/forty

Review

Venue of the Month: Paterson’s Land Part of Moray House, Paterson’s Land will be transformed during the Fringe into a temporary home for some of the finest work Scottish Opera and other high-profile theatre companies have to offer

Motherland

Nadine Livingston as Anna I. in The Seven Deadly Sins. Scottish Opera and Company Chordelia

uilt as a teacher training academy in the late 1800s, Paterson’s Land is still used today by Moray House School of Education. It is perhaps best known to Edinburgh residents as the former site of The Bongo Club on Holyrood Road – the nightclub occupied the building’s ground floor for several years. With its imposing façade and labyrinthine interior, it makes a remarkably atmospheric setting for a pop-up theatre venue, and this summer it will be home to some of the finest theatre, opera and performance practitioners Scotland has to offer. The General Director of Scottish Opera, Alex Reedjik, is enthusiastic about his company’s tenure at the venue this August. “Fringe venues are notoriously hard to find, and we wanted somewhere flexible enough that we could showcase a range of work, so when this opportunity for a partnership with the University of Edinburgh came up we were pleased,” he comments. “Once we’d programmed our own work, we realised we had a bit of spare capacity and invited some of our friends in other leading Scottish companies to join us. We’re delighted to have such a high quality programme and to be working alongside so many of our talented peers.” Those leading Scottish companies include the National Theatre of Scotland, whose Ménage à Trois is described as “a beautiful study of love, obsession, loneliness and manipulation,” and is a collaboration between performer Claire Cunningham and choreographer and video artist Gail Sneddon. Tron Theatre Company bring their acclaimed production of James Joyce’s Ulysses to the Fringe, while Theatre Uncut offer a double bill by David Greig. A spokesman for Scottish Opera gave us a run-down of their string of performances at Paterson’s Land this August: “Scottish Opera will perform five shows: 2011 Fringe hit and Herald Angel award winner The Seven Deadly Sins and new show, Dance Derby, based on the dance marathons of depression-era America, both

Preview

Photo: Mark Hamilton

Summerhall, 19-23 Aug

co-productions with Company Chordelia; its innovative shows for babies and toddlers BabyO and SensoryO; and Johnny McKnight and Gareth Williams’ new short opera Last One Out. The latter is presented alongside John & Zinnie Harris’s new short opera, The Garden, both shows having been originally commissioned by Sound Festival and performed in Aberdeen to capacity audiences in 2012.” With BabyO and SensoryO both breakout hits, allowing mums and dads to introduce their offspring to the delights of opera through interactive workshops and performances, Scottish Opera have been enrapturing a new generation of young music fans. SensoryO, set in “a magical, night-time world where anything is possible,” is aimed at 18-month-old babies to 3-year old children, and features music composed by Rachel Dury. BabyO, also composed by Drury, is aimed at 6-month-old to 18-month-old babies, and takes place in “a secret garden full of busy bees, ducks and splashing fish.” The Seven Deadly Sins meanwhile revives the classic 1930s satirical opera by Kurt Weill and Bertolt Brecht, in a production masterminded by director/choreographer Kally Lloyd-Jones. Described as a “cutting critique of capitalism,” the production won a Herald Angel Award in 2011, and could not arrive at a more aposite time, allowing the audience to take a witty and musical ride through the setting of a glamorous 1930s film studio, drawing some apt comparisons with celebrity-obsessed, recession-hit Britain. With a courtyard bar and Chapters Restaurant on hand to provide refreshments, and only a short walk from other festival hubs such as the Pleasance, Paterson’s Land looks set to be one of the jewels of this year’s Edinburgh Fringe Festival. See website for dates, times and prices throughout August www.patersonsland.co.uk

At the Fringe for the first time since 1993, Vincent Dance Theatre plan to take the Summerhall dissection room by storm this August. Directed and choreographed by Charlotte Vincent, Motherland grapples with the troublesome nature of gender politics in today’s society. More specifically, Vincent Dance Theatre focus on the inconsistent and often contradictory stereotypes around femininity and motherhood, as reflected in the song Pussy Riot: “I need to be available but not too available.” Devised in collaboration with the company’s core of Aurora Lubos, Janusz Orlik, Patrycja Kujawska as well as composer Alex Catona and dramaturg Ruth Ben Tovim, the performance is

An Actor’s Lament

Assembly Hall, 1-20 Aug An Actor’s Lament by Steven Berkoff comes to the Fringe to reveal the mystical world behind the curtain, the action behind the action. Drawing on over fifty years of acting experience, Berkoff has put together a comedy about what happens backstage in the space between the director’s barking, the playwright’s vision, and the critics’ reviews. This is his first verse play since Decadence (1981), and features himself alongside Jay Benedict and Andree Bernard. Through this comedy, he showcases the life and problems actors experience. As Berkoff himself pointed out: “After years and years of working as an actor, you come up with a few comments about the nature of the

Theatre Uncut

Paterson’s Land, 20-24 Aug With the Scottish independence referendum looming, political theatre seems to be spreading. Theatre Uncut are just one of many companies at the Fringe trying to engage in the debate. Multiple award winners in 2012, political theatremakers Theatre Uncut are back this year with Dalgety and Fragile – a double bill written specifically for the company by David Greig. Directed by Emma Callander, Dalgety follows two rural police officers in Dalgety Bay coming to terms with the appearance of the Naked Rambler. The second play on the bill is Fragile,

THEATRE

heavily influenced by the cast – a different combination of performers could have had a different outcome. The diversity of the international cast is reflected in the show itself; each cast member interprets the theme through their own perspective and brings their own varied skillset to the stage. From singing and dancing to playing the violin and electric guitar, there appear to be no shortage of surprises in this performance. With anger at the hypocrisies and inequalities of the modern world channelled into dance, live music, and theatre, Motherland is a production to move and entertain. [Eric Karoulla] Various times and prices www.vincentdt.com www.motherland.org.uk www.edfringe.com/whats-on/theatre/motherland

trade and its difficulties.” A Fringe-goer since 1966, Berkoff has often been associated with his very physical re-interpretations of epic Greek tragedies and classic works, like Oedipus (after Sophocles) and Agamemnon, as well as his own adaptation of Kafka’s Metamorphosis. Nonetheless, he has done his fair share of comedies. When asked about the transition between the two, he commented: “Comedy is merely the other side of the coin. And I particularly love writing comedy.” An opportunity not to be missed, An Actor’s Lament will be at the Assembly Hall until 20 August. [Eric Karoulla] 2.30pm, various prices www.edfringe.com/whats-on/theatre/actor-s-lament

directed by Hannah Price, which concerns itself with the repercussions of cuts in mental health support. Theatre Uncut was set up in 2010 as a response to austerity measures and public spending cuts. The company allows plays to be downloaded and performed anywhere in the world, thus far involving over 3000 performers in 17 countries, leading to their nomination for an Amnesty International Freedom of Expression Award in 2012. [Eric Karoulla] 3pm, Paterson’s Land, sneak previews of 2013 plays 5, 12, and 19 Aug at the Traverse, various prices www.theatreuncut.com

THE SKINNY

Photo: Hugo Glendinning

Words: Illya Kuryakin

Win £200 of Dr. Martens Vouchers

Win tickets to the Book Festival

r. Martens has teamed up with The Skinny to offer one lucky reader the chance to win a staggering £200 worth of vouchers to spend instore and four tickets for the VIP launch event. To mark the launch of the iconic brand’s new stand-alone store on Edinburgh’s Princes Street, Dr. Martens will reward one loyal enthusiast with a chance to shop amongst its individual designs, styles and looks from its new collections. The new store will open on 14 August on the city’s busiest shopping street, amidst festival goers and die hard DM lovers. Incorporating its British design heritage, the new arrival is much anticipated by its followers throughout the city and the east coast. To be in with a chance of winning in-store launch event tickets plus £200 worth of vouchers to spend on clothing or signature statement shoes and boots, please head along to www.theskinny.co.uk/about/competitions and answer the following question: In which Scottish-inspired film did one of the main characters wear a pair of Dr. Martens? a. Braveheart b. Trainspotting c. World War Z

Entrants must be 18 or over. Competition closes midnight Sun 11 Aug. Winners will be notified via email within one working day of closing and will be required to respond within 24 hours or the prize will be offered to another entrant. Full terms and conditions can be found at www.theskinny.co.uk/about/terms.

August 2013

t is now 30 years since the first ever Edinburgh International Book Festival and to celebrate we are giving away tickets to this year’s event. From 10 to 26 August, over 700 rousing, moving and inspiring events take place, with 800 authors gathering in Charlotte Square Gardens for enlightening interviews, serious debates, musical high jinks, comics and comedy. Literary stars join 80s pop-stars; Booker-winners join comics creators and shiny new debut novelists join bedtime reading favourites. Answer the question below for your chance to win 2 tickets to an event of your choice (subject to availability).

a.1985 b.1983 c.1989 To enter, head along to www.theskinny.co.uk/about/ competitions and register your guess. Competition closes midnight Sunday 11 August. 10 correct entries will be picked from a draw and winners will be notified by email. Winners are required to respond within two working days or the prize will be offered to another entrant. Full terms and conditions can be found at www.theskinny.co.uk/about/ terms.

In what year did the first Edinburgh International Book Festival take place?

COMPETITIONS

Preview

Y O U R F E S T I VA L S T Y L E D E S T I N AT I O N ADIDAS, BENCH, FAT FACE, FOSSIL, FRED PERRY, KAREN MILLEN, KURT GEIGER, LACOSTE, LEVI’S, NIKE FACTORY STORE AND TED BAKER

livingstondesigneroutlet.com

Glasgow Music Tue 30 Jul

CAST THE NET (GALLERIES)

BLOC+, 21:00–01:00, FREE

Regular showcase night taking in a handpicked selection of exciting new Scottish artists and bands.

KING TUT’S SUMMER NIGHTS: PRIDES (DISCOPOLIS + PLUM) KING TUT’S, 20:30–23:00, £6

King Tut’s Summer Nights schedule continues with a headline set from Glasgow-based trio Prides, who recently did a rather fine mix of Giant Fang’s Aqualung (seek it out on Soundcloud). THE BALLET + THE FELT TIPS + MAKING MARKS

THE GLAD CAFE, 19:30–23:00, £7

Indie pop-styled showcase night with melocic offerings from NYC, Norway and Glasgow respectively.

Wed 31 Jul

CIRCLE TAKES THE SQUARE (CODE ORANGE KIDS + FULL OF HELL)

CLASSIC GRAND, 18:30–22:00, £10

US-of-A-hailing experimental screamers singing punk-rock tunes about the end of the world as we know it. KERRY WATT, SIOBHAN WILSON, KAT HEALY, ERIN TODD

THE ART SCHOOL UNION, 19:30–22:30, £5

Singer/songwriter showcase headed up by the soulful tones of Scottish songstress Kerri Watt.

KING TUT’S SUMMER NIGHTS: WAITING FOR GO (THE STREAMS + MODEL AEROPLANES + REDOLENT) KING TUT’S, 20:00–23:00, £6

King Tut’s Summer Nights schedule continues with a headline set from Glasgow quartet Waiting For Go – currently making their own amiable brand of swaggering indie-rock. FOOTBALL, ETC. + PLAIDS

13TH NOTE, 20:00–23:00, £TBC

Houston-based emofied indie trio Football, etc. tour their joint 7-inch with Nottingham punk lot, Plaids. CAPTAINS

BLOC+, 21:00–01:00, FREE

The hot-blooded Dundonian riff-core unit bring their wares to Glasgow.

Thu 01 Aug JAI MCDOWALL

CLASSIC GRAND, 19:00–22:00, £16.50 ADV.

Ayrshire singer/songwriter who won the fifth series of Britian’s Got Talent, if yer bothered. KING TUT’S SUMMER NIGHTS: ARCHES (FINDING ALBERT + MINOR DELILAH) KING TUT’S, 20:00–23:00, £6

King Tut’s Summer Nights draws to a close with a headline set from Glasgow rockers Arches – made up of various former members of a selection of Scottish bands. EYEHATEGOD (THE GATES OF SLUMBER + BACCHUS BARACUS)

IVORY BLACKS, 19:30–22:00, £12

The New Orleans noisemakers – founded by Jimmy Bower under a different line-up back in 1988 – take to the Weege, building their sound on elements of southern rock, blues riffs and hardcore punk. SENSER

AUDIO, 19:00–22:00, £10

Politically-charged rock, metal, hip-hop and alternative electronica-styled ensemble who came back from hiatus in 2009, now touring to showcase their new LP, To The Capsules.

NAPOLEON’S DOGS (MIKEY 9S + QUEEN JANE + MADE AS MANNEQUINS)

THE POETRY CLUB, 19:00–22:00, £4 ADV.

The Afrobeat-styled indie-pop lot host their final outing, with all pre-booked ticket holders getting a copy of their farewell EP. Wake Up Advice provide visuals and show off work between sets.

Fri 02 Aug THE DAMNED

O2 ABC, 19:00–22:00, £17.50

The seminal punk foursome take to the road again, now rather impressively in their 36th year of being.

August 2013

THE LITTLE KICKS (QUAID + NEVADA BASE) KING TUT’S, 20:30–23:00, £6

More upbeat and catchy indie-pop from the Scottish four-piece; can’t say fairer.

THIS FEELING (CITIES GLOW + THE CRACKLIN VOID + LIZABETT RUSSO + LAUREN CROWN) MAGGIE MAY’S, 19:30–22:00, £6

The favourited London rock’n’roll night takes a trip to Scotland, with a selection of live bands taking to the stage. TEXAS IS THE REASON

CLASSIC GRAND, 18:30–22:00, £14 ADV.

American emo post-hardcore ensemble founded in 1994 by former Shelter guitarist Norm Arenas and 108 drummer Chris Daly. BLUE NOVA (COLIN HUNTER + INVITED TO GO)

13TH NOTE, 19:30–23:00, £3

Unhinged rock’n’rollers from Barrhead, who’ve been giggin’ their way around Glasgow for the past four years. JIM KING (ROWAN KING)

THE GLAD CAFE, 20:00–22:00, £DONATION

The political singer/songwriter sings a selection of rants, satire, pathos, wit and other tales of social justice. THE SEA KINGS (ANIMAL LOVER)

NICE ‘N’ SLEAZY, 20:00–23:00, £5

BIS (GHOSTS OF DEAD AIRPLANES) MONO, 19:30–22:00, £7 ADV.

Infrequent visitors on the live circuit, (a very pregnant) Manda Rin and her Bis cohorts revive their finest hyper-pop moments for an intimate hometown outing at Mono, playing what will be their third and final gig of this year SEMPER FI (OF ONE BLOOD + HERE STANDS ILITHYIA + TRAUMA INC + OPERATION: CERTAIN DEATH) PIVO PIVO, 19:00–23:00, £TBC

The Aberdonian alternative metal quartet come oot all guns blazing, as per – helping raise funds for the New Hellfire Club’s planned new Glasgow hub.

HEADBANGERS BALLS (I AM I + STATES OF PANIC + REIGN OF FURY + CNOC AN TURSA) CLASSIC GRAND, 18:30–22:00, £10

Hardstyled fundraiser night designed to raise awareness for testicular cancer, with profits going to the Teenage Cancer Trust. ANTA (PIGSHACKLE)

13TH NOTE, 20:00–23:00, £TBC

The Bristol-based prog leviathans take to the road, showcasing their new album, Centurionaut.

Mon 05 Aug

DANIEL AND THE SCANDALS

CLASSIC GRAND, 18:00–22:00, £7 ADV.

EMMA’S IMAGINATION

THE WISHING WELL

NICE ‘N’ SLEAZY, 19:30–23:00, £12

13TH NOTE, 20:00–23:00, £TBC

Glasgow-based alternative acoustic singer/songwriter, aka Emma Gillespie. LAST IN LINE

CATHOUSE, 19:00–22:00, £17.50

Original Dio members in a new band line-up, touring on a bittersweet note of the back of Vivian Campbell’s cancer diagnosis. HEADLESS KROSS

13TH NOTE, 20:00–23:00, £TBC

Glasgow-hailing doom metal outfit, visceral and ferocious in their approach. EVIL EDISON

BROADCAST, 19:30–22:00, £5

Glasgow heavy rock quartet, fresh on the back of finishing production on their self-titled debut EP.

SAINTS (ORPHANS + KILLER CURE + DEAD TEMPLE + JAMIE AND THE BUZZ) BUFF CLUB, 19:15–22:00, £5

Dumfries-based rockers currently on tour with locals pals, Orphans, and a raggle-taggle host of Scotch support.

Sat 10 Aug

THE MOUSE THAT ATE THE CAT (GINGERBEARDMAN) NICE ‘N’ SLEAZY, 19:30–23:00, £5

Glasgow-based duo made up of Brian Henderson (lead singer of The Dykeenies) and Colin Keenan (ex-Drive-By Argument guitarist), making delightful electro-styled indie-pop that uses synths, samples, guitars and layered vocals.

The Glasgow bunch preview material from their upcoming Chem19-recorded album and single, as well as saying a fond farewell to drummer and founding member Stephen McGrath.

Brighton-based pop-meets-rock lot who began tinkering with by the seaside in late 2010.

Tue 06 Aug

Alternative folk, Americana and blues-tinged rock from Mark Clinton’s Bellshill-based outfit.

ORAN MOR, 19:00–22:00, Â£15

BLOC+, 21:00–01:00, FREE

BROADCAST, 20:00–23:00, £8

TREMBLING BELLS + MIKE HERON

WRONGKONG (A SUDDEN BURST OF COLOUR + LOST GHOSTS)

Original Incredible String Band member Mike Heron teams up with Glasgow’s own kings and queens of modern folk, Trembling Bells, to perform new arrangements of some ISB classics.

Slick German electro-posters currently selling cars across the continent.

Sat 03 Aug

Glasgow-based experimental four-piece mixing solid pop-punk and rock influences with flourishes of orchestral arrangements.

THE MODESTS (BURN THE MAPS)

PIVO PIVO, 19:30–22:00, £5

Glasgow rock quartet led by frontman Jackson Harvey on lead vocals and rhythm guitar. THIS FEELING (JACK BUTLER + SONIC TEMPLARS + LUCA + THE MODESTS + THE HALLOWS) MAGGIE MAY’S, 19:30–22:00, £6

The favourited London rock’n’roll night takes a trip to Scotland, with a selection of live bands taking to the stage. ENEMIES OF THE STATE (WE CAME FROM THE SEA + LIAM TENNANT)

THE ART SCHOOL UNION, 19:00–22:00, £5

Formed at the tail-end of 2012, the fledgling indie-rock locals showcase tunes their new EP, Open Your Eyes. CLYDESIDE CASINO

BUFF CLUB, 19:15–22:00, £6

The local post hardcore lot play joined by a bill of friends and bands they are fans of. LIGHTS OUT BY NINE

THE GLAD CAFE, 19:30–22:00, £10

The Glasgow rhythm and blues stalwarts celebrate their 25th year by bringing a whole seven-piece band to The Glad Cafe. THE AFTERAFFECTS

NICE ‘N’ SLEAZY, 20:00–23:00, £3

The Glasgow ensemble host a launch party for their forthcoming LP. SONIC REDUCERS (VICTIMS OF VENTRILOQUISM + THE YAKS + CLENCH) STEREO, 19:00–23:00, £6

Glasgow-based punk-rock trio who started life playing as Delgado. SCOSHA (SCOTT CHARLES + EMMA JAMES) KING TUT’S, 20:30–23:00, £6

The Glasgow-based rock-meetspop singer/songwriter plays a Tut’s set.

Sun 04 Aug TRONGATE RUM RIOTS

NICE ‘N’ SLEAZY, 19:30–23:00, £5

Scottish ensemble comprising seven lads and one lass making their own brand of folk-punk songs, or ‘hyper-sea shanties’ as they call ‘em.

Wed 07 Aug THE CIAZARN AFFAIR

CLASSIC GRAND, 18:30–22:00, £6

GENERATIONALS (WINDLINGS)

BROADCAST, 20:00–23:00, £7

New Orleans indie-rock duo made up of Ted Joyner and Grant Windmer, touring their latest LP, Heza. THE NIGHT TRIPPER

13TH NOTE, 20:00–23:00, £4

Barlarnark-born muso who writes, records and performs his own alternative soundscapes.

Thu 08 Aug

JOHN KNOX SEX CLUB (BODY PARTS)

NICE ‘N’ SLEAZY, 20:00–23:00, £5

Rather ace Glasgow quintet and their helter-skelter brand of art-rock. SUPER ADVENTURE CLUB + GALOSHINS + CUDDLY SHARK + THIRTY POUNDS OF BONE

BROADCAST, 19:30–23:00, £5

Armellodie Records mini showcase, headlined by the rollicking hardcore assaults of Super Adventure Club – who’ll be marking their last show for the forseeable future. THE LUCK OF EDEN HALL

13TH NOTE, 20:00–23:00, £TBC

Chicago-based psychedelic rock’n’rollers, imbuing their sound with plenty poppish elements as they go. DOUGIE GREIG (BAD LUCK + JULIA AND THE DOOGANS)

MONO, 19:30–22:00, £4

The solo singer/songwriter – and lead singer of classic rock outfit Roadway – launches his debut album, Black Water Son, a blend of live guitar loops and soaring vocals. GOOD GRIEF’S GOOP SHOP

BLOC+, 21:00–01:00, FREE

The DIY zine collective present an evening of alternative sounds, this time headlined by Mexican post-rock lot, The Polar Dream, out on their first Euro tour.

Fri 09 Aug MECHANICAL SMILE

STEREO, 19:00–22:00, £5

Two guys and two girls from Ayrshire, combining rock, pop and grunge to create their own melodic and pulsating sound.

THE LONELY SOULS

STEREO, 19:00–22:00, £5

COLD CAVE

The New York-based misfits continue to hone their addictive, irrepressible take on 80s goth and electro – one angsty synth-pop gem at a time. DEAD!

THE OLD HAIRDRESSERS, 19:00–22:00, £4 ADV.

The Southampton-based punkmeets-rock lot take to the road for the next instalment of their Beautiful Broken Bones tour.

Orchestral tapestry of folk, pop and rock – originally hailing from Australia, and now featuring an international group of troubadours spanning three continents. SEX HANDS (THE YAWNS + CUTTY’S GYM)

NICE ‘N’ SLEAZY, 19:30–23:00, £4

MARK MCGUIRE BROADCAST, 20:00–23:00, £7.50

Ambient/minimalist muso from Cleveland, now going solo following his recent split from the band he helped found – Emeralds. THE GLAD CAFE: 1ST BIRTHDAY WEEKEND (TREMBLING BELLS + RICHARD JAMES + BIG HOGG)

THE GLAD CAFE, 20:00–23:00, £TBC

The Manchester quartet play a set of their rather fine tunes inspired by episodes of Friends – loud and abrasive, yet chock with subtle pop complexities.

The Glad Cafe celebrate their 1st birthday with a special musical weekender, with the second day headlined by those kings and queens of modern folk, Trembling Bells.

BLOC+, 21:00–01:00, FREE

Sun 18 Aug

THE STATIC CULT (CLEAVERS)

The former Bad Religion stage-mates do an all-too-rare hometown show.

Thu 15 Aug NEWLIFE

BLOC+, 21:00–01:00, FREE

The Newlife crew present their monthly hanpicked selection of the best new left-field Scottish talent. GLASGOW SUMMER SESSIONS: KINGS OF LEON

BELLAHOUSTON PARK, 16:00–21:00, £49.50

The Tennessee-hailing quartet – made up of three brothers and a cousin – bring the stadium-sized chanting choruses. Part of a series of outdoor summer sessions in Glasgow’s Bellahouston Park. NO ISLAND (DTP + GUNFINGER)

13TH NOTE, 20:00–23:00, £TBC

Local noisemakers who take a simplistic approach to aggressive music – which ne’er fails to find vocalist Chris McGlynn throwing himself around the floor space, rhythm-section in full swing. EMPTY LUNGS (THE HOSTILES)

NICE ‘N’ SLEAZY, 19:30–23:00, £4

Belfast-based punk-rock quartet known for their high-energy live outings.

ECHOBELLY (ONE LAST SECRET + SONIC TEMPLARS + TRAGIC O’HARA)

STEREO, 19:00–22:00, £7

Glenn Johansson and Sonya Madan (of Britpop ensemble Echobelly) return to the live circuit for an acoustic outing, showcasing a recent batch of songs recorded under their Calm Of Zero guise.

Fri 16 Aug

ELECTROBUDDA (REFUGE POINT + PARKER)

STEREO, 19:00–22:00, £5

The up-and-coming Glasgow ensemble plays tracks from their new LP.

Mon 19 Aug ALLAH-LAS

BROADCAST, 20:00–23:00, £TBC

Los Angeles-based rock quartet keeping true to their Californian roots, building their sound on fuzzy harmonies, well-worn Fenders and suntans.

Tue 20 Aug

CAST THE NET (EMERALD SUNDAY + QUIET AS A MOUSE)

BLOC+, 21:00–01:00, FREE

Regular showcase night taking in a handpicked selection of exciting new Scottish artists and bands. GLASGOW SUMMER SESSIONS: EMINEM

BELLAHOUSTON PARK, 16:00–21:00, £55

The American rap chap plays under his Eminem alias, marking a rare Scottish date in the Weege. Part of a series of outdoor summer sessions in Glasgow’s Bellahouston Park. TORCHE

BROADCAST, 20:00–23:00, £12.50

Bridging pop and metal like no one else’d bloody dare, the Miami ensemble continue to realise their crazed, yet delicate balance between doom metal, grunge and power pop. REGINA SPEKTOR

O2 ACADEMY, 19:00–22:00, £25

Ayrshire heavy alternative rock quintet led by Dennis Coles on lead vocals and guitar.

Florida metallic rock ensemble, the brainchild of Rich Ward and Chris Jericho, on the road for their European summer tour.

Having kicked off her 2013 summer tour at The Secret Garden Party, the anti-folk songstress showcases her new album, What We Saw From The Cheap Seats, to a Scottish crowd.

Mon 12 Aug

13TH NOTE, 20:00–23:00, £6

Wed 21 Aug

WASTED YEARS

THE GARAGE, 19:00–22:00, £5

THE B-52’S

O2 ABC, 19:00–22:00, £28.50

The longstanding new wave ensemble play a set of dance rock favourites. ATLAS:EMPIRE (HALO TORA)

O2 ABC, 19:00–22:00, £6

FOZZY (BREED 77)

CATHOUSE, 19:00–22:00, £14

LUCID DREAM (HELICON)

Four piece psychedelic bunch from Carlisle, out on the road touring their debut LP, Songs of Lies and Deceit. CROTCH ROT (HEAD SHOT + ZERO HOUR + FRIDAY MORNING CLUB) BUFF CLUB, 19:15–22:00, £5

The Glasgow progressive rock quartet play a set cherrypicked from their sophomore EP, Somnus – a mightly mix of alternative rock, ambient electronica and energetic post-hardcore.

The punk rock veterans do their thing, while we do our best not to envisage that thing wot their name suggests.

ORAN MOR, 19:00–22:00, Â£27.50

The Glad Cafe celebrate their 1st birthday with a special musical weekender, for which they’ve assembled their very own supergroup – Carbs – made up of Jonnie Common, Jamie Scott (one half of Conquering Animal Sound), and Jay Kural (of Field Mouse).

PATTI SMITH

The legendary rock’n’roller, poet and artist takes to the stage for a predictably sold out show, familiar yowl and husk well and truly in place.

Tue 13 Aug

CAST THE NET (DAYDREAM FRENZY + FELIX CHAMPION + UNTIL WE’RE HEROES) BLOC+, 21:00–01:00, FREE

Regular showcase night taking in a handpicked selection of exciting new Scottish artists and bands.

LOMA PRIETA (GUNFINGER + FIESTA MINOR)

AUDIO, 19:00–22:00, £8

The Bay Area hardcore mainstays bring their wares to Glasgow, known for eschewing sub-genres in favour of organically-written songs.

Wed 14 Aug BUKE AND GASE

BROADCAST, 20:00–23:00, £7

Brooklyn-based experimental duo made up of Arone Dyer and Aron Sanchez, building their sound on a variety of bizarre handmade instruments (six-string former baritone ukulele, we’re looking at you).

THE GLAD CAFE: 1ST BIRTHDAY WEEKEND (CARBS) THE GLAD CAFE, 20:00–23:00, £TBC

Sat 17 Aug

DEATHCATS (HOOKERS FOR JESUS + ET TU BRUTE)

13TH NOTE, 20:00–23:00, £TBC

The Glasgow guitar popsters drop a set of their fiery post-surf brand of hardcore, as per the Deathcats law. SELECTIVE SERVICE (KILL SURRRF)

NICE ‘N’ SLEAZY, 19:30–23:00, £5

Rock’n’roll fusion of reggae, funk and a dash of soul. GLASGOW SUMMER SESSIONS: AVICII + TINIE TEMPAH

BELLAHOUSTON PARK, 16:00–21:00, £49.50

22-year-old Swedish megastar of a DJ Acicii plays a special set alongside the pop-styled rap offerings of South London chap Tinie Tempah. Part of a series of outdoor summer sessions in Glasgow’s Bellahouston Park.

MERCHANDISE (BABY STRANGE)

BROADCAST, 20:00–23:00, £7

Florida-based band of rockers, riding along on interestingly experimental punk and hardcore soundscapes. DEPARDOOS

NICE ‘N’ SLEAZY, 20:00–23:00, £3

Glasgow-based blues rock’n’rollers intent on (we quote) ‘bringing 4th wave renaissance post-acid nurseycore funk jazz to the 6th and 7th dimension’. Yeah, that. JKLMNO (KENDA NAGASAKI)

BLOC+, 21:00–01:00, FREE

Lush touring English indie-pop outfit.

Thu 22 Aug

FRONT LINE ASSEMBLY (HAUJOBB + JE$US LOVES AMERIKA)

CLASSIC GRAND, 19:00–23:00, £15 ADV. (£17 DOOR)

Canadian electro-industrial lot formed by Bill Leeb back in 1986 (after leaving Skinny Puppy), touring to promote their new LP, Echo Genetic.

LE RENO AMPS + CHRIS DEVOTION AND THE EXPECTATIONS + SAINT MAX AND THE FANATICS + GASTRIC BAND BROADCAST, 20:00–23:00, £5

Armellodie Records mini showcase, headlined by the harmonic pop tones of north-east Scotland lot, Le Reno Amps. ALPHA MALE TEA PARTY

BLOC+, 21:00–01:00, FREE

The Liverpool-based choppy alternative punk instrumentalists play a set of their noise-happy angular tunes.

Fri 23 Aug

DIE! DIE! DIE! (GARDEN OF ELKS + YOUNG PHILADEPHIA)

NICE ‘N’ SLEAZY, 20:00–23:00, £5 ADV. (£6 DOOR)

New Zealand pop-punk hellraisers known for their vitriolic live cacophony of noise. ENEMIES OF THE STATE (WEIRD DECIBELS)

O2 ABC, 19:00–22:00, £8

Formed at the tail-end of 2012, the fledgling indie-rock locals showcase tunes their new EP, Open Your Eyes. THE HUNGER PACT (THE BEAT MOVEMENT + STATIC FUTURE + PACIFIC BLUES)

BUFF CLUB, 19:15–22:00, £5

Blue-inspired English rockers, taking their influence from the likes of Velvet Revolver, Chris Cornell and BB King. HAIKU SALUT (A NEW INTERNATIONAL + ALLY KERR)

THE GLAD CAFE, 19:30–22:00, £6

Derbyshire-based trio using accordions, ukeleles, glockenspiels, pianos, loopery and laptopery to create their own unique brand of sounds. That do ye?

Sat 24 Aug

ELECTRIC FROG VS PRESSURE: RIVERSIDE FESTIVAL (JAMIE XX + BOYS NOIZE + LEN FAKI + JOSH WINK + TIMELINE + SLAM + OPTIMO + AUNTIE FLO) RIVERSIDE MUSEUM, 16:00–23:00, £25 EARLYBIRD

The Electric Frog and Pressure join forces to make merry on the banks of the River Clyde, with an electronic all-dayer featuring the likes of Jamie XX, Josh Wink, Boys Noize and Len Faki, plus live comedy, performance art and boutique stalls. CROCODILES

BROADCAST, 20:00–23:00, £TBC

San Diego garage rock duo made up of Brandon Welchez and Charles Rowell, touring their new LP, Crimes of Passion, which drops in August. SWEETHEARTS OF THE PRISON RODEO

13TH NOTE, 20:00–23:00, £TBC

Falkirk based music collective, based around the idiosyncratic compositions of songwriter D. King.

Sun 25 Aug

PALM READER (LIFELINES + CITAGAZI) KING TUT’S, 20:30–23:00, £6

Woking-based heavy rock lot, adept at playin’ it hard and loud. P FOR PERSIA (SPEAK GALACTIC)

BLOC+, 21:00–01:00, FREE

Brighton-based noise rock electronica ensemble let by Daniel McNally on vocals and guitar.

Thu 29 Aug

THE COLOUR PINK IS GAY (FIESTA MINOR + WINTERS + SECTIONED)

KING TUT’S, 20:00–23:00, £6

Technical death metal band from Glasgow, playing intense, bludgeoning metal with a progressive bent. And a bit of a lame name. STRETCHED

BLOC+, 21:00–01:00, FREE

Fledgling jazz-influenced alternative night, all-new to Bloc’s lair. DAVID BYRNE AND ST VINCENT

GLASGOW ROYAL CONCERT HALL, 19:30–22:00, FROM £30

Talking Heads co-founder David Byrne and Annie Clark (aka St Vincent) tour on the back of their collaborative new LP, Love this Giant, played out in a live setting with suitably epic brass band backing. SAM DICKSON

13TH NOTE, 20:00–23:00, £6

YouTube top 40 charting singer/ songwriter hailing from Newcastle Upon Tyne, riding along on his soulinspired sounds.

THE WINTER PASSING (HINDSIGHTS + WOLVES AT HEART + DRIVEWAY) BROADCAST, 20:00–23:00, £5

The Irish indie-rock quartet make a return visit to Glasgow, touring with a batch of pop-punk supports. JESS SMITH

THE GLAD CAFE, 20:00–22:00, £4

Unique evening off tales and songs from Scottish lass Jess Smith, who spent her formative years as part of a Scottish traveller family – from which she draws much of her inspiration.

Fri 30 Aug WE WERE KINGS

O2 ABC, 19:00–22:00, £8

Washington-based band of alternative pop-rockers formed by frontman Nathan Ihara (formerly of Welbilt) back in 2010. SKATERS

KING TUT’S, 20:30–23:00, £7.50

Mon 26 Aug

New York-residing plasma-punk outfit, comprised of lead singer Michael Ian Cummings and drummer Noah Rubin (both formerly of The Dead Trees), and guitarist Joshua Hubbard (who’s played in The Paddingtons and Dirty Pretty Things).

BLOC+, 21:00–01:00, FREE

PLATFORM, 19:00–22:00, £10

SOUTHSIDE AMERICANA (THE DADDY NAGGINS + JACK LAW)

THE GLAD CAFE, 20:00–22:00, £5

Showcase night of acts with, yep – you guessed it – a distinct Americana flavour. SLOW CLUB (THE BLAS COLLECTIVE)

Relaxed music night soundtracked by a selection of live guests from the local scene, completed by mood lighting, candles and cake. Could it be any bloody lovelier? METAL RABIES (MATHEW PASTKEWICZ + LUMINOUS MONSTER + WORD OR OBJECT + GENETIC NOOSE + SISSYBOY SLAP PARTY + MADAM)

13TH NOTE, 19:30–23:00, £3

The renowned noise bastards bringing their self-destructive best back to Glasgow.

Tue 27 Aug

CAST THE NET (VOLANTES + LEMON HAZE)

BLOC+, 21:00–01:00, FREE

Regular showcase night taking in a handpicked selection of exciting new Scottish artists and bands. OFF WITH THEIR HEADS

AUDIO, 19:00–22:00, £8 ADV.

Minneapolis-based punk-rock ensemble, currently touring their new LP, Home. LONNIE LISTON SMITH AND THE NEW COMIC ECHOES

O2 ABC, 19:00–22:00, £18.50

American jazz, soul and funk musician Lonnie Liston Smith plays a set aided-and-abetted by her live band, The New Cosmic Echoes.

Wed 28 Aug

TWO YEARS IN RUSSIA (EVANJACK + HOLLY DRUMMOND + DEAR LARA)

NICE ‘N’ SLEAZY, 19:30–23:00, £4

Scottish rock ensemble blending dark tales against uplifting melodies.

MAEVE O’BOYLE

The Glasgow songstress returns from her self-imposed three-year hiatus to preview tracks offa’ her second LP, Being Patient, with full band accompaniment. TAILOR BIRDS (THE CHERRY WAVE)

13TH NOTE, 20:00–23:00, £TBC

New electronic project of violinist Sophia Kinston, built on her crazy violin sounds, vocals, guitars, accordian and piano. THERMAL AND A QUARTER (A SUDDEN BURST OF COLOUR + FAIR WEATHER SOLDIERS + NO MORE TOMORROW)

BUFF CLUB, 19:15–22:00, £6

Fresh from their residency at Edinburgh festival, the Bangalore indie-rockers share the love Glasgow way – playing their first show there since 2006. STEFAN BLOMEIER + CLAIRE + FLACCID HAUS

THE GLAD CAFE, 20:00–22:00, £5

Showcase night with artists associated with new Glasgow label, Instructional Media, including Denmark’s Stefan Blomeier and Claire who together merge sequencer work with flurries of drum machine and synth sweeps.

Sat 31 Aug PARADIGM SHIFT

PIVO PIVO, 19:30–22:00, £5

Rock fusion combining delicate melodies, layered vocals, consummate musicianship and earthshaking riffs in one impressive whole.

Listings

THE VEX 13TH NOTE, 13:30–16:00, £4

The newly-reformed Weegie lot play an extended set of classic and rockin’ tributes of songs that inspired them. THE SNIPES (THE COFFINS + THE JACKHAMMERS)

AUDIO, 19:00–22:00, £5

After a two-year break, the Glasgow quartet return a-fresh with a set of their trademark singalong punk anthems. STEVE VAI

O2 ACADEMY, 19:00–22:00, £27.50

The virtuoso guitarist and visionary composer adds an additional run of European dates to his The Story Of Light album tour – showcasing his critically-acclaimed solo album of original material. GORDON AIRLIE

THE GARAGE, 19:00–22:00, £5

Young rock-meets-pop singer/ songwriter hailing from Milton of Campsie. JUST HANDSHAKES

THE GLAD CAFE, 19:30–22:00, £TBC

The Leeds-based indie-pop ensemble showcase their nostalgic leanings, heard via vintage string synths and guitars. OF KINGS AND CAPTAINS (THE BAWLERS + ALBURN)

KING TUT’S, 20:30–23:00, £6

The Stourbridge four-piece bring their radio friendly rock-meetspop sound, to Scotland.

Edinburgh Music Tue 30 Jul

TOMLIN LECKIE (THE JELLYMAN’S DAUGHTER + MICHAEL MACFARLANE + MIRIAM REMALLY) THE VOODOO ROOMS, 19:30–22:30, £5 ADV. (£6 DOOR)

The bluesy folk singer/songwriter launches his new EP, We Are Stories, supported by a selection of handpicked musicans. PICNIC BASKET NOSEDIVE

BANNERMANS, 20:00–23:00, £4

Balloch and Dumbarton-straddling pop-punk noisemakers who describe their sound as ‘shitey mosher music’.

Thu 01 Aug

TWISTED WHEEL (THE RAH’S + THE LITIGATORS + THE VELVETEEN SAINTS)

CABARET VOLTAIRE, 19:00–22:00, £10

Indie-styled Manc trio led by Jonny Brown on vocals and guitar. THE CUT UPS (UNIFORMS + THE KIMBERLY STEAKS + THE WALKING TARGETS )

THE BANSHEE LABYRINTH, 20:00–23:00, £5

The Exeter melodic punk rockers play their first Scottish show in three years, with strong local support. SKILTRON (ACHREN + ARCEYE)

BANNERMANS, 20:00–23:00, £TBC

Folk metal lot from South America, touring their just-released new album, Into the Battleground.

THE PALE IMITATION FESTIVAL (WILLIAM HENRY MILLER + JONNIE COMMON + THE BAD BOOKS + PALE IMITATION DJS) HENRY’S CELLAR, 19:00–01:00, £5

DIY label and blogger Song, By Toad hosts a series of special music outings, focusing on showcasing quality local acts and providing a refreshing enclave from the hubbub of the Fringe. Hoorah.

Fri 02 Aug

CANCEL THE ASTRONAUTS (SHOOTING STANSFIELD) SNEAKY PETE’S, 19:00–22:00, £TBC

More hook-friendly indie-pop, as the chirpy Edinburgh quintet bring smiles to faces once more. STANLEY ODD

THE QUEEN’S HALL, 20:00–23:00, £10

The inventive hip-hop sextet reprise their Celtic Connections collaboration with renegade classical 12-piece string section, the Electric String Orchestra. Expect the magical. CAPITALS

CABARET VOLTAIRE, 19:00–22:00, £6

The emotive Edinburgh electronic duo play a special fstival set, fresh from launching their new single in the Weege a few months back.

Listings

Edinburgh Music JACK ROWBERRY (AARON WRIGHT + PENNY BLACK) ELECTRIC CIRCUS, 19:00–22:00, £5 ADV.

The young blues guitar singer/ songwriter launches his new EP, Ladybird. DETHONATOR (WARHEAD)

BANNERMANS, 20:00–23:00, £5

Metallic thrash rock quartet whose general motto is ‘never stop headbanging’.

Sat 03 Aug

ALABAMA 3 (STAGGER RATS)

PICTURE HOUSE, 18:00–22:00, £18.50

The Brixton collective do their blues-rock-acid-house thing to pleasurable effect, cue teary eyes at the Sopranos opening theme song, Woke Up This Morning. LOVE AND MONEY

THE ASSEMBLY ROOMS, 20:30–22:00, £18

The Glasgow cult heroes of the edgily-literate jazz-rock variety take to the not-so-intimate surrounds of the Assembly Rooms to showcase their latest opus, The Devil’s Debt.

BORN TO BE WIDE: EDINBURGH SHOWCASE (ADMIRAL FALLOW + JELLYMAN’S DAUGHTER + BART EAGLEOWL) ELECTRIC CIRCUS, 20:00–01:00, £3

A selection of Scottish talent play ten minute sets on the hour and half hour, bolstered by local music aficianados playing their favourite four records by Edinburgh bands inbetween. RAT FACED BASTARD + TWICE THE TRAUMA + SUFFERINFUCK + MAJOR CUNT

HENRY’S CELLAR, 19:30–23:30, £5

Hardcore grind and noisecore, bringing the joys of Major Cunt to our attention, amongst others. GREG PEARSON

SNEAKY PETE’S, 19:00–22:00, £5

Indie-styled Edinburgh songwriter and multi-instrumentalist.

Mon 05 Aug ANTA (PIGSHACKLE)

BANNERMANS, 20:00–23:00, £6

The Bristol-based prog leviathans take to the road, showcasing their new album, Centurionaut.

KING CREOSOTE

THE QUEEN’S HALL, 20:00–23:00, £16

Striking out from his Fence Records label, Fife-based singer/songwriter KC – otherwise known as Kenny Anderson – plays a short acoustic set, followed by a full band set. SNEAKY PETE’S, 19:00–22:00, £5

THE YOUTH AND YOUNG (CARAVAN CLUB + FRIENDS IN AMERICA)

Tue 06 Aug

THE SONGWRITERS’ CELLAR (THE DEADLY WINTERS + HANNAH O’REILLY)

HENRY’S CELLAR, 19:30–23:00, FREE

Handpicked songwriter showcase featuring an eclectic selection of musicians.

Wed 07 Aug

TWELVE GAUGE

The Idlewild frontman plays solo acoustic, drawing on songs from his new solo album, Listen To Keep, as well as handpicking tracks from the Idlewild back catalogue.

BANNERMANS, 20:00–23:00, £5

English classic rock quintet taking their sound into some hard and metallic places. THE PALE IMITATION FESTIVAL (FOUND + ADAM STAFFORD + MIKE MACFARLANE) HENRY’S CELLAR, 19:00–22:00, £5

RODDY WOOMBLE

THE ASSEMBLY ROOMS, 21:30–23:00, £14

MARTHA REEVES AND THE VANDELLAS

THE ASSEMBLY ROOMS, 21:30–23:00, £20

The mighty motown legends play a set of hits. DED RABBIT (MICKEY 9S + STEVE HERON)

DIY label and blogger Song, By Toad hosts a series of special music outings, focusing on showcasing quality local acts and providing a refreshing enclave from the hubbub of the Fringe. Hoorah.

Band of brothers playing an eclectic mix of indie and sax funk, launching their new single on the night.

Sun 04 Aug

BANNERMANS, 19:00–23:00, £SOLD OUT

A BAND CALLED QUINN

SUMMERHALL, 21:00–23:00, £12

The Glasgow art-pop quartet launch their new soundtrack album in style over a trio of evenings (4, 11 & 12 Aug) in Summerhall’s unique Dissection Room, playing live to their immersive multimedia show, Biding Time (remix). HORSE

THE ASSEMBLY ROOMS, 20:15–21:45, £18

The inimitable Scottish singer/ songwriter and her live band showcase a selection of classics in a rare acoustic evening, celebrating her previous nine albums and a chance to hear her most recent, Home. DECAGRAM

THE QUEEN’S HALL, 19:00–23:00, £10

Ten diverse Scotland-based artists join forces with Tinderbox Sessions Project to perform a one-off concept concert, merging contemporary, classical, postrock, tribal, noise and hip-hop toward a three-act finale with live orchestral accompaniment.

Fledgling Ayr trio of the melodic punk-rock variety.

THE PALE IMITATION FESTIVAL (PLASTIC ANIMALS + DEATHCATS + MAD NURSE) HENRY’S CELLAR, 19:00–22:30, £5

DIY label and blogger Song, By Toad hosts a series of special music outings, focusing on showcasing quality local acts and providing a refreshing enclave from the hubbub of the Fringe. Hoorah. INTERNATIONAL INDEPENDENCE FESTIVAL (ANKLEPANTS + DJ PI-EYED)

BANNERMANS, 20:00–23:00, £5

ELECTRIC CIRCUS, 19:00–22:00, £5 ADV.

The all-new indie folk outfit, fronted by Ryan McGlone from People Places Maps, launch their new single.

BANNERMANS, 20:00–23:00, £4

THE GOTHENBURG ADDRESS (DEGRASSI)

SUMMERHALL, 20:00–22:00, £6 (£5)

The Mexico-based instrumental post-rockers make their way to the UK, telling their stories through sounds and textures.

POLAR BEARS IN PURGATORY (SKELETONS)

Fri 09 Aug

BLOOD STEREO (PENGO, USURPER)

WEE RED BAR, 19:00–22:00, £5

SUMMERHALL, 20:00–22:00, £8 (£7)

African-Haitian inspired project of noise icon William Bennett, a percussive and hypnotic combination of polyrhythms created to induce trance like states.

DIY festival centred around the theme of independence, kicking off with punter submissions, before myriad and varied musicians take to the stage – with this edition headlined by Oz-based electronic machine, Anklepants.

Founding member of Portico Quartet doing a his solo singer/ songwriter thing and touring with his new single, Fever To The Form.

THE POLAR DREAM (HELLO FRISCO)

CUT HANDS (STEFAN BLOMEIER)

BEAT, 22:00–05:00, £4

NICK MULVEY

Scotch exiled marital unit Dylan Nyoukis and Karen Constance play under their Blood Stereo guise, as experimental and noisy as ever.

ORKESTRA DEL SOL THE QUEEN’S HALL, 20:00–21:30, £12

Edinburgh’s local favourites continue their reinvention of global brass music with a brand new selection of dancefloor honk steppers.

ELECTRIC CIRCUS, 19:00–22:00, £5 ADV.

THE MENZINGERS

Bannermans play hos to a rare and ntimate show from the American punks, rather predictably a sellout affair. SUPER ADVENTURE CLUB + GALOSHINS + CUDDLY SHARK + THIRTY POUNDS OF BONE

HENRY’S CELLAR, 19:30–23:00, £5

Armellodie Records mini showcase, headlined by the rollicking hardcore assaults of Super Adventure Club Ð who’ll be marking their last show for the forseeable future.

Thu 08 Aug BROKEN RECORDS

THE ANNEXE, 19:00–22:00, £8 ADV.

The Edinburgh mainstays treat Fringe-goers to a special set of new and old material.

DOOGIE PAUL MEMORIAL CONCERT

THE ASSEMBLY ROOMS, 21:00–23:00, £18

Mogwai, Sheena Wellington, King Creosote, Alasdair Roberts, Kathryn Williams, James Yorkston, Ian Rankin - a special show in memory of Doogie Paul, one of Scotland’s finest bass players. Proceeds to charity.

Instrumental Edinburgh lot, made up of founding member Luke Joyce joined by a new line-up Fraser Sanaghan, Ben Proudlock and Kieran McGuckian (of Penguins Kill Polar Bears), and Seoridh Fraser (of Lions.Chase.Tigers). RANDOLPH’S LEAP (TEENCANTEEN)

ELECTRIC CIRCUS, 19:00–22:00, £8 ADV.

Glasgow melody merchants charmingly twisting the folk-pop genre into odd knots, creating witty ear-worms of joy as they go. RACHEL SERMANNI

THE QUEEN’S HALL, 20:00–21:30, £12

The much-lauded young Scottish folkstress plays songs mostly from her debut album. CYMBOLLOX (KWACK)

WEE RED BAR, 19:00–22:00, £3

Rock’n’roll and heavy metal covers from the rather wonderfullynamed Cymbollox... We’re easily amused. QUIET AS A MOUSE (PIRATE SONS + THE LITIGATORS)

SNEAKY PETE’S, 19:00–22:00, £TBC

Edinburgh indie-meets-country quartet riding along on mainman Alex Moran’s vocals, guitar and harmonica-playing.

THE OPENING CONCERT: ALEXANDER NEVSKY

USHER HALL, 19:30–21:10, £12

Three great Russian musicians join the Royal Scottish National Orchestra in a pair of seminal masterpieces by Prokofiev, marking the opening of the 2013 Festival. INTERNATIONAL INDEPENDENCE FESTIVAL (ANKLE-ANTS + KRASH SLAUGHTA + PERISHED GUSSETS + MC GASP)

BEAT, 22:00–05:00, £4

Sat 10 Aug

KID CANAVERAL (BALLBOY)

THE LIQUID ROOM, 19:00–22:00, £8 ADV.

The affable indie-pop chaps and chapesses bring the singalong joy, as per the Kid Canaveral law, playing a special set accompanied by the Cairn String Quartet.

WITHERED HAND (SECOND HAND MARCHING BAND + EUGENE KELLY) THE QUEEN’S HALL, 20:00–23:00, £12

Edinburgh DIY folk-rock troubadour Dan Willson brings new look Withered Hand band to the stage, fresh from recording his longawaited second album, joined by Pam Berry of seminal US noise pop group Black Tambourine. CHRISTIAN GERHAHER + GEROLD HUBER

THE QUEEN’S HALL, 11:00–12:45, £8

German baritone Christian Gerhaher plays alongside regular collaborator Gerold Huber – who brings the poetry of his voice to bear on the intimate songs of Robert Schumann. ST KILDA MAILBOAT

ELVIS SHAKESPEARE, 14:30–15:30, FREE

Dundee-based post-apocalyptic duo made up of Claire Gorman and Mark Urban, touting their lovely new single ART BRUT (THE NATURE BOYS)

ELECTRIC CIRCUS, 19:00–22:00, £11 ADV.

The Berlin-based indie-rock lot, all rambunctious energy and endearingly ramshackle vocal arrangements.

HEADLESS KROSS + (SLOMATICS + JACKAL-HEADED GUARD OF THE DEAD) BANNERMANS, 20:00–23:00, £7

Fuzz rock and doom night by 3 of the best at it THE PALE IMITATION FESTIVAL (SPARROW AND THE WORKSHOP + SIOBHAN WILSON + THE ROSY CRUCIFIXION) HENRY’S CELLAR, 19:00–22:00, £5

DIY label and blogger Song, By Toad hosts a series of special music outings, focusing on showcasing quality local acts and providing a refreshing enclave from the hubbub of the Fringe. Hoorah.

Sun 11 Aug BATTLEFIELD BAND

THE QUEEN’S HALL, 20:00–22:00, £16

Celtic-inspired musical ensemble, pioneers of the integration of bagpipes with fiddle, keyboards, guitar and voice. PEATBOG FAERIES

THE ASSEMBLY ROOMS, 21:30–23:00, £16

More high octane instrumental contemporary folk from the Isle of Skye crew. A BAND CALLED QUINN

SUMMERHALL, 21:00–23:00, £12

Mon 12 Aug MARTHA WAINWRIGHT

PICTURE HOUSE, 19:00–22:00, £21.50

The American-Canadian songstress (aka sprog of Kate McGarrigle and Loudon Wainwright III, and sister to Rufus) plays songs from her emotional fourth album, Come Home To Mama, recorded following her mother’s death. A BAND CALLED QUINN

SUMMERHALL, 21:00–23:00, £12

THE VOODOO ROOMS, 21:00–22:30, £12

Glasgow-based alternative acoustic singer/songwriter, aka Emma Gillespie. DAYDREAM FRENZY

BANNERMANS, 20:00–23:00, £4

Alternative pop-meets-rock trio hailing from the Granite City.

Tue 13 Aug

SCOTTISH SAXOPHONE ENSEMBLE SUMMERHALL, 21:00–22:45, £10

The local sax ensemble play a set of jazz, folk and classical music, moving from Philip Glass to Goldfrapp as they go. SWANS

THE LIQUID ROOM, 19:00–22:00, £22

NYC-based post-punk, built on Michael Gira’s affecting baritone, unprecedented levels of volume and sheer visceral bloody energy. Dinnae miss. MITSUKO UCHIDA

USHER HALL, 20:00–21:45, £12

A poet of the piano, Mitsuko Uchida performs a special festival recital combining gentle lyricism and impressive virtuosity. BERNARDA FINK + ANTHONY SPIRI

THE QUEEN’S HALL, 11:00–12:45, £8

Argentinian-born mezzo soprano Bernarda Fink joins forces with regular recital partner, US-born pianist Anthony Spiri. ADMIRAL FALLOW

THE QUEEN’S HALL, 20:00–22:00, £14

Louis Abbott and his merry sixpiece stage their usual rousing collective rabble of a thing, playing a special festival show.

RODDY HART AND THE LONESOME FIRE

RED HOT CHILLI PIPERS

THE QUEEN’S HALL, 20:00–22:00, £20

Fusion of rocked-up bagpipes and genre-spanning covers from everyone’s favourite kilted pipers. AMERICANA ROAD TRIP

HENRY’S CELLAR BAR, 20:30–22:00, £8

Songs about love, loss, revenge, trucks and Cadillacs. Five-piece Americana band Flagstaff will take you on a road trip across America and bring a touch of electric Southern roots music to the Fringe. HANNAH STONE

THE HUB, 21:00–22:00, £10

The Royal harpist plays Bach, Dizi, Prokofiev and Salzedo. NICOLA BOUD (SABINE DEVIEILHE + JANE GOWER + SOPHIE GENT + KRISTIAN BEZUIDENHOUT) THE QUEEN’S HALL, 11:00–12:45, £8

Playing four classics from the chamber repertoire on the same number of historical clarinets, Australian-born Nicola Boud reveals how instrument design influenced the course of music (and vice versa), joined by a group of international period players. SAINT SEVEN

SUMMERHALL, 22:00–22:50, £9

Dramatic hybrid of voices and instruments that interweaves elements of experimental, folk and classical chamber music – performed by The One Ensemble. NIKOLAI LUGANSKY

THE QUEEN’S HALL, 11:00–12:45, £8

Wide-ranging recital from the Moscow-born pianist, praised for both the reflective poetry and the virtuosity of his commanding performances. LES MUSICIENS DU LOUVRE GRENOBLE

USHER HALL, 19:30–21:20, £12

The period-instrument orchestras, acclaimed for its pristine playing and the emotional depth of its performances, play one of two concerts of Schubert symphonies. DEATHCATS (ET TU BRUTE? + HOOKERS FOR JESUS + ALLEN GINSBERG TRIO)

SNEAKY PETE’S, 19:00–22:00, £TBC

The Glasgow guitar popsters drop a set of their fiery post-surf brand of hardcore, as per the Deathcats law.

Creative, original voice on the flourishing UK folk scene, winning Best Original Track at BBC Radio 2 Folk Awards 2012, showcasing material from her latest album, Battleplan.

THE MUSIC OF CAPTAIN BEEFHEART (ORANGE CLAW HAMMER)

SAINT SEVEN

SUMMERHALL, 22:00–22:50, £9

Dramatic hybrid of voices and instruments that interweaves elements of experimental, folk and classical chamber music – performed by The One Ensemble.

HENRY’S CELLAR, 19:00–21:30, £8 (£5)

orange Claw Hammer tackles the riotous music of departed avant-rock genius Captain Beefheart. Steve Kettley (saxes/ vcl), Stuart Allardyce (gtr), Dave Conway (bass) and Des Travis (drs) approach his tunes from an instrumental jazz and improv perspective,

BEAT, 22:00–05:00, £4

The indie-folksters (whose story began in a basement flat back in February 2008, fact fans) take to the ‘burgh for a special festival set.

THE QUEEN’S HALL, 20:00–21:30, £12.50

Roddy Hart and his live band present a set of their darkly compelling conjunction of classic Americana and Celtic soul.

DIY festival centred around the theme of independence, kicking off with punter submissions, before myriad and varied musicians take to the stage – with this edition featuring a selection of live hiphop and electronica artists.

WASHINGTON IRVING (WE SEE LIGHTS + DANTE + CHRIS YENDELL)

ELECTRIC CIRCUS, 19:30–23:00, £7 ADV.

BELLA HARDY AND THE MIDNIGHT WATCH

THE ASSEMBLY ROOMS, 21:30–23:00, £12

INTERNATIONAL INDEPENDENCE FESTIVAL (U-TURN + BANG DIRTY)

Wed 14 Aug

THE GRAMOPHONE JAZZ BAND’S LATE NIGHT SPEAKEASY

HENRY’S CELLAR BAR, 23:50–03:00, £8

Edinburgh’s youngest trad jazz ensemble invites you to sip classic teacup cocktails and enjoy the live music and 78s from the prohibition era. Dress like an extra on Goodnight Sweetheart, and bring dancing shoes!

ROSIE NIMMO + STUART ALLARDYCE

SCOTTISH NATIONAL PORTRAIT GALLERY, 18:00–18:30, FREE

THE SONGWRITERS’ CELLAR (PAUL GLADWELL + DEPRESSTIVAL + DOG ON A SWING) HENRY’S CELLAR, 19:30–23:00, FREE

Handpicked songwriter showcase featuring an eclectic selection of musicians.

Local blues lass Rosie Nimmo provides the vocals to Stuart Allardyce’s guitar, playing songs inspired by Man Ray and his contemporaries, in response to the current Man Ray exhibition. Part of Edinburgh Art Festival.

LE RENO AMPS + CHRIS DEVOTION AND THE EXPECTATIONS + SAINT MAX AND THE FANATICS + GASTRIC BAND HENRY’S CELLAR, 19:30–23:00, £5

Armellodie Records mini showcase, headlined by the harmonic pop tones of north-east Scotland lot, Le Reno Amps. INTERNATIONAL INDEPENDENCE FESTIVAL (EGEBAMYASI + AUTONOME)

BEAT, 22:00–05:00, £4

Fri 16 Aug

THE CRIBS (PAWS + 10:04S)

PICTURE HOUSE, 18:30–22:00, £18

The Wakefield indie-rockers do their guitar-heavy and frantic thing, showcasing their latest LP – PAYOLA – to the masses. THE LAFONTAINES

ELECTRIC CIRCUS, 19:00–22:00, £7 ADV.

Motherwell outfit deftly combining portions of hip-hop, pop, rock and electro into one melodic block of noise.

THE JUST JOANS (MIDDLE ONES + GUMS) WEE RED BAR, 19:00–22:00, £5

The Motherwell-based indiepopsters play a trademark angsty set. THE CHAIR

THE QUEEN’S HALL, 20:00–21:30, £12.50

Orkney Islands-based awardwinning, barnstorming, whirlwind band (aka get ready to bust a jig). HARRINGTON SAINTS

BANNERMANS, 20:00–23:00, £7

Punk rock lot who take their cue from the remnants of some of the Bay Area’s finest street rock bands.

INTERNATIONAL INDEPENDENCE FESTIVAL (SOOM T + RIDDIM TUFFA SOUND + EL GREEN AND JINX + STRESS + KRONCHIS)

BEAT, 22:00–05:00, £4

Sat 17 Aug HOLOCAUST

BANNERMANS, 20:00–23:00, £7

The heavy metal noisemakers play a rare hometown show. FAURÉ REQUIEM

USHER HALL, 20:00–21:50, £12

Lyrical concert drawing draws on the refined playing for which the Scottish Chamber Orchestra is renowned, joined on the night by the National Youth Orchestra of Scotland. KARINE POLWART

THE QUEEN’S HALL, 20:00–21:30, £16

The Borders lass brings the loveliness with her provokingly poetic and bittersweet folk tunes, playing a selection of favourites from her back catalogue. SOME I KNOW, SOME I DON’T

SUMMERHALL, 22:00–23:00, £12

New commission by American avant-garde composer Jim O’Rourke for the Glasgow Improvisers Orchestra, incorporating improvised music, instructions on Japanese playing cards, and real-time film in collaboration with video artists No More VJs. GEEK MAGGOT BINGO

ELVIS SHAKESPEARE, 14:30–15:30, FREE

The Edinburgh garage rock’n’roller play an intimate in-store session at Elvis Shakespeare. THE SENSATIONAL DAVID BOWIE TRIBUTE BAND

ELECTRIC CIRCUS, 19:00–22:00, £8 ADV.

David Bowie tribute act. May well be sensational.

THE PALE IMITATION FESTIVAL (RM HUBBERT + WOUNDED KNEE + LIDH)

HENRY’S CELLAR, 19:00–22:00, £5

DIY label and blogger Song, By Toad hosts a series of special music outings, focusing on showcasing quality local acts and providing a refreshing enclave from the hubbub of the Fringe. Hoorah.

SCOTT CASSIDY AND THE BETTER MUSICIANS

BANNERMANS, 20:00–23:00, £TBC

Montana-based songsmith Scott Cassidy plays with his live crew.

THE SKINNY

THE JACARANDAS SNEAKY PETE’S, 19:00–22:00, £TBC

Rock’n’roll-styled Edinburgh quartet led by Jamie Kerr on lead vocals and rhythm guitar.

Sun 18 Aug

RUSSIAN NATIONAL ORCHESTRA

THE SIXTEEN

BANG ON A CAN ALL-STARS

CROCODILES (HONEYBLOOD)

USHER HALL, 19:30–21:30, £12

USHER HALL, 19:30–21:20, £12

USHER HALL, 20:00–21:30, £12

SNEAKY PETE’S, 19:00–22:00, £7

One of two concerts celebrating Russian music, playing under the conductor who founded the ensemble back in 1990, Mikhail Pletnev.

YOUR FIRST MISTAKE (LOST TO THE LANDSLIDE)

British choral group, contrasting English and Scottish vocal music old and new, from the Renaissance splendour of Thomas Tallis to the powerful contemporary sounds of James MacMillan.

Thu 22 Aug

SNEAKY PETE’S, 19:00–22:00, £TBC

SCHTICK OF ROCK

Edinburgh alternative rock ensemble with doubled-up vocals from lead men Sean and Sam Meechan.

ELECTRIC CIRCUS, 19:00–22:00, £8 ADV.

THE SCOTTISH NATIONAL JAZZ ORCHESTRA

THE QUEEN’S HALL, 20:00–22:00, £18

Hit-filled singalong rock from the tongue-in-cheek covers band, playing a festival special. SNEAKY PETE’S, 21:00–23:00, £TBC

SNEAKY PETE’S, 19:00–22:00, £14

Late night set from the perpetually euphoric analogue synthguys from Brooklyn. making a towering wall of Moroder as they go.

CHAMBER ORCHESTRA OF EUROPE

MIDORI

THE QUEEN’S HALL, 11:00–12:45, £8

USHER HALL, 19:30–21:20, £12

Internationally renowned violinist Midori plays one of two concerts, offering a fresh perspective on some of the greatest collections of music in the violin repertoire.

Chamber orchestra drawn from players across the continent, playing one of two festival concerts directed by the young FrenchCanadian, Yannick Nézet Séguin.

IAN BOSTRIDGE + LARS VOGT

DIMENSION ZERO (THE GIROBABIES + DEADLIFE + JAMIE AND SHOONY)

USHER HALL, 20:00–21:30, £12

Respected tenor, famed for the delicate expression and powerful characterisation of his elegant yet probing performances, joined by German pianist Lars Vogt.

HENRY’S CELLAR, 19:00–23:30, £6

An eclectic bill of live music accompanyies a screening of Dimention Zero, the debut feature film from Glasgow-based hip-hop artistcum-filmmaker MacKenzie.

INTERNATIONAL INDEPENDENCE FESTIVAL (MISTAT BOHZE + DJ SONNY + CARELESS HANDS + LOKI + ILL PAPA GIRAFFE)

BEAT, 22:00–05:00, £4

DIY festival centred around the theme of independence, kicking off with punter submissions, before myriad and varied musicians take to the stage – with this edition featuring bear of Scottish hip-hop, Mistah Bohze, amongst others.. CLASSIC ALBUM SUNDAYS: FLEETWOOD MAC

LOUD & CLEAR, 14:00–16:00, £6

A hit down’t London way, Classic Album Sundays dip the lights and play a classic album in its entirety – in this case Fleetwood Mac’s Rumours.

Mon 19 Aug

DOROTHEA RÖSCHMANN + MALCOLM MARTINEAU

THE QUEEN’S HALL, 11:00–12:45, £8

Rich recital of romantic song from German soprano Dorothea Röschmann, playing alongside Edinburgh-born Malcolm Martineau. RUSSIAN NATIONAL ORCHESTRA

USHER HALL, 19:30–21:15, £12

One of two concerts celebrating Russian music, playing under the conductor who founded the ensemble back in 1990, Mikhail Pletnev. EMMA’S IMAGINATION

THE VOODOO ROOMS, 21:00–22:30, £12

Glasgow-based alternative acoustic singer/songwriter, aka Emma Gillespie.

Tue 20 Aug ADMIRAL FALLOW

THE LIQUID ROOM, 19:00–22:00, £13

Louis Abbott and his merry six-piece stage their usual rousing collective rabble of a thing, playing a special festival show. TAME IMPALA

PICTURE HOUSE, 19:00–22:00, £17.50 ADV.

Alternative rock project of Aussie chap Kevin Parker and chums, known for their psychedelic and groove-laden melodic rock soundscapes. NACHTMUSIQUE

THE QUEEN’S HALL, 11:00–12:45, £8

The period-instrument group perform an all-Mozart programme exploring the composer’s music for wind ensemble.

DODGY A LONG WAY FROM ARMENIA ELECTRIC CIRCUS, 19:00–23:00, £10

Four diverse bands showcase some of the best musical talent to emerge from modern Armenia, moving from the jazz-influenced psychedelic rock of Hrach Mackoushian to Carahunge’s melodic folk. ALLAH-LAS

SNEAKY PETE’S, 19:00–22:00, £8.50

Los Angeles-based rock quartet keeping true to their Californian roots, building their sound on fuzzy harmonies, well-worn Fenders and suntans. THE SONGWRITERS’ CELLAR (BILLY LIAR + THE JELLYMAN’S DAUGHTER + MISS ANNABEL SINGS + CHRIS WILLATT + MICHAEL MACFARLANE) HENRY’S CELLAR, 19:30–23:00, FREE

Handpicked songwriter showcase featuring an eclectic selection of musicians.

Wed 21 Aug THE TWILIGHT SAD

THE LIQUID ROOM, 19:00–22:00, £12.50

The Sad boys play a special festival set, post this year’s earlier excitement of SAY Award nominations and touring with Frightened Rabbit in the US-of-A BARB JUNGR

THE QUEEN’S HALL, 19:00–20:30, £16

The queen of cabaret stages an allnew show of songs from her new album of the same name, Stockport to Memphis.

THE BRUNTON , 19:30–21:30, £16

Dodgy return after 15 years with the critically acclaimed album Stand Upright in a Cool Place. A LONG WAY FROM ARMENIA

THE LIQUID ROOM, 19:00–22:00, £10

Four diverse bands showcase some of the best musical talent to emerge from modern Armenia, moving from the jazz-influenced psychedelic rock of Hrach Mackoushian to Carahunge’s melodic folk.

TIGER AND WOODS (ATOM TREE)

The mysterious duo, otherwise known as Larry Tiger and David Woods, serve up their disco beats in a special late night set. DICK DANGEROUS AND THE LOVEBASTARDS

HENRY’S CELLAR, 23:00–03:00, £5

Good-time, old-style rock’n’roll with a sprinkle of funk as per the Dick Dangerous rule book. INTERNATIONAL INDEPENDENCE FESTIVAL (MAQUIPUCANA + FROG POCKET + RICHIE RUFTONE + PERISHED GUSSETS + KOOLMORF WIDESEN

BEAT, 22:00–05:00, £4

HENRY’S CELLAR, 23:50–03:00, £8 (£6)

Edinburgh’s upcoming trad-jazz ensemble serve up classic cocktails from teacups whilst performing some of the best-loved 78s from the prohibition era.

AMERICANA ROAD TRIP

Mon 26 Aug

HEBRIDES ENSEMBLE + THOMAS BLOCH

THE QUEEN’S HALL, 11:00–12:45, £8

More unusual instruments and boundary-pushing music old and new from one of Scotland’s most respected chamber groups, with added sound effects from spinning crystal bowls (played by Thomas Bloch). TONHALLE ORCHESTRA: BRAHMS REQUIEM

USHER HALL, 20:00–21:30, £12

David Zinman concludes his festival concerts with one of Brahms’s most impressive creations, the German Requiem. DRENGE

ELECTRIC CIRCUS, 19:00–22:00, £8 ADV.

BEAT, 22:00–05:00, £4

The US singer/songwriter and sometime Raconteur (with pal Jack White) takes to the road solo in support of his new album. MIDORI

THE QUEEN’S HALL, 11:00–12:45, £8

Internationally renowned violinist Midori plays one of two concerts, offering a fresh perspective on some of the greatest collections of music in the violin repertoire. VAMM

THE ASSEMBLY ROOMS, 19:40–20:40, £12

THE PALE IMITATION FESTIVAL (THE LEG + ZED PENGUIN + NUMBERS ARE FUTILE)

HENRY’S CELLAR, 19:00–22:30, £5

BEAT, 22:00–05:00, £4

ELECTRIC CIRCUS, 19:00–22:00, £12.50 ADV.

BRENDAN BENSON

The off-kilter Galashiels lot – who self describe their thing as ‘eclectic alternative jiggery pokery’ – play an intimate in-store session at Elvis Shakespeare.

The American indie-rock lot return to Scotland following their co-headline tour with Never Shout Never earlier in the year.

INTERNATIONAL INDEPENDENCE FESTIVAL (SHATNER’S BASSOON + KOOLMORF WIDESEN + ERIN FRIEL)

Sat 24 Aug

THE LIQUID ROOM, 19:00–22:00, £12

WE ARE THE IN CROWD

San Diego garage rock duo made up of Brandon Welchez and Charles Rowell, touring their new LP, Crimes of Passion, which drops in August.

Sheffield-based brothers Eoin and Rory provide the guitars and drums-built soundscapes.

Patsy Reid (former fiddle player with Breabach), Catriona Macdonald (ex-Blazin’ Fiddles) and Nordic mandola master Marit Fält play a set of contemporary and traditional tunes. STARK PALACE

ELVIS SHAKESPEARE, 14:30–15:30, FREE

PICTISH TRAIL

THE LIQUID ROOM, 19:00–22:00, £10 ADV.

Fence Records’ label boss (aka Johnny Lynch) plays a solo festival set, likely joined by a Fence signee or two.

THE PALE IMITATION FESTIVAL (MALCOLM MIDDLETON + IAN HUMBERSTONE + NOW WAKES THE SEA) HENRY’S CELLAR, 19:00–22:00, £7

DIY label and blogger Song, By Toad hosts a series of special music outings, focusing on showcasing quality local acts and providing a refreshing enclave from the hubbub of the Fringe. Hoorah.

HENRY’S CELLAR BAR, 20:30–22:00, £8

INTERNATIONAL INDEPENDENCE FESTIVAL

DIY festival centred around the theme of independence, kicking off with punter submissions, before myriad and varied musicians take to the stage – with time taking the form of a mass improvised jam session.

Tue 27 Aug ARDITTI QUARTET

THE QUEEN’S HALL, 11:00–12:45, £8

Spellbinding contemporary music ensemble, known for their perceptive readings of classic repertoire.

Wed 28 Aug ALKALINE TRIO

THE LIQUID ROOM, 19:00–22:00, £20

Classic-styled emo from the Chicagoan trio, fuelled on a steady diet of angst-ridden lyrics and adrenaline. ENSEMBLE MUSIKFABRIK

USHER HALL, 21:00–22:45, £12

The Cologne-based contemporary music ensemble celebrate the sometimes outrageous music of US maverick Frank Zappa, led from the drumkit by percussionist Dirk Rothbrust. ZUKERMAN CHAMBER PLAYERS

THE QUEEN’S HALL, 11:00–12:45, £8

World-renowned violinist Pinchas Zukerman plays with his handpicked his Chamber Players, formed in 2002 with proteges from Canada’s National Arts Centre.

Thu 29 Aug

ANDREAS SCHOLL + TAMAR HALPERIN

THE QUEEN’S HALL, 11:00–12:45, £8

Countertenor German singer Andreas Scholl plays a special set alongside classical pianist Tamar Halperin.

TRIPPY WICKED AND THE COSMIC CHILDREN OF THE KNIGHT (WIGHT + BRIGHT CRUISE +

ELECTRIC CIRCUS, 19:00–22:00, £8 ADV.

Talented young trio from Ottawa, Ontario and Comox, British Columbia, working their magic across elements of indie, pop and folk.

CHRISTOPHE ROUSSET + LES TALENS LYRIQUES

THE QUEEN’S HALL, 11:00–12:45, £8

French harpsichordist and conductor Christophe Rousset performs one of Francois Couperin’s books of short pieces for solo harpsichord, joined by his celebrated periodinstrument ensemble Les Talens Lyriques.

INTERNATIONAL INDEPENDENCE FESTIVAL (LADYSCRAPER + SHATNER’S BASSOON + SHIT WIFE BEAT, 22:00–05:00, £4

Fri 23 Aug

THE WINTER TRADITION (THE LONELY TOGETHER + BOOK GROUP)

Noisy powerpop-meets-rock from the loveable Scottish quartet.

HENRY’S CELLAR, 19:00–01:00, £5

BEAT, 22:00–05:00, £4

DIY festival centred around the theme of independence, kicking off with punter submissions, before myriad and varied musicians take to the stage – this time featuring the various jungle and hip-hop vibes of Edinburgh OTB club crew.

Fri 30 Aug

DISCOPOLIS (THE LITTLE KICKS + MIAOUX MIAOUX)

ELECTRIC CIRCUS, 19:00–22:00, £7 ADV.

Experimental Edinburgh trio who rather wonderfully sum up their sound as ‘like digital fucking’, which is nice. VERONIQUE GENS

THE QUEEN’S HALL, 11:00–12:45, £8

French soprano Veronique Gens brings her lucid purity to bear on a mixed recital of romantic, 19thcentury songs from her homeland. BAINBRIDGE INTRODUCING

WEE RED BAR, 19:00–22:00, £5

Monthly showcase selection of new bands who’ve been using Bainbridge Studios facilities this month. DED RABBIT (KING EIDER + UNIVERSAL THEE)

HENRY’S CELLAR, 19:00–22:00, £TBC

Band of brothers playing an eclectic mix of indie and sax funk.

THE CAVALIERS + REBEL WESTERNS + GEORGIA GORDONS BANNERMANS, 20:00–23:00, £5

Selection of unsigned acts handpicked by Fortune Promotions. INTERNATIONAL INDEPENDENCE FESTIVAL (TERROR)

BEAT, 22:00–05:00, £4

DIY festival centred around the theme of independence, kicking off with punter submissions, before myriad and varied musicians take to the stage – with this edition finding hosts Terror take over proceedings for a special festival closer.

Sat 31 Aug

THE HOLY GHOSTS (THE RIVER 68S + THE JACKALS + DANIEL MCGEEVER AND THE MESSAGE)

THE VOODOO ROOMS, 20:00–22:30, £5 ADV.

Edinburgh rock’n’rollers infusing their sound with a splash of country and blues. VERDI REQUIEM

USHER HALL, 20:00–21:30, £312

The festival’s Usher Hall concerts come to an epic conclusion with Verdi’s powerful Requiem, rich with theatricality and gripping emotions. QUATOUR ÉBÈNE

THE QUEEN’S HALL, 11:00–12:45, £8

The classic-styled French quartet play a special set, as at home in sophisticated jazz and pop arrangements as they are in classical music. ELEANOR FRIEDBERGER

SNEAKY PETE’S, 19:00–22:00, £TBC

Putting her group project, The Fiery Furnaces, on hold, Eleanor Friedberg returns with her second solo album, Personal Record. PRICILLAS

ELVIS SHAKESPEARE, 14:30–15:30, FREE

The rarely seen glamourous twosome strut their stuff in an intimate in-store session at Elvis Shakespeare.

THE PALE IMITATION FESTIVAL (EAGLEOWL + RACHEL LANCASTER + NAP SHOLTY)

HALF MOON RUN

THE LIQUID ROOM, 19:00–22:00, £8

August 2013

PIERRE-LAURENT AIMARD

THE QUEEN’S HALL, 11:00–12:45, £8

The French pianist contrasts pieces from two of the finest collections in the piano repertoire – Debussy’s Preludes.

BLONDES

Jazz orchestra tribute to Duke Ellington, taking in some of his best-loved classics.

Video and sound technology musical collision from the internationally renowned Brooklyn-based lot, an electric chamber ensemble bringing together some of the world’s most adventurous musical thinkers.

THE PALE IMITATION FESTIVAL (ROB ST. JOHN + HANNA TUULIKKI + DAVID ORPHAN DJ)

HENRY’S CELLAR, 19:00–22:00, £5

Sun 25 Aug

DIY label and blogger Song, By Toad hosts a series of special music outings, focusing on showcasing quality local acts and providing a refreshing enclave from the hubbub of the Fringe. Hoorah.

ELJAM AND FEAST RECORDS SHOWCASE

THE BRUNTON , 15:00–22:00, £5

Exciting collaboration between ELjam, East Lothian Youth Music Forum and Feast (Edinburgh College’s student-run record label). The place to be for the best in local up-and-coming talent. The Dons, The Kiks and more…

ATRAGON) BANNERMANS, 20:00–23:00, £5

St Albans stoner rockers riding along on thundering riffs, distorted bass, trippy vocals and relentless beats.

Glasgow Clubs

Tue 30 Jul KILLER KITSCH

BUFF CLUB, 23:00–03:00, £5 (£3)

The Killer Kitsch residents take charge – eight years old and still offering up the best in house, techno and electronic. VOODOO VOODOO

NICE ‘N’ SLEAZY, 23:30–03:00, FREE

Duncan Harvey plays a mix of vintage rock ‘n’ roll, sleazy R’n’B, swing, soul, surf and pop from a bygone age. TV TUESDAY

DAMNATION CLASSIC GRAND, 23:00–03:00, £6

Two floors of the best in punk, metal and alternative tunes. PROPAGANDA

O2 ABC, 23:00–03:00, £5

Student-orientated night playing the best in new and classic indie music. CATHOUSE FRIDAYS

CATHOUSE, 22:30–03:00, £6 (£5)

Residents night of rock, metal, punk and emo over two levels. BADSEED

SLOUCH, 23:00–03:00, FREE

THE GARAGE, 23:00–03:00, £5 (£3)

Badass mix of indie, rock and electro with DJ Heather McCartney.

I AM VS BAD NEWS (GLIMPSE)

Mixed bag of indie and chart classics across four rooms, plus karaoke shenanigans.

Weekly Tuesday party playing a selection of dancefloor-friendly anthems. SUB CLUB, 23:00–03:00, £5 (FREE VIA IAMCLUB.CO.UK)

Resident young guns Beta & Kappa team up with the Bad News chaps for one night only, with versatile producer Glimpse along for the ride.

Wed 31 Jul SUB ROSA

SUB CLUB, 23:00–03:00, £5 (£4)

Subbie’s regular student night with residents Ray Vose and Desoto at the helm. MUSIQUE BOUTIQUE

BUFF CLUB, 23:00–03:00, £3

Midweek party night with resident Bobby Bluebell playing classic house only. DISCO RIOT

THE GARAGE, 23:00–03:00, £5 (£3)

Disco-styled party night with Alfredo Crolla spinning a selection of favourites, bolstered by karaoke and popcorn stalls, just because.

Thu 01 Aug MISBEHAVIN’

CATHOUSE, 23:00–03:00, £4 (£2)

Monthly mish-mash of electro, dance and dirty pop with DJ Drucifer. DANSE MACABRE

CLASSIC GRAND, 23:00–03:00, £4

The Danse Macabre regulars unite those two happiest of bedfellows, goth rock and, er, classic disco, in their new home of Classic Grand. STRUGGLE

BLOC+, 21:00–01:00, FREE

Monthly punk and post hardcore selection of bands from DIY collective Struggletown. CRYOTEC

CLASSIC GRAND, 23:00–03:00, £3

Monthly dose of industrial, EBM and electronic. We hear it’s very danceable. JELLYBABY

O2 ABC, 23:00–03:00, £3 ADV. (£5 DOOR)

Chart, disco and party tunes. Can’t say fairer. NEVERLAND

THE GARAGE, 23:00–03:00, £5 (£3)

Themed night with a live Twitter feed and a bouncy castle for added LOLs. SHORE

BOOTY CALL

THE GARAGE, 23:00–03:00, £5 (£3)

JAMMING FRIDAYS

MAGGIE MAY’S, 22:00–03:00, FREE (£5/£3 STUDENT AFTER 12)

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

NICE ‘N’ SLEAZY, 23:30–03:00, £3

Hip-hop and gangsta rap brought to you by the Notorious B.A.G and pals. OPTIMO

SUB CLUB, 23:00–03:00, £TBC

JD Twitch and JG Wilkes take to the decks for their monthly night of pure Optimo goodness, with guests kept tightly under wraps for now. THE SHED FRIDAYS

SHED, 22:30–03:00, £6 (£4)

Pop and chart hits with Andy Robertson in the main room, plus DJ Del playing the ol’ hippity-hop in the Red Room. YES!

THE FLYING DUCK, 23:00–03:00, FREE (£5/£3 STUDENT AFTER 12)

New gay indie night on the block, with a playlist that mixes classic Bowie, The Smiths, Blondie et al alongside new kids like Django Djanjo and Grimes.

Sat 03 Aug NU SKOOL

BUFF CLUB, 23:00–03:00, £7 (£6)

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

CLASSIC GRAND, 22:30–03:00, £6

Metal, industrial and pop-punk over two floors. CATHOUSE SATURDAYS

CATHOUSE, 22:30–03:00, £6 (£5)

Punk, rock and metallic beats with DJs Billy and Muppet. VOODOO

CATHOUSE, 16:00–21:00, £4 (£2 MEMBERS)

Under 18s rock night playing, er, anything and everything rock. LOVE MUSIC

O2 ABC, 23:00–03:00, FREE (£5 AFTER 11.30)

Saturday night disco with Gerry Lyons and guests. I HEART GARAGE SATURDAYS

THE GARAGE, 23:00–03:00, £5 (£3)

NICE ‘N’ SLEAZY, 23:30–03:00, FREE

Student superclub playing everything from hip-hop to dance and funk to chart.

R.U.IN THURSDAYS (DJ MUPPET)

Mod, soul, ska and groovy freakbeat 45s, with DJs Jamo, Paul Molloy and Gareth McCallum.

Eclectic new party night playing everything from the electronic aquatic funk of Drexciya to the outer-space jazz of Sun Ra. CATHOUSE, 23:00–03:00, £4 (£2)

Rock, metal and emo mix up, plus guest DJs mixing it up in the Jager Bar. HIP HOP THURSDAYS

BUFF CLUB, 23:00–03:00, £3

Early weekend party starter, with Euan Neilson playing the best in classic R’n’B and hip-hop.

VICIOUS CREATURES (CATS ‘N DOGZ)

SUB CLUB, 23:00–03:00, £5

Fledgling party night intent on breaking free from the chains of normality, this time featuring electric Polish duo Cats ‘N Dogz.

FREAKBEATS

THE FLYING DUCK, 23:00–03:00, £5 (£3)

SUPERMAX

THE BERKELEY SUITE, 23:00–03:00, £5

A taste of the decadent sound systems of NYC’s disco era with yer main man Billy Woods. THE SHED SATURDAYS

SHED, 22:30–03:00, £7 (£5)

Frothy weekend mix of commercial pop and cheese classics, plus DJ Del playing the ol’ hippity-hop in the Red Room.

Fri 02 Aug OLD SKOOL

BUFF CLUB, 23:00–03:00, £7 (£6)

Connoisseur’s mix of old-school jazz, funk and soul.

Listings

Moonboots (Andrew Pirie + Din Daa Daa) The Universal, 22:00–03:00, £5 (£7 after 12)

Manchester’s Aficianado resident, Moonboots, plays a intimate Glasgow set – playing via the Melting Pot sound set-up (while they take their summer break) with Melting Pot resident Andrew Pirie and Din Daa Daa on support. Wax Works (Steve Bicknell)

Stereo, 23:00–03:00, £5

House and techno lot Wax Works welcome UK techno pioneer Steve Bicknell to their lair, best known as the creator and resident of seminal techno night, Lost. Nightrave (Big Dope P + Eclair Fifi + Nightwave + Jackie Your Body)

La Cheetah Club, 23:00–03:00, £3 (£5 after 12)

Mon 05 Aug Burn

Buff Club, 23:00–03:00, £5 (£3/Free with wage slip)

Long-running trade night with Normski, Zeus and Mash spinning disco beats. Space Invader

The Garage, 23:00–03:00, £5 (£3)

Subculture residents Harri & Domenic host a special outing from house DJ, producer, writer, filmmaker (and all-round talented bugger), Lil’ Louis. Strange Paradise (Young Marco) Nice ‘n’ Sleazy, 23:30–03:00, £4

Party night from Wild Combination man David Barbarossa, specializing in leftfield disco, post-punk and far-out pop – this month featuring a guest slot from Amsterdam native DJ, producer and certified dude Young Marco. Deathkill4000 (Hey Enemy)

Bloc+, 23:00–03:00, Free (£2 after 12)

Industro-rock noise party with live players and bespoke visuals to boot, this time featuring Stirlingraised troublemakers Hey Enemy and their angular and impressive punk sounds.

Killer Kitsch

Buff Club, 23:00–03:00, £5 (£3)

The Killer Kitsch residents take charge – eight years old and still offering up the best in house, techno and electronic. Voodoo Voodoo

Nice ‘n’ Sleazy, 23:30–03:00, Free

i AM

DJ Jopez plays a choice selection of indie, rock, blues and funk. Sunday Roaster

The Garage, 23:00–03:00, £4

Residents Garry and Andrew incite more mayhem than should really be allowed on the Sabbath. Renegade

Cathouse, 23:00–03:00, £2 (£1)

Rock, metal and punk playlists all night long, selected by yer man DJ Mythic. Open Sundays

Shed, 22:30–03:00, Free (£3 after 12)

The Shed open their doors on the day of the Lord for their messy weekend-extender of a night. Free entry before midnight. Sunday Circus

Sub Club, 23:00–03:00, £tbc

Chilled Sunday fare of dub, house, tech house, techno and everything inbetween. Twilight Sad DJs + Mogwai DJs + Orzelda Nice ‘n’ Sleazy, 23:30–03:00, £6

Nice ‘n’ Sleazy play host to a one-off party night featuring the inimitable DJ wares of chaps from The Twilight Sad and Mogwai, alongside a live set from Cumbernauld-raised musician Craig Orzel in his Orzelda guise.

Wed 07 Aug Take It Sleazy

Nice ‘n’ Sleazy, 23:30–03:00, Free

An unabashed mix of 80s pop, electro and nu-disco. They will play Phil Collins. Sub Rosa

Sub Club, 23:00–03:00, £5 (£4)

Subbie’s regular student night with residents Ray Vose and Desoto at the helm. Musique Boutique

Buff Club, 23:00–03:00, £3

Midweek party night with resident Bobby Bluebell playing classic house only. Disco Riot

The Garage, 23:00–03:00, £5 (£3)

Jellybaby

O2 ABC, 23:00–03:00, £3 adv. (£5 door)

Chart, disco and party tunes. Can’t say fairer. Neverland

The Garage, 23:00–03:00, £5 (£3)

Themed night with a live Twitter feed and a bouncy castle for added LOLs. Shore

Nice ‘n’ Sleazy, 23:30–03:00, Free

Eclectic new party night playing everything from the electronic aquatic funk of Drexciya to the outer-space jazz of Sun Ra. R.U.IN Thursdays

Cathouse, 23:00–03:00, £4 (£2)

Rock, metal and emo mix up, plus guest DJs mixing it up in the Jager Bar. Hip Hop Thursdays

Buff Club, 23:00–03:00, £3

Early weekend party starter, with Euan Neilson playing the best in classic R’n’B and hip-hop. Tigerbeat

The Flying Duck, 23:00–03:00, Free (£5/£3 student after 12)

Subcity’s Tigerbeat launches a new night of the finest lost sounds from deserts and jungles.

Fri 09 Aug Old Skool

Buff Club, 23:00–03:00, £7 (£6)

Connoisseur’s mix of old-school jazz, funk and soul. Damnation

Classic Grand, 23:00–03:00, £6

SWG3, 22:30–02:00, £17.50

Genre-spanning mix of 60s psych, leftfield pop and Krautrock with resident Charlotte (of Muscles of Joy).

Listings

Jamming Fridays

Maggie May’s, 22:00–03:00, Free (£5/£3 student after 12)

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

Shed, 22:30–03:00, £6 (£4)

Pop and chart hits with Andy Robertson in the main room, plus DJ Del playing the ol’ hippity-hop in the Red Room. Return To Mono

Sat 10 Aug

TV Tuesday

Two floors of the best in punk, metal and alternative tunes.

Mixed bag of indie and chart classics across four rooms, plus karaoke shenanigans.

The Garage, 22:30–03:00, £7 (£5)

Weekly Tuesday party playing a selection of dancefloor-friendly anthems.

Toolroom Ten by Night (Mark Knight + Stefano Noferini + Mark Storie + Jon Mancini + Giovanni Ferri)

Bank holiday special bringing the legendary Toolroom Records to Glasgow, with guests Mark Knight, Stefano Noferini, Mark Storie, Jon Mancini and Giovanni Ferri. Limited to 500.

Booty Call

Monthly night from Soma Records taking in popular techno offerings of all hues.

Thu 08 Aug

Rip This Joint

The Flying Duck, 23:00–03:00, £5 (£3)

Resident young guns Beta & Kappa play the usual fine mix of electronica and bass, with a special guest or two oft in tow.

Maggie May’s, 22:00–03:00, Free (£5/£3 student after 12)

Slouch, 23:00–03:00, Free

Common People

Rip This Joint

Slouch, 23:00–03:00, Free

Tue 06 Aug

Sun 04 Aug Rock, indie and golden indie classics with resident DJ Heather McCartney.

Badass mix of indie, rock and electro with DJ Heather McCartney.

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

Residents Garry and Andrew incite more mayhem than should really be allowed on the Sabbath.

Disco-styled party night with Alfredo Crolla spinning a selection of favourites, bolstered by karaoke and popcorn stalls, just because.

The Rock Shop

Slouch, 23:00–03:00, Free

The Rock Shop

The Garage, 23:00–03:00, £5 (£3)

Saint Judes, 23:00–03:00, £tbc

Subculture (Lil Louis)

Buff Club, 23:00–03:00, £7 (£6)

Badseed

Maggie May’s, 22:00–03:00, Free (£5/£3 student after 12)

Residents night of rock, metal, punk and emo over two levels.

DJ Jopez plays a choice selection of indie, rock, blues and funk.

Sub Club, 23:00–03:00, £5 (free via iamclub.co.uk)

Sub Club, 23:00–03:00, £tbc

Fri 16 Aug

Celebration of all things 90s, with hits a-plenty and a pre-club bingo session.

Duncan Harvey plays a mix of vintage rock ‘n’ roll, sleazy R’n’B, swing, soul, surf and pop from a bygone age.

Shimmy welcome G-House aficionados Anime Edge and Dance, who strut their own combination of deep bass inspired by the latest 80s hip house movement.

Sun 11 Aug

Andy R plays chart hits and requests past and present, while DJ David Lo Pan holes up in The Attic playing retro classics.

Nightrave welcome Parisian ghetto house hon Big Dope P, with stellar support from new Radio 1 show host Eclai Fifi back-to-back with Nightwave and Jackie You Body. The Shimmy (Amine Edge + Dance)

Cathouse Fridays Cathouse, 22:30–03:00, £6 (£5)

Kino Fist

Nice ‘n’ Sleazy, 23:30–03:00, £3

Propaganda

O2 ABC, 23:00–03:00, £4

Student-orientated night playing the best in new and classic indie music.

Sub Club, 23:00–03:00, £10

Nu Skool

Buff Club, 23:00–03:00, £7 (£6)

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

Classic Grand, 22:30–03:00, £6

Metal, industrial and pop-punk over two floors. Subculture

Sub Club, 23:00–03:00, £tbc

Long-running house night with residents Harri & Domenic manning the decks. Cathouse Saturdays

Cathouse, 22:30–03:00, £6 (£5)

Punk, rock and metallic beats with DJs Billy and Muppet. Voodoo

Cathouse, 16:00–21:00, £4 (£2 members)

Under 18s rock night playing, er, anything and everything rock.

Sunday Roaster

The Garage, 23:00–03:00, £4

Renegade

Cathouse, 23:00–03:00, £2 (£1)

Rock, metal and punk playlists all night long, selected by yer man DJ Mythic. Open Sundays

Shed, 22:30–03:00, Free (£3 after 12)

Old Skool

Connoisseur’s mix of old-school jazz, funk and soul. Damnation

Classic Grand, 23:00–03:00, £6

Two floors of the best in punk, metal and alternative tunes. Propaganda

O2 ABC, 23:00–03:00, £4

Student-orientated night playing the best in new and classic indie music. Cathouse Fridays

Cathouse, 22:30–03:00, £6 (£5)

Residents night of rock, metal, punk and emo over two levels. Badseed

Slouch, 23:00–03:00, Free

Badass mix of indie, rock and electro with DJ Heather McCartney. Osmium

The Shed open their doors on the day of the Lord for their messy weekend-extender of a night. Free entry before midnight.

Italo, disco, synthpop and funk with residents Blair Benzini and Blair Benzini.

Mon 12 Aug

The Flying Duck, 23:00–03:00, £5 (£3)

Burn

Buff Club, 23:00–03:00, £5 (£3/Free with wage slip)

Long-running trade night with Normski, Zeus and Mash spinning disco beats. Space Invader

The Garage, 23:00–03:00, £5 (£3)

Andy R plays chart hits and requests past and present, while DJ David Lo Pan holes up in The Attic playing retro classics.

Tue 13 Aug Killer Kitsch

Buff Club, 23:00–03:00, £5 (£3)

The Killer Kitsch residents take charge – eight years old and still offering up the best in house, techno and electronic. Voodoo Voodoo

Nice ‘n’ Sleazy, 23:30–03:00, Free

Duncan Harvey plays a mix of vintage rock ‘n’ roll, sleazy R’n’B, swing, soul, surf and pop from a bygone age. i AM

Sub Club, 23:00–03:00, £5 (free via iamclub.co.uk)

Nice ‘n’ Sleazy, 23:30–03:00, £3

Bottle Rocket

Indie dancing club, playing anything and everything danceable. Booty Call

The Garage, 23:00–03:00, £5 (£3)

Mixed bag of indie and chart classics across four rooms, plus karaoke shenanigans. Jamming Fridays

Maggie May’s, 22:00–03:00, Free (£5/£3 student after 12)

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

Shed, 22:30–03:00, £6 (£4)

Pop and chart hits with Andy Robertson in the main room, plus DJ Del playing the ol’ hippity-hop in the Red Room. Offbeat

La Cheetah Club, 23:00–03:00, £5 (first 50 go free)

The Offbeat crew host a special residents night; first 50 on the door go in free. Rock The Bloc

Bloc+, 23:00–03:00, Free (£2 after 12)

Saturday night disco with Gerry Lyons and guests.

Resident young guns Beta & Kappa play the usual fine mix of electronica and bass, with a special guest or two oft in tow.

The HNDPCKD Cassette chaps take control of the decks, playing a five-hour marathon set of classic hip-hop, instrumental beats, future funk and head nodders, this month joined by Jazz Spastiks.

Saint Judes, 23:00–03:00, £tbc

The Garage, 22:30–03:00, £7 (£5)

The Arches, 21:30–03:00, £20 earlybird

Love Music

O2 ABC, 23:00–03:00, Free (£5 after 11.30)

Gasoline Dance Machine

More classic Italo and straight-up boogie allied with contemporary house and disco, as Edinburgh’s GDM crew enjoy their second Glasgow outing. Back Tae Mine

The Flying Duck, 23:00–03:00, £5 (£3)

House-party styled night with residents Gav Dunbar and Sci-Fi Steve, plus free toast for all as standard. I Heart Garage Saturdays

The Garage, 23:00–03:00, £5 (£3)

Student superclub playing everything from hip-hop to dance and funk to chart. Fantastic Man

Bloc+, 21:00–01:00, Free (£2 after 12)

Messy Saturday night uber-disco featuring a rotating schedule of live talent. The Shed Saturdays

Shed, 22:30–03:00, £7 (£5)

TV Tuesday

Weekly Tuesday party playing a selection of dancefloor-friendly anthems.

Wed 14 Aug Sub Rosa

Sub Club, 23:00–03:00, £5 (£4)

Subbie’s regular student night with residents Ray Vose and Desoto at the helm. Musique Boutique

Buff Club, 23:00–03:00, £3

Midweek party night with resident Bobby Bluebell playing classic house only. Disco Riot

The Garage, 23:00–03:00, £5 (£3)

Disco-styled party night with Alfredo Crolla spinning a selection of favourites, bolstered by karaoke and popcorn stalls, just because. Death By Unga Bunga

Nice ‘n’ Sleazy, 23:30–03:00, Free

Frothy weekend mix of commercial pop and cheese classics, plus DJ Del playing the ol’ hippity-hop in the Red Room.

Summer-styled party night playing the best in garage, soul, rockabilly, punk, surf and anything else you can sway along to.

Nice ‘n’ Sleazy, 23:30–03:00, £4

Thu 15 Aug

Wrong Island

The legendary Teamy and Dirty Larry spin some fresh electronics for your aural pleasure. The Lonely Souls

Stereo, 19:00–22:00, £5

Alternative folk, Americana and blues-tinged rock from Mark Clinton’s Bellshill-based outfit.

Let’s Go Back... Way Back (Justin Robertson)

La Cheetah Club, 23:00–03:00, £8 adv.

Residents Bosco and Rob Mason welcome Manc DJ, remixer and electronic music producer Justin Robertson for a lesson in dancehall, house and art-pop. Oddio (Tom Churchill)

The Berkeley Suite, 23:00–03:00, £5

Monthly residency manned by Weegie stalwart Jim Hutchison, this edition joined by Scotland-based editor and producer Tom Churchill.

Jellybaby

O2 ABC, 23:00–03:00, £3 adv. (£5 door)

Chart, disco and party tunes. Can’t say fairer. Neverland

The Garage, 23:00–03:00, £5 (£3)

Themed night with a live Twitter feed and a bouncy castle for added LOLs. Shore

Nice ‘n’ Sleazy, 23:30–03:00, Free

Eclectic new party night playing everything from the electronic aquatic funk of Drexciya to the outer-space jazz of Sun Ra. R.U.IN Thursdays

Cathouse, 23:00–03:00, £4 (£2)

Rock, metal and emo mix up, plus guest DJs mixing it up in the Jager Bar. Hip Hop Thursdays

Buff Club, 23:00–03:00, £3

Early weekend party starter, with Euan Neilson playing the best in classic R’n’B and hip-hop.

Danny Tenaglia

Known for his residencies in Tunnel and Paradise Garage in New York, Danny Tenaglia brings his euphoric early house sound to the Weege. I AM (Nathan Fake + JG Wilkes)

Sub Club, 23:00–03:00, £tbc

Resident young guns Beta & Kappa play the usual fine mix of electronica and bass, with a special guest or two oft in tow – this time featuring a double whammy of electronic chap Nathan Fake and one-half of the Optimo tag team, JG Wilkes.

Sat 17 Aug Nu Skool

Buff Club, 23:00–03:00, £7 (£6)

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

Nice ‘n’ Sleazy, 23:30–03:00, £3

Indie, electro and anything inbetween with Pauly (My Latest Novel), and Simin and Steev (Errors). Absolution

Classic Grand, 22:30–03:00, £6

Metal, industrial and pop-punk over two floors. Subculture

Sub Club, 23:00–03:00, £10 adv.

Long-running house night with residents Harri & Domenic manning the decks. Cathouse Saturdays

Cathouse, 22:30–03:00, £6 (£5)

Punk, rock and metallic beats with DJs Billy and Muppet. Voodoo

Cathouse, 16:00–21:00, £4 (£2 members)

Under 18s rock night playing, er, anything and everything rock. Love Music

O2 ABC, 23:00–03:00, Free (£5 after 11.30)

Saturday night disco with Gerry Lyons and guests. I Heart Garage Saturdays

The Garage, 23:00–03:00, £5 (£3)

Student superclub playing everything from hip-hop to dance and funk to chart.

The Shed Saturdays Shed, 22:30–03:00, £7 (£5)

Frothy weekend mix of commercial pop and cheese classics, plus DJ Del playing the ol’ hippity-hop in the Red Room. TYCI (Aggi Doom + Marianne MWX)

Bloc+, 23:00–03:00, Free (£2 after 12)

i AM Sub Club, 23:00–03:00, £5 (free via iamclub.co.uk)

Resident young guns Beta & Kappa play the usual fine mix of electronica and bass, with a special guest or two oft in tow. TV Tuesday

The Garage, 22:30–03:00, £7 (£5)

The all-female collective, blog and fanzine brings together a selection of live acts and DJs for their monthly electro party night.

Weekly Tuesday party playing a selection of dancefloor-friendly anthems.

Saint Judes, 23:00–03:00, £5 (£3)

Not Moving

Flash Mob (Tessela)

The Flash Mob mob lot host a night of disco, techno and house, joined by the forward-thinking West Country producer behind Hackney Parrot. Tessela, plus support from locals Ryan Martin (of All Caps) and Flash Mob resident Vandelay. Pistols At Dawn (Bonar Bradberry)

La Cheetah Club, 23:00–03:00, £8 adv.

Pistols At Dawn return with PBR Street Team associate Bonar Bradberry, on it with a set of eclectic disco, house, funk and anything he damn well fancies.

Blue Steel: The Flying Duck’s 6th Birthday

The Flying Duck, 23:00–03:00, £5 (£3)

Zoolander-themed birthday night (i.e. for ridiculously good-looking people), featuring a DJ set from former Pin Up Nights’ chap Paul Smith, alongside a Blue Steel competition, a mock catwalk, on-site make-up artist, and more. Flash Mob (Tessela + Ryan Maryin + Vandelay) Saint Judes, 23:00–03:00, £5 (£3)

Sync In Squares (Just Blaze + Nightwave + Pro Vinylist Karim)

The Berkeley Suite, 23:00–03:00, £7 (£5)

Sync In Squares play host to a DJ set from the legendary US rap producer for Kanye, Eminem and Drake – Just Blaze – alongside Red Bull Music Academy graduate and producer Nightwave, and Pro Vinylist Karim.

Sun 18 Aug The Rock Shop

Maggie May’s, 22:00–03:00, Free (£5/£3 student after 12)

Wed 21 Aug

Sleaze Records: 5th Birthday (Kyle Geiger + Hans Bouffmhyre + Lex Gorrie) La Cheetah Club, 23:00–03:00, £5 adv.

After their humble inception five years ago, Sleaze Records has gone on to global recognition – tonight they celebrate with a trio of acts from their roster. Rubbed (Terry Francis + Animal Farm)

Saint Judes, 23:00–03:00, £10 adv. (£12 door)

Nice ‘n’ Sleazy, 23:30–03:00, Free

This month the Rubbed lot welcome a double dose of guests – as acid house pioneer Terry Francis squares up to esteemed techno trio Animal Farm.

Sub Rosa

The Poetry Club, 23:00–03:00, £10 (£8)

South African house, grime, jungle, R’n’B and hauntology. A tropical mix, ayes. Sub Club, 23:00–03:00, £5 (£4)

Subbie’s regular student night with residents Ray Vose and Desoto at the helm. Musique Boutique

Buff Club, 23:00–03:00, £3

Midweek party night with resident Bobby Bluebell playing classic house only. Disco Riot

The Garage, 23:00–03:00, £5 (£3)

Disco-styled party night with Alfredo Crolla spinning a selection of favourites, bolstered by karaoke and popcorn stalls, just because. Yebo

The Berkeley Suite, 23:00–03:00, Free

Thundercat

Flying Lotus protegee/Brainfeeder affiliated bassist, singer and producer Thundercat brings his soulful, jazz-inflected style of hip-hop to Glasgow.

Sat 24 Aug Nu Skool

Buff Club, 23:00–03:00, £7 (£6)

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

Classic Grand, 22:30–03:00, £6

Metal, industrial and pop-punk over two floors. Subculture

Sub Club, 23:00–03:00, £10 adv.

Brand new Wednesday summer party night, blending together the best alternative hip-hop, trap and footwork.

Long-running house night with residents Harri & Domenic manning the decks.

Thu 22 Aug

Punk, rock and metallic beats with DJs Billy and Muppet.

Jellybaby

Cathouse Saturdays

Cathouse, 22:30–03:00, £6 (£5)

O2 ABC, 23:00–03:00, £3 adv. (£5 door)

Voodoo

Neverland

Under 18s rock night playing, er, anything and everything rock.

Chart, disco and party tunes. Can’t say fairer. The Garage, 23:00–03:00, £5 (£3)

Themed night with a live Twitter feed and a bouncy castle for added LOLs. Shore

Nice ‘n’ Sleazy, 23:30–03:00, Free

Eclectic new party night playing everything from the electronic aquatic funk of Drexciya to the outer-space jazz of Sun Ra. R.U.IN Thursdays

Cathouse, 23:00–03:00, £4 (£2)

Rock, metal and emo mix up, plus guest DJs mixing it up in the Jager Bar. Hip Hop Thursdays

Buff Club, 23:00–03:00, £3

Cathouse, 16:00–21:00, £4 (£2 members)

Love Music

O2 ABC, 23:00–03:00, Free (£5 after 11.30)

Saturday night disco with Gerry Lyons and guests. I Heart Garage Saturdays

The Garage, 23:00–03:00, £5 (£3)

Student superclub playing everything from hip-hop to dance and funk to chart. Singles Night

The Flying Duck, 23:00–03:00, £5 (£3)

Andy Divine and Chris Geddes’ gem of a night dedicated to 7-inch singles from every genre imaginable. Thunder Disco Club

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

Early weekend party starter, with Euan Neilson playing the best in classic R’n’B and hip-hop.

Slouch, 23:00–03:00, Free

Fri 23 Aug

Sunday Roaster

Connoisseur’s mix of old-school jazz, funk and soul.

Frothy weekend mix of commercial pop and cheese classics, plus DJ Del playing the ol’ hippity-hop in the Red Room.

Nice ‘n’ Sleazy, 23:30–03:00, £3

The Arches, 23:00–03:00, £16 earlybird

Rip This Joint

DJ Jopez plays a choice selection of indie, rock, blues and funk. The Garage, 23:00–03:00, £4

Residents Garry and Andrew incite more mayhem than should really be allowed on the Sabbath. Renegade

Cathouse, 23:00–03:00, £2 (£1)

Rock, metal and punk playlists all night long, selected by yer man DJ Mythic. Open Sundays

Shed, 22:30–03:00, Free (£3 after 12)

The Shed open their doors on the day of the Lord for their messy weekend-extender of a night. Free entry before midnight.

Mon 19 Aug Burn

Buff Club, 23:00–03:00, £5 (£3/Free with wage slip)

Long-running trade night with Normski, Zeus and Mash spinning disco beats. Space Invader

The Garage, 23:00–03:00, £5 (£3)

Old Skool

Buff Club, 23:00–03:00, £7 (£6)

The Hot Club

Tearin’ it up with 60s psych-outs and modern sleaze, provided by Rafla and Andy (of The Phantom Band). Damnation

Classic Grand, 23:00–03:00, £6

Two floors of the best in punk, metal and alternative tunes. Propaganda

O2 ABC, 23:00–03:00, £4

Student-orientated night playing the best in new and classic indie music. Cathouse Fridays

Nice ‘n’ Sleazy, 23:30–03:00, £3

Regular TDC outing of danceable disco-infused house. The Shed Saturdays

Shed, 22:30–03:00, £7 (£5)

Tommy Trash

The Australian electro house producer makes his Arches debut, likely on as party-hard form as ever.

Adventures In Paradise (Duncan Harvey)

The Admiral, 23:00–03:00, £5 (£7 after 12.30)

Monthly night fuelled on uptown funk and soulful disco tuneage, celebrating being back downstairs in their original home of The Admiral with a special guest set from Glasgow’s own Duncan Harvey.

Cathouse, 22:30–03:00, £6 (£5)

Sun 25 Aug

Badseed

Cathouse, 23:00–03:00, £4 (£2)

Residents night of rock, metal, punk and emo over two levels.

Slide It In

Slouch, 23:00–03:00, Free

Nicola Walker plays cult rock hits from the 70s, 80s and 90s.

Booty Call

Maggie May’s, 22:00–03:00, Free (£5/£3 student after 12)

Badass mix of indie, rock and electro with DJ Heather McCartney.

The Rock Shop

Andy R plays chart hits and requests past and present, while DJ David Lo Pan holes up in The Attic playing retro classics.

Mixed bag of indie and chart classics across four rooms, plus karaoke shenanigans.

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

Tue 20 Aug

Sub Club, 23:00–03:00, £tbc

Slouch, 23:00–03:00, Free

Killer Kitsch

Buff Club, 23:00–03:00, £5 (£3)

The Killer Kitsch residents take charge – eight years old and still offering up the best in house, techno and electronic. Voodoo Voodoo

Nice ‘n’ Sleazy, 23:30–03:00, Free

Duncan Harvey plays a mix of vintage rock ‘n’ roll, sleazy R’n’B, swing, soul, surf and pop from a bygone age.

The Garage, 23:00–03:00, £5 (£3)

Thunder Disco Club

Regular TDC outing of danceable disco-infused house. Jamming Fridays

Maggie May’s, 22:00–03:00, Free (£5/£3 student after 12)

Rip This Joint

DJ Jopez plays a choice selection of indie, rock, blues and funk. Trash and Burn

Classic Grand, 23:00–03:00, £4

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

Monthly glam trash and sleaze tease party, with guest burlesque performers, magicians and a bit o’ belly dancing.

Shed, 22:30–03:00, £6 (£4)

The Garage, 23:00–03:00, £4

The Shed Fridays

Pop and chart hits with Andy Robertson in the main room, plus DJ Del playing the ol’ hippity-hop in the Red Room.

Sunday Roaster

Residents Garry and Andrew incite more mayhem than should really be allowed on the Sabbath.

THE SKINNY

Renegade

Damnation

Cathouse, 23:00–03:00, £2 (£1)

Classic Grand, 23:00–03:00, £6

Rock, metal and punk playlists all night long, selected by yer man DJ Mythic.

Two floors of the best in punk, metal and alternative tunes.

Shed, 22:30–03:00, Free (£3 after 12)

Student-orientated night playing the best in new and classic indie music.

Open Sundays

The Shed open their doors on the day of the Lord for their messy weekend-extender of a night. Free entry before midnight. Rinse FM (Claude Von Stroke)

Sub Club, 23:00–03:00, £8 earlybird

Rinse FM invite the towering tech-house king that is Claude Von Stroke to their lair, with support from I AM chaps Beta & Kappa.

Mon 26 Aug Burn

Buff Club, 23:00–03:00, £5 (£3/Free with wage slip)

Long-running trade night with Normski, Zeus and Mash spinning disco beats. Space Invader

The Garage, 23:00–03:00, £5 (£3)

Andy R plays chart hits and requests past and present, while DJ David Lo Pan holes up in The Attic playing retro classics.

Tue 27 Aug Killer Kitsch

Buff Club, 23:00–03:00, £5 (£3)

The Killer Kitsch residents take charge – eight years old and still offering up the best in house, techno and electronic. Voodoo Voodoo

Nice ‘n’ Sleazy, 23:30–03:00, Free

Duncan Harvey plays a mix of vintage rock ‘n’ roll, sleazy R’n’B, swing, soul, surf and pop from a bygone age. i AM

Sub Club, 23:00–03:00, £5 (free via iamclub.co.uk)

Resident young guns Beta & Kappa play the usual fine mix of electronica and bass, with a special guest or two oft in tow. TV Tuesday

The Garage, 22:30–03:00, £7 (£5)

Weekly Tuesday party playing a selection of dancefloor-friendly anthems.

Wed 28 Aug Sub Rosa

Sub Club, 23:00–03:00, £5 (£4)

Subbie’s regular student night with residents Ray Vose and Desoto at the helm. So Weit So Good

Nice ‘n’ Sleazy, 23:30–03:00, Free

Mostly monthly free party featuring the party sounds of Ean, Smiddy and Kenny White on decks. Musique Boutique

Buff Club, 23:00–03:00, £3

Midweek party night with resident Bobby Bluebell playing classic house only. Disco Riot

The Garage, 23:00–03:00, £5 (£3)

Propaganda

O2 ABC, 23:00–03:00, £4

Cathouse Fridays

Cathouse, 22:30–03:00, £6 (£5)

Residents night of rock, metal, punk and emo over two levels. Badseed

Slouch, 23:00–03:00, Free

Badass mix of indie, rock and electro with DJ Heather McCartney. Booty Call

The Garage, 23:00–03:00, £5 (£3)

Mixed bag of indie and chart classics across four rooms, plus karaoke shenanigans. Jamming Fridays

Maggie May’s, 22:00–03:00, Free (£5/£3 student after 12)

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

Bloc+, 23:00–03:00, Free (£2 after 12)

Damn fine evening of hip shakers and neck breakers, combining everything from Buddy Holly to Motorhead. Motor City Electronics (Kyle Hall)

La Cheetah Club, 23:00–03:00, £10

La Cheetah Club return with another night in their Motor City Electronic series, aimed at showcasing a selection of talent from Detroit – this time in the form of young Detroit mainstay Kyle Hall. The Shed Fridays

Shed, 22:30–03:00, £6 (£4)

Pop and chart hits with Andy Robertson in the main room, plus DJ Del playing the ol’ hippity-hop in the Red Room. bippp

The Flying Duck, 23:00–03:00, £5

New night dedicated to the joy of synthesisers, playing everything from Gary Numan to CHVRCHES. Sensu: Boat Party (Tini)

The Waverley, 19:00–23:00, £25

Sensu set sail for a voyage down The Waverley, with acclaimed German techno and house lass, Tini, in tow. Pick up from Glasgow Science Centre.

Sat 31 Aug Nu Skool

Buff Club, 23:00–03:00, £7 (£6)

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

Classic Grand, 22:30–03:00, £6

Metal, industrial and pop-punk over two floors. Cathouse Saturdays

Cathouse, 22:30–03:00, £6 (£5)

Punk, rock and metallic beats with DJs Billy and Muppet. Voodoo

Disco-styled party night with Alfredo Crolla spinning a selection of favourites, bolstered by karaoke and popcorn stalls, just because.

Under 18s rock night playing, er, anything and everything rock.

Thu 29 Aug

O2 ABC, 23:00–03:00, Free (£5 after 11.30)

Counterfeit

Cathouse, 23:00–03:00, £4 (£2)

Full-on mix of nu-metal and hard rockin’ tunes with DJs Mythic and Div. Jellybaby

O2 ABC, 23:00–03:00, £3 adv. (£5 door)

Chart, disco and party tunes. Can’t say fairer. Neverland

The Garage, 23:00–03:00, £5 (£3)

Themed night with a live Twitter feed and a bouncy castle for added LOLs. Shore

Nice ‘n’ Sleazy, 23:30–03:00, Free

Eclectic new party night playing everything from the electronic aquatic funk of Drexciya to the outer-space jazz of Sun Ra. R.U.IN Thursdays

Cathouse, 23:00–03:00, £4 (£2)

Rock, metal and emo mix up, plus guest DJs mixing it up in the Jager Bar. Hip Hop Thursdays

Buff Club, 23:00–03:00, £3

Early weekend party starter, with Euan Neilson playing the best in classic R’n’B and hip-hop.

Fri 30 Aug Old Skool

Buff Club, 23:00–03:00, £7 (£6)

Connoisseur’s mix of old-school jazz, funk and soul.

August 2013

Cathouse, 16:00–21:00, £4 (£2 members)

Love Music

Saturday night disco with Gerry Lyons and guests.

Horse Meat Disco (Billy Woods)

The Berkeley Suite, 23:00–03:00, £8

The mighty London disco quartet take over The Berkeley Suite for the evening, we’ll do the boogieing. I Heart Garage Saturdays

The Garage, 23:00–03:00, £5 (£3)

Student superclub playing everything from hip-hop to dance and funk to chart. Houndin’ The Streets

The Flying Duck, 23:00–03:00, £5 (£3)

Resident DJs Jer Reid, Martin Law and guests play music from, and some music inspired by, 1970s and early 80s NYC. The Shed Saturdays

Shed, 22:30–03:00, £7 (£5)

Frothy weekend mix of commercial pop and cheese classics, plus DJ Del playing the ol’ hippity-hop in the Red Room. Kill Yr Idols

Nice ‘n’ Sleazy, 23:30–03:00, £3

DIY disco with a punk attitude, where psychedelic voodoo grooves meet souped-up turbo-tech, played out by the regulars and their occasional guests.

Teenage Riot (What The Blood Revealed) Bloc+, 23:00–03:00, Free (£2 after 12)

Edinburgh Clubs

DIVINE!

Fri 02 Aug

Members of Glasgow’s posthardcore noise-masters, United Fruit, curate their lively monthly event of big-beat alternative indie. The Admiral, 23:00–03:00, £5 (£7/£5 student after 12)

Stellar mix of classic and rare 60s and 70s psych, soul, freakbeat, ska and funk dug deep from Andrew Divine’s vinyl archives. Headhunterz (Psyko Punks)

The Arches, 22:00–03:00, £18 earlybird

Hardstyle specialist Headhunterz (aka Willem Rebergen to his mammy) plays following his new recording deal with Ultra Music. Sync In Squares (Andrés)

Make Do, 23:00–03:00, Free (£5 after 12)

Sync In Squares play host to a headline set from stalwart Detroit house producer – and core member of Theo Parrish’s The Rotating Assembly – Andrés, melting disco, house and soul down to gorgeous effect. Sync In Squares (DJ Haus + Inkke)

Saint Judes, 23:00–03:00, Free (£5 after 12)

Misfits

The Hive, 21:00–05:00, Free (£4 after 10)

Chart, electro, indie-pop and alternative anthems over two rooms. Planet Earth

Citrus Club, 22:30–05:00, Free (£6 after 11)

Distinctly retro selection from 1960 to 1999, moving from Abba to ZZ Top. This Is Music

Sneaky Pete’s, 23:00–05:00, £3 (members free)

Regular indie and electro outing from the Sick Note DJs. Soulsville

Underbelly, 00:00–05:00, £5

Swinging soul spanning a whole century, with DJs Tsatsu and Fryer. Part of Underbelly’s Best of Bongo series, featuring a choice selection of Bongo’s best club nights. Pop Tarts

Electric Circus, 22:30–03:00, Free (£5 after 12)

Sync In Squares host a live set from label boss DJ Haus and his raveindebted DJ style mix of house, grime, garage and techno, with support from local rising grime producer DJ Inkke.

Pop and rock gems, taking in motown, 80s classics and plenty danceable fare (well, the Beep Beep, Yeah! crew are on decks after all).

Sub Club, 23:00–03:00, £tbc

The Bad Robot party lot invade once more, armed with an intergalactic mash-up of electro party tunes.

Subculture (Gerd Janson)

Subculture residents Harri & Domenic host a special outing from German artist, and boss of Running Black, Gerd Janson.

Edinburgh Clubs Tue 30 Jul Antics

The Hive, 22:00–03:00, Free

Alternative anthems cherrypicked from genres of rock, indie and punk. Soul Jam Hot

Sneaky Pete’s, 23:00–03:00, Free

Fresh mix of funk, soul and boogie from The Players Association team. Hector’s House

Cabaret Voltaire, 23:00–03:00, £6 (£5)

Electronic basslines allied with home-cooked house beats.

Bad Robot

The Liquid Room, 22:30–05:00, £5 (£3)

FLY (Klose One + Spencer Sweeney)

Cabaret Voltaire, 23:00–05:00, £7 (£5)

A powerhouse of local residents take over Cab Vol, joined by a selection of guest talent both local and further flung (aka London). Oxygen

The Annexe, 22:30–05:00, £5

Regular night of hard dance and rave for all your, er, hard dance and rave-y needs. Unseen (Jerome Hill, Sicknote)

Studio 24, 22:30–05:00, £7 (£10 after 11)

More stripped-down techno with a back-to-basics warehouse style, as the Unseen residents play host to a double whammy of guests for their August date – London chap Jerome Hill and five piece Cardiff act, Sicknote.

Wed 31 Jul

4x4 (MasterSystem + Ill Papa Giraffe + Th!nk + Krowne + Jack of Diamonds + Rendezvoodoo)

The Hive, 22:00–03:00, £1 (£3 after 11)

Henry’s Cellar, 23:00–05:00, £3 (£4 after 1)

Bangers & Mash

Midweek student rundown of chart and cheese classics. Witness

Sneaky Pete’s, 23:00–03:00, £3 (members free)

Sneaky’s resident bass spectacular of house, garage and bass adventures. The Bunker

Studio 24, 19:00–03:00, £4

New skate night in Studio 24’s own indoor park, with an eight-hour party night complete with a bar, ping pong table, live music and projectors.

Thu 01 Aug Confusion is Sex

Underbelly, 00:00–05:00, £7 (£5 in costume)

Pop-up outing for the glam techno and electro night, this time with a vaudeville theme. Part of Underbelly’s Best of Bongo series, featuring a choice selection of the Bongo Club’s best nights. i Am Edinburgh

Cabaret Voltaire, 23:00–03:00, £4 (free via iamclub.co.uk)

Resident young guns Beta & Kappa make their now regular trip east, playing the usual fine mix of electronica and bass. Frisky

The Hive, 22:00–03:00, Free

Chart, dance and electro fare, plus punter requests all night long. Juice

Sneaky Pete’s, 23:00–05:00, Free

Pumped Thursday nighter playing a mighty mix of everything from Hud Mo to Fly Mo. Fused

The Liquid Room, 22:30–05:00, Free

House styled night with added electro and hip-hop breaks.

Two-fold night of hip-hop and breaks (11pm-2am) followed by doof-doof techno (2am-5am).

Sat 03 Aug Tease Age

Citrus Club, 22:30–05:00, Free (£5 after 11)

Long-running indie, rock and soul night. The Go-Go

Studio 24, 22:30–05:00, £2 (£5/£4 student after 11)

Long-running retro night with veteran DJs Tall Paul and Big Gus. Bubblegum

The Hive, 21:00–05:00, Free (£4 after 10)

Handpicked weekend mix of chart and dance, with retro 80s classics as standard. Propaganda

Picture House, 23:00–05:00, £4

Student-orientated night playing the best in new and classic indie music. Speaker Bite Me

Electric Circus, 22:30–03:00, £5

The Evol DJs worship at the alter of all kinds of indie-pop, as long as it’s got bite. Rewind

The Liquid Room, 22:30–05:00, £5 (£3)

Journey back through the ages, with the residents digging out anthemic gems from the last 40 years. Bordello

Studio 24, 22:30–05:00, Free (£5/£4 student after 11)

Classic sleazy rock selection, all the night long.

We Own: Festival Party

The Bunker

Sneaky Pete’s, 23:00–05:00, £5 (members free)

Studio 24, 19:00–05:00, £4 (£2 members)

The We Own clothing crew bring a concentrated version of their famed party blowouts to town for a special festival party night. Wax On!

Wee Red Bar, 23:00–03:00, £5 (£4)

Night of vinyl-fuelled 80s excess, featuring synth-pop, new wave, Italo disco, breaks and old-skool hip-hop.

Pocket Aces: Thunder Disco Club 80s Shakedown Cabaret Voltaire, 23:00–05:00, £7 (£5)

Dance-inducing party with an anything goes attitude and rotating rota of guest DJs, with TDC hosting a special 80s megabash. Nostalgia

The Annexe, 22:30–05:00, £5

Nostalgic night (as the name would suggest) of old school dance anthems from the 80s and 90s.

Sun 04 Aug The Sunday Club

The Hive, 22:00–05:00, Free

Two rooms of all the chart, cheese and indie-pop you can think of. Oxfam: Buy What You Hear (Oxfam Music DJs)

Cabaret Voltaire, 19:00–01:00, Free

Guest DJs come armed with the music they’ve picked from Edinburgh’s Oxfam store in Stockbridge, all of which will be available to purchase on the night – with funds going straight to Oxfam. DM Lovers

Cabaret Voltaire, 22:30–05:00, £4 (£3)

New alternative monthly night taking its inspiration from the skinhead and punk movements, with discounted entry in Dr. Martens. Obviously.

Mon 05 Aug Mixed Up

The Hive, 22:00–05:00, Free

Request-driven night of pop-punk, chart, indie and good ol’ 90s classics. Nu Fire

Sneaky Pete’s, 23:00–05:00, Free

DJ Fusion and Beef move from hip-hop to dubstep with a plethora of live MCs.

Your Festival Starts Here (Expect a selection)

Cabaret Voltaire, 23:00–05:00, £4 (free via iamclub.co.uk)

Cab Vol’s official festival party starter, featuring a selection of the venue’s finest DJs playing a pick’n’mix of favourited tunes. Celebration Summer

Pivo, 20:00–03:00, Free

Edinburgh student radio station, Fresh Air, take over Pivo for a special festival residency of live music and DJs playing indie rock, pop, post punk and hip-hop fare.

New skate night in Studio 24’s own indoor park, with an eight-hour party night complete with a bar, ping pong table, live music and projectors. Insomnia

The Liquid Room, 22:30–05:00, Free (£4 after 12)

Alternative anthems cherrypicked from genres of rock, indie and punk. Soul Jam Hot

Sneaky Pete’s, 23:00–05:00, Free

Fresh mix of funk, soul and boogie from The Players Association team. I Love Hip Hop

The Liquid Room, 22:30–05:00, £3

Selection of hip-hop classics and brand new classics-to-be. Hector’s House

Cabaret Voltaire, 23:00–05:00, £6 (£5)

Electronic basslines allied with home-cooked house beats.

Wed 07 Aug Bangers & Mash

The Hive, 22:00–05:00, £1 (£3 after 11)

Midweek student rundown of chart and cheese classics.

A powerhouse of local residents take over Cab Vol, joined by a selection of guest talent both local and further flung (aka London). Messenger Sound System

Underbelly, 00:00–05:00, £6 (£7 after 12)

Sat 10 Aug

STAY GOLD

All-new eclectic night brought to you by the folk behind We Own and FLY. Witness Vs Wake

Sneaky Pete’s, 23:00–05:00, Free

Sneaky’s resident bass spectacular of house, garage and bass adventures join forces with the Wake party crew for one night only.

Thu 08 Aug Frisky

The Hive, 22:00–05:00, Free

Chart, dance and electro fare, plus punter requests all night long. Tease

The Liquid Room, 22:30–05:00, £6

Party night of R’n’B, hip-hop and dancehall anthems. Twist & Shout

The Annexe, 22:30–05:00, Free (£3 after 12)

Tease Age

Citrus Club, 22:30–05:00, Free (£5 after 11)

Long-running indie, rock and soul night. Bass Syndicate

Sneaky Pete’s, 23:00–05:00, £3 (members free)

The regular Edinburgh breaks and bassline Manga crew takeover. Bubblegum

Underbelly, 00:00–05:00, £tbc

The Substance crew provide the usual techno blizzards, with resident Gavin Richardson and selected guests. Part of Underbelly’s Best of Bongo series, featuring a choice selection of Bongo’s best club nights. i AM Edinburgh (Justin Robertson)

Cabaret Voltaire, 23:00–05:00, £4 (free via iamclub.co.uk)

Resident young guns Beta & Kappa make their now regular trip east, joined by a guest outing from Manc DJ, remixer and electronic music producer Justin Robertson.

Fri 09 Aug Misfits

The Hive, 21:00–05:00, Free (£4 after 10)

Chart, electro, indie-pop and alternative anthems over two rooms. Planet Earth

Citrus Club, 22:30–05:00, Free (£6 after 11)

LuckyMe

The globetrotting music, art and all-round party crew host a special festival outing, headlined by founding members, The Blessings, and a selection of as-yet-unrevealed guests. Cosmic

Studio 24, 21:00–05:00, £3 (£6 after 10)

Monthly club bringing the spirit of the psychedelic trance dance ritual to the floor, with live acts, VJs and colourful fluoro decor. Pop Tarts

Electric Circus, 22:30–03:00, Free (£5 after 12)

Pop and rock gems, taking in motown, 80s classics and plenty danceable fare (well, the Beep Beep, Yeah! crew are on decks after all). Gimme Indie Rock

Wee Red Bar, 23:00–03:00, £3 (£4 after 12)

A night dedicated to American (and sometimes Canadian) indie rock – for fans of fuzz, distortion and huge choruses.

Alternative anthems cherrypicked from genres of rock, indie and punk. Soul Jam Hot

Sneaky Pete’s, 23:00–05:00, Free

Fresh mix of funk, soul and boogie from The Players Association team. I Love Hip Hop

The Liquid Room, 22:30–05:00, £3

Selection of hip-hop classics and brand new classics-to-be. Hector’s House

Cabaret Voltaire, 23:00–05:00, £6 (£5)

Electronic basslines allied with home-cooked house beats.

Wed 14 Aug Bangers & Mash

The Hive, 22:00–05:00, £1 (£3 after 11)

Midweek student rundown of chart and cheese classics. Witness

Sneaky Pete’s, 23:00–05:00, Free

New alternative monthly night taking its inspiration from the skinhead and punk movements, with discounted entry in Dr. Martens. Obviously.

Picture House, 23:00–05:00, £4

Student-orientated night playing the best in new and classic indie music. Dr No’s

Cabaret Voltaire, 23:00–05:00, £7 (£5)

Substance

Antics

The Hive, 22:00–05:00, Free

Propaganda

Handpicked weekend mix of chart and dance, with retro 80s classics as standard.

Sneaky Pete’s, 23:00–05:00, Free

Juice

Tue 13 Aug

Sneaky’s resident bass spectacular of house, garage and bass adventures.

Danceable mix of the best in 60s ska, rocksteady, bluebeat and reggae.

Pumped Thursday nighter playing a mighty mix of everything from Hud Mo to Fly Mo.

Edinburgh student radio station, Fresh Air, take over Pivo for a special festival residency of live music and DJs playing indie rock, pop, post punk and hip-hop fare.

The Hive, 21:00–05:00, Free (£4 after 10)

Edinburgh’s student radio station, Fresh Air, host a summer residency of their 50s and 60s themed night – vintage variants of rock’n’roll, pop and soul at the ready.

Sneaky Pete’s, 23:00–05:00, £5 (members free)

Antics

FLY (Midland + Will Saul)

Cabaret Voltaire, 23:00–05:00, £7 (£5)

Studio 24, 18:00–23:00, £6

The Hive, 22:00–05:00, Free

The Bad Robot party lot invade once more, armed with an intergalactic mash-up of electro party tunes.

Part of Underbelly’s Best of Bongo series, featuring a choice selection of Bongo’s best club nights.

Distinctly retro selection from 1960 to 1999, moving from Abba to ZZ Top.

Tue 06 Aug

Celebration Summer Pivo, 20:00–03:00, Free

Brand new midweek party night that promises ‘massive tunes’ and free entry for all.

Liferuiner (War Charge + Housefire + Demise and Dishonour + High Hopes + Sectioned)

Hardcore, emo and metal showcase night, headlined by Canadian melodic hardcore lot, Liferuiner, plus local support.

Bad Robot The Liquid Room, 22:30–05:00, £5 (£3)

Henry’s Cellar, 23:00–03:00, £4 (£5 after 12)

Pocket Aces (Think Twice)

Dance-inducing party night, with Craig Smith making his monthly appearance rich with deep, soulful house sounds. The Bunker

Studio 24, 23:00–05:00, £4 (£2 with skateboard)

New skate night in Studio 24’s own indoor park, with an eighthour party night complete with a bar, ping pong table, live music and projectors. Club Noir: Schlock Horror

Picture House, 21:00–03:00, £21

DM Lovers

Cabaret Voltaire, 23:00–05:00, £4 (£3)

The Bunker

Studio 24, 19:00–05:00, £4 (£2 members)

New skate night in Studio 24’s own indoor park, with an eight-hour party night complete with a bar, ping pong table, live music and projectors. Insomnia

The Liquid Room, 22:30–05:00, Free (£4 after 12)

Brand new midweek party night that promises ‘massive tunes’ and free entry for all.

Thu 15 Aug i Am Edinburgh

Cabaret Voltaire, 23:00–05:00, £4 (free via iamclub.co.uk)

Resident young guns Beta & Kappa make their now regular trip east, playing the usual fine mix of electronica and bass. Frisky

Glasgow’s burlesque star teasers host a special horror-themed festival night of their favourited raunchy cabaret club. Dress gory.

Chart, dance and electro fare, plus punter requests all night long.

The Liquid Room, 22:30–05:00, £10 (£8)

Party night of R’n’B, hip-hop and dancehall anthems.

Club Houch

The Club Houch crew bring the hard house and trance tunes, you do the sweatin’. Beep Beep, Yeah!: 4th Birthday

Electric Circus, 22:30–03:00, £4 (£5 after 12)

Retro pop stylings from the 50s to the 70s, via a disco tune of ten, with this edition marking four years of retro lovin’.

Sun 11 Aug The Sunday Club

The Hive, 22:00–05:00, Free

Two rooms of all the chart, cheese and indie-pop you can think of.

Gasoline Dance Machine (Moon Boots)

Cabaret Voltaire, 23:00–05:00, £7 (£5)

Classic Italo and straight-up boogie allied with contemporary house and disco, bolstered by the services of the planetary pimp that is Moon Boots.

Mon 12 Aug Mixed Up

The Hive, 22:00–05:00, Free

Request-driven night of poppunk, chart, indie and good ol’ 90s classics. Nu Fire

Sneaky Pete’s, 23:00–05:00, Free

DJ Fusion and Beef move from hip-hop to dubstep with a plethora of live MCs. Shaka

Cabaret Voltaire, 23:00–05:00, £4 (£3)

The extreme sports acolytes host their mixed media party night, featuring live percussion, live skate/surf/shred visuals and tunes of the ghetto funk, soul, disco and d’n’b variety.

The Hive, 22:00–05:00, Free

Tease

The Liquid Room, 22:30–22:00, £6

Twist & Grind

The Annexe, 22:30–05:00, Free (£3 after 12)

Edinburgh’s student radio station, Fresh Air, host a one-off night as part of their summer residency at The Annexe – playing the best in 90s and early 00s hip-hop, R’n’B and UK bangers. Juice (Scratch DVA)

Sneaky Pete’s, 23:00–05:00, £3 (members free)

Pumped Thursday nighter playing a mighty mix of everything from Hud Mo to Fly Mo, this edition joined by one of Hyperdub’s most significant players, Scratch DVA (aka he of the grime, juke and footwork grooves).

Fri 16 Aug Misfits

The Hive, 21:00–05:00, Free (£4 after 10)

Chart, electro, indie-pop and alternative anthems over two rooms. Mumbo Jumbo

Underbelly, 00:00–05:00, £7 (£5)

Conscious roots and dub reggae rockin’ from the usual beefed-up soundsystem. Part of Underbelly’s Best of Bongo series, featuring a choice selection of Bongo’s best club nights. Planet Earth

Citrus Club, 22:30–05:00, Free (£6 after 11)

Distinctly retro selection from 1960 to 1999, moving from Abba to ZZ Top. This Is Music

Sneaky Pete’s, 23:00–05:00, £3 (members free)

Regular indie and electro outing from the Sick Note DJs.

Listings

Animal Hospital Studio 24, 23:00–05:00, Free (£5 after 11.30)

The Animal Hospital troops continue to medicate Edinburgh with their unique blend of techno, house and minimal. Evol

The Liquid Room, 22:30–05:00, £tbc

Edinburgh institution mixing indiepop, alternative cuts, retro classics and new found sounds. Audacious (Gizmode + Eraserhead + Anorak + Michael J Rocks + BreakWhore + Brewmachine + BooGhost) Henry’s Cellar, 23:00–05:00, £6 (£5)

Hardstyle breakcore night for your dancing pleasure, welcoming a selection of guests into their fore for a special festival edition. Unpop

Wee Red Bar, 22:00–03:00, £5

Indie-pop dance party for the twee of heart. Pop Tarts

Electric Circus, 22:30–03:00, Free (£5 after 12)

Pop and rock gems, taking in motown, 80s classics and plenty danceable fare (well, the Beep Beep, Yeah! crew are on decks after all). Club Fly Es Balearic

Cabaret Voltaire, 23:00–05:00, £7 (£5)

A powerhouse of local residents take over Cab Vol, this time with a one-off Ibiza-themed night chock with Balearic beats.

Sat 17 Aug Tease Age

Citrus Club, 22:30–05:00, Free (£5 after 11)

Long-running indie, rock and soul night. Bubblegum

The Hive, 21:00–05:00, Free (£4 after 10)

Handpicked weekend mix of chart and dance, with retro 80s classics as standard. The Green Door

Studio 24, 22:30–05:00, £2 (£5/£4 student after 11)

Surf, blues and rockabilly from the 50s and early 60s, plus free cake. Job done. Propaganda

Picture House, 23:00–05:00, £4

Student-orientated night playing the best in new and classic indie music. VEGAS!

Picture House, 21:00–03:00, £15 adv.

50s-themed party fun night, with Frankie Sumatra, Bugsy Seagull, Dino Martini, Sam Jose and Nikki Nevada. Plus Vegas showgirls ago-go, natch. Pop Rocks!

Electric Circus, 22:30–03:00, £4 (£5 after 12)

Pop and rock gems, taking in motown, 80s classics and plenty danceable fare (well, the Beep Beep, Yeah! crew are on decks after all). Pocket Aces (Gareth Sommerville)

Cabaret Voltaire, 23:00–05:00, £7 (£5)

Dance-inducing party night, with Mr Gareth Sommerville making his regular monthly appearance. Club Eden

The Annexe, 22:30–05:00, £5

Funky house and dirty electro playlists from the past and future, so say they.

Edinburgh Club Collective (Karnival, Kapital, Pulse, Hush) The Liquid Room, 22:30–03:00, £10 (£8)

Collaborative night featuring a selection of Edinburgh’s top nights – in the form of Karnival, Kapital, Pulse and Hush – moving from techno to house and back again. Decade: 1st Birthday

Studio 24, 22:30–05:00, £3 (£5 after 12)

More fresh playlists spanning pop-punk, emo and hardcore soundscapes, as Decade turns the grand old age of one. Wasabi Disco (Daniel Avery Vs JD Twitch)

Sneaky Pete’s, 23:00–05:00, £tbc

Phantasy’s Daniel Avery saddles up with Glasgow talent JD Twitch (of Optimo) for a Wasabit Disco special.

Sun 18 Aug The Sunday Club

The Hive, 22:00–05:00, Free

Two rooms of all the chart, cheese and indie-pop you can think of.

Listings

SECRETSUNDAZE

Twist & Shout

Definition

Cabaret Voltaire, 23:00–05:00, £10 (£8)

The Annexe, 22:30–05:00, Free (£3 after 12)

Sneaky Pete’s, 23:00–05:00, £3 (members free)

The longstanding night (on the go for some 11 years) provides the usual haven for house and techno heads and party people alike.

Mon 19 Aug Mixed Up

The Hive, 22:00–05:00, Free

Edinburgh’s student radio station, Fresh Air, host a summer residency of their 50s and 60s themed night – vintage variants of rock’n’roll, pop and soul at the ready. Juice

Sneaky Pete’s, 23:00–05:00, Free

Request-driven night of pop-punk, chart, indie and good ol’ 90s classics.

Pumped Thursday nighter playing a mighty mix of everything from Hud Mo to Fly Mo.

Sneaky Pete’s, 23:00–05:00, Free

Fri 23 Aug

Nu Fire

DJ Fusion and Beef move from hip-hop to dubstep with a plethora of live MCs. Old Town 4 Lyf

Cabaret Voltaire, 23:00–05:00, £4 (£3)

In a celebration of all things Cowgate, Old Town 4 Lyf offers up a one-off a showcase of Edinburgh’s best underground club nights – with DJs from Cab Vol, Sneaky Petes, Bongo and 511, amongst others. Celebration Summer

Pivo, 20:00–03:00, Free

Edinburgh student radio station, Fresh Air, take over Pivo for a special festival residency of live music and DJs playing indie rock, pop, post punk and hip-hop fare.

Tue 20 Aug Antics

The Hive, 22:00–05:00, Free

Alternative anthems cherrypicked from genres of rock, indie and punk. Soul Jam Hot

Sneaky Pete’s, 23:00–05:00, Free

Fresh mix of funk, soul and boogie from The Players Association team.

Misfits

The Hive, 21:00–05:00, Free (£4 after 10)

Chart, electro, indie-pop and alternative anthems over two rooms. Planet Earth

Citrus Club, 22:30–05:00, Free (£6 after 11)

Distinctly retro selection from 1960 to 1999, moving from Abba to ZZ Top. This Is Music

Sneaky Pete’s, 23:00–05:00, £3 (members free)

Regular indie and electro outing from the Sick Note DJs. Pop Tarts

Electric Circus, 22:30–03:00, Free (£5 after 12)

Pop and rock gems, taking in motown, 80s classics and plenty danceable fare (well, the Beep Beep, Yeah! crew are on decks after all). Shake Yer Shoulders

Studio 24, 23:00–05:00, £tbc

Celebration of all things techno with the Shake Yer Shoulders residents. FLY

Cabaret Voltaire, 23:00–05:00, £7 (£5)

Selection of hip-hop classics and brand new classics-to-be.

A powerhouse of local residents take over Cab Vol, joined by a selection of guest talent both local and further flung (aka London).

Cabaret Voltaire, 23:00–05:00, £6 (£5)

Sneaky Pete’s, 19:00–22:00, £14

I Love Hip Hop

The Liquid Room, 22:30–05:00, £3

Hector’s House

Tiger and Woods (Atom Tree)

Wed 21 Aug

The mysterious duo, otherwise known as Larry Tiger and David Woods, serve up their disco beats in a special late night set.

The Hive, 22:00–05:00, £1 (£3 after 11)

The Annexe, 22:30–05:00, £5 (£3)

Electronic basslines allied with home-cooked house beats. Bangers & Mash

Midweek student rundown of chart and cheese classics. We Own: Festival Party (Residents)

Cabaret Voltaire, 23:00–05:00, £8 (£6)

Basscamp

Regular fun night of big drops and bass sounds from the realms of modern dance and EDM. Return To Space

Wee Red Bar, 22:00–03:00, £3 (£5 after 11.30)

The We Own clothing crew bring a concentrated version of their famed party blowouts to town for a special festival party night.

Cosmic night of Italo disco, new beat, acid and spaced-oot electro.

Studio 24, 19:00–05:00, £4 (£2 members)

The Liquid Room, 22:30–05:00, £15 adv.

The Bunker

New skate night in Studio 24’s own indoor park, with an eight-hour party night complete with a bar, ping pong table, live music and projectors. Insomnia

The Liquid Room, 22:30–05:00, Free (£4 after 12)

Brand new midweek party night that promises ‘massive tunes’ and free entry for all. Witness (Riton)

Sneaky Pete’s, 23:00–05:00, £5 (members free)

Sneaky’s resident bass spectacular of house, garage and bass adventures welcome house legend Riton to their diminutive lair.

Thu 22 Aug Four Corners

Underbelly, 00:00–05:00, £3 (£5 after 1)

Jackhammer (Ben Sims + Jeff Mills)

The Jackhammer crew up our dose of all things techno with a double healdiner bill of joy, with threedeck techno wizard Ben Sims playing alongside the infamous techno pioneer/legend/behemoth that is Jeff Mills. Electrikal Sound System

Underbelly, 00:00–05:00, £7

A stacked line-up of 22 DJs – including Riddim Tuffa, Animal Hospital, Taz and Era – play an eclectic selection of tunes, from booty bass to jungle. Part of Underbelly’s Best of Bongo series, featuring a choice selection of Bongo’s best club nights.

Picture House, 23:00–05:00, £20 adv.

The favourited ‘burgh house night host a special Edinburgh Fringe closing party, with extra special guest in the form of Turbo Recordings founder and electro-meetstechno stalwart Tiga. Xplicit: Hospitality (High Contrast + S.P.Y + Nu:Logic + Fred V & Grafix + Eno + G-Mac) The Liquid Room, 22:00–05:00, £15 earlybird

Heavy jungle and bass-styled beats from the inimitable Xplicit crew, who host a special Hospitality label night – with High Contrast, S.P.Y, Nu:Logic and more in the main room. Pop Tarts: Saturday Take Over

Electric Circus, 22:30–03:00, £4 (£5 after 12)

The Friday fun night has a one-off Saturday outing, featuring DJs from some of Electric Circus’ favourited existing nights Ð including Magic Nostalgic and Pop Rocks. Grown Ups

Summerhall, 22:00–03:00, £6 adv. (£8 door)

All-vinyl club for fully-fledged music fans, with DJs Kinghorror and The Spotlight Kid digging into their dusty record boxes.

Sun 25 Aug The Sunday Club

The Hive, 22:00–05:00, Free

Two rooms of all the chart, cheese and indie-pop you can think of. Dive

Henry’s Cellar, 20:00–03:00, £6 (£8 after 11)

Insomnia

The Liquid Room, 22:30–05:00, Free (£4 after 12)

Brand new midweek party night that promises ‘massive tunes’ and free entry for all.

Fringe Team Staff Debrief (Nasty P)

Cabaret Voltaire, 23:00–05:00, £4 (Free for Fringe Team 2013)

Special party night free to all Fringe Team 2013 wristband holders. Witness (Jon 1st)

Sneaky Pete’s, 23:00–05:00, £tbc

Sneaky’s resident bass spectacular of house, garage and bass adventures welcome Leicester scratch DJ and producer Jon 1st for a one-off outing.

Thu 29 Aug i Am Edinburgh

Cabaret Voltaire, 23:00–05:00, £4 (Free via iamclub.co.uk)

Resident young guns Beta & Kappa make their now regular trip east, playing the usual fine mix of electronica and bass. Frisky

The Hive, 22:00–05:00, Free

Chart, dance and electro fare, plus punter requests all night long. Tease

The Liquid Room, 22:30–05:00, £6.00

Party night of R’n’B, hip-hop and dancehall anthems. Twist & Shout

The Annexe, 22:30–05:00, Free (£3 after 12)

Edinburgh’s student radio station, Fresh Air, host a summer residency of their 50s and 60s themed night – vintage variants of rock’n’roll, pop and soul at the ready. Decade: The Bunker Sesh

Studio 24, 22:30–05:00, £4 (£2 with skateboard)

The Bunker and Decade join forces for a one-off fun night, equipped with the Decade DJs, a ping pong table, hula hoops and – o’course – The Bunker’s indoor skate ramps. Juice (Henry Krinkle)

Sneaky Pete’s, 23:00–05:00, £tbc

Henry’s play home to the second edition of the all-new queer party night, flaunting its suitably eclectic wares across a programme of performance, music, spoken word, live art and comedy.

Pumped Thursday nighter playing a mighty mix of everything from Hud Mo to Fly Mo, joined by modern electronic dance wizard Hnery Krinkle deft at combining ethereal chopped and screwed R’n’B vocals with a crisp production.

Mon 26 Aug

Fri 30 Aug

The Hive, 22:00–05:00, Free

The Hive, 21:00–05:00, Free (£4 after 10)

Mixed Up

Request-driven night of pop-punk, chart, indie and good ol’ 90s classics. Nu Fire

Sneaky Pete’s, 23:00–05:00, Free

Misfits

Chart, electro, indie-pop and alternative anthems over two rooms. Planet Earth

Citrus Club, 22:30–05:00, Free (£6 after 11)

Sneaky Pete’s, 23:00–05:00, £3 (members free)

Bubblegum

The Hive, 21:00–05:00, Free (£4 after 10)

Handpicked weekend mix of chart and dance, with retro 80s classics as standard.

Filter

Industrial rockers formed in Cleveland back in’t 1993 by former NIN guitarist Richard Patrick. Sick Note: Cab Vol Return

Cabaret Voltaire, 23:00–05:00, £3 (£2)

The legendary indie and electro night makes a one-off return to its Cab Vol lair.

Picture House, 23:00–05:00, £4

Celebration Summer

Stacks

Edinburgh student radio station, Fresh Air, take over Pivo for a special festival residency of live music and DJs playing indie rock, pop, post punk and hip-hop fare.

Student-orientated night playing the best in new and classic indie music. Wee Red Bar, 23:00–03:00, £5 (£4)

Bawlin’ r’n’b, soul, swing and motown from the Stacks residents, plus free mix CDs on the door.

The Liquid Room, 22:30–05:00, £6.00

Henry’s Cellar, 23:00–03:00, £tbc

Tease

Musika (Tiga + James Zabiela + George Fitzgerald)

The Hive, 22:00–05:00, £1 (£3 after 11)

Midweek student rundown of chart and cheese classics.

The Liquid Room, 19:00–22:00, £12.50

Chart, dance and electro fare, plus punter requests all night long. Party night of R’n’B, hip-hop and dancehall anthems.

Edinburgh Tekno Cartel bring the sleazy bass and techno beats, this month with a science gone wrong theme (aka make like a mad scientist – bolstered by a live set from free party collective founder Crystal Distortion.

Bangers & Mash

Tease Age

Propaganda

The Hive, 22:00–05:00, Free

ETC20: Scientific Progress Goes Donk! (Crystal Distortion)

Studio 24, 23:00–05:00, £7 (£5)

Wed 28 Aug

Citrus Club, 22:30–05:00, Free (£5 after 11)

Sat 24 Aug

Cabaret Voltaire, 23:00–05:00, £4 (free via iamclub.co.uk)

Frisky

Dance-inducing party night, with GDM’s Cheap Picasso making their monthly appearance armed with classic Italo, straight-up boogie, contemporary house and disco.

Electronic basslines allied with home-cooked house beats.

Distinctly retro selection from 1960 to 1999, moving from Abba to ZZ Top.

Long-running indie, rock and soul night.

Resident young guns Beta & Kappa make their now regular trip east, playing the usual fine mix of electronica and bass.

Pocket Aces (Gasoline Dance Machine)

Cabaret Voltaire, 23:00–05:00, £7 (£5)

Hector’s House

Cabaret Voltaire, 23:00–05:00, £6 (£5)

DJ Fusion and Beef move from hip-hop to dubstep with a plethora of live MCs.

Soulful dancing fodder, from deep funk to reggae beats with your regular DJ hosts. Part of Underbelly’s Best of Bongo series, featuring a choice selection of Bongo’s best club nights. i Am Edinburgh

Mark Balneaves and Martin Lightbody play some of the finest underground house and techno across four decks, fx units and laptops.

I Love Hip Hop The Liquid Room, 22:30–05:00, £3

Selection of hip-hop classics and brand new classics-to-be.

Papi Falso

Sci-fi pop, outsider folk, soulful r’n’b, machine funk and a whole lot more.

Pivo, 20:00–03:00, Free

Tue 27 Aug Antics

The Hive, 22:00–05:00, Free

Alternative anthems cherrypicked from genres of rock, indie and punk. Soul Jam Hot

Sneaky Pete’s, 23:00–05:00, Free

Fresh mix of funk, soul and boogie from The Players Association team.

Jackhammer: End of Festival BBQ (Magda + Marc Houle + Danny Benedettini + Wolfjazz & Keyte) The Annexe, 21:00–05:00, £18 adv.

Fri 02 Aug

Sat 31 Aug

Full-throated and anthemic melodic post-hardcore merchants from Freiburg, paying their very first visit to Scotland.

Kage, 19:30–22:00, £5

Kage, 23:00–02:30, £4

Ska, screamo and pop-punk offerings, featuring additional live performances from a selection of choice noisemakers.

Sat 10 Aug

Sat 03 Aug

Non-Zero’s, 19:30–22:00, £6

Kage, 23:00–02:30, £4

Tease Age

Citrus Club, 22:30–05:00, Free (£5 after 11)

Long-running indie, rock and soul night. Bubblegum

The Hive, 21:00–05:00, Free (£4 after 10)

Electric Circus, 22:30–03:00, Free (£5 after 12)

Pop and rock gems, taking in motown, 80s classics and plenty danceable fare (well, the Beep Beep, Yeah! crew are on decks after all). Defcon

Studio 24, 23:00–05:00, £tbc

Jungle, jungle and, er, more jungle with a selection of the best modern jungle DJs. FLY

Cabaret Voltaire, 23:00–05:00, £7 (£5)

A powerhouse of local residents take over Cab Vol, joined by a selection of guest talent both local and further flung (aka London).

Paper Tiger (Tivvy)

The Dundee covers band lead up a charity fundraiser in aid of SANDS, with added raffle action.

Electric Circus, 22:30–03:00, £6 (£7 after 12)

20 Rocks, 20:00–23:00, Free (£3.50 after 12)

Magic Nostalgic

A hodgepodge of quality tracks chosen by JP’s spinning wheel. Expect anything from 90s rave to power ballads, and a whole lotta one-hit wonders. Ride

Sneaky Pete’s, 23:00–05:00, £3 (members free)

The Ride girls play hip-hop and dance, all night long – now in their new party-ready Saturday night slot. Propaganda

Picture House, 23:00–05:00, £4

Student-orientated night playing the best in new and classic indie music. Madchester

The Liquid Room, 22:30–05:00, £6

Monthly favourite of indie classics and baggy greats, from Primal Scream and the like. Betamax

Studio 24, 23:00–05:00, £5

Monthly offering of new wave, disco, post-punk and a bit o’ synthtastic 80s with your hosts Chris and Big Gus. Dr No’s

Henry’s Cellar, 23:00–03:00, £4 (£5 after 12)

Fire It Up

The alternative rock covers act play some, er, alternative rock covers.

Wed 14 Aug

Fall Against Fate (The Weight of Atlas + Kaoss Theory)

Beat Generator Live!, 20:00–22:30, £5 adv.

The up-and-coming metalcore mob and their pals bring maximum riffage, as per.

Thu 15 Aug Vagabond Poets

20 Rocks, 20:00–23:00, Free (£3.50 after 12)

Mod-styled band of scallywags hailing from the fiery musical furnace of Cumbernauld.

Harrington Saints (The Eddies)

Beat Generator Live!, 20:00–22:30, £6 adv.

Koo Koo

Party-styled night of 70s post-punk, disco and synth wave delights.

Dundee Music Fri 02 Aug

Model Aeroplanes (The Alley + Broken Boy)

20 Rocks, 20:00–23:00, Free (£3.50 after 12)

I Am I (For The Cause)

Beat Generator Live!, 19:30–22:30, £7 adv.

Beat Generator Live!, 20:00–22:30, £5 adv.

The Cribs

Fat Sam’s, 17:00–22:00, £15

The Wakefield indie-rockers do their guitar-heavy and frantic thing, showcasing their latest LP – PAYOLA – to the masses.

Sun 18 Aug

The Hostiles (Colt 45 + Atom Tan)

20 Rocks, 20:00–23:00, Free (£3.50 after 12)

Another high-tempo ska punk party from the Ayr nutcases.

Fri 23 Aug

The Manc DJ, remixer and electronic music producer mixes it up across areas of dancehall, house and art-pop. Kaos

Kage, 23:00–02:30, £4

New night exploring new music and the bands that inspired them, and the bands that in turn inspired them... And so on for eternity.

Sat 10 Aug

Electrode (Stefano Noferini)

Reading Rooms, 22:30–03:30, £tbc

Electrode residents Billy Morris and Kev Taylor welcome Italian DJ and producer Stefano Noferini into their lair – known for his golden touch when it comes to dancefloor detroyers. Asylum

Kage, 23:00–02:30, £4

Friendzy

Fat Sam’s, 22:30–03:00, £3.50

Messy student midweeker of party tunes and jelly shots.

Fri 16 Aug

Gorilla In Your Car

Kage, 23:00–02:30, £4

Hardcore, emo, punk and scenester selections. Also perhaps the best-named club night in Dundee’s existence.

Sat 17 Aug Asylum

Kage, 23:00–02:30, £4

Best of selection of rock, metal and alternative tunes.

Wed 21 Aug Friendzy

Fat Sam’s, 22:30–03:00, £3.50

Messy student midweeker of party tunes and jelly shots.

Fri 23 Aug Kage, 23:00–02:30, £4

Irie Lion Sound

Set of indie and pop-styled acoustic covers.

A one-off night of chilled out reggae vibes to nourish the soul.

Sun 25 Aug

Sat 24 Aug

Indica (FAKE + Hell is Harmony + Isak) 20 Rocks, 20:00–23:00, Free (£3.50 after 12)

Heavy rock and metal-styled opperings. The Delaplains

Reading Rooms, 19:00–22:00, £6 adv.

Manc-based guitar ensemble, formed and inspired through a combined love of 60s pop structures and post-punk shoegaze guitar.

Sun 04 Aug

70 and 80s-infused rockers, built on riffs, anthemic choruses and proper big mullet hair.

Musical all-dayer in honour fo the bank holiday weekend, headlined by the post-rock, ambient and math-y indie textures of Glasgow’s Thulah Borah.

Justin Robertson

Reading Rooms, 22:30–03:30, £tbc

The Arcades

Thu 29 Aug

20 Rocks, 12:00–23:00, Free (£3.50 after 12)

Fri 09 Aug

20 Rocks, 20:00–23:00, Free (£3.50 after 12)

Heavy metal noisemakers featuring a certain ZP Theart, former ferocious frontman of Dragonforce.

Bank Holiday All-Dayer (Thula Borah)

Best of selection of rock, metal and alternative tunes.

Wed 14 Aug

Deathcats (Et tu Brute? + Wozniak + Hookers for Jesus)

Sat 17 Aug

Wee Red Bar, 23:00–03:00, £5

Asylum

Fri 16 Aug

Cabaret Voltaire, 23:00–05:00, £7 (£5)

Dance-inducing party with an anything goes attitude and rotating rota of guest DJs, with I AM residents Beta and Kappa showing their versatility with a monthly appearance.

Warped

Best of selection of rock, metal and alternative tunes.

The Glasgow guitar popsters drop a set of their fiery post-surf brand of hardcore, as per the Deathcats law.

Pocket Aces (i AM)

Vision

Reading Rooms, 22:30–03:30, £5

Deep and funky house soundscapes provided by Tobias, Jono Fyda, O’Hara and Fran.

Punk rock lot who take their cue from the remnants of some of the Bay Area’s finest street rock bands.

Danceable mix of the best in 60s ska, rocksteady, bluebeat and reggae.

Sat 03 Aug

Pop Tarts

Casually Dressed (Midday Committee + First Step To Failure + Maxwell’s Dead)

Handpicked weekend mix of chart and dance, with retro 80s classics as standard.

Henry’s Cellar, 23:00–03:00, £tbc

A cast of players take care of all your hardtek and breakcore needs, with full UV decor and -YES! glowsticks.

Non-Zero’s, 19:00–22:00, £tbc

Dundee Clubs

Post-hardcore ensemble hailing from various parts of Essex, continuing their schedule of endless touring.

Regular indie and electro outing from the Sick Note DJs. Wonky

Our People Versus Yours (The Weight Of Atlas)

Jackhammer round off the festival with an eight-hour summer’s BBQ, at which Magda, Marc Houle, Danny Benedettini, and Wolfjazz & Keyte will provide the techno-heavy tuneage, while a flaming grill provides the sustenance.

The fledgling Dundee-based rockers play a hometown show preceding the release of their first single in September – recorded whilst they were finishing their Higher exams.

This Is Music

Fri 09 Aug

Estrella

20 Rocks, 20:00–23:00, Free (£3.50 after 12)

Asylum

Kage, 23:00–02:30, £4

Best of selection of rock, metal and alternative tunes. Kerrang! Klub: Pirates Vs Ninjas Kage, 23:00–02:30, £4

The rock and metal night hosts a special themed blowout, where pirate meets ninja in a sea of moshing.

Fri 30 Aug Pop!

Kage, 23:00–02:30, £4

One-off night of cheesy pop offerings, to which you can add your guiltiest requests via Facebook (under another name, obvs).

Sat 31 Aug Asylum

Kage, 23:00–02:30, £4

Best of selection of rock, metal and alternative tunes. Carnivale

Kage, 23:00–02:30, £4

Carnival-styled club night playing classic alternative tunes (care of the Coalesce DJs), jollied along by popcorn, candyfloss, facepainting and stiltwalkers.

THE SKINNY

Art Glasgow 12-16 South Frederick Street OUR FOUNDING DAUGHTERS

9–11 AUG, TIMES VARY, FREE

Triple-header pop-up exhibition featuring the works of Emily Wylde, Nuala Swan and Levi Macdonald, taking in a selection of their – quite frankly stunning – fashion photography.

CCA

SHELLY NADASHI

VARIOUS DATES BETWEEN 3 AUG AND 14 SEP, 11:00AM – 6:00PM, FREE

New body of work from the Israeliborn, Brussels-based artist, offering a glimpse into her recent history as an artist, sharing with the viewer the new concerns and developments of her practice. IAIN HETHERINGTON + JACOB KERRAY + OWEN PIPER

VARIOUS DATES BETWEEN 3 AUG AND 14 SEP, 11:00AM – 6:00PM, FREE

Coming together for a group showcase of work, Iain Hetherington, Jacob Kerray and Owen Piper share a series of concerns with the reality of making work and the subsequent meaning of the results. NICOLA KIRKALDY + IEDE RECKMAN: THE HORIZON OF GRAVITY HILL

31 AUG – 13 SEP, NOT 1 SEP, 8 SEP, 11:00AM – 6:00PM, FREE

Collaboration between Netherlands artists Nicola Kirkaldy and Iede Reckman, taking the form of a large-scale installation in which the perspectives and visual lines are disturbed and recreated.

Gallery of Modern Art

NIKI DE SAINT PHALLE: THE ERIC AND JEAN CASS GIFT

17 DEC – 16 NOV, TIMES VARY, FREE

Exhibition of 13 sculptures, one lithograph and other related ephemera by French sculptor, painter, and film maker Niki de Saint Phalle, gifted to Glasgow Museums through the Contemporary Art Society. A PICTURE SHOW

18 JUL – 2 FEB, TIMES VARY, FREE

Group show of 12 Glasgow-based painters, intended to survey the complexity, subtlety and variety of the art form – with no unifying concept of theme, other than painting being their central practice.

Glasgow Print Studio CARLA SCOTT FULLERTON: OCCUPYING FORMS

VARIOUS DATES BETWEEN 5 JUL AND 18 AUG, TIMES VARY, FREE

The Glasgow School of Art graduate continues her questioning of how forms and formless structures sit together, juxtaposing material forms through processes and playing with shapes that relate to architecture.

August 2013

VARIOUS DATES BETWEEN 23 AUG AND 13 OCT, TIMES VARY, FREE

Glasgow Print Studio mark their 40th year with a showcase exhibition featuring 40 new prints by 40 of their best-known artists (alongside a selection of artist members) – amongst them Alasdair Gray, Elizabeth Blackadder, Martin Boyce and Jim Lambie.

Glasgow School of Art A CONSPIRACY OF DETAIL

13 JUL – 29 SEP, TIMES VARY, FREE

Group exhibition looking at the ideas contemporary practice has around adornment, in terms of cultural, social, religious and material aspects – featuring artists working across contemporary visual art and design. In the Mackintosh Museum.

Glasgow Sculpture Studios

NINA BEIER: LIQUID ASSETS

VARIOUS DATES BETWEEN 13 JUL AND 7 SEP, 11:00AM – 5:00PM, FREE

New work from the Danish artist, whose practice explores notions of representation through the practice of sculpture – with this exhibition bringing together a selection of new commissions and pre-existing works.

Govanhill Baths KATHRYN RODGER: ROSE AND GARDEN

2–3 AUG, 7:00PM – 12:00AM, £5

Performance art event exploring the inner world of hallucinations, delusions and aberations of mental illness – told via a manipulation of paint and materials to tap into the sensory, emotional and psychological effects of the artist’s painting process.

Intermedia

KATHRYN ELKIN: COVERS

VARIOUS DATES BETWEEN 2 AUG AND 23 AUG, 1:00PM – 5:00PM, FREE

Belfast-born, Scotland-based artist known for applying personal methods of translation, transcription and representation to realise her work. Showing in conjunction with a series of weekly performances involving collaborations with musicians and artists.

Market Gallery AT LAND

VARIOUS DATES BETWEEN 5 JUL AND 16 AUG, 11:00AM – 5:00PM, FREE

Showcase exhibition exploring the genre of the Scottish urban landscape, with ten artists exhibiting paintings that depict viewpoints of how inhabitants occupy and populate the built environments of Scottish cities, communities and industries.

Six Foot Gallery BEST OF DEGREE SHOW

VARIOUS DATES BETWEEN 2 JUL AND 31 JUL, 10:00AM – 5:00PM, FREE

Annual showcase exhibition of Scotland’s graduate young artists and designers – with exhibiting artists from the City of Glasgow College’s new Contemporary Art practice, alongside GSA, Duncan of Jordanstone, ECA and Gray’s School of Art.

Studio 41 DJAVLAR ANAMMA

1–6 AUG, TIMES VARY, FREE

Exhibition by three Swedish art students – Melanie Wiksell, Richard Krantz and Caroline Andreasson – each with different backgrounds and currently studying at the Glasgow School of Art, reflecting on phenomenas such as national identity, home and origin.

The Lighthouse

ICE LAB: NEW ARCHITECTURE AND SCIENCE IN ANTARCTICA

26 JUL – 2 OCT, TIMES VARY, FREE

Premiere of a new touring exhibition presenting some of the most innovative examples of contemporary architecture in Antarctica, focusing on the design of five case study buildings and highlighting the cutting edge science that takes place there. TRAKKE

12 JUL – 25 AUG, TIMES VARY, FREE

Showcase exhibition exploring young Glasgow company TRAKKE’s role as ethical, sustainable British manufacturer – known as they are for producing ethically manufactured bags from their workshop and shipping worldwide.

The Modern Institute

MANFRED PERNICE: «ANEXOS»LOCAL

VARIOUS DATES BETWEEN 6 JUL AND 24 AUG, TIMES VARY, FREE

New body of work from German sculptor Manfred Pernice - for whom the phrase ‘anti-monumental’ is often bandied about, nicely capturing the imposing scale and humble everyday materials that make up his practice.

The Modern Institute @ Airds Lane

MARTIN BOYCE: ALL OVER – AGAIN – AND AGAIN VARIOUS DATES BETWEEN 6 JUL AND 31 AUG, 12:00PM – 5:00PM, FREE

New body of work from the Glasgow-residing sculptor known for taking his inspiration from early 20th century modernism – and who won the 2011 Turner Prize for his installation Do Words Have Voices, a recreation of a park in autumn.

The Telfer Gallery

TOTAL RECALL: BRAD TROEMEL

16 AUG – 1 SEP, NOT 19 AUG, 20 AUG, 26 AUG, 27 AUG, TIMES VARY, FREE

First solo show in the UK of New York-based post-internet artist Brad Troemel, presenting craft objects and sculpture made within the parameters of online marketplace Etsy, confronting shamelessly the shifting nature of content production in a web age.

Tramway

BRIAN GRIFFITHS: BORROWED WORLD, BORROWED EYES

VARIOUS DATES BETWEEN 2 AUG AND 22 SEP, TIMES VARY, FREE

Ambitious solo exhibition in which sculptor Brian Griffiths responds to the industrial scale of Tramway’s main gallery with a mammoth field of geometric sculptures, shrouded in worn, painted, patched and stitched tarpaulin.

Edinburgh Canongate Venture

DOIG KLASSE: DÜSSELDORFEDINBURGH (EAF)

1 AUG – 1 SEP, 11:00AM – 6:00PM, FREE

Artist Peter Doig, and his students, show work around a shared interest in narrative – developing the artistic exchange between the city of Edinburgh and the Kunstakademie Düsseldorf initiated by Richard Demarco in 1970. Part of Edinburgh Art Festival.

City Art Centre DRESSED TO KILL (EAF)

15 JUN – 29 SEP, TIMES VARY, FREE

Showcase of how Scottish artists have captured fashion, costume and dress over the years, from the late 17th century to present day – covering everything from everyday clothes to the most elaborate of fashionable dress. Part of Edinburgh Art Festival.

Doubtfire Gallery THE VODNJAN COLLECTIVE: CROATIA SCOTIA (EAF)

3–31 AUG, NOT 4, 11, 18, 25, 10:00AM – 5:00PM, FREE

To coincide with the admission of Croatia to the European Union in 2013, ten-strong Scottish artist collective, The Vodnjan Collective, present works created in response to time spent in the small town of Vodnjan, Croatia. Part of Edinburgh Art Festival.

FOLLOW THE THREAD: DAZZLE (EAF)

2–26 AUG, NOT 4, 11, 18, 25, 10:30AM – 5:30PM, FREE

Three-part exhibition celebrating the diversity, skill and ingenuity of artists, designers and makers who work with yarn and textiles – with this part featuring work by 50 contemporary jewellery designers and silversmiths. Part of Edinburgh Art Festival.

Edinburgh College of Art KRIJN DE KONING: LAND (EAF)

1 AUG – 1 SEP, 10:00AM – 5:00PM, FREE

Structural artist Krijn de Koning develops a new work for the Sculpture Court at Edinburgh College of Art, offering an active platform for framing questions, and excavating and exploring ideas. Part of Edinburgh Art Festival.

ECA: POSTGRADUATE DEGREE SHOW 17–25 AUG, 10:00AM – 5:00PM, FREE

Edinburgh College of Art present their annual postgraduate student round-up – showcasing the fruits of a new crop of budding artists’ endeavours – coinciding with their official batch of Edinburgh Art Festival exhibitions.

Edinburgh Printmakers

RACHEL MACLEAN: I HEART SCOTLAND (EAF) VARIOUS DATES BETWEEN 2 AUG AND 7 SEP, 10:00AM – 6:00PM, FREE

Solo exhibition by Glasgow-based artist Rachel Maclean, premiering a new film and a series of screenprints, commissioned and published by Edinburgh Printmakers over the last two years. Part of Edinburgh Art Festival.

Edinburgh Sculpture Workshop PRODUCT (EAF)

3–17 AUG, NOT 4, 11, 11:00AM – 5:00PM, FREE

Edinburgh Sculpture Workshop present new works from three different strands of its residency and curatorial programmes, taking in work by Kate Owens, Andrew Gannon, and Modern Edinburgh Film School. Part of Edinburgh Art Festival.

Fruitmarket Gallery

GABRIEL OROZCO: THINKING IN CIRCLES (EAF)

1 AUG – 18 OCT, TIMES VARY, FREE

Exhibition taking the 2005 work The Eye of Go as its starting point, looking at how the circular geometric motif of this painting – part of a way of thinking for Orozco – migrates onto other work, recurring in other paintings, sculptures and photographs.

Gladstone’s Land Gallery EAST MEETS WEST: GEZI YAO AND MARGARET ANDERSON

19–25 AUG, 10:00AM – 7:00PM, FREE

Double header exhibition in which the two artists paintings are left to tell the story of their journeys from China and Scotland.

Ingleby Gallery

PETER LIVERSIDGE: DOPPELGÄNGER (EAF) 1 AUG – 21 SEP, NOT 1 SEP, 8 SEP, 15 SEP, TIMES VARY, FREE

Contemporary British artist Peter Liversidge presents a unique exhibition which unpicks the powerful and strange story of Ein Handschuh – a suite of etchings from 1881 by the Austrian Symbolist Max Klinger. Part of Edinburgh Art Festival.

Jupiter Artland JEREMY DELLER AND ALAN KANE (EAF)

VARIOUS DATES BETWEEN 3 AUG AND 15 SEP, 10:00AM – 5:00PM, £8.50 (£4.50)

In the year he represents the UK at the Venice Biennale, Jeremy Deller and his long-standing collaborator, Alan Kane, show new work at Jupiter Artland – including the artists’ Steam Powered Internet Machine. Part of Edinburgh Art Festival.

Meadowbank Sports Centre

Scottish National Portrait Gallery

1 AUG – 1 SEP, 10:00AM – 6:00PM, FREE

22 JUN – 22 SEP, TIMES VARY, £7 (£5)

GAME CHANGER (EAF)

Off-site exhibition from Collective Gallery, considering materials, space, physicality and body image within the context of the sporting arena – with work from Rachel Adams, Jacob Dahlgren, Nilbar Güre£ and Haroon Mirza. Part of Edinburgh Art Festival.

Rhubaba LOVELY SKY (EAF)

VARIOUS DATES BETWEEN 1 AUG AND 1 SEP, 12:00PM – 5:00PM, FREE

Lucy Pawlak adopts the role of producer for a narrative feature film – with the resulting work designed and directed in collaboration with a writing team of imagineers and advisors made up of visitors and invited experts. Part of Edinburgh Art Festival.

Royal Scottish Academy (RSA) COLLECTORS’ CHOICE (EAF)

20 JUL – 8 SEP, TIMES VARY, FREE

Examination of the motivations, processes and benefits of collecting contemporary art, told through a display of works owned by collectors – including first-time buyers, family collections and national institutions. Part of Edinburgh Art Festival. 21 REVOLUTIONS: TWO DECADES OF CHANGING MINDS AT GLASGOW WOMEN’S LIBRARY (EAF) 20 JUL – 8 SEP, TIMES VARY, FREE

To mark their 21st birthday in 2012, Glasgow Women’s Library commissioned 21 female artists to create limited edition fine art prints inspired by items in its collections – herein lie the fruits. Part of Edinburgh Art Festival.

Scottish National Gallery

PETER DOIG: NO FOREIGN LANDS (EAF)

3 AUG – 3 NOV, TIMES VARY, FREE

First major exhibition of painter Peter Doig to be held in the country of his birth, surveying works created during the past 10 years, with emphasis on the artist’s approach to serial motifs and recurring imagery. Part of Edinburgh Art Festival.

Scottish National Gallery of Modern Art FROM DEATH TO DEATH AND OTHER SMALL TALES (EAF)

15 DEC – 8 SEP, 10:00AM – 5:00PM, FREE

Selected masterpieces from the Scottish National Gallery of Modern Art and the D.Daskalopoulos Collection, taking in 130 works that highlight the significance of the body as a theme in 20th and 21st century art practice. Part of Edinburgh Art Festival. WITCHES AND WICKED BODIES (EAF)

27 JUL – 3 NOV, 10:00AM – 5:00PM, £7 (£5)

Historical exhibition journeying through 16th and 17th century prints and drawings, detailing how the advent of the printing press allowed artists to share ideas, myths and fears about witches from country to country. Part of Edinburgh Art Festival.

MAN RAY: PORTRAITS (EAF)

Major retrospective of Man Ray’s photographic portraits, featuring over 100 works taking in his most significant muses – Lee Miller and Kiki de Montparnasse, and fellow artists Pablo Picasso and Salvador Dali, plus others. Part of Edinburgh Art Festival. KEN CURRIE

20 JUL – 22 SEP, TIMES VARY, FREE

Series of new paintings, on public view for the first time, in which Scottish figurative painter Ken Currie meditates upon the idea of the portrait, its origins and purposes, and its continued significance in the modern world.

Stills

ÂNGELA FERREIRA: POLITICAL CAMERAS (EAF)

2 AUG – 27 OCT, 11:00AM – 6:00PM, FREE

First solo exhibition in a public gallery in the UK for Ângela Ferreira, who presents her Political Cameras project from 2011 alongside a new commission referencing the legacy of David Livingstone’s life and work. Part of Edinburgh Art Festival.

MADS TEGLERS: LOOKING FOR EVA (EAF) 2–31 AUG, 11:00AM – 9:00PM, FREE

Exhibited as installation rather than a traditional hanging, Mads Teller showcases her whimsical documentation of a young woman’s attempt to understand her itinerant and adventurous grandmother through role play. Part of Edinburgh Art Festival.

DEREK JARMAN: THE BLUE BOOK (EAF)

2 AUG – 27 SEP, 11:00AM – 9:00PM, FREE

Showcase of the accompanying book to late filmmaker Derek Jarman’s final film, reproducing the text of the film in hand-painted blue boards, end papers and solander box, shown incomplete as it was left before his death. Part of Edinburgh Art Festival.

Talbot Rice Gallery

TRANSMITTED LIVE: NAM JUNE PAIK RESOUNDS (EAF)

9 AUG – 19 OCT, 10:00AM – 5:00PM, FREE

Celebrating the 50th anniversary of Nam June Paik’s first solo exhibition, demonstrating how revolutionary the artist remains for contemporary audiences in encouraging creative engagement with technology. Part of Edinburgh Art Festival.

Summerhall

The Old Ambulance Depot

2–31 AUG, 1:00PM – 6:00PM, FREE

1 AUG – 1 SEP, NOT 5 AUG, 12 AUG, 19 AUG, 26 AUG, 12:00PM – 6:00PM, FREE

GREGOR SCHNEIDER: SÜSSER DUFT EDINBURGH 2013 (EAF)

BOBBY NIVEN: PALM OF THE HAND (EAF)

New installation by German artist Gregor Schneider, created especially for Summerhall’s ominous basement - transforming the space into a series of contrasting light and dark rooms and corridors for one month only. Part of Edinburgh Art Festival.

Collection of new work by Bobby Niven bringing together anthropomorphic sculptures with more solemn, abstract structures, finding humour in the tension between animate and inert forms. Part of Edinburgh Art Festival.

2 AUG – 27 SEP, 11:00AM – 9:00PM, FREE

Dundee

FIONA BANNER: THE VANITY PRESS (EAF)

British artist Fiona Banner’s premieres a selection of new film works and recent publications with a focus on performance, including a trio of video works being shown for the first time. Part of Edinburgh Art Festival.

ROBBIE THOMPSON: ECSTATIC ARC (EAF)

2 AUG – 27 SEP, 11:00AM – 9:00PM, FREE

Theatrical installation combining music and mechanical choreography, based on a dystopian future of masks and sculptures, created using found objects, recording devices and a caged Tesla coil. Part of Edinburgh Art Festival. MARTIN GREEN: SCUFFED UNDERSIDE (EAF)

2 AUG – 27 SEP, 11:00AM – 9:00PM, FREE

Artist Martin Green showcases a selection of his delicate artworks, sitting half-way between sculpture and paintings, using a strange assortment of unusual found objects. Part of Edinburgh Art Festival. CHINESE MODERN ABSTRACT ART: MOVING BEYOND (EAF)

2 AUG – 27 SEP, 11:00AM – 9:00PM, FREE

Six contemporary Chinese artists (Liu Guofo, Guan Jing Jing, Yang Liming, Liang Qian, He Gong and Wu Jian) showcase their work, in an arts project conceived by Chinese poet Yang Lian and Dr Janet McKenzie. Part of Edinburgh Art Festival.

Cooper Gallery

KNIFE EDGE PRESS: THE COMPLETE WORKS (SO FAR)

29 AUG – 21 SEP, NOT 1 SEP, 8 SEP, 15 SEP, 12:00PM – 4:30PM, FREE

Showcase of the artist books produced by Knife Edge Press – the creative partnership of writer Mel Gooding and artist Bruce McLean – shown alongside prints, posters, correspondences and other ephemera generated in their 28 years. In the Cooper Gallery.

DCA

THERE WILL BE NEW RULES NEXT WEEK

VARIOUS DATES BETWEEN 20 JUL AND 22 SEP, TIMES VARY, FREE

Showcase of works by the late Sister Corita Kent (1918-1986), shown alongside work by five contemporary artists inspired by her printmaking and life-affirming teaching: Peter Davies, Ruth Ewan, Emily Floyd, Scott Myles and Ciara Phillips.

The McManus MODERN MASTERS IN PRINT

23 AUG – 17 NOV, TIMES VARY, FREE

Dundee’s McManus play host to prints by four of the 20th Century’s greatest artists – Henri Matisse, Pablo Picasso, Salvador Dalí and Andy Warhol – as part of a special touring exhibition organised by the Victoria and Albert Museum in London.